Seeing Renaissance glass : art, optics, and glass of early modern Italy, 1250-1425 / Sarah M. Dillon.

Format:

Book

Author/Creator:

Dillon, Sarah M., 1979- author.

Language:

English

Subjects (All):

Optics and art--Italy--History--To 1500.

Optics and art.

Glass.

Glass art--History.

Glass art.

History.

Italy--Civilization--476-1268.

Italy.

Civilization.

Italy--Civilization--1268-1559.

Genre:

History.

Physical Description:

xviii, 214 pages : illustrations ; 23 cm

Other Title:

Art, optics, and glass of early modern Italy, 1250-1425

Place of Publication:

New York : Peter Lang Publishing, Inc., [2018]

Summary:

With the invention of eyeglasses around 1260 near Pisa the mundane medium of glass transformed early modern optical technology and visuality. It also significantly influenced contemporaneous art, religion, and science. References to glass are found throughout the bible and in medieval hagiography and poetry. For instance, glass is mentioned in descriptions of Heavenly Jerusalem, the Beatific Vision, and the Incarnation. At the same time, a well-known Islamic scientific treatise, which likened a portion of the eye's anatomy to glass, entered the scientific circles of the Latin West. Amidst this complex web of such glass-related phenomena early modern Italian artists used glass in some of their most important artworks but, until now, no study has taken a comprehensive look at this important phenomenon. 'Seeing Renaissance Glass' explores how artists such as Giotto, Duccio, Nicola Pisano, Simone Martini, and others, employed the medium of glass, whether it be depictions of glass or actual glass in the form of stained glass, gilded glass, and transparent glass, to resonate with the period's complex visuality and achieve their artistic goals. 0Such an interdisciplinary approach to the visual culture of early modern Italy is particularly well suited to an introductory humanities course as well classes on media studies and late medieval and early Renaissance art history. It is also ideal for a general reader interested in art history or issues of materiality.

Contents:

Introduction to seeing renaissance glass: Art, optics, and glass of early modern Italy, 1250-1425

Stained glass: Duccio, Simone Martini, and Taddeo Gaddi

Gilded glass: Nicola Pisano, Simone Martini, Orcagna, and Paolo di Giovanni Fei

Transparent glass from the East: Beruni, Hunain, and Alhazen

Transparent glass in the West: Pietro Lorenzetti, Naddo Ceccarelli, and others

Verre Églomisé reliquaries: Pietro Teutonico and Tommaso da Modena

Conclusion: Giotto, Brunelleschi, Alberti, and the network of glass.

Machine generated contents note: 1. Introduction to Seeing Renaissance Glass: Art, Optics, and Glass of Early Modern Italy, 1250-1425

Chapter Summaries

Brief History of Glass

2. Stained Glass: Duccio, Simone Martini, and Taddeo Gaddi

Brief History of Colorful Glass

Duccio's Window for the Cathedral of Siena

Simone Martini's Windows in the Chapel of Saint Martin

Taddeo Gaddi's Stained Glass in the Baroncelli Chapel

Conclusions on Trecento Stained Glass: A Network of Glass

3. Gilded Glass: Nicola Pisano, Simone Martini, Orcagna, and Paolo di Giovanni Fei

The Glittering Gold of Mosaics and Cosmati

The Revival of Verre feglomise

Nicola Pisano's Area of San Domenico and Sienese Pulpit

Simone Martini's Maesta and Saint Louis of Toulouse

Orcagna's Tabernacle for Orsanmichele

Paolo di Giovanni Fei and Lorenzo Monaco

Conclusions on Gilded Glass: Harnessing Divine Light and Fiery Rays

4f glass or actual glass in the form of stained glass, gilded glass, and transparent glass, to resonate with the period's complex visuality and achieve their artistic goals. 0Such an interdisciplinary approach to the visual culture of early modern Italy is particularly well suited to an introductory humanities course as well classes on media studies and late medieval and early Renaissance art history. It is also ideal for a general reader interested in art history or issues of materiality. Transparent Glass from the East: Beruni, Hunain, and Alhazen

Glass Reliquaries from the Holy Land

Revealing and Concealing

Rock Crystal Reliquaries from the East

Beruni on Glass vs. Crystal

Hunain, Visual Theory, and Transparent Glass

Conclusions on Transparent Glass from the East: Shaping Renaissance Visuality

5. Transparent Glass in the West: Pietro Lorenzetti, Naddo Ceccarelli, and Others

Reliquaries with Glass: The Case Studies

Reliquaries by Naddo Ceccarelli and Bartolo di Fredi in Context

Relic Windows: Precedents and Influences

Relic Windows in "An Age of Vision"

Pietro Lorenzetti's Reliquary Tabernacle in Context

Relic Windows, Mirrors, and Eyeglasses

The Black Death and Windows to Another World

Conclusions on Transparent Glass in the West: Seeing Glass through a Renaissance Lens

6. Verre Fglomise Reliquaries: Pietro Teutonico and Tommaso da Modena

Verre Eglomise Reliquariesor actual glass in the form of stained glass, gilded glass, and transparent glass, to resonate with the period's complex visuality and achieve their artistic goals. 0Such an interdisciplinary approach to the visual culture of early modern Italy is particularly well suited to an introductory humanities course as well classes on media studies and late medieval and early Renaissance art history. It is also ideal for a general reader interested in art history or issues of materiality. The Franciscan Connection

Windows to Relics and a Mirror for the Divine

The Beatific Vision and Viewing God Through a Glass Darkly

Tommaso da Modena's Reliquary and Ugo da Panciera's Treatise on Perfection

Conclusions on Verre figlomise" Reliquaries: Reflections of God

7. Conclusion: Giotto, Brunelleschi, Alberti, and the Network of Glass

Through Giotto's Eyes

Illusionistic Architecture and Glass Vessels: Pietro Lorenzetti and Taddeo Gaddi

Trecento Glass, Brunelleschi's Mirror, and Alberti's Window.

Notes:

Includes bibliographical references and index.

ISBN:

9781433148347

143314834X

OCLC:

1043071903

Publisher Number:

40028878001