In the Hand of the Beholder: Isabella d’Este and the Sensual Allure of Sculpture

Johnson, Geraldine A.

doi:10.4324/9781315088112-11

Cited by 3 publications

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“…Marks, 7. 100 On tactility and Renaissance sculpture, see Johnson, 2002Johnson, , 2012Johnson, , 2013Johnson, , and 2014also Randolph.…”

Section: Do Not Touch or Taste Sugar Sculpturementioning

confidence: 99%

Displays of Sugar Sculpture and the Collection of Antiquities in Late Renaissance Venice

Kociszewska

2020

Renaiss. Q.

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This article examines the sugar sculptures created for a ball in honor of Henri III of France in the Palazzo Ducale in Venice in 1574. The first part discusses the production and display of the statuettes. In the next section, the setting of the sugar sculptures is examined in the context of the collation prepared for the king in Palazzo Grimani in Santa Maria Formosa, which contains the city's greatest collection of antiquities. Finally, the article examines the possible relationships between sugar statuettes and ancient sculptures and their use in crafting the image of Venice as a new Rome.

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“…Marks, 7. 100 On tactility and Renaissance sculpture, see Johnson, 2002Johnson, , 2012Johnson, , 2013Johnson, , and 2014also Randolph.…”

Section: Do Not Touch or Taste Sugar Sculpturementioning

confidence: 99%

Displays of Sugar Sculpture and the Collection of Antiquities in Late Renaissance Venice

Kociszewska

2020

Renaiss. Q.

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“…Such pieces were prized in Italy not only for their subtlety of decoration but also for the way the material felt when touched, an element that would be important in the viewing and handling practices of the studiolo where attention to materials played a role. 17 Other pieces were indicated to be all white ('schieta'), while a few items have no identifying colour. The 'white' porcelain might be describing qingbai, a glaze carrying a light tinge that ranged from bluish grey to bluish green, produced during the Song (960-1279) and Yuan (1206-1368) dynasties.…”

Section: Arresting Mobility: Chinese Porcelain In the 1493 Inventorymentioning

confidence: 99%

The peregrinations of porcelain

Clark¹

2019

Journal of the History of Collections

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The Medici of Florence have long been acknowledged as possessing the largest collection of Chinese porcelain in the fifteenth century, but this article reveals that in fact Eleonora d’Aragona, Duchess of Ferrara had the largest such collection in Italy at this time. In fifteenth-century Europe, porcelain came not directly from China but rather through trade and diplomacy with foreign courts, so that its peregrinations gave rise to entangled histories and reception. Taking porcelain as a case-study, it is argued here that examining collecting through the lens of trade and diplomacy provides new interpretations of – and demands new approaches to – the history of collecting.

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Activating the Renaissance Viewer: Art and Somaesthetic Experience

Terry-Fritsch

2020

Somaesthetic Experience and the Viewer in Medicean Florence

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Chapter One provides an in-depth introduction to somaesthetics as a methodological practice for Renaissance Art History and outlines the aims and content of the book. The chapter defines somaesthetic inquiry in relation to Medieval and Renaissance scholarship on the body, ritual, performance, and viewership, and advocates for a performative approach to the analysis of Renaissance art. Considering the dynamics of works of art that activate and emplace their viewers, the chapter explores the theoretical implications of considering Renaissance viewers as critical technologies in the rise and sustenance of power in Medicean Florence.

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In the Hand of the Beholder: Isabella d’Este and the Sensual Allure of Sculpture

Cited by 3 publications

References 0 publications

Displays of Sugar Sculpture and the Collection of Antiquities in Late Renaissance Venice

Displays of Sugar Sculpture and the Collection of Antiquities in Late Renaissance Venice

The peregrinations of porcelain

Activating the Renaissance Viewer: Art and Somaesthetic Experience

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