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| bronzino venus cupid folly and time analysis: Shakespeare and the Mannerist Tradition Jean-Pierre Maquerlot, 1995 This 1996 book offers an original approach to Shakespeare's so-called 'problem plays' by contending that they can be viewed as experiments in the Mannerist style. The plays reappraised here are Julius Caesar, Hamlet, Troilus and Cressida, All's Well That Ends Well and Measure for Measure. How can a term used to define a movement in art history be made relevant to theatrical analysis? Maquerlot shows how famous painters of sixteenth-century Italy cultivated structural ambiguity or dissonance in reaction to the classical canons of the High Renaissance. Close readings of Shakespeare's plays, from the period 1599 to 1604, reveal intriguing analogies with Mannerist art and the dramatist's response to Elizabethan formalism. Maquerlot concludes by examining Othello, which marks the end of Shakespeare's Mannerist experiments, and the less equivocal use of artifice in his late romances. |
| bronzino venus cupid folly and time analysis: Walter Pater's Renaissance Paul Barolsky, 1987 Donated by Michael Dillon, June 2009. |
| bronzino venus cupid folly and time analysis: Studies in Short Fiction , 1983 |
| bronzino venus cupid folly and time analysis: Iris Murdoch and Harry Weinberger Rebecca Moden, 2023-03-03 The novelist and philosopher Iris Murdoch and the painter Harry Weinberger engaged in over twenty years of close friendship and intellectual discourse, centred on sustained discussion of the practice, teaching and morality of art. This book presents a reappraisal of Murdoch’s novels – chiefly, three mature novels, The Sea, The Sea (1978), Nuns and Soldiers (1980) and The Good Apprentice (1985), and two enigmatic late novels, The Green Knight (1993) and Jackson’s Dilemma (1995) – which are perceived through the prism of her discourse with Weinberger. It draws on a run of almost 400 letters from Murdoch to Weinberger, and on Murdoch’s philosophical writings, Weinberger’s private writings, the remarks of both artists in interviews, and other material relating to their views on art and art history, much of which is unpublished and has received no previous critical attention. Scrutiny of their shared values, methods and the imagistic dialogue that takes place in their art provides original perspectives on Murdoch’s creativity, and new ways of understanding her experimentation with the visual arts. This book offers a new line of enquiry into Murdoch's novels, and into the relationship between literature and the visual arts. |
| bronzino venus cupid folly and time analysis: Iris Murdoch and Remorse Frances White, |
| bronzino venus cupid folly and time analysis: The Stanze of Angelo Poliziano , 2010-11-01 |
| bronzino venus cupid folly and time analysis: The Oxford History of Western Art Martin Kemp, 2000 The Oxford History of Western Art is an innovative and challenging reappraisal of how the history of art can be presented and understood. Through a carefully devised modular structure, readers are given insights not only into how and why works of art were created, but also how works in different media relate to each other across time. Here--uniquely--is not the simple, linear story of art, but a rich series of stories, told from varying viewpoints. Carefully selected groupings of pictures give readers a sense of the visual texture of the various periods and episodes covered. The 167 illustration groups, supported by explanatory text and picture captions, create a sequence of visual tours--not merely a procession of individually great works viewed in isolation, but juxtapositions of significant images that powerfully convey a sense of the visual environments in which works of art need to be viewed in order to be understood and appreciated. The aim throughout is to make the shape and nature of these visual presentations a stimulating and rewarding experience, allowing readers to become active participants in the process of interpretation and synthesis. Another key feature of the narrative is the re-definition of traditional period boundaries. Rather than relying on conventional labels such as Medieval, Renaissance, and Baroque, the book establishes five major phases of significant historical change that unlock longer and more meaningful continuities. This new framework shows how the major religious