Sign in to use this feature.

Years

Between: -

Subjects

remove_circle_outline

Journals

Article Types

Countries / Regions

Search Results (2)

Search Parameters:
Keywords = Man of Sorrows

Order results
Result details
Results per page
Select all
Export citation of selected articles as:
52 pages, 15462 KiB  
Article
La Serenissima in Cyprus: Aspects of Venetian Art on the Edge of a Maritime Empire, 1474/89–1570/1
by Anthi Andronikou
Arts 2023, 12(5), 186; https://doi.org/10.3390/arts12050186 - 31 Aug 2023
Viewed by 4836
Abstract
This article investigates the manifestation of Venetian visual culture of the Renaissance in the island of Cyprus, which, between 1474/89 and 1570/1, stood as one of Venice’s Mediterranean colonies. To date, scholarship on panel and wall painting production of Venetian Cyprus has devoted [...] Read more.
This article investigates the manifestation of Venetian visual culture of the Renaissance in the island of Cyprus, which, between 1474/89 and 1570/1, stood as one of Venice’s Mediterranean colonies. To date, scholarship on panel and wall painting production of Venetian Cyprus has devoted careful attention to the infiltration of Italian details and styles in the broader sense—mainly drawn from the Italian Middle Ages—thus failing to notice any correlations between Cypriot visual arts and contemporary Venetian. In this study, I aim to provide an overarching perspective that will illuminate the presence and assimilation of fifteenth- and sixteenth-century Venetian visual vocabulary in Cypriot artistic capital. With an emphasis on devotional painting, I will examine iconographic schemes, such as the Man of Sorrows and the Holy Conversation, and facets of stylistic and iconographic correspondences between the two territories. I will also probe the architectural function, purpose, and tenor of lunette-shaped panels in Cyprus and collate them with their Venetian equivalents. Put simply, I hope to flesh out the artistic contact Cypriot artists and their sponsors maintained with Venice rather than with Italy as a whole. Full article
Show Figures

Figure 1

21 pages, 6614 KiB  
Article
Retooling Medievalism for Early Modern Painting in Annibale Carracci’s Pietà with Saints in Parma
by Livia Stoenescu
Religions 2021, 12(8), 609; https://doi.org/10.3390/rel12080609 - 5 Aug 2021
Viewed by 4710
Abstract
Annibale Carracci (1560–1609) drew on the Italian Renaissance tradition of the Man of Sorrows to advance the Christological message within the altarpiece context of his Pietà with Saints (1585). From its location at the high altar of the Capuchin church of St. Mary [...] Read more.
Annibale Carracci (1560–1609) drew on the Italian Renaissance tradition of the Man of Sorrows to advance the Christological message within the altarpiece context of his Pietà with Saints (1585). From its location at the high altar of the Capuchin church of St. Mary Magdalene in Parma, the work commemorates the life of Duke Alessandro Farnese (1586–1592), who is interred right in front of Annibale’s painted image. The narrative development of the Pietà with Saints transformed the late medieval Lamentation altarpiece focused on the dead Christ into a riveting manifestation of the beautiful and sleeping Christ worshipped by saints and angels in a nocturnal landscape. Thus eschewing historical context, the pictorial thrust of Annibale’s interpretation of the Man of Sorrows attached to the Pietà with Saints was to heighten Eucharistic meaning while allowing for sixteenth-century theological and poetic thought of Mary’s body as the tomb of Christ to cast discriminating devotional overtones on the resting place of the deceased Farnese Duke. Full article
(This article belongs to the Special Issue Religion and Art in the Renaissance)
Show Figures

Figure 1

Back to TopTop