Maarten Delbeke – författare

Unique among early modern artists, the Baroque painter, sculptor, and architect Gianlorenzo Bernini was the subject of two monographic biographies published shortly after his death in 1680: one by the Florentine connoisseur and writer Filippo Baldinucci (1682), and the second by Bernini’s son, Domenico (1713). This interdisciplinary collection of essays by historians of art and literature marks the first sustained examination of the two biographies, first and foremost as texts. A substantial introductory essay considers each biography’s author, genesis, and foundational role in the study of Bernini. Nine essays combining art-historical research with insights from philology, literary history, and art and literary theory offer major new insights into the multifarious connections between biography, art history, and aesthetics, inviting readers to rethink Bernini’s life, art, and milieu.Contributors are Eraldo Bellini, Heiko Damm, John D. Lyons, Sarah McPhee, Tomaso Montanari, Rudolf Preimesberger, Robert Williams, and the editors.

Initially published by Penn State Press in 1965, Catherine Enggass’s translation of Filippo Baldinucci’s Life of Bernini was the first English-language edition of this historic biography. Out of print for many years, The Life of Bernini is now available in a new paperback edition with an introduction by Maarten Delbeke, Evonne Levy, and Steven F. Ostrow, the editors of Bernini’s Biographies.Baldinucci’s unusual stand-alone biography of Bernini, begun while his subject was still alive, offers important insights into contemporary perceptions of the artist, the motivations of its author, and the nature of literary biography in seventeenth-century Italy.

Bernini and Pallavicino, the artist and the Jesuit cardinal, are closely related figures at the papal courts of Urban VIII and Alexander VII, at which Bernini was the principal artist. The analysis of Pallavicino's writings offers a new perspective on Bernini's art and artistry and allow us to understand the visual arts in papal Rome as a 'making manifest' of the fundamental truths of faith. Pallavicino's views on art and its effects differ fundamentally from the perspective developed in Bernini's biographies offering a perspective on the tension between artist and patron, work and message. In Pallavicino's writings the visual arts emerge as being intrinsically bound up with the very core of religion involving questions of idolatry, mimesis and illusionism that would prove central to the aesthetic debates of the eighteenth century.

Bernini and Pallavicino, the artist and the Jesuit cardinal, are closely related figures at the papal courts of Urban VIII and Alexander VII, at which Bernini was the principal artist. The analysis of Pallavicino's writings offers a new perspective on Bernini's art and artistry and allow us to understand the visual arts in papal Rome as a 'making manifest' of the fundamental truths of faith. Pallavicino's views on art and its effects differ fundamentally from the perspective developed in Bernini's biographies offering a perspective on the tension between artist and patron, work and message. In Pallavicino's writings the visual arts emerge as being intrinsically bound up with the very core of religion involving questions of idolatry, mimesis and illusionism that would prove central to the aesthetic debates of the eighteenth century.

Bernini and Pallavicino, the artist and the Jesuit cardinal, are closely related figures at the papal courts of Urban VIII and Alexander VII, at which Bernini was the principal artist. The analysis of Pallavicino''s writings offers a new perspective on Bernini''s art and artistry and allow us to understand the visual arts in papal Rome as a ''making manifest'' of the fundamental truths of faith. Pallavicino''s views on art and its effects differ fundamentally from the perspective developed in Bernini''s biographies offering a perspective on the tension between artist and patron, work and message. In Pallavicino''s writings the visual arts emerge as being intrinsically bound up with the very core of religion involving questions of idolatry, mimesis and illusionism that would prove central to the aesthetic debates of the eighteenth century.

Bernini and Pallavicino, the artist and the Jesuit cardinal, are closely related figures at the papal courts of Urban VIII and Alexander VII, at which Bernini was the principal artist. The analysis of Pallavicino''s writings offers a new perspective on Bernini''s art and artistry and allow us to understand the visual arts in papal Rome as a ''making manifest'' of the fundamental truths of faith. Pallavicino''s views on art and its effects differ fundamentally from the perspective developed in Bernini''s biographies offering a perspective on the tension between artist and patron, work and message. In Pallavicino''s writings the visual arts emerge as being intrinsically bound up with the very core of religion involving questions of idolatry, mimesis and illusionism that would prove central to the aesthetic debates of the eighteenth century.

