Vittoria Colonna :: poetry, religion, art, impact /
This edited collection presents fresh and original work on Vittoria Colonna, perhaps the outstanding female figure of the Italian Renaissance, a leading Petrarchist poet, and an important figure in the Italian Reform movement. Until recently best known for her close spiritual friendship with Michela...
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| Main Author: | |
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| Other Authors: | |
| Format: | Electronic eBook |
| Language: | English |
| Published: |
Amsterdam :
Amsterdam University Press,
2022
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| Series: | Gendering the late medieval and early modern world.
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| Subjects: | |
| Online Access: | DE-862 DE-863 |
| Summary: | This edited collection presents fresh and original work on Vittoria Colonna, perhaps the outstanding female figure of the Italian Renaissance, a leading Petrarchist poet, and an important figure in the Italian Reform movement. Until recently best known for her close spiritual friendship with Michelangelo, she is increasingly recognized as a powerful and distinctive poetic voice, a cultural and religious icon, and an important literary model for both men and women. This volume comprises compelling new research by established and emerging scholars in the fields of literature, book history, religious history, and art history, including several studies of Colonna's influence during the Counter-Reformation, a period long neglected by Italian cultural historiography. The Colonna who emerges from this new reading is one who challenges traditional constructions of women's place in Italian literature; no mere imitator or follower, but an innovator and founder of schools in her own right. |
| Item Description: | Description based upon print version of record. |
| Physical Description: | 1 online resource (408 pages). |
| Bibliography: | Includes bibliographical references and index. |
| ISBN: | 9789048552603 9048552605 |
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| 100 | 1 | |a Cox, Virginia, |e author. | |
| 245 | 1 | 0 | |a Vittoria Colonna : |b poetry, religion, art, impact / |c edited by Virginia Cox and Shannon McHugh |
| 264 | 1 | |a Amsterdam : |b Amsterdam University Press, |c 2022 | |
| 300 | |a 1 online resource (408 pages). | ||
| 336 | |a text |b txt |2 rdacontent | ||
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| 338 | |a online resource |b cr |2 rdacarrier | ||
| 490 | 1 | |a Gendering the Late Medieval and Early Modern World | |
| 500 | |a Description based upon print version of record. | ||
| 504 | |a Includes bibliographical references and index. | ||
| 520 | |a This edited collection presents fresh and original work on Vittoria Colonna, perhaps the outstanding female figure of the Italian Renaissance, a leading Petrarchist poet, and an important figure in the Italian Reform movement. Until recently best known for her close spiritual friendship with Michelangelo, she is increasingly recognized as a powerful and distinctive poetic voice, a cultural and religious icon, and an important literary model for both men and women. This volume comprises compelling new research by established and emerging scholars in the fields of literature, book history, religious history, and art history, including several studies of Colonna's influence during the Counter-Reformation, a period long neglected by Italian cultural historiography. The Colonna who emerges from this new reading is one who challenges traditional constructions of women's place in Italian literature; no mere imitator or follower, but an innovator and founder of schools in her own right. | ||
| 588 | |a Description based on online resource; title from digital title page (viewed on December 06, 2021). | ||
| 505 | 0 | |a Cover -- Table of Contents -- Acknowledgements -- Introduction: The Twenty-First Century Vittoria Colonna -- Virginia Cox -- Part 1: Literary and Spiritual Sociability -- 1. The D'Avalos-Colonna Literary Circle: A 'Renewed Parnassus' -- Shulamit Furstenberg-Levi -- 2. Late Love: Vittoria Colonna and Reginald Pole -- Ramie Targoff -- Part 2: Widowhood -- 3. Magistra apostolorum: The Virgin Mary in Birgitta of Sweden and Vittoria Colonna -- Unn Falkeid -- 4. Outdoing Colonna: Widowhood Poetry in the Late Cinquecento -- Anna Wainwright -- Part 3: Poetry -- 5. The Epistolary Vittoria -- Maria Serena Sapegno -- 6. 'Ex illo mea, mi Daniel, Victoria pendet': A Forgotten Spiritual Epigram by Vittoria Colonna -- Veronica Copello -- 7. Religious Desire in the Poetry of Vittoria Colonna: Insights into Early Modern Piety and Poetics -- Sarah Rolfe Prodan -- Part 4: Art -- 8. 'Inscribed Upon Their Hearts': Copying and the Dissemination of Devotion -- Jessica Maratsos -- 9. Titian, Colonna, and the Gender of Pictorial Devotion -- Christopher J. Nygren -- 10. 'A More Loving and Constant Heart': Vittoria Colonna, Alfonso d'Avalos, Michelangelo and the Complicated History of Pontormo's Noli me tangere -- Dennis Geronimus -- Part 5: Readership -- 11. 'Leading Others on the Road to Salvation': Vittoria Colonna and Her Readers -- Abigail Brundin -- 12. 'In Competition with and Perhaps More Felicitously Than Petrarch': The Canonization of Vittoria Colonna in Rinaldo Corso's Tutte le rime (1558) -- Humberto González Chávez -- Part 6: Impact -- 13. Colonna and Petrarch in the Rime of Lucia Colao -- Andrea Torre -- 14. 'I Take Thee': Vittoria Colonna, Conjugal Verse and Male poeti colonnesi -- Shannon McHugh -- 15. 'She Showed the World a Beacon of Female Worth': Vittoria Colonna in Arcadia -- Tatiana Crivelli -- Volume Bibliography. | |
| 505 | 8 | |a Index of Citations of Colonna's Letters and Verse -- Thematic Index -- List of Illustrations -- Fig. 6.1. Vittoria Colonna, 'Response from the Divine Vittoria of the Aterno to Daniele Fini'. Spiritual epigram (I.437: 209r). Biblioteca Comunale Ariostea, Ferrara. -- Fig. 6.2. Vittoria Colonna, 'Response from the Divine Vittoria of the Aterno to Daniele Fini'. Spiritual epigram (I.437: 209v). Biblioteca Comunale Ariostea, Ferrara. -- Fig. 8.1. Michelangelo Buonarroti, Pietà, c. 1540, black chalk on paper, 11.38 in. × 7.44 in. (28.9 × 18.9 cm). Isabella Stewart Gardner Museum, Boston. -- Fig. 8.2. Copy after Michelangelo Buonarroti, Ganymede, sixteenth century, black chalk on off-white antique laid paper, wings of eagle incised with stylus and damaged, parts then retouched, 14.21 in. × 10.63 in. (36.1 × 27 cm). Harvard Art Museums/Fogg Mu -- Fig. 8.3. Giovanni Bernardi (copy after Michelangelo Buonarroti), The Rape of Ganymede, 1532 or after, bronze, 2.63 in. × 3.56 in. (6.7 × 9 cm). National Gallery of Art, Samuel H. Kress Collection, Washington, D.C. -- Fig. 8.4. After Donatello, Madonna and Child before a Niche, mid-fifteenth century, bronze, 3.94 in. × 3.06.in. (10 × 7.9 cm). National Gallery of Art, Widener Collection, Washington, D.C. -- Fig. 8.5. Follower of Michelangelo Buonarroti, Pietà, mid-sixteenth century, gilt bronze, 6.62 in. × 4.5 in. (16.8 × 11.4 cm). The Metropolitan Museum of Art, Bequest of Henry Victor Burgy, 1901, New York. -- Fig. 8.6. Central or Northern Italian, Pax with Pietà, c. 1575, gilded bronze, 7.19 in. × 4.94 in. × 2.81 in. (18.3 × 12.6 × 7.1 cm). National Gallery of Art, Gift of Claire, Monica and Antonia Geber in memory of their parents, Anthony and Margaret Mary G -- Fig. 8.7. Handle affixed to back of Figure 8.5. | |
