Show Less

Sacred Eloquence

Giambattista Tiepolo and the Rhetoric of the Altarpiece

Series:

Johanna Fassl

This book offers an innovative approach to the altarpieces of Giambattista Tiepolo (1696-1770) by discussing them within the intellectual context of the first half of the eighteenth century. Tiepolo occupies a particular position in the history of art: firmly embedded in the eighteenth century, he is one of the last great painters of the classical tradition, and, at the same time, one of the precursors of modernity.
Why has Tiepolo’s religious art often been misunderstood? How can the abbreviation and absence of key symbols in the images be explained and why is this rhetoric of absence so utterly modern? Deliberately concentrating on what is not painted, rather than what is in the picture, the book deals with Tiepolo’s lacunism as an eighteenth-century phenomenon anticipating modernity. It discusses four different forms of rhetoric: iconic, narrative, silent, and visionary. Each discourse calibrates the images within their contemporary religious and philosophical context, which promote this type of rhetoric as highly innovative.

Prices

See more price optionsHide price options
Show Summary Details
Restricted access

Index 383

Extract

Index Accademici della Crusca, 55, 56n, 108n Aeschylus, 250 Alberti, Leon Battista, 10, 133, 143– 144, 155–156, 157n, 158–160, 163, 167–169, 196, 208, 243, 245–246, 248, 250, 252, 304, 313 Albrizzi, Giambattista, 209n, 218, 231n Alciati, Andrea, 33, 35n, 42, 43–44 Algarotti, Francesco, 13, 27, 29, 61– 62, 71, 107–108, 132n, 158– 161, 163, 164n, 171, 179, 205– 206, 217, 246, 248, 251–253, 279, 290, 291n; and the Vene- tian radical Enlightenment cir- cle, 71; on affect, 158–160, 246; on Alberti, 158–160, 163, 246, 248, 252; on camera obscura, 159–160; on chorus, 248, 251– 253; on composition, 159, 163– 164; on imagination (fantasia), 107–108, 248, 290–291; on memory, 107; on painting being (mute) poetry, 205–206; on perspective, 133n, 159–160, 163–164; on rhetoric, 27, 29, 61, 205; on rhetoric of silence, 205–206, 248, 252–253; on Ti- manthes and the veiled face, 246, 248; works cited: Iphigénie en Aulide, 248, 251; Saggio sopra la pittura, 27, 108, 132n, 158, 205, 290; Saggio sopra l’opera in musica, 248 Andrucci, Giuseppe, 77, 79–80, 138– 139, 141–142, 144, 196 apparition, 189, 193, 285, 290–297, 301–302, 305, 308n, 325 Aquinas, Thomas, 112, 187, 298 Asam, Cosmas and Damian, 284, 287–288 Bacon, Francis, 257 Balbin, Bohuslav, 22, 279, 282, 284– 286 Baldi, Antonio, 56n, 57 Barocci, Federico, 297 Barthes, Roland, 17, 172n, 299n Bernini, Gianlorenzo, 178 Bianchini, Giuseppe, 121, 122n Boschini, Marco, 215n, 216n,...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.