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eBay-Artikelnr.:267147891280
Artikelmerkmale
- Artikelzustand
- Type
- Picture Book
- Signed
- No
- Custom Bundle
- No
- Book Series
- chapel
- Narrative Type
- Nonfiction
- Features
- Illustrated
- Original Language
- English
- Country/Region of Manufacture
- United States
- Intended Audience
- Adults, Young Adults
- Edition
- Collector's Edition
- ISBN
- 9780789209344
Über dieses Produkt
Product Identifiers
Publisher
Abbeville Press, Incorporated
ISBN-10
0789209349
ISBN-13
9780789209344
eBay Product ID (ePID)
59162907
Product Key Features
Book Title
Sistine Chapel : a New Vision
Number of Pages
352 Pages
Language
English
Topic
Individual Artists / General, Criticism & Theory, Buildings / Religious, European, History / Renaissance, Decorative Arts
Publication Year
2007
Illustrator
Yes
Genre
Design, Art, Architecture
Format
Hardcover
Dimensions
Item Height
1.4 in
Item Weight
20 oz
Item Length
13.1 in
Item Width
10 in
Additional Product Features
Intended Audience
Trade
LCCN
2007-022633
Dewey Edition
22
TitleLeading
The
Dewey Decimal
751.7/30945634
Table Of Content
Preface 1. Biblical Scenes Painted under Sixtus IV 2. Frescoes Painted by Michelangelo under Julius II 3. The Sibyls and Prophets 4. The Scenes from Genesis 5. The Last Judgment Epilogue Notes and Bibliography Index
Synopsis
The frescoes of the Sistine Chapel are often viewed as a striking study in the contrast between the middle and High Renaissance styles. On the one hand, the scenes painted on the chapel's walls by Botticelli, Ghirlandaio, Perugino, Rosselli, and Signorelli (1481-82), which depict parallel events in the lives of Moses and Jesus (and allegorically legitimize the power of the pope), exemplify the narrative art developed in quattrocento Florence, in which multiple incidents and numerous draped figures are depicted in a single view. On the other hand, Michelangelo's scenes from Genesis on the chapel's ceiling (1508-12) epitomize the art of the High Renaissance, with its emphasis on compositional clarity and the human form, and his immense Last Judgment on the chapelGÇÖs altar wall (1536-41) even anticipates Mannerism, which pushed the expressive power of the nude hypertrophied and elaborately posed to its limit. In this boldly original book, sure to inspire lively discussion among all students and enthusiasts of art history, noted scholar Heinrich Pfeiffer reveals that, despite their stylistic diversity, the frescoes of the Sistine Chapel display an iconographic unity of hitherto-unsuspected depth. Drawing on years of research, he argues that neither the frescoes of the quattrocento masters nor even those of Michelangelo are free artistic embellishments on the prescribed themes; rather, their every detail has a specific symbolic meaning that is to be discovered only in the texts available to contemporary papal theologians. As a whole, he asserts, this symbolism constitutes a single iconographic program that underlies (without supplanting) the frescoes more obvious thematic and allegorical meanings, and that expresses metaphorically a number of key theological concepts, such as the Trinity and the analogy of Christ and His Church to groom and bride. With his clearly reasoned text, Pfeiffer leads us to a new understanding of the Sistine Chapel as a collaborative creation, encompassing not only the agony and the ecstasy of Michelangelo and his artistic forebears but also the faith and erudition of the theologians who closely advised them. He inspires us to take a fresh look at this great monument, the entirety of which is illustrated here in stunning full- and double-page photographs that faithfully reproduce the brilliant colors revealed by the frescoes recent restoration. Just as significantly, he reminds us of the importance of iconography to the full appreciation of art, and of the close links that so often exist between text and image., The frescoes of the Sistine Chapel are often viewed as a striking study in the contrast between the middle and High Renaissance styles. On the one hand, the scenes painted on the chapel's walls by Botticelli, Ghirlandaio, Perugino, Rosselli, and Signorelli (1481-82), which depict parallel events in the lives of Moses and Jesus (and allegorically legitimize the power of the pope), exemplify the narrative art developed in quattrocento Florence, in which multiple incidents and numerous draped figures are depicted in a single view. On the other hand, Michelangelo's scenes from Genesis on the chapel's ceiling (1508-12) epitomize the art of the High Renaissance, with