| 505 | 8 | |a Fig. 8.8. Paduan, Christ's Body Held by Two Angels, fifteenth century, silvered bronze, 3.94 in. × 3.38 in. (10 × 8.6 cm). National Gallery of Art, Widener Collection, Washington, D.C. -- Fig. 8.9. Albrecht Dürer, The Mass of Saint Gregory, 1511, woodcut, 11.56 in. × 8.12 in. (29.4 × 20.6 cm). The Metropolitan Museum of Art, Anonymous Gift, 1917, New York. -- Fig. 8.10. Marcantonio Raimondi after Michelangelo Buonarroti, Naked Man Viewed from Behind Climbing a River Bank, c. 1509, engraving, 8.25 in. × 5.38 in. (20.9 × 13.7 cm). The Metropolitan Museum of Art, Anonymous Gift, 1929, New York. -- Fig. 8.11. Nicolas Beatrizet after Michelangelo Buonarroti, Pietà, 1547, engraving, 14.75 in. × 10.31 in. (37.5 × 26.2 cm). The Metropolitan Museum of Art, Rogers Fund, 1966, New York. -- Fig. 9.1. Titian, Penitent Magdalene, c. 1531, oil on wood panel. Galleria Palatina di Palazzo Pitti, Florence. -- Fig. 9.2. Antonio Allegri (called Correggio), Ecce Homo with Pilate and Virgin Mary Fainting, c. 1525-30, oil on panel, 99 × 80 cm. The National Gallery, London. -- Fig. 9.3. Lorenzo Lotto, Saint Catherine, 1522, oil on panel. National Gallery of Art, Washington, D.C. -- Fig. 9.4. Titian, Judith / Salome, c. 1516, oil on canvas. Galleria Doria Pamphilj, Rome. -- Fig. 9.5. Nicolò de' Barbari, Christ and the Adulteress, c. 1505, oil on panel. Museo di Palazzo Venezia, Rome. -- Fig. 9.6. Titian, Christ and the Adulteress, c. 1513, oil on canvas. Kunsthistorisches Museum, Vienna. -- Fig. 9.7. Titian, Penitent Magdalene, c. 1565, oil on canvas. Hermitage Museum, St Petersburg. -- Fig. 9.8. Anonymous, Floor tile depicting the Cruelty of Love, c. 1470, tin-glazed maiolica. Galleria Nazionale, Parma. | |
| 505 | 8 | |a Fig. 10.1. Rime spirituali, MS containing 103 of her religious sonnets, gifted by Colonna to Michelangelo in 1540-41. Vatican City, Biblioteca Apostolica Vaticana, MS Vat. lat. 11539. -- Fig. 10.2. Jacopo da Pontormo (designed by Michelangelo Buonarroti), Noli me tangere, 1531-32, oil on panel, 124 × 95 cm. Private collection, Busto Arsizio, Varese, Lombardy. -- Fig. 10.3. Agnolo Bronzino (attrib. to) (copy after Michelangelo-Pontormo), Noli me tangere, post-1532, oil on panel, 172 × 134 cm. Casa Buonarroti, Florence. -- Fig. 10.4. Lavinia Fontana, Noli me tangere, 1581, oil on canvas, 80 × 65.5 cm. Galleria degli Uffizi, Florence. -- Fig. 10.5. Fra Angelico, Noli me tangere, c. 1438-40, fresco. Cell 1, Convent of San Marco, Florence. -- Fig. 10.6. Spanish, Plaque with the Journey to Emmaus and the Noli me tangere, c. 1115-20, ivory, overall: 27 × 13.4 × 1.9 cm. The Metropolitan Museum of Art, New York. -- Fig. 10.7. Hans Holbein the Younger, Noli me tangere, 1526-28, oil on panel, 76.7 × 95.8 cm. Queen's Drawing Room, Windsor Castle, Royal Collection Trust. -- Fig. 10.8. Jacopo da Pontormo, Venus Kissed by Cupid, 1532-34, oil on panel, 128 × 194 cm. Galleria dell'Accademia, Florence. -- Fig. 10.9. Michelangelo, Study for the Risen Christ, 1532, red chalk on paper, 23.5 × 8.2 cm. Casa Buonarroti, Florence. -- Fig. 10.10. Michelangelo, Study for the Risen Christ, 1532, red chalk on paper, 14.8 × 23.7 cm. Casa Buonarroti, Florence. -- Fig. 10.11. Jacopo da Pontormo, Adoration of the Magi, c. 1519-23, oil on panel, 85 × 191 cm. Galleria Palatina, Palazzo Pitti, Florence. -- Fig. 10.12. Michelangelo, Entombment, 1500-1, oil on panel, 161.7 × 149.9 cm. The National Gallery, London. -- Fig. 10.13. Agnolo Bronzino, Noli me tangere, 1561, oil on panel, 289 × 194 cm. Musée du Louvre, Paris. | |
| 505 | 8 | |a Fig. 10.14. Alessandro Allori, Noli me tangere, early 1560s-early 1570s, oil on copper, 36.5 × 31.4 cm. Sold, Christie's, New York, 26 January 2012. -- Fig. 10.15. Nicolas Beatrizet (after Michelangelo), Christ and the Samaritan Woman at the Well, c. 1546, engraving, 38.8 × 28.7 cm. British Museum, London. -- Fig. 10.16. Michelangelo, Christ and the Samaritan Woman at the Well, c. 1542, black chalk on paper, 46.7 × 33. 7 cm. Private collection. -- Fig. 10.17. Master of the Saint Ursula Legend (central panel, The Sudarium borne by angels) and Filippino Lippi (wings, showing Christ and the Samaritan Woman and the Noli me tangere), Del Pugliese Triptych, 1490-1500, oil on panel, central panel: 49.5 × -- Fig. 10.18. Cima da Conegliano, Doubting of Saint Thomas with Bishop Magno, 1505, oil on panel, 215 × 151 cm. Gallerie dell'Academia, Venice. -- Fig. 10.19. Cristofano Allori, The Penitent Magdalene Lying in a Landscape, c. 1600, oil on copper, 29.6 × 43 cm. Galleria Palatina, Palazzo Pitti, Florence. -- Fig. 10.20. Jacopo da Pontormo (designed by Michelangelo Buonarroti), Detail, Noli me tangere, 1531-32, oil on panel, 124 × 95 cm. Private collection, Busto Arsizio, Varese, Lombardy. -- Fig. 10.21. Lucas van Leyden, Noli me tangere, 1519, etching, 13.2 × 16.8 cm. Albertina, Vienna. -- Fig. 10.22. Skull of Mary Magdalene, discovered in 1200s, inset into reliquary. Basilica of Saint Maximin-la-Sainte-Baume, Provence, France. -- Fig. 11.1. Giovanbattista Vitale, Rime spirituali di diversi eccellenti poeti toscani. Naples, Horatio Salviani, 1574. Page view with thematic annotation. Case Y 7184 7465, Newberry Library, Chicago. | |
| 600 | 1 | 0 | |a Colonna, Vittoria, |d 1492-1547 |x Criticism and interpretation. |
| 600 | 1 | 0 | |a Colonna, Vittoria, |d 1492-1547 |x Influence. |
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Record in the Search Index
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| _version_ | 1829095362801958912 |
| adam_text | |
| any_adam_object | |
| author | Cox, Virginia |
| author2 | McHugh, Shannon |
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| author_facet | Cox, Virginia McHugh, Shannon |
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| callnumber-label | PQ4620 |
| callnumber-raw | PQ4620 .C69 2021 |
| callnumber-search | PQ4620 .C69 2021 |
| callnumber-sort | PQ 44620 C69 42021 |
| callnumber-subject | PQ - French, Italian, Spanish, Portuguese Literature |
| classification_rvk | IU 4387 |
