• No results found

Il marmo spirante : sculpture and experience in seventeenth-century Rome Gastel, J.J. van

N/A
N/A
Protected

Academic year: 2021

Share "Il marmo spirante : sculpture and experience in seventeenth-century Rome Gastel, J.J. van"

Copied!
5
0
0

Bezig met laden.... (Bekijk nu de volledige tekst)

Hele tekst

(1)

Il marmo spirante : sculpture and experience in seventeenth-century Rome

Gastel, J.J. van

Citation

Gastel, J. J. van. (2011, September 8). Il marmo spirante : sculpture and experience in seventeenth-century Rome. Retrieved from

https://hdl.handle.net/1887/17826

Version: Not Applicable (or Unknown)

License: Licence agreement concerning inclusion of doctoral thesis in the Institutional Repository of the University of Leiden

Downloaded from: https://hdl.handle.net/1887/17826

Note: To cite this publication please use the final published version (if applicable).

(2)

Il Marmo Spirante

Sculpture & Experience in Seventeenth-Century Rome

Proefschrift ter verkrijging van

de graad van Doctor aan de Universiteit Leiden

op gezag van Rector Magnificus prof.mr. P.F. van der Heijden, volgens besluit van het College voor Promoties

te verdedigen op donderdag 8 september 2011 klokke 16.15 uur

door

Jan Joris van Gastel Geboren te Huizen

op 12 mei 1977

(3)

Promotiecommissie:

Prof. dr. Caroline van Eck (promotor) Dr. ir. Maarten Delbeke (co-promotor)

Prof. dr. Harald Hendrix (Universiteit Utrecht) Prof. dr. Joseph Imorde (Universität Siegen)

Prof. dr. Frits Scholten (Rijksmuseum / Vrije Universiteit Amsterdam)

Dr. Huib Looren de Jong (Vrije Universiteit Amsterdam)

(4)

Contents

Preface

iii

Introduction

1

The ‘Prima Apprensione’. Approach. How this Book is Set Up. Existing Approaches. Psychology.

One Poetry

19

Sculpted Life. Between Marble and Life. Effects of Light, Water, Air. Effects on the Spectator / Poet.

The senses. Implications. Dispersal.

Two Likeness

To Create a Likeness. Caricature. Lifelikeness.

Physiognomy.

51

Three Pluralità

Azzioni to Affetti. Fantasia or Capturing the Moving Model. Creating the Plural Bust. Looking at Bernini with Guidiccioni. The Beholder.

77

Four Movement

Moment. Dynamics and Momentum. Shifts.

Movement Styles and Caricatures. The Portrait Bust. The Beholder.

101

(5)

Five Flesh

Titian as a Sculptor of Flesh. Of Copying Statues.

Nursing the Putto. Ambiguities of the Flesh. Touch and Flesh. The Thematization of Touch.

129

Six Franchezza

Franchezza and Connoisseurship. The Sculptor as Connoisseur. The Dynamics of Observation. The Prominence of the Fold.

161

Seven Metamorphosis

‘Per una statua di Dafne’. The Poet and the Marble.

The Active Spectator. The Petrified Spectator. Life to Stone.

185

Conclusion

Poetry. Sculpture. Psychology. Seventeenth-Century Rome.

205

Appendices

215

Bibliography

227

Samenvatting

263

Curriculum Vitae

275

Illustrations

277

Referenties

GERELATEERDE DOCUMENTEN

Detection of amyloid plaques in mouse models of Alzheimer’s disease by magnetic resonance imaging.. Apostolova

More precisely, an upper bound for the variance of the test statistic R N ∗ is realized by the one-dimensional Moore-Rayleigh null hypothesis, whose distribution is similar to the

Since expression of Serpins may facilitate the immune escape of HLA positive tumors, we next analysed the effect of Serpin expression on survival in cases with normal/partial

License: Licence agreement concerning inclusion of doctoral thesis in the Institutional Repository of the University of Leiden. Downloaded

Peripheral blood cells were stained with HLA-A2.1 tetramers containing the tyrosinase368–376 peptide followed by staining with a panel of lineage antibodies, as described in

License: Licence agreement concerning inclusion of doctoral thesis in the Institutional Repository of the University of Leiden Downloaded.

Blades and blade fragments seem to have been especially used for longitudinal motions, mainly on plant material (7/12). Flake and flake fragments are used in different motions on

This shape also occurs in the combination artefacts (see below). The shape is the result of intensive use in a repetitive abrasive motion, carried out from different angles. In