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...
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Gespeichert in:

Autor*in:	Maratsos, Jessica [verfasserIn]

Format:	Artikel
Sprache:	Englisch

Erschienen:	2017

Rechteinformationen:	Nutzungsrecht: © Association of Art Historians 2017 © COPYRIGHT 2017 Blackwell Publishers Ltd.

Schlagwörter:	Theology 16th century Church buildings Painting Religious art Aesthetics Photography Artistic movements

Übergeordnetes Werk:	Enthalten in: Art history - Oxford [u.a.] : Wiley, 1978, 40(2017), 5, Seite 938-963
Übergeordnetes Werk:	volume:40 ; year:2017 ; number:5 ; pages:938-963

Links:	Volltext Link aufrufen Link aufrufen

DOI / URN:	10.1111/1467-8365.12285

Katalog-ID:	OLC1996744690

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title	Pictorial Theology and the Paragone in Pontormo's Capponi Chapel
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title_full	Pictorial Theology and the Paragone in Pontormo's Capponi Chapel
author_sort	Maratsos, Jessica
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author-letter	Maratsos, Jessica
doi_str_mv	10.1111/1467-8365.12285
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title_sort	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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container_issue	5
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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up_date	2024-07-04T01:16:31.704Z
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