The Council of Trent did not dictate precise rules regarding artistic representations of sacred iconography; it was the writings of Andrea Gilio, Carlo and Federico Borromeo, Gabriele Paleotti and Jan Molanus who dictated the norms for a correct application of the Counter-Reformation indications in the artistic field. Among the most heartfelt recommendations, there was the dissuasion to the representation of living people in sacred scenes, but many artists represented themselves in sacred subjects. Starting from a new reading of the first version of the altarpiece for Santa Maria in Vallicella in Rome by Rubens, this essay intends to read this self-representative attitude as a self-affirmation of moral righteousness.
Dentro la scena: gli autoritratti di Rubens e la parabola dei modelli dal vero in contesti sacri tra Carlo e Federico Borromeo
cecilia paolini
2021-01-01
Abstract
The Council of Trent did not dictate precise rules regarding artistic representations of sacred iconography; it was the writings of Andrea Gilio, Carlo and Federico Borromeo, Gabriele Paleotti and Jan Molanus who dictated the norms for a correct application of the Counter-Reformation indications in the artistic field. Among the most heartfelt recommendations, there was the dissuasion to the representation of living people in sacred scenes, but many artists represented themselves in sacred subjects. Starting from a new reading of the first version of the altarpiece for Santa Maria in Vallicella in Rome by Rubens, this essay intends to read this self-representative attitude as a self-affirmation of moral righteousness.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
