Approaching the Italian Renaissance interior: sources, methodologies, debates

Ajmar-Wollheim, Marta; Dennis, Flora; Matchette, Ann

doi:10.1111/j.1477-4658.2006.00370.x

Cited by 7 publications

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“…Through the comparative evaluation of material evidence with archival and literary sources, this study seeks to outline the socio-political, confessional, and artistic dynamics that fostered a favorable setting for the reception of icon painting in the Adriatic. As this article will argue, the intense circulation of artists, artworks and artistic trends in the Eastern Mediterranean from the fifteenth century onwards, as well as the image theories promulgated during the age of confessionalization were the key factors that allowed for the survival of Byzantine artistic forms long after their presumed abandonment by and Dennis 2006;Ajmar Wollheim et al 2007;Anderson 2007;Cavallo and Evangelisti 2009;Henry 2011;Morse 2013;Feigenbaum and Freddolini 2014;Walsham 2014, Corry et al 2017Brundin et al 2018;Corry et al 2018). The past twenty years have seen an abundance of scholarship on the material culture of the Early Modern domestic interior and the devotional practices that took place in the Renaissance home.…”

Section: Introductionmentioning

confidence: 93%

From Domestic Devotion to the Church Altar: Venerating Icons in the Late Medieval and Early Modern Adriatic

Voulgaropoulou

2019

Religions

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Although traditionally associated with Eastern Christianity, the practice of venerating icons became deeply rooted in the Catholic societies of the broad Adriatic region from the Late Middle Ages onwards and was an indispensable part of everyday popular piety. The evidence lies in the massive amount of icons located today in public and private collections throughout the Italian Peninsula, Croatia, Slovenia, and Montenegro. At a time when Greeks were branded as “schismatics”, and although the Byzantine maniera greca had become obsolete in Western European art, icon painting managed to survive at the margins of the Renaissance, and ultimately went through its own renaissance in the sixteenth century. Omnipresent in Catholic households, icons were very often donated to churches as votive offerings and were gradually transformed into the focal points of collective public devotion. Through the combined study of visual evidence, archival records and literary sources, this article will shed light on the socio-political, confessional, and artistic dynamics that allowed for Byzantine or Byzantinizing icons to gain unprecedented popularity throughout the Catholic milieus of the Late Medieval and Early Modern Adriatic, and become integrated into domestic and public devotional practices.

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Section: Introductionmentioning

confidence: 93%

From Domestic Devotion to the Church Altar: Venerating Icons in the Late Medieval and Early Modern Adriatic

Voulgaropoulou

2019

Religions

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“…In general, when scholarship has made use of paintings, it has been mostly content with documenting domestic interiors either from the perspective of material culture (Praz 1964;Thornton 1991;Ajmar-Wollheim and Dennis 2006;Ajmar-Wollheim et al 2007) or from that of cultural history with the aim of uncovering the ideal of domestic sphere conveyed by these imaginary visions (Aynsley and Grant 2006, p. 12). Moreover, it has focused mainly respectively on the Italian Renaissance and the Dutch Golden Age.…”

Section: Notesmentioning

confidence: 99%

What Approach to Flemish Annunciations?

Pignarre-Altermatt

2022

Arts

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Through a series of case studies, this paper examines Flemish fifteenth and early sixteenth century paintings of the Annunciation in a domestic setting as an example of how the materiality and the spiritual dimension form two inseparable aspects of devotional practice. After questioning whether these paintings reflect contemporary interiors and practices of domestic devotion, the paper discusses their use as historical sources by addressing the domestic iconography of the Annunciation as a Flemish artistic tradition. It argues that it is necessary to consider these paintings as artworks to understand their primary role as devotional objects.

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“…The difficulties in looking at domestic devotions begin with trying to define the term 'domestic' and what it may have meant in medieval and Renaissance Florence. Recent scholarly interest in the material culture of religious devotion in the home has enriched the historiography of medieval and renaissance social life (Lydecker 1987;Webb 1990;Musacchio 1997Musacchio , 1999Musacchio , 2008Ajmar-Wollheim et al 2006;Anderson 2007;Campbell et al 2013;Brundin et al 2018;Corry et al 2017Corry et al , 2019. The sacred place of the altar at which Mass is celebrated is differentiated in space from the domestic space, understood here as the dwelling place and culture of the family (often consisting of patrilineal groups rather than a single nuclear one) group and its household (which could include a number of servants), and mindful of the cautions indicated by Corry, Faini and Meneghin in articulating the fluidity of the borders of the domestic (Corry et al 2019, p. 2).…”

Section: The Spaces Of Devotionmentioning

confidence: 99%

‘Make Your House like a Temple’: Gender, Space and Domestic Devotion in Medieval Florence

Lawless

2020

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This article will discuss domestic devotions by framing them in terms of devotions carried out in the home, defined by its opposition to ecclesiastical, consecrated space. It will examine how women, considered the laity par excellence through their inability to ever attain sacerdotal authority, were advised spiritually by mendicant friars on how to lead a Christian life according to their status as wives, widows or virgins. It will look at the devotional literature that was widespread in mercantile homes and the devotional images designed to move the soul. This discussion will attempt to show the tensions between ecclesiastical and domestic spaces; between the clergy and the laity, and between the corporeal and spiritual worlds of late medieval devotion. It will argue that, despite clerical unease with the female and domestic space, the importance accorded to female piety by the mendicant orders at the close of the Middle Ages was such that women were entrusted with key educational roles in the family, even leading to the astonishing affirmation of them as ‘preachers’ within the borders of their households.

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Approaching the Italian Renaissance interior: sources, methodologies, debates

Cited by 7 publications

References 0 publications

From Domestic Devotion to the Church Altar: Venerating Icons in the Late Medieval and Early Modern Adriatic

From Domestic Devotion to the Church Altar: Venerating Icons in the Late Medieval and Early Modern Adriatic

What Approach to Flemish Annunciations?

‘Make Your House like a Temple’: Gender, Space and Domestic Devotion in Medieval Florence

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