Art and Architecture in Naples, 1266-1713: New Approaches by Cordelia Warr, Janis Elliott

By Cordelia Warr, Janis Elliott

Frequently overshadowed by way of the towns of Florence and Rome in art-historical literature, this quantity argues for the significance of Naples as an inventive and cultural centre, demonstrating the breadth and wealth of creative adventure in the city.* Generously illustrated with a few illustrations particularly commissioned for this publication* Questions the conventional definitions of 'cultural centres' that have ended in the overlook of Naples as a centre of creative significance* an important addition to the English-language scholarship on artwork in Naples

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By Cordelia Warr, Janis Elliott

Frequently overshadowed by way of the towns of Florence and Rome in art-historical literature, this quantity argues for the significance of Naples as an inventive and cultural centre, demonstrating the breadth and wealth of creative adventure in the city.* Generously illustrated with a few illustrations particularly commissioned for this publication* Questions the conventional definitions of 'cultural centres' that have ended in the overlook of Naples as a centre of creative significance* an important addition to the English-language scholarship on artwork in Naples

Show description

Read Online or Download Art and Architecture in Naples, 1266-1713: New Approaches (Art History Special Issues) PDF

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Extra resources for Art and Architecture in Naples, 1266-1713: New Approaches (Art History Special Issues)

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For example, in his life of Titian in the 1568 edition, Vasari notes that Giorgione, Jacopo Palma and Pordenone had ‘concealed beneath the glamour of colouring the painful fruits of the ignorance of design, in the manner that was followed for many years by the Venetian painters . . who never saw Rome or any other works of absolute perfection’. Vasari, Le vite, vol. 6, 155–6. As Majorie Och has convincingly argued, Vasari recognized that, following the Sack of Rome in 1527, Venice held the potential to be transformed by the subsequent influx of foreign artists arriving in the city with first-hand knowledge of the all’antica style gained in Rome: ‘Vasari on Venice’, unpublished paper delivered by Och at the Renaissance Society of America Annual Conference, Chicago, 2008.

50 Santa Maria di Monteoliveto is mentioned in The Lives long before it appears in the autobiography of Vasari. 51 Throughout The Lives Vasari develops the theme of artistic genealogies by building a sense of continuity between genera­ 21 T H E N O R T H L O O K S S O U T H : G I O R G I O VA S A R I A N D E A R L Y M O D E R N V I S U A L C U L T U R E 3 Giorgio Vasari, fresco decoration in the monks’ refectory, c. 1544–45. Naples: Sant’Anna dei Lombardi. Photo: r Luciano Pedicini/Archivio dell’Arte.

In the Life of Giotto, the ass alluded to the ignorance of the people of the regno who constantly looked for new powers to govern them. In the Life of Polidoro, the horse signifies the lack of cultivation of Neapolitans whose interest in worldly pleasures was to the detriment of their appreciation of, and support for, the arts. By the midsixteenth century Tuscan chronicles and accounts reveal that this perception of Neapolitans as lacking in civility and cultural sophistication was a popular contemporary stereotype.

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