and secular functions of art have been forged, sustained, transformed, revived, and revolutionized over the ages; how the institutions of Church and State have consistently aspired to make art in their own image; and how the rise of art history itself has come to provide the dominant conceptual framework within which artists create, patrons patronize, collectors collect, galleries exhibit, dealers deal, and art historians write. Though the coverage of topics focuses on European notions of art and their transplantation and transformation in North America, space is also given to cross-fertilizations with other traditions---including the art of Latin America, the Soviet Union, India, Africa (and Afro-Caribbean), Australia, and Canada. Written by a team of 50 specialist authors working under the direction of renowned art historian Martin Kemp, The Oxford History of Western Art is a vibrant, vigorous, and revolutionary account of Western art serving both as an inspirational introduction for the general reader and an authoritative source of reference and guidance for students. |
| bronzino venus cupid folly and time analysis: Art News and Review , 1951-02 |
| bronzino venus cupid folly and time analysis: Contemporary Southern Men Fiction Writers Rosemary M. Canfield Reisman, Suzanne Booker-Canfield, 1998 This carefully annotated bibliography lists sources of criticism for thirty-nine Southern male authors, each of whom has published at least one significant book of fiction between 1970 and 1994. |
| bronzino venus cupid folly and time analysis: Infinite Jest Paul Barolsky, 1978 |
| bronzino venus cupid folly and time analysis: The Renaissance in Italian Art ... Selwyn Brinton, 1909 |
| bronzino venus cupid folly and time analysis: The Athenaeum , 1899 |
| bronzino venus cupid folly and time analysis: The Medici at Florence Selwyn Brinton, 1908 |
| bronzino venus cupid folly and time analysis: The Athenaeum James Silk Buckingham, John Sterling, Frederick Denison Maurice, Henry Stebbing, Charles Wentworth Dilke, Thomas Kibble Hervey, William Hepworth Dixon, Norman Maccoll, Vernon Horace Rendall, John Middleton Murry, 1899 |
| bronzino venus cupid folly and time analysis: The Collections of The Nelson-Atkins Museum of Art Nelson-Atkins Museum of Art, Eliot Wooldridge Rowlands, 1996 This extraordinary book is the first in a projected series of specialized catalogues documenting the permanent collections of The Nelson-Atkins Museum of Art in Kansas City, Missouri. The collection of Italian paintings, a total of sixty works, is a representative one for the years 1300-1800 with significant examples from all major schools. Each catalogue entry, written by Eliot W. Rowlands, includes a thorough and lively biography on the artist; complete technical notes and a detailed description; a fully documented commentary with a discussion of attribution, date, subject, and function; an exacting list of references that also summarizes the critical history of each work; and a full account of exhibition history and provenance. All the Italian paintings in the Nelson-Atkins collection are reproduced in full color, and there are over 200 black-and-white comparative illustrations.--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved |
| bronzino venus cupid folly and time analysis: Cupid and the Silent Goddess Alan Fisk, 2003-12 |
| bronzino venus cupid folly and time analysis: Agencies of the Good in the Work of Iris Murdoch Diana Phillips, 1991 In part one Iris Murdoch's work is set against its contemporary background. Her concept of Man, as seen both in her fiction and in her philosophical work, is discussed with special attention being paid to the influence of Plato, J.P. Sartre, Simone Weil, Gabriel Marcel and the linguistic philosophers. Murdoch's views on the Good, and on Love, Death and Art, her main agencies of the Good, are then dealt with in greater detail. In part two five novels, which are representative of her literary output, are examined in greater depth. |
| bronzino venus cupid folly and time analysis: The Renaissance in Italian Art: Medici at Florence. 1908 Selwyn Brinton, 1908 |
| bronzino venus cupid folly and time analysis: The Mississippi Quarterly , 1994 |
| bronzino venus cupid folly and time analysis: The Renaissance in Italian Art: The Medici at Florence. [Florence, 1908 Selwyn Brinton, 1908 |
| bronzino venus cupid folly and time analysis: Iris Murdoch Kate Begnal, 1987 |
