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Record Nr. |
UNINA9910493691603321 |
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Autore |
Pearson Andrea G. |
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Titolo |
Gardens of love and the limits of morality in early Netherlandish art / / by Andrea Pearson |
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Pubbl/distr/stampa |
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Leiden ; ; Boston : , : Brill, , [2019] |
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ISBN |
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Descrizione fisica |
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1 online resource (378 pages) |
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Collana |
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Brill's studies in intellectual history, , 0920-8607 ; ; volume 296 |
Brill's studies on art, art history, and intellectual history ; ; volume 37 |
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Disciplina |
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Soggetti |
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Human figure in art |
Art, Netherlandish |
Art and morals - Benelux countries |
Arts and religion - Benelux countries |
Electronic books. |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Front Matter -- Copyright page -- Dedication -- Acknowledgements -- Figures -- The Erotics of Virtue -- Moralized Love -- Disability and Redemption -- Monastic Morality -- Holy Matrimony -- Infancy Moralized -- Kissing Kids -- The Limits of Mother-Son Eroticism -- Back Matter -- Bibliography -- Index. |
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Sommario/riassunto |
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In Gardens of Love and the Limits of Morality in Early Netherlandish Art , Andrea Pearson charts the moralization of human bodies in late medieval and early modern visual culture, through paintings by Jan van Eyck and Hieronymus Bosch, devotional prints and illustrated books, and the celebrated enclosed gardens of Mechelen among other works. Drawing on new archival evidence and innovative visual analysis to reframe familiar religious discourses, she demonstrates that depicted topographies advanced and sometimes resisted bodily critiques expressed in scripture, conduct literature, and even legislation. Governing many of these redemptive greenscapes were the figures of Christ and the Virgin Mary, archetypes of purity whose spiritual authority was impossible to ignore, yet whose mysteries posed innumerable moral challenges. The study reveals that bodily status was |
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the fundamental problem of human salvation, in which artists, patrons, and viewers alike had an interpretive stake. |
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