Bernardino Poccetti and the Art of Religious Painting at the End of the Florentine Renaissance / / Douglas Dow.

• Superior document: Title is part of eBook package: De Gruyter Amsterdam University Press Complete eBook-Package 2023
• VerfasserIn: Dow, Douglas,
• Place / Publishing House: Amsterdam : : Amsterdam University Press, , [2023]; ©2023
• Year of Publication: 2023
• Language: English
• Series: Visual and Material Culture, 1300 –1700 ; 49
• Physical Description: 1 online resource (320 p.)
• Other title: Frontmatter --; Table of Contents --; List of Illustrations --; List of Abbreviations --; Acknowledgments --; Introduction: ‘Il primo huomo da dipingere in fresco, che sia in questi paesi’ --; 1. ‘Grandemente inclinato all’Arte del Disegno’ --; 2. ‘Le prime cose lodevoli molto’ --; 3. ‘Locum ecclesiae designavit, quae Ioannis et uxoris pecunia extructa est’ --; 4. ‘Miracula et alia id genus’ --; Color Plates --; 5. ‘L’inventore di dipingere tutte le muraglie della nostra chiesa’ --; Conclusion --; Bibliography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9789048550951; 9783111023748; 9783111318103; 9783111319032; 9783111319292; 9783111318912
• DOI: 10.1515/9789048550951?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Douglas Dow.

By almost any measure Bernardino Barbatelli, called Poccetti, was a successful and sought after painter in late sixteenth-century Florence, but his works have remained largely overlooked. This study situates representative examples of his religious painting within their respective contexts to demonstrate how Poccetti and his patrons negotiated the increasingly fraught terrain of sacred painting in the period of religious reform. These case studies demonstrate how patrons ranging from the Dominicans to the Carthusians to prominent Florentine patricians relied on Poccetti’s skill in creating compelling narratives that reflected current concerns within the Catholic world. In the process, Poccetti invoked an august Florentine tradition of fresco painting, shaping it to better address the demands placed on religious imagery at the end of the Renaissance.