Ha sido reseñado en:
Franceschini, Chiara (ed.): Sacred Images and Normativity: Contested Forms in Early Modern Art. Turnhout: Brepols Publishers, 2021, 319 pp., 121 ilus. b/n y color. [ISBN: 978-2-503-58466-9].
Archivo español de arte, ISSN-e 1988-8511, ISSN 0004-0428, Tomo 96, Nº 384, 2023, págs. 463-464
Early modern objects, images and artworks were often nodes of discussion and contestation. If images were sometimes contested by external and often competing agencies (religious and secular authorities, image theoreticians, various Inquisitions, etc.), artists and objects were just as likely to impose their own rules and standards through the continuation and/or contestation of established visual traditions, styles, iconographies, materialities, reproductions, and reframings. While issues such as censorship and iconoclasm have already received much attention from scholars, the actual role and capacity of the image as agent—either in actual legal processes or, more generally, in the creation of new visual standards—has yet to be adequately thematised. At present, no comprehensive study collects the many diverse instances of the multi-layered normative power of images, objects, and art. This volume aims to provide a first exploration of image normativity by means of a series of case studies, which will focus in a variety of ways on the intersections between the limits of the sacred image and the power of art, especially but not exclusively in Europe, between 1450 and 1650. Each essay will approach the question of normativity in sacred images from different perspectives. Dealing with a number of types of images and materials, authors discuss the status of images and objects in trials, contested portraits, objects and iconographies, the limits to representations of suffering, the tensions between theology and art, and the significance of copies and adaptations that establish as well as contest visual norms from Europe and beyond.
Images as Norms in Europe and Beyond: As Research Program
págs. 12-29
Fumi-e: Trampled Sacred Images in Japan
págs. 30-45
Too Many Wounds: Innocenzo da Petralia´s Excessive Crucifixes and the Normative Image
págs. 46-67
Wounds on Trial: Forensic Truth, Sanctity, and the Early Modern Visual Culture of Ritual Murder
págs. 68-85
págs. 89-103
The Return of Andrea Casali: Legal Evidence, Imposture, and the Portrait in Late Renaissance Italy
págs. 104-117
Simulating and Appropriating the Sacred: The Background to a Papal Ban on Saintly Portraits of Non-Saints
págs. 118-136
Ritratti rubati: Portraits of Post-Tridente Saints as pia fraus
págs. 136-153
págs. 154-171
In between Sacred Space and Collection: An Altarpiece from Augsburg and the Norms of Catholic Art around 1600
págs. 172-187
The Tradition of Chnage in Copies of the Santa Casa di Loreto: The Case of San Clemente in Venice
págs. 188-203
Sebastiano del Piombo: The Normantive Sacred Image between Italy and Spain
págs. 204-223
The Reception of Divine Grace in Hendrick ter Brugghen´s: Crufixion with the Virgin and Saint Jonh
págs. 224-241
Alonso Cano´s The Miracle of the Well: Material Form, Temporalities, and the Invention of Miraculous Marian Images
págs. 242-259
Middle Natures, Human Stone: Fossils, Ribera, and Fanzago at Certosa di Certosa di San Martino, Naples
págs. 260-279
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