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Il collezionismo poetico: Cardinal P...

Nalezyty, Susan.

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Il collezionismo poetico: Cardinal Pietro Bembo and the Formation of Collecting Practices in Venice and Rome in the Early Sixteenth Century.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Il collezionismo poetico: Cardinal Pietro Bembo and the Formation of Collecting Practices in Venice and Rome in the Early Sixteenth Century./
作者:	Nalezyty, Susan.
面頁冊數:	468 p.
附註:	Source: Dissertation Abstracts International, Volume: 72-04, Section: A, page: 1118.
Contained By:	Dissertation Abstracts International72-04A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3443885
ISBN:	9781124500966

Il collezionismo poetico: Cardinal Pietro Bembo and the Formation of Collecting Practices in Venice and Rome in the Early Sixteenth Century.
Nalezyty, Susan.

Il collezionismo poetico: Cardinal Pietro Bembo and the Formation of Collecting Practices in Venice and Rome in the Early Sixteenth Century. - 468 p.

Source: Dissertation Abstracts International, Volume: 72-04, Section: A, page: 1118.

Thesis (Ph.D.)--Temple University, 2011.

This item is not available from ProQuest Dissertations & Theses.

Cardinal Pietro Bembo's accomplishments as a poet, linguist, philologist, and historian are well known, but his activities as an art collector have been comparatively little studied. In his writing, he directed his attention to the past via texts---Ciceronean Latin and Petrarchan Italian---for their potential to transform present and future ideas. His assembly of antiquities and contemporary art served an intermediary function parallel to his study of texts. In this dissertation I investigate Bembo as an agent of cultural exchange by offering a reconstruction of his art collection and, in so doing, access his thinking in a way not yet accomplished in previous work on this writer. Chapter One offers a historiographic overview of my topic and collecting as a subject of art historical study. Chapter Two maps the competition and overlapping interests of collectors who bought from Bembo's heirs. Chapter Three calls upon anthropological methodology for treating the study of material culture and applies it to Bembo's mission as a collector. Chapter Four concludes with a statistical analysis of subjects and object types to which Bembo was drawn. In the extensive Catalog individual works are examined in conjunction with one another and considered for what they reveal about Bembo's theoretical strategy. Appendix A is a timeline outlining Bembo's life. Appendix B is a chronologically ordered selection of accounts describing Bembo as a collector and descriptions of his collection and his properties. Appendix C is a Bembo family tree. Appendix D presents by location known repositories for traced objects that can be connected to Bembo's collection. The recovery of Pietro Bembo as a collector illustrates that his wide-ranging ambitions were intertwined. His museum was not a place fixed in geography but, rather, a dynamic mechanism for transmitting the analytic power and poetic potential he located in the visual.

ISBN: 9781124500966Subjects--Topical Terms:

2122701
Art history.

Il collezionismo poetico: Cardinal Pietro Bembo and the Formation of Collecting Practices in Venice and Rome in the Early Sixteenth Century.
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500 $a Adviser: Tracy E. Cooper.
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520 $a Cardinal Pietro Bembo's accomplishments as a poet, linguist, philologist, and historian are well known, but his activities as an art collector have been comparatively little studied. In his writing, he directed his attention to the past via texts---Ciceronean Latin and Petrarchan Italian---for their potential to transform present and future ideas. His assembly of antiquities and contemporary art served an intermediary function parallel to his study of texts. In this dissertation I investigate Bembo as an agent of cultural exchange by offering a reconstruction of his art collection and, in so doing, access his thinking in a way not yet accomplished in previous work on this writer. Chapter One offers a historiographic overview of my topic and collecting as a subject of art historical study. Chapter Two maps the competition and overlapping interests of collectors who bought from Bembo's heirs. Chapter Three calls upon anthropological methodology for treating the study of material culture and applies it to Bembo's mission as a collector. Chapter Four concludes with a statistical analysis of subjects and object types to which Bembo was drawn. In the extensive Catalog individual works are examined in conjunction with one another and considered for what they reveal about Bembo's theoretical strategy. Appendix A is a timeline outlining Bembo's life. Appendix B is a chronologically ordered selection of accounts describing Bembo as a collector and descriptions of his collection and his properties. Appendix C is a Bembo family tree. Appendix D presents by location known repositories for traced objects that can be connected to Bembo's collection. The recovery of Pietro Bembo as a collector illustrates that his wide-ranging ambitions were intertwined. His museum was not a place fixed in geography but, rather, a dynamic mechanism for transmitting the analytic power and poetic potential he located in the visual.
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