Low and High Style in Italian Renaissance Art: 8 (Garland Studies in the Renaissance)

Emison, Patricia

ISBN 10: 0815325304 / ISBN 13: 9780815325307

Published by Routledge, 1997

About this Item

An examination of the idealised High Art, and the private, personal, Low Art of the Renaissance, which aims to draw conclusions about class prejudice, gender stereotypes, and attitudes towards the ordinary which motivate such distinctions. This is volume 8 in the GARLAND STUDIES IN THE RENAISSANCE series. Series: Garland Studies in the Renaissance. Num Pages: 284 pages, 40 photographs, bibliography, index. BIC Classification: 1DST; ACND. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 216 x 138 x 22. Weight in Grams: 485. . 1997. 1st Edition. hardcover. . . . . Books ship from the US and Ireland.

Seller Inventory # V9780815325307

Bibliographic Details

• Title: Low and High Style in Italian Renaissance Art: 8 (Garland Studies in the Renaissance)
• Publisher: Routledge
• Publication Date: 1997
• Language: English
• ISBN 10: 0815325304
• ISBN 13: 9780815325307
• Binding: Hardcover
• Condition: New

About this title

Synopsis

During the later 15th and in the 16th centuries pictures began to be made without action, without place for heroism, pictures more rueful than celebratory. In part, Renaissance art adjusted to the social and economic pressures with an art we may be hard pressed to recognize under that same rubric-an art not so much of perfected nature as simply artless. Granted, the heroic and epic mode of the Renaissance was that practiced most self-consciously and proudly. Yet it is one of the accomplishments of Renaissance art that heroic and epic subjects and style occasionally made way for less affirmative subjects and compositional norms, for improvisation away from the Vitruvian ideal. The limits of idealizing art, during the very period denominated as High Renaissance, is a topic that involves us in the history of class prejudice, of gender stereotypes, of the conceptualization of the present, of attitudes toward the ordinary, and of scruples about the power of sight Exploring the low style leads us particularly to works of art intended for display in private settings as personally owned objects, potentially as signs of quite personal emotions rather than as subscriptions to publicly vaunted ideologies. Not all of them show shepherds or peasants; none of them-not even Giorgione's La tempesta -is a classic pastoral idyll. The rosso stile is to be understood as more comprehensive than that. The issue is not only who is represented, but whether the work can or cannot be fit into the mold of a basically affirmative art.

About the Author

PATRICIA EMISON