Thesis (M.A.)--University of Wisconsin--Madison, 1972. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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Freiburg (Breisgau), Universiẗat, Diss., 1987. Erscheinungsjahr an der Hauptitelstelle: 1987.
Uglow, Luke Stephen
This thesis concerns a shift in the historiography of the Venetian painter Giorgione (c1477- 1510). In important ways, this change was caused by Joseph Archer Crowe (1825-1896) and Giovanni Battista Cavalcaselle (1819-1897) in their A History of Painting in North Italy (1871). This text met seminal reactions from Walter Pater (1839-1894) in his essay “The School of Giorgione” (1877) and from Giovanni Morelli (1816-1891) in his Die Werke italienischer Meister in den Galerien von München, Dresden und Berlin (1880). Following a method of close reading, the analysis will concentrate on the intertextual relationship between these three works. This thesis contends that Crowe and Cavalcaselle comprehensively problematised scholarship on the artist, creating a “new” Giorgione; that Pater responded dialectally to scientific connoisseurship with aesthetic criticism, intellectually justifying and morally absolving his interpretation; that Morelli responded by offering a noticeably different catalogue of paintings, and by making Giorgione function within his anti-authoritarian rhetoric as a validation for his method; however, in so doing, Morelli was conducting an ironic problematisation of connoisseurship in general. The thesis begins with an introduction to the “old” Giorgione, before discussing the concepts of aestheticism and connoisseurship. It is then divided into three studies and a conclusion. The first part considers how the artist was understood in the nineteenth century prior to Crowe and Cavalcaselle’s research, before discussing the nature of the two connoisseurs’ enquiry. The second part focuses on Pater and his relationship with Giorgione, placing his essay in the context of The Renaissance (1873); after this the study follows Pater as he defines his theory of aesthetic criticism and responds to what he understands as scientific history, before analysing his interpretation of Giorgione. The third and final part of this thesis will seek to understand Morelli’s ambiguous text and the function of the artist within it; examining his method, rhetoric, and polemic with Crowe and Cavalcaselle, it will conclude by arguing that irony was an active concept in Morelli’s thinking. By attending to a specific artist’s historiography at a particular time, this thesis indirectly reveals the way art history on Italian painting operated in this period, when the discipline was undergoing the processes of professionalisation and institutionalisation.
CHASTE SEXUAL WARRIOR, CIVIC HEROINE, AND FEMME FATALE: THREE VIEWS OF JUDITH IN ITALIAN RENAISSANCE AND BAROQUE ARTBURZLAFF, MARY CAROLINE 11 July 2006 (has links)
No description available.
Přátelské portréty v italském renesančním malířství Portraits of friends in Italian Renaissance paintingMarsova, Liubov 2017 (has links)
(in English): Represented dissertation dedicated to the issue of male portraits of friends in Italian renaissance painting. Despite of existence of some publications focused on the specific aspects of male portraiture, this area has not been yet given sufficient research interest. In the introductory clause is presented theoretical outline of the male friendship concept of male friendship in the culture of the Italian Renaissance and also some key aspects of the portrait genre. The work is divided into chapters by topic: for example, "Portrait and Antique", "Portrait and Remembrance", "Portrait and Poetry". Some particularly interesting moments were extracted into separate excursions as profile portraits of two men, the subject of a mirror in a portrait genre, the communication possibilities of images. Artworks analyzed in the present research are not classified into a classical model of chronological "development". The pictures are interconnected with theoretical thinking, which is also conditioned by the artwork itself. For each painting, existing researches have been gathered and comprehended. There are also new iconographic interpretations of some of the presented works. For research have been abundantly used literature of period, theoretical writings and poetry. The work tries to respond to...
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