Raphael's Ostrich /
D'Elia, Una Roman
Raphael's Ostrich / Una Roman D'Elia. - 1 online resource (272 p.) : 70 color/130 b&w illustrations
Frontmatter -- Contents -- Illustrations -- Acknowledgments -- Introduction: Raphael's Disputed Legacy -- 1 A Brief History of the Ostrich: Antiquity and the Middle Ages -- 2 The Eagle and the Ostrich: The Court of Urbino -- 3 Pope Leo X and Raphael's Ostriches -- 4 Raphael' s Heirs -- 5 Farnese Ostriches and Vasari' s Raphael -- 6 Fortune Is an Ostrich: Discontent in the 1550s and 1560s -- 7 Curiosity and the Ostrich in the Counter -Reformation -- 8 Taming the Ostrich: Ripa and Aldrovandi -- Notes -- Bibliography -- Index
restricted access http://purl.org/coar/access_right/c_16ec
Raphael's Ostrich begins with a little-studied aspect of Raphael's painting-the ostrich, which appears as an attribute of Justice, painted in the Sala di Costantino in the Vatican. Una Roman D'Elia traces the cultural and artistic history of the ostrich from its appearances in ancient Egyptian hieroglyphs to the menageries and grotesque ornaments of sixteenth-century Italy. Following the complex history of shifting interpretations given to the ostrich in scientific, literary, religious, poetic, and satirical texts and images, D'Elia demonstrates the rich variety of ways in which people made sense of this living "monster," which was depicted as the embodiment of heresy, stupidity, perseverance, justice, fortune, gluttony, and other virtues and vices. Because Raphael was revered as a god of art, artists imitated and competed with his ostrich, while religious and cultural critics complained about the potential for misinterpreting such obscure imagery. This book not only considers the history of the ostrich but also explores how Raphael's painting forced viewers to question how meaning is attributed to the natural world, a debate of central importance in early modern Europe at a time when the disciplines of modern art history and natural history were developing. The strangeness of Raphael's ostrich, situated at the crossroads of art, religion, myth, and natural history, both reveals lesser-known sides of Raphael's painting and illuminates major cultural shifts in attitudes toward nature and images in the Renaissance. More than simply an examination of a single artist or a single subject, Raphael's Ostrich offers an accessible, erudite, and charming alternative to Vasari's pervasive model of the history of sixteenth-century Italian art.
Mode of access: Internet via World Wide Web.
In English.
9780271077499
10.1515/9780271077499 doi
ART / History / Renaissance.
709.02/4
Raphael's Ostrich / Una Roman D'Elia. - 1 online resource (272 p.) : 70 color/130 b&w illustrations
Frontmatter -- Contents -- Illustrations -- Acknowledgments -- Introduction: Raphael's Disputed Legacy -- 1 A Brief History of the Ostrich: Antiquity and the Middle Ages -- 2 The Eagle and the Ostrich: The Court of Urbino -- 3 Pope Leo X and Raphael's Ostriches -- 4 Raphael' s Heirs -- 5 Farnese Ostriches and Vasari' s Raphael -- 6 Fortune Is an Ostrich: Discontent in the 1550s and 1560s -- 7 Curiosity and the Ostrich in the Counter -Reformation -- 8 Taming the Ostrich: Ripa and Aldrovandi -- Notes -- Bibliography -- Index
restricted access http://purl.org/coar/access_right/c_16ec
Raphael's Ostrich begins with a little-studied aspect of Raphael's painting-the ostrich, which appears as an attribute of Justice, painted in the Sala di Costantino in the Vatican. Una Roman D'Elia traces the cultural and artistic history of the ostrich from its appearances in ancient Egyptian hieroglyphs to the menageries and grotesque ornaments of sixteenth-century Italy. Following the complex history of shifting interpretations given to the ostrich in scientific, literary, religious, poetic, and satirical texts and images, D'Elia demonstrates the rich variety of ways in which people made sense of this living "monster," which was depicted as the embodiment of heresy, stupidity, perseverance, justice, fortune, gluttony, and other virtues and vices. Because Raphael was revered as a god of art, artists imitated and competed with his ostrich, while religious and cultural critics complained about the potential for misinterpreting such obscure imagery. This book not only considers the history of the ostrich but also explores how Raphael's painting forced viewers to question how meaning is attributed to the natural world, a debate of central importance in early modern Europe at a time when the disciplines of modern art history and natural history were developing. The strangeness of Raphael's ostrich, situated at the crossroads of art, religion, myth, and natural history, both reveals lesser-known sides of Raphael's painting and illuminates major cultural shifts in attitudes toward nature and images in the Renaissance. More than simply an examination of a single artist or a single subject, Raphael's Ostrich offers an accessible, erudite, and charming alternative to Vasari's pervasive model of the history of sixteenth-century Italian art.
Mode of access: Internet via World Wide Web.
In English.
9780271077499
10.1515/9780271077499 doi
ART / History / Renaissance.
709.02/4