Representing vision : mannerist art and the body of Christ

 

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dc.contributor.author Evans, Walter Nicholas Adrian en_ZA
dc.date.accessioned 2016-03-11T14:27:37Z
dc.date.available 2016-03-11T14:27:37Z
dc.date.issued 1987 en_ZA
dc.identifier.citation Evans, W. 1987. Representing vision : mannerist art and the body of Christ. University of Cape Town. en_ZA
dc.identifier.uri http://hdl.handle.net/11427/17659
dc.description Bibliography: pages 67-70. en_ZA
dc.description.abstract The essay departs from the iconographical and interpretative studies of the Warburg Institute in the field of art history, seeking to define pictorial context in a way that avoids the notion of a fixed content behind works of art. Specific paintings are contextualised according to the psychological/physiological accidents of vision. A theoretical precedent for this approach within "art history" has been established by Norman Bryson, and the methods of Bryson, of J. Derrida and of J. Lacan are applied to specific works. The essay defines a motif common in Florentine and Roman mannerist religious paintings: the central significance given to Christ's torso in many works. This motif is related to its sources (Michelangelo and antique sculpture), and developed through an analysis of three paintings, J. Pontormo's Descent from the Cross, Rosso's Dead Christ with Angels and the Deposition by the Roman artist D. Ricciarelli da Volterra. The paintings are analysed according to their status as fictions, as devotional images and as representations of the human body. Various definitions of maniera are offered. The essay concludes with an appeal that visual ambiguity be recognised as central to the understanding of pictorial representations. en_ZA
dc.language.iso eng en_ZA
dc.subject.other Mannerism (Art) en_ZA
dc.subject.other Literary Studies en_ZA
dc.title Representing vision : mannerist art and the body of Christ en_ZA
dc.type Master Thesis
uct.type.publication Research en_ZA
uct.type.resource Thesis en_ZA
dc.publisher.institution University of Cape Town
dc.publisher.faculty Faculty of Humanities en_ZA
dc.publisher.department Michaelis School of Fine Art en_ZA
dc.type.qualificationlevel Masters
dc.type.qualificationname MA en_ZA
uct.type.filetype Text
uct.type.filetype Image
dc.identifier.apacitation Evans, W. N. A. (1987). <i>Representing vision : mannerist art and the body of Christ</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art. Retrieved from http://hdl.handle.net/11427/17659 en_ZA
dc.identifier.chicagocitation Evans, Walter Nicholas Adrian. <i>"Representing vision : mannerist art and the body of Christ."</i> Thesis., University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art, 1987. http://hdl.handle.net/11427/17659 en_ZA
dc.identifier.vancouvercitation Evans WNA. Representing vision : mannerist art and the body of Christ. [Thesis]. University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art, 1987 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/17659 en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Evans, Walter Nicholas Adrian AB - The essay departs from the iconographical and interpretative studies of the Warburg Institute in the field of art history, seeking to define pictorial context in a way that avoids the notion of a fixed content behind works of art. Specific paintings are contextualised according to the psychological/physiological accidents of vision. A theoretical precedent for this approach within "art history" has been established by Norman Bryson, and the methods of Bryson, of J. Derrida and of J. Lacan are applied to specific works. The essay defines a motif common in Florentine and Roman mannerist religious paintings: the central significance given to Christ's torso in many works. This motif is related to its sources (Michelangelo and antique sculpture), and developed through an analysis of three paintings, J. Pontormo's Descent from the Cross, Rosso's Dead Christ with Angels and the Deposition by the Roman artist D. Ricciarelli da Volterra. The paintings are analysed according to their status as fictions, as devotional images and as representations of the human body. Various definitions of maniera are offered. The essay concludes with an appeal that visual ambiguity be recognised as central to the understanding of pictorial representations. DA - 1987 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 1987 T1 - Representing vision : mannerist art and the body of Christ TI - Representing vision : mannerist art and the body of Christ UR - http://hdl.handle.net/11427/17659 ER - en_ZA


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