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  1. The sensuous in the Counter-Reformation church
    Contributor: Hall, Marcia B. (Publisher); Cooper, Tracy Elizabeth (Publisher)
    Published: 2013
    Publisher:  Cambridge Univ. Press, Cambridge [u.a.]

    Location:
    Freie Universität Berlin, Universitätsbibliothek
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    Humboldt-Universität zu Berlin, Universitätsbibliothek, Jacob-und-Wilhelm-Grimm-Zentrum
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    Max-Planck-Institut für Bildungsforschung, Bibliothek und wissenschaftliche Information
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    Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Kunstbibliothek
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    Location:
    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Unter den Linden
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    Source: Philologische Bibliothek, FU Berlin; Staatsbibliothek zu Berlin
    Contributor: Hall, Marcia B. (Publisher); Cooper, Tracy Elizabeth (Publisher)
    Language: English
    Media type: Book
    ISBN: 9781107013230
    RVK Categories: LN 10260
    Edition: 1. publ.
    Subjects: Christentum; Religion; Counter-Reformation in art; Senses and sensation; Counter-Reformation; HISTORY / Renaissance; Kunst; Sensualismus; Christliche Kunst; Sinnlichkeit; Gegenreformation; Ästhetik
    Scope: XV, 339 S., zahlr. Ill.
    Notes:

    "This book examines the promotion of the sensuous as part of religious experience in the Roman Catholic Church of the early modern period"-- Provided by publisher. -- "This book examines the promotion of the sensuous as part of religious experience in the Roman Catholic Church of the early modern period. During the Counter-Reformation, every aspect of religious and devotional practice was reviewed, including the role of art and architecture, and the invocation of the five senses to incite devotion became a hotly contested topic. The Protestants condemned the material cult of veneration of relics and images, rejecting the importance of emotion and the senses and instead promoting the power of reason in receiving the Word of God. After much debate, the Church concluded that the senses are necessary to appreciate the sublime, and that they derive from the Holy Spirit. As part of its attempt to win back the faithful, the Church embraced the sensuous and promoted the use of images, relics, liturgy, processions, music, and theater as important parts of religious experience"-- Provided by publisher.

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  2. Giotto and his publics
    three paradigms of patronage
    Author: Gardner, Julian
    Published: 2011
    Publisher:  Harvard University Press, Cambridge, Mass. [u.a.]

    Location:
    Freie Universität Berlin, Universitätsbibliothek
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    Content information
    Source: Philologische Bibliothek, FU Berlin
    Language: English
    Media type: Ebook
    Format: Online
    ISBN: 9780674060975
    Other identifier:
    Series: The Bernard Berenson lectures on the Italian Renaissance
    Subjects: Art patronage / Italy / History / To 1500; HISTORY / Renaissance; Geschichte; Malerei; Art patronage; Deckenmalerei; Malerei; Ausmalung; Stigmatisation <Motiv>; Mäzenatentum
    Other subjects: Giotto di Bondone (1266-1337); Franz von Assisi, Heiliger (1182-1226)
    Scope: 1 Online-Ressource (XII, 240 S., [8] Bl.), Ill., graph. Darst.
    Notes:

    This probing analysis of three of Giotto's major works and the patrons who commissioned them goes beyond the clichés of Giotto as the founding figure of western painting. It traces the interactions between Franciscan friars and powerful bankers and illuminates the complex interactions between mercantile wealth and the iconography of poverty

    This probing analysis of three works by Giotto and the patrons who commissioned them goes far beyond the clichés of Giotto as the founding figure of Western painting. It traces the interactions between Franciscan friars and powerful bankers, illuminating the complex interplay between mercantile wealth and the iconography of poverty.Political strife and religious faction lacerated fourteenth-century Italy. Giotto's commissions are best understood against the background of this social turmoil. They reflected the demands of his patrons, the requirements of the Franciscan Order, and the restlessly inventive genius of the painter. Julian Gardner examines this important period of Giotto's path-breaking career through works originally created for Franciscan churches: Stigmatization of Saint Francis from San Francesco at Pisa, now in the Louvre, the Bardi Chapel cycle of the Life of St. Francis in Santa Croce at Florence, and the frescoes of the crossing vault above the tomb of Saint Francis in the Lower Church of San Francesco at Assisi. These murals were executed during a twenty-year period when internal tensions divided the friars themselves and when the Order was confronted by a radical change of papal policy toward its defining vow of poverty. The Order had amassed great wealth and built ostentatious churches, alienating many Franciscans in the process and incurring the hostility of other Orders. Many elements in Giotto's frescoes, including references to St. Peter, Florentine politics, and church architecture, were included to satisfy patrons, redefine the figure of Francis, and celebrate the dominant group within the Franciscan brotherhood
  3. Fashion and masculinity in Renaissance Florence
    Author: Currie, Elizabeth
    Published: 2016
    Publisher:  Bloomsbury Academic, London ; Oxford ; New York ; New Delhi ; Sydney

    "Dress became a testing ground for masculine ideals in Renaissance Italy. With the establishment of the ducal regime in Florence in 1530, there was increasing debate about how to be a nobleman. Was fashionable clothing a sign of magnificence or a... more

    Location:
    Freie Universität Berlin, Universitätsbibliothek
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    Humboldt-Universität zu Berlin, Universitätsbibliothek, Jacob-und-Wilhelm-Grimm-Zentrum
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    Location:
    Universität Potsdam, Universitätsbibliothek
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    "Dress became a testing ground for masculine ideals in Renaissance Italy. With the establishment of the ducal regime in Florence in 1530, there was increasing debate about how to be a nobleman. Was fashionable clothing a sign of magnificence or a source of mockery? Was the graceful courtier virile or effeminate? How could a man dress for court without bankrupting himself? This book explores the whole story of clothing, from the tailor's workshop to spectacular court festivities, to show how the male nobility in one of Italy's main textile production centres used their appearances to project social, sexual, and professional identities. Sixteenth-century male fashion is often associated with swagger and ostentation but this book shows that Florentine clothing reflected manhood at a much deeper level, communicating a very Italian spectrum of male virtues and vices, from honour, courage, and restraint to luxury and excess. Situating dress at the heart of identity formation, Currie traces these codes through an array of sources, including unpublished archival records, surviving garments, portraiture, poetry, and personal correspondence between the Medici and their courtiers. Addressing important themes such as gender, politics, and consumption, Fashion and Masculinity in Renaissance Florence sheds fresh light on the sartorial culture of the Florentine court and Italy as a whole"...

     
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