5. In Front of the Work of Art: The Question of Pictorial Theatricality in Italian Art, 1400–1700

  1. Caroline van Eck1 and
  2. Stijn Bussels2
  1. Marc Bayard

Published Online: 20 APR 2011

DOI: 10.1002/9781444396744.ch5

Theatricality in Early Modern Art and Architecture

Theatricality in Early Modern Art and Architecture

How to Cite

Bayard, M. (2011) In Front of the Work of Art: The Question of Pictorial Theatricality in Italian Art, 1400–1700, in Theatricality in Early Modern Art and Architecture (eds C. van Eck and S. Bussels), Wiley-Blackwell, Oxford, UK. doi: 10.1002/9781444396744.ch5

Editor Information

  1. 1

    Leiden University, The Netherlands

  2. 2

    University of Groningen, The Netherlands

Publication History

  1. Published Online: 20 APR 2011
  2. Published Print: 14 APR 2011

Book Series:

  1. Art History Book Series

Book Series Editors:

  1. David Peters Corbett3 and
  2. Christine Riding4

Series Editor Information

  1. 3

    University of East Anglia, London, Uk

  2. 4

    Tate, London, Uk

ISBN Information

Print ISBN: 9781444339024

Online ISBN: 9781444396744

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Keywords:

  • in front of the work of art - and question of pictorial theatricality in Italian Art, 1400–1700;
  • theatre and the visual arts, and its relationship - between painting, a degree of ambivalence;
  • Ernst Gombrich, a semiological approach - viewer's gaze, psychological component of perception;
  • Shearman, and scholars - links, between primary viewing and composition of works of art;
  • Philippe Morel, a semantic approach - to secular decors of the Renaissance, illusionistic transitivity and decorative reflexitivity;
  • comparative study of two art forms - ties between theatre and painting;
  • paintings, of reference and memory - Referential Theatricality, by painters, constructing unified architectural ensembles;
  • painting of pathos, and breadth of emotions - stories and pathos, The Death of Didone of 1630 in Galleria Spada in Rome, or Pietro da Cortona, rape of the Sabine Women of 1629;
  • pictorial theatricality, engaging viewers - to theatre-spatial construction of painting;
  • processional theatricality, and the viewer's place - work of art, a space both fictive and real

Summary

This chapter contains sections titled:

  • A Painting of Reference and Memory: Referential Theatricality

  • A Painting of Pathos: The Breadth of Emotions

  • Painting the Process and the Gap: Processional Theatricality

  • The Correct Distance and the Area of Interiority: Humilitas

  • Matter and Essence: The Issue of Visual Registers