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| contents | Cover -- Table of Contents -- Acknowledgements -- Introduction: The Twenty-First Century Vittoria Colonna -- Virginia Cox -- Part 1: Literary and Spiritual Sociability -- 1. The D'Avalos-Colonna Literary Circle: A 'Renewed Parnassus' -- Shulamit Furstenberg-Levi -- 2. Late Love: Vittoria Colonna and Reginald Pole -- Ramie Targoff -- Part 2: Widowhood -- 3. Magistra apostolorum: The Virgin Mary in Birgitta of Sweden and Vittoria Colonna -- Unn Falkeid -- 4. Outdoing Colonna: Widowhood Poetry in the Late Cinquecento -- Anna Wainwright -- Part 3: Poetry -- 5. The Epistolary Vittoria -- Maria Serena Sapegno -- 6. 'Ex illo mea, mi Daniel, Victoria pendet': A Forgotten Spiritual Epigram by Vittoria Colonna -- Veronica Copello -- 7. Religious Desire in the Poetry of Vittoria Colonna: Insights into Early Modern Piety and Poetics -- Sarah Rolfe Prodan -- Part 4: Art -- 8. 'Inscribed Upon Their Hearts': Copying and the Dissemination of Devotion -- Jessica Maratsos -- 9. Titian, Colonna, and the Gender of Pictorial Devotion -- Christopher J. Nygren -- 10. 'A More Loving and Constant Heart': Vittoria Colonna, Alfonso d'Avalos, Michelangelo and the Complicated History of Pontormo's Noli me tangere -- Dennis Geronimus -- Part 5: Readership -- 11. 'Leading Others on the Road to Salvation': Vittoria Colonna and Her Readers -- Abigail Brundin -- 12. 'In Competition with and Perhaps More Felicitously Than Petrarch': The Canonization of Vittoria Colonna in Rinaldo Corso's Tutte le rime (1558) -- Humberto González Chávez -- Part 6: Impact -- 13. Colonna and Petrarch in the Rime of Lucia Colao -- Andrea Torre -- 14. 'I Take Thee': Vittoria Colonna, Conjugal Verse and Male poeti colonnesi -- Shannon McHugh -- 15. 'She Showed the World a Beacon of Female Worth': Vittoria Colonna in Arcadia -- Tatiana Crivelli -- Volume Bibliography. Index of Citations of Colonna's Letters and Verse -- Thematic Index -- List of Illustrations -- Fig. 6.1. Vittoria Colonna, 'Response from the Divine Vittoria of the Aterno to Daniele Fini'. Spiritual epigram (I.437: 209r). Biblioteca Comunale Ariostea, Ferrara. -- Fig. 6.2. Vittoria Colonna, 'Response from the Divine Vittoria of the Aterno to Daniele Fini'. Spiritual epigram (I.437: 209v). Biblioteca Comunale Ariostea, Ferrara. -- Fig. 8.1. Michelangelo Buonarroti, Pietà, c. 1540, black chalk on paper, 11.38 in. × 7.44 in. (28.9 × 18.9 cm). Isabella Stewart Gardner Museum, Boston. -- Fig. 8.2. Copy after Michelangelo Buonarroti, Ganymede, sixteenth century, black chalk on off-white antique laid paper, wings of eagle incised with stylus and damaged, parts then retouched, 14.21 in. × 10.63 in. (36.1 × 27 cm). Harvard Art Museums/Fogg Mu -- Fig. 8.3. Giovanni Bernardi (copy after Michelangelo Buonarroti), The Rape of Ganymede, 1532 or after, bronze, 2.63 in. × 3.56 in. (6.7 × 9 cm). National Gallery of Art, Samuel H. Kress Collection, Washington, D.C. -- Fig. 8.4. After Donatello, Madonna and Child before a Niche, mid-fifteenth century, bronze, 3.94 in. × 3.06.in. (10 × 7.9 cm). National Gallery of Art, Widener Collection, Washington, D.C. -- Fig. 8.5. Follower of Michelangelo Buonarroti, Pietà, mid-sixteenth century, gilt bronze, 6.62 in. × 4.5 in. (16.8 × 11.4 cm). The Metropolitan Museum of Art, Bequest of Henry Victor Burgy, 1901, New York. -- Fig. 8.6. Central or Northern Italian, Pax with Pietà, c. 1575, gilded bronze, 7.19 in. × 4.94 in. × 2.81 in. (18.3 × 12.6 × 7.1 cm). National Gallery of Art, Gift of Claire, Monica and Antonia Geber in memory of their parents, Anthony and Margaret Mary G -- Fig. 8.7. Handle affixed to back of Figure 8.5. Fig. 8.8. Paduan, Christ's Body Held by Two Angels, fifteenth century, silvered bronze, 3.94 in. × 3.38 in. (10 × 8.6 cm). National Gallery of Art, Widener Collection, Washington, D.C. -- Fig. 8.9. Albrecht Dürer, The Mass of Saint Gregory, 1511, woodcut, 11.56 in. × 8.12 in. (29.4 × 20.6 cm). The Metropolitan Museum of Art, Anonymous Gift, 1917, New York. -- Fig. 8.10. Marcantonio Raimondi after Michelangelo Buonarroti, Naked Man Viewed from Behind Climbing a River Bank, c. 1509, engraving, 8.25 in. × 5.38 in. (20.9 × 13.7 cm). The Metropolitan Museum of Art, Anonymous Gift, 1929, New York. -- Fig. 8.11. Nicolas Beatrizet after Michelangelo Buonarroti, Pietà, 1547, engraving, 14.75 in. × 10.31 in. (37.5 × 26.2 cm). The Metropolitan Museum of Art, Rogers Fund, 1966, New York. -- Fig. 9.1. Titian, Penitent Magdalene, c. 1531, oil on wood panel. Galleria Palatina di Palazzo Pitti, Florence. -- Fig. 9.2. Antonio Allegri (called Correggio), Ecce Homo with Pilate and Virgin Mary Fainting, c. 1525-30, oil on panel, 99 × 80 cm. The National Gallery, London. -- Fig. 9.3. Lorenzo Lotto, Saint Catherine, 1522, oil on panel. National Gallery of Art, Washington, D.C. -- Fig. 9.4. Titian, Judith / Salome, c. 1516, oil on canvas. Galleria Doria Pamphilj, Rome. -- Fig. 9.5. Nicolò de' Barbari, Christ and the Adulteress, c. 1505, oil on panel. Museo di Palazzo Venezia, Rome. -- Fig. 9.6. Titian, Christ and the Adulteress, c. 1513, oil on canvas. Kunsthistorisches Museum, Vienna. -- Fig. 9.7. Titian, Penitent Magdalene, c. 1565, oil on canvas. Hermitage Museum, St Petersburg. -- Fig. 9.8. Anonymous, Floor tile depicting the Cruelty of Love, c. 1470, tin-glazed maiolica. Galleria Nazionale, Parma. Fig. 10.1. Rime spirituali, MS containing 103 of her religious sonnets, gifted by Colonna to Michelangelo in 1540-41. Vatican City, Biblioteca Apostolica Vaticana, MS Vat. lat. 11539. -- Fig. 10.2. Jacopo da Pontormo (designed by Michelangelo Buonarroti), Noli me tangere, 1531-32, oil on panel, 124 × 95 cm. Private collection, Busto Arsizio, Varese, Lombardy. -- Fig. 10.3. Agnolo Bronzino (attrib. to) (copy after Michelangelo-Pontormo), Noli me tangere, post-1532, oil on panel, 172 × 134 cm. Casa Buonarroti, Florence. -- Fig. 10.4. Lavinia Fontana, Noli me tangere, 1581, oil on canvas, 80 × 65.5 cm. Galleria degli Uffizi, Florence. -- Fig. 10.5. Fra Angelico, Noli me tangere, c. 1438-40, fresco. Cell 1, Convent of San Marco, Florence. -- Fig. 10.6. Spanish, Plaque with the Journey to Emmaus and the Noli me tangere, c. 1115-20, ivory, overall: 27 × 13.4 × 1.9 cm. The Metropolitan Museum of Art, New York. -- Fig. 10.7. Hans Holbein the Younger, Noli me tangere, 1526-28, oil on panel, 76.7 × 95.8 cm. Queen's Drawing Room, Windsor Castle, Royal Collection Trust. -- Fig. 10.8. Jacopo da Pontormo, Venus Kissed by Cupid, 1532-34, oil on panel, 128 × 194 cm. Galleria dell'Accademia, Florence. -- Fig. 10.9. Michelangelo, Study for the Risen Christ, 1532, red chalk on paper, 23.5 × 8.2 cm. Casa Buonarroti, Florence. -- Fig. 10.10. Michelangelo, Study for the Risen Christ, 1532, red chalk on paper, 14.8 × 23.7 cm. Casa Buonarroti, Florence. -- Fig. 10.11. Jacopo da Pontormo, Adoration of the Magi, c. 1519-23, oil on panel, 85 × 191 cm. Galleria Palatina, Palazzo Pitti, Florence. -- Fig. 10.12. Michelangelo, Entombment, 1500-1, oil on panel, 161.7 × 149.9 cm. The National Gallery, London. -- Fig. 10.13. Agnolo Bronzino, Noli me tangere, 1561, oil on panel, 289 × 194 cm. Musée du Louvre, Paris. Fig. 10.14. Alessandro Allori, Noli me tangere, early 1560s-early 1570s, oil on copper, 36.5 × 31.4 cm. Sold, Christie's, New York, 26 January 2012. -- Fig. 10.15. Nicolas Beatrizet (after Michelangelo), Christ and the Samaritan Woman at the Well, c. 1546, engraving, 38.8 × 28.7 cm. British Museum, London. -- Fig. 10.16. Michelangelo, Christ and the Samaritan Woman at the Well, c. 1542, black chalk on paper, 46.7 × 33. 7 cm. Private collection. -- Fig. 10.17. Master of the Saint Ursula Legend (central panel, The Sudarium borne by angels) and Filippino Lippi (wings, showing Christ and the Samaritan Woman and the Noli me tangere), Del Pugliese Triptych, 1490-1500, oil on panel, central panel: 49.5 × -- Fig. 10.18. Cima da Conegliano, Doubting of Saint Thomas with Bishop Magno, 1505, oil on panel, 215 × 151 cm. Gallerie dell'Academia, Venice. -- Fig. 10.19. Cristofano Allori, The Penitent Magdalene Lying in a Landscape, c. 1600, oil on copper, 29.6 × 43 cm. Galleria Palatina, Palazzo Pitti, Florence. -- Fig. 10.20. Jacopo da Pontormo (designed by Michelangelo Buonarroti), Detail, Noli me tangere, 1531-32, oil on panel, 124 × 95 cm. Private collection, Busto Arsizio, Varese, Lombardy. -- Fig. 10.21. Lucas van Leyden, Noli me tangere, 1519, etching, 13.2 × 16.8 cm. Albertina, Vienna. -- Fig. 10.22. Skull of Mary Magdalene, discovered in 1200s, inset into reliquary. Basilica of Saint Maximin-la-Sainte-Baume, Provence, France. -- Fig. 11.1. Giovanbattista Vitale, Rime spirituali di diversi eccellenti poeti toscani. Naples, Horatio Salviani, 1574. Page view with thematic annotation. Case Y 7184 7465, Newberry Library, Chicago. |
