Ekphrastic Image-Making in Early Modern Europe, 1500-1700

Erscheinungsjahr 2021
ISBN: 978-90-04-10997-1
Verlag: Brill

Buch, Englisch, Band 79, 844 Seiten, Format (B × H): 155 mm x 235 mm, Gewicht: 1748 g

Reihe: Intersections

In epideictic oratory, ekphrasis is typically identified as an advanced rhetorical exercise that verbally reproduces the experience of viewing a person, place, or thing; more specifically, it often purports to replicate the experience of viewing a work of art. Not only what was seen, but also how it was beheld, and the emotions attendant upon first viewing it, are implicitly construed as recoverable, indeed reproducible.

This volume examines how and why many early modern pictures operate in an ekphrastic mode: such pictures claim to reconstitute works of art that solely survived in the textual form of an ekphrasis; or they invite the beholder to respond to a picture in the way s/he responds to a stirring verbal image; or they call attention to their status as an image, in the way that ekphrasis, as a rhetorical figure, makes one conscious of the process of image-making; or finally, they foreground the artist’s or the viewer’s agency, in the way that the rhetor or auditor is adduced as agent of the image being verbally produced.

Contributors: Carol Elaine Barbour, Ivana Bicak, Letha Ch’ien, James Clifton, Teresa Clifton, Karl Enenkel, Arthur DiFuria, Christopher Heuer, Barbara Kaminska, Annie Maloney, Annie McEwen, Walter Melion, Lars Cyril Nørgaard, Dawn Odell, April Oettinger, Shelley Perlove, Stephanie Porras, Femke Speelberg, Caecilie Weissert, Elliott Wise, and Steffen Zierholz.

Autoren/Hrsg.

Difuria, Arthur J

Melion, Walter

Fachgebiete

• Geisteswissenschaften Geschichtswissenschaft Geschichtliche Themen Kultur- und Ideengeschichte
• Geisteswissenschaften Kunst Künstlerische Stoffe, Motive, Themen
• Geisteswissenschaften Kunst Kunstformen, Kunsthandwerk
• Geisteswissenschaften Kunst Kunstgeschichte Kunstgeschichte: Renaissance, Manierismus

Inhaltsverzeichnis

Acknowledgements

List of Illustrations

Notes on the Editors

Notes on the Contributors

Introduction: Ekphrastic Image-Making

Arthur J. DiFuria and Walter S. Melion

Part 1: Humanism, Print, Ekphrasis

1 ‘The Reader Seems to Have Seen Rather Than Read’: Ekphrasis as an Instrument of Religious Persuasion in Erasmus of Rotterdam

Barbara A. Kaminska

2 The Artist’s Frame of Reference in Antoine Sucquet’s Via Vita Aeternae

Carol Barbour

3 ‘No Less Difficult to Paint … Than to Describe’: Chaos in Michel de Marolles’s Tableaux du Temple des Muses

James Clifton

4 The Edge of Ekphrasis: Bellori and Reproductive Printmaking

Annie Maloney

Part 2: Poem, Image, Ekphrasis

5 Mythography as Ekphrasis: Ludovico Lazzarelli’s De gentilium deorum imaginibus, and the Poetics of Humanism

Karl Enenkel

6 Antithesis, Ekphrasis, and Antiphrasis in Joachim du Bellay’s Ruinscape, Les Antiquités de Rome

Arthur J. DiFuria

7 Through a Poet’s Eyes: Jan van der Noot’s Poem on the Capital Sins

Caecilie Weissert

With a translation of the poem by Anna Dlabacova

8 Virtual Reality of the Early Modern Anatomical Poem in Denmark and England

Ivana Bicak

Part 3: Sacred Ekphrasis

9 Robert Campin and Jan van Ruusbroec: Spiritual Conflagrations and Ekphrastic Mysticism

Elliott D. Wise

10 Transfiguring Raphael, Reforming Christ: Ekphrastic Image-Making in Nicolas Poussin’s The Miracle of St. Francis Xavier

Steffen Zierholz

11 Levels to Ekphrasis in the Tableaux de la Pénitence

Lars Cyril Nørgaard

Part 4: Ekphrastic Images

12 Art between Fact and Fantasy: Tracing the Afterlife of Ekphrastic Architecture in Renaissance Italy

Femke Speelberg

13 Ekphrasis and Ovidian Poetics in Hendrick Goltzius’s Landscape with Venus and Adonis of ca. 1598

Walter S. Melion

14 Rembrandt’s Judas Returning the Silver of 1629: Visual and Literary Associations

Amy Golahny

15 ‘By This Blood Most Chaste […]’ (Livy, The History of Rome, Book 1.59): Passion and Politics in Rembrandt’s Lucretia of 1666

Shelley Perlove

16 Finding, Stealing, Translating: The Subject(s) of Tintoretto’s Brera Scuola Grande di San Marco Istoria

Letha C. Ch’ien

Part 5: Nature, Art, Ekphrasis

17 Reveries of the Source

Christopher P. Heuer

18 Ekphrasis and the Romance of Botany in the Age of Pietro Andrea Mattioli

April Oettinger

part 6: Global Ekphrasis

19 Seeing ‘de flandes’

Stephanie Porras

20 ‘Escribieron en mi memoria’: Ekphrasis in the Pastoral Fiction of New Spain

Teresa Clifton

21 Ekphrasis and the Global Eighteenth Century: A.E. van Braam Houckgeest’s Collection of Chinese Art

Dawn Odell

Index Nominum

Über Autor(innen)

Walter S. Melion, Ph.D. (1988, University of California, Berkeley) is Asa Griggs Candler Professor of Art History at Emory University. He has published widely on Netherlandish art and art theory, on early modern printmaking, and on meditative, mnemonic, and emblematic image-making, amongst other topics.

Arthur J. DiFuria, Ph.D. (2008, University of Delaware) is Chair and Professor of Art History at Savannah College of Art and Design. In addition to several articles on sixteenth-century antiquarianism, prints, and drawings, he is the editor of Genre Imagery in Early Modern Northern Europe: New Perspectives (Routledge, 2016) and the author of Maarten van Heemskerck’s Rome: Antiquity, Memory, and the Netherlandish Cult of Ruins (Brill, 2019).