A Printed Icon in Early Modern Italy by Lisa Pon

By Lisa Pon

In 1428, a devastating hearth destroyed a schoolhouse within the northern Italian urban of Forlì, leaving just a woodcut of the Madonna and baby that were tacked to the school room wall. the folks of Forlì carried that print - referred to now because the Madonna of the hearth - into their cathedral, the place centuries later a brand new chapel used to be equipped to enshrine it. during this publication, Lisa Pon considers a cascade of moments within the Madonna of the Fire's cultural biography: whilst ink used to be inspired onto paper at a now-unknown date; while that sheet used to be well-known by way of Forlì's humans as excellent; while it used to be enshrined in a variety of tabernacles and chapels within the cathedral; whilst it or one in all its copies was once - and nonetheless is - carried in procession. In doing so, Pon bargains an scan in artwork ancient inquiry that spans greater than 3 centuries of creating, remaking, and renewal.

Show description

Read Online or Download A Printed Icon in Early Modern Italy PDF

Similar art history books

The Rescue Artist: A True Story of Art, Thieves, and the Hunt for a Missing Masterpiece

Within the predawn hours of a dark February day in 1994, thieves entered the nationwide Gallery in Oslo and made off with one of many world's most renowned work, Edvard Munch's Scream. It was once a brazen crime dedicated whereas the total international used to be observing the outlet ceremonies of the iciness Olympics in Lillehammer.

Architectural Styles: A Visual Guide

Have you questioned what the variation is among Gothic and Gothic Revival, or the right way to distinguish among Baroque and Neoclassical? This advisor makes huge use of pictures to spot and clarify the attribute positive factors of approximately three hundred structures. the result's a transparent and easy-to-navigate consultant to picking out the foremost varieties of western structure from the classical age to the current day.

Storia delle terre e dei luoghi leggendari


La nostra immaginazione è popolata da terre e luoghi mai esistiti, dalla capanna dei sette nani alle isole visitate da Gulliver, dal tempio dei Thugs di Salgari all’appartamento di Sherlock Holmes.

Ma in genere si sa che questi luoghi sono nati solo dalla fantasia di un narratore o di un poeta.

Al contrario, e sin dai tempi più antichi, l’umanità ha fantasticato su luoghi ritenuti reali, come Atlantide, Mu, Lemuria, le terre della regina di Saba, il regno del Prete Gianni, le Isole lucky, l’Eldorado, l’Ultima Thule, Iperborea e il paese delle Esperidi, il luogo dove si conserva il santo Graal, l. a. rocca degli assassini del Veglio della Montagna, il paese di Cuccagna, le isole dell’utopia, l’isola di Salomone e los angeles terra australe, l’interno di una terra cava e il misterioso regno sotterraneo di Agarttha. Alcuni di questi luoghi hanno soltanto animato affascinanti leggende e ispirato alcune delle splendide rappresentazioni visive che appaiono in questo quantity, altri hanno ossessionato l. a. fantasia alterata di cacciatori di misteri, altri ancora hanno stimolato viaggi ed esplorazioni così che, inseguendo una illusione, viaggiatori di ogni paese hanno scoperto altre terre.

George Inness and the science of landscape

George Inness (1825-94), lengthy one of America's maximum panorama painters, has but to obtain his complete due from students and critics. a sophisticated artist and philosopher, Inness painted stunningly appealing, evocative perspectives of the yank nation-state. much less attracted to representing the main points of a specific position than in rendering the "subjective secret of nature," Inness believed that shooting the spirit or essence of a usual scene may aspect to a fact past the actual or, as Inness placed it, "the truth of the unseen.

Extra resources for A Printed Icon in Early Modern Italy

Sample text

Photo: Cameraphoto Arte, Venice / Art Resource, NY impost blocks at the tops of the framing colonnettes, so that the Man of Sorrows is fully enclosed within the trefoil of the pointed arch. The rose-colored sarcophagus stretches from one impost block to the other, there completely interrupting the gold ground that is otherwise continuous between the two scenes, shining behind both the large figures of the Madonna and Child as well as the small Man of Sorrows. His head tilts at the same angle as the Mary depicted below; her halo, indicated by a double arc of punched dots, intersects a similar doubled line of punchwork just below the pink edge of the sarcophagus above.

This pronounced simplification of forms is absent in other parts of the picture. For example, the small saints depicted on either side of the central Madonna and Child are quite exquisitely detailed, with, for instance, pointed peaks of fur depicted on John the Baptist’s shirt, and curving waves of water, partially obscured by the thick strokes of blue hand coloring, that swirl around St Christopher’s legs. Similarly, despite their reduced scale and ruined state, what can be seen of the saints at the bottom of the picture show more Iconography: Madonna and Child 13.

16), was regularly carried in procession in Rome. The communal ritual of procession (discussed further in Chapters 6 and 7) is a fundamental act in the veneration of any icon, and especially so for this Roman image, one of the most important Marian icons on the Italian peninsula. Its retrospective title refers to a medieval legend that, while bearing it in procession around Rome during the plague of 590, Pope Gregory the Great saw the Archangel Michael sheathing his sword over Hadrian’s Mausoleum.

Download PDF sample

Rated 4.13 of 5 – based on 47 votes