Raphael's Poetics
Art and Poetry in High Renaissance Rome
Distributed for Amsterdam University Press
475 pages
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40 color plates
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6 x 9
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© 2012
In Raphael’s Poetics, David Rijser applies the strategies of close reading and interpretation usually reserved for studying poetry to Raphael’s most famous works, including the Stanza della Segnatura. The book develops a visual grammar to decode the symbols within Raphael’s paintings and parse the meaning they would have had for a sixteenth-century audience. A masterful piece of art criticism that brings a wholly new perspective to the scholarly discussion, Raphael’s Poetics is a book of singular importance in the study of High Renaissance art and poetry.
Contents
Abbreviations
Preface
Introduction: Aeneas' Example
An Antique Ekphrasis
Modern Scholarship
Visibility and Interaction
Raphael
1. Nature's Anxiety
1.1 Introduction: Dorothea's Aporia
1.2 Gossiping Stones
1.3 Rome in Mourning
1.4 The Artist as Healer
1.5 Nature's Nurse
1.6 The Pleasures of Archaeology
1.7 Art and the Man
1.8 Back to the Future
2. Rule without End
2.1 Introduction: An Actor Becomes Producer
2.2 Julius' Dreams of the World-game
2.3 A Nightmare Becomes a Vision: Valla and the Triumph of Style
2.4 Ancient Precedents
2.5 The Relevance of Rhetoric
2.6 Twin Sisters
2.7 Apollo Speaking
3. Let No One without Poem Enter
3.1 Introduction: A Father of Charms
3.2 Deipnosophistae
3.3 Goritz the Gardener
3.4 Prophecies Come True
3.5 The Golden Age
3.6 Talking Heads
3.7 What's in a Name?
3.8 Endgame
Interlude: Silenus' Song
Distinctions in Ovid
The Pleasures of Myth
Text and Context
Unity and Ambiguity
Style and Content
Antique Interlace: The Eclogues
4. Airy Nothing Gets a Local Habitation and a Name
4.1 Introduction: On a Clear Morning
4.2 Tamisius and the Fish-trail
4.3 Value for Money–and Anecdote
4.4 In Search of a Decent Abode
4.5 The Roman Trail
4.6 Statius' Poetics of Ekphrasis
4.7 Paradise Regained
4.8 Poetry and Illusion
4.9 Decoration: The Stars and Life
4.10 The Lunettes
4.11 Entering the Canon
4.12 Apples of the Patron's Eye
4.13 Polyphemus' Song
4.14 Paragone at the Gallery
4.15 Other Voices, Other Rooms
Bibliography
List of Figures
List of Plates
Index locorum et imaginum
Index nominum et rerum
Preface
Introduction: Aeneas' Example
An Antique Ekphrasis
Modern Scholarship
Visibility and Interaction
Raphael
1. Nature's Anxiety
1.1 Introduction: Dorothea's Aporia
1.2 Gossiping Stones
1.3 Rome in Mourning
1.4 The Artist as Healer
1.5 Nature's Nurse
1.6 The Pleasures of Archaeology
1.7 Art and the Man
1.8 Back to the Future
2. Rule without End
2.1 Introduction: An Actor Becomes Producer
2.2 Julius' Dreams of the World-game
2.3 A Nightmare Becomes a Vision: Valla and the Triumph of Style
2.4 Ancient Precedents
2.5 The Relevance of Rhetoric
2.6 Twin Sisters
2.7 Apollo Speaking
3. Let No One without Poem Enter
3.1 Introduction: A Father of Charms
3.2 Deipnosophistae
3.3 Goritz the Gardener
3.4 Prophecies Come True
3.5 The Golden Age
3.6 Talking Heads
3.7 What's in a Name?
3.8 Endgame
Interlude: Silenus' Song
Distinctions in Ovid
The Pleasures of Myth
Text and Context
Unity and Ambiguity
Style and Content
Antique Interlace: The Eclogues
4. Airy Nothing Gets a Local Habitation and a Name
4.1 Introduction: On a Clear Morning
4.2 Tamisius and the Fish-trail
4.3 Value for Money–and Anecdote
4.4 In Search of a Decent Abode
4.5 The Roman Trail
4.6 Statius' Poetics of Ekphrasis
4.7 Paradise Regained
4.8 Poetry and Illusion
4.9 Decoration: The Stars and Life
4.10 The Lunettes
4.11 Entering the Canon
4.12 Apples of the Patron's Eye
4.13 Polyphemus' Song
4.14 Paragone at the Gallery
4.15 Other Voices, Other Rooms
Bibliography
List of Figures
List of Plates
Index locorum et imaginum
Index nominum et rerum
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