Can painting transform philosophy? InInventing Falsehood, Making Truth, Malcolm Bull looks at Neapolitan art around 1700 through the eyes of the philosopher Giambattista Vico. Surrounded by ...extravagant examples of late Baroque painting by artists like Luca Giordano and Francesco Solimena, Vico concluded that human truth was a product of the imagination. Truth was not something that could be observed: instead, it was something made in the way that paintings were made--through the exercise of fantasy.
Juxtaposing paintings and texts, Bull presents the masterpieces of late Baroque painting in early eighteenth-century Naples from an entirely new perspective. Revealing the close connections between the arguments of the philosophers and the arguments of the painters, he shows how Vico drew on both in his influential philosophy of history,The New Science. Bull suggests that painting can serve not just as an illustration for philosophical arguments, but also as the model for them--that painting itself has sometimes been a form of epistemological experiment, and that, perhaps surprisingly, the Neapolitan Baroque may have been one of the routes through which modern consciousness was formed.
In the seventeenth century news was an investment in social relationships, a resource that concerned the interests of members of functional elites. Exchanging news entailed different forms of ...participation in functional elites and, thus, privilege. This business was part of the elites’ internal social structures; it constituted the fabric of all public institutions.
This monograph serves as an introduction to the art, architecture and literary culture of the Eastern Polish-Lithuanian Commonwealth in the 16th and 17th centuries. The geographical area under ...discussion comprises the regions of contemporary Lithuania, western Belarus and western Ukraine. The introduction of the Renaissance and Baroque classical revival into these lands is considered here within the political context of nationalistic and religious loyalties, as well as economic status and class. The central discussion focuses on the issue of national identity and religious loyalty in the inter-relation between the Byzantine inheritance of the Lithuanian and Ruthenian populace and the Polonizing Catholic influences entering from the west.
Why were seventeenth-century antiquarians so spectacularly wrong? Even if they knew what ancient monuments looked like, they deliberately distorted the representation of them in print. Deciphering ...the printed reconstructions of Giacomo Lauro and Athanasius Kircher, this pioneering study uncovers an antiquity born with print culture itself and from the need to accommodate competitive publishers, ambitious patrons and powerful popes. By analysing the elements of fantasy in Lauro and Kircher's archaeological visions, new levels of meaning appear. Instead of being testimonies of failed archaeology, they emerge as complex architectural messages responding to moral, political, and religious issues of the day. This book combines several histories - print, archaeology, and architecture - in the attempt to identify early modern strategies of recovering lost Rome. Many books have been written on antiquity in the Renaissance, but this book defines an antiquity that is particularly Baroque.
The Female Baroque is a contribution to the revival since the 1980s of early modern women's writings and cultural production in English. Its originality is twofold: it links women's writing in ...English with the wider context of Baroque culture, and it introduces the issue of gender into discussion of the Baroque. The title comes from Julia Kristeva's study of Teresa of Avila, that 'the secrets of Baroque civilization are female'. The book is built on a schema of recurring Baroque characteristics - narrativity, hyperbole, melancholia, kitsch, and plateauing, pointing less to surface manifestations and more to underlying ideological tensions. The crucial concept of the Female Baroque is developed in detail. Attention is then given particularly to Gertrude More, Mary Ward, Aemilia Lanyer, The Ferrar/Collet women, Mary Wroth, the Cavendish sisters, Hester Pulter, Anne Hutchinson, Margaret Cavendish and Aphra Behn, the latter two whose lives and writings point to the developing cultural transition to the Enlightenment.
Although Americans have shown interest in Italian Baroque art since the eighteenth century—Thomas Jefferson bought copies of works by Salvator Rosa and Guido Reni for his art gallery at ...Monticello, and the seventeenth-century Bolognese school was admired by painters Benjamin West and John Singleton Copley—a widespread appetite for it only took hold in the early to mid-twentieth century. Buying Baroque tells this history through the personalities involved and the culture of collecting in the United States.
