LEADER 03792nam 2200601 a 450 001 9910457651103321 005 20211008181126.0 010 $a0-674-06097-0 024 7 $a10.4159/harvard.9780674060975 035 $a(CKB)2550000000051267 035 $a(EBL)3300967 035 $a(SSID)ssj0000564536 035 $a(PQKBManifestationID)11380285 035 $a(PQKBTitleCode)TC0000564536 035 $a(PQKBWorkID)10602604 035 $a(PQKB)11603606 035 $a(MiAaPQ)EBC3300967 035 $a(DE-B1597)178229 035 $a(OCoLC)759158609 035 $a(OCoLC)840439894 035 $a(DE-B1597)9780674060975 035 $a(Au-PeEL)EBL3300967 035 $a(CaPaEBR)ebr10492933 035 $a(EXLCZ)992550000000051267 100 $a20100907d2011 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aGiotto and his publics$b[electronic resource] $ethree paradigms of patronage /$fJulian Gardner 210 $aCambridge, Mass. $cHarvard University Press$d2011 215 $a1 online resource (256 p.) 225 1 $aBernard Berenson lectures on the Italian Renaissance 300 $aDescription based upon print version of record. 311 $a0-674-05080-0 320 $aIncludes bibliographical references and index. 327 $aIntroduction -- Giotto at Pisa : the Stigmatization for San Francesco -- Giotto among the money-changers : the Bardi Chapel in Santa Croce -- The lull before the storm : the Vele in the lower church at Assisi -- Conclusion -- Appendix : inscriptions of the Vele -- Chronology. 330 $aThis probing analysis of three works by Giotto and the patrons who commissioned them goes far beyond the clichés of Giotto as the founding figure of Western painting. It traces the interactions between Franciscan friars and powerful bankers, illuminating the complex interplay between mercantile wealth and the iconography of poverty.Political strife and religious faction lacerated fourteenth-century Italy. Giotto's commissions are best understood against the background of this social turmoil. They reflected the demands of his patrons, the requirements of the Franciscan Order, and the restlessly inventive genius of the painter. Julian Gardner examines this important period of Giotto's path-breaking career through works originally created for Franciscan churches: Stigmatization of Saint Francis from San Francesco at Pisa, now in the Louvre, the Bardi Chapel cycle of the Life of St. Francis in Santa Croce at Florence, and the frescoes of the crossing vault above the tomb of Saint Francis in the Lower Church of San Francesco at Assisi. These murals were executed during a twenty-year period when internal tensions divided the friars themselves and when the Order was confronted by a radical change of papal policy toward its defining vow of poverty. The Order had amassed great wealth and built ostentatious churches, alienating many Franciscans in the process and incurring the hostility of other Orders. Many elements in Giotto's frescoes, including references to St. Peter, Florentine politics, and church architecture, were included to satisfy patrons, redefine the figure of Francis, and celebrate the dominant group within the Franciscan brotherhood. 410 0$aBernard Berenson lectures on the Italian Renaissance. 606 $aArt patronage$zItaly$xHistory$yTo 1500 608 $aElectronic books. 615 0$aArt patronage$xHistory 676 $a759.5 700 $aGardner$b Julian$0241617 701 $aGiotto$f1266?-1337.$0212708 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910457651103321 996 $aGiotto and his publics$92414574 997 $aUNINA