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Carlo Dolci. A Refreshment reevaluates the works of the Florentine painter Carlo Dolci. For art historical authors of the late nineteenth and early twentieth centuries the name Dolci was used as a convenient epithet for mocking the sentimental style of the artist's exclusively religious paintings. A seventeenth century audience, however, could still understand his 'sweetness' as an authentic expression of an old theological concept that went back to the bible itself: the so-called Dulcedo dei, or sweetness of God. This study looks at Dolci's reception throughout the centuries to show how it came to be that the theologically substantiated aesthetic of sweetness in Dolci?s œuvre fell out of favor and into oblivion

Painting, Italian --- Christian art and symbolism --- Peinture italienne --- Art et symbolisme chrétiens --- Dolci, Carlo, --- Art et symbolisme chrétiens

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Erected in large numbers from about 1300 onwards, and featuring increasingly sophisticated designs, wayside crosses and other edifices in the public sphere ? such as fountains, pillories and boundary markers ? constituted the largest network of images and monuments in the late medieval world. Not only were they everywhere, they were also seen by nearly everyone, because large sections of the populace were constantly on the move. Carrying an entire spectrum of religious, folkloric and judicial beliefs, these monuments were indeed at the very heart of late medieval life. This is the first critical study of these fascinating and rich structures written by a medievalist art historian. Focusing on the territories of the former Holy Roman Empire, this investigation considers such important edifices as the towering wayside crosses of Wiener Neustadt and Brno or the elaborate pillories of Kasteelbrakel and Wroc?aw, though less ostentatious works such as the Bildstöcke of Franconia and Carinthia or the high crosses of Westphalia and the Rhineland are equally examined. In addition, the study looks at the homiletic, literary, devotional and artistic imagination, in which wayside crosses and other such structures helped constitute a spiritual and allegorical landscape that very much complemented and put pressure on the physical landscapes traversed and inhabited by the contemporary public.

Public sculpture --- Monuments --- Crosses --- Art, Medieval --- Christian art and symbolism --- Sculpture publique --- Croix --- Art médiéval --- Art et symbolisme chrétiens --- Social aspects --- Aspect social --- Sculpture --- public art --- public sculpture --- markers [monuments] --- Environmental planning --- History of civilization --- anno 1200-1499 --- anno 1500-1599 --- Denkmal --- Flurdenkmal --- Brunnenfigur --- Bildstock --- Plastik --- Steinkreuz --- Geschichte 1300-1800 --- Europa --- Art médiéval --- Art et symbolisme chrétiens --- Shrines --- History. --- Cult --- Christian art and symbolism. --- Sanctuaires --- Croix de chemin --- Art chrétien --- Histoire --- Culte --- History --- Sanctuaires - Europe centrale - Histoire --- Croix - Europe centrale - Histoire --- Croix de chemin - Saint Empire romain germanique - Histoire --- Croix - Culte - Saint Empire romain germanique - Histoire --- Monuments - Europe centrale - Histoire --- Monuments - Saint Empire romain germanique - Histoire --- Art chrétien - Europe centrale - 500-1500 (Moyen Âge) --- Art chrétien - Saint Empire romain germanique - Histoire --- Shrines - Europe, Central - History --- Crosses - Europe, Central - History --- Crosses - Holy Roman Empire - History --- Crosses - Cult - Holy Roman Empire - History --- Christian art and symbolism - Europe, Central - Medieval, 500-1500 --- Christian art and symbolism - Holy Roman Empire - History

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Brings together historians, art historians, and archaeologists to discuss the role of graphic representational signs and symbols and to look at contexts facilitating their dissemination in a wide range of media in the late Roman and post-Roman worlds. In this volume, twelve specialists examine the role of graphic signs such as cross signs, christograms, and monograms in the late Roman and post-Roman worlds and the contexts that facilitated their dissemination in diverse media. The essays collected here explore the rise and spread of graphic signs in relation to socio-cultural transformations during Late Antiquity and the early Middle Ages, focusing in particular on evolving perceptions and projections of authority. They ask whether some culturally specific norms and practices of graphic composition and communication can be discerned behind the rising corpus of graphic signs from the fourth to tenth centuries and whether common features can be found in their production and use across various media and contexts. The contributors to this book analyse the uses of graphic signs in quotidian objects, imperial architectural programmes, and a wide range of other media. In doing so, they argue that late antique and early medieval graphic signs were efficacious means to communicate with both the supernatural and earthly worlds, as well as to disseminate visual messages regarding religious identity and faith, and social power.

Christian art and symbolism --- Graphic arts --- Graphic arts. --- Graphisches Symbol. --- Ikonographie. --- Kunst. --- Schrift. --- Symbol. --- Symbolism --- Symbolism. --- Medieval. --- History --- To 1500. --- Europa. --- Symbolisme chrétien --- Signes et symboles --- Art et symbolisme chrétiens --- Symbolisme --- Arts graphiques --- Histoire

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Christian art and symbolism --- Art et symbolisme chrétiens --- Exhibitions --- Expositions --- Catholic Church --- History --- Rome (Italy) --- Rome (Italie) --- Religious life and customs --- Vie religieuse --- History of Europe --- Art --- influence --- Rome --- Art et symbolisme chrétiens --- Exhibitions. --- Christian religion --- Christelijke kunst --- receptiegeschiedenis --- kunst en godsdienst

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"An analysis of the role of landscape in the work the Venetian Renaissance artist Giovanni Bellini"--Provided by publisher.

landscapes [representations] --- Painting --- Italian Renaissance-Baroque styles --- easel paintings [paintings by form] --- Bellini, Giovanni --- anno 1400-1499 --- anno 1500-1599 --- Venice --- Landscape painting, Renaissance --- Bellini, Giovanni, --- Criticism and interpretation. --- Criticism and interpretation --- Christian art and symbolism --- Peinture de paysages de la Renaissance --- Art chrétien --- Exhibitions --- Landscape painting [Renaissance ] --- Italy --- Venice (Italy) --- landschapsschilderkunst