東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Networks of power: The art patronage...

McCall, Timothy David.

FindBook

Google Book

Amazon

博客來

Networks of power: The art patronage of Pier Maria Rossi of Parma.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Networks of power: The art patronage of Pier Maria Rossi of Parma./
作者:	McCall, Timothy David.
面頁冊數:	454 p.
附註:	Source: Dissertation Abstracts International, Volume: 66-10, Section: A, page: 3781.
Contained By:	Dissertation Abstracts International66-10A.
標題:	History, European. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3192724
ISBN:	9780542365355

Networks of power: The art patronage of Pier Maria Rossi of Parma.
McCall, Timothy David.

Networks of power: The art patronage of Pier Maria Rossi of Parma. - 454 p.

Source: Dissertation Abstracts International, Volume: 66-10, Section: A, page: 3781.

Thesis (Ph.D.)--University of Michigan, 2005.

This study investigates the ways in which Count Pier Maria Rossi of Parma (1413--1482) was able to proclaim, promote, and negotiate his autonomy and authority through patronage of art. Rossi articulated his dynasty's power through pointed visual imagery advertising chivalric and courtly ideologies, political alliances, territorial aggrandizement, and participation in networks of civic and regional powers and institutions. By supporting ecclesiastical cults, by building churches, convents, and castles, and by commissioning fresco cycles, medals, and illuminated manuscripts, Rossi extended his dynasty's image of authority well beyond Parma. This imagery was not addressed to an insulated court but to intersecting audiences ranging from his peasant subjects to Italy's most powerful families.

ISBN: 9780542365355Subjects--Topical Terms:

1018076
History, European.

Networks of power: The art patronage of Pier Maria Rossi of Parma.
LDR:03231nam 2200289 4500 001 1397203
005 20110719084822.5
008 130515s2005 ||||||||||||||||| ||eng d
020 $a 9780542365355
035 $a (UMI)AAI3192724
035 $a AAI3192724
040 $a UMI $c UMI
100 1 $a McCall, Timothy David. $3 1676018
245 1 0 $a Networks of power: The art patronage of Pier Maria Rossi of Parma.
300 $a 454 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-10, Section: A, page: 3781.
500 $a Chair: Patricia Simons.
502 $a Thesis (Ph.D.)--University of Michigan, 2005.
520 $a This study investigates the ways in which Count Pier Maria Rossi of Parma (1413--1482) was able to proclaim, promote, and negotiate his autonomy and authority through patronage of art. Rossi articulated his dynasty's power through pointed visual imagery advertising chivalric and courtly ideologies, political alliances, territorial aggrandizement, and participation in networks of civic and regional powers and institutions. By supporting ecclesiastical cults, by building churches, convents, and castles, and by commissioning fresco cycles, medals, and illuminated manuscripts, Rossi extended his dynasty's image of authority well beyond Parma. This imagery was not addressed to an insulated court but to intersecting audiences ranging from his peasant subjects to Italy's most powerful families.
520 $a I examine closely the frescoed camera d'oro in Rossi's castle of Torrechiara and the camera di Griselda in Roccabianca and move beyond an exclusively biographical reading of imagery associated with Rossi's mistress Bianca Pellegrini to trace and to excavate the multivalent, poetic image of Bianca as mistress within regional political networks, as devout pilgrim, and as chivalric damsel. The camera di Griselda emerges not as a private bedroom, as has been assumed, but chamber where legal disputes were heard and where Rossi utilized the Griselda narrative to construct an image of just rule. Through the imagery of the camera d'oro, Rossi figured his authority and made reference to his dynasty's chivalric, patriarchal, crusading, and signorial traditions and histories. This amorous and peregrine imagery, I argue, was not secretly shared by two lovers but was intended for a wider audience and was employed by generations of Rossi as a symbolic and intimate register to bolster their dynasty's authority. I discuss the topography of the camera d'oro, moreover, as a polemical visualization of Rossi's networks of power and economic resources and the frescoes' castles as changing, idealized, and even fictitious claims on territorial control. By examining an ostensibly second-tier ruler who challenged regional powers through artistic patronage in a wide variety of media, this study challenges the model of Italian courts as closed entities connected by a putative "court culture" shared only by a small number of dominant centers.
590 $a School code: 0127.
650 4 $a History, European. $3 1018076
650 4 $a History, United States. $3 1017393
690 $a 0335
690 $a 0337
710 2 $a University of Michigan. $3 777416
773 0 $t Dissertation Abstracts International $g 66-10A.
790 1 0 $a Simons, Patricia, $e advisor
790 $a 0127
791 $a Ph.D.
792 $a 2005
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3192724