| ctrlnum | (OCoLC)1285784923 |
| dewey-full | 851.309 |
| dewey-hundreds | 800 - Literature (Belles-lettres) and rhetoric |
| dewey-ones | 851 - Italian poetry |
| dewey-raw | 851.309 |
| dewey-search | 851.309 |
| dewey-sort | 3851.309 |
| dewey-tens | 850 - Italian, Romanian & related literatures |
| discipline | Romanistik |
| format | Electronic eBook |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>12458cam a2200613 i 4500</leader><controlfield tag="001">ZDB-4-EBA-on1285784923</controlfield><controlfield tag="003">OCoLC</controlfield><controlfield tag="005">20250103110447.0</controlfield><controlfield tag="006">m o d </controlfield><controlfield tag="007">cr cnu---unuuu</controlfield><controlfield tag="008">211120s2022 ne ob 001 0 eng d</controlfield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">EBLCP</subfield><subfield code="b">eng</subfield><subfield code="e">rda</subfield><subfield code="c">EBLCP</subfield><subfield code="d">JSTOR</subfield><subfield code="d">N$T</subfield><subfield code="d">EBLCP</subfield><subfield code="d">P@U</subfield><subfield code="d">YDXIT</subfield><subfield code="d">AFU</subfield><subfield code="d">OCLCF</subfield><subfield code="d">GZM</subfield><subfield code="d">CAMBR</subfield><subfield code="d">OCLCO</subfield><subfield code="d">SFB</subfield><subfield code="d">OCLCO</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">OCLCO</subfield><subfield code="d">OCLCL</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9789048552603</subfield><subfield code="q">(electronic bk.)</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9048552605</subfield><subfield code="q">(electronic bk.)</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1285784923</subfield></datafield><datafield tag="037" ind1=" " ind2=" "><subfield code="a">22573/ctv238b54b</subfield><subfield code="b">JSTOR</subfield></datafield><datafield tag="050" ind1=" " ind2="4"><subfield code="a">PQ4620</subfield><subfield code="b">.C69 2021</subfield></datafield><datafield tag="082" ind1="7" ind2=" "><subfield code="a">851.309</subfield><subfield code="2">23</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">IU 4387</subfield><subfield code="2">rvk</subfield><subfield code="0">(DE-625)rvk/68758:</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">MAIN</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Cox, Virginia,</subfield><subfield code="e">author.</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Vittoria Colonna :</subfield><subfield code="b">poetry, religion, art, impact /</subfield><subfield code="c">edited by Virginia Cox and Shannon McHugh</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Amsterdam :</subfield><subfield code="b">Amsterdam University Press,</subfield><subfield code="c">2022</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 online resource (408 pages).</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">computer</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">online resource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="490" ind1="1" ind2=" "><subfield code="a">Gendering the Late Medieval and Early Modern World</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Description based upon print version of record.</subfield></datafield><datafield tag="504" ind1=" " ind2=" "><subfield code="a">Includes bibliographical references and index.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">This edited collection presents fresh and original work on Vittoria Colonna, perhaps the outstanding female figure of the Italian Renaissance, a leading Petrarchist poet, and an important figure in the Italian Reform movement. Until recently best known for her close spiritual friendship with Michelangelo, she is increasingly recognized as a powerful and distinctive poetic voice, a cultural and religious icon, and an important literary model for both men and women. This volume comprises compelling new research by established and emerging scholars in the fields of literature, book history, religious history, and art history, including several studies of Colonna's influence during the Counter-Reformation, a period long neglected by Italian cultural historiography. The Colonna who emerges from this new reading is one who challenges traditional constructions of women's place in Italian literature; no mere imitator or follower, but an innovator and founder of schools in her own right.</subfield></datafield><datafield tag="588" ind1=" " ind2=" "><subfield code="a">Description based on online resource; title from digital title page (viewed on December 06, 2021).</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">Cover -- Table of Contents -- Acknowledgements -- Introduction: The Twenty-First Century Vittoria Colonna -- Virginia Cox -- Part 1: Literary and Spiritual Sociability -- 1. The D'Avalos-Colonna Literary Circle: A 'Renewed Parnassus' -- Shulamit Furstenberg-Levi -- 2. Late Love: Vittoria Colonna and Reginald Pole -- Ramie Targoff -- Part 2: Widowhood -- 3. Magistra apostolorum: The Virgin Mary in Birgitta of Sweden and Vittoria Colonna -- Unn Falkeid -- 4. Outdoing Colonna: Widowhood Poetry in the Late Cinquecento -- Anna Wainwright -- Part 3: Poetry -- 5. The Epistolary Vittoria -- Maria Serena Sapegno -- 6. 'Ex illo mea, mi Daniel, Victoria pendet': A Forgotten Spiritual Epigram by Vittoria Colonna -- Veronica Copello -- 7. Religious Desire in the Poetry of Vittoria Colonna: Insights into Early Modern Piety and Poetics -- Sarah Rolfe Prodan -- Part 4: Art -- 8. 'Inscribed Upon Their Hearts': Copying and the Dissemination of Devotion -- Jessica Maratsos -- 9. Titian, Colonna, and the Gender of Pictorial Devotion -- Christopher J. Nygren -- 10. 'A More Loving and Constant Heart': Vittoria Colonna, Alfonso d'Avalos, Michelangelo and the Complicated History of Pontormo's Noli me tangere -- Dennis Geronimus -- Part 5: Readership -- 11. 'Leading Others on the Road to Salvation': Vittoria Colonna and Her Readers -- Abigail Brundin -- 12. 'In Competition with and Perhaps More Felicitously Than Petrarch': The Canonization of Vittoria Colonna in Rinaldo Corso's Tutte le rime (1558) -- Humberto González Chávez -- Part 6: Impact -- 13. Colonna and Petrarch in the Rime of Lucia Colao -- Andrea Torre -- 14. 'I Take Thee': Vittoria Colonna, Conjugal Verse and Male poeti colonnesi -- Shannon McHugh -- 15. 'She Showed the World a Beacon of Female Worth': Vittoria Colonna in Arcadia -- Tatiana Crivelli -- Volume Bibliography.