Miraculous Images in Renaissance Florence

Holmes, Megan

doi:10.1111/j.1467-8365.2011.00833.x

Cited by 12 publications

(4 citation statements)

References 1 publication

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“…Judging from just about any art tradition, imagery seems to convey a number of meaningful layers that could be activated by different circumstances or passivized in other social contexts (cf. Sandqvist 1992;Holmes 2011).…”

Section: From the Practice Of Picturing To The Alteration Of Archaeological Remainsmentioning

confidence: 99%

Picturing the Meaning of Scandinavian Rock Art – Graphic Representations, Archaeological Interpretations and Material Alterations

Ljunge

2021

csa

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The paper presents a reflective overview of the recursive relation between the archaeological practice of picturing Scandinavian rock art in printed works since the mid-19th century, and how archaeologists have constructed its meaning. There seem to be an intimate connection between graphic representations of rock art and an interpretative bias towards the mimetic qualities of images. When picturing rock art, the identification of motifs is prioritized at the expense of the materiality of rock art. Ultimately, the production of graphic representations has influenced the antiquarian alteration of the archaeological remains. Today, major Scandinavian rock art sites are frequently painted red, with the purpose of highlighting the engraved imagery for visitor legibility. This practice transforms the materiality of stone into a visual language of graphic representations.

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Section: From the Practice Of Picturing To The Alteration Of Archaeological Remainsmentioning

confidence: 99%

Picturing the Meaning of Scandinavian Rock Art – Graphic Representations, Archaeological Interpretations and Material Alterations

Ljunge

2021

csa

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“…He was ultimately sentenced to death because he had committed several crimes (games of chances, sacrilege, and attempted suicide) and because it would serve as a warning to other evildoers. Rinaldeschi had a nasty reputation, was not known for showing any particular reverence for the Virgin Mary, and committed his act of blasphemy in a fit of anger because he lost at dice (See Konnell and Konstebl [Connell and Constable] 2010;Holmes 2013).…”

Section: Violence Against Images: Between Belief and Unbeliefmentioning

confidence: 99%

The Punishment of Saints as Pious Blasphemy in the Middle Ages and Early Modern Period

Maizuls¹

2017

SRC

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“… 1 Paul Davies highlighted the coro finto ’s enshrinement of the Madonna and Child in his valuable study of Renaissance tabernacles situated within or comprised of perspectival space: Davies, 2013, 911–16. Megan Holmes, moreover, has called for sustained attention to this “simply ignored” cult image: Holmes, 2011, 435; Holmes, 2013, 4. The lone study of this Madonna is the local historian Ambrogio Palestra's modest volume: Palestra, 1983.…”

mentioning

confidence: 99%

“… 3 Jacobs, 2008, 96. For Italian miracle-working image cults, start with Belting; Jacobs, 2008; Maniura, 2009; Holmes, 2011; Garnett and Rosser; Holmes, 2013; Jacobs, 2013; Nygren.…”

mentioning

confidence: 99%

Bramante'scoro finto, Ex-Votos, and Cult Practice in Sforza Milan

McCall

2019

Renaiss. Q.

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Bramante's illusionistic apse for Santa Maria presso San Satiro in Milan has long been understood as a triumph of Renaissance rationality. This essay shifts attention to the votive and cult contexts of the space and the miraculous image it enshrines. The coro finto efficaciously enhanced the authority of the Madonna and her sponsors—the Sforza dynasty and a confraternity dedicated to the Virgin—by dramatically framing and amplifying the image's potency. Santa Maria presso San Satiro thus flourished as one of Milan's most intensely contested ecclesiastical arenas, in which devotees and institutions maneuvered for access to the potent cult image.

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Miraculous Images in Renaissance Florence

Cited by 12 publications

References 1 publication

Picturing the Meaning of Scandinavian Rock Art – Graphic Representations, Archaeological Interpretations and Material Alterations

Picturing the Meaning of Scandinavian Rock Art – Graphic Representations, Archaeological Interpretations and Material Alterations

The Punishment of Saints as Pious Blasphemy in the Middle Ages and Early Modern Period

Bramante'scoro finto, Ex-Votos, and Cult Practice in Sforza Milan

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