| bronzino venus cupid folly and time analysis: Peter Taylor James Curry Robison, 1988 In Part I, Robison examines 26 of Taylor's representative stories with introductory and concluding remarks and five sections in which the works are discussed in a generally chronological order. The writer is the focus of Part II, which contains interviews and personal reminiscences, to give the reader a sense of the personality behind the stories. Part III contains excerpts from some of the most enlightening essays on Taylor's stories. The author seeks to give a sense of Taylor's place in the world of contemporary short fiction. By looking at the influences on his work, then at features of theme and style that distinguish his stories, Robison shows prints of constancy and change that have merged in Taylor's fiction in the progress of his long career. Finally, he comments on the cumulative effects of these stories and points out some of Taylor's contributions to the genre. ISBN 0-8057-8303-2: $18.95. |
| bronzino venus cupid folly and time analysis: The Connoisseur , 1944 |
| bronzino venus cupid folly and time analysis: Artibus Et Historiae , 1982 |
| bronzino venus cupid folly and time analysis: The Old Forest and Other Stories Peter Taylor, 1996-08-15 Fourteen tales of domestic life in the south during the thirties and forties. |
| bronzino venus cupid folly and time analysis: Masterpieces of the J. Paul Getty Museum: Decorative Arts Charissa Bremer-David, Catherine Hess, Jeffrey W. Weaver, Gillian Wilson, 1997-11-13 This beautifully illustrated work brings together more than one hundred objects from the J. Paul Getty Museum’s collection of European decorative arts. Included here is a generous selection of French and Italian furniture from the mid-sixteenth to the early nineteenth century. Masterpieces by André-Charles Boulle, Bernard (II) van Risenburgh, and others reveal the virtuoso craftsmanship that makes these objects such compelling examples of the furniture maker’s art. Many of the Museum’s finest pieces of porcelain, glass, and tin-glazed earthenware are also represented. Tapestries from Gobelins and Beauvais, bronze firedogs from Fontainebleau, and a lathe-turned ivory goblet of astonishing complexity from Saxony are among the other highlights of this handsome volume. |
| bronzino venus cupid folly and time analysis: Oriental Art , 1960 |
| bronzino venus cupid folly and time analysis: Studies In Iconology Erwin Panofsky, 2018-05-04 In Studies in Iconology, the themes and concepts of Renaissance art are analysed and related to both classical and medieval tendencies. |
| bronzino venus cupid folly and time analysis: Lavinia Fontana’s Mythological Paintings Liana De Girolami Cheney, 2020-08-18 This volume investigates emblematic and art-historical issues in Lavinia Fontana’s mythological paintings. Fontana is the first female painter of the sixteenth century in Italy to depict female nudes, as well as mythological and emblematic paintings associated with concepts of beauty and wisdom. Her paintings reveal an appropriation of the antique, a fusion between patronage and culture, and a humanistic pursuit of Mannerist conceits. Fontana’s secular imagery provides a challenging paragone with the male tradition of history painting during the sixteenth century and paves the way for new subjects to be depicted and interpreted by female painters of the seventeenth century. |
| bronzino venus cupid folly and time analysis: Ancient Near Eastern Iconography and the Bible Hans Ulrich Steymans, 2024-10-31 Examines the dilemma of whether ancient Near Eastern images – while providing unique aspects of the world-views of the cultures from which the Bible arose – can be interpreted in a way that traceably relates them to the biblical text. To avoid the danger of using images merely as illustrations for concepts found in the Bible, one first needs to behold the image with its own right to been seen. The essays within this volume describe the methods developed by Othmar Keel for bringing imagery into a dialogue with texts from the ancient Orient and their own interpretation, including previously unpublished material from Keel. The contributions begin with an overview of the scholarly work of Keel and the development of his aims and methods, including a revision of an article dealing with semiology in the interpretation of art. The book proceeds to address the research history of iconology in art history, presenting the methodology of Erwin Panofsky and one of his influential predecessors, Charles Clermont-Ganneau, in contrast with Keel's three methodological steps leading from iconographic analysis to iconology. Contributors then present two case studies of how Keel's method can be applied to interpret Egyptian and Mesopotamian images, allowing insights into the worldview of an ancient culture and the aim of iconology. The book concludes with a report about how iconographic analysis and iconology is taught on University level. |
