Nurit Golan
Biographic Data
| ID | 8505258 |
|---|---|
| NAME | Nurit Golan |
| GIVEN NAMES | Nurit |
| FAMILY NAME | Golan |
| SIGNATURE | GOLAN N |
| AFFILIATIONS | Tel Aviv University |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2021 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Subversion in Perino del Vaga’s Fall of the Giants , Villa Andrea Doria, Genoa
The Fall of the Giants (1530–33), a ceiling fresco by Perino del Vaga (1501–46), has always been understood as an allegory glorifying Emperor Charles V (1500–1556). I argue that it may also be read conversely as a carefully veiled expression of criticism. Although any denigration of the emperor is surprising at the hand of the painter who served as court artist for Andrea Doria, the emperor’s admiral, Perino nonetheless inserted subversive elemen…
A Shift Toward Secularization
The west portal of Ulm Minster, one of the largest Gothic portals, depicts an elaborate Creation cycle, indicating an intensified interest in the origin of matter and its connection to that which was created out of it, and to humanity, above all. The upper register (out of three) depicts the first days of Creation as narrated in the Book of Genesis – the creation of Light, the Luminaries, and the Fish and Birds, depicted on globes as a platform. …
No prominent works on this page.
A Shift Toward Secularization
The west portal of Ulm Minster, one of the largest Gothic portals, depicts an elaborate Creation cycle, indicating an intensified interest in the origin of matter and its connection to that which was created out of it, and to humanity, above all. The upper register (out of three) depicts the first days of Creation as narrated in the Book of Genesis – the creation of Light, the Luminaries, and the Fish and Birds, depicted on globes as a platform. …
Subversion in Perino del Vaga’s Fall of the Giants , Villa Andrea Doria, Genoa
The Fall of the Giants (1530–33), a ceiling fresco by Perino del Vaga (1501–46), has always been understood as an allegory glorifying Emperor Charles V (1500–1556). I argue that it may also be read conversely as a carefully veiled expression of criticism. Although any denigration of the emperor is surprising at the hand of the painter who served as court artist for Andrea Doria, the emperor’s admiral, Perino nonetheless inserted subversive elemen…
Art (2 works) · Aesthetics (1 work) · Ancient history (1 work) · Art history (1 work) · Byzantine Studies and History (1 work) · Depiction (1 work) · Historical, Literary, and Cultural Studies (1 work) · Historical, Religious, and Philosophical Studies (1 work) · History (1 work) · Humanities (1 work)