When did Amphitrite cross the Tyrrhenian sea?: some reflections on the appearance of "grisaille", myth and the classical Renaissance style in the periphery of the crown of Aragon
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Paper |
| Sprache: | Englisch |
| Veröffentlicht: |
2020
|
| Schlagwörter: | |
| Abstract: | In the historiography of the painting in the Crown of Aragon, the chronology and methods of introduction of the Italian Renaissance in its periphery are still debated. In fact, excluding Naples and Valencia, in the other regions the evidence of the reception of the new style is not completely convincing. The difficulties in tracing this evidence are diverse: the loss of many paintings, the lack of archival documentation as well as the dispersion of graphic and literary sources. Formal and stylistic analysis does not always help to fill in the gaps, since for example, until the end of the 16th century, altarpieces were produced in the late Gothic forms. Also, the golden surfaces can distort the perception of depth and volume and the construction of space is obtained with empirical construction systems instead of the scientific method. Therefore, a shift of attention from a purely aesthetic and formal analysis to a broader cultural one may help to better understand when and how the classical Renaissance style was introduced to the island. A contribution can result from the iconographic analysis of two painted panels of the altarpiece known as Retablo di Sant’Eligio (National Gallery, Cagliari), in which two key elements of the Renaissance appear for the first time ever in the production of late Gothic polyptychs in Sardinia: namely the grisaille technique employed to represent images from Classical mythology. |
| Umfang: | Illustrationen |
| ISSN: | 1846-8551 |
Internformat
MARC
| LEADER | 00000naa a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV047243535 | ||
| 003 | DE-604 | ||
| 005 | 20210423 | ||
| 007 | t| | ||
| 008 | 210419s2020 xx a||| |||| 00||| eng d | ||
| 035 | |a (OCoLC)1249660579 | ||
| 035 | |a (DE-599)BVBBV047243535 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-255 | ||
| 100 | 1 | |a Salis, Mauro |e Verfasser |0 (DE-588)1214673600 |4 aut | |
| 245 | 1 | 0 | |a When did Amphitrite cross the Tyrrhenian sea? |b some reflections on the appearance of "grisaille", myth and the classical Renaissance style in the periphery of the crown of Aragon |c Mauro Salis |
| 246 | 1 | 3 | |a Kad je Amfitrita prešla Tirensko more? : neka zapažanja o pojavi "grisaillea", mita i klasične renesanse na periferiji Krune Aragonije |
| 264 | 1 | |c 2020 | |
| 300 | |b Illustrationen | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 520 | 3 | |a In the historiography of the painting in the Crown of Aragon, the chronology and methods of introduction of the Italian Renaissance in its periphery are still debated. In fact, excluding Naples and Valencia, in the other regions the evidence of the reception of the new style is not completely convincing. The difficulties in tracing this evidence are diverse: the loss of many paintings, the lack of archival documentation as well as the dispersion of graphic and literary sources. Formal and stylistic analysis does not always help to fill in the gaps, since for example, until the end of the 16th century, altarpieces were produced in the late Gothic forms. Also, the golden surfaces can distort the perception of depth and volume and the construction of space is obtained with empirical construction systems instead of the scientific method. Therefore, a shift of attention from a purely aesthetic and formal analysis to a broader cultural one may help to better understand when and how the classical Renaissance style was introduced to the island. A contribution can result from the iconographic analysis of two painted panels of the altarpiece known as Retablo di Sant’Eligio (National Gallery, Cagliari), in which two key elements of the Renaissance appear for the first time ever in the production of late Gothic polyptychs in Sardinia: namely the grisaille technique employed to represent images from Classical mythology. | |
