The Performance of Sculpture in Renaissance Venice
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This study reveals the broad material, devotional, and cultural implications of sculpture in Renaissance Venice. Examining a wide range of sources―the era’s art-theoretical and devotional literature, guidebooks and travel diaries, and artworks in various media―Lorenzo Buonanno recovers the sculptural values permeating a city most famous for its painting. The book traces the interconnected phenomena of audience response, display and thematization of sculptural bravura, and artistic self-fashioning. It will be of interest to scholars working in art history, Renaissance history, early modern art and architecture, material culture, and Italian studies. Cover Half Title Series Title Copyright Dedication Table of Contents List of Illustrations Acknowledgments Abbreviations and Notes for the Reader Introduction I.1 Sculpture and Performance in Venice I.2. New Sculptors, New Styles, and New Objects 1 Stone Mediators 1.1 Collaboration, Comparison, and Competition 1.2 Sculpture at the Altar 1.3 Emanation and Emulation 1.4 The Chapel as Performance 2 Dreamworlds and Studioli 2.1 Sculptures Real and Imagined: The Veneto and the Hypnerotomachia Poliphili 2.2 Touching Sculptures 2.3 A More Vivid Facture 2.4 From the Dreamworld to the Study 3 Making and Breaking 3.1 Letter, Anecdote, and Evidence 3.2 Staging the First Parents 3.3 Competition Materialized 3.4 Metaphors of Sculpture and Sin 4 Signed in Stone 4.1 Pietro Lombardo’s Example 4.2 Signature and Medium: Leopardi and Pyrgoteles 4.3 Signature and Medium: Tullio Lombardo 4.4 Decorum, Design, and Invention Bibliography Index
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