Leseprobe
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Bravura
Nicola Suthor
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Belletristik / Briefe, Tagebücher
Beschreibung
The first major history of the bravura movement in European painting
The painterly style known as bravura emerged in sixteenth-century Venice and spread throughout Europe during the seventeenth century. While earlier artistic movements presented a polished image of the artist by downplaying the creative process, bravura celebrated a painter’s distinct materials, virtuosic execution, and theatrical showmanship. This resulted in the further development of innovative techniques and a popular understanding of the artist as a weapon-wielding acrobat, impetuous wunderkind, and daring rebel. In Bravura, Nicola Suthor offers the first in-depth consideration of bravura as an artistic and cultural phenomenon. Through history, etymology, and in-depth analysis of works by such important painters as Franҫois Boucher, Caravaggio, Francisco Goya, Frans Hals, Peter Paul Rubens, Tintoretto, and Diego Velázquez, Suthor explores the key elements defining bravura’s richness and power.
Suthor delves into how bravura’s unique and groundbreaking methods—visible brushstrokes, sharp chiaroscuro, severe foreshortening of the body, and other forms of visual emphasis—cause viewers to feel intensely the artist’s touch. Examining bravura’s etymological history, she traces the term’s associations with courage, boldness, spontaneity, imperiousness, and arrogance, as well as its links to fencing, swordsmanship, henchmen, mercenaries, and street thugs. Suthor discusses the personality cult of the transgressive, self-taught, antisocial genius, and the ways in which bravura artists, through their stunning displays of skill, sought applause and admiration.
Filled with captivating images by painters testing the traditional boundaries of aesthetic excellence, Bravura raises important questions about artistic performance and what it means to create art.
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Giorgio Vasari, Shading, Literature, Pietro Aretino, Painting (Blue Star), Chiaroscuro, Renaissance, Titian, Giulio Romano, Benvenuto Cellini, Decapitation, Lecture, Aretino, Mannerism, Putto, Painting, The Art of Painting, Las Hilanderas (Velázquez), Imprimatura, Work of art, Narrative, Pietro da Cortona, Oil paint, Rijksmuseum, Eloquence, Easel, Simon Vouet, Decorum, Allusion, Sprezzatura, Physiognomy, Art criticism, Metropolitan Museum of Art, Giuseppe Cesari, History painting, Requirement, Lodovico Dolce, Parmigianino, Depiction, Drawing, Tintoretto, Altarpiece, Guido Reni, Salvator Rosa, Caravaggio, Joachim von Sandrart, Cortona, Genre painting, Venetian school (art), Paolo Pino, Erudition, Drapery, Michelangelo, Non finito, Annibale Carracci, Treatise, Basilica, Anthony van Dyck, Engraving, Marco Boschini, Fine art, Domenichino, Anecdote, Perspective (graphical), Aesthetics, Marcantonio Raimondi, Sfumato, Giorgione, Luca Giordano, Pigment