| 546 | |a Zusammenfassung in kroatischer Sprache unter dem Titel: Kad je Amfitrita prešla Tirensko more? : neka zapažanja o pojavi "grisaillea", mita i klasične renesanse na periferiji Krune Aragonije | ||
| 648 | 7 | |a Geschichte 1400-1500 |2 gnd |9 rswk-swf | |
| 650 | 0 | 7 | |a Malerei |0 (DE-588)4037220-0 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Gotik |0 (DE-588)4021656-1 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Renaissance |0 (DE-588)4049450-0 |2 gnd |9 rswk-swf |
| 651 | 7 | |a Sardinien |0 (DE-588)4051686-6 |2 gnd |9 rswk-swf | |
| 689 | 0 | 0 | |a Sardinien |0 (DE-588)4051686-6 |D g |
| 689 | 0 | 1 | |a Malerei |0 (DE-588)4037220-0 |D s |
| 689 | 0 | 2 | |a Gotik |0 (DE-588)4021656-1 |D s |
| 689 | 0 | 3 | |a Renaissance |0 (DE-588)4049450-0 |D s |
| 689 | 0 | 4 | |a Geschichte 1400-1500 |A z |
| 689 | 0 | |5 DE-604 | |
| 773 | 1 | 8 | |g volume:13 |g year:2020 |g pages:109-120 |
| 773 | 0 | 8 | |t Ikon |d Rijeka, 2020 |g Band 13 (2020), Seite 109-120 |w (DE-604)BV037480230 |x 1846-8551 |o (DE-600)2500582-0 |
| 941 | |b 13 |j 2020 |s 109-120 | ||
| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-032647752 | |
Datensatz im Suchindex
| _version_ | 1818987890325061632 |
|---|---|
| any_adam_object | |
| article_link | (DE-604)BV037480230 |
| author | Salis, Mauro |
| author_GND | (DE-588)1214673600 |
| author_facet | Salis, Mauro |
| author_role | aut |
| author_sort | Salis, Mauro |
| author_variant | m s ms |
| building | Verbundindex |
| bvnumber | BV047243535 |
| ctrlnum | (OCoLC)1249660579 (DE-599)BVBBV047243535 |
| era | Geschichte 1400-1500 gnd |
| era_facet | Geschichte 1400-1500 |
| format | Article |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>03339naa a2200445 c 4500</leader><controlfield tag="001">BV047243535</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20210423 </controlfield><controlfield tag="007">t|</controlfield><controlfield tag="008">210419s2020 xx a||| |||| 00||| eng d</controlfield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1249660579</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV047243535</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-255</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Salis, Mauro</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)1214673600</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">When did Amphitrite cross the Tyrrhenian sea?</subfield><subfield code="b">some reflections on the appearance of "grisaille", myth and the classical Renaissance style in the periphery of the crown of Aragon</subfield><subfield code="c">Mauro Salis</subfield></datafield><datafield tag="246" ind1="1" ind2="3"><subfield code="a">Kad je Amfitrita prešla Tirensko more? : neka zapažanja o pojavi "grisaillea", mita i klasične renesanse na periferiji Krune Aragonije</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="c">2020</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="b">Illustrationen</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1="3" ind2=" "><subfield code="a">In the historiography of the painting in the Crown of Aragon, the chronology and methods of introduction of the Italian Renaissance in its periphery are still debated. In fact, excluding Naples and Valencia, in the other regions the evidence of the reception of the new style is not completely convincing. The difficulties in tracing this evidence are diverse: the loss of many paintings, the lack of archival documentation as well as the dispersion of graphic and literary sources. Formal and stylistic analysis does not always help to fill in the gaps, since for example, until the end of the 16th century, altarpieces were produced in the late Gothic forms. Also, the golden surfaces can distort the perception of depth and volume and the construction of space is obtained with empirical construction systems instead of the scientific method. Therefore, a shift of attention from a purely aesthetic and formal analysis to a broader cultural one may help to better understand when and how the classical Renaissance style was introduced to the island. A contribution can result from the iconographic analysis of two painted panels of the altarpiece known as Retablo di Sant’Eligio (National Gallery, Cagliari), in which two key elements of the Renaissance appear for the first time ever in the production of late Gothic polyptychs in Sardinia: namely the grisaille technique employed to represent images from Classical mythology.