The Word made Visible in the Painted Image PDF
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The Word made Visible in the Painted Image The Word made Visible in the Painted Image : Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller The Word made Visible in the Painted Image: Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Stephen Miller All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8542-8 ISBN (13): 978-1-4438-8542-3 For Paula, Lucy and Eddie CONTENTS List of Illustrations ..................................................................................... ix Acknowledgements .................................................................................... xi Introduction................................................................................................. 1 Chapter One ................................................................................................. 3 Setting the Scene The Rise of Humanism and the Italian Renaissance Changing Style and Attitudes of Patronage in a Devotional Context The Emergence of the Altarpiece in Christian Worship From Gothic to Renaissance, from Polyptych to Pala Patronage Study 1: Duccio, Maestà Study 2: Fra Filippo Lippi, Madonna and Child with St. Frediano and St. Augustine (Pala Barbadori) Study 3: Antonio and Bartolomeo Vivarini, Certosa Polyptych Study 4: Jacopo Bellini, Gattamelata Altarpiece Study 5: Giovanni Bellini, Pala di San Giobbe Study 6: Titian, Assumption of the Virgin Chapter Two .............................................................................................. 23 Perspective: Fixing the Eye Perspective as Symbolic Form Chapter Three ............................................................................................ 39 Proportion: Divine Proportion–A Balancing Act The Golden Section Divine Proportion at work in Specific Paintings viii Contents Chapter Four .............................................................................................. 55 Witness to the Word made Flesh Witness to the Word Nativity and Circumcision Baptism Crucifixion Chapter Five .............................................................................................. 73 Threshold: Crossing the Doorsill of the Beyond Chapter Six ................................................................................................ 91 Conclusion: The Invisible made Visible, the Illusion made ‘Real’ The Ontology of Theology and Art Glossary of Terms ..................................................................................... 99 Bibliography ............................................................................................ 107 Index ........................................................................................................ 113 LIST OF ILLUSTRATIONS SEECOLOURCENTREFOLD Chapter One Fig. 1-1 Duccio, Maestà, FRONT: (tempera on poplar), 1308-11, Museo dell’Opera del Duomo, Siena Fig. 1-2 Duccio, Maestà, BACK: 1308-11, Museo dell’Opera del Duomo, Siena Fig. 1-3 Fra Filippo Lippi, Pala Barbadori, 1438, © Musée du Louvre (RMN- Grand Palais, Musée du Louvre, Jean-Gilles Berizzi), Paris Fig. 1-4 Antonio and Bartolomeo Vivarini, 1450, Certosa polyptych, Bologna Fig. 1-5 Giovanni Bellini, c. 1487, Pala di San Giobbe, Gallerie dell’Accademia, Venice Fig. 1-6 Titian, Assumption of the Virgin, 1515-18, Santa Maria Gloriosa dei Frari, Venice Chapter Two Fig. 2-1 Leonardo da Vinci, Perspectival study of the Adoration of the Magi, c. 1481, © The Uffizi Gallery, Florence Fig. 2-2 Masaccio, The Tribute Money, 1426-27, Brancacci Chapel, Santa Maria del Carmine, Florence Fig. 2-3 Masaccio, Holy Trinity, c. 1426-28, Sta. Maria Novella, Florence Fig. 2-4 Piero della Francesca, Flagellation of Christ, c. 1460, Galleria Nazionale della Marche, Urbino Fig. 2-5 Leonardo da Vinci, The Annunciation, c. 1472-76, © The Uffizi Gallery, Florence Fig. 2-6 Euan Uglow, Nude from Twelve Regular Vertical Positions from the Eye, Victoria Gallery, University of Liverpool, 1967, © The estate of Euan Uglow (image courtesy of Browse & Darby) Fig. 2-7 Fra Andrea Pozzo, St. Ignatius being received into Heaven, 1691-94, fresco ceiling of the Church of Sant’Ignazio, Rome Chapter Three Fig. 3-1 Fra Filippo Lippi, The Annunciation, c. mid-1450s, © The National Gallery, London Fig. 3-2 Euan Uglow, Root Five Nude, 1976, © The estate of Euan Uglow (image courtesy of Browse & Darby)
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