Vincenzo Danti’s Deceits
Bibliographic Data
| ID | 10415513 |
|---|---|
| Authors | Michael Cole (0000-0003-3055-8593, Columbia University, corresponding author), Diletta Gamberini (Kunsthistorisches Institut in Florenz) |
| Year | 2016 |
| Volume | 69 |
| Issue | 4 |
| Pages | 1296-1342 |
| Publication date | 2016-11-29 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Renaissance Quarterly (JOURNAL) |
| Journal identifiers | ISSN: 0034-4338 • E-ISSN: 1935-0236 |
| Publisher | University of Chicago Press (PUBLISHER • US) |
| DOI | 10.1086/690314 |
| OpenAlex | W2558606701 |
| Language | EN |
| Citations received | 1 |
| References cited | 14 |
The great sculptor Vincenzo Danti wrote one of the longest poems to have survived from a Renaissance artist, but the text’s close thematic and conceptual connections to its author’s art have gone entirely unnoticed. What Danti’s poem and sculpture share, this essay argues, is a concern with mystified identity. Danti’s poetic sensibility stands at odds with the biographical frameworks that typically guide the interpretation of Renaissance art and literature. At the same time, his example shows how much there is to be gained from an investigation of how artists learned to be writers, and of what came of those efforts
Aesthetics · Art · Art history · Identity (music · Interpretation (philosophy · Linguistics · Literature · Poetry · Sculpture · Sensibility · The Renaissance · Visual arts · Historical Art and Culture Studies · Philosophy · Renaissance and Early Modern Studies · Visual Culture and Art Theory
| Citations per year | 1 |
|---|---|
| Citation span | 2026 - 2026 (1) |
| Highly cited | No |