Carlo Crivelli
著者
書誌事項
Carlo Crivelli
Yale University Press, c2004
大学図書館所蔵 全24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
Includes bibliographical references (p. 531-541) and indexes
HTTP:URL=http://www.loc.gov/catdir/toc/ecip0414/2004001183.html Information=Table of contents
内容説明・目次
内容説明
Carlo Crivelli (c. 1430 - 1495) is a painter whose individuality of style and mastery of powerful line have fascinated many, but whose life and art have remained enigmatic. This absorbing book, produced after much research in Venice and the Marches, the region of central Italy that Crivelli dominated artistically from 1468 until his death in 1495, examines his paintings in depth, tracing the fundamental influences of the Vivarini, of Squarcione and Mantegna, and later of Flemish art. It also identifies them as projections of a society that enclosed them in a strangely dramatic world, with its motley pattern of fiercely republican communes and feudal lordships, of refined humanism and simple popular devotion. The Marches were a stronghold of the Franciscans and of their extreme heretical wing the Fraticelli, and the book sets Crivelli's art within a religious world in which a profound faith was nourished by sainted friars and by visions and miracles.
Ronald Lightbown, the eminent historian of Italian Renaissance art, has written a book that is the first to expose systematically the reasons that led to the choice by patrons of the saints figured in Crivelli's altarpieces; some of their devotional programmes acquire an unexpected human urgency when set in relation to their place and time. It also examines the initiations of new cults, and the devising of an iconography for them and the authenticity of portraiture are among the problems it illuminates. The symbolism that Crivelli used with his exquisite skill in his still-life pictures is studied and explained, and its independence of clerical dictation demonstrated. By interweaving stylistic and iconographical analysis with historical and cultural background, a world is revealed in which the divine beauty of heaven, as reflected in Crivelli's exquisite art, responds to the spiritual anxieties and pleas of a whole society, in both its ecclesiastical and secular membership, speaking to all, from simple rustics to learned theologians and humanist courts.
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