Dialogue on the Errors and Abuses of Painters
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★★★★★
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A01=Carol M. Richardson
A01=Givanni Andrea Gilio
A01=Lucinda Byatt
A01=Michael Bury
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Age Group_Uncategorized
Alberti
Alessandro Farnese
Annunciation
Apelles
Aristotle
Ars Poetica
arte
artefice
artist
Author_Carol M. Richardson
Author_Givanni Andrea Gilio
Author_Lucinda Byatt
Author_Michael Bury
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Bandini
capricci
Catarino
Category1=Non-Fiction
Category=ABA
Category=ACN
Category=AFC
Category=AGA
Catholic Church
Christ
consuetudine
Conversion of Paul
COP=United States
Council of Trent
Dante
De architectura
De picture
De picture sacra
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Dialogo della pittura intitolato
Dialogue on the moral qualities benefitting educated courtiers
Dolce
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eq_isMigrated=2
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favoloso
Francesco Santi
Gilio
God
Horace
il verisimile
ingegno
istorico
La vite de piu eccelenti pittori scultori e architettori
Language_English
Last Judgement
materia
Michelangelo
misto
Naturalis Historia
On the Devil’s emulation of God
ornamento
PA=Available
painting
Paola Barocchi
Pauline Chapel
Persecutions of the Church
Petrarch
poeta
Poetics
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Protestant Reformation
PS=Active
Pulidoro Saraceni
Raphael
Roman
Ruggerio
sacred images
Saint Peter
secular
Silvio
Sistine Chapel
softlaunch
the Cesi
the Sforza Chapels in Santa Maria Maggiore
theological
Topica poetica
Transfiguration
Tridentine Catholicism
Troilo Mattioli
Vincenso Peterlino
Product details
- ISBN 9781606065563
- Weight: 844g
- Dimensions: 179 x 252mm
- Publication Date: 17 Apr 2018
- Publisher: Getty Trust Publications
- Publication City/Country: US
- Product Form: Paperback
- Language: English
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Giovanni Andrea Gilio's "Dialogue on the Errors and Abuses of Painters" (1564) is one of the first treatises on art published in the post-Tridentine period. It remains a key primary source for the discussion of the reform of art as it unfolded at the time of the Council of Trent and the Catholic Reformation.
Relatively little is known about Gilio himself, a cleric from Fabriano, Italy, although he was evidently familiar with Cardinal Alessandro Farnese's lively court circle in Rome as he dedicated his book to the cardinal. His text-available in English in full for the first time-takes the form of a spirited dialogue among six protagonists, using the voices of each to present different points of view. Through their dialogue Gilio grapples with a host of issues, from the relationship between poetry and painting, to the function of religious images, to the effects such images have on viewers. The primary focus is the proper representation of history, and Michelangelo's Last Judgment fresco in the Sistine Chapel is the exemplary case. Indeed, Michelangelo's painting is both praised and condemned as an example of the possibilities and limits of art. Although Gilio's dialogue is often quoted by art historians to point out the more controlling view of art and artists by the Roman Catholic Church, the unabridged text reveals the nuanced and provisional debates, happening during this critical era.
Michael Bury is honorary fellow in the history of art at the University of Edinburgh.
Lucinda Byatt is a freelance translator based in Edinburgh.
Carol M. Richardson is senior lecturer in the history of art at the University of Edinburgh.
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