Inverting rules with obvious relish, Florentine artist Piero di Cosimo (1462–1522) is known today—as he was in his own time—for his highly personal visual language, one capable of generating images of the most mesmerizing oddity. In this book, Dennis Geronimus overcomes the scarcity of information about the artist’s life and works—only one of the nearly sixty known works by Piero is actually signed and dated—and pieces together from extensive archival research the most complete and accurate account of Piero’s life and career ever written. Unfettered imagination was the sign under which Piero exercised his pictorial invention, and yet the complicated artist was also a product of his culture. The book fills gaps in the artist’s biography and provides intensive analysis of Piero’s protean imagery, discusses his various patrons and commissions, and lists his extant, lost, and uncertainly attributed works.
This is the first book on Piero di Cosimo (1461 1521) widely considered one of the most intriguing figures of the Florentine Renaissance to be written in English for over fifty years. Sharon Fermor presents new solutions to questions the function and iconography that have puzzled commentators hitherto, and examines Piero's approach to pictorial composition and to gesture that contribute to the distinctiveness of his oeuvre. Of crucial importance in this fresh evaluation of Piero's career is the author's explanation of the strategies employed by Vasari for his Life of Piero, written in the mid sixteenth-century. By exposing the misconceptions many still influential today that resulted from Vasari's account, she reveals that even Piero's most unusual paintings on mythological themes are in fact coherent and meaningful compositions, and not the product of an isolated eccentric at odds with the artistic community of his time.
This is the first book on Piero di Cosimo (1461 1521) widely considered one of the most intriguing figures of the Florentine Renaissance to be written in English for over fifty years. Sharon Fermor presents new solutions to questions the function and iconography that have puzzled commentators hitherto, and examines Piero's approach to pictorial composition and to gesture that contribute to the distinctiveness of his oeuvre. Of crucial importance in this fresh evaluation of Piero's career is the author's explanation of the strategies employed by Vasari for his Life of Piero, written in the mid sixteenth-century. By exposing the misconceptions many still influential today that resulted from Vasari's account, she reveals that even Piero's most unusual paintings on mythological themes are in fact coherent and meaningful compositions, and not the product of an isolated eccentric at odds with the artistic community of his time.
The Fear of Hell is a provocative study of two of the most powerful images in Christianity&—hell and the eucharist. Drawing upon the writings of Italian preachers and theologians of the Counter-Reformation, Piero Camporesi demonstrates the extraordinary power of the Baroque imagination to conjure up punishments, tortures, and the rewards of sin. In the first part of the book, Camporesi argues that hell was a very real part of everyday life during the sixteenth and seventeenth centuries. Preachers portrayed hell in images typical of common experience, comparing it to a great city, a hospital, a prison, a natural disaster, a rioting mob, or a feuding family. The horror lay in the extremes to which these familiar images could be taken. The city of hell was not an ordinary city, but a filthy, stinking, and overcrowded place, an underworld &"sewer&" overflowing with the refuse of decaying flesh and excrement&—shocking but not beyond human imagination. What was most disturbing about this grotesque imagery was the realization by the people of the day that the punishment of afterlife was an extension of their daily experience in a fallen world. Thus, according to Camporesi, the fear of hell had many manifestations over the centuries, aided by such powerful promoters as Gregory the Great and Dante, but ironically it was during the Counter-Reformation that hell's tie with the physical world became irrevocable, making its secularization during the Enlightenment ultimately easier. The eucharist, or host, the subject of the second part of the book, represented corporeal salvation for early modern Christians and was therefore closely linked with the imagery of hell, the place of perpetual corporeal destruction. As the bread of life, the host possessed many miraculous powers of healing and sustenance, which made it precious to those in need. In fact, it was seen to be so precious to some that Camporesi suggests that there was a &"clandestine consumption of the sacred unleavened bread, a network of dealers and sellers&" and a &"market of consumers.&" But to those who ate the host unworthily was the prospect of swift retribution. One wicked priest continued to celebrate the mass despite his sin, and as a result, &"his tongue and half of his face became rotten, thus demonstrating, unwillingly, by the stench of his decaying face, how much the pestiferous smell of his contaminated heart was abominable to God.&" When received properly, however, the host was a source of health and life both in this world and in the world to come. Written with style and imagination, The Fear of Hell offers a vivid and scholarly examination of themes central to Christian culture, whose influence can still be found in our beliefs and customs today.
