This study reveals the broad material, devotional, and cultural implications of sculpture in Renaissance Venice.
Examining a wide range of sources―the era’s art-theoretical and devotional literature, guidebooks and travel diaries, and artworks in various media―Lorenzo Buonanno recovers the sculptural values permeating a city most famous for its painting. The book traces the interconnected phenomena of audience response, display and thematization of sculptural bravura, and artistic self-fashioning.
It will be of interest to scholars working in art history, Renaissance history, early modern art and architecture, material culture, and Italian studies.
Author(s): Lorenzo G. Buonanno
Series: Routledge Research in Art History
Publisher: Routledge
Year: 2022
Language: English
Pages: 284
City: London
Cover
Half Title
Series
Title
Copyright
Dedication
Table of Contents
List of Illustrations
Acknowledgments
Abbreviations and Notes for the Reader
Introduction
I.1 Sculpture and Performance in Venice
I.2. New Sculptors, New Styles, and New Objects
1 Stone Mediators
1.1 Collaboration, Comparison, and Competition
1.2 Sculpture at the Altar
1.3 Emanation and Emulation
1.4 The Chapel as Performance
2 Dreamworlds and Studioli
2.1 Sculptures Real and Imagined: The Veneto and the Hypnerotomachia Poliphili
2.2 Touching Sculptures
2.3 A More Vivid Facture
2.4 From the Dreamworld to the Study
3 Making and Breaking
3.1 Letter, Anecdote, and Evidence
3.2 Staging the First Parents
3.3 Competition Materialized
3.4 Metaphors of Sculpture and Sin
4 Signed in Stone
4.1 Pietro Lombardo’s Example
4.2 Signature and Medium: Leopardi and Pyrgoteles
4.3 Signature and Medium: Tullio Lombardo
4.4 Decorum, Design, and Invention
Bibliography
Index
