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Brunelleschi's egg : nature, art, and gender in Renaissance Italy

Author: Mary D Garrard
Publisher: Berkeley : University of California Press, ©2010.
Edition/Format:   Book : State or province government publication : EnglishView all editions and formats
Database:WorldCat
Summary:
"Feminist historians of science and philosophy have shown that during the Italian Renaissance, the profound shift in the concept of nature from an organic worldview to the scientific was assisted by the gender metaphor that defined nature as female. Mary D. Garrard extends this analysis to the history of art and proposes that the larger shift was both anticipated and mediated by the visual arts. In case studies of  Read more...
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Genre/Form: History
Material Type: Government publication, State or province government publication
Document Type: Book
All Authors / Contributors: Mary D Garrard
ISBN: 9780520261525 0520261526
OCLC Number: 537652617
Notes: "An Ahmanson-Murphy fine arts book"--Prelim.p.
Description: x, 429 pages, 16 pages of plates : illustrations (some color) ; 29 cm
Contents: Introduction --
Great Mother Nature --
The gendering of nature as female : from prehistory through the Middle Ages --
Nature and art in the Quattrocento : from pupil to equal --
Technology and the mastery of physical nature : Brunelleschi and Alberti --
Genesis and the reproduction of life : Masaccio and Michelangelo --
The rebirth of Venus and the feminization of beauty : Botticelli --
A balance of power : pictorial metaphors for nature in transition --
Nature's special child : Leonardo da Vinci --
The goddess in Arcady : Giorgione --
Art and nature in the Cinquecento : from competitor to master --
Love and death in Venice : Titian --
Art against nature : Raphael, the early Mannerists, and late Michelangelo --
Natura bound : the later Tuscan Mannerists --
Epilogue.
Other Titles: Nature, art, and gender in Renaissance Italy
Responsibility: Mary D. Garrard.

Abstract:

Feminist historians of science and philosophy have shown that during the Italian Renaissance, the profound shift in the concept of nature - from an organic worldview to the scientific - was assisted  Read more...

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"Brunelleschi's Egg is an immensely stimulating, thought-provoking book that represents a major contribution to Renaissance studies." -- Marilyn Dunn Renaissance Qtly 20110929 "Excellent... Mary Read more...

 
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schema:description"Introduction -- Great Mother Nature -- The gendering of nature as female : from prehistory through the Middle Ages -- Nature and art in the Quattrocento : from pupil to equal -- Technology and the mastery of physical nature : Brunelleschi and Alberti -- Genesis and the reproduction of life : Masaccio and Michelangelo -- The rebirth of Venus and the feminization of beauty : Botticelli -- A balance of power : pictorial metaphors for nature in transition -- Nature's special child : Leonardo da Vinci -- The goddess in Arcady : Giorgione -- Art and nature in the Cinquecento : from competitor to master -- Love and death in Venice : Titian -- Art against nature : Raphael, the early Mannerists, and late Michelangelo -- Natura bound : the later Tuscan Mannerists -- Epilogue."@en
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schema:reviewBody""Feminist historians of science and philosophy have shown that during the Italian Renaissance, the profound shift in the concept of nature from an organic worldview to the scientific was assisted by the gender metaphor that defined nature as female. Mary D. Garrard extends this analysis to the history of art and proposes that the larger shift was both anticipated and mediated by the visual arts. In case studies of such major figures as Brunelleschi, Masaccio, Botticelli, Leonardo da Vinci, Michelangelo, Pontormo, Giorgione, and Titian, Garrard examines the changing relationship of art and nature in the Renaissance, and shows how they were cast by artists and theorists as gendered competitors in a steadily escalating, rhetoric. She differentiates the masculinist Florentine model in which male artists claimed to rival and defeat female nature from the Venetian in which art and nature are more often seen as collaborative partners. Giving new weight to the latter model, Garrard brings a feminist corrective to Renaissance art histories, offering an innovative counternarrative in which the suppressed feminine is given its voice."--Jacket."
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