November 1998
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12 Reads
Die Unterrichtspraxis/Teaching German
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November 1998
·
12 Reads
Die Unterrichtspraxis/Teaching German
November 1994
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30 Reads
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72 Citations
Art Journal
January 1983
In the first five decades of his career, Lorenzo Lotto (c. 1480-1556) depicted the theme of the Enthroned Madonna with Saints in at least nine major altarpieces. These paintings are here freshly examined as a type, and their style and iconographical treatment are analyzed. As a concluding part of this study, a Catalog Raisonne is presented in which the documentation, history, and critical scholarship--often confusing and some of it erroneous--on each altarpiece is clarified. Rich in theological meaning, the theme of the Enthroned Madonna with Saints embodies four Catholic beliefs or devotions: (1) the Communion of Saints, (2) the closely related doctrine of devotion to intercessory saints, (3) the fundamental Christian belief of the incarnation, and (4) the cult of Mary, whose veneration was at its peak in the Renaissance and who was pictorially preeminent in the theme here discussed. The term sacra conversazione, applied to the image, is examined in order to throw light on the meaning of the altar type. Renaissance painters depicting the Enthroned Madonna with Saints preserved the theme's hieratic symmetry, but were very imaginative in inventing different pictorial settings for the holy figures. Eight setting types, used with variation by artists of North and Central Italy, are here identified. Some of them, of which only one carries certain symbolism, served as points of departure for Lotto. Lotto's earliest versions of the subject reveal the influence of Venice, but following the artist's stay in Rome (1509), his works incorporate Central Italian features. With remarkable variety and iconographic novelty, Lotto produced nine distinctively personal expressions of this doctrinally profound image.
5 Reads
... (4) The Standard Module: It is a module of constant dimensions which itself or its multiples reiterate, whether by an increase or a decrease, as a foundation for any construct to achieve the total consistency of the emerging group, whether it was functional or aesthetic (Tansey and Gardner, 1991). ...
November 1994
Art Journal