An investigation of why Michelangelo first, and then many other, Renaissance artists and works were called "divine" by contemporaries, this study ranges from fourteenth-century praise of Dante to a variety of sixteenth-century habits of courtly compliment.
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An investigation of why Michelangelo first, and then many other, Renaissance artists and works were called "divine" by contemporaries, this study ranges from fourteenth-century praise of Dante to a variety of sixteenth-century habits of courtly compliment.
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Seller's Description:
Very Good. Hardcover. 8vo. Published by Brill, Leiden, Netherlands. 2004. 469 pgs. Cultures, Beliefs and Traditions: Medieval and Early Modern Peoples, v. 19. Bound in illustrated paper covered boards with titles present to the spine and front board. Boards have light shelf-wear present to the extremities. No ownership marks present. Text is clean and free of marks. Binding tight and solid. Turning a skeptical eye on the idea that Renaissance artists were widely believed to be as utterly admirable as Vasari claimed, this book re-opens the question of why artists were praised and by whom, and specifically why the language of divinity was invoked, a practice the ancients did not license. The epithet ''divino'' is examined in the context of claims to liberal arts status and to analogy with poets, musicians, and other ''uomini famossi. ' ' The reputations of Michelangelo and Brunelleschi are compared not only with each other but with those of Dante and Ariosto, of Aretino and of the ubiquitous beloved of the sonnet tradition. Nineteenth-century reformulations of the idea of Renaissance artistic divinity are treated in the epilogue, and twentieth-century treatments of the idea of artistic "ingegno" in an appendix. EB; Cultures, Beliefs And Traditions: Medieval And Early Modern; 6.4 X 1.3 X 9.6 inches; 454 pages.
