04140nam 2200721 450 991046405340332120200520144314.03-05-006262-210.1524/9783050062624(CKB)2670000000533697(EBL)1345296(SSID)ssj0001213659(PQKBManifestationID)11722728(PQKBTitleCode)TC0001213659(PQKBWorkID)11266181(PQKB)11608220(MiAaPQ)EBC1345296(DE-B1597)216087(OCoLC)881296038(OCoLC)948655769(DE-B1597)9783050062624(Au-PeEL)EBL1345296(CaPaEBR)ebr10848998(CaONFJC)MIL580105(OCoLC)871775645(EXLCZ)99267000000053369720140321h20132013 uy| 0engur|n|---|||||txtccrIl Marmo Spirante sculpture and experience in seventeenth-century Rome /Joris van GastelBerlin :Akademie Verlag,[2013]©20131 online resource (332 p.)Studien aus dem Warburg-Haus ;Band 12Description based upon print version of record.1-306-48854-0 3-05-005948-6 Includes bibliographical references and index.Front Matter -- Sculpture through Poetry -- Likeness and Recognition: The Portrait Bust -- Plurality or the Bust as Construct -- Moving Sculpture Moving the Beholder -- Touch and Sculpted Flesh -- Franchezza or the Sculptor's Traces -- Bernini's Metamorphosis -- Conclusion -- Appendices -- Back MatterThe sculptors of the Roman Baroque, including masters such as Gian Lorenzo Bernini, Alessandro Algardi, and Giuliano Finelli, managed to achieve an unprecedented vivaciousness in their works. And yet, the apparent life of these sculptures is persistently obscured by their materiality. Soft, undulating flesh, dramatic movements, and fluttering draperies are captured in hard and lifeless marble. Thus, sculpture challenges the beholder, is cause for confusion or frustration. Taking the manner in which the beholder's engagement with sculpture is played out in contemporary poetry and other sources as a point of departure and also introducing ideas from modern-day psychology, this study explores the various ways contemporary viewers dealt with sculpture's double character. As a result, a new light is shed on some of the unquestionable masterpieces of European art. Die Bildhauer des römischen Barock, darunter Meister wie Gian Lorenzo Bernini, Alessandro Algardi und Giuliano Finelli, erreichten eine beispiellose Lebendigkeit ihrer Werke. Dem augenscheinlichen Leben widerspricht jedoch beharrlich die harte Materialität dieser Skulpturen. Weiches, bewegtes Fleisch, dramatische Bewegungen und flatternde Stoffe sind in hartem, leblosem Marmor gefangen. So fordert die Skulptur den Betrachter heraus und sorgt für Verwirrung oder auch Enttäuschung. Anhand zeitgenössischer Poesie und anderer Quellen,welche die Interaktion zwischen Betrachter und Skulptur reflektieren, untersucht diese Studie, wie Zeitgenossen mit diesem Doppelcharakter der Skulptur umgingen. Dabei werden auch Ansätze der modernen Psychologie miteinbezogen. Das Ergebnis ist ein neuer Zugang zu einigen der höchstgeschätzten Meisterwerke europäischer Kunst.Studien aus dem Warburg-Haus ;Band 12.Marble sculptureSculpture, BaroqueSculpture, ItalianItalyRomeElectronic books.Marble sculpture.Sculpture, Baroque.Sculpture, Italian.730.945730.945632LN 63109rvkVan Gastel Joris1042444MiAaPQMiAaPQMiAaPQBOOK9910464053403321Il Marmo Spirante2466670UNINA00915nam a2200241 i 4500991003692229707536190801s2017 de ab b 001 0 eng d9783110538519b1437237x-39ule_instDip. di Studi Umanisticiita870.9Reggiani, Nicola786134Digital Papyrology I :Methods, Tools and Trends /Nicola ReggianiBerlin :De Gruyter,c2017VIII, 318 p. :ill. ;25 cmBibliografia: p.277-302. IndiciManoscritti greci e latini (Papiri.b1437237x06-08-1901-08-19991003692229707536LE007 411 REG 01.0112007000297803le007LE.SU 2019 CapassopE89.95-l- 00000.i1590059906-08-19Digital Papyrology I1750338UNISALENTOle00701-08-19ma -engde 00