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Rome 1600 : the city and the visual arts under Clement VIII
\"Rome in 1600 was the centre of the artistic world. This book examines the art and architecture of the city around that date, at a time when major innovations especially in painting, were being made, largely due to the presence of Annibale Carracci and Caravaggio. 1600 was a Jubilee year, which offered numerous opportunities for artistic patronage, whether in major projects such as St Peter's, or in lesser schemes such as the restoration of older churches, as part of an growing interest in the early church. New religious orders, such as the Jesuits and Oratorians, also required new forms of decoration for their recently built churches. The book considers the patronage of the pope and his nephew, Cardinal Pietro Aldobrandini, as well as major families including the Giustiniani, Mattei and Farnese. Rome was a magnet for artists and architect from all over Europe, who came to study the remains of antiquity and the works of Michelangelo, Raphael and Bramante. The sheer variety of artists working in the city, who came from other parts of Italy, as well as northern Europe, ensured a wide variety of styles, and at times innovative cross-influences. The numerous patrons of the city were spoiled for choice. The book draws on a wide range of contemporary sources and images to reconstruct a snapshot of Rome at this significant time\"-- Provided by publisher.
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Rome 1600: The City and the Visual Arts under Clement VIII
Pamela Jones, who objected to the state of research in the post-Tridentine decades, urged art historians in the introductory chapter of her monumental Federico Borromeo and the Ambrosiana: Art Patronage and Reform in Seventeenth-Century Milan (1993) to explore the interrelation of art and patronage as well as the new avenues for religious art that the Counter-Reformation artist was provided with when working for his ecclesiastical patrons.Robertson posits Pope Clement VIII, Rome's most influential patron, as fully committed to Counter-Reformation goals and censorial measures (184); at the same time, Robertson cogently remarks that Clement VIII's interest in the reform of images fizzled out decades after the Council of Trent laid down regulatory measures in its concluding session (1563).[...]Robertson provides experts with a dense referential text, even as she perhaps deliberately avoided up-todate scholarly findings, instead choosing to include in her footnotes a large number of citations from Sebastian Schütze and Pamela Askew, whose studies have been drastically superseded since 1990 by novel and more complex literature.
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