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Index of Citations of Colonna's Letters and Verse -- Thematic Index -- List of Illustrations -- Fig. 6.1. Vittoria Colonna, 'Response from the Divine Vittoria of the Aterno to Daniele Fini'. Spiritual epigram (I.437: 209r). Biblioteca Comunale Ariostea, Ferrara. -- Fig. 6.2. Vittoria Colonna, 'Response from the Divine Vittoria of the Aterno to Daniele Fini'. Spiritual epigram (I.437: 209v). Biblioteca Comunale Ariostea, Ferrara. -- Fig. 8.1. Michelangelo Buonarroti, Pietà, c. 1540, black chalk on paper, 11.38 in. × 7.44 in. (28.9 × 18.9 cm). Isabella Stewart Gardner Museum, Boston. -- Fig. 8.2. Copy after Michelangelo Buonarroti, Ganymede, sixteenth century, black chalk on off-white antique laid paper, wings of eagle incised with stylus and damaged, parts then retouched, 14.21 in. × 10.63 in. (36.1 × 27 cm). Harvard Art Museums/Fogg Mu -- Fig. 8.3. Giovanni Bernardi (copy after Michelangelo Buonarroti), The Rape of Ganymede, 1532 or after, bronze, 2.63 in. × 3.56 in. (6.7 × 9 cm). National Gallery of Art, Samuel H. Kress Collection, Washington, D.C. -- Fig. 8.4. After Donatello, Madonna and Child before a Niche, mid-fifteenth century, bronze, 3.94 in. × 3.06.in. (10 × 7.9 cm). National Gallery of Art, Widener Collection, Washington, D.C. -- Fig. 8.5. Follower of Michelangelo Buonarroti, Pietà, mid-sixteenth century, gilt bronze, 6.62 in. × 4.5 in. (16.8 × 11.4 cm). The Metropolitan Museum of Art, Bequest of Henry Victor Burgy, 1901, New York. -- Fig. 8.6. Central or Northern Italian, Pax with Pietà, c. 1575, gilded bronze, 7.19 in. × 4.94 in. × 2.81 in. (18.3 × 12.6 × 7.1 cm). National Gallery of Art, Gift of Claire, Monica and Antonia Geber in memory of their parents, Anthony and Margaret Mary G -- Fig. 8.7. Handle affixed to back of Figure 8.5.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Fig. 8.8. Paduan, Christ's Body Held by Two Angels, fifteenth century, silvered bronze, 3.94 in. × 3.38 in. (10 × 8.6 cm). National Gallery of Art, Widener Collection, Washington, D.C. -- Fig. 8.9. Albrecht Dürer, The Mass of Saint Gregory, 1511, woodcut, 11.56 in. × 8.12 in. (29.4 × 20.6 cm). The Metropolitan Museum of Art, Anonymous Gift, 1917, New York. -- Fig. 8.10. Marcantonio Raimondi after Michelangelo Buonarroti, Naked Man Viewed from Behind Climbing a River Bank, c. 1509, engraving, 8.25 in. × 5.38 in. (20.9 × 13.7 cm). The Metropolitan Museum of Art, Anonymous Gift, 1929, New York. -- Fig. 8.11. Nicolas Beatrizet after Michelangelo Buonarroti, Pietà, 1547, engraving, 14.75 in. × 10.31 in. (37.5 × 26.2 cm). The Metropolitan Museum of Art, Rogers Fund, 1966, New York. -- Fig. 9.1. Titian, Penitent Magdalene, c. 1531, oil on wood panel. Galleria Palatina di Palazzo Pitti, Florence. -- Fig. 9.2. Antonio Allegri (called Correggio), Ecce Homo with Pilate and Virgin Mary Fainting, c. 1525-30, oil on panel, 99 × 80 cm. The National Gallery, London. -- Fig. 9.3. Lorenzo Lotto, Saint Catherine, 1522, oil on panel. National Gallery of Art, Washington, D.C. -- Fig. 9.4. Titian, Judith / Salome, c. 1516, oil on canvas. Galleria Doria Pamphilj, Rome. -- Fig. 9.5. Nicolò de' Barbari, Christ and the Adulteress, c. 1505, oil on panel. Museo di Palazzo Venezia, Rome. -- Fig. 9.6. Titian, Christ and the Adulteress, c. 1513, oil on canvas. Kunsthistorisches Museum, Vienna. -- Fig. 9.7. Titian, Penitent Magdalene, c. 1565, oil on canvas. Hermitage Museum, St Petersburg. -- Fig. 9.8. Anonymous, Floor tile depicting the Cruelty of Love, c. 1470, tin-glazed maiolica. Galleria Nazionale, Parma.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Fig. 10.1. Rime spirituali, MS containing 103 of her religious sonnets, gifted by Colonna to Michelangelo in 1540-41. Vatican City, Biblioteca Apostolica Vaticana, MS Vat. lat. 11539. -- Fig. 10.2. Jacopo da Pontormo (designed by Michelangelo Buonarroti), Noli me tangere, 1531-32, oil on panel, 124 × 95 cm. Private collection, Busto Arsizio, Varese, Lombardy. -- Fig. 10.3. Agnolo Bronzino (attrib. to) (copy after Michelangelo-Pontormo), Noli me tangere, post-1532, oil on panel, 172 × 134 cm. Casa Buonarroti, Florence. -- Fig. 10.4. Lavinia Fontana, Noli me tangere, 1581, oil on canvas, 80 × 65.5 cm. Galleria degli Uffizi, Florence. -- Fig. 10.5. Fra Angelico, Noli me tangere, c. 1438-40, fresco. Cell 1, Convent of San Marco, Florence. -- Fig. 10.6. Spanish, Plaque with the Journey to Emmaus and the Noli me tangere, c. 1115-20, ivory, overall: 27 × 13.4 × 1.9 cm. The Metropolitan Museum of Art, New York. -- Fig. 10.7. Hans Holbein the Younger, Noli me tangere, 1526-28, oil on panel, 76.7 × 95.8 cm. Queen's Drawing Room, Windsor Castle, Royal Collection Trust. -- Fig. 10.8. Jacopo da Pontormo, Venus Kissed by Cupid, 1532-34, oil on panel, 128 × 194 cm. Galleria dell'Accademia, Florence. -- Fig. 10.9. Michelangelo, Study for the Risen Christ, 1532, red chalk on paper, 23.5 × 8.2 cm. Casa Buonarroti, Florence. -- Fig. 10.10. Michelangelo, Study for the Risen Christ, 1532, red chalk on paper, 14.8 × 23.7 cm. Casa Buonarroti, Florence. -- Fig. 10.11. Jacopo da Pontormo, Adoration of the Magi, c. 1519-23, oil on panel, 85 × 191 cm. Galleria Palatina, Palazzo Pitti, Florence. -- Fig. 10.12. Michelangelo, Entombment, 1500-1, oil on panel, 161.7 × 149.9 cm. The National Gallery, London. -- Fig. 10.13. Agnolo Bronzino, Noli me tangere, 1561, oil on panel, 289 × 194 cm. Musée du Louvre, Paris.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Fig. 10.14. Alessandro Allori, Noli me tangere, early 1560s-early 1570s, oil on copper, 36.5 × 31.4 cm. Sold, Christie's, New York, 26 January 2012. -- Fig. 10.15. Nicolas Beatrizet (after Michelangelo), Christ and the Samaritan Woman at the Well, c. 1546, engraving, 38.8 × 28.7 cm. British Museum, London. -- Fig. 10.16. Michelangelo, Christ and the Samaritan Woman at the Well, c. 1542, black chalk on paper, 46.7 × 33. 7 cm. Private collection. -- Fig. 10.17. Master of the Saint Ursula Legend (central panel, The Sudarium borne by angels) and Filippino Lippi (wings, showing Christ and the Samaritan Woman and the Noli me tangere), Del Pugliese Triptych, 1490-1500, oil on panel, central panel: 49.5 × -- Fig. 10.18. Cima da Conegliano, Doubting of Saint Thomas with Bishop Magno, 1505, oil on panel, 215 × 151 cm. Gallerie dell'Academia, Venice. -- Fig. 10.19. Cristofano Allori, The Penitent Magdalene Lying in a Landscape, c. 1600, oil on copper, 29.6 × 43 cm. Galleria Palatina, Palazzo Pitti, Florence. -- Fig. 10.20. Jacopo da Pontormo (designed by Michelangelo Buonarroti), Detail, Noli me tangere, 1531-32, oil on panel, 124 × 95 cm. Private collection, Busto Arsizio, Varese, Lombardy. -- Fig. 10.21. Lucas van Leyden, Noli me tangere, 1519, etching, 13.2 × 16.8 cm. Albertina, Vienna. -- Fig. 10.22. Skull of Mary Magdalene, discovered in 1200s, inset into reliquary. Basilica of Saint Maximin-la-Sainte-Baume, Provence, France. -- Fig. 11.1. Giovanbattista Vitale, Rime spirituali di diversi eccellenti poeti toscani. Naples, Horatio Salviani, 1574. Page view with thematic annotation. 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| genre | e-books. aat Criticism, interpretation, etc. fast Livres numériques. rvmgf |
| genre_facet | e-books. Criticism, interpretation, etc. Livres numériques. |
| id | ZDB-4-EBA-on1285784923 |
| illustrated | Not Illustrated |
| indexdate | 2025-04-11T08:47:49Z |
| institution | BVB |
| isbn | 9789048552603 9048552605 |
| language | English |
| oclc_num | 1285784923 |
| open_access_boolean | |
