Manèr og tanke:

Manèr og tanke:
manerisme i italiensk bildekunst ca. 1515-1600
Felles litteraturliste for KUN 2122/KUN 4122 (ca. 900 s) :
Hartt, F., “History of Italian Renaissance Art”, Harry N. Abrams, Inc., Publishers, 1994 (fjerde
utgave og senere utgaver), kapitlene 18 (High Renaissance and Mannerism) og 19 (High and Late
Renaissance in Venice and on the Mainland).
Blunt, A., “Artistic Theory in Italy 1450-1600”, Oxford 1956 (og senere utgaver), kapitlene VII,
-------------------------------------------------------------------------------------------------------Litteratur samlet i kopisamlingens deler 1, 2 og 3. (unipubkompendier):
Pope-Hennessy,J., ”Michelangelo:The Medici Chapel”, i Italian and Renaissance Sculpture. An
Introduction to Italian Sculpture, vol. III, Phaidon 1996, s. 46-79, 437-446.
Avery, C., “Giambologna. The Complete Sculpture”, Phaidon:Oxford 1987, kapitlene 6, 8 og 14
Pope-Hennessy, J., “Cellini”, London: Macmillan 1985, kap. VII, s.162-213, 305-307.
Franklin, J., “Rosso in Italy” , Yale University Press: London 1994, kap. 3, s. 54-83, 276-278.
Nichols, T., “Tintoretto. Tradition and Identity”, Reaktion Books 1999, kap. 5, s. 175-237, 260263.
Cropper, E., “Introduction”, i Craig Hugh Smyth, Mannerism and Maniera, IRSA, Wien 1992,
s.12-21, 104-107.
Hall, M.B., “Color and Meaning. Practice and Theory in Renaissance Painting”, Cambridge
University Press : Cambridge 1992, s. 149-179, 253-255.
Brock, M., “Bronzino”, Flammarion: Paris 2002, kap. VI (s. 212-237, 334-335)
Pevsner, N., “The Counter-Reformation and Mannerism”, Studies in Art, Architecture and
Design, vol. 1, London 1968, 10-33, 237-238.
Treves, M., “’Maniera”. The History of a Word”, 1, Marsyas (1941), s. 69-88.
Smyth, C.H., “Mannerism and Maniera”, The Renaissance and Mannerism. Studies in Western
Art. Acts of the Twentieth International Congress of the History of Art ,2(1963), s. 174-199.
Shearman, J.,” Maniera as an Aesthetic Ideal”, The Renaissance and Mannerism. Studies in
Western Art. Acts of the Twentieth International Congress of the History of Art ,2 (1963), s.
Moreno, I.L, “Pontormo`s Passion Cycle at the Certosa”, Art Bulletin (1981), s. 308-313.
Steinberg, L., “Pontormo’s Capponi Chapel”, Art Bulletin (1974), s. 385-400.
Jenkins, M., “The Iconography of the Hall of the Consistory in the Palazzo Pubblico”, Art
Bulletin (1972), s. 430-51.
Partridge, L., “The Sala d’Ercole in the Villa Farnese at Caprarola”, Art Bulletin (1971),s. 467-86
; (1972) s. 50-62.
Cheney, I., “Giorgio Vasari’s Sala di Cento Giorni. A Farnese Celebration”, Explorations in
Renaissance Culture, xxi (1955), s. 121-55.
Robertson,C., “Annibal Caro as Iconographer: Sources and Method”, Journal of the Warburg
and Courtauld Institutes, 45 (1982), s. 160-181, figs 25-27.
Forster, K.W., “Metaphors of Rule: Political Ideology and History in the Portraits of Cosimo I
de’Medici”, Mitteilungen des kunsthistorischen Institutes in Florenz, xv (1971), s. 65-105.
Rubin, P., “The Private Chapel of Cardinal Alessandro Farnese in the Cancelleria, Rome, Journal
of Warburg and Coutauld Institutes (1987), s. 82-112.
Nova,A., “Francesco Salviati and the ‘Markgrafen’ Chapel in S.Maria dell’Anima”, Mitteilungen
des kunsthistorischen Institutes in Florenz xxv (1981), s. 355-372.
Steinberg, L., “Michelangelo’s Last Judgement as Merciful Heresy”, Art in America, lxiii (1975),
s. 48-63.
Hall,M, “Michelangelo’s Last Judgement: Resurrection of the Body and Predestination”, Art
Bulletin, lviii (1976) , s. 48-63.
Wallace, W.E., “Narrative and Religious Expression in Michelangelo’s Pauline Chapel”, Artibus
& Historiae, x/19 (1989), s. 107-12.
Monssen, L.H., “Rex gloriose martyrum: A Contribution to Jesuit Iconography”, Art Bulletin
lxiii (1981), s.130-137
Shearman, J., Mannerism, Harmondsorth 1979 (1967), kap. 2 ,49-79;193-196.
Masterstudenter velger selv ut et tilleggspensum på ca. 300 sider
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