Tracce di Sangue e “finis corporis”. Sulla genesi della vita nel Quattrocento. Riflessioni sull'Uomo di dolori di Albrecht Dürer (2012)
Fricke, Beate (Author)
Micrologus: Natura, Scienze e Società Medievali
Volume: 20
Pages: 357--380
Publication date: 2012
Language: Italian
Edition Details: Article in a special issue, “Estremità e escrescenze dei corpi / Extremities and Excrescences of the Body”
In their attempt to show bodies animated and alive, painters commented on this crucial question for antique and medieval thinkers by turning it round: Their paintings show an evident interest in what happens to blood after exiting the body in the moment of loosing life, of dying. In Italy since the Trecento, and north of the Alps since ca. 1400, painted traces of blood demonstrate the process of coagulation, the changes of color, substance and liquidity blood experiences outside the body. To render our imagination about the loss of life more lively painters like Enguerrand Quarton, Konrad Witz, the Master of the Bartholomäusaltar and Albrecht Dürer use the paradox that the demonstration of the deadly loss of blood enhances the animation of the picture. On the basis of this artistic interest to contemporary debates about eviction of evidence e.g. in the case of the Holy Blood relic in Mantua 1459/1460 or the `Jetzer'-case at Berne, a new interpretation of the two sides of Albrecht Dürer's panel at Karlsruhe is suggested.
...MoreArticle Pastoureau, Michel (2012) Les cornes, les poils, les oreilles et la queue. Se déguiser en animal dans l'Occident médiéval. Micrologus: Natura, Scienze e Società Medievali (p. 3).
Similar Citations
Book
Attenborough, David;
Owens, Susan;
Clayton, Martin;
Alexandratos, Rea;
(2007)
Amazing Rare Things: The Art of Natural History in the Age of Discovery
Book
Paul Fermon;
(2018)
Le Peintre Et La Carte. Origines Et Essor de la Vue Figurée Entre Rhône Et Alpes (XIVe-XVe siècle)
Chapter
Silver, Larry;
Smith, Pamela H.;
(2002)
Splendor in the Grass: The Powers of Nature and Art in the Age of Dürer
Article
Marcaida, José Ramón;
(2014)
Rubens and the Bird of Paradise. Painting Natural Knowledge in the Early Seventeenth Century
Book
Kaufmann, Thomas DaCosta;
(2009)
Arcimboldo: Visual Jokes, Natural History, and Still-Life Painting
Article
Limanskaia, L. Yu.;
(2006)
“The Eye as “Master Astronomer””: Leonardo da Vinci's “Science of Painting” and Universal Mechanics
Article
Robin Rider;
(1996)
Dürer's art of measurement
Article
Ivano Dal Prete;
(2018)
The Ruins of the Earth: Learned Meteorology and Artisan Expertise in Fifteenth-Century Italian Landscapes
Book
Wamberg, Jacob;
(2006)
Art and Alchemy
Thesis
Bourla, Lisa;
(2013)
The Reform of Drawing and the Natural Act of Painting: Lodovico Cigoli and His Florentine Circle c. 1600
Book
Michela di Macco;
(2023)
Natura e artificio nell'Europa del Seicento e Settecento. Artisti, conoscitori e scienziati tra osservazione, invenzione e diffusione del sapere
Chapter
Elisa Spataro;
(2023)
La formazione e la figura del pittore di paesaggio tra Seicento e Settecento
Chapter
Giulia Daniele;
(2023)
Nuove ipotesi per i paesaggi seicenteschi della Loggia di Galatea della Villa Farnesina alla Lungara
Chapter
Camilla Pietrabassa;
(2023)
Natura urbana a Parigi nelle serie a stampa da Jean Mariette a Charles-Antoine Jombert
Chapter
Kaufmann, Thomas DaCosta;
(2007)
The Artificial and the Natural: Arcimboldo and the Origins of Still Life
Book
Laurenza, Domenico;
(2012)
Art and Anatomy in Renaissance Italy: Images from a Scientific Revolution
Article
Park, Malcolm;
(2013)
Brunelleschi's Discovery of Perspective's “Rule”
Article
Stork, David G.;
(2005)
Did Hans Memling Employ Optical Projections When Painting Flower Still-Life?
Book
Hockney, David;
(2001)
Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters
Book
Sorci, Alessandra;
(2001)
“La forza de le linee”: Prospettiva e stereometria in Piero della Francesca
Be the first to comment!