Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

How grace shaped the Renaissance in Italy"Grace" emerges as a keyword in the culture and society of sixteenth-century Italy. The Grace of the Italian Renaissance explores how it conveys and connects the most pressing ethical, social and aesthetic concerns of an age concerned with the reactivation of ancient ideas in a changing world. The book reassesses artists such as Francesco del Cossa, Raphael and Michelangelo and explores anew writers like Castiglione, Ariosto, Tullia d'Aragona and Vittoria Colonna. It shows how these artists and writers put grace at the heart of their work.Grace, Ita Mac Carthy argues, came to be as contested as it was prized across a range of Renaissance Italian contexts. It characterised emerging styles in literature and the visual arts, shaped ideas about how best to behave at court and sparked controversy about social harmony and human salvation. For all these reasons, grace abounded in the Italian Renaissance, yet it remained hard to define. Mac Carthy explores what grace meant to theologians, artists, writers and philosophers, showing how it influenced their thinking about themselves, each other and the world.Ambitiously conceived and elegantly written, this book portrays grace not as a stable formula of expression but as a web of interventions in culture and society.

Grace (Aesthetics) --- Grace (Theology) --- Graces, The. --- Language and culture --- History. --- Italy --- Intellectual life --- Aesthetics. --- Allegory. --- Ambivalence. --- Anathema. --- Art critic. --- Art criticism. --- Art history. --- Art. --- Astolfo. --- Baldassare Castiglione. --- Balzan. --- Bembo. --- Brotton. --- Buonarroti. --- Calculation. --- Canossa. --- Canti (Leopardi). --- Catherine of Siena. --- Christian theology. --- Clodagh. --- Close reading. --- Codrington Library. --- Council of Trent. --- Counter-Reformation. --- Courtesy. --- Courtier. --- De Oratore. --- Decorum. --- Divine grace. --- Drawing. --- Durham University. --- Emblem. --- Epigram. --- Flattery. --- Francesco del Cossa. --- Generosity. --- Giorgio Vasari. --- Giovanni Pico della Mirandola. --- God's Grace. --- God. --- Grace and favour. --- Humility. --- Iconography. --- Institutio Oratoria. --- Irony. --- Italian Renaissance. --- Johann Joachim Winckelmann. --- La Fornarina. --- Lecture. --- Linguistics. --- Literature. --- Lodovico Dolce. --- Mannerism. --- Martin McLaughlin. --- Medici Chapel. --- Michelangelo. --- Moderata Fonte. --- Mythologies (book). --- Narrative. --- O'Sullivan. --- Orlando Furioso. --- Palazzo Schifanoia. --- Paragone. --- Parody. --- Petrarch. --- Philology. --- Philosopher. --- Pietro Bembo. --- Pliny the Elder. --- Poetry. --- Poliziano. --- Pope Julius II. --- Pope Leo X. --- Pope Paul III. --- Princeton University Press. --- Prose. --- Protogenes. --- Quintilian. --- Reginald Pole. --- Religious experience. --- Renaissance art. --- Renaissance humanism. --- Rhetoric. --- Romanticism. --- San Giorgio Maggiore. --- Sanctification. --- Satire. --- Sola fide. --- Spiritual gift. --- Spirituali. --- Spirituality. --- Sprezzatura. --- Suggestion. --- Terence. --- Thought. --- Treatise. --- Tullia d'Aragona. --- Vittoria Colonna. --- Work of art. --- Writing.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

