Aria · Studies in Art History

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@ARTICLE{Juhos2010
    author = {Juhos, Rózsa}
     title = {Feszületek a Giambologna-műhelyből, avagy kép és művészet az ellenreformáció korában}
   journal = {Aria}
    volume = {1}
      year = {2010}
     pages = {19--29}
       url = {http://aria.elte.hu/index.php?lang=en&p1=art&p2=1_3_Juhos}
  abstract = {The question arising in relation to Giambologna's crucifixes is how the artistic and religious requirements that they satisfy correlate. We may differentiate between two groups of sculptures. On the one hand, bronze statuettes imply a more intimate relationship between the sculpture and its viewer, which creates better circumstances for aesthetic reception. On the other hand, large ones that stand in churches inevitably emphasize the cultic character of the image. This essay aims to show how Giambologna tried to reach an equilibrium between the two requirements above, when executing his life-size statues. Giambologna was inspired by artworks linked to the religious movements of 16th century Italy and creating harmony between aesthetic and religious contemplation under the aegis of these movements. However, this kind of balance was not the model for Giambologna’s efforts. Still, the aforementioned movements transmitted to him an image of Passion, which fitted into the artistic expectations of his time, and by which the spirit of Tridentine reforms could prevail. Namely, avoiding excessive sensual beauty, more traditional image types and simple forms.}

RIS

x

TY  - JOUR
ID  - Juhos1970
AU  - Juhos, Rózsa
TI  - Feszületek a Giambologna-műhelyből, avagy kép és művészet az ellenreformáció korában
JF  - Aria
PY  - 2010/02/18
VL  - 1
SP  - 19
EP  - 29
N2  - The question arising in relation to Giambologna's crucifixes is how the artistic and religious requirements that they satisfy correlate. We may differentiate between two groups of sculptures. On the one hand, bronze statuettes imply a more intimate relationship between the sculpture and its viewer, which creates better circumstances for aesthetic reception. On the other hand, large ones that stand in churches inevitably emphasize the cultic character of the image. This essay aims to show how Giambologna tried to reach an equilibrium between the two requirements above, when executing his life-size statues. Giambologna was inspired by artworks linked to the religious movements of 16th century Italy and creating harmony between aesthetic and religious contemplation under the aegis of these movements. However, this kind of balance was not the model for Giambologna’s efforts. Still, the aforementioned movements transmitted to him an image of Passion, which fitted into the artistic expectations of his time, and by which the spirit of Tridentine reforms could prevail. Namely, avoiding excessive sensual beauty, more traditional image types and simple forms.
UR  - http://aria.elte.hu/index.php?lang=en&p1=art&p2=1_3_Juhos
ER  -

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