Il Marmo Spirante: Sculpture And Experience In Seventeenth-century Rome by Joris Van GastelIl Marmo Spirante: Sculpture And Experience In Seventeenth-century Rome by Joris Van Gastel

Il Marmo Spirante: Sculpture And Experience In Seventeenth-century Rome

byJoris Van Gastel

Hardcover | December 15, 2013

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The sculptors of the Roman Baroque, including masters such as Gian Lorenzo Bernini, Alessandro Algardi, and Giuliano Finelli, managed to achieve unprecedented vivaciousness in their works. Yet, the apparent life of these sculptures is persistently obscured by their materiality. Soft, undulating flesh and fluttering draperies are captured in hard and lifeless marble. Taking the manner in which the beholder’s engagement with sculpture plays out in contemporaneous poetry and other sources as a point of departure, this study explores the various ways contemporary viewers dealt with sculpture’s double character, introducing ideas from modern-day psychology along the way.  
Joris van Gastel, formerly researcher at Leiden University‘s research project Art, Agency and Living Presence in Early Modern Italy, is research fellow at the University of Warwick. 
Title:Il Marmo Spirante: Sculpture And Experience In Seventeenth-century RomeFormat:HardcoverDimensions:328 pages, 9.4 × 6.6 × 0.9 inPublished:December 15, 2013Publisher:Leiden University Press AcademicLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:908728179X

ISBN - 13:9789087281793

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Table of Contents

Preface

Sculpture and Experience

Sculpture through Poetry

Sculpted Life

Effects on the Spectator/Poet

Poetry and Other Sources

Between Beholder, Artist, and Art

Likeness and Recognition: The Portrait Bust

To Create a Likeness

Portraiture and Caricature

The Lifelikeness of Portraiture

Plurality or the Bust as Construct

Azioni, Affetti, and Fantasia

Creating the Plural Bust

Looking at Bernini with Guidiccioni

Moving Sculpture Moving the Beholder

Moments and Movement

Shifts

Movement Styles and Caricatures

The Portrait Bust

The Moving Beholder

Touch and Sculpted Flesh

Titian as a Sculptor of Flesh

Nursing the Putto

Ambiguities of the Flesh

Touch and Flesh

Franchezza or the Sculptor’s Traces

Franchezza and Connoisseurship

The Sculpture as Connoisseur

The Dynamics of Observation

The Prominence of the Fold

Bernini’s Metamorphosis

‘Per una statua di Dafne’

The Active Spectator

The Petrified Spectator

Life to Stone

Conclusion

Appendices

Appendix 1: A Letter to Bernini

Appendix 2: Fulvio Testi’s ‘Lusso di Roma’

Notes

Bibliography

List of Illustrations

Index