Portrait cultures of the early modern Cardinal /

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The visual legacy of early modern cardinals constitutes a vast and extremely rich body of artworks, many of superb quality, in a variety of media, often by well-known artists and skilled craftsmen. Yet cardinal portraits have primarily been analysed within biographical studies of the represented ind...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Otros Autores: Baker-Bates, Piers (Editor ), Brooke, Irene (Editor )
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Amsterdam : Amsterdam University Press, [2021]
Colección:Visual and material culture, 1300-1700.
Temas:
Cardinals in art.
Cardinals > Portraits > History and criticism.
Christianity and art > Catholic Church.
Cardinaux > Portraits > Histoire et critique.
Christianisme et art > Église catholique.
ART > History > Renaissance.
Cardinals in art
Christianity and art > Catholic Church
History of art and design styles: c 1400 to c 1600.
Social and cultural history.
Cardinals, Early Modern, Portrait, Catholic Church, Portraiture.
Criticism, interpretation, etc.
Acceso en línea:Texto completo
Tabla de Contenidos:
  • Cover
  • Table of Contents
  • Abbreviations
  • Acknowledgements
  • Introduction
  • Cardinals and their Images
  • 1. Portraying the Princes of the Church
  • Piers Baker-Bates and Irene Brooke
  • 2. The Early Modern Cardinal
  • An Historical Appraisal
  • Miles Pattenden
  • Part I. Individuality and Identity
  • Florence and Rome
  • 3. Visual and Verbal Portraits of Cardinals in Fifteenth-Century Florence
  • Brian Jeffrey Maxson
  • 4. Dead Ringers
  • Carol M. Richardson
  • Part II. Divided Loyalties
  • Venice and Rome
  • 5. The Role of Cardinals' Portraits in Venice
  • Sarah Ferrari
  • 6. Role Playing
  • Alessandra Pattanaro
  • Part III. Collecting and Display
  • Portraits and Worldly Goods
  • 7. Renaissance Cardinals and Pontifical Mules
  • Philippa Jackson
  • 8. Portraits as Symbols
  • Thomas-Leo True
  • 9. Portraits as a Sign of Possession
  • Arnold Witte
  • Part IV. Post-Tridentine Piety
  • The Devout Cardinal
  • 10. Group Portraits of Cardinal Bembo and his Friends in the Wake of Trent
  • Irene Brooke
  • 11. Two Cardinal Portraits by Scipione Pulzone in the Harvard Art Museums and their Related Versions
  • Danielle Carrabino
  • 12. Miracle-Working Portraits of a Cardinal Saint
  • Minou Schraven
  • Conclusion
  • Cardinal Portraits beyond Italy
  • 13. Portraying the Ideal Spanish Tridentine Prelate
  • Piers Baker-Bates
  • Index
  • Illustrations
  • Colour plates
  • Plate 1 Bastiano di Niccolò, Matteo and Bartolomeo Torelli, historiated initial and border with AngeloAcciaiuoli's portrait from the cardinal's missal, 1402-1405, MS. 30, Cambridge, The Fitzwilliam Museum(© The Fitzwilliam Museum, Cambridge).
  • Plate 2 Titian, Cardinal Pietro Bembo, c. 1540, oil on canvas, Washington, DC, The National Gallery of Art (©National Gallery of Art, Washington).
  • Plate 3 Unknown artist (Palma il Giovane?), Double Portrait of Cardinals Domenico and Marino Grimani, latesixteenth century, oil on canvas, Venice, Gallerie dell'Accademia (© Gallerie dell'Accademia di Venezia). Plate 4
  • Plate 3 Unknown artist (Palma il Giovane?), Double Portrait of Cardinals Domenico and Marino Grimani, latesixteenth century, oil on canvas, Venice, Gallerie dell'Accademia (© Gallerie dell'Accademia di Venezia).
  • Plate 4 Raphael, Meeting of Leo I with Attila, 1514, fresco, Vatican City, Musei Vaticani (© Scala).
  • Plate 5 Leandro Bassano, Honorius III Approving the Rule of St. Dominic in 1216, 1607-1608, oil on canvas, Venice, Santi Giovanni e Paolo, Sacristy (© Venice, Fondazione Giorgio Cini-Matteo de Fina). Plate 6
  • Plate 5 Leandro Bassano, Honorius III Approving the Rule of St. Dominic in 1216, 1607-1608, oil on canvas, Venice, Santi Giovanni e Paolo, Sacristy (© Venice, Fondazione Giorgio Cini-Matteo de Fina).

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