The distinguished contributors to this volume examine the dealers, auction houses, and commercial galleries that provided access to Baroque paintings, as well as the collectors, curators, and museum directors who acquired and shaped American perceptions about these works, including Charles Eliot Norton, John W. Ringling, A. Everett Austin Jr., and Samuel H. Kress. These essays explore aesthetic trends and influences to show why Americans developed an increasingly sophisticated taste for Baroque art between the late eighteenth century and the 1920s, and they trace the fervent peak of interest during the 1950s and 1960s.
A wide-ranging, in-depth look at the collecting of seventeenth- and eighteenth-century Italian paintings in America, this volume sheds new light on the cultural conditions that led collectors to value Baroque art and the significant effects of their efforts on America’s greatest museums and galleries.
In addition to the editor, contributors include Andrea Bayer, Virginia Brilliant, Andria Derstine, Marco Grassi, Ian Kennedy, J. Patrice Marandel, Pablo Pérez d’Ors, Richard E. Spear, and Eric M. Zafran.
Embodiments of power Cohen, Gary B; Szabo, Franz A. J
2008., 20080715, 2008, 2008-06-05, Volume:
10
eBook
The period of the baroque (late sixteenth to mid-eighteenth centuries) saw extensive reconfiguration of European cities and their public spaces. Yet, this transformation cannot be limited merely to ...signifying a style of art, architecture, and decor. Rather, the dynamism, emotionality, and potential for grandeur that were inherent in the baroque style developed in close interaction with the need and desire of post-Reformation Europeans to find visual expression for the new political, confessional, and societal realities. Highly illustrated, this volume examines these complex interrelationships among architecture and art, power, religion, and society from a wide range of viewpoints and localities. From Krakow to Madrid and from Naples to Dresden, cities were reconfigured visually as well as politically and socially. Power, in both its political and architectural guises, had to be negotiated among constituents ranging from monarchs and high churchmen to ordinary citizens. Within this process, both rulers and ruled were transformed: Europe left behind the last vestiges of the medieval and arrived on the threshold of the modern.
Essays on Art, History and Literature, Valencia, Albatros, 2016, 239 pp., ISBN: 978-84-7274-331-1. 2 entre los dos reinos de Cerdeña y Valencia -que ya tiene su robusta tradición historiográfica-, a ...través de dos figuras ?menores?: el jurista valenciano Melchor Sisternes, funcionario del imperio en los reinos de Valencia, Cerdeña y Mallorca, con su interesante política matrimonial; y Jorge de Castelví, antes menino de Felipe IV, luego militar, regente de Cerdeña en el Consejo de Aragón y, posteriormente, capellán mayor de las Descalzas Reales de Madrid. Estas historias de vida se entrelazan con algunos episodios sugestivos por el debate y las consideraciones historiográficas que suscitan: el asesinato del virrey Camarasa en Cáller, en 1688, hecho sobre el que la institución virreinal cambió su base normativa al decretar una nueva imagen del virrey, ?ya que hasta ese momento no existía una reglamentación jurídica que sistematizase su cometido? (pp. 51); la oposición en Cerdeña entre parlamento y corona por la solicitud del donativo; las relaciones familiares de los ?funcionarios? que, emigrando, llegaban a un nuevo territorio, consolidando el peso del linaje en la nueva provincia imperial (los Sisternes siguieron ocupando los más elevados oficios eclesiásticos en el siglo XVIII y principios del XIX); el intercambio de puestos, o sea, la circulación en el imperio; el servicio a la monarquía como una de las principales vías de ascenso social en la época moderna. Marcello Schirru (pp. 139-162) se encauza en las estrategias e inversiones familiares en la Cerdeña del siglo XVII: las imágenes y los proyectos arquitectónicos vanguardistas (el convento de Santa Teresa de Jesús, la iglesia parroquial de San Sperate, etc) se miran en términos antropológicos, como herramientas para propagar el prestigio del linaje frente a posibles antagonistas, tanto en el ámbito secular como en el eclesiástico.