Beauty in Architecture brings together the views of architects, artists, critics, historians, and philosophers to explore how beauty can again become an integral part of discussions about architecture.Despite its recent resurgence in the public debate about the built environment, the notion of beauty remains problematic and contested in critical discourse about architecture. When the topic is addressed, it is either treated with suspicion, historicized or contextualised, or substituted with other –often equally problematic– terms, such as order, legibility, atmosphere, or character. This collection brings together voices from theory, scholarship, and practice to show that a conversation about beauty in architecture is necessary, not only because the general public speaks easily and frequently about beauty in architecture, but also because much can be gained from taking it seriously.Bringing together a diverse range of perspectives, the essays reflect on the themes, categories, and concepts that should be part of such a conversation and show how talking about beauty engages important reflections on its ontology and what it involves: values, communities, collectives and shared histories, environment, identity, and political or legal mechanisms and institutions. A must read for designers and theorists alike, this volume allows readers to discover new strategies and concepts to foster the discussion of beauty in architecture.

Beauty in Architecture brings together the views of architects, artists, critics, historians, and philosophers to explore how beauty can again become an integral part of discussions about architecture.Despite its recent resurgence in the public debate about the built environment, the notion of beauty remains problematic and contested in critical discourse about architecture. When the topic is addressed, it is either treated with suspicion, historicized or contextualised, or substituted with other often equally problematic terms, such as order, legibility, atmosphere, or character. This collection brings together voices from theory, scholarship, and practice to show that a conversation about beauty in architecture is necessary, not only because the general public speaks easily and frequently about beauty in architecture, but also because much can be gained from taking it seriously.Bringing together a diverse range of perspectives, the essays reflect on the themes, categories, and concepts that should be part of such a conversation and show how talking about beauty engages important reflections on its ontology and what it involves: values, communities, collectives and shared histories, environment, identity, and political or legal mechanisms and institutions. A must read for designers and theorists alike, this volume allows readers to discover new strategies and concepts to foster the discussion of beauty in architecture.

Beauty in Architecture brings together the views of architects, artists, critics, historians, and philosophers to explore how beauty can again become an integral part of discussions about architecture.Despite its recent resurgence in the public debate about the built environment, the notion of beauty remains problematic and contested in critical discourse about architecture. When the topic is addressed, it is either treated with suspicion, historicized or contextualised, or substituted with other often equally problematic terms, such as order, legibility, atmosphere, or character. This collection brings together voices from theory, scholarship, and practice to show that a conversation about beauty in architecture is necessary, not only because the general public speaks easily and frequently about beauty in architecture, but also because much can be gained from taking it seriously.Bringing together a diverse range of perspectives, the essays reflect on the themes, categories, and concepts that should be part of such a conversation and show how talking about beauty engages important reflections on its ontology and what it involves: values, communities, collectives and shared histories, environment, identity, and political or legal mechanisms and institutions. A must read for designers and theorists alike, this volume allows readers to discover new strategies and concepts to foster the discussion of beauty in architecture.

Across all times and cultures, mankind has attached great importance to the foundation of buildings, cities and communities. By means of rituals of foundation, dedication and consecration, buildings and objects are charged with meaning. At the same time, these rituals bear witness of the way communities understand their own place in history, and how they position themselves in relation to others. As such, the study of these rituals deepens our understanding of society at large.Bringing together contributions from art history, architectural history, historiography and history of law, this volume is the first comprehensive exploration of the manifold meanings of foundation, dedication and consecration in early modern culture, which combined a renewed interest in notions of origins, history and identity with an exceptionally rich production of artefacts.Contributors include Piers Baker-Bates, Jorge Correia, Roger J. Crum, Maarten Delbeke, