Download PDF by Simona Cohen: Animals as Disguised Symbols in Renaissance Art (Brill's

By Simona Cohen

ISBN-10: 9004171010

ISBN-13: 9789004171015

ISBN-10: 9047424328

ISBN-13: 9789047424321

The connection among medieval animal symbolism and the iconography of animals within the Renaissance has scarcely been studied. Filling a spot during this major box of Renaissance tradition, as a rule, and its paintings, specifically, this ebook demonstrates the continuity and tenacity of medieval animal interpretations and symbolism, disguised less than the veil of style, spiritual or mythological narrative and clinical naturalism. an intensive advent, facing suitable medieval and early Renaissance resources, is through a chain of case reviews that illustrate ways that Renaissance artists revived traditional animal imagery in unparalleled contexts, making an investment them with new meanings, on a social, political, moral, spiritual or mental point, usually by means of utilizing exegetical method in growing a number of semantic and iconographic degrees. Brill's reports on paintings, paintings historical past, and highbrow History, vol. 2

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Simona Cohen's Animals as Disguised Symbols in Renaissance Art (Brill's PDF

The connection among medieval animal symbolism and the iconography of animals within the Renaissance has scarcely been studied. Filling a niche during this major box of Renaissance tradition, quite often, and its paintings, particularly, this ebook demonstrates the continuity and tenacity of medieval animal interpretations and symbolism, disguised lower than the veil of style, non secular or mythological narrative and medical naturalism.

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Jerome in Penitence (1525), where two murderous harpies are shown weeping with remorse (Fig. 4). 42 He 41 See P. Aiken, “The Animal history of Albertus Magnus and Thomas of Cantimpré,” Speculum, 22, 1947, 205–225; J. Block Friedman, “Albert the Great’s topoi of Direct Observation and his Debt to Thomas of Cantimpré,” in P. ), PreModern Encyclopedic Texts, Leiden, 1997; B. van den Abeele, “Bestiaires encyclopédiques moralisés. Quelques succédanés Thomas de Cantimpré et Barthélemy l’Anglais,” Reinardus, 7, 1994, 109–228.

4). 42 He 41 See P. Aiken, “The Animal history of Albertus Magnus and Thomas of Cantimpré,” Speculum, 22, 1947, 205–225; J. Block Friedman, “Albert the Great’s topoi of Direct Observation and his Debt to Thomas of Cantimpré,” in P. ), PreModern Encyclopedic Texts, Leiden, 1997; B. van den Abeele, “Bestiaires encyclopédiques moralisés. Quelques succédanés Thomas de Cantimpré et Barthélemy l’Anglais,” Reinardus, 7, 1994, 109–228. 42 H. 99. medieval sources of renaissance animal symbolism 17 attributed this to an ‘awareness of Konrad von Megenburg’s Buch der Natur’, but the tale appears in the first book of the Bonum universale de apibus, which had already been printed in Strasbourg (1472), Cologne (1475) and Paris (1506).

There is a tendency in modern literature to overemphasize the predominance of descriptive and empirical elements in Renaissance zoological texts, based on the assumption that moralizations and religious allegory were passé. 1 Contemporary and later writings, however, by Conrad Gesner (1516–65), Ulisse Aldrovandi (1522–1605), Joachim Camerarius (1534–98) and Edward Topsell (1572–1625), demonstrate that the traditional allegorical approach, and moralistic conceptions of the natural universe and its fauna, maintained their popularity in encyclopedic compilations well into the seventeenth century.

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Animals as Disguised Symbols in Renaissance Art (Brill's Studies in Intellectual History) by Simona Cohen


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