Carolyn Valone
Biographic Data
| ID | 955459 |
|---|---|
| NAME | Carolyn Valone |
| GIVEN NAMES | Carolyn |
| FAMILY NAME | Valone |
| SIGNATURE | VALONE C |
| AFFILIATIONS | Trinity University |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1978 |
| LATEST PUBLICATION YEAR | 2001 |
| H-INDEX | 0 |
Architecture as a public voice for women in sixteenth‐century Rome
Women in Renaissance Rome used architectural patronage to achieve a public voice; they spoke about radical religious reform and the family, and often their discourse differed from that of Renaissance men. Unhampered by the demands of civic humanism, wealthy women such as Caterina Cibo, Vittoria Colonna, and Giovanna d'Aragona were willing to support the radical rhetoric of poverty proposed by the Capuchins, providing chiese povere – small, unador…
The Art of Hearing: Sermons and Images in the Chapel of Lucrezia della Rovere
Counter-Reformation sermons were the major medium for communicating ideas in sixteenth-century Rome, and secular patrons of religious art could draw on this shared language to help fashion their own rhetoric on the walls of their chapels. Sermons often spoke to specific audiences, making use of meaningful exemplars to encourage right living. Lucrezia della Rovere's Marian chapel (1548-52) in the new Minim church of Trinita dei Monti made use of s…
Mothers and Sons: Two Paintings for San Bonaventura in Early Modern Rome
Portia dell'Anguillara Cesi and Margherita della Somaglia Peretti were both wealthy heiresses in late sixteenth-century Rome, and each was the patron of a fine altarpiece for the Capuchin church of San Bonaventura. Although women were widely recognized as patrons in the period, the patronage of these two paintings, which show the Virgin, saints, and the portrait of a young boy, has always been assigned to their husbands, Paolo Emilio Cesi and Mic…
The Pentecost: Image and Experience in Late Sixteenth-Century Rome
The image of the Pentecost underwent some significant changes during the Italian Renaissance, particularly during the late sixteenth century in Rome. Traditionally, the scene had shown the descent of the Holy Spirit on the twelve Apostles and sometimes Mary, but in this period the image was expanded to include all the women and men numbered among the disciples after the Ascension: the 120 mentioned in Acts 1:15. This enlarged version of the Pente…
L'Accademia Medicea del Disegno a Firenze nel Cinquecento: Idea e Istituzione
The Palazzo del Te in Mantua, Images of Love and Politics
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The Palazzo del Te in Mantua, Images of Love and Politics
L'Accademia Medicea del Disegno a Firenze nel Cinquecento: Idea e Istituzione
The Pentecost: Image and Experience in Late Sixteenth-Century Rome
The image of the Pentecost underwent some significant changes during the Italian Renaissance, particularly during the late sixteenth century in Rome. Traditionally, the scene had shown the descent of the Holy Spirit on the twelve Apostles and sometimes Mary, but in this period the image was expanded to include all the women and men numbered among the disciples after the Ascension: the 120 mentioned in Acts 1:15. This enlarged version of the Pente…
The Art of Hearing: Sermons and Images in the Chapel of Lucrezia della Rovere
Counter-Reformation sermons were the major medium for communicating ideas in sixteenth-century Rome, and secular patrons of religious art could draw on this shared language to help fashion their own rhetoric on the walls of their chapels. Sermons often spoke to specific audiences, making use of meaningful exemplars to encourage right living. Lucrezia della Rovere's Marian chapel (1548-52) in the new Minim church of Trinita dei Monti made use of s…
Mothers and Sons: Two Paintings for San Bonaventura in Early Modern Rome
Portia dell'Anguillara Cesi and Margherita della Somaglia Peretti were both wealthy heiresses in late sixteenth-century Rome, and each was the patron of a fine altarpiece for the Capuchin church of San Bonaventura. Although women were widely recognized as patrons in the period, the patronage of these two paintings, which show the Virgin, saints, and the portrait of a young boy, has always been assigned to their husbands, Paolo Emilio Cesi and Mic…
Architecture as a public voice for women in sixteenth‐century Rome
Women in Renaissance Rome used architectural patronage to achieve a public voice; they spoke about radical religious reform and the family, and often their discourse differed from that of Renaissance men. Unhampered by the demands of civic humanism, wealthy women such as Caterina Cibo, Vittoria Colonna, and Giovanna d'Aragona were willing to support the radical rhetoric of poverty proposed by the Capuchins, providing chiese povere – small, unador…
Art (6 works) · Art history (4 works) · Philosophy (3 works) · Philosophy (3 works) · Reformation and Early Modern Christianity (3 works) · Renaissance and Early Modern Studies (3 works) · Chapel (2 works) · Classics (2 works) · Classics (2 works) · Humanities (2 works)