</subfield></datafield><datafield tag="546" ind1=" " ind2=" "><subfield code="a">Zusammenfassung in kroatischer Sprache unter dem Titel: Kad je Amfitrita prešla Tirensko more? : neka zapažanja o pojavi "grisaillea", mita i klasične renesanse na periferiji Krune Aragonije</subfield></datafield><datafield tag="648" ind1=" " ind2="7"><subfield code="a">Geschichte 1400-1500</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Malerei</subfield><subfield code="0">(DE-588)4037220-0</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Gotik</subfield><subfield code="0">(DE-588)4021656-1</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Renaissance</subfield><subfield code="0">(DE-588)4049450-0</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="651" ind1=" " ind2="7"><subfield code="a">Sardinien</subfield><subfield code="0">(DE-588)4051686-6</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Sardinien</subfield><subfield code="0">(DE-588)4051686-6</subfield><subfield code="D">g</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Malerei</subfield><subfield code="0">(DE-588)4037220-0</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="2"><subfield code="a">Gotik</subfield><subfield code="0">(DE-588)4021656-1</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="3"><subfield code="a">Renaissance</subfield><subfield code="0">(DE-588)4049450-0</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="4"><subfield code="a">Geschichte 1400-1500</subfield><subfield code="A">z</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="773" ind1="1" ind2="8"><subfield code="g">volume:13</subfield><subfield code="g">year:2020</subfield><subfield code="g">pages:109-120</subfield></datafield><datafield tag="773" ind1="0" ind2="8"><subfield code="t">Ikon</subfield><subfield code="d">Rijeka, 2020</subfield><subfield code="g">Band 13 (2020), Seite 109-120</subfield><subfield code="w">(DE-604)BV037480230</subfield><subfield code="x">1846-8551</subfield><subfield code="o">(DE-600)2500582-0</subfield></datafield><datafield tag="941" ind1=" " ind2=" "><subfield code="b">13</subfield><subfield code="j">2020</subfield><subfield code="s">109-120</subfield></datafield><datafield tag="943" ind1="1" ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-032647752</subfield></datafield></record></collection> |
| geographic | Sardinien (DE-588)4051686-6 gnd |
| geographic_facet | Sardinien |
| id | DE-604.BV047243535 |
| illustrated | Illustrated |
| indexdate | 2024-12-20T19:13:52Z |
| institution | BVB |
| issn | 1846-8551 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032647752 |
| oclc_num | 1249660579 |
| open_access_boolean | |
| owner | DE-255 |
| owner_facet | DE-255 |
| physical | Illustrationen |
| publishDate | 2020 |
| publishDateSearch | 2020 |
| publishDateSort | 2020 |
| record_format | marc |
| spelling | Salis, Mauro Verfasser (DE-588)1214673600 aut When did Amphitrite cross the Tyrrhenian sea? some reflections on the appearance of "grisaille", myth and the classical Renaissance style in the periphery of the crown of Aragon Mauro Salis Kad je Amfitrita prešla Tirensko more? : neka zapažanja o pojavi "grisaillea", mita i klasične renesanse na periferiji Krune Aragonije 2020 Illustrationen txt rdacontent n rdamedia nc rdacarrier In the historiography of the painting in the Crown of Aragon, the chronology and methods of introduction of the Italian Renaissance in its periphery are still debated. In fact, excluding Naples and Valencia, in the other regions the evidence of the reception of the new style is not completely convincing. The difficulties in tracing this evidence are diverse: the loss of many paintings, the lack of archival documentation as well as the dispersion of graphic and literary sources. Formal and stylistic analysis does not always help to fill in the gaps, since for