東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

The visual narratives of El Greco, A...

Stoenescu, Livia.

Linked to FindBook

Google Book

Amazon

博客來

The visual narratives of El Greco, Annibale Carracci and Rubens: Altarpieces of the Assumption of the Virgin Mary in the early modern age.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	The visual narratives of El Greco, Annibale Carracci and Rubens: Altarpieces of the Assumption of the Virgin Mary in the early modern age./
Author:	Stoenescu, Livia.
Description:	494 p.
Notes:	Source: Dissertation Abstracts International, Volume: 71-12, Section: A, page: 4225.
Contained By:	Dissertation Abstracts International71-12A.
Subject:	Religion, History of. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR65434
ISBN:	9780494654347

The visual narratives of El Greco, Annibale Carracci and Rubens: Altarpieces of the Assumption of the Virgin Mary in the early modern age.
Stoenescu, Livia.

The visual narratives of El Greco, Annibale Carracci and Rubens: Altarpieces of the Assumption of the Virgin Mary in the early modern age. - 494 p.

Source: Dissertation Abstracts International, Volume: 71-12, Section: A, page: 4225.

Thesis (Ph.D.)--Queen's University (Canada), 2010.

The Assumption of the Virgin Mary has been regarded as a normative subject of post-Tridentine altarpiece production. Yet it is actually a complex pictorial allegory that comments upon an archaic tradition of Christian narratives and its intersection with Marian devotion. The Assumption of the Virgin Mary belongs to a tradition of devotional images in which the Eucharistic meaning is the preferred means for furthering narrative ideas. The deeper meaning of the Assumption altarpiece becomes apparent in the light of the following points, demonstrated repeatedly throughout the study: (1) altarpieces of the Assumption represent a Marian subject informed by narrative liberty, not views of iconography and Tridentine history; (2) their imagery is largely based upon visual narratives associated with the historical imagination of the painter; (3) they disallow the pre-eminence of the classical model and incorporate other models derived from a resemblance to Byzantine icons and Northern prints; (4) they are analogous to icons, essays praising truthfulness and inwardness which operate to convey complex pictorial ideas in narrative adaptations.

ISBN: 9780494654347Subjects--Topical Terms:

1017471
Religion, History of.

The visual narratives of El Greco, Annibale Carracci and Rubens: Altarpieces of the Assumption of the Virgin Mary in the early modern age.
LDR:02837nam 2200265 4500 001 1405978
005 20111213102355.5
008 130515s2010 ||||||||||||||||| ||eng d
020 $a 9780494654347
035 $a (UMI)AAINR65434
035 $a AAINR65434
040 $a UMI $c UMI
100 1 $a Stoenescu, Livia. $3 1685405
245 1 4 $a The visual narratives of El Greco, Annibale Carracci and Rubens: Altarpieces of the Assumption of the Virgin Mary in the early modern age.
300 $a 494 p.
500 $a Source: Dissertation Abstracts International, Volume: 71-12, Section: A, page: 4225.
502 $a Thesis (Ph.D.)--Queen's University (Canada), 2010.
520 $a The Assumption of the Virgin Mary has been regarded as a normative subject of post-Tridentine altarpiece production. Yet it is actually a complex pictorial allegory that comments upon an archaic tradition of Christian narratives and its intersection with Marian devotion. The Assumption of the Virgin Mary belongs to a tradition of devotional images in which the Eucharistic meaning is the preferred means for furthering narrative ideas. The deeper meaning of the Assumption altarpiece becomes apparent in the light of the following points, demonstrated repeatedly throughout the study: (1) altarpieces of the Assumption represent a Marian subject informed by narrative liberty, not views of iconography and Tridentine history; (2) their imagery is largely based upon visual narratives associated with the historical imagination of the painter; (3) they disallow the pre-eminence of the classical model and incorporate other models derived from a resemblance to Byzantine icons and Northern prints; (4) they are analogous to icons, essays praising truthfulness and inwardness which operate to convey complex pictorial ideas in narrative adaptations.
520 $a The first chapter evaluates the narrative source of El Greco's altarpieces from Toledo. The medieval past of Toledo fused with the Byzantine tradition in an altarpiece form for which parallels are rare in the modern age. The second chapter examines Annibale Carracci's main Assumption altarpieces and a selection of related paintings. For Annibale Carracci, the original setting at the high altar safeguards the Eucharistic meaning of his Assumption narrative and in turn shapes the narrative link with the adjoining altarpieces. The third chapter involves the Northern devotional print as a narrative outset of Federico Zuccari's and Rubens' altarpieces. Their narrative solutions negotiate complex pictorial allegories and further the claim for truthfulness of representation inherent in the print.
590 $a School code: 0283.
650 4 $a Religion, History of. $3 1017471
650 4 $a Art History. $3 635474
690 $a 0320
690 $a 0377
710 2 $a Queen's University (Canada). $3 1017786
773 0 $t Dissertation Abstracts International $g 71-12A.
790 $a 0283
791 $a Ph.D.
792 $a 2010
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR65434