Caravaggio's Roman altarpiece, Death of the Virgin , in the Louvre, is often considered shockingly realistic and radically secular in content. Pamela Askew reveals its imagery to be as rich in metaphor and allusion as it is salient in its dramatic immediacy. The painting, notorious for its rejection by the fathers of the church of the Discalced Carmelites in Rome, S. Maria della Scala, was nevertheless praised by Caravaggio's contemporaries. Askew's analysis of the interdependency of formal and iconographical elements ...
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Caravaggio's Roman altarpiece, Death of the Virgin , in the Louvre, is often considered shockingly realistic and radically secular in content. Pamela Askew reveals its imagery to be as rich in metaphor and allusion as it is salient in its dramatic immediacy. The painting, notorious for its rejection by the fathers of the church of the Discalced Carmelites in Rome, S. Maria della Scala, was nevertheless praised by Caravaggio's contemporaries. Askew's analysis of the interdependency of formal and iconographical elements stresses Caravaggio's emphasis upon the body of the Virgin and offers new suggestions of why the image, despite its theological orthodoxy, may not have accorded with the Marian ideals of the reformed order. An earlier dating for the work is also proposed and its historical background enriched by new information on the hitherto obscure patron, Laerzio Cherubini. Caravaggio is shown to allude to Cherubini's active interest in a philanthropic institution for women with which the church of S. Maria della Scala was allied, through his exceptional inclusion of the figure of the Magdalen in a scene of the Dormition. Askew seeks to place the Death of the Virgin within the artistic and literary as well as social, theological, and spiritual contexts that contributed to its pictorial shaping. The Roman congregation of the Discalced Carmelites is investigated as is the tenor of its spirituality, and Caravaggio's formulation of the theme is interpreted in relation to his own pictorial synthesis of time passed and time future in time present.
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Fine in Fine jacket. 8vo-over 7¾"-9¾" tall. Cloth, hardcover in dust jacket., no flaws or wear. clean. no markings. no bumps, tears, creases. tight binding. appears unused.; english text.; xiii-221pp. followed by unpaginated section of 3 color plates and 71 b/w illustrations. thorough study of the caravaggio painting.
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Like New in Like New jacket. First Edition, First Printing. Published by Princeton University Press, 1990. Octavo. Orange cloth over boards stamped in gold with black endpapers. Book is like new; clean with no writing or names. Sharp corners and spine straight. Binding tight and pages crisp. Dust jacket is like new. A fine copy of this study on Caravaggio's painting Death of the Virgin. 221 pages plus plates. ISBN: 0691039836. 100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. Please email with any questions or if you would like a photo. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Southampton, New York. We Buy Books! Individual titles, libraries, collections. Message us if you have books to sell!
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VG-/VG-(ex-library with stamps and labels on dj spine, block, inside rear cover and title page. Pages are otherwise clean and clear. ) Burgundy and orange cloth boards with gilt lettering; burgundy and orange dust jacket with color illustration on front cover, tan lettering; xiii, 221 pp, 64 unnumbered pages of bw and color plates. Art interpretation on Caravgaggio's "Death of the Virgin", which is in the Louvre. "Pamela Askew reveals its imagery to be as rich in metaphor and allusion as it is salient in its dramatic immediacy." dust jacket.
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