example, until the end of the 16th century, altarpieces were produced in the late Gothic forms. Also, the golden surfaces can distort the perception of depth and volume and the construction of space is obtained with empirical construction systems instead of the scientific method. Therefore, a shift of attention from a purely aesthetic and formal analysis to a broader cultural one may help to better understand when and how the classical Renaissance style was introduced to the island. A contribution can result from the iconographic analysis of two painted panels of the altarpiece known as Retablo di Sant’Eligio (National Gallery, Cagliari), in which two key elements of the Renaissance appear for the first time ever in the production of late Gothic polyptychs in Sardinia: namely the grisaille technique employed to represent images from Classical mythology. Zusammenfassung in kroatischer Sprache unter dem Titel: Kad je Amfitrita prešla Tirensko more? : neka zapažanja o pojavi "grisaillea", mita i klasične renesanse na periferiji Krune Aragonije Geschichte 1400-1500 gnd rswk-swf Malerei (DE-588)4037220-0 gnd rswk-swf Gotik (DE-588)4021656-1 gnd rswk-swf Renaissance (DE-588)4049450-0 gnd rswk-swf Sardinien (DE-588)4051686-6 gnd rswk-swf Sardinien (DE-588)4051686-6 g Malerei (DE-588)4037220-0 s Gotik (DE-588)4021656-1 s Renaissance (DE-588)4049450-0 s Geschichte 1400-1500 z DE-604 volume:13 year:2020 pages:109-120 Ikon Rijeka, 2020 Band 13 (2020), Seite 109-120 (DE-604)BV037480230 1846-8551 (DE-600)2500582-0 |
| spellingShingle | Salis, Mauro When did Amphitrite cross the Tyrrhenian sea? some reflections on the appearance of "grisaille", myth and the classical Renaissance style in the periphery of the crown of Aragon Malerei (DE-588)4037220-0 gnd Gotik (DE-588)4021656-1 gnd Renaissance (DE-588)4049450-0 gnd |
| subject_GND | (DE-588)4037220-0 (DE-588)4021656-1 (DE-588)4049450-0 (DE-588)4051686-6 |
| title | When did Amphitrite cross the Tyrrhenian sea? some reflections on the appearance of "grisaille", myth and the classical Renaissance style in the periphery of the crown of Aragon |
| title_alt | Kad je Amfitrita prešla Tirensko more? : neka zapažanja o pojavi "grisaillea", mita i klasične renesanse na periferiji Krune Aragonije |
| title_auth | When did Amphitrite cross the Tyrrhenian sea? some reflections on the appearance of "grisaille", myth and the classical Renaissance style in the periphery of the crown of Aragon |
| title_exact_search | When did Amphitrite cross the Tyrrhenian sea? some reflections on the appearance of "grisaille", myth and the classical Renaissance style in the periphery of the crown of Aragon |
| title_full | When did Amphitrite cross the Tyrrhenian sea? some reflections on the appearance of "grisaille", myth and the classical Renaissance style in the periphery of the crown of Aragon Mauro Salis |
| title_fullStr | When did Amphitrite cross the Tyrrhenian sea? some reflections on the appearance of "grisaille", myth and the classical Renaissance style in the periphery of the crown of Aragon Mauro Salis |
| title_full_unstemmed | When did Amphitrite cross the Tyrrhenian sea? some reflections on the appearance of "grisaille", myth and the classical Renaissance style in the periphery of the crown of Aragon Mauro Salis |
| title_short | When did Amphitrite cross the Tyrrhenian sea? |
| title_sort | when did amphitrite cross the tyrrhenian sea some reflections on the appearance of grisaille myth and the classical renaissance style in the periphery of the crown of aragon |
| title_sub | some reflections on the appearance of "grisaille", myth and the classical Renaissance style in the periphery of the crown of Aragon |
| topic | Malerei (DE-588)4037220-0 gnd Gotik (DE-588)4021656-1 gnd Renaissance (DE-588)4049450-0 gnd |
| topic_facet | Malerei Gotik Renaissance Sardinien |
| work_keys_str_mv | AT salismauro whendidamphitritecrossthetyrrhenianseasomereflectionsontheappearanceofgrisaillemythandtheclassicalrenaissancestyleintheperipheryofthecrownofaragon AT salismauro kadjeamfitritapreslatirenskomorenekazapazanjaopojavigrisailleamitaiklasicnerenesansenaperiferijikrunearagonije |