John Shearman makes the plea for a more engaged reading of art works of the Italian Renaissance, one that will recognize the presuppositions of Renaissance artists about their viewers. His book is the first attempt to construct a history of those Renaissance paintings and sculptures that are by design completed outside themselves in or by the spectator, that embrace the spectator into their narrative plot or aesthetic functioning, and that reposition the spectator imaginatively or in time and space. He takes the lead from texts and artists of the period, for these artists reveal themselves as spectators. Among modern historiographical techniques, Reception Theory is closest to the author's method, but Shearman's concern is mostly with anterior relationships with the viewer--that is, relationships conceived and constructed as part of the work's design, making, and positioning. Shearman proposes unconventional ways in which works of art may be distinguished one from another, and in which spectators may be distinguished, too, and enlarges the accepted field of artistic invention. Furthermore, His argument reflects on the Renaissance itself. What is created in this period tends to be regarded as conventional, or inherent in the nature of painting and sculpture: he maintains that this is a careless, disengaged view that has overlooked the process of discovery by immensely inventive and visually intelllectual artists. John Shearman is William Door Boardman Professor of Fine Arts at Harvard University. Among his works are Mannerism (Hardmondsworth/Penguin), Raphael's Cartoons in the Collection of Her Majesty the Queen and the Tapestries for the Sistine Chapel (Phaidon), The Early Italian Paintings in the Collection of Her Majesty the Queen (Cambridge). and Funzione e Illusione (il Saggiatore).The A.W. Mellon Lectures in the Fine Arts, 1988Bollingen Series XXXV: 37Originally Publsihed in 1992The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Art, Italian. --- Art, Renaissance --- Audiences --- Psychology. --- Art, Italian --- -Audiences --- -Audiences, Communication --- Communication audiences --- Communication --- Spectators --- Italian art --- Bamboccianti (Group of artists) --- Corrente (Group of artists) --- Cracking Art (Group of artists) --- Fronte nuovo delle arti (Group of artists) --- Geometria e ricerca (Group of artists) --- Girasole (Group of artists) --- Gruppo 1 (Group of artists) --- Gruppo Aniconismo dialettico (Group of artists) --- Gruppo di Como (Group of artists) --- Gruppo di Scicli (Group of artists) --- Gruppo Enne (Group of artists) --- Gruppo Forma uno (Group of artists) --- Italiens de Paris (Group of artists) --- Mutus Liber (Group of artists) --- Novecento italiano (Group of artists) --- Nuovi-nuovi (Group of artists) --- Origine (Group of artists) --- Sei pittori di Torino (Group of artists) --- Transvisionismo (Group of artists) --- Renaissance art --- Psychology --- Social aspects --- -Psychology --- History --- Renaissance --- Painting --- Art --- anno 1400-1499 --- anno 1500-1599 --- Italy --- Art italien --- Art de la Renaissance --- Audiences, Communication --- Art, Renaissance - Italy. --- Audiences - Psychology. --- Italiaanse school --- Adolf von Hildebrand. --- Albrecht Dürer. --- Altarpiece. --- Andrea Fulvio. --- Andrea Mantegna. --- Andrea Solari. --- Andrea del Sarto. --- Antonello da Messina. --- Antonio Rossellino. --- Aretino. --- Bacchus and Ariadne. --- Baptistery. --- Baroque architecture. --- Basilica. --- Bembo. --- Camera degli Sposi. --- Caravaggio. --- Catullus. --- Cecilia Gallerani. --- Chiaroscuro. --- Christ among the Doctors (Dürer). --- Conceit. --- Cosimo de' Medici. --- Counter-Reformation. --- Cristofano Allori. --- Della Rovere. --- Diego Velázquez. --- Donatello. --- Duke of Florence. --- Edward Burne-Jones. --- Epigram. --- Famulus. --- Feast of the Gods (art). --- Filarete. --- Filippino Lippi. --- Galleria Borghese. --- Ginevra de' Benci. --- Giorgio Vasari. --- Giorgione. --- Giovanni Bellini. --- Giovanni Pisano. --- Giulio Romano. --- Grand manner. --- Hercules and Cacus. --- Heroides. --- High Renaissance. --- High place. --- Hyperbole. --- Intentionality. --- Jan van Eyck. --- Las Meninas. --- Lateran Baptistery. --- Lodovico Dolce. --- Madonna of the Harpies. --- Mario Equicola. --- Mario Praz. --- Marriage of the Virgin (Perugino). --- Masaccio. --- Master of the Virgo inter Virgines. --- Michelangelo. --- Mona Lisa Smile. --- Mystery play. --- National Gallery of Art. --- Orlando Furioso. --- Paragone. --- Parmigianino. --- Persius. --- Pesaro Madonna. --- Petrarch. --- Phrenology. --- Pietro da Cortona. --- Poetry. --- Poliziano. --- Pontormo. --- Pope Julius II. --- Pseudo-Bonaventura. --- Putto. --- Reginald Pole. --- Religion. --- Renaissance art. --- Richard Wollheim. --- Rokeby Venus. --- Romanticism. --- Ruggiero (character). --- Sack of Rome (1527). --- Saint Roch. --- Sandro Botticelli. --- Simone Martini. --- Sistine Chapel. --- Sleeping Venus (Giorgione). --- The Feast of the Gods. --- The Fire in the Borgo. --- The Philosopher. --- The School of Athens. --- The Spirit of the Laws. --- The Vision of the Cross. --- The Worship of Venus. --- Tintoretto. --- Titian. --- Work of art.