Overview

Full Product Details

Author:   Ian F. Verstegen (Penn)
Publisher:   Truman State University Press
Imprint:   Truman State University Press
Volume:   14
Dimensions:   Width: 17.80cm , Height: 2.00cm , Length: 25.40cm
Weight:   0.187kg
ISBN:  

9781612481326

ISBN 10:   1612481329
Pages:   192
Publication Date:   01 July 2015
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   To order  
Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us.

Table of Contents

Illustrations Preface Introduction: What's in a Style? Barocci and the Oratorians Chapter 1: Federico Barocci, Filippo Neri, and Christian Optimism Chapter 2: The Altarpiece Cycle: The Rosary and Coordinated Devotion Chapter 3: The Visitation and the Presentation of the Virgin Chapter 4: The Nativity of the Virgin for the High Altar and the Institution of the Eucharist for the Pope Chapter 5: Baroccismo into the Seicento Appendix 1: Chiesa Nuova Altars and the Altarpieces Adorning Them Appendix 2: Chiesa Nuova Timeline Appendix 3: Order of Altarpiece Commissions and Completions Appendix 4: Giovan Battista Guerra's Renovations in the Chiesa Nuova Works Cited Index About the Author

Reviews

Verstegen's analysis of the dates and finances of the commissions by both orders clarifies--both refuting and substantiating--earlier assessments of how each decorated their principal churches... the material presented allows for a better understanding of the order, those connected to it, and how artistic commissions of this period are rarely as straightforward as they may seem. --Alison C. Fleming, CAA Reviews Ian Verstegen's Federico Barocci and the Oratorians melds close attention to historical specificity with wide-ranging methodological and historiographic reflection to grapple with a longstanding art historical dilemma: can institutions ever be associated convincingly with particular artistic styles, and -- a related question -- how might institutions and the artists they employed inflect each other's representational projects? Verstegen offers at once intriguing new analyses of the evolving Oratorian engagement with the arts from the 1580s into the seventeenth century, and sustained readings of critical paintings by Barocci. His conclusion, which traces the appreciation and impact of Barocci's style in the Oratorian environment all the way to Guido Reni, stages new ways to think about the continuities and transformations in Italian art during the critical decades between c. 1580 and 1630, and ultimately the question of periodization in art historical discourse. --Stuart Lingo, author of Federico Barocci: Allure and Devotion in Late Renaissance Painting Federico Barocci and the Oratorians is a meticulously researched, carefully plotted piece of detective work that reconstructs the process of Barocci's commissions for the Oratorians from various angles, including a philosophical reassessment of art historical method, a thorough and insightful use of archival sources, a critical eye, and rich, balanced contextualization with the historical, political, and religious climate of the time in Italy and beyond. Ian Verstegen is one of the world's foremost experts on the art of Federico Barocci in particular and the Oratorians in general, and this book makes an invaluable contribution to the growing field of post-Tridentine art. --Gauvin Bailey, Alfred and Isabel Bader Chair in Southern Baroque Art, Queen's University This well-researched and convincingly argued book explores how a fragmented group of patrons could develop a seemingly unified, decorative program by commissioning works from different artists over a period of time. Highly recommended for upper-level undergraduates and above who are interested in the history of art, religion, and culture. --D. N. Dow, Choice

