LEADER 04253nam 2200661 a 450 001 9910778945903321 005 20211012170212.0 010 $a0-674-06273-6 024 7 $a10.4159/harvard.9780674062733 035 $a(CKB)2550000000087269 035 $a(OCoLC)776588131 035 $a(CaPaEBR)ebrary10531201 035 $a(SSID)ssj0000585267 035 $a(PQKBManifestationID)11405154 035 $a(PQKBTitleCode)TC0000585267 035 $a(PQKBWorkID)10571723 035 $a(PQKB)10467479 035 $a(MiAaPQ)EBC3301044 035 $a(DE-B1597)178275 035 $a(OCoLC)840444402 035 $a(DE-B1597)9780674062733 035 $a(Au-PeEL)EBL3301044 035 $a(CaPaEBR)ebr10531201 035 $a(dli)HEB32233 035 $a(MiU) MIU01100000000000000000030 035 $a(PPN)175504652 035 $a(EXLCZ)992550000000087269 100 $a20110601d2012 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe early Renaissance and vernacular culture$b[electronic resource] /$fCharles Dempsey 210 $aCambridge, Mass. $cHarvard University Press$d2012 215 $a1 online resource (399 p.) 225 1 $aThe Bernard Berenson lectures on the Italian Renaissance 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-674-04952-7 320 $aIncludes bibliographical references and index. 327 $aList of illustrations -- Introduction -- Courtly lyric I. Simone Martini, French courtly lyric, and the vernacular -- Courtly lyric II. Sandro Botticelli and Poliziano : humanist learning and the vernacular -- Civic ritual I. Cardinal Orsini's paintings and Baccio Baldini's engravings of the Sibyls : humanist learning and vernacular drama -- Civic ritual II. Reconstructing the vernacular octaves with the prophecies of the twelve Sibyls -- Appendix. Cardinal Orsini's twelve Sibyls and their prophecies in vernacular octaves reconstructed. 330 $aWhy do the paintings and poetry of the Italian Renaissance-a celebration of classical antiquity-also depict the Florentine countryside populated with figures dressed in contemporary silk robes and fleur-de-lys crowns? Upending conventional interpretations of this well-studied period, Charles Dempsey argues that a fusion of classical form with contemporary content, once seen as the paradox of the Renaissance, can be better understood as its defining characteristic. Dempsey describes how Renaissance artists deftly incorporated secular and popular culture into their creations, just as they interwove classical and religious influences. Inspired by the love lyrics of Parisian troubadours, Simone Martini altered his fresco Maestà in 1321 to reflect a court culture that prized terrestrial beauty. As a result the Maestà scandalously revealed, for the first time in Italian painting, a glimpse of the Madonna's golden locks. Modeled on an ancient statue, Botticelli's Birth of Venus went much further, featuring fashionable beauty ideals of long flowing blonde hair, ivory skin, rosy cheeks, and perfectly arched eyebrows. In the only complete reconstruction of Feo Belcari's twelve Sybilline Octaves, Dempsey shows how this poet, patronized by the Medici family, was also indebted to contemporary dramatic modes. Popularizing biblical scenes by mixing the familiar with the exotic, players took the stage outfitted in taffeta tunics and fanciful hats, and one staging even featured a papier maché replica of Jonah's Whale. As Dempsey's thorough study illuminates, Renaissance poets and artists did not simply reproduce classical aesthetics but reimagined them in vernacular idioms. 410 0$aBernard Berenson lectures on the Italian Renaissance. 606 $aArts, Italian 606 $aArts, Renaissance$zItaly 606 $aArts and society$zItaly 615 0$aArts, Italian. 615 0$aArts, Renaissance 615 0$aArts and society 676 $a709.45 700 $aDempsey$b Charles$0267322 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910778945903321 996 $aEarly Renaissance and vernacular culture$92806834 997 $aUNINA