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E-grāmata: Villa Farnesina: Palace of Venus in Renaissance Rome

(University of California, Berkeley)
  • Formāts: EPUB+DRM
  • Izdošanas datums: 06-Oct-2022
  • Izdevniecība: Cambridge University Press
  • Valoda: eng
  • ISBN-13: 9781009041638
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  • Formāts: EPUB+DRM
  • Izdošanas datums: 06-Oct-2022
  • Izdevniecība: Cambridge University Press
  • Valoda: eng
  • ISBN-13: 9781009041638

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The frescoes of Peruzzi, Raphael and Sodoma still dazzle visitors to the Villa Farnesina, but they survive in a stripped-down environment bereft of its landscape, sealed so it cannot breathe. Turner takes you outside that box, restoring these canonical images to their original context, when each element joined in a productive conversation. He is the first to reconstruct the architect-painter Peruzzi's original, well-proportioned, well-appointed building and to re-visualize his lost faēade decorationerotic scenes and mythological figures who make it come alive and soar upward. More comprehensively than any previous scholar, he reintegrates painting, sculpture, architecture, garden design, topographical prints and drawings, archaeological discoveries and literature from the brilliant circle around the patron Agostino Chigi, the powerful banker who 'loved all virtuosi' and commissioned his villa-palazzo from the best talents in multiple arts. It can now be understood as a Palace of Venus, celebrating aesthetic, social and erotic pleasure.

Recenzijas

'This book is an absolute masterwork, impeccably and exhaustively researched, the material interpreted with wide and deep expertise filtered through the inspired genius of both the author and his protagonists, and the whole account beautifully written and easy to follow. It is a perfect match of scholar and subject.' Ingrid Rowland, University of Notre Dame 'This volume is one of the single most important works in the field of Renaissance Studies to come along in some time. The book promises to be the locus classicus for all future studies of Chigi's villa, the art that adorns it, and the world in which it was made.' Paul Barolsky, University of Virginia ' to recreate a largely vanished masterpiece of Renaissance architecture, painting and stucco in such detail, with diligent research fleshed out here and there by intelligent speculation and acute insight, is an achievement in itself. The Villa Farnesina is a model of scholarly practice, lucidly written.' Keith Miller, The Times Literary Supplement 'James Grantham Turner's magisterial study The Villa Farnesina: Palace of Venus in Renaissance Rome captures the project's intimate link with fantasy from the very moment of its conception. With its lavish color illustrations, The Villa Farnesina is a thing of beauty appropriate to its subject and Turner's passion for it.' Ingrid Rowland, New York Review of Books ' an important intervention in the study of a building that is so central to understanding Rome in the early sixteenth century. A useful tool for scholars and students alike, this book will not only help us better understand the Farnesina as a collective whole. Rather, it will give us a fuller understanding of where patrons like Chigi, architects like Peruzzi, and artists like Raphael fit into the intellectual, cultural, and artistic milieux of sixteenth-century Rome thanks to Turner's systematic dive into one of the treasures of the Roman Renaissance.' Robert Clines, Renaissance and Reformation / Renaissance et Réforme 'Turner's Villa Farnesina, then, is an important intervention in the study of a building that is so central to understanding Rome in the early sixteenth century. A useful tool for scholars and students alike, this book will not only help us better understand the Farnesina as a collective whole. Rather, it will give us a fuller understanding of where patrons like Chigi, architects like Peruzzi, and artists like Raphael fit into the intellectual, cultural, and artistic milieux of sixteenth-century Rome thanks to Turner's systematic dive into one of the treasures of the Roman Renaissance.' Robert Clines, Renaissance and Reformation