| bronzino venus cupid folly and time analysis: The Practice of Oil Painting and of Drawing as Associated with it Solomon Joseph Solomon, 1910 |
| bronzino venus cupid folly and time analysis: Seen from Behind Patricia Lee Rubin, 2018 This original book examines the range of meaning that has been attached to the male backside in Renaissance art and culture, the transformation of the base connotation of the image to high art, and the question of homoerotic impulses or implications of admiring male figures from behind. |
| bronzino venus cupid folly and time analysis: The Female Nude Lynda Nead, 2002-09-11 Anyone who examines the history of Western art must be struck by the prevalence of images of the female body. More than any other subject, the female nude connotes `art'. The framed image of a female body, hung on the walls of an art gallery, is an icon of Western culture, a symbol of civilization and accomplishment. But how and why did the female nude acquire this status? The Female Nude brings together, in an entirely new way, analysis of the historical tradition of the female nude and discussion of recent feminist art, and by exploring the ways in which acceptable and unacceptable images of the female body are produced and maintained, renews recent debates on high culture and pornography. The Female Nude represents the first feminist survey of the most significant subject in Western art. It reveals how the female nude is now both at the centre and at the margins of high culture. At the centre, and within art historical discourse, the female nude is seen as the visual culmination of enlightenment aesthetics; at the edge, it risks losing its repectability and spilling over into the obscene. |
| bronzino venus cupid folly and time analysis: Commentary , 1967 |
| bronzino venus cupid folly and time analysis: Humanities Index , 1982 |
| bronzino venus cupid folly and time analysis: Bibliographie D'histoire de L'art , 1993 |
| bronzino venus cupid folly and time analysis: Architect , 1906 |
| bronzino venus cupid folly and time analysis: Dosso's Fate Dosso Dossi, 1998 Dosso Dossi has long been considered one of Renaissance Italy's most intriguing artists. Although a wealth of documents chronicles his life, he remains, in many ways, an enigma, and his art continues to be as elusive as it is compelling. In Dosso's Fate, leading scholars from a wide range of disciplines examine the social, intellectual, and historical contexts of his art, focusing on the development of new genres of painting, questions of style and chronology, the influence of courtly culture, and the work of his collaborators, as well as his visual and literary sources and his painting technique. The result is an important and original contribution not only to literature on Dosso Dossi but also to the study of cultural history in early modern Italy. |
| bronzino venus cupid folly and time analysis: Renaissance & Mannerism Diane Bodart, 2008 From the 15th to the 16th centuries, Western European culture flourished thanks in part to the astonishing achievements of such Renaissance artists as da Vinci, Donatello, Raphael, Botticelli, and Michelangelo, and Mannerist painters including El Greco, Pontormo, and Tintoretto. In Florence, the cradle of the Renaissance, artists pursued ancient classical ideals of harmony and naturalism, and in architecture, forms of perfection and grandeur. Mannerists, in the early 16th century, valued exaggeration, elongated figures, unnatural lighting, and vivid (even lurid) colors, to create more tension and emotion in their work. This stunning volume follows these two key movements in art history, providing authoritative background from a top scholar, rich cultural context, and a wealth of exquisite reproductions of period paintings, sculptures, churches, and palazzos. |