Italian medical charlatans, wandering quacks who traded in remedies, accompanied real medicine like a dark shadow during its slow progress. Over the centuries, these cunning individuals infuriated orthodox physicians with their ability to capture audiences in village squares. While licensed physicians imperiously ordered torrential enemas and pitiless bloodletting, charlatans sold cheap remedies accompanied by consoling promises. Not merely merchants committed to swindling the gullible, the charlatans often disguised a form of opposition to an arrogant new science. New and courageous ideas were hidden beneath their exaggerated posturing. This work recounts the history and adventures of ingenious Italian medical quacks who were sought after and imitated all over Europe. The research is culled from judicial proceedings, newspaper articles, Italian State Archives, and books and manuscripts from all over the world. Ostensibly an account of these characters covering five centuries, the book also examines the relationship between doctor and patient and the placebo effect. The final chapters explore the reasons for their success and the necessity for a re-evaluation of the relationship between doctor and patient today, a period in which the practice of medicine is often confined to laboratory examinations and brief, impersonal encounters.
The head of Italy’s "first family" of winemaking reflects on the Antinoris’ six-hundred-year legacy and a life of good food and drink in the hills of Tuscany. If you know wine, you know the name Antinori. Since 1385, this noble Florentine family has produced some of Italy’s finest wines. The Hills of Chianti tells the story of the Antinoris and the Tuscany they call home, through seven iconic bottles that define their legacy. From the Tignanello that ushered in the era of Super Tuscans to limited-edition vintages, these wines embody a way of life and will excite oenophile readers and lovers of Italy alike. In this family memoir Piero Antinori reveals the passion, tradition, and love of craft that have driven twenty-seven generations of vintners: from the first ancestor who signed up to the winemakers guild in the fourteenth century to Antinori’s own three daughters, poised to carry this most celebrated family of artisans into the future. But The Hills of Chianti is about much more than wine. At its heart the Antinori story is about "Tuscan-ness": a connection to the land, an appreciation for good food and drink, and the quintessentially Italian love of hospitality that make this one of the world’s most inspiring and memorable destinations.
Studie over de wiskundige kennis van de renaissanceschilder (ca. 1416-1492) en over het belang van de exacte wetenschap in de betreffende kunstperiode.
Piero Camporesi is one of the most original and exciting cultural historians in Europe today. In this remarkable book he examines the imaginative world of poor and ordinary people in pre-industrial Europe, exploring their everyday preoccupations, fears and fantasies. Camporesi develops the startling claim that many people in early modern Europe lived in a state of almost permanent hallucination, drugged by their hunger or by bread adulterated with hallucinogenic herbs. The use of opiate products, administered even to children and infants, was widespread and was linked to a popular mythology in which herbalists and exorcists were important cultural figures. Through a careful reconstruction of the everyday imaginative life of peasants, beggars and the poor, Camporesi presents a vivid and disconcerting image of early modern Europe as a vast laboratory of dreams. Bread of Dreams is a rich and engaging book which provides a fresh insight into the everyday life and attitudes of people in pre-industrial Europe. Camporesi's vision is breathtaking and his work will be much discussed among social and cultural historians. This edition includes a Preface by Roy Porter, Professor of the History of Medicine at the Wellcome Institute for the History of Medicine.
Party and Democracy questions why political parties today are held in such low estimation in advanced democracies. The first part of the volume reviews theoretical motivations behind the growing disdain for the political party. In surveying the parties' lengthy attempt to gain legitimacy, particular attention is devoted to the cultural and political conditions which led to their emergence on the ground' and then to their political and theoretical acceptance as the sole master in the chain of delegation. The second part traces the evolution of the party's organization and public confidence against the backdrop of the transition from industrial to post-industrial societies. The book suggests that, in the post-war period, parties shifted from a golden age of organizational development and positive reception by public opinion towards a more difficult relationship with society as it moved into post industrialism. Parties were unable to master societal change and thus moved towards the state to recover resources they were no longer able to extract from their constituencies. Parties have become richer and more powerful thanks to their interpenetration into the state, but they have paid' for their pervasive presence in society and the state with a declining legitimacy. Even if some changes have been introduced recently in party organizations to counteract their decline, they seem to have become ineffective; even worse, they have dampened democratic standing inside and outside parties, favouring plebiscitary tendencies. The party today is caught in a dramatic contradiction. It has become a sort of Leviathan with clay feet: very powerful thanks to the resources it gets from the state and to its control of the societal and state spheres, but very weak in terms of legitimacy and confidence in the eyes of the mass public. However, it is argued that there is still no alternative to the party. Democracy is still inextricably linked to the party system.
Includes a biography of the Italian painter, compares his work with that of other artists of his time, discusses his mathematic and geometric theories, and provides a complete catalog of his work
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