Papildus informācija

This book restores the original vision of the beloved Villa Farnesinaa Palace of Venus celebrating aesthetic, social and erotic pleasure.
Acknowledgements ix
List of Abbreviations and Frequently Cited Works
xii
Introduction 1(21)
`Not Built with Walls, but Truly Born'
The Hybrid Estate: Multiple Structures, Multiple Arts
Scholars and Critics on the Farnesina
Agostino Chigi and His `familiares'
1 `Antique' Imagination and the Creation of the Villa-Palazzo: Origins and Precursors
22(73)
1 Emulating the Ancient Villa
24(17)
The Villa in Antiquity
Home Theatricals
Vitruvius, Theory and Practice of Painted Decoration
Statius, Vopiscus and the Interpretation of Ancient Sources
The Ground Floor and the Main Reception Room: A New Reconstruction
2 Imaginary Palaces
41(7)
The Bolognese Villa of Mino de' Rossi
Palaces by Filarete and Poliziano Niccold da Correggio
3 Siena and Rome: Chigi Patronage and the Launching of Peruzzi's Career
48(13)
Peruzzi's Earliest Commissions
Self-fashioning, Marriage and Dynastic Alliance Patronage of Art and Architecture
Chigi Town Houses in Siena and Rome The Tiber Site and Its Rival Neighbours
4 The Villa Le Volte and the Conception of the Farnesina
61(20)
The Fabric of the Villa Le Volte
The Farnesina: Applying the Lessons of Le Volte The House and the Street
5 Villa Speculate: The Rising Structure from Basements to Rooftops
81(14)
Chthonic Architecture
Staircases and Internal Circulation
Fireplaces and Chimneys at the Structural Core
2 The Stanza del Fregio and Peruzzi's First Architectural Wall-Painting
95(43)
1 Narrative in Architecture: The Stanza del Fregio, Ostia and the Chapel of St Helena
97(13)
The Room and the Painted Frieze
Ostia and Rome
The Chapel of St Helena
Peruzzi's Autumnal Landscape
2 Sources Ancient and Modern
110(11)
Earlier Renaissance Models
The Imperial Villa on Chigi's Property
3 Hybrid Creatures of Water and Land
121(17)
Water-Creatures
The Libreria Piccolomini as Primary Source
Lighting and Modelling: The Frieze between Painting and Sculpture
3 The Lost Facade-Paintings: `Di terretta con storie di man sua, molto belle'
138(80)
1 The Extant Spandrel Paintings, the Form of the Facades, the Possibilities of the Medium
140(18)
The Spandrel Paintings
Multiple Fields and Irregular Facades
Graphic Evidence: The Metropolitan Drawing
Reconstructing the Complete Exterior
The Meaning of the Terretta Medium
Peruzzi's Other Facades
2 `Disegno rather than colorito': The Drawings Related to the Facade
158(25)
The Satyr-Caryatids
The Mythological Scenes and the Mezzanine Windows Pasiphae and Daedalus: The Design Evolves Mars and Venus Captured by Vulcan Stylistic Affinities across Peruzzi's Oeuvre
3 Adventures Underground: The Imperial Villa Rediscovered
183(18)
Caryatids, Captives and Satyrs
Masks, Ancient and Modern Dividers and Supporters Paintings of Erotica
4 Peruzzi's Design Principles
201(6)
The Building Takes to the Air
Peruzzi's Theory
5 Flights of Fancy: Images from Maiolica and Prints
207(11)
The Story of Pasiphae Continued
Evidence from Prints: An Apollo-Daphne cycle? The Power of Love
4 1512 Overtures: The Villa, the Landscape
Architecture and the Literature of Celebration
218(4)
1 The New House Rises
222(18)
Approaching the Villa with Egidio Gallo
The Culture of Festivity Blosio Palladio's' Suburbanum'
2 Hypogea and Hipocausta: The Secrets of the Lower Storeys
240(11)
The Summit and the Depths
Ancient Materials from the Earth Chigi's Private Bathing Suite
3 `Twin Porticoes Such as Never Existed in the Entire World'
251(23)
Drawing the Gaze: Blosio's Response to the Interior
The Painted Vault
Sebastiano in the `Antico Soggiorno' The Galatea Loggia: Three Artists at Work
Giant Heads
Raphael's Galatea in Conversation
4 Fragrant Gardens, Shady Woods, Deep Meadows and Transparent Floods
274(24)
Reconstructing the Gardens: Poems and Documents
`The progress of this House'
Egidio Gallo's Landscape
Blosio Palladio's `Topiary'
Entrances and Exits, Gates and Doorways
Fountains and the `Mastery' of Water
Garden Sculpture Continued: Tiber, Pan, Psyche
Reminiscences and Recreations
5 Architecture in the Landscape: The Three Major Buildings
298(26)
Raphael's Stable/Guesthouse
The Main Carriage Gateway Rediscovered The Tiber Pavilion
Grotto, Pool and `Cave of the Nymphs'
Graphic Traces of Riverbank Structures, and Their Destruction
5 The Second Phase, IS 18-1519: The `Hall of Perspectives', the Nuptial Suite and the Loggia
Di Psiche
324(3)
1 The Piano Nobile Transformed
327(9)
Reconstructing the North and South Suites
Disruption and Expansion
2 The Sala delle Prospective and Its Frieze
336(24)
Columns in Perspective
Rus et Urbe: The Painted Vistas The Fictive Architecture Gods and Niches
Decorum and Decoration in the Upper Frieze
3 Roxana, Alexander and the Nuptial Bedroom
360(17)
Roxana and Alexander in Double Perspective
Vulcan and Companions Looking Up and Looking Back
4 Psyche's Upward Mobility
377(24)
Psyche Variations
Peruzzi's Structure, Giovanni's Pergola, Raphael's Figures
Narrative Abandoned
`Cosa Vituperosa' or `Myriad Pleasures'?
5 Giovanni da Udine's Biodiversity: `Painting and Poetry Truly Most Beautiful'
401(18)
`Fruits and Flowers without End'
Nature as Artefact
Vegetable Love
Giovanni da Udine's Aviary
All That Is Solid Takes to the Air
Notes 419(72)
Photograph Credits 491(3)
Index 494
James Grantham Turner is James D. Hart Professor in the Department of English at the University of California, Berkeley. A scholar of unusual range who brings together literature, art, the environment, cultural and intellectual history, and gender and sexuality, he is the author of eight books, including the Politics of Landscape and Eros Visible, the latter cited for its 'extraordinary vitality' and as a 'most important' contribution to Renaissance Studies. Turner has won fellowships from the John Simon Guggenheim Foundation, the National Gallery of Art, Washington, and the National Endowment for the Humanities, among others.