{"title":"《近代早期红衣主教的肖像文化》皮尔斯·贝克-贝茨和艾琳·布鲁克主编(书评)","authors":"Livia Stoenescu","doi":"10.1353/cjm.2023.a912681","DOIUrl":null,"url":null,"abstract":"Reviewed by: Portrait Cultures of the Early Modern Cardinal ed. by Piers Baker-Bates and Irene Brooke Livia Stoenescu Piers Baker-Bates and Irene Brooke, eds., Portrait Cultures of the Early Modern Cardinal (Amsterdam: Amsterdam University Press, 2021), 381 pp., 59 ills. + 12 color plates. This thought-provoking volume stands out as a commemorative gesture to Piers Brooke and to the scholarship of the late Professor Clare Robertson, whose pioneering work on the cardinalate complements her seminal work on artists and ecclesiastical patrons of Rome and the Counter-Reformation. Within the burgeoning field of early modern studies from the last decades, the driving forces behind portraiture research have been the material origins and imaginative properties of portraits. Notably, cardinalate portraiture remains a topic ripe for critical attention, even though the experts have reached a consensus about the early modern portrait as a genre predicated upon verisimilitude rather than likeness. To be sure, this volume does more than fill a lacuna as it sheds new light on the historical, aesthetic, religious, and humanistic underpinnings of ecclesiastical portraiture within which emerged the cardinal portrait as a discrete category. The editors convincingly argue that “as material objects, cardinal portraits were clearly embedded with meanings specific to the class of individuals represented” (23). Comprising an introduction, four thematic sections, and a conclusion, the volume encompasses aspects of the intricacies of individual likeness and collective identity in “Individuality and Identity: Florence and Rome,” the effect of political allegiances in “Divided Loyalties: Venice and Rome,” the role of wealth, art collections, and ritualistic display in “Collecting and Display: Portraits and Worldly Goods,” and the impact the religious climate of the Council of Trent (1545–63) had on the depiction of cardinals in “Post-Tridentine Piety: The Devout Cardinal.” In “Introduction: Cardinals and Their Images,” Piers-Baker Bates and Irene Brooke lay out the visual legacy of early modern cardinals in the media of painting, engraving, medals, and sculpture. As the editors acknowledge, the tradition of painted portraits established by Raphael’s Julius II formed the fundamental basis for a typology of cardinal portraits, quickening the originality of Sebastiano del Piombo and Scipione Pulzone’s painted portraits and, likewise, of Bernini’s sculpted busts depicting living cardinals such as Scipione Borghese. Evolving parallel to the powerful presence of portraitists, alternative formats for memory and preservation in the ancient format of medallic portraits would become integral to the post-Tridentine practice of worshipping the cardinals’ portraits as miracle-performing objects. The introduction includes a second essay, Miles Pattenden’s “The Early Modern Cardinal: An Historical Appraisal,” which [End Page 208] discusses the cardinal as partaker of the papal acumen in boosting a prelate’s career or indiscriminately tipping the balance of power to lower the reputation of his subordinate. Pattenden cogently notices the implications of early modern papal policies that promoted cardinalate portraiture to the discourses of institutional fashioning and the creation of an alter identity, and, at the other end of the spectrum, that subjected the prelate to a constant pattern of contestation of his authority (53). Part 1, “Individuality and Identity: Florence and Rome,” is fully consonant with the volume’s thematic emphasis on notions of memory and the particular truth of verisimilitude. Brian Jeffrey Maxson’s “Visual and Verbal Portraits of Cardinals in Fifteenth-Century Florence” reflects upon the visual and literary cultures of the cardinalate in Florence, the preeminent center for portraiture in Renaissance art. Maxson underscores the function of the cardinal portrait in works of art inspired by the Florentine traditions of confirmation rituals and processional ceremonies that overtly shunned individual likeness to prioritize instead the social role of group identities. Compellingly resonating with the overall thematic focus, Carol M. Richardson’s “Dead Ringers: Cardinals and Their Effigies, 