John F. Moffitt

Painterly Perspective and Piety

Religious Uses of the Vanishing Point, from the 15th to the 18th Century

• Broschiertes Buch

Produktbeschreibung

While the Renaissance is generally perceived to be a secular movement, the majority of large artworks executed in 15th century Italy were from ecclesiastical commissions. Because of the nature of primarily basilica-plan churches, a parishioner's view was directed by the diminishing parallel lines formed by the walls of the structure. Appearing to converge upon a mutual point, this resulted in an artistic phenomenon known as the vanishing point. As applied to ecclesiastical artwork, the Catholic Vanishing Point (CVP) was deliberately situated upon or aligned with a given object--such as the Eucharist wafer or Host, the head of Christ or the womb of the Virgin Mary--possessing great symbolic significance in Roman liturgy. Masaccio's fresco painting of the Trinity (circa 1427) in the Florentine church of Santa Maria Novella, analyzed in physical and symbolic detail, provides the first illustration of a consistently employed linear perspective within an ecclesiastical setting. Leonardo's Last Supper, Venaziano's St. Lucy Altarpiece, and Tome's Transparente illustrate the continuation of this use of liturgical perspective.

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Produktdetails

• Verlag: McFarland
• Seitenzahl: 322
• Erscheinungstermin: 8. Oktober 2008
• Englisch
• Abmessung: 229mm x 152mm x 19mm
• Gewicht: 525g
• ISBN-13: 9780786435050
• ISBN-10: 0786435054
• Artikelnr.: 23412611

Autorenporträt

The late John F. Moffitt authored, edited or translated numerous books about art history. He was an art history professor at New Mexico State University.

Inhaltsangabe

Table of Contents
Preface     
Introduction: Picturing Perspective     
1. The Historical Emergence of Linear Perspective     
2. Instrumental Sources for Leon Battista Alberti's Velo     
3. Masaccio and the Functions of Religious Imagery in His Time     
4. Recovering the Original Physical Situation of Masaccio's Trinity
Chapel     
5. The Symbolic Unity of Masaccio's Trinity     
6. Toward a More Balanced Interpretation of Masaccio's Trinity     
7. Seeing the Host in Art and Architecture     
8. Liturgical Perspective in the Context of Scenographic Architecture     
9. The Case for Uterine Perspective     
10. Host-Worship and the Spanish Custodias Procesionales     
11. Sculpting Divine Vision in Narciso Tomé's Transparente     
12. Epilogue: The Demise of Pious Perspective     
Chapter Notes     
Bibliography     
Index