Pictorial Theology and the Paragone in Pontormo's Capponi Chapel
In his decoration of the Capponi chapel, Jacopo Pontormo simultaneously emphasized and sought to transcend the limitations of the painted medium through a set of carefully deployed formal tensions that evoked the paragone with sculpture. A reconsideration of this monument in conjunction with a close...
Ausführliche Beschreibung
Autor*in: |
Maratsos, Jessica [verfasserIn] |
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Format: |
Artikel |
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Sprache: |
Englisch |
Erschienen: |
2017 |
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Rechteinformationen: |
Nutzungsrecht: © Association of Art Historians 2017 © COPYRIGHT 2017 Blackwell Publishers Ltd. |
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Schlagwörter: |
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Übergeordnetes Werk: |
Enthalten in: Art history - Oxford [u.a.] : Wiley, 1978, 40(2017), 5, Seite 938-963 |
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Übergeordnetes Werk: |
volume:40 ; year:2017 ; number:5 ; pages:938-963 |
Links: |
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DOI / URN: |
10.1111/1467-8365.12285 |
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Katalog-ID: |
OLC1996744690 |
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title |
Pictorial Theology and the Paragone in Pontormo's Capponi Chapel |
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Pictorial Theology and the Paragone in Pontormo's Capponi Chapel |
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10.1111/1467-8365.12285 |
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pictorial theology and the paragone in pontormo's capponi chapel |
title_auth |
Pictorial Theology and the Paragone in Pontormo's Capponi Chapel |
abstract |
In his decoration of the Capponi chapel, Jacopo Pontormo simultaneously emphasized and sought to transcend the limitations of the painted medium through a set of carefully deployed formal tensions that evoked the paragone with sculpture. A reconsideration of this monument in conjunction with a closer reading of his views on the paragone reveals the theological epistemology that underlies what has been previously considered a purely aesthetic debate. This framework serves to demonstrate Pontormo's deep engagement with questions regarding the artist's newly evolving role as a creator, rather than as an imitator, of divine imagery, and offers a new interpretation of his representation of the figure of Nicodemus in the altarpiece. |
abstractGer |
In his decoration of the Capponi chapel, Jacopo Pontormo simultaneously emphasized and sought to transcend the limitations of the painted medium through a set of carefully deployed formal tensions that evoked the paragone with sculpture. A reconsideration of this monument in conjunction with a closer reading of his views on the paragone reveals the theological epistemology that underlies what has been previously considered a purely aesthetic debate. This framework serves to demonstrate Pontormo's deep engagement with questions regarding the artist's newly evolving role as a creator, rather than as an imitator, of divine imagery, and offers a new interpretation of his representation of the figure of Nicodemus in the altarpiece. |
abstract_unstemmed |
In his decoration of the Capponi chapel, Jacopo Pontormo simultaneously emphasized and sought to transcend the limitations of the painted medium through a set of carefully deployed formal tensions that evoked the paragone with sculpture. A reconsideration of this monument in conjunction with a closer reading of his views on the paragone reveals the theological epistemology that underlies what has been previously considered a purely aesthetic debate. This framework serves to demonstrate Pontormo's deep engagement with questions regarding the artist's newly evolving role as a creator, rather than as an imitator, of divine imagery, and offers a new interpretation of his representation of the figure of Nicodemus in the altarpiece. |
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title_short |
Pictorial Theology and the Paragone in Pontormo's Capponi Chapel |
url |
http://dx.doi.org/10.1111/1467-8365.12285 http://onlinelibrary.wiley.com/doi/10.1111/1467-8365.12285/abstract https://search.proquest.com/docview/1951470375 |
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