1400–1520” analyzes early modern theories of resemblance to call attention to the cardinal effigy as the interface between transcendent histories and anecdotal details, which, even when spiced up with personal features, still eschew, as Richardson demonstrates, accurate portrayal to draw on verisimilitude in the design of the cardinal portrait for his tomb monument. Richardson’s ideas of portrait likeness in fifteenth- and early sixteenth-century cardinals’ tombs advance much-anticipated research on the peculiarities...","PeriodicalId":53903,"journal":{"name":"COMITATUS-A JOURNAL OF MEDIEVAL AND RENAISSANCE STUDIES","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Portrait Cultures of the Early Modern Cardinal ed. by Piers Baker-Bates and Irene Brooke (review)\",\"authors\":\"Livia Stoenescu\",\"doi\":\"10.1353/cjm.2023.a912681\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Reviewed by: Portrait Cultures of the Early Modern Cardinal ed. by Piers Baker-Bates and Irene Brooke Livia Stoenescu Piers Baker-Bates and Irene Brooke, eds., Portrait Cultures of the Early Modern Cardinal (Amsterdam: Amsterdam University Press, 2021), 381 pp., 59 ills. + 12 color plates. This thought-provoking volume stands out as a commemorative gesture to Piers Brooke and to the scholarship of the late Professor Clare Robertson, whose pioneering work on the cardinalate complements her seminal work on artists and ecclesiastical patrons of Rome and the Counter-Reformation. Within the burgeoning field of early modern studies from the last decades, the driving forces behind portraiture research have been the material origins and imaginative properties of portraits. Notably, cardinalate portraiture remains a topic ripe for critical attention, even though the experts have reached a consensus about the early modern portrait as a genre predicated upon verisimilitude rather than likeness. To be sure, this volume does more than fill a lacuna as it sheds new light on the historical, aesthetic, religious, and humanistic underpinnings of ecclesiastical portraiture within which emerged the cardinal portrait as a discrete category. The editors convincingly argue that “as material objects, cardinal portraits were clearly embedded with meanings specific to the class of individuals represented” (23). Comprising an introduction, four thematic sections, and a conclusion, the volume encompasses aspects of the intricacies of individual likeness and collective identity in “Individuality and Identity: Florence and Rome,” the effect of political allegiances in “Divided Loyalties: Venice and Rome,” the role of wealth, art collections, and ritualistic display in “Collecting and Display: Portraits and Worldly Goods,” and the impact the religious climate of the Council of Trent (1545–63) had on the depiction of cardinals in “Post-Tridentine Piety: The Devout Cardinal.” In “Introduction: Cardinals and Their Images,” Piers-Baker Bates and Irene Brooke lay out the visual legacy of early modern cardinals in the media of painting, engraving, medals, and sculpture. As the editors acknowledge, the tradition of painted portraits established by Raphael’s Julius II formed the fundamental basis for a typology of cardinal portraits, quickening the originality of Sebastiano del Piombo and Scipione Pulzone’s painted portraits and, likewise, of Bernini’s sculpted busts depicting living cardinals such as Scipione Borghese. Evolving parallel to the powerful presence of portraitists, alternative formats for memory and preservation in the ancient format of medallic portraits would become integral to the post-Tridentine practice of worshipping the cardinals’ portraits as miracle-performing objects. The introduction includes a second essay, Miles Pattenden’s “The Early Modern Cardinal: An Historical Appraisal,” which [End Page 208] discusses the cardinal as partaker of the papal acumen in boosting a prelate’s career or indiscriminately tipping the balance of power to lower the reputation of his subordinate. Pattenden cogently notices the implications of early modern papal policies that promoted cardinalate portraiture to the discourses of institutional fashioning and the creation of an alter identity, and, at the other end of the spectrum, that subjected the prelate to a constant pattern of contestation of his authority (53). Part 1, “Individuality and Identity: Florence and