Sienese Painting after the Black Death黑死病后的锡耶纳绘画 pdf kindle caj 下载 azw3 umd 电子版 夸克云

Asking how social, religious, and cultural change effect visual imagery and style. Judith Steinhoff ***s that Siena's artistic culture of the mid- and late fourteenth century was intentionally pluralistic, and not c***ervative as is often claimed. She ***s that Sienese art both before and after the Black Death was the material expression of an artistically sophisticated population that c***ciously and carefully integrated tradition and change. Promoting both iconographic and stylistic pluralism, Sienese patr*** furthered their own goals as well as addressed the culture's changing needs.

Part I. Trecento Art History and Historiography:

　1. General introduction

　2. Meiss and method: historiography of scholarship on mid-Trecento Sienese painting

Part II. Artists and Patr***: Working Relati***hip in Transition:

　3. Patr*** and artists

　4. Economic, social and political conditi*** and the art market after 1348

　5. Artists’ working relati***hips in the early Trecento

　6. A Sienese ‘compagnia’, c. 1348–136***art

Part III. Transmission and Transformation of Civic-Religious Imagery

　7. The crafting and c***olidation of Sienese civic-religious imagery;

　8. Sienese civic-religious imagery at the mid TrecentoPart IV. Artistic Style: Tradition and Transition:

　9. Stylistic pluralism in the 1330s and 1340s

　10. The politics of style in the 1350s and 1360s: the case of Santa Maria della Scala

　11. Style as iconography: general reflecti***

Part V. Conclusion.

Notes

Wprks Cited

Index

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书籍介绍

This book provides a new perspective on Sienese painting after the Black Death, asking how social, religious, and cultural change affect visual imagery and style. Judith Steinhoff ***s that Siena's artistic culture of the mid- and late fourteenth century was intentionally pluralistic, and not c***ervative as is often claimed. She shows that Sienese art both before and after the Black Death was the material expression of an artistically sophisticated population that c***ciously and carefully integrated tradition and change. Promoting both iconographic and stylistic pluralism, Sienese patr*** furthered their own goals as well as addressed the culture's changing needs. Steinhoff presents both detailed case studies as well as a broader view of trends in artistic practice and patronage. She offers a new approach to interpreting artistic style in the Trecento, arguing that artists and patr*** alike understood the potential of style as a vehicle that conveys specific meanings.