Kirjahaku

Erwin Panofsky’s assertions in Renaissance and Renascences in Western Art (1960) that a new historical consciousness and a quest for an ‘all’antica’ idiom was manifest in the art and architecture of the period are routinely reiterated in art historical narratives.By formally analyzing fifteenth-century visual culture, however, questions can be raised about what the artists and architects of the period actually used as their models and how they understood and studied the past. Maria Fabricius Hansen juxtaposes in this essay the conventional definitions of the Renaissance, through its endeavors to revive or renew Roman Antiquity, with observations of paintings and buildings of the fifteenth century in order to reconsider the characteristics of Italian visual culture of the time. Debate on the ideas of all’antica and classicism in the Italian Renaissance Critical review of art historical mappings of causes of inspiration from Roman antiquity Discussion of Panofsky, Renaissance and Renascences in Western Art (1960)

A particularly robust approach to Rome's antique past was taken in the Middle Ages, spanning from the Late Antiquity in the fourth century, until roughly the thirteenth century AD. The Spolia Churches of Rome looks at how the church-builders treated the architecture of ancient Rome like a quarry full of prefabricated material and examines the cultural, economic and political structure of the church and how this influenced the building's design. It is this trend of putting old buildings to new uses which presents an array of different forms of architecture and design within modern day Rome. This book is both an introduction to the spolia churches of medieval Rome, and a guide to eleven selected churches.

When the term, Grotesques, first arose around the year 1500 in Italy, it referred specifically to ornamental frescoes featuring exceptionally inventive, noteworthy, humorous, or monstrous motifs. These paintings became a preferred decoration in the period's exquisite villas, palaces, and churches of Rome, Florence and Northern Italy. Lavishly illustrated, this book is an art historical introduction and guide to grotesques and decorative frescoes of the sixteenth-century, and offers a new perspective on the visual culture of an era in which art was rooted in ancient and medieval worldviews yet also on a trajectory toward Modernity. Distributed for Aarhus University Press

Mange turister rejser til Rom for at studere de mange levn fra byens antikke storhedstid, men de fAerreste er klar over, at antikken ogsa har sat sit prAeg pa en rAekke af Roms kirker.I middelalderens kirkebyggeri brugte man antikkens arkitektur som en slags stenbrud med prAefabrikerede byggematerialer. Resultatet blev nogle meget brogede og opfindsomt sammenstykkede kirkerum.I bogen fortAelles om de romerske genbrugskirkers historie, om principperne for fordelingen af de antikke dele og om betydningerne i at nedbryde og bygge pa fortiden.Derudover prAesenteres et udvalg pa elleve sAerligt skonne og varierede genbrugskirker.Bogen er forsynet med kort og andre praktiske oplysninger, som gor den velegnet til brug ved jagten pa fortiden i nutidens Rom.