Creating the "Divine" Artist: From Dante to Michelangelo
Biographical note
Patricia Emison, Ph.D. (1985) in the History of Art, Columbia University, is Professor at the University of New Hampshire. She specializes in the history of Italian Renaissance prints and is the author of Low and High Style in Italian Renaissance Art (Garland, 1997).
Readership
All those interested in the Renaissance, in the history of reputation, and in theories of creativity.
Reviews
'...an extemely rich and informative account...'
David Hemsoll, JEMH, 2005.
'This is surely one of the most stimulating books on Renaissance art history written in recent years…'
Robert W. Gaston, Renaissance Quarterly.
'This is a big book – an ambitious, wide-ranging, spirited, learned, and expansive book. It will be of interest to those scholars of Italian Renaissance art especially concerned with the emergence of the modern idea of the artist...a rich weave of intellectual history...The virtue of Emison's bountiful book is that it both consolidates and broadens our view of the modern idea of the "divine" artist. Her stimulating work now puts us in an excellent position, however, to turn our attention more fully to the partially acknowledged but still far too negelected role of theology in shaping Renaissance ideas about the "divine" artist.'
Paul Barolsky, CAA Reviews, 2004.
Well versed in cinquecento literary and musical theory as well as the visual arts, Emison has written a work that is wide-ranging, imaginative, graceful, and citation-rich. From cover to binding, the book is also beautifully produced, with dozens of seldom-seen images complementing the text.
James C. Hughes, Sixteenth Century Journal XXXVII/1 (2006)
David Hemsoll, JEMH, 2005.
'This is surely one of the most stimulating books on Renaissance art history written in recent years…'
Robert W. Gaston, Renaissance Quarterly.
'This is a big book – an ambitious, wide-ranging, spirited, learned, and expansive book. It will be of interest to those scholars of Italian Renaissance art especially concerned with the emergence of the modern idea of the artist...a rich weave of intellectual history...The virtue of Emison's bountiful book is that it both consolidates and broadens our view of the modern idea of the "divine" artist. Her stimulating work now puts us in an excellent position, however, to turn our attention more fully to the partially acknowledged but still far too negelected role of theology in shaping Renaissance ideas about the "divine" artist.'
Paul Barolsky, CAA Reviews, 2004.
Well versed in cinquecento literary and musical theory as well as the visual arts, Emison has written a work that is wide-ranging, imaginative, graceful, and citation-rich. From cover to binding, the book is also beautifully produced, with dozens of seldom-seen images complementing the text.
James C. Hughes, Sixteenth Century Journal XXXVII/1 (2006)
Table of contents
Acknowledgements
List of Illustrations
Introduction
The Sponge of Protogenes
Not Quite the Liberal Artist
The Divine Poet, Twinned
Idioti or Angels
Listening for the Music of the Spheres
The Artist as Huomo Famosissimo
Epilogue: The Romantic Deluge
Appendix: The Historiography of Ingegno
Appendix: Fornari’s Gloss on Ariosto’s Canto XXXIII
Illustrations
Bibliography
Index
List of Illustrations
Introduction
The Sponge of Protogenes
Not Quite the Liberal Artist
The Divine Poet, Twinned
Idioti or Angels
Listening for the Music of the Spheres
The Artist as Huomo Famosissimo
Epilogue: The Romantic Deluge
Appendix: The Historiography of Ingegno
Appendix: Fornari’s Gloss on Ariosto’s Canto XXXIII
Illustrations
Bibliography
Index
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