|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910795137603321 |
|
|
Autore |
Nortmann Ulrich |
|
|
Titolo |
City Views in the Habsburg and Medici Courts : Depictions of Rhetoric and Rule in the Sixteenth Century / / Ryan E. Gregg |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Leiden, ; Boston : , : BRILL, , 2019 |
|
|
|
|
|
|
|
ISBN |
|
90-04-38616-5 |
90-04-35720-3 |
|
|
|
|
|
|
|
|
Descrizione fisica |
|
1 online resource (440 pages) : illustrations |
|
|
|
|
|
|
Collana |
|
Brill's studies in intellectual history ; ; 294. Brill's studies on art, art history, and intellectual history ; ; 35 |
|
|
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Constitutional history, Medieval |
Government Policy |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Nota di bibliografia |
|
Includes bibliographical references and index. |
|
|
|
|
|
|
Nota di contenuto |
|
Front Matter -- Copyright page -- Acknowledgements -- Illustrations -- Introduction -- Witnessing Sovereignty: Anton van den Wyngaerde's City Views as Habsburg Courtly Propaganda -- The Antwerp School of City Views -- Vasari, Historiography, and the Rhetoric of City Views -- Defining Ducal Dominion: Giovanni Stradano's City Views in the Apartment of Leo X -- Coda: Heirs to Dominion -- Back Matter -- Bibliography -- Index. |
|
|
|
|
|
|
|
|
Sommario/riassunto |
|
In City Views in the Habsburg and Medici Courts , Ryan E. Gregg relates how Charles V, Holy Roman Emperor, and Duke Cosimo I of Tuscany employed city view artists such as Anton van den Wyngaerde and Giovanni Stradano to aid in constructing authority. These artists produced a specific style of city view that shared affinity with Renaissance historiographic practice in its use of optical evidence and rhetorical techniques. History has tended to see city views as accurate recordings of built environments. Bringing together ancient and Renaissance texts, archival material, and fieldwork in the depicted locations, Gregg demonstrates that a close-knit school of city view artists instead manipulated settings to help persuade audiences of the truthfulness of their patrons' official narratives. |
|
|
|
|
|
|
|