Titian's portraits through Aretino's lens:
Among sixteenth-century Renaissance painters, Titian made his reputation, and much of his living, by portraiture. Titian's portraits were promoted by his friend, Pietro Aretino, an eminent poet and critic, who addressed his letters and sonnets to the same personages Titian portrayed. In many of...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
University Park, Pa.
Pennsylvania State Univ. Press
1995
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| Schlagworte: | |
| Zusammenfassung: | Among sixteenth-century Renaissance painters, Titian made his reputation, and much of his living, by portraiture. Titian's portraits were promoted by his friend, Pietro Aretino, an eminent poet and critic, who addressed his letters and sonnets to the same personages Titian portrayed. In many of these letters (which often included sonnets), Aretino described both an individual patron and Titian's portrait of that patron, thus stimulating the reciprocal relation between a verbal and pictorial portrait. By investigating this unprecedented historical phenomenon, Luba Freedman elucidates the meaning conveyed by the portrait as an artistic form in Renaissance Italy Fusing iconographical analysis of the most famous Titian portraits with rhetorical analysis of Aretino's literary legacy as compared to contemporary reactions, Freedman demonstrates that it is due to Titian's many portraits and to Aretino's repeated simultaneous writings about them that the portrait ceased being primarily a social-historical document, preserving the sitter's likeness for posterity. It gradually became, as it is today, a work of art, the artist's invention, which gives its viewer an aesthetic pleasure |
| Beschreibung: | XVI, 215 S. zahlr. Ill. |
| ISBN: | 0271013397 |
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| 520 | 3 | |a Among sixteenth-century Renaissance painters, Titian made his reputation, and much of his living, by portraiture. Titian's portraits were promoted by his friend, Pietro Aretino, an eminent poet and critic, who addressed his letters and sonnets to the same personages Titian portrayed. In many of these letters (which often included sonnets), Aretino described both an individual patron and Titian's portrait of that patron, thus stimulating the reciprocal relation between a verbal and pictorial portrait. By investigating this unprecedented historical phenomenon, Luba Freedman elucidates the meaning conveyed by the portrait as an artistic form in Renaissance Italy | |
| 520 | |a Fusing iconographical analysis of the most famous Titian portraits with rhetorical analysis of Aretino's literary legacy as compared to contemporary reactions, Freedman demonstrates that it is due to Titian's many portraits and to Aretino's repeated simultaneous writings about them that the portrait ceased being primarily a social-historical document, preserving the sitter's likeness for posterity. It gradually became, as it is today, a work of art, the artist's invention, which gives its viewer an aesthetic pleasure | ||
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| author | Freedman, Luba 1953- |
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| dewey-search | 759.5 |
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| discipline | Kunstgeschichte |
| era | Geschichte 1500-1600 |
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| id | DE-604.BV010444781 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T17:52:40Z |
| institution | BVB |
| isbn | 0271013397 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-006961377 |
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| physical | XVI, 215 S. zahlr. Ill. |
| publishDate | 1995 |
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| publisher | Pennsylvania State Univ. Press |
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| spelling | Freedman, Luba 1953- Verfasser (DE-588)123150337 aut Titian's portraits through Aretino's lens Luba Freedman University Park, Pa. Pennsylvania State Univ. Press 1995 XVI, 215 S. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier Among sixteenth-century Renaissance painters, Titian made his reputation, and much of his living, by portraiture. Titian's portraits were promoted by his friend, Pietro Aretino, an eminent poet and critic, who addressed his letters and sonnets to the same personages Titian portrayed. In many of these letters (which often included sonnets), Aretino described both an individual patron and Titian's portrait of that patron, thus stimulating the reciprocal relation between a verbal and pictorial portrait. By investigating this unprecedented historical phenomenon, Luba Freedman elucidates the meaning conveyed by the portrait as an artistic form in Renaissance Italy Fusing iconographical analysis of the most famous Titian portraits with rhetorical analysis of Aretino's literary legacy as compared to contemporary reactions, Freedman demonstrates that it is due to Titian's many portraits and to Aretino's repeated simultaneous writings about them that the portrait ceased being primarily a social-historical document, preserving the sitter's likeness for posterity. It gradually became, as it is today, a work of art, the artist's invention, which gives its viewer an aesthetic pleasure Titien <1489?-1576> ram Aretino, Pietro <1492-1556> Criticism and interpretation Titian <ca. 1488-1576> Criticism and interpretation Vecellio, Tiziano 1490-1576 (DE-588)118622994 gnd rswk-swf Aretino, Pietro 1492-1556 (DE-588)118650033 gnd rswk-swf Geschichte 1500-1600 Peinture de portraits de la Renaissance ram Portretkunst gtt Schilderijen gtt Geschichte Malerei Art and literature Italy History 16th century Portrait painting, Renaissance Italy Bildnismalerei (DE-588)4145426-1 gnd rswk-swf Italien Vecellio, Tiziano 1490-1576 (DE-588)118622994 p Bildnismalerei (DE-588)4145426-1 s Aretino, Pietro 1492-1556 (DE-588)118650033 p DE-604 |
| spellingShingle | Freedman, Luba 1953- Titian's portraits through Aretino's lens Titien <1489?-1576> ram Aretino, Pietro <1492-1556> Criticism and interpretation Titian <ca. 1488-1576> Criticism and interpretation Vecellio, Tiziano 1490-1576 (DE-588)118622994 gnd Aretino, Pietro 1492-1556 (DE-588)118650033 gnd Peinture de portraits de la Renaissance ram Portretkunst gtt Schilderijen gtt Geschichte Malerei Art and literature Italy History 16th century Portrait painting, Renaissance Italy Bildnismalerei (DE-588)4145426-1 gnd |
| subject_GND | (DE-588)118622994 (DE-588)118650033 (DE-588)4145426-1 |
| title | Titian's portraits through Aretino's lens |
| title_auth | Titian's portraits through Aretino's lens |
| title_exact_search | Titian's portraits through Aretino's lens |
| title_full | Titian's portraits through Aretino's lens Luba Freedman |
| title_fullStr | Titian's portraits through Aretino's lens Luba Freedman |
| title_full_unstemmed | Titian's portraits through Aretino's lens Luba Freedman |
| title_short | Titian's portraits through Aretino's lens |
| title_sort | titian s portraits through aretino s lens |
| topic | Titien <1489?-1576> ram Aretino, Pietro <1492-1556> Criticism and interpretation Titian <ca. 1488-1576> Criticism and interpretation Vecellio, Tiziano 1490-1576 (DE-588)118622994 gnd Aretino, Pietro 1492-1556 (DE-588)118650033 gnd Peinture de portraits de la Renaissance ram Portretkunst gtt Schilderijen gtt Geschichte Malerei Art and literature Italy History 16th century Portrait painting, Renaissance Italy Bildnismalerei (DE-588)4145426-1 gnd |
| topic_facet | Titien <1489?-1576> Aretino, Pietro <1492-1556> Criticism and interpretation Titian <ca. 1488-1576> Criticism and interpretation Vecellio, Tiziano 1490-1576 Aretino, Pietro 1492-1556 Peinture de portraits de la Renaissance Portretkunst Schilderijen Geschichte Malerei Art and literature Italy History 16th century Portrait painting, Renaissance Italy Bildnismalerei Italien |
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