How Fra Angelico and Signorelli saw the end of the world
著者
書誌事項
How Fra Angelico and Signorelli saw the end of the world
The Pennsylvania State University Press, c2003
大学図書館所蔵 全4件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Bibliography: p. [189]-194
Includes index
内容説明・目次
内容説明
The frescoes of the Cappella Nuova in the Cathedral of Orvieto have fascinated visitors from Michelangelo to Freud and Czelaw Milosz because of their dramatic portrayal of the end of the world and the Last Judgment. Creighton Gilbert's study draws on previously overlooked documents to explain the commissioning of this extraordinary cycle of paintings, begun by Fra Angelico in the early 1400s and completed a half-century later by Luca Signorelli. In contrast to most other art historians, who ascribe the iconographic and formal structure of the paintings to Signorelli, Gilbert contends that his predecessor, Fra Angelico, devised the entire program of decoration. Gilbert also situates the cycle in the contexts of liturgical practice, humanistic studies, and the rich body of texts and images shaping the Renaissance conception of the coming of the Antichrist and the world's final moments.
How Fra Angelico and Signorelli Saw the End of the World examines every element in the Cappella Nuova's architecture and complex decoration, which not only represents the coming of the Antichrist, the end of the world, and the Last Judgment but also, on a high dado, features portraits of Dante and other poets, scenes from their texts, and sinuous grotesque ornament. Although Dante's likeness has long been recognized, Gilbert is the first scholar to establish that his great epic, The Divine Comedy, exerted a profound influence on the Chapel's iconographic program.
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