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subject analysis --- iconology --- Art --- anno 1400-1499 --- anno 1600-1699 --- anno 1500-1599 --- Representation (Philosophy) --- Subject (Philosophy) --- Aesthetics, Modern --- Philosophy --- Art - Philosophy

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It is clear that Renaissance artists and their patrons were interested in Ravenna’s buildings and their decorations, both before Vasari’s negative pronouncements and after them. Contemporary European travelers and diarists have left descriptions of the city’s heritage, by then in ruinous condition. What happens if we reinsert this corpus of Ravenna's treasures and their multiple imbrications into our histories of Renaissance art? How can our narratives change if we trace and study an almost forgotten, albeit rich and articulated series of intersections between Ravenna's splendors and ambitious works of art and architecture from early modern Italy? We have ignored a series of visual engagements and imaginative plays with Ravenna's forms, materials, and iconographies, folding the past into the present and the present into the past. These instances of creative imitations and recreations can best be recovered if we focus on the Renaissance production and humanists’ accounts of the city’s treasures, that is, works in various media and size, to map out an extended dimension of early modern visual culture.

Art --- mosaics [visual works] --- Italian Renaissance-Baroque styles --- anno 1400-1499 --- anno 1500-1599 --- Ravenna --- Art, Renaissance --- Mosaics, Medieval --- Historiography --- Ravenna (Italy) --- In art. --- receptiegeschiedenis --- invloed van Byzantijnse school

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Two leading contemporary art historians present a stunning reconsideration of the problem of time in the Renaissance. With intellectual brilliance, Alexander Nagel and Christopher S. Wood reexamine the meanings, uses, and effects of chronologies, models of temporality, and notions of originality and repetition in Renaissance images and artifacts. [...] The buildings, paintings, drawings, prints, sculptures, and medals addressed in this book were shaped by concerns about authenticity, about reference to prestigious origins and precedents, and about the implications of transposition from one medium to another. Byzantine icons taken to be early Christian antiquities, the acheiropoeton or image made without hands, the activities of spoliation and citation, differing approaches to art restoration, legends about movable buildings, and forgeries and pastiches: all of these emerge as basic conceptual structures of Renaissance art. The authors show how the complex and layered temporalities of images offered a counterpoint to the linear chronologies that increasingly structured commerce, politics, travel, and everyday life in the fourteenth and fifteenth centuries. While a work of art does bear witness to the moment of its fabrication, Nagel and Wood argue that it is equally important to understand its temporal instability: how it points away from that moment, backward to a remote ancestral origin, to a prior artifact or image, even to an origin outside of time, in divinity. The authors conclude with an analysis of Roman episodes and projects of the decades around 1500, culminating in Raphael's Stanza della Segnatura.

Art --- anno 500-1499 --- anno 1500-1599 --- Art, Renaissance. --- Architecture, Renaissance. --- Building materials --- Time and art. --- Recycling. --- Architecture, Renaissance --- Art, Renaissance --- Time and art --- Art and time --- Architectural materials --- Architecture --- Building --- Building supplies --- Buildings --- Construction materials --- Structural materials --- Materials --- Renaissance art --- Renaissance architecture --- Renaissance revival (Architecture) --- Recycling --- Renaissance --- Analyse de l'art --- kunst --- kunsttheorie --- 7.01 --- 7.034 --- renaissance --- tijdelijkheid --- tijd --- Geschichte 1420-1550. --- Geschichte 1420-1600. --- 1400-1500. --- 1500-1600. --- Art de la Renaissance --- Architecture de la Renaissance --- Construction --- Temps et art --- Matériaux --- Recyclage