Parution : C. R. Puglisi, W. Barcham, « Art and Faith in the Venetian World. Venerating Christ as the Man of Sorrows », Brepols, 2019

A study of Christ as Man of Sorrows in the Venetian world from the late Medieval through the Baroque era.

Art and Faith in Venice is the first study of the Man of Sorrows in the art and culture of Venice and her dominions across three centuries. A subject imbued with deep spiritual and metaphorical significance, the image pervaded late-Medieval Europe but assumed in the Venetian world an unusually rich and long life. The book presents a biography, first tracing the transmission of the image as a vertical, half-length figure devoid of narrative from the Byzantine East c. 1275 and then exploring its gradual adaptation and diffusion across the Venetian state to a wide range of media, reaching from small manuscript illuminations to panel paintings, altarpieces, tombs and liturgical furnishings. Analyzing its nomenclature, visual form and layered meanings, the study demonstrates how this universal image played a prominent role responding to public and private devotions in the spiritual and cultural life of Venice and its larger political sphere of influence.

Catherine Puglisi and William Barcham have written extensively on the Man of Sorrows and co-curated an exhibition on the subject in New York in 2011. Each also publishes separately, Puglisi on Caravaggio and Bolognese art, and Barcham on Venetian 18th-century painting.

Table of Contents : 

The Transmission, Diffusion and Burgeoning of the Man of Sorrows in the Venetian World, ca. 1290–ca. 1425

• Transmission and diffusion
• Francis, his friars and early images
• Early images in Bolzano and from Byzantium
• Religious fervor and pious devotions
• Emergence on early altarpieces
• Early Trecento monumental tombs in the Veneto
• San Marco, the Ducal Chapel
• A subject of penance and atonement
• New cults and devotions; new sites and formats
• Triptychs, reliquaries, and altarpiece predellas in the late Trecento
• Liturgical furnishings; tombs and altarpieces, ca. 1375–1425

The Cristo passo in the Early Renaissance. Innovation and Originality vs. Continuity and Archaism

• Geographic hybridization: the standing Man of Sorrows, and two panels by Michele Giambono
• Padua: Pietro Lamberti and Filippo Lippi, two Florentine artists at the Santo
• Sacrament tabernacles in Vicenza and the hinterland
• Antonio Vivarini
• Donatello and Padua at mid-century
• Liturgical furnishings, ca. 1440–ca. 1500
• Jacopo and Giovanni Bellini, ca. 1445–ca. 1465
• Giovanni Bellini, ca. 1465–ca. 1475
• Bellini, his followers and workshop; Antonello da Messina
• Altarpieces by Alvise and Bartolomeo Vivarini, and Carlo Crivelli
• Veneto-Cretan icons
• Piety and devotions; the printing press; the Monte di Pietà
• The Cristo passo in Verona
• Cima, Basaiti and Palmezzano; Mantegna and Bellini in old age

Tradition and Transformations of the Cristo passo in a Century of Crisis and Renewal

• The decoration of the Sala del Pregadi
• The image in the early sixteenth century: the Bregno workshop
• Experiments early in the century: Belliniano, Romanino, Lotto, Titian, and il Moderno
• Persistence of late Quattrocento types
• Developments in the 1530s: Silvio, Florigerio, and Romanino
• Religious reform in the first half of the century
• The Cristo passo and Venetian Holy Sacrament confraternities
• Representing the Cristo passo at mid-century
• Sebastiano del Piombo
• Schiavone, Franco, and Jacopo Bassano
• Stretching boundaries: Bordone, Titian, and Lotto
• Faith and religious reform in Venice at mid-century
• Tridentine and post-Tridentine altarpieces: Silvio, Veronese, Ligozzi, Brusasorci, and Micheli
• Calamities and anxiety in late sixteenth-century VeniceVeronese and Campagna in S Giuliano
• Veronese’s altarpieces and devotional paintings
• Representations of the Angel-Pietá in the 1580s: Scolari and the Bassano Workshop
• Tintoretto
• Palma il Giovane’s altarpieces and devotional paintings

Epilogue

Source