Verstegen's analysis of the dates and finances of the commissions by both orders clarifies-both refuting and substantiating-earlier assessments of how each decorated their principal churches... the material presented allows for a better understanding of the order, those connected to it, and how artistic commissions of this period are rarely as straightforward as they may seem. -Alison C. Fleming, CAA Reviews This well-researched and convincingly argued book explores how a fragmented group of patrons could develop a seemingly unified, decorative program by commissioning works from different artists over a period of time. Highly recommended for upper-level undergraduates and above who are interested in the history of art, religion, and culture. -D. N. Dow, Choice Ian Verstegen's Federico Barocci and the Oratorians melds close attention to historical specificity with wide-ranging methodological and historiographic reflection to grapple with a longstanding art historical dilemma: can institutions ever be associated convincingly with particular artistic styles, and - a related question - how might institutions and the artists they employed inflect each other's representational projects? Verstegen offers at once intriguing new analyses of the evolving Oratorian engagement with the arts from the 1580s into the seventeenth century, and sustained readings of critical paintings by Barocci. His conclusion, which traces the appreciation and impact of Barocci's style in the Oratorian environment all the way to Guido Reni, stages new ways to think about the continuities and transformations in Italian art during the critical decades between c. 1580 and 1630, and ultimately the question of periodization in art historical discourse. -Stuart Lingo, author of Federico Barocci: Allure and Devotion in Late Renaissance Painting Federico Barocci and the Oratorians is a meticulously researched, carefully plotted piece of detective work that reconstructs the process of Barocci's commissions for the Oratorians from various angles, including a philosophical reassessment of art historical method, a thorough and insightful use of archival sources, a critical eye, and rich, balanced contextualization with the historical, political, and religious climate of the time in Italy and beyond. Ian Verstegen is one of the world's foremost experts on the art of Federico Barocci in particular and the Oratorians in general, and this book makes an invaluable contribution to the growing field of post-Tridentine art. -Gauvin Bailey, Alfred and Isabel Bader Chair in Southern Baroque Art, Queen's University

Verstegen's analysis of the dates and finances of the commissions by both orders clarifies--both refuting and substantiating--earlier assessments of how each decorated their principal churches... the material presented allows for a better understanding of the order, those connected to it, and how artistic commissions of this period are rarely as straightforward as they may seem. --Alison C. Fleming, CAA Reviews This well-researched and convincingly argued book explores how a fragmented group of patrons could develop a seemingly unified, decorative program by commissioning works from different artists over a period of time. Highly recommended for upper-level undergraduates and above who are interested in the history of art, religion, and culture. --D. N. Dow, Choice Ian Verstegen's Federico Barocci and the Oratorians melds close attention to historical specificity with wide-ranging methodological and historiographic reflection to grapple with a longstanding art historical dilemma: can institutions ever be associated convincingly with particular artistic styles, and -- a related question -- how might institutions and the artists they employed inflect each other's representational projects? Verstegen offers at once intriguing new analyses of the evolving Oratorian engagement with the arts from the 1580s into the seventeenth century, and sustained readings of critical paintings by Barocci. His conclusion, which traces the appreciation and impact of Barocci's style in the Oratorian environment all the way to Guido Reni, stages new ways to think about the continuities and transformations in Italian art during the critical decades between c. 1580 and 1630, and ultimately the question of periodization in art historical discourse. --Stuart Lingo, author of Federico Barocci: Allure and Devotion in Late Renaissance Painting Federico Barocci and the Oratorians is a meticulously researched, carefully plotted piece of detective work that reconstructs the process of Barocci's commissions for the Oratorians from various angles, including a philosophical reassessment of art historical method, a thorough and insightful use of archival sources, a critical eye, and rich, balanced contextualization with the historical, political, and religious climate of the time in Italy and beyond. Ian Verstegen is one of the world's foremost experts on the art of Federico Barocci in particular and the Oratorians in general, and this book makes an invaluable contribution to the growing field of post-Tridentine art. --Gauvin Bailey, Alfred and Isabel Bader Chair in Southern Baroque Art, Queen's University

