Christina Neilson is Associate Professor of Renaissance and Baroque Art History at Oberlin College, Ohio. A recipient of grants from the National Endowment of the Humanities, the Andrew W. Mellon Foundation, and Villa I Tatti, the Harvard Center for Italian Renaissance Studies, among others, she curated and wrote the catalogue for the exhibition 'Parmigianino's Antea: A Beautiful Artifice' at The Frick Collection, New York.
Inhaltsangabe
Introduction 1. Verrocchio's ingenuity 2. Verrocchio's Medici Tomb: art as treatise 3. Bridging dimensions: Verrocchio's Christ and Saint Thomas as absent presence 4. The sculptured imagination 5. Material meditations in Verrocchio's Bargello Crucifix Conclusion A note on archival sources Bibliography Index.
Introduction 1. Verrocchio's ingenuity 2. Verrocchio's Medici Tomb: art as treatise 3. Bridging dimensions: Verrocchio's Christ and Saint Thomas as absent presence 4. The sculptured imagination 5. Material meditations in Verrocchio's Bargello Crucifix Conclusion A note on archival sources Bibliography Index.
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