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Somaesthetic experience and the viewer in Medicean Florence : Renaissance art and political persuasion, 1459-1580
Viewers in the Middle Ages and Renaissance were encouraged to forge connections between their physical and affective states when they experienced works of art. They believed that their bodies served a critical function in coming to know and make sense of the world around them, and intimately engaged...
Saved in:
| Príomhúdar: | |
|---|---|
| Formáid: | Online Resource Leabhar |
| Teanga: | English |
| Foilsithe: |
Amsterdam
: Amsterdam University Press
, [2020]
|
| Sraith: | Visual and material culture, 1300-1700
22 |
| Ábhair: | |
| Rochtain Ar Líne: | http://kunst.proxy.fid-lizenzen.de/fid/jstor-ebooks-art/www.jstor.org/stable/10.2307/j.ctv18phhkn |
| Míreanna Gaolmhara: | Erscheint auch als:
Somaesthetic experience and the viewer in Medicean Florence |
| Notái Údair: | Allie Terry-Fritsch |
| E-Book Packages: | JSTOR E-Books in Art, Design and Photography |
| Nótaí: | FID-Lizenz "FID Kunst, Fotografie, Design" (keine Universitätslizenz) |
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| 520 | |a Viewers in the Middle Ages and Renaissance were encouraged to forge connections between their physical and affective states when they experienced works of art. They believed that their bodies served a critical function in coming to know and make sense of the world around them, and intimately engaged themselves with works of art and architecture on a daily basis. This book examines how viewers in Medicean Florence were self-consciously cultivated to enhance their sensory appreciation of works of art and creatively self-fashion through somaesthetic experience. Mobilized as a technology for the production of knowledge with and through their bodies, viewers contributed to the essential meaning of Renaissance art and, in the process, bound them to others. By investigating the framework and practice of somaesthetic viewing of works by Benozzo Gozzoli, Donatello, Benedetto Buglioni, Giorgio Vasari, and others in fifteenth- and sixteenth-century Florence, the book approaches the viewer as a powerful tool that was used by patrons to shape identity and power in the Renaissance | ||
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