| owner | MAIN DE-862 DE-BY-FWS DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-862 DE-BY-FWS DE-863 DE-BY-FWS |
| physical | 1 online resource (408 pages). |
| psigel | ZDB-4-EBA FWS_PDA_EBA ZDB-4-EBA |
| publishDate | 2022 |
| publishDateSearch | 2022 |
| publishDateSort | 2022 |
| publisher | Amsterdam University Press, |
| record_format | marc |
| series | Gendering the late medieval and early modern world. |
| series2 | Gendering the Late Medieval and Early Modern World |
| spelling | Cox, Virginia, author. Vittoria Colonna : poetry, religion, art, impact / edited by Virginia Cox and Shannon McHugh Amsterdam : Amsterdam University Press, 2022 1 online resource (408 pages). text txt rdacontent computer c rdamedia online resource cr rdacarrier Gendering the Late Medieval and Early Modern World Description based upon print version of record. Includes bibliographical references and index. This edited collection presents fresh and original work on Vittoria Colonna, perhaps the outstanding female figure of the Italian Renaissance, a leading Petrarchist poet, and an important figure in the Italian Reform movement. Until recently best known for her close spiritual friendship with Michelangelo, she is increasingly recognized as a powerful and distinctive poetic voice, a cultural and religious icon, and an important literary model for both men and women. This volume comprises compelling new research by established and emerging scholars in the fields of literature, book history, religious history, and art history, including several studies of Colonna's influence during the Counter-Reformation, a period long neglected by Italian cultural historiography. The Colonna who emerges from this new reading is one who challenges traditional constructions of women's place in Italian literature; no mere imitator or follower, but an innovator and founder of schools in her own right. Description based on online resource; title from digital title page (viewed on December 06, 2021). Cover -- Table of Contents -- Acknowledgements -- Introduction: The Twenty-First Century Vittoria Colonna -- Virginia Cox -- Part 1: Literary and Spiritual Sociability -- 1. The D'Avalos-Colonna Literary Circle: A 'Renewed Parnassus' -- Shulamit Furstenberg-Levi -- 2. Late Love: Vittoria Colonna and Reginald Pole -- Ramie Targoff -- Part 2: Widowhood -- 3. Magistra apostolorum: The Virgin Mary in Birgitta of Sweden and Vittoria Colonna -- Unn Falkeid -- 4. Outdoing Colonna: Widowhood Poetry in the Late Cinquecento -- Anna Wainwright -- Part 3: Poetry -- 5. The Epistolary Vittoria -- Maria Serena Sapegno -- 6. 'Ex illo mea, mi Daniel, Victoria pendet': A Forgotten Spiritual Epigram by Vittoria Colonna -- Veronica Copello -- 7. Religious Desire in the Poetry of Vittoria Colonna: Insights into Early Modern Piety and Poetics -- Sarah Rolfe Prodan -- Part 4: Art -- 8. 'Inscribed Upon Their Hearts': Copying and the Dissemination of Devotion -- Jessica Maratsos -- 9. Titian, Colonna, and the Gender of Pictorial Devotion -- Christopher J. Nygren -- 10. 'A More Loving and Constant Heart': Vittoria Colonna, Alfonso d'Avalos, Michelangelo and the Complicated History of Pontormo's Noli me tangere -- Dennis Geronimus -- Part 5: Readership -- 11. 'Leading Others on the Road to Salvation': Vittoria Colonna and Her Readers -- Abigail Brundin -- 12. 'In Competition with and Perhaps More Felicitously Than Petrarch': The Canonization of Vittoria Colonna in Rinaldo Corso's Tutte le rime (1558) -- Humberto González Chávez -- Part 6: Impact -- 13. Colonna and Petrarch in the Rime of Lucia Colao -- Andrea Torre -- 14. 'I Take Thee': Vittoria Colonna, Conjugal Verse and Male poeti colonnesi -- Shannon McHugh -- 15. 'She Showed the World a Beacon of Female Worth': Vittoria Colonna in Arcadia -- Tatiana Crivelli -- Volume Bibliography. Index of Citations of Colonna's Letters and Verse -- Thematic Index -- List of Illustrations -- Fig. 6.1. Vittoria Colonna, 'Response from the Divine Vittoria of the Aterno to Daniele Fini'. Spiritual epigram (I.437: 209r). Biblioteca Comunale Ariostea, Ferrara. -- Fig. 6.2. Vittoria Colonna, 'Response from the Divine Vittoria of the Aterno to Daniele Fini'. Spiritual epigram (I.437: 209v). Biblioteca Comunale Ariostea, Ferrara. -- Fig. 8.1. Michelangelo Buonarroti, Pietà, c. 1540, black chalk on paper, 11.38 in. × 7.44 in. (28.9 × 18.9 cm). Isabella Stewart Gardner Museum, Boston. -- Fig. 8.2. Copy after Michelangelo Buonarroti, Ganymede, sixteenth century, black chalk on off-white antique laid paper, wings of eagle incised with stylus and damaged, parts then retouched, 14.21 in. × 10.63 in. (36.1 × 27 cm). Harvard Art Museums/Fogg Mu -- Fig. 8.3. Giovanni Bernardi (copy after Michelangelo Buonarroti), The Rape of Ganymede, 1532 or after, bronze, 2.63 in. × 3.56 in. (6.7 × 9 cm). National Gallery of Art, Samuel H. Kress Collection, Washington, D.C. -- Fig. 8.4. After Donatello, Madonna and Child before a Niche, mid-fifteenth century, bronze, 3.94 in. × 3.06.in. (10 × 7.9 cm). National Gallery of Art, Widener Collection, Washington, D.C. -- Fig. 8.5. Follower of Michelangelo Buonarroti, Pietà, mid-sixteenth century, gilt bronze, 6.62 in. × 4.5 in. (16.8 × 11.4 cm). The Metropolitan Museum of Art, Bequest of Henry Victor Burgy, 1901, New York. -- Fig. 8.6. Central or Northern Italian, Pax with Pietà, c. 1575, gilded bronze, 7.19 in. × 4.94 in. × 2.81 in. (18.3 × 12.6 × 7.1 cm). National Gallery of Art, Gift of Claire, Monica and Antonia Geber in memory of their parents, Anthony and Margaret Mary G -- Fig. 8.7. Handle affixed to back of Figure 8.5. Fig. 8.8. Paduan, Christ's Body Held by Two Angels, fifteenth century, silvered bronze, 3.94 in. × 3.38 in. (10 × 8.6 cm). National Gallery of Art, Widener Collection, Washington, D.C. -- Fig. 8.9. Albrecht Dürer, The Mass of Saint Gregory, 1511, woodcut, 11.56 in. × 8.12 in. (29.4 × 20.6 cm). The Metropolitan Museum of Art, Anonymous Gift, 1917, New York. -- Fig. 8.10. Marcantonio Raimondi after Michelangelo Buonarroti, Naked Man Viewed from Behind Climbing a River Bank, c. 1509, engraving, 8.25 in. × 5.38 in. (20.9 × 13.7 cm). The Metropolitan Museum of Art, Anonymous Gift, 1929, New York. -- Fig. 8.11. Nicolas Beatrizet after Michelangelo Buonarroti, Pietà, 1547, engraving, 14.75 in. × 10.31 in. (37.5 × 26.2 cm). The Metropolitan Museum of Art, Rogers Fund, 1966, New York. -- Fig. 9.1. Titian, Penitent Magdalene, c. 1531, oil on wood panel. Galleria Palatina di Palazzo Pitti, Florence. -- Fig. 9.2. Antonio Allegri (called Correggio), Ecce Homo with Pilate and Virgin Mary Fainting, c. 1525-30, oil on panel, 99 × 80 cm. The National Gallery, London. -- Fig. 9.3. Lorenzo Lotto, Saint Catherine, 1522, oil on panel. National Gallery of Art, Washington, D.C. -- Fig. 9.4. Titian, Judith / Salome, c. 1516, oil on canvas. Galleria Doria Pamphilj, Rome. -- Fig. 9.5. Nicolò de' Barbari, Christ and the Adulteress, c. 1505, oil on panel. Museo di Palazzo Venezia, Rome. -- Fig. 9.6. Titian, Christ and the Adulteress, c. 1513, oil on canvas. Kunsthistorisches Museum, Vienna. -- Fig. 9.7. Titian, Penitent Magdalene, c. 1565, oil on canvas. Hermitage Museum, St Petersburg. -- Fig. 9.8. Anonymous, Floor tile depicting the Cruelty of Love, c. 1470, tin-glazed maiolica. Galleria Nazionale, Parma. Fig. 10.1. Rime