Containing over forty portraits, the frescoes by Domenico Ghirlandaio in the cappella maggiore of S. Maria Novella provide the opportunity to investigate the function and context of Quattrocento portraiture. Burkhart’s famous notion of Renaissance “individualism,” usually seen as a sufficient explanation for the rise of this genre, is rejected in favour of corporate, especially family, motivations and modes of address. This necessitates an examination of consorterial traditions and patterns of patronage which are registered in the Tornaquinci chapel and enabled the acquisition of patronage rights to the chapel by the entire consorteria in October 1486. A biography is also supplied of Giovanni Tornabuoni, the man who paid for the decoration of this, his family monument, and closely supervised its progress.
| Identifer | oai:union.ndltd.org:ADTP/245085 |
| Creators | Simons, Patricia |
| Source Sets | Australiasian Digital Theses Program |
| Language | English |
| Detected Language | English |
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