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Lucrezia's Saint: The Child Baptist...

Solum, Stefanie Lee.

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Lucrezia's Saint: The Child Baptist and Medici redemption in fifteenth-century Florence.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Lucrezia's Saint: The Child Baptist and Medici redemption in fifteenth-century Florence./
作者:	Solum, Stefanie Lee.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2001,
面頁冊數:	310 p.
附註:	Source: Dissertation Abstracts International, Volume: 62-07, Section: A, page: 2268.
Contained By:	Dissertation Abstracts International62-07A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3019815
ISBN:	9780493310640

Lucrezia's Saint: The Child Baptist and Medici redemption in fifteenth-century Florence.
Solum, Stefanie Lee.

Lucrezia's Saint: The Child Baptist and Medici redemption in fifteenth-century Florence. - Ann Arbor : ProQuest Dissertations & Theses, 2001 - 310 p.

Source: Dissertation Abstracts International, Volume: 62-07, Section: A, page: 2268.

Thesis (Ph.D.)--University of California, Berkeley, 2001.

This dissertation locates a revolutionary change in the visual imagery of the Child St. John the Baptist in mid-fifteenth century Florence---a shift brought about by the religious poet Lucrezia Tornabuoni de' Medici, a member by marriage of the city's ruling family. While Florentine images of the Child Baptist before mid-century occurred exclusively in narrative cycles within public spaces, during the late 1450's the young saint was divorced from his narrative framework and removed from the public stage to the domestic setting; a wholly new and dramatically influential type of Baptist imagery was born. Designed to stimulate internal contemplation in viewers, these new images stemmed from the manuscript culture of private devotion whose texts also demanded an active meditative state from their readers.

ISBN: 9780493310640Subjects--Topical Terms:

2122701
Art history.

Lucrezia's Saint: The Child Baptist and Medici redemption in fifteenth-century Florence.
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500 $a Source: Dissertation Abstracts International, Volume: 62-07, Section: A, page: 2268.
500 $a Chair: Loren Partridge.
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520 $a This dissertation locates a revolutionary change in the visual imagery of the Child St. John the Baptist in mid-fifteenth century Florence---a shift brought about by the religious poet Lucrezia Tornabuoni de' Medici, a member by marriage of the city's ruling family. While Florentine images of the Child Baptist before mid-century occurred exclusively in narrative cycles within public spaces, during the late 1450's the young saint was divorced from his narrative framework and removed from the public stage to the domestic setting; a wholly new and dramatically influential type of Baptist imagery was born. Designed to stimulate internal contemplation in viewers, these new images stemmed from the manuscript culture of private devotion whose texts also demanded an active meditative state from their readers.
520 $a While literary historians have widely excluded spiritual, vernacular literature from the Quattrocento canon, evidence from personal devotional manuscripts illustrates its redemptive power and the spiritual authority of its authors, such as Lucerzia Tornabuoni. Lucrezia's poetry demonstrates her special devotion to the saint, as well as her fluency in the literary tradition that engendered the new imagery, marked by Fra Filippo Lippi's Palazzo Medici Adoration (c.1459), the altarpiece for the Medici Palace's private chapel. Art historians, however, have downplayed or rejected her influence on the painting.
520 $a Demonstrating Lucrezia's spiritual authority, and validating it by refocusing the politically-based construction of power in Medicean Florence, reverses the assumption that a woman living in this rigidly patriarchal culture could not have influenced the visual arts on such a vast and meaningful level. Evidence of Lucrezia's involvement with other, rare images of the Child Baptist, as well as proof, based on archival evidence, that her spiritual interests dictated other fundamental components of her family's altarpiece, makes her influence on the painting unquestionable. Her intervention was, moreover, a powerful bid for the salvation of her family, and provides the basis for a new reading of the painting as inextricably tied to Medici hopes for redemption. It also offers new evidence for female, spiritual influence in Renaissance Florence, throwing into question the conceptions of power and patronage that continue to shape the period's historiography.
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