Receptions of Antiquity, Constructions of Gender in European Art, 1300-1600

Erscheinungsjahr 2015
ISBN: 978-90-04-27874-5
Verlag: Brill

Buch, Englisch, Band 3, 468 Seiten, Format (B × H): 163 mm x 239 mm, Gewicht: 862 g

Reihe: Metaforms

Receptions of Antiquity, Constructions of Gender in European Art presents scholarship in classical reception at its nexus with art history and gender studies. It considers the ways that artists, patrons, collectors, and viewers in late medieval and early modern Europe used ancient Greek and Roman art, texts, myths, and history to interact with and shape notions of gender. The essays examine Giotto's Arena Chapel frescoes, Michelangelo's Medici Chapel personifications, Giulio Romano's decoration of the Palazzo del Te, and other famous and lesser-known sculptures, paintings, engravings, book illustrations, and domestic objects as well as displays of ancient art. Visual responses to antiquity in this era, the volume demonstrates, bore a complex and significant relationship to the construction of, and challenges to, contemporary gender norms.

Zielgruppe

Academic and museum libraries, and readers (specialists, graduate and undergraduate students, museum professionals, educated art-lovers) interested in medieval and Renaissance art; classical art, literature, history, mythology, and reception; gender studies.

Autoren/Hrsg.

Rose, Marice

Poe, Alison C.

Fachgebiete

• Geisteswissenschaften Kunst Kunstgeschichte Kunstgeschichte: Renaissance, Manierismus
• Geisteswissenschaften Kunst Kunstgeschichte Kunstgeschichte: Völkerwanderung und Mittelalter
• Sozialwissenschaften Soziologie | Soziale Arbeit Soziale Gruppen/Soziale Themen Gender Studies, Geschlechtersoziologie
• Geisteswissenschaften Kunst Kunst, allgemein Kunstpsychologie und -soziologie
• Geisteswissenschaften Kunst Kunstgeschichte Kunstgeschichte: Klassisch (Griechisch & Römisch)
• Geisteswissenschaften Kunst Kunst, allgemein Kunst: Rezeption, Einflüsse und Beziehungen

Inhaltsverzeichnis

TABLE OF CONTENTS

Contributors

Acknowledgments

Introduction: Classical Reception, Gender Studies, and Art History (Marice Rose and Alison C. Poe)

1. Cross-Dressing in the Arena Chapel: Giotto’s Virtue Fortitude Re-examined (Mary D. Edwards)

2. The Liminal Feminine: Illuminating Europa in the Ovide Moralisé (K. Sarah-Jane Murray with Ashley A. Simone)

3. A Giant Corrupt Body: The Gendering of Renaissance Roma (Genevieve S. Gessert)

4. Luca Signorelli’s Veturia Persuading Coriolanus to Spare Rome and Viewers in the Palazzo Petrucci, Siena (Stephanie C. Leone)

5. Queer Fragments: Sodoma, the Belvedere Torso, and Saint Catherine's Head (Timothy B. Smith)

6. The Trouble with Pasiphaë: Engendering a Myth at the Gonzaga Court (Maria F. Maurer)

7. Vision, Voluptas, and the Poetics of Water in Lorenzo Lotto’s Venus and Cupid (April Oettinger)

8. The Crone, the Witch, and the Library: The Intersection of Classical Fantasy with Christian Vice during the Italian Renaissance (Patricia Simons)

9. Picturing Rape and Revenge in Ovid’s Myth of Philomela (Hetty E. Joyce)

10. Figuring Florence: Gendered Bodies in Sixteenth-Century Personifications and Their Antique Models (Claudia Lazzaro)

11. Conjugal Piety: Creusa in Barocci’s Aeneas’ Flight from Troy (Ian Verstegen)

12. Ancient Idols, Lascivious Statues, and Sixteenth-Century Viewers in Roman Gardens (Katherine M. Bentz)

Index

Über Autor(innen)

Marice Rose, Ph.D., is Associate Professor of Art History at Fairfield University. She publishes on the topics of classical reception, images of women and slaves in the late Roman empire, and art history pedagogy.

Alison C. Poe, Ph.D., is an Adjunct Instructor of Art History at Fairfield University specializing in Roman imperial-era and late antique funerary art and architecture as well as in classical reception.

Contributors to this volume are Katherine M. Bentz, Mary Edwards, Genevieve S. Gessert, Hetty Joyce, Claudia Lazzaro, Stephanie C. Leone, Maria F. Maurer, K. Sarah-Jane Murray (with Ashley A. Simone), April Oettinger, Patricia Simons, Timothy Smith and Ian Verstegen.