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How Fra Angelico and Signorelli saw the end of the world / Creighton E. Gilbert.
LIBRA ND623.S5 A66 2003
Available from offsite location
- Format:
- Book
- Author/Creator:
- Gilbert, Creighton.
- Language:
- English
- Subjects (All):
- Signorelli, Luca, 1441?-1523. End of the world.
- Signorelli, Luca.
- Signorelli, Luca, 1441?-1523--Criticism and interpretation.
- Angelico, fra, approximately 1400-1455--Criticism and interpretation.
- Angelico.
- Angelico, fra, approximately 1400-1455.
- Signorelli, Luca, 1441?-1523.
- Mural painting and decoration, Renaissance--Italy--Orvieto.
- Mural painting and decoration, Renaissance.
- Judgment Day in art.
- Cappella della Madonna di San Brizio (Duomo di Orvieto).
- Criticism and interpretation.
- Italy--Orvieto.
- Physical Description:
- xix, 200 pages : illustrations ; 27 cm
- Other Title:
- How Fra Angelico & Signorelli saw the end of the world
- Place of Publication:
- University Park : Pennsylvania State University Press, [2003]
- Summary:
- The frescoes of the Cappella Nuova in the Cathedral of Orvieto have fascinated visitors from Michelangelo to Freud and Czelow Milosz because of their dramatic portrayal of the end of the world and the Last Judgment. Creighton Gilbert's study draws on previously overlooked documents to explain the commissioning of this extraordinary cycle of paintings, begun by Fra Angelico in the early 1400s and completed a half-century later by Luca Signorelli. In contrast to most other art historians, who ascribe the iconographic and formal structure of the paintings to Signorelli, Gilbert contends that his predecessor, Fra Angelico, devised the entire program of decoration. Gilbert also situates the cycle in the contexts of liturgical practice, humanistic studies, and the rich body of texts and images shaping the Renaissance conception of the coming of the Antichrist and the world's final moments. How Fra Angelico and Signorelli Saw the End of the World examines every element in the Cappella Nuova's architecture and complex decoration, which not only represents the coming of the Antichrist, the end of the world, and the Last Judgment but also, on a high dado, features portraits of Dante and other poets, scenes from their texts, and sinuous grotesque ornament. Although Dante's likeness has long been recognized, Gilbert is the first scholar to establish that his great epic, The Divine Comedy, exerted a profound influence on the Chapel's iconographic program.
- Contents:
- Chapter 1 The Place as a Precondition 1
- Chapter 2 Planning the Frescoes 23
- Chapter 3 Intermission, 1448-1499 61
- Chapter 4 Signorelli Paints the Inner Bay 71
- Chapter 5 The Imagery of the Outer Bay 117.
- Notes:
- Includes bibliographical references (pages [189]-194) and index.
- ISBN:
- 0271021403
- OCLC:
- 46538533
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