Naître, aimer, mourir. Les lits (et leurs habitants) dans la peinture bolonaise des xvie et xviie siècles
Some examples taken from the paintings executed at Bologna from the end of the sixteenth century to the end of the seventeenth illustrate the different meanings that can be attributed to the bed in different narrative contexts. The bed can become a major theatrical scene on which Orazio Samacchini r...
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Ministère de la Culture et de la Communication
2019-09-01
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| Series: | In Situ |
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| Online Access: | https://journals.openedition.org/insitu/22782 |
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| author | Michele Danieli |
| author_facet | Michele Danieli |
| author_sort | Michele Danieli |
| collection | DOAJ |
| description | Some examples taken from the paintings executed at Bologna from the end of the sixteenth century to the end of the seventeenth illustrate the different meanings that can be attributed to the bed in different narrative contexts. The bed can become a major theatrical scene on which Orazio Samacchini rewrites a famous episode from the Aeneid, giving special emphasis to its sensitive and intimate character. The female figures in the paintings of Denis Calvaert live tragic adventures, but with varying outcomes. The moral rectitude of Lucretia or the recklessness of Semele impose appropriate settings and for each one, the artist choses the bed that is most suitable. The bed that Lorenzo Sabatini includes in his painting has purely symbolic significance which the painter uses in order to enrich his allegorical representation. The absence of a court and a centre of private power at Bologna during the early modern period means that it was not a centre for the production of furniture for a sovereign’s residence. So, the paradigm of luxury furniture is to be looked for in the mannerist painting of Florence or Rome or in Flemish engravings, articles that were more accessible to artists than the real royal objects. This is clearly demonstrated in a painting by Lavinia Fontana, which is a proper ‘portrait’ of a bed. The spectacle it offers of real affluence distinguishes this painting from the others examined here. |
| format | Article |
| id | doaj-art-cfb4f901bcb44d44a0efb58834106304 |
| institution | OA Journals |
| issn | 1630-7305 |
| language | fra |
| publishDate | 2019-09-01 |
| publisher | Ministère de la Culture et de la Communication |
| record_format | Article |
| series | In Situ |
| spelling | doaj-art-cfb4f901bcb44d44a0efb588341063042025-08-20T01:55:12ZfraMinistère de la Culture et de la CommunicationIn Situ1630-73052019-09-014010.4000/insitu.22782Naître, aimer, mourir. Les lits (et leurs habitants) dans la peinture bolonaise des xvie et xviie sièclesMichele DanieliSome examples taken from the paintings executed at Bologna from the end of the sixteenth century to the end of the seventeenth illustrate the different meanings that can be attributed to the bed in different narrative contexts. The bed can become a major theatrical scene on which Orazio Samacchini rewrites a famous episode from the Aeneid, giving special emphasis to its sensitive and intimate character. The female figures in the paintings of Denis Calvaert live tragic adventures, but with varying outcomes. The moral rectitude of Lucretia or the recklessness of Semele impose appropriate settings and for each one, the artist choses the bed that is most suitable. The bed that Lorenzo Sabatini includes in his painting has purely symbolic significance which the painter uses in order to enrich his allegorical representation. The absence of a court and a centre of private power at Bologna during the early modern period means that it was not a centre for the production of furniture for a sovereign’s residence. So, the paradigm of luxury furniture is to be looked for in the mannerist painting of Florence or Rome or in Flemish engravings, articles that were more accessible to artists than the real royal objects. This is clearly demonstrated in a painting by Lavinia Fontana, which is a proper ‘portrait’ of a bed. The spectacle it offers of real affluence distinguishes this painting from the others examined here.https://journals.openedition.org/insitu/22782paintingseventeenth centurybedcradleBolognasixteenth century |
| spellingShingle | Michele Danieli Naître, aimer, mourir. Les lits (et leurs habitants) dans la peinture bolonaise des xvie et xviie siècles In Situ painting seventeenth century bed cradle Bologna sixteenth century |
| title | Naître, aimer, mourir. Les lits (et leurs habitants) dans la peinture bolonaise des xvie et xviie siècles |
| title_full | Naître, aimer, mourir. Les lits (et leurs habitants) dans la peinture bolonaise des xvie et xviie siècles |
| title_fullStr | Naître, aimer, mourir. Les lits (et leurs habitants) dans la peinture bolonaise des xvie et xviie siècles |
| title_full_unstemmed | Naître, aimer, mourir. Les lits (et leurs habitants) dans la peinture bolonaise des xvie et xviie siècles |
| title_short | Naître, aimer, mourir. Les lits (et leurs habitants) dans la peinture bolonaise des xvie et xviie siècles |
| title_sort | naitre aimer mourir les lits et leurs habitants dans la peinture bolonaise des xvie et xviie siecles |
| topic | painting seventeenth century bed cradle Bologna sixteenth century |
| url | https://journals.openedition.org/insitu/22782 |
| work_keys_str_mv | AT micheledanieli naitreaimermourirleslitsetleurshabitantsdanslapeinturebolonaisedesxvieetxviiesiecles |