Rome,” is fully consonant with the volume’s thematic emphasis on notions of memory and the particular truth of verisimilitude. Brian Jeffrey Maxson’s “Visual and Verbal Portraits of Cardinals in Fifteenth-Century Florence” reflects upon the visual and literary cultures of the cardinalate in Florence, the preeminent center for portraiture in Renaissance art. Maxson underscores the function of the cardinal portrait in works of art inspired by the Florentine traditions of confirmation rituals and processional ceremonies that overtly shunned individual likeness to prioritize instead the social role of group identities. Compellingly resonating with the overall thematic focus, Carol M. Richardson’s “Dead Ringers: Cardinals and Their Effigies, 1400–1520” analyzes early modern theories of resemblance to call attention to the cardinal effigy as the interface between transcendent histories and anecdotal details, which, even when spiced up with personal features, still eschew, as Richardson demonstrates, accurate portrayal to draw on verisimilitude in the design of the cardinal portrait for his tomb monument. Richardson’s ideas of portrait likeness in fifteenth- and early sixteenth-century cardinals’ tombs advance much-anticipated research on the peculiarities...\",\"PeriodicalId\":53903,\"journal\":{\"name\":\"COMITATUS-A JOURNAL OF MEDIEVAL AND RENAISSANCE STUDIES\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2023-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"COMITATUS-A JOURNAL OF MEDIEVAL AND RENAISSANCE STUDIES\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1353/cjm.2023.a912681\",\"RegionNum\":3,\"RegionCategory\":\"历史学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MEDIEVAL & RENAISSANCE STUDIES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"COMITATUS-A JOURNAL OF MEDIEVAL AND RENAISSANCE STUDIES","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/cjm.2023.a912681","RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MEDIEVAL & RENAISSANCE STUDIES","Score":null,"Total":0}
引用次数: 0
摘要
回顾:早期现代红衣主教的肖像文化由皮尔斯贝克-贝茨和艾琳布鲁克Livia Stoenescu皮尔斯贝克-贝茨和艾琳布鲁克,编辑。,肖像文化的早期现代红衣主教(阿姆斯特丹:阿姆斯特丹大学出版社,2021年),381页,59弊病。+ 12色板。这本发人深省的书作为对皮尔斯·布鲁克和已故教授克莱尔·罗伯逊的奖学金的纪念姿态而脱颖而出,他在红衣主教方面的开创性工作补充了她在罗马和反宗教改革的艺术家和教会赞助人方面的开创性工作。在过去几十年蓬勃发展的早期现代研究领域中,肖像画研究背后的驱动力是肖像画的物质起源和想象属性。值得注意的是,红衣主教肖像仍然是一个值得关注的话题,尽管专家们已经达成共识,认为早期现代肖像是一种基于真实性而不是相似性的流派。可以肯定的是,这本书不仅仅填补了一个空白,因为它揭示了教会肖像的历史、美学、宗教和人文基础,其中出现了枢机肖像作为一个独立的类别。编辑们令人信服地认为,“作为实物,主要肖像显然嵌入了所代表的个人阶级的特定含义”(23)。包括一个介绍,四个主题部分,和一个结论,卷包括个人相似和集体身份的错综复杂的方面在“个性和身份:佛罗伦萨和罗马,”政治忠诚的影响在“分裂忠诚:威尼斯和罗马,”财富的作用,艺术收藏和仪式展示在“收集和展示:《肖像与世俗物品》,以及特伦特会议(1545-63)的宗教气氛对《后三叉戟虔诚:虔诚的红衣主教》中对红衣主教的描绘的影响。在《导言:红衣主教和他们的形象》一书中,皮尔斯-贝克·贝茨和艾琳·布鲁克在绘画、雕刻、奖章和雕塑等媒介中展示了早期现代红衣主教的视觉遗产。正如编辑们所承认的那样,拉斐尔的《朱利叶斯二世》所确立的绘画肖像传统构成了红衣主教肖像类型学的基本基础,加速了塞巴斯蒂亚诺·德尔·皮昂博和西皮奥内·普尔宗的绘画肖像的独创性,同样地,贝尔尼尼描绘红衣主教(如西皮奥内·博尔盖塞)的半身像雕塑的独创性。与肖像画家的强大存在并行发展的是,另一种形式的记忆和保存在古代的金属肖像形式中,将成为后三叉戟节崇拜红衣主教肖像作为奇迹表演对象的实践的一部分。介绍包括第二篇文章,Miles Pattenden的“早期现代红衣主教:一个历史评价”,其中[End Page 208]讨论了红衣主教作为教皇在促进主教事业或不加区分地打破权力平衡以降低其下属声誉方面的敏锐参与者。Pattenden敏锐地注意到早期现代教皇政策的影响,这些政策将红衣主教肖像推广到制度塑造和创造另一个身份的话语中,并且,在频谱的另一端,将主教置于对其权威的持续争论模式中(53)。第一部分,“个性和身份:佛罗伦萨和罗马,”完全符合卷的主题强调记忆的概念和逼真的特殊真理。布莱恩·杰弗里·马克森的《十五世纪佛罗伦萨红衣主教的视觉和语言肖像》反映了文艺复兴艺术中杰出的肖像中心——佛罗伦萨红衣主教的视觉和文学文化。马克森强调了红衣主教肖像在艺术作品中的作用,其灵感来自佛罗伦萨传统的确认仪式和游行仪式,这些仪式公开避免个人的相似性,而优先考虑群体身份的社会角色。卡罗尔·m·理查森(Carol M. Richardson)的《死灵者:红衣主教及其肖像,1400-1520》(Dead Ringers: Cardinals and Their Effigies, 1400-1520)与整个主题焦点产生了令人信服的共鸣,她分析了早期现代的相似理论,呼吁人们关注红衣主教肖像,将其作为超越历史和轶事细节之间的界面。正如理查森所展示的那样,即使在加入个人特征的情况下,红衣主教肖像的设计仍然回避了准确的描绘,以借鉴他墓纪念碑上红衣主教肖像的真实性。理查森关于15世纪和16世纪早期红衣主教陵墓肖像相似性的观点,推动了人们对其特殊性的研究。
Portrait Cultures of the Early Modern Cardinal ed. by Piers Baker-Bates and Irene Brooke (review)
Reviewed by: Portrait Cultures of the Early Modern Cardinal ed. by Piers Baker-Bates and Irene Brooke Livia Stoenescu Piers Baker-Bates and Irene Brooke, eds., Portrait Cultures of the Early Modern Cardinal (Amsterdam: Amsterdam University Press, 2021), 381 pp., 59 ills. + 12 color plates. This thought-provoking volume stands out as a commemorative gesture to Piers Brooke and to the scholarship of the late Professor Clare Robertson, whose pioneering work on the cardinalate complements her seminal work on artists and ecclesiastical patrons of Rome and the Counter-Reformation. Within the burgeoning field of early modern studies from the last decades, the driving forces behind portraiture research have been