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King of the Renaissance : = Art and politics at the Neapolitan court of Ferrante I, 1458-1494.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	King of the Renaissance :/
其他題名:	Art and politics at the Neapolitan court of Ferrante I, 1458-1494.
作者:	Riesenberger, Nicole.
面頁冊數:	1 online resource (269 pages)
附註:	Source: Dissertation Abstracts International, Volume: 77-10(E), Section: A.
標題:	Art history. -
電子資源:	click for full text (PQDT)
ISBN:	9781339866581

King of the Renaissance : = Art and politics at the Neapolitan court of Ferrante I, 1458-1494.
Riesenberger, Nicole.

King of the Renaissance :Art and politics at the Neapolitan court of Ferrante I, 1458-1494. - 1 online resource (269 pages)

Source: Dissertation Abstracts International, Volume: 77-10(E), Section: A.

Thesis (Ph.D.)--University of Maryland, College Park, 2016.

Includes bibliographical references

In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante's court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante's artistic patronage and attempts to explicate the king's specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante's court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9781339866581Subjects--Topical Terms:

1180038
Art history.
Index Terms--Genre/Form:

554714
Electronic books.

King of the Renaissance : = Art and politics at the Neapolitan court of Ferrante I, 1458-1494.
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504 $a Includes bibliographical references
520 $a In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante's court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante's artistic patronage and attempts to explicate the king's specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante's court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture.
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