Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque

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Michelle Erhardt, Amy Morris
BRILL, 21 нояб. 2012 г. - Всего страниц: 490
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Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque examines the iconographic inventions in Magdalene imagery and the contextual factors that shaped her representation in visual art from the fourteenth to the seventeenth centuries.

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Introduction
1
Part One Iconographic Invention in the Life of Mary Magdalene
19
Trecento Franciscan Imagery in the GuidalottiRinuccini Chapel Florence
21
Innovation in the Late Medieval Mural Cycle of Santa Maddalena in Rencio Bolzano
45
Documenting Its Context
75
Part Two Mary Magdalene as the Reformed Sinner
105
Magdalene Imagery and Prostitution Reform in Early Modern Italian Chapbooks and Broadsheets
107
Chapter Five Tintorettos Holy Hermits at the Scuola Grande di San Rocco
135
The Magdalene as Guardian and Advocate
267
Piety Politics and Personal Agenda in Louise of Savoys Vie de la Magdalene
269
Chapter Eleven Mary Magdalene Between Public Cult and Personal Devotion in Correggios Noli Me Tangere
295
Chapter Twelve Reflections on a Glass Madeleine Pénitente
315
The Magdalenes Role Transformed
339
Chapter Thirteen Exorcism in the Iconography of Mary Magdalene
341
Chapter Fourteen Woman Why Weepest Thou? Mary Magdalene the Virgin Mary and the Transformative Power of Holy Tears in Late Medieval De...
361
Chapter Fifteen Mary Magdalene and the Iconography of Domesticity
383

Chapter Six Irony and Realism in the Iconography of Caravaggios Penitent Magdalene
161
Mary Magdalene the Witness
187
Mary Magdalene in Noli me Tangere
189
Chapter Eight Michelangelos Noli Me Tangere for Vittoria Colonna and the Changing Status of Women in Renaissance Italy
223
Chapter Nine Woman Why Weepest Thou? Rembrandts 1638 Noli Me Tangere as a Dutch Calvinist Visual Typology
249
Chapter Sixteen Marketing Mary Magdalene in Early Modern Northern European Prints and Paintings
399
Bibliography
421
Index
449
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Michelle A. Erhardt, Ph.D (2004), Christopher Newport University, is Associate Professor of Medieval and Renaissance Art History and Chair of the Department of Fine Art and Art History. She has published on Franciscan art in fourteenth-century Italy, Magdalene imagery and the role of female saints in medieval and Renaissance art, particularly within a Franciscan context. Amy M. Morris, Ph.D. (2006), University of Nebraska at Omaha, is Assistant Professor of Early Modern Art History. She has published on Lucas Moser s Saint Magdalene Altarpiece and on other topics current in the field of Northern Renaissance art, including indulgence altarpieces, pilgrimage, Magdalene iconography, and artistic self-awareness. Contributors include: Joanne Anderson, Barbara Baert, Andrea Begel, Elizabeth Carroll Consavari, Bobbi Dykema, Jane Eade, Michelle Erhardt, Rachel Geschwind, Barbara Johnston, Patrick Hunt, Annette LeZotte, Amy Morris, Margaret Morse, Michelle Moseley-Christian, Vibeke Olson, and Lisa Rafanelli, with a preface by Susan Haskins.

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