The Revival of the Olympian Gods in Renaissance Art.

Sprache: Englisch

Verlag: Cambridge University Press, 2003

0521815762 / 9780521815765

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Cambridge University Press, Cambridge (.), 2003. XV,301p. Richly ills.(B&W photographs and line drawings). Original hard bound with pictorial dust wrappers. Dust wrappers to upper edge slightly edge worn. Nice copy. ?This useful book examines the context in which Italian Renaissance artists first began to represent the twelve Olympian deities as autonomous lifelike figures in the classical style. As Freedman demonstrates, this particular phenomenon (?) was is fact quite significant. (?) Medieval representations of an autonomous figure (?) had been reserved almost exclusively for Christian saints and rulers. In the Cinquecento (the period of focus in this book) artists created autonomous, lifelike representations of Olympian deities for the first time in antiquity. These ?Olympian? deities, Freedman shows, were represented in the Renaissance in their Roman incarnations - as Jupiter, Juno, Neptune, Apollo, Diana, Mercury, Venus, Mars, Minerva, Ceres, Bacchus, and Vulcan. This revival of images of autonomous Olympian figures served the artists who created them and the patrons who commissioned them well. For artists (?), these works served as demonstration pieces of their skills when they were first attempting to establish a name for themselves. Once established, these artists continued to create such works to display their specialised knowledge as well as their talent and ingenuity in rendering their creations in a mode that closely approximated that of their ancient predecessors. For patrons, these images served to augment their power precisely during the period when Italy was under the political and military hegemony of Emperor Charles V. Further, as Freedman argues, the types of patrons for these Cinquecento images of deities were the same as those who commissioned such works in antiquity: the ruling elite and their circles. (?) Unlike their predecessors, however, these patrons were always secular and the images they commissioned were always meant for secular spaces. Although ecclesiastics collected antique statues (?) they seldom purchased or commissioned the contemporary images of Olympia deities under consideration here. (?) Freedman argues that in order to address this fact, artists attempted to mitigate the pagan connotations of their figures by secularising them, by transforming them from gods into allegories of power and virtue. To do so they turned away from the visual traditions fount in ancient coins, gems, and cult statues and turned instead to ancient literary representations of these deities. Informed by Pliny?s Natural History and Pausanias?s Guide to Greece, Renaissance artists chose to represent the Olympian deities as actors in Greek and roman mythical dramas and comedies, not as iconic incarnations of the all-powerful pagan gods that ancient sculptures in particular had represented them to be. In these images, she claims, Renaissance artists broke with the ?static calm? their predecessors employed to depict these deities and introduced to their depictions pronounced facial expressions, poses, and gestures. (?) Ultimately, Freedman argus that there were two ways in which these images of the Olympians were received. The first was by humanists who viewed them as contemporary versions of artistic masterpieces by the eminent artist of antiquity. In other words, humanists who viewed these works as important for their artistic, not pagan, meaning. The second was by ecclesiastics who viewed them as images of false deities. It was the second view, she concludes, that prevailed by the end of the Renaissance. As a result, the end of the cinquecento also marked the end of the production of images of autonomous lifelike Olympians. Intent upon taking nothing for granted when considering a topic that may seem all too well understood, Freedman considers every aspect of it carefully. (?) She contributes to our understanding of the significance of these images for artists and patrons alike.? (PATRICIA L. REILLY in Renaissance.…

Bestandsnummer des Verkäufers 63702

Titel
The Revival of the Olympian Gods in Renaissance Art.
Autor
FREEDMAN, L.,
Verlag
Cambridge University Press
Erscheinungsjahr
2003
Einband
Hardcover
Sprache
Englisch
ISBN-10
0521815762
ISBN-13
9780521815765

Scrinium Classical Antiquity

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Verkäufer:in bei ZVAB seit 18. September 2013

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Scrinium Classical Antiquity, member of the Dutch Association of Antiquarian Booksellers (NVvA - ILAB), stands for a specialized stock of new, secondhand and antiquarian books about Classical Antiquity. The main theme of our books is Classical Antiquity: texts and commentaries, translations, archeology, philosophy, travel, history, mythology, books for young people, philology, law, reception of classical motives in Middle Ages, Renaissance and our own time and neo-Hellenika (conptemporary Greece), and many more subjects. A more modest quantity of our books concerns countries, civilisations and religious movements on the edges of the classical world: e.g. Egypt, Middle East and Early Christianity.…

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