While the masterpieces of the Italian Renaissance are usually associated with Italy’s historical seats of power, some of the era’s most characteristic works are to be found in places other than Florence, Rome, and Venice. They are the product of the diversity of regions and cultures that makes up the country. In Endless Periphery, Stephen J. Campbell examines a range of iconic works in order to unlock a rich series of local references in Renaissance art that include regional rulers, patron saints, and miracles, demonstrating, for example, that the works of Titian spoke to beholders differently in Naples, Brescia, or Milan than in his native Venice. More than a series of regional microhistories, Endless Periphery tracks the geographic mobility of Italian Renaissance art and artists, revealing a series of exchanges between artists and their patrons, as well as the power dynamics that fueled these exchanges. A counter history of one of the greatest epochs of art production, this richly illustrated book will bring new insight to our understanding of classic works of Italian art.
Author(s): Stephen J. Campbell
Series: Louise Smith Bross Lecture Series
Edition: 1
Publisher: University of Chicago Press
Year: 2019
Language: English
Pages: 352
City: Chicago
Contents
List of Illustrations
Foreword / John A. Bross
Preface
Acknowledgments
1. Off the Axis: The Renaissance without Vasari
Working with — and without — Vasari’s Lives
Court Centers as World Cities
What Was Italy?
Models for Renaissance Cultural Geography: Dialect Pluralism versus Literary Canons
2. Place, Event, and the Geopolitics of Art
Place in Relational Geography
Place as Event and Performance in an Altarpiece by Lorenzo Lotto
Regionalism and Its Discontents
3. The View from Messina: Lombards, Sicilians, and the Modern Manner
The questione meridionale in the History of Art
A Southern Renaissance without Vasari
Cesare da Sesto: Raffaelesco or Anti-Raphael?
Polidoro da Caravaggio’s Radical Late Style
4. Distant Cities: Lorenzo Lotto and Gaudenzio Ferrari
Lorenzo Lotto: An Artist “Out of Place”
Lotto and Gaudenzio: Parallel Careers
From Varallo to Loreto: Landscapes of Pilgrimage
Holding Rome at a Distance: Lotto’s Loreto Network
Excursus: The Meaning of Style
Coercive Geometry
Moti: Emotional Dynamics
Gaudenzio as City Artist
5. Brescia and Bergamo, 1520–50: Sacred Naturalism and the Place of the Eucharist
Eucharistic Heterotopias in Lombardy: Romanino at Pisogne
Painting/Christogram/Eucharist
Moretto and the Substance of Style
6. Against Titian
Artists “Off the Axis”: The Campi, the Carracci, and the Legacy of Correggio
The Afterlife of Titian in Milan
The 1540s: Titian as “Italian” Artist
Ludovico Dolce and the Invention of Venetian Painting
The Placelessness of Titian’s Late Style
Notes
Bibliography
Index