| bronzino venus cupid folly and time analysis: The Sexuality of Christ in Renaissance Art and in Modern Oblivion Leo Steinberg, 2014-12-10 Originally published in 1983, Leo Steinberg's classic work has changed the viewing habits of a generation. After centuries of repression and censorship, the sexual component in thousands of revered icons of Christ is restored to visibility. Steinberg's evidence resides in the imagery of the overtly sexed Christ, in Infancy and again after death. Steinberg argues that the artists regarded the deliberate exposure of Christ's genitalia as an affirmation of kinship with the human condition. Christ's lifelong virginity, understood as potency under check, and the first offer of blood in the circumcision, both required acknowledgment of the genital organ. More than exercises in realism, these unabashed images underscore the crucial theological import of the Incarnation. This revised and greatly expanded edition not only adduces new visual evidence, but deepens the theological argument and engages the controversy aroused by the book's first publication. |
Bronzino - Wikipedia
Agnolo di Cosimo (Italian: [ˈaɲɲolo di ˈkɔːzimo]; 17 November 1503 – 23 November 1572), usually known as Bronzino (Italian: Il Bronzino [il bronˈdziːno]) or Agnolo Bronzino, [a] was an Italian …
Il Bronzino | Biography, Paintings, Style, & Facts | Britannica
Il Bronzino (born November 17, 1503, Florence [Italy]—died November 23, 1572, Florence) was a Florentine painter whose polished and elegant portraits are outstanding examples of the …
Bronzino (1503 - 1572) | National Gallery, London
Agnolo di Cosimo (called Bronzino) was the leading painter of mid-16th-century Florence. According to Vasari he is the boy on the steps in his teacher Pontormo's 'Joseph with Jacob in …
Bronzino - The Master of Mannerist Portraiture
Nov 6, 2024 · Bronzino was a master of Mannerism and court painter for Cosimo de’ Medici. Known for his elegant portraits, his work remains a key representation of the Mannerist style. …
Bronzino Paintings, Bio, Ideas | TheArtStory
Bronzino is a giant amongst Mannerists; an elegant and serene Master of portraiture whose painting embodied the genteel beliefs and ideals of the Medici dukes of sixteenth century Italy.
Agnolo Bronzino Biography | artble.com
Agnolo Bronzino, born Agnolo di Cosimo but most commonly referred to as Bronzino, was a stand-out artist of the second-wave of Italian Mannerism in the middle of the 16th century.
Bronzino: The Painter of Medici Splendor - Painting Legends
Mar 29, 2024 · Agnolo Bronzino, an emblematic figure of the Italian Mannerism movement, has etched his name into the annals of art history not only through his exceptional talent but also …
Bronzino, life and works of the great portrait painter of Mannerism
Bronzino was one of the greatest portrait painters of the sixteenth century, and the main characteristic of his portraits is his ability to create depictions that are surprisingly close to life, …
Bronzino - Museo Nacional Thyssen-Bornemisza
Bronzino was a poet as well as a painter. He achieved fame and renown in his own lifetime in addition to the respect of his contemporaries and was one of the most influential figures in the …
Agnolo Bronzino :: Biography Virtual Uffizi
Agnolo Bronzino of Florence, Italy, known as Il Bronzino, was a Mannerist painter. Mixing styles of the late High Renaissance into the early Baroque period, Mannerists often depicted their …
Bronzino - Wikipedia
Agnolo di Cosimo (Italian: [ˈaɲɲolo di ˈkɔːzimo]; 17 November 1503 – 23 November 1572), usually known as Bronzino (Italian: Il Bronzino [il bronˈdziːno]) or Agnolo Bronzino, …
Il Bronzino | Biography, Paintings, Style, & Facts | Brit…
Il Bronzino (born November 17, 1503, Florence [Italy]—died November 23, 1572, Florence) was a Florentine …
Bronzino (1503 - 1572) | National Gallery, London
Agnolo di Cosimo (called Bronzino) was the leading painter of mid-16th-century Florence. According to Vasari he is the boy on the steps in his teacher Pontormo's 'Joseph with Jacob in …
Bronzino - The Master of Mannerist Portraiture
Nov 6, 2024 · Bronzino was a master of Mannerism and court painter for Cosimo de’ Medici. Known for his elegant portraits, his work remains a key representation of the Mannerist …
Bronzino Paintings, Bio, Ideas | TheArtStory
Bronzino is a giant amongst Mannerists; an elegant and serene Master of portraiture whose painting …
