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Representing vision : mannerist art and the body of Christ
Bibliography: pages 67-70.
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| Main Author: | |
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| Format: | Thesis |
| Language: | English |
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Michaelis School of Fine Art
2016
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| _version_ | 1867613147731329024 |
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| access_status_str | Open Access |
| author | Evans, Walter Nicholas Adrian |
| author_browse | Evans, Walter Nicholas Adrian |
| author_facet | Evans, Walter Nicholas Adrian |
| author_sort | Evans, Walter Nicholas Adrian |
| collection | Thesis |
| description | Bibliography: pages 67-70. |
| format | Thesis |
| id | oai:open.uct.ac.za:11427/17659 |
| institution | University of Cape Town (South Africa) |
| language | eng |
| last_indexed | 2026-06-10T12:31:31.816Z |
| license_str | Not specified — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UCTD — University of Cape Town Open Access Repository |
| publishDate | 2016 |
| publishDateRange | 2016 |
| publishDateSort | 2016 |
| publisher | Michaelis School of Fine Art |
| publisherStr | Michaelis School of Fine Art |
| record_format | dspace |
| source_str | UCTD — University of Cape Town Open Access Repository |
| spelling | oai:open.uct.ac.za:11427/17659 Representing vision : mannerist art and the body of Christ Evans, Walter Nicholas Adrian Mannerism (Art) Literary Studies Bibliography: pages 67-70. The essay departs from the iconographical and interpretative studies of the Warburg Institute in the field of art history, seeking to define pictorial context in a way that avoids the notion of a fixed content behind works of art. Specific paintings are contextualised according to the psychological/physiological accidents of vision. A theoretical precedent for this approach within "art history" has been established by Norman Bryson, and the methods of Bryson, of J. Derrida and of J. Lacan are applied to specific works. The essay defines a motif common in Florentine and Roman mannerist religious paintings: the central significance given to Christ's torso in many works. This motif is related to its sources (Michelangelo and antique sculpture), and developed through an analysis of three paintings, J. Pontormo's Descent from the Cross, Rosso's Dead Christ with Angels and the Deposition by the Roman artist D. Ricciarelli da Volterra. The paintings are analysed according to their status as fictions, as devotional images and as representations of the human body. Various definitions of maniera are offered. The essay concludes with an appeal that visual ambiguity be recognised as central to the understanding of pictorial representations. 2016-03-11T14:27:37Z 2016-03-11T14:27:37Z 1987 Master Thesis Masters MA http://hdl.handle.net/11427/17659 eng application/pdf Michaelis School of Fine Art Faculty of Humanities University of Cape Town |
| spellingShingle | Mannerism (Art) Literary Studies Evans, Walter Nicholas Adrian Representing vision : mannerist art and the body of Christ |
| thesis_degree_str | Master's |
| title | Representing vision : mannerist art and the body of Christ |
| title_full | Representing vision : mannerist art and the body of Christ |
| title_fullStr | Representing vision : mannerist art and the body of Christ |
| title_full_unstemmed | Representing vision : mannerist art and the body of Christ |
| title_short | Representing vision : mannerist art and the body of Christ |
| title_sort | representing vision mannerist art and the body of christ |
| topic | Mannerism (Art) Literary Studies |
| url | http://hdl.handle.net/11427/17659 |
| work_keys_str_mv | AT evanswalternicholasadrian representingvisionmanneristartandthebodyofchrist |