1st Edition
Rethinking the High Renaissance The Culture of the Visual Arts in Early Sixteenth-Century Rome
Edited By Jill Burke
Copyright 2012
408 Pages
by
Routledge
408 Pages
by
Routledge
The perception that the early sixteenth century saw a culmination of the Renaissance classical revival - only to degrade into mannerism shortly after Raphael's death in 1520 - has been extremely tenacious; but many scholars agree that this tidy narrative is deeply problematic. Exploring how we can reconceptualize the High Renaissance in a way that reflects how we research and teach today, this... Read more
Contents: Preface; Inventing the High Renaissance from Winckelmann to Wikipedia: an introductory essay, Jill Burke; Part I Vantage Points: Teaching (and thinking about) the High Renaissance, with some observations on its relationship to Classical Antiquity, Brian A. Curran; Figments and fragments: Julius II's Rome, Suzanne B. 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 others) on architecture, David Cast. Part II Making the High Renaissance: Classicism, Conflation and Culmination: Bramante and the origins of the 'High Renaissance', Christoph Luitpold 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; The conception and design of Michelangelo's Sistine Chapel ceiling: 'wishing to shed a little light upon the whole rather than mentioning the parts', David Hemsoll; Pope Clement VII and the decorum of medieval art, Sheryl E. Reiss; Bibliography; Index.
Biography
Jill Burke is Senior Lecturer in the History of Art at the University of Edinburgh, UK.
'The volume deserves to be commended for its graceful approach to the High Renaissance, conveying the hazards but also the value of employing such a concept. By acknowledging the High Renaissance as a construct of extraordinary enduring power, and also by linking it to sixteenth-century practice and experience, this book encourages new ways of thinking for specialists and a broad interested public alike.' Sixteenth Century Journal
