Andaleeb Badiee Banta is Curator of European and American Art at the Allen Memorial Art Museum, Oberlin College, USA.

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• Table of ContentsList of IllustrationsNotes on the ContributorsAcknowledgementsIntroduction: In the Shadow of La SerenissimaAndaleeb Badiee Banta and Lindsey P. SchneiderChapter 1: The Neurosis of Visual Legacy: Seicento Venetian Painters Confront Their PastTaryn Marie ZarrilloChapter 2: "Il Prete Genovese:" Bernardo Strozzi and the Venetian CinquecentoAndaleeb Badiee BantaChapter 3: Titian and Tintoretto in the Sacristy of Santa Maria della Salute: a Seicento "Accademia" for Displaced Treasures of the Venetian CinquecentoAllison ShermanChapter 4: "A beautiful woman should break her mirror early:" The Rokeby Venus, the Venetians, and GraciánAneta Georgievska-ShineChapter 5: "A Good Friend of our Venetian Maniera:" Pietro da Cortona and Neo-Venetianism in Roman Painting after 1650Lindsey P. SchneiderChapter 6: Paolo Veronese Revisited: Art Collecting and Connoisseurship in Eighteenth-Century Venice Linda BoreanChapter 7: Antonio Corradini, the Collegio dei scultori, and the Neo-Cinquecentismo in Venice around 1720Matej KlemenčičChapter 8: Displaying Objects and Performing Publics: Antonio Maria Zanetti’s Delle Antiche StatueJanna IsraelChapter 9: The Long Shadows of Titian’s Trees Leopoldine ProsperettiChapter 10: Conjuring Venetian Costume: The Influence of Cinquecento Paintings in Mariano Fortuny’s Dress DesignsWendy Ligon SmithAfterword: Quick to Say Good-Bye, Hard to Forget: The Long Lives of Cinquecento Venetian PicturesJodi CranstonWorks CitedIndex

Andaleeb Badiee Banta is Curator of European and American Art at the Allen Memorial Art Museum, Oberlin College, USA.

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• Table of ContentsList of IllustrationsNotes on the ContributorsAcknowledgementsIntroduction: In the Shadow of La SerenissimaAndaleeb Badiee Banta and Lindsey P. SchneiderChapter 1: The Neurosis of Visual Legacy: Seicento Venetian Painters Confront Their PastTaryn Marie ZarrilloChapter 2: "Il Prete Genovese:" Bernardo Strozzi and the Venetian CinquecentoAndaleeb Badiee BantaChapter 3: Titian and Tintoretto in the Sacristy of Santa Maria della Salute: a Seicento "Accademia" for Displaced Treasures of the Venetian CinquecentoAllison ShermanChapter 4: "A beautiful woman should break her mirror early:" The Rokeby Venus, the Venetians, and GraciánAneta Georgievska-ShineChapter 5: "A Good Friend of our Venetian Maniera:" Pietro da Cortona and Neo-Venetianism in Roman Painting after 1650Lindsey P. SchneiderChapter 6: Paolo Veronese Revisited: Art Collecting and Connoisseurship in Eighteenth-Century Venice Linda BoreanChapter 7: Antonio Corradini, the Collegio dei scultori, and the Neo-Cinquecentismo in Venice around 1720Matej KlemenčičChapter 8: Displaying Objects and Performing Publics: Antonio Maria Zanetti’s Delle Antiche StatueJanna IsraelChapter 9: The Long Shadows of Titian’s Trees Leopoldine ProsperettiChapter 10: Conjuring Venetian Costume: The Influence of Cinquecento Paintings in Mariano Fortuny’s Dress DesignsWendy Ligon SmithAfterword: Quick to Say Good-Bye, Hard to Forget: The Long Lives of Cinquecento Venetian PicturesJodi CranstonWorks CitedIndex

Andaleeb Badiee Banta is Curator of European and American Art at the Allen Memorial Art Museum, Oberlin College, USA.

Select Guide Rating

• Table of ContentsList of IllustrationsNotes on the ContributorsAcknowledgementsIntroduction: In the Shadow of La SerenissimaAndaleeb Badiee Banta and Lindsey P. SchneiderChapter 1: The Neurosis of Visual Legacy: Seicento Venetian Painters Confront Their PastTaryn Marie ZarrilloChapter 2: "Il Prete Genovese:" Bernardo Strozzi and the Venetian CinquecentoAndaleeb Badiee BantaChapter 3: Titian and Tintoretto in the Sacristy of Santa Maria della Salute: a Seicento "Accademia" for Displaced Treasures of the Venetian CinquecentoAllison ShermanChapter 4: "A beautiful woman should break her mirror early:" The Rokeby Venus, the Venetians, and GraciánAneta Georgievska-ShineChapter 5: "A Good Friend of our Venetian Maniera:" Pietro da Cortona and Neo-Venetianism in Roman Painting after 1650Lindsey P. SchneiderChapter 6: Paolo Veronese Revisited: Art Collecting and Connoisseurship in Eighteenth-Century Venice Linda BoreanChapter 7: Antonio Corradini, the Collegio dei scultori, and the Neo-Cinquecentismo in Venice around 1720Matej KlemenčičChapter 8: Displaying Objects and Performing Publics: Antonio Maria Zanetti’s Delle Antiche StatueJanna IsraelChapter 9: The Long Shadows of Titian’s Trees Leopoldine ProsperettiChapter 10: Conjuring Venetian Costume: The Influence of Cinquecento Paintings in Mariano Fortuny’s Dress DesignsWendy Ligon SmithAfterword: Quick to Say Good-Bye, Hard to Forget: The Long Lives of Cinquecento Venetian PicturesJodi CranstonWorks CitedIndex