Rubens's Chiesa Nuova altarpiece and the question of Counter-Reformation iconoclasm
Bibliographic Data
| ID | 4278700 |
|---|---|
| Authors | Ruth Sargent Noyes (0000-0002-8099-680X, corresponding author) |
| Year | 2017 |
| Volume | 67-68 |
| Pages | 177-192 |
| Publication date | 2017-11-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Res: Anthropology and Aesthetics (JOURNAL) |
| Journal identifiers | ISSN: 0277-1322 • E-ISSN: 2445-0367 |
| Publisher | University of Chicago Press (PUBLISHER • US) |
| DOI | 10.1086/692337 |
| OpenAlex | W2770321445 |
| Language | EN |
| Citations received | 1 |
| References cited | 4 |
A passage from a 1608 manual of spiritual exercises detailing the look and sound of orationi iaculatori patterned after Philippine (and newly Oratorian) praxis could have described Rubens’s depiction of Neri/Gregory: effective in provoking God’s mercy (provocare Dio alla misericordia), ejaculatory prayer manifested as the soul’s groaning cry to Heaven (grida al Cielo), released as a painful sigh (manda fuori la voce dolorosa, e sospira) and accompanied by spiritual and bodily agitation (si commove tutto), with hands and eyes raised heavenward (alza le mani, e gl’occhi al Cielo), knees bent (piega le Ginocchia), arms extended in the form of the cross (stende le Braccia in Croce), or beating together the hands (si percuote le Palme).47 An initiate familiar with Neri’s penitential praxis would have found it nigh impossible not to see Version 1’s Neri/Gregory in relation to the corpus of ejaculatory performances that already constituted an Oratorian gestural vocabulary
Altarpiece · Art · Art history · Depiction · Humanities · Literature · Penitential · Theology · Architecture and Art History Studies · Philosophy · Renaissance and Early Modern Studies · Renaissance Literature and Culture
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,33 |
| Citation span | 2023 - 2023 (1) |
| Citation velocity | historical |
| Highly cited | No |