Thomas J. Loughman, Kathleen M. Morris and Lara Yeager-Crasselt eds, Splendor, Myth and Vision: Nudes from the Prado. Clark Art Institute, Williamstown Massachusetts, 2016
This article considers the emergence of the nude in European art 1400-1600. It explains social un... more This article considers the emergence of the nude in European art 1400-1600. It explains social understandings of nakedness and how this is affected by class, gender and age; and draws a distinction between the "academic" and "erotic" approaches to the naked body, also investigating the use of both male and female life models in the early modern period. Artists considered include Dürer, Titian, MIchelangelo and Rubens.
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Books by Jill Burke
Focusing on Rome, the paradigmatic centre of the High Renaissance narrative, each essay presents a case study of a particular aspect of the culture of the city in the early sixteenth century, including new analyses of Raphael's stanze, Michelangelo's Sistine Ceiling and the architectural designs of Bramante. The contributors question notions of periodisation, reconsider the Renaissance relationship with classical antiquity, and ultimately reconfigure our understanding of 'high Renaissance style'.
Contents: Preface; Introductory Essay: Inventing the High Renaissance from Winckelmann to Wikipedia, Jill Burke; Part I Vantage Points: Teaching (and thinking about) the High Renaissance, with some observations on its relationship to Classical Antiquity, Brian Curran; Figments and fragments: Julius II's Rome, Suzanne Butters; Humanists, historians and the fullness of time in Renaissance Rome, Kenneth Gouwens; Cellini's Roma, Gwendolyn Trottein; On the unity/disunity of the arts: Vasari (and other)s on architecture, David Cast. Part II Making the High Renaissance: Classicism, Conflation and Culmination: Bramante and the origins of the 'High Renaissance', Christoph Frommel; Classical mistranslations: the absence of a modular system in Calvo's De Architectura, Angeliki Pollali; Giuliano da Sangallo between Florentine Quattrocento and Roman High Renaissance, Sabine Frommel; Perugino, Raphael and the decoration of the Stanza dell'Incendio, Michael Bury; Forgery, faith and divine hierarchy after Lorenzo Valla, Meredith J. Gill; 'Wishing to shed a little light upon the whole rather than mention the parts': on the conception and design of Michelangelo's Sistine Chapel ceiling, David Hemsoll; Pope Clement VII and the decorum of medieval art, Sheryl E. Reiss; Index.
Articles by Jill Burke
This article takes a joke letter by Michelangelo’s as a starting point to investigate the texture of relationships within elite circles in Rome and Florence in the early sixteenth-century, and in particular, to show how visual and verbal humour at this time acted as a means through which to express anxieties about the pace of social change. Considers the Calandra by Bernardo Dovizi and early frescos by Raphael's workshop in the Sala del Costantino, arguing that Comitas is a personification of humour.
If you're interested in finding out more about specific individuals, and would like references to them, it's worth a look - but do check refs with the original source, as there are probably quite a few mistakes in there. For a list of abbreviations used, and the actual Excel file (it's gone quite strange on the Scribd version here), see http://renresearch.wordpress.com/databases-and-notes/
From the Leonardo da Vinci Society Newsletter, May 2008.
Focusing on Rome, the paradigmatic centre of the High Renaissance narrative, each essay presents a case study of a particular aspect of the culture of the city in the early sixteenth century, including new analyses of Raphael's stanze, Michelangelo's Sistine Ceiling and the architectural designs of Bramante. The contributors question notions of periodisation, reconsider the Renaissance relationship with classical antiquity, and ultimately reconfigure our understanding of 'high Renaissance style'.
Contents: Preface; Introductory Essay: Inventing the High Renaissance from Winckelmann to Wikipedia, Jill Burke; Part I Vantage Points: Teaching (and thinking about) the High Renaissance, with some observations on its relationship to Classical Antiquity, Brian Curran; Figments and fragments: Julius II's Rome, Suzanne Butters; Humanists, historians and the fullness of time in Renaissance Rome, Kenneth Gouwens; Cellini's Roma, Gwendolyn Trottein; On the unity/disunity of the arts: Vasari (and other)s on architecture, David Cast. Part II Making the High Renaissance: Classicism, Conflation and Culmination: Bramante and the origins of the 'High Renaissance', Christoph Frommel; Classical mistranslations: the absence of a modular system in Calvo's De Architectura, Angeliki Pollali; Giuliano da Sangallo between Florentine Quattrocento and Roman High Renaissance, Sabine Frommel; Perugino, Raphael and the decoration of the Stanza dell'Incendio, Michael Bury; Forgery, faith and divine hierarchy after Lorenzo Valla, Meredith J. Gill; 'Wishing to shed a little light upon the whole rather than mention the parts': on the conception and design of Michelangelo's Sistine Chapel ceiling, David Hemsoll; Pope Clement VII and the decorum of medieval art, Sheryl E. Reiss; Index.
This article takes a joke letter by Michelangelo’s as a starting point to investigate the texture of relationships within elite circles in Rome and Florence in the early sixteenth-century, and in particular, to show how visual and verbal humour at this time acted as a means through which to express anxieties about the pace of social change. Considers the Calandra by Bernardo Dovizi and early frescos by Raphael's workshop in the Sala del Costantino, arguing that Comitas is a personification of humour.
If you're interested in finding out more about specific individuals, and would like references to them, it's worth a look - but do check refs with the original source, as there are probably quite a few mistakes in there. For a list of abbreviations used, and the actual Excel file (it's gone quite strange on the Scribd version here), see http://renresearch.wordpress.com/databases-and-notes/
From the Leonardo da Vinci Society Newsletter, May 2008.