Request Inspection Copy

If you are an Academic or Teacher and wish to consider this book as a prescribed textbook for your course, you may be eligible for a complimentary inspection copy. Please complete this form, including information about your position, campus and course, before adding to cart.

* Required Fields

To complete your Inspection Copy Request you will need to click the Checkout button in the right margin and complete the checkout formalities. You can include Inspection Copies and purchased items in the same shopping cart, see our Inspection Copy terms for further information.

Any Questions? Please email our text Support Team on text@footprint.com.au

Submit

Email this to a friend

* ALL required Fields

Order Inspection Copy

An inspection copy has been added to your shopping cart

Federico Barocci and the Oratorians: Corporate Patronage and Style in the Counter-Reformation

by Ian F Verstegen Truman State University
Pub Date:
07/2015
ISBN:
9781612481326
Format:
Hbk 192 pages
Price:
AU$103.00 NZ$103.48
Product Status: Available in Approx 14 days
add to your cart

In 1586, Federico Barocci delivered his Visitation of the Virgin and St. Elizabeth to the Chiesa Nuova in Rome. For the next quarter century, Barocci dominated the art scene in Rome; there was no other artist from whom it was harder to get work and no other artist charged such high prices. Having two important altarpieces in the Chiesa Nuova and two additional commissions discussed was an impressive feat for an artist living exclusively in Urbino. Why did the Oratorians monopolize Barocci’s talents in Rome and why does it seem that Barocci was their first choice when considering artists to decorate their church? What was it about Barocci’s art that appealed to Oratorian sensibilities and their vision of the artistic program for decoration of their church?

This book examines the relationship between Barocci and the Congregation of the Oratory, arguing for a distinct physiognomy of Oratorian patronage and exposing the function the Oratorians expected of religious imagery in contrast to other groups of their time. While explaining Oratorian patronage, it thus deals with a thorny question in social science: how can a collective body have unified intentions and actions? The result is a contribution both to the history of Italian painting and to art historical methodology.


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


“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 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.