Colloque Daniel Arasse
< précédent | suivant >
|The Passion of Adonis|
David Rosand (Columbia University, New York)
8 juin 2006
In the theme of the death of the hero, classical antiquity offered to the Christian pictorial imagination a model of pathos and a hero of particular relevance: Adonis, the mortal immortalized by divine love in a cycle of death and resurrection. This paper considers the appropriation of that model in the imagery of the late Renaissance, the visual model of its affective structure and the emotional resonance of its literary expression. Exploring the tale Venus and Adonis, painters probed the dimensions of pathos and the possibilities of narrative implication inherent in that model.
||David Rosand (Columbia University, New York)|
David Rosand, Meyer Schapiro Professor of Art History at Columbia University, is a scholar of Renaissance art who has published as well on modern art and on American painting. Three of his books have appeared in French translation: Peindre à Venise au XVIe siècle : Titien, Véronèse, Tintoret (Flammarion, 1993), Titien : l’art plus fort que la nature (Découvertes Gallimard, 1993), and La trace de l’artiste : Léonard et Titien (Gallimard, 1993). His more recent books include Robert Motherwell on Paper: Drawings, Prints, Collages (1997), Myths of Venice: The Figuration of a State (2001), Drawing Acts: Studies in Graphic Expression and Representation (2002), and The Invention of Painting in America (2004). He is currently preparing a monograph on the art of Paolo Veronese, to be published by Citadelles & Mazenod.