The controversy of Renaissance art
By: Alexander Nagel
Publisher: The University of Chicago Press
Published: 2010
Place of publication: Chicago; London
Language: eng
Number of pages: 358
ISBN-13: 9780226567723
Notes: Includes bibliographical references and index.
Table of contents: title: A nontriumphant Renaissance; title: The reformation that never happened in Italy; title: Pre- and post-Trent; title: Range of the study; title: Excavations in Christian art; title: Effects of estrangement; title: "These are your idols, which you have put in my temple"; title: Theater and its double; title: Aart historians and their precursors; title: The time of the other; title: Attending effigies interior cult and exterior cult whores and idols; title: Erasure, defacement, unmasking; title: Reform as art restoration; title: Defamiliarized icons; title: The "puppet painter" gets a hearing; title: Erasmus unmasks the saints; title: Excavations of the image; title: A picture of indeterminate subject and uncertain finish; title: Threshold painting; title: Figures in a loose and unready state; title: Images from the underside; title: Drawing brought to the surface; title: Reconfigurations; title: Christian art that is no longer; title: Related experiments; title: Re-mediations of the altarpiece; title: The painter's new profession; title: Raphael extracts the icon; title: Vision as re-mediation; title: Structures of archaism christocentrism; title: Transmutation chamber; title: Christ as idol; title: Animated statues; title: Sculpture and the pictorial imaginary; title: The idol in Saint Augustine's study; title: Statue + column = idolatry in the round and from behind; title: Showdown in the arena of painting; title: Ficino's ambivalent defense of image magic; title: The crucifix as anti-statue; title: The antique statue of Christ; title: "Christ, who deserved a statue, received instead a cross"; title: A statue of Christ from the Holy Land; title: Replication and retroactivation; title: An antique Christ at the Minerva; title: Rhetorical interferences; title: Form as symbol; title: Avatars of the golden calf in the works of Andrea Riccio; title: Gregorio Cortese commissions art at Santa Giustina, 1513; title: Moses and polytheism; title: A Moses-idol; title: Repetition compulsion; title: Christ as idol; title: The work of conversion; title: Uncompromising logic; title: Fire takes the form of bronze; title: Recursions; title: Religion on earth; title: Soft iconoclasm; title: Architecture as image; title: Forms of iconophobia in Italy; title: A semiotic contest; title: Replacement and reversion; title: Early interventions at Florence and Siena; title: Figuration and fulfillment, and vice versa; title: "All the other things are shadows"; title: The tabernacle in the matrix; title: "So long as it is not about saints"; title: Raimondi's I modi in Giberti's Rome; title: Pornography as iconoclasm; title: Nonprocreative art; title: A new model of church art at Verona cathedral; title: The virgin becomes architecture; title: Borromeo interprets Giberti; title: The most abstract altarpiece of the Italian Renaissance; title: The Vicenza altar and reform circles in northern Italy; title: Adventures in aniconism; title: The virtues of stones; title: The world is an animal; title: Displacement.