the material origins and imaginative properties of portraits. Notably, cardinalate portraiture remains a topic ripe for critical attention, even though the experts have reached a consensus about the early modern portrait as a genre predicated upon verisimilitude rather than likeness. To be sure, this volume does more than fill a lacuna as it sheds new light on the historical, aesthetic, religious, and humanistic underpinnings of ecclesiastical portraiture within which emerged the cardinal portrait as a discrete category. The editors convincingly argue that “as material objects, cardinal portraits were clearly embedded with meanings specific to the class of individuals represented” (23). Comprising an introduction, four thematic sections, and a conclusion, the volume encompasses aspects of the intricacies of individual likeness and collective identity in “Individuality and Identity: Florence and Rome,” the effect of political allegiances in “Divided Loyalties: Venice and Rome,” the role of wealth, art collections, and ritualistic display in “Collecting and Display: Portraits and Worldly Goods,” and the impact the religious climate of the Council of Trent (1545–63) had on the depiction of cardinals in “Post-Tridentine Piety: The Devout Cardinal.” In “Introduction: Cardinals and Their Images,” Piers-Baker Bates and Irene Brooke lay out the visual legacy of early modern cardinals in the media of painting, engraving, medals, and sculpture. As the editors acknowledge, the tradition of painted portraits established by Raphael’s Julius II formed the fundamental basis for a typology of cardinal portraits, quickening the originality of Sebastiano del Piombo and Scipione Pulzone’s painted portraits and, likewise, of Bernini’s sculpted busts depicting living cardinals such as Scipione Borghese. Evolving parallel to the powerful presence of portraitists, alternative formats for memory and preservation in the ancient format of medallic portraits would become integral to the post-Tridentine practice of worshipping the cardinals’ portraits as miracle-performing objects. The introduction includes a second essay, Miles Pattenden’s “The Early Modern Cardinal: An Historical Appraisal,” which [End Page 208] discusses the cardinal as partaker of the papal acumen in boosting a prelate’s career or indiscriminately tipping the balance of power to lower the reputation of his subordinate. Pattenden cogently notices the implications of early modern papal policies that promoted cardinalate portraiture to the discourses of institutional fashioning and the creation of an alter identity, and, at the other end of the spectrum, that subjected the prelate to a constant pattern of contestation of his authority (53). Part 1, “Individuality and Identity: Florence and Rome,” is fully consonant with the volume’s thematic emphasis on notions of memory and the particular truth of verisimilitude. Brian Jeffrey Maxson’s “Visual and Verbal Portraits of Cardinals in Fifteenth-Century Florence” reflects upon the visual and literary cultures of the cardinalate in Florence, the preeminent center for portraiture in Renaissance art. Maxson underscores the function of the cardinal portrait in works of art inspired by the Florentine traditions of confirmation rituals and processional ceremonies that overtly shunned individual likeness to prioritize instead the social role of group identities. Compellingly resonating with the overall thematic focus, Carol M. Richardson’s “Dead Ringers: Cardinals and Their Effigies, 1400–1520” analyzes early modern theories of resemblance to call attention to the cardinal effigy as the interface between transcendent histories and anecdotal details, which, even when spiced up with personal features, still eschew, as Richardson demonstrates, accurate portrayal to draw on verisimilitude in the design of the cardinal portrait for his tomb monument. Richardson’s ideas of portrait likeness in fifteenth- and early sixteenth-century cardinals’ tombs advance much-anticipated research on the peculiarities...
期刊介绍:
Comitatus: A Journal of Medieval and Renaissance Studies publishes articles by graduate students and recent PhDs in any field of medieval and Renaissance studies. The journal maintains a tradition of gathering work from across disciplines, with a special interest in articles that have an interdisciplinary or cross-cultural scope.