“Federico Barocci and the Oratorians is a meticulously researched, carefully plotted piece of detective work that reconstructs the process of Barocci’s commissions for the Oratorians from various angles, including a philosophical reassessment of art historical method, a thorough and insightful use of archival sources, a critical eye, and rich, balanced contextualization with the historical, political, and religious climate of the time in Italy and beyond. Ian Verstegen is one of the world’s foremost experts on the art of Federico Barocci in particular and the Oratorians in general, and this book makes an invaluable contribution to the growing field of post-Tridentine art.” —Gauvin Bailey, Alfred and Isabel Bader Chair in Southern Baroque Art, Queen’s University “Ian Verstegen’s Federico Barocci and the Oratorians melds close attention to historical specificity with wide-ranging methodological and historiographic reflection to grapple with a longstanding art historical dilemma: can institutions ever be associated convincingly with particular artistic styles, and — a related question — how might institutions and the artists they employed inflect each other’s representational projects? Verstegen offers at once intriguing new analyses of the evolving Oratorian engagement with the arts from the 1580s into the seventeenth century, and sustained readings of critical paintings by Barocci. His conclusion, which traces the appreciation and impact of Barocci’s style in the Oratorian environment all the way to Guido Reni, stages new ways to think about the continuities and transformations in Italian art during the critical decades between c. 1580 and 1630, and ultimately the question of periodization in art historical discourse.” —Stuart Lingo, author of Federico Barocci: Allure and Devotion in Late Renaissance Painting “This well-researched and convincingly argued book explores how a fragmented group of patrons could develop a seemingly unified, decorative program by commissioning works from different artists over a period of time. Highly recommended for upper-level undergraduates and above who are interested in the history of art, religion, and culture.” —D. N. Dow Choice “Verstegen’s analysis of the dates and finances of the commissions by both orders clarifies—both refuting and substantiating—earlier assessments of how each decorated their principal churches… the material presented allows for a better understanding of the order, those connected to it, and how artistic commissions of this period are rarely as straightforward as they may seem.” —Alison C. Fleming CAA Reviews

Verstegen's analysis of the dates and finances of the commissions by both orders clarifies-both refuting and substantiating-earlier assessments of how each decorated their principal churches... the material presented allows for a better understanding of the order, those connected to it, and how artistic commissions of this period are rarely as straightforward as they may seem. -Alison C. Fleming, CAA Reviews This well-researched and convincingly argued book explores how a fragmented group of patrons could develop a seemingly unified, decorative program by commissioning works from different artists over a period of time. Highly recommended for upper-level undergraduates and above who are interested in the history of art, religion, and culture. -D. N. Dow, Choice Ian Verstegen's Federico Barocci and the Oratorians melds close attention to historical specificity with wide-ranging methodological and historiographic reflection to grapple with a longstanding art historical dilemma: can institutions ever be associated convincingly with particular artistic styles, and - a related question - how might institutions and the artists they employed inflect each other's representational projects? Verstegen offers at once intriguing new analyses of the evolving Oratorian engagement with the arts from the 1580s into the seventeenth century, and sustained readings of critical paintings by Barocci. His conclusion, which traces the appreciation and impact of Barocci's style in the Oratorian environment all the way to Guido Reni, stages new ways to think about the continuities and transformations in Italian art during the critical decades between c. 1580 and 1630, and ultimately the question of periodization in art historical discourse. -Stuart Lingo, author of Federico Barocci: Allure and Devotion in Late Renaissance Painting Federico Barocci and the Oratorians is a meticulously researched, carefully plotted piece of detective work that reconstructs the process of Barocci's commissions for the Oratorians from various angles, including a philosophical reassessment of art historical method, a thorough and insightful use of archival sources, a critical eye, and rich, balanced contextualization with the historical, political, and religious climate of the time in Italy and beyond. Ian Verstegen is one of the world's foremost experts on the art of Federico Barocci in particular and the Oratorians in general, and this book makes an invaluable contribution to the growing field of post-Tridentine art. -Gauvin Bailey, Alfred and Isabel Bader Chair in Southern Baroque Art, Queen's University

Author Information

Ian Verstegen studied art with Rudolf Arnheim at the University of Michigan, which led to studies in experimental psychology at Rutgers University. He received his PhD with Marcia Hall at Temple University. He is currently the Associate Director of Visual Studies at the University of Pennsylvania.

Tab Content 6

Author Website:  

Customer Reviews

Recent Reviews

No review item found!

Add your own review!

Countries Available

All regions