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Vibrant icons: Titian's art and the ...

Nygren, Christopher J.

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Vibrant icons: Titian's art and the tradition of Christian image-making.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Vibrant icons: Titian's art and the tradition of Christian image-making./
作者:	Nygren, Christopher J.
面頁冊數:	619 p.
附註:	Source: Dissertation Abstracts International, Volume: 73-02, Section: A, page: 3950.
Contained By:	Dissertation Abstracts International73-02A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3484253
ISBN:	9781124999067

Vibrant icons: Titian's art and the tradition of Christian image-making.
Nygren, Christopher J.

Vibrant icons: Titian's art and the tradition of Christian image-making. - 619 p.

Source: Dissertation Abstracts International, Volume: 73-02, Section: A, page: 3950.

Thesis (Ph.D.)--The Johns Hopkins University, 2011.

This item is not available from ProQuest Dissertations & Theses.

This dissertation redresses a shortcoming in the study of one of the most famous artists of the Renaissance and also calls attention to an under-appreciated aspect of Renaissance art tout court. I am concerned with how Titian appropriated, deployed, and reconfigured the heritage of Christian icon painting. Throughout his career Titian continually produced half-length images of Biblical stories; this is the first sustained account of these paintings. I call this formal sub-category of images "vibrant icons." This designation accounts for the elusory nature of these pictures: they pulsate with artistic and theological concerns that destabilize the binary categorizations that have inflected the historiography of Renaissance art. Distinctions between icon and narrative, imitation and novelty, presence and mimesis, as well as the singular image versus the copy, prove inadequate when confronting these images. By contrast, I explore the devotional and theological ramifications of Titian's narrative icons, of which he often produced multiple originals. I argue that these images exemplify Titian's exploration of the half-length icon's referential potential and thus can offer insight into Titian's career more broadly; the imperatives that underwrote his vibrant icons were at loggerheads with the artistic directives governing his production of altarpieces, mythological paintings, and portraits. While Titian respected the decorum of religious image-making, the novelty of his artistic production cannot be reduced to the question of decorum. The artist sought to insert his distinctly modern, self-referential painterly style into a long tradition of Christian image-making that understood icons as a vehicle for Revelation.

ISBN: 9781124999067Subjects--Topical Terms:

2122701
Art history.

Vibrant icons: Titian's art and the tradition of Christian image-making.
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500 $a Adviser: Stephen J. Campbell.
502 $a Thesis (Ph.D.)--The Johns Hopkins University, 2011.
506 $a This item is not available from ProQuest Dissertations & Theses.
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520 $a This dissertation redresses a shortcoming in the study of one of the most famous artists of the Renaissance and also calls attention to an under-appreciated aspect of Renaissance art tout court. I am concerned with how Titian appropriated, deployed, and reconfigured the heritage of Christian icon painting. Throughout his career Titian continually produced half-length images of Biblical stories; this is the first sustained account of these paintings. I call this formal sub-category of images "vibrant icons." This designation accounts for the elusory nature of these pictures: they pulsate with artistic and theological concerns that destabilize the binary categorizations that have inflected the historiography of Renaissance art. Distinctions between icon and narrative, imitation and novelty, presence and mimesis, as well as the singular image versus the copy, prove inadequate when confronting these images. By contrast, I explore the devotional and theological ramifications of Titian's narrative icons, of which he often produced multiple originals. I argue that these images exemplify Titian's exploration of the half-length icon's referential potential and thus can offer insight into Titian's career more broadly; the imperatives that underwrote his vibrant icons were at loggerheads with the artistic directives governing his production of altarpieces, mythological paintings, and portraits. While Titian respected the decorum of religious image-making, the novelty of his artistic production cannot be reduced to the question of decorum. The artist sought to insert his distinctly modern, self-referential painterly style into a long tradition of Christian image-making that understood icons as a vehicle for Revelation.
520 $a Chapters one and two investigate the history of the San Rocco Christ Carrying the Cross, a miracle-working painting attributed to Titian in numerous sixteenth-century sources. Chapters three and four contend that in the second decade of the sixteenth century Titian pivoted away from the traditional forms and subjects of half-length icons, thus creating a new category of images, what I call "post-devotional icons." This argument unfolds through an analysis of Titian's Dresden Tribute Money and the so-called Salome. Chapters five and six examine Titian's later icons, in particular a diptych of the Ecce Homo and Mater Dolorosa produced for Charles V.
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