its emphasis on compositional clarity and the human form, and his immense Last Judgment on the chapelG s altar wall (1536-41) even anticipates Mannerism, which pushed the expressive power of the nude hypertrophied and elaborately posed to its limit. In this boldly original book, sure to inspire lively discussion among all students and enthusiasts of art history, noted scholar Heinrich Pfeiffer reveals that, despite their stylistic diversity, the frescoes of the Sistine Chapel display an iconographic unity of hitherto-unsuspected depth. Drawing on years of research, he argues that neither the frescoes of the quattrocento masters nor even those of Michelangelo are free artistic embellishments on the prescribed themes; rather, their every detail has a specific symbolic meaning that is to be discovered only in the texts available to contemporary papal theologians. As a whole, he asserts, this symbolism constitutes a single iconographic program that underlies (without supplanting) the frescoes more obvious thematic and allegorical meanings, and that expresses metaphorically a number of key theological concepts, such as the Trinity and the analogy of Christ and His Church to groom and bride. With his clearly reasoned text, Pfeiffer leads us to a new understanding of the Sistine Chapel as a collaborative creation, encompassing not only the agony and the ecstasy of Michelangelo and his artistic forebears but also the faith and erudition of the theologians who closely advised them. He inspires us to take a fresh look at this great monument, the entirety of which is illustrated here in stunning full- and double-page photographs that faithfully reproduce the brilliant colors revealed by the frescoes recent restoration. Just as significantly, he reminds us of the importance of iconography to the full appreciation of art, and of the close links that so often exist between text and image., The frescoes of the Sistine Chapel are often viewed as a striking study in the contrast between the middle and High Renaissance styles. On the one hand, the scenes painted on the chapelGCOs walls by Botticelli, Ghirlandaio, Perugino, Rosselli, and Signorelli (1481GCo82), which depict parallel events in the lives of Moses and Jesus (and allegoricallylegitimize the power of the pope), exemplify the narrative art developed in quattrocento Florence, in which multiple incidents and numerous draped figures are depicted in a single view. On the other hand, MichelangeloGCOs scenes from Genesis on the chapelGCOs ceiling (1508GCo12) epitomize the art of the High Renaissance, with its emphasis on compositional clarity and the human form, and his immense Last Judgment on the chapelGCOs altar wall (1536GCo41) even anticipates Mannerism, which pushed the expressive power of the nudeGCohypertrophied and elaborately posedGCoto its limit.In this boldly original book, sure to inspire lively discussion among all students and enthusiasts of art history, noted scholar Heinrich Pfeiffer reveals that, despite their stylistic diversity, the frescoes of the Sistine Chapel display an iconographic unity of hitherto-unsuspected depth. Drawing on years of research, he argues that neither the frescoes of the quattrocento masters nor even those of Michelangelo are free artistic embellishments on the prescribed themes; rather, their every detail has a specific symbolic meaning that is to be discovered only in the texts available to contemporary papal theologians. As a whole, he asserts, this symbolism constitutes a single iconographicprogram that underlies (without supplanting) the frescoesGCO more obvious thematic and allegorical meanings, and that expresses metaphorically a number of key theological concepts, such as the Trinity and the analogy of Christ and His Church to groom and bride.With his clearly reasoned text, Pfeiffer leads us to a new understanding of the Sistine Chapel as a collaborative creation, encompassing not only GCthe agony and the ecstasyGC of Michelangelo and his artistic forebears but also the faith and erudition of the theologians who closely advised them. He inspires us to take a fresh look at this great monument, the entirety of which is illustrated here in stunning full- and double-page photographs that faithfully reproduce the brilliant colors revealed by the frescoesGCO recent restoration. Just as significantly, he reminds us of the importance of iconography to the full appreciation of art, and of the close links that so often existbetween text and image.
LC Classification Number
ND2757.57.P4513 2007
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