Th. Ph. D.--Fine arts--New York--New York University, 1978. / Bibliogr. p. 375-408.

Thesis--Bonn, 1964. / Vita. Includes bibliographical references (p. 196-205).

Inaug.-Diss.--Munich. / Vita. Bibliography: p. 126-135.

The Florentine Renaissance was a time of great social as well as artistic change. The problem with the traditional canon of art history was its fascination with the 'great masters' and its inability to acknowledge the larger religious and social issues which affected artisans of the time. In order to counteract these shortcomings, this study presents a social and cultural biography of an 'average' Florentine Renaissance artisan, named Jacopo del Sellaio (1442-1493). Jacopo is an ideal foil for the so-called 'great master' painters of the late quattrocentro because, comparatively, he was as socially and financially successful as his more famous counterparts. An examination of his life also demonstrates that Florentine Renaissance artisans were not isolated in their creative efforts but were inextricably bound to their communities by a multitude of complex social processes and institutions. This challenges many of the traditional misconceptions surrounding the Renaissance and offers a more holistic approach in the study of art history. / The introduction notes the lack of attention scholars have given to minor Renaissance artisans, and offers an objective interpretation of Jacopo del Sellaio based on methodology used in the study of cultural history. The first chapter focuses on the literal and biographical history of Jacopo, including his neighbourhood relationships and early artistic development. Chapter two reviews the official and artistic role of Jacopo in three Florentine confraternities and the importance of artisans in creating visual representations that unified the aspirations of the community. The third chapter investigates Jacopo's professional career as an artisan, including his commercial relationships and production of art for domestic interiors. This chapter also considers the association between the demands of the art market and pictorial conventions of devotional imagery. / The last two chapters examine a selection of secular and religious panels. These images are discussed as exemplars for themes related to the distinctive social conduct of Florentines or the function of religious imagery in consolidating neighbourhood kinship and promoting pious behaviour. The conclusion speculates upon Jacopo del Sellaio's role as a respected and resolute bastion of his local community and the importance of art in creating and reinforcing social identity. / Thesis (MArt)--University of South Australia, 2002.

Universiẗat, Diss., 2001--Kiel.

Book Summary: The essays in this collection explore the languages - artistic, symbolic, and ritual, as well as written and spoken - in which power was articulated, challenged, contested, and defended in Italian cities and courts, villages, and countryside, between 1300 and 1600. Topics addressed include court ceremonial, gossip and insult, the performance of sanctity and public devotions, the appropriation and reuse of imagery, and the calculated invocation (and sometimes undermining) of authoritative models and figures. The collection balances a broad geographic and chronological range with a tight thematic focus, allowing the individual contributions to engage in vigorous and fruitful debate with one another even as they speak to some of the central issues in current scholarship. The authors recognize that every institutional action is, in its context, a political act, and that no institution operates disinterestedly. At the same time, they insist on the inadequacy of traditional models, whether Marxian or Weberian, as the complex realities of the early modern state pose tough problems for any narrative of modernization, rationalization, and centralization. The contributors to this volume trained and teach in various countries - Italy, the United States, Canada, the United Kingdom, and Australia - but share a common interest in cultural expressions of power.

Inaug.-diss.--Leipzig. / Issued also without a thesis note. Lebenslauf. "Literatur": p. 56.

The purpose of this thesis is to present a new approach to the art of Rosso and Pontormo and to suggest a new interpretation to its controversial character. The first part is essentially a preparation to the main discussion: the notion of Spirituality, necessary to a full understanding of the art of Rosso and Pontormo, is first developed, followed by an extensive study of the primary "will" which was guiding the classic painter in his major realizations. The second part discusses the art of Rosso and Pontormo. The object here is to demonstrate that in a reasonably large number of their works we can detect a distinct will to awake feelings of incongruity, abnormality, strangeness in the beholder, and to perplex, disturb, frustrate and even shock him. This will is defined as the new will. After an expose of the latter, the art of Rosso is taken up, followed by the art of Pontormo. Eight works by Rosso and eleven by Pontormo are discussed individually. The method of analysis followed extensively takes into account the fact that the revolutionary art of those artists made its apparition in an essentially classicizing atmosphere. The third part attempts to explain what may have caused the new will to germinate in Pontormo and Rosso. A first chapter is devoted to showing that corruption, at the height of the Renaissance, pervaded the Italian clergy from top to bottom. In a second chapter, documents are brought up to the support of the fact that a reformation of the clergy was the great spiritual need of that age. It is also pointed out that the whole of the Italian society of that time, indeed, was morally deteriorating at an alarming rate. A final chapter describes how, under the effect mainly of the new dignity awakened in them by their recent recognition as liberal artists, Pontormo and Rosso would have subconsciously awakened to such a state of affairs. They would have realized, among other abnormalities, that Christian art, essentially meant to promote the spiritual advancement of society, was not helping to solve the great spiritual demand of their age, nor was it truly helping society as a whole, although it had just reached an unprecedented degree of perfection. Disillusion and despair would have followed, ultimately engendering, at least at the pre-conscious level, a bitter resentment against society in general which was failing to respond as it should to the artist's message. The will to turn the work of art against society by making it disturbing, frustrating and even shocking would have been the direct result of such a resentment. The thesis concludes by pointing out some important similarities between the art of Rosso and Pontormo and the modern Dadaist movement. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

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