From the late fifteenth to the late seventeenth century, Rome was one of the most vibrant and productive centres for the visual arts in the West. Artists from all over Europe came to the city to see its classical remains and its celebrated contemporary art works, as well as for the opportunity to work for its many wealthy patrons. They contributed to the eclecticism of the Roman artistic scene, and to the diffusion of 'Roman' artistic styles in Europe and beyond. Art and Identity in Early Modern Rome is the first book-length study to consider identity creation and artistic development in Rome during this period. Drawing together an international cast of key scholars in the field of Renaissance studies, the book adroitly demonstrates how the exceptional quality of Roman court and urban culture - with its elected 'monarchy', its large foreign population, and unique sense of civic identity - interacted with developments in the visual arts. With its distinctive chronological span and uniquely interdisciplinary approach, Art and Identity in Early Modern Rome puts forward an alternative history of the visual arts in early modern Rome, one that questions traditional periodisation and stylistic categorisation.
Table of Contents
Contents: Introduction, Jill Burke and Michael Bury; Part 1 Finding Patronage in Early Modern Rome: Roma patria comune? Foreigners in early modern Rome, Irene Fosi; The bishop and the artist: the quest for patronage in high Renaissance Rome, Piers Baker Bates; Between Rome and Ferrara: the courtiers of the Este cardinals in the cinquecento, Guido Guerzoni. Part 2 Cardinals and their Worldly Goods: A cardinal in Rome: Ippoloto d'Este in 1560, Mary Hollingsworth; Patronage rivalries: cardinals Oduardo Farnese and Pietro Aldobrandini, Clare Robertson; Protector and protectorate: cardinal Antonio Barberini's art diplomacy for the French crown at the Papal court, Karin Wolfe. Part 3 Family Identity and the Papacy: Old nobility versus new: Colonna art patronage during the Barberini and Pamphilj pontificates (1623-1655), Christina Strunck; A taste for landscape: Innocent X and Palazzo Pamphilj in Piazza Navona, Susan Russell; Cardinal Camillo Massimo as art agent of the Altieri, Lisa Beaven. Part 4 The Papacy: Individual and Institution: 'Ruined, untended and derelict': 15th-century papal tombs in St Peter's, Carol M. Richardson; Prince and pontiff: secular and spiritual authority in Papal State portraiture between Raphael's Julius II and the portraits if Pius V and Clement VIII, Opher Mansour; Family and institutional identity: galleries of Barberini projects, Maarten Delbeke; Bibliography; Index.
Jill Burke is AHRB postdoctoral research Fellow in Art History at the University of Edinburgh.
Michael Bury is a Reader, and the Head of History of Art, at the University of Edinburgh.
’... an extraordinarily well-coordinated collection of essays by twelve international scholars on art and patronage in fifteenth- to seventeenth-century Rome.’ Renaissance Quarterly
'The volume is an excellent collection of essays... There is little to fault in this collection; drawing equally from ’traditional’ history and history of art, blends the two approaches into a truly interdisciplinary volume... the volume overall is immensely instructive, identifying areas that deserve further and more thorough investigation, where the traditional historiography does no longer apply or suffice to answer all the questions.' Renaissance Studies