spirituali, MS containing 103 of her religious sonnets, gifted by Colonna to Michelangelo in 1540-41. Vatican City, Biblioteca Apostolica Vaticana, MS Vat. lat. 11539. -- Fig. 10.2. Jacopo da Pontormo (designed by Michelangelo Buonarroti), Noli me tangere, 1531-32, oil on panel, 124 × 95 cm. Private collection, Busto Arsizio, Varese, Lombardy. -- Fig. 10.3. Agnolo Bronzino (attrib. to) (copy after Michelangelo-Pontormo), Noli me tangere, post-1532, oil on panel, 172 × 134 cm. Casa Buonarroti, Florence. -- Fig. 10.4. Lavinia Fontana, Noli me tangere, 1581, oil on canvas, 80 × 65.5 cm. Galleria degli Uffizi, Florence. -- Fig. 10.5. Fra Angelico, Noli me tangere, c. 1438-40, fresco. Cell 1, Convent of San Marco, Florence. -- Fig. 10.6. Spanish, Plaque with the Journey to Emmaus and the Noli me tangere, c. 1115-20, ivory, overall: 27 × 13.4 × 1.9 cm. The Metropolitan Museum of Art, New York. -- Fig. 10.7. Hans Holbein the Younger, Noli me tangere, 1526-28, oil on panel, 76.7 × 95.8 cm. Queen's Drawing Room, Windsor Castle, Royal Collection Trust. -- Fig. 10.8. Jacopo da Pontormo, Venus Kissed by Cupid, 1532-34, oil on panel, 128 × 194 cm. Galleria dell'Accademia, Florence. -- Fig. 10.9. Michelangelo, Study for the Risen Christ, 1532, red chalk on paper, 23.5 × 8.2 cm. Casa Buonarroti, Florence. -- Fig. 10.10. Michelangelo, Study for the Risen Christ, 1532, red chalk on paper, 14.8 × 23.7 cm. Casa Buonarroti, Florence. -- Fig. 10.11. Jacopo da Pontormo, Adoration of the Magi, c. 1519-23, oil on panel, 85 × 191 cm. Galleria Palatina, Palazzo Pitti, Florence. -- Fig. 10.12. Michelangelo, Entombment, 1500-1, oil on panel, 161.7 × 149.9 cm. The National Gallery, London. -- Fig. 10.13. Agnolo Bronzino, Noli me tangere, 1561, oil on panel, 289 × 194 cm. Musée du Louvre, Paris. Fig. 10.14. Alessandro Allori, Noli me tangere, early 1560s-early 1570s, oil on copper, 36.5 × 31.4 cm. Sold, Christie's, New York, 26 January 2012. -- Fig. 10.15. Nicolas Beatrizet (after Michelangelo), Christ and the Samaritan Woman at the Well, c. 1546, engraving, 38.8 × 28.7 cm. British Museum, London. -- Fig. 10.16. Michelangelo, Christ and the Samaritan Woman at the Well, c. 1542, black chalk on paper, 46.7 × 33. 7 cm. Private collection. -- Fig. 10.17. Master of the Saint Ursula Legend (central panel, The Sudarium borne by angels) and Filippino Lippi (wings, showing Christ and the Samaritan Woman and the Noli me tangere), Del Pugliese Triptych, 1490-1500, oil on panel, central panel: 49.5 × -- Fig. 10.18. Cima da Conegliano, Doubting of Saint Thomas with Bishop Magno, 1505, oil on panel, 215 × 151 cm. Gallerie dell'Academia, Venice. -- Fig. 10.19. Cristofano Allori, The Penitent Magdalene Lying in a Landscape, c. 1600, oil on copper, 29.6 × 43 cm. Galleria Palatina, Palazzo Pitti, Florence. -- Fig. 10.20. Jacopo da Pontormo (designed by Michelangelo Buonarroti), Detail, Noli me tangere, 1531-32, oil on panel, 124 × 95 cm. Private collection, Busto Arsizio, Varese, Lombardy. -- Fig. 10.21. Lucas van Leyden, Noli me tangere, 1519, etching, 13.2 × 16.8 cm. Albertina, Vienna. -- Fig. 10.22. Skull of Mary Magdalene, discovered in 1200s, inset into reliquary. Basilica of Saint Maximin-la-Sainte-Baume, Provence, France. -- Fig. 11.1. Giovanbattista Vitale, Rime spirituali di diversi eccellenti poeti toscani. Naples, Horatio Salviani, 1574. Page view with thematic annotation. Case Y 7184 7465, Newberry Library, Chicago. Colonna, Vittoria, 1492-1547 Criticism and interpretation. Colonna, Vittoria, 1492-1547 Influence. Colonna, Vittoria, 1492-1547 fast https://id.oclc.org/worldcat/entity/E39PBJcBYKv96PWdPDCYvkH6Kd HISTORY / Renaissance. bisacsh Influence (Literary, artistic, etc.) fast e-books. aat Criticism, interpretation, etc. fast Livres numériques. rvmgf McHugh, Shannon. has work: Vittoria Colonna (Text) https://id.oclc.org/worldcat/entity/E39PCFHqCVcv7Vt7J3WBxBfC8K https://id.oclc.org/worldcat/ontology/hasWork Print version: Cox, Virginia Vittoria Colonna Amsterdam : Amsterdam University Press,c2021 Gendering the late medieval and early modern world. http://id.loc.gov/authorities/names/no2018113650 |
| spellingShingle | Cox, Virginia Vittoria Colonna : poetry, religion, art, impact / Gendering the late medieval and early modern world. Cover -- Table of Contents -- Acknowledgements -- Introduction: The Twenty-First Century Vittoria Colonna -- Virginia Cox -- Part 1: Literary and Spiritual Sociability -- 1. The D'Avalos-Colonna Literary Circle: A 'Renewed Parnassus' -- Shulamit Furstenberg-Levi -- 2. Late Love: Vittoria Colonna and Reginald Pole -- Ramie Targoff -- Part 2: Widowhood -- 3. Magistra apostolorum: The Virgin Mary in Birgitta of Sweden and Vittoria Colonna -- Unn Falkeid -- 4. Outdoing Colonna: Widowhood Poetry in the Late Cinquecento -- Anna Wainwright -- Part 3: Poetry -- 5. The Epistolary Vittoria -- Maria Serena Sapegno -- 6. 'Ex illo mea, mi Daniel, Victoria pendet': A Forgotten Spiritual Epigram by Vittoria Colonna -- Veronica Copello -- 7. Religious Desire in the Poetry of Vittoria Colonna: Insights into Early Modern Piety and Poetics -- Sarah Rolfe Prodan -- Part 4: Art -- 8. 'Inscribed Upon Their Hearts': Copying and the Dissemination of Devotion -- Jessica Maratsos -- 9. Titian, Colonna, and the Gender of Pictorial Devotion -- Christopher J. Nygren -- 10. 'A More Loving and Constant Heart': Vittoria Colonna, Alfonso d'Avalos, Michelangelo and the Complicated History of Pontormo's Noli me tangere -- Dennis Geronimus -- Part 5: Readership -- 11. 'Leading Others on the Road to Salvation': Vittoria Colonna and Her Readers -- Abigail Brundin -- 12. 'In Competition with and Perhaps More Felicitously Than Petrarch': The Canonization of Vittoria Colonna in Rinaldo Corso's Tutte le rime (1558) -- Humberto González Chávez -- Part 6: Impact -- 13. Colonna and Petrarch in the Rime of Lucia Colao -- Andrea Torre -- 14. 'I Take Thee': Vittoria Colonna, Conjugal Verse and Male poeti colonnesi -- Shannon McHugh -- 15. 'She Showed the World a Beacon of Female Worth': Vittoria Colonna in Arcadia -- Tatiana Crivelli -- Volume Bibliography. Index of Citations of Colonna's Letters and Verse -- Thematic Index -- List of Illustrations -- Fig. 6.1. Vittoria Colonna, 'Response from the Divine Vittoria of the Aterno to Daniele Fini'. Spiritual epigram (I.437: 209r). Biblioteca Comunale Ariostea, Ferrara. -- Fig. 6.2. Vittoria Colonna, 'Response from the Divine Vittoria of the Aterno to Daniele Fini'. Spiritual epigram (I.437: 209v). Biblioteca Comunale Ariostea, Ferrara. -- Fig. 8.1. Michelangelo Buonarroti, Pietà, c. 1540, black chalk on paper, 11.38 in. × 7.44 in. (28.9 × 18.9 cm). Isabella Stewart Gardner Museum, Boston. -- Fig. 8.2. Copy after Michelangelo Buonarroti, Ganymede, sixteenth century, black chalk on off-white antique laid paper, wings of eagle incised with stylus and damaged, parts then retouched, 14.21 in. × 10.63 in. (36.1 × 27 cm). Harvard Art Museums/Fogg Mu -- Fig. 8.3. Giovanni Bernardi (copy after Michelangelo Buonarroti), The Rape of Ganymede, 1532 or after, bronze, 2.63 in. × 3.56 in. (6.7 × 9 cm). National Gallery of Art, Samuel H. Kress Collection, Washington, D.C. -- Fig. 8.4. After Donatello, Madonna and Child before a Niche, mid-fifteenth century, bronze, 3.94 in. × 3.06.in. (10 × 7.9 cm). National Gallery of Art, Widener Collection, Washington, D.C. -- Fig. 8.5. Follower of Michelangelo Buonarroti, Pietà, mid-sixteenth century, gilt bronze, 6.62 in. × 4.5 in. (16.8 × 11.4 cm). The Metropolitan Museum of Art, Bequest of Henry Victor Burgy, 1901, New York. -- Fig. 8.6. Central or Northern Italian, Pax with Pietà, c. 1575, gilded bronze, 7.19 in. × 4.94 in. × 2.81 in. (18.3 × 12.6 × 7.1 cm). National Gallery of Art, Gift of Claire, Monica and Antonia Geber in memory of their parents, Anthony and Margaret Mary G -- Fig. 8.7. Handle affixed to back of Figure 8.5. Fig. 8.8. Paduan, Christ's Body Held by Two Angels, fifteenth century, silvered bronze, 3.94 in. × 3.38 in. (10 × 8.6 cm). National Gallery of Art, Widener Collection, Washington, D.C. -- Fig. 8.9. Albrecht Dürer, The Mass of Saint Gregory, 1511, woodcut, 11.56 in. × 8.12 in. (29.4 × 20.6 cm). The Metropolitan Museum of Art, Anonymous Gift, 1917, New York. -- Fig. 8.10. Marcantonio Raimondi after Michelangelo Buonarroti, Naked Man Viewed from Behind Climbing a River Bank, c. 1509, engraving, 8.25 in. × 5.38 in. (20.9 × 13.7 cm). The Metropolitan Museum of Art, Anonymous Gift, 1929, New York. -- Fig. 8.11. Nicolas Beatrizet after Michelangelo Buonarroti, Pietà, 1547, engraving, 14.75 in. × 10.31 in. (37.5 × 26.2 cm). The Metropolitan Museum of Art, Rogers Fund, 1966, New York. -- Fig. 9.1. Titian, Penitent Magdalene, c. 1531, oil on wood panel. Galleria Palatina di Palazzo Pitti, Florence. -- Fig. 9.2. Antonio Allegri (called Correggio), Ecce Homo with Pilate and Virgin Mary Fainting, c. 1525-30, oil on panel, 99 × 80 cm. The National Gallery, London. -- Fig. 9.3. Lorenzo Lotto, Saint Catherine, 1522, oil on panel. National Gallery of Art, Washington, D.C. -- Fig. 9.4. Titian, Judith / Salome, c. 1516, oil on canvas. Galleria Doria Pamphilj, Rome. -- Fig. 9.5. Nicolò de' Barbari, Christ and the Adulteress, c. 1505, oil on panel. Museo di Palazzo Venezia, Rome. -- Fig. 9.6. Titian, Christ and the Adulteress, c. 1513, oil on canvas. Kunsthistorisches Museum, Vienna. -- Fig. 9.7. Titian, Penitent Magdalene, c. 1565, oil on canvas. Hermitage Museum, St Petersburg. -- Fig. 9.8. Anonymous, Floor tile depicting the Cruelty of Love, c. 1470, tin-glazed maiolica. Galleria Nazionale, Parma. Fig. 10.1. Rime spirituali, MS containing 103 of her religious sonnets, gifted by Colonna to Michelangelo in 1540-41. Vatican City, Biblioteca Apostolica Vaticana, MS Vat. lat. 11539. -- Fig. 10.2. Jacopo da Pontormo (designed by Michelangelo Buonarroti), Noli me tangere, 1531-32, oil on panel, 124 × 95 cm. Private collection, Busto Arsizio, Varese, Lombardy. -- Fig. 10.3. Agnolo Bronzino (attrib. to) (copy after Michelangelo-Pontormo), Noli me tangere, post-1532, oil on panel, 172 × 134 cm. Casa Buonarroti, Florence. -- Fig. 10.4. Lavinia Fontana, Noli me tangere, 1581, oil on canvas, 80 × 65.5 cm. Galleria degli Uffizi, Florence. -- Fig. 10.5. Fra Angelico, Noli me tangere, c. 1438-40, fresco. Cell 1, Convent of San Marco, Florence. -- Fig. 10.6. Spanish, Plaque with the Journey to Emmaus and the Noli me tangere, c. 1115-20, ivory, overall: 27 × 13.4 × 1.9 cm. The Metropolitan Museum of Art, New York. -- Fig. 10.7. Hans Holbein the Younger, Noli me tangere, 1526-28, oil on panel, 76.7 × 95.8 cm. Queen's Drawing Room, Windsor Castle, Royal Collection Trust. -- Fig. 10.8. Jacopo da Pontormo, Venus Kissed by Cupid, 1532-34, oil on panel, 128 × 194 cm. Galleria dell'Accademia, Florence. -- Fig. 10.9. Michelangelo, Study for the Risen Christ, 1532, red chalk on paper, 23.5 × 8.2 cm. Casa Buonarroti, Florence. -- Fig. 10.10. Michelangelo, Study for the Risen Christ, 1532, red chalk on paper, 14.8 × 23.7 cm. Casa Buonarroti, Florence. -- Fig. 10.11. Jacopo da Pontormo, Adoration of the Magi, c. 1519-23, oil on panel, 85 × 191 cm. Galleria Palatina, Palazzo Pitti, Florence. -- Fig. 10.12. Michelangelo, Entombment, 1500-1, oil on panel, 161.7 × 149.9 cm. The National Gallery, London. -- Fig. 10.13. Agnolo Bronzino, Noli me tangere, 1561, oil on panel, 289 × 194 cm. Musée du Louvre, Paris. Fig. 10.14. Alessandro Allori, Noli me tangere, early 1560s-early 1570s, oil on copper, 36.5 × 31.4 cm. Sold, Christie's, New York, 26 January 2012. -- Fig. 10.15. Nicolas Beatrizet (after Michelangelo), Christ and the Samaritan Woman at the Well, c. 1546, engraving, 38.8 × 28.7 cm. British Museum, London. -- Fig. 10.16. Michelangelo, Christ and the Samaritan Woman at the Well, c. 1542, black chalk on paper, 46.7 × 33. 7 cm. Private collection. -- Fig. 10.17. Master of the Saint Ursula Legend (central panel, The Sudarium borne by angels) and Filippino Lippi (wings, showing Christ and the Samaritan Woman and the Noli me tangere), Del Pugliese Triptych, 1490-1500, oil on panel, central panel: 49.5 × -- Fig. 10.18. Cima da Conegliano, Doubting of Saint Thomas with Bishop Magno, 1505, oil on panel, 215 × 151 cm. Gallerie dell'Academia, Venice. -- Fig. 10.19. Cristofano Allori, The Penitent Magdalene Lying in a Landscape, c. 1600, oil on copper, 29.6 × 43 cm. Galleria Palatina, Palazzo Pitti, Florence. -- Fig. 10.20. Jacopo da Pontormo (designed by Michelangelo Buonarroti), Detail, Noli me tangere, 1531-32, oil on panel, 124 × 95 cm. Private collection, Busto Arsizio, Varese, Lombardy. -- Fig. 10.21. Lucas van Leyden, Noli me tangere, 1519, etching, 13.2 × 16.8 cm. Albertina, Vienna. -- Fig. 10.22. Skull of Mary Magdalene, discovered in 1200s, inset into reliquary. Basilica of Saint Maximin-la-Sainte-Baume, Provence, France. -- Fig. 11.1. Giovanbattista Vitale, Rime spirituali di diversi eccellenti poeti toscani. Naples, Horatio Salviani, 1574. Page view with thematic annotation. Case Y 7184 7465, Newberry Library, Chicago. Colonna, Vittoria, 1492-1547 Criticism and interpretation. Colonna, Vittoria, 1492-1547 Influence. Colonna, Vittoria, 1492-1547 fast https://id.oclc.org/worldcat/entity/E39PBJcBYKv96PWdPDCYvkH6Kd HISTORY / Renaissance. bisacsh Influence (Literary, artistic, etc.) fast |
| title | Vittoria Colonna : poetry, religion, art, impact / |
| title_auth | Vittoria Colonna : poetry, religion, art, impact / |
| title_exact_search | Vittoria Colonna : poetry, religion, art, impact / |
| title_full | Vittoria Colonna : poetry, religion, art, impact / edited by Virginia Cox and Shannon McHugh |
| title_fullStr | Vittoria Colonna : poetry, religion, art, impact / edited by Virginia Cox and Shannon McHugh |
| title_full_unstemmed | Vittoria Colonna : poetry, religion, art, impact / edited by Virginia Cox and Shannon McHugh |
| title_short | Vittoria Colonna : |
| title_sort | vittoria colonna poetry religion art impact |
| title_sub | poetry, religion, art, impact / |
| topic | Colonna, Vittoria, 1492-1547 Criticism and interpretation. Colonna, Vittoria, 1492-1547 Influence. Colonna, Vittoria, 1492-1547 fast https://id.oclc.org/worldcat/entity/E39PBJcBYKv96PWdPDCYvkH6Kd HISTORY / Renaissance. bisacsh Influence (Literary, artistic, etc.) fast |
| topic_facet | Colonna, Vittoria, 1492-1547 Criticism and interpretation. Colonna, Vittoria, 1492-1547 Influence. Colonna, Vittoria, 1492-1547 HISTORY / Renaissance. Influence (Literary, artistic, etc.) e-books. Criticism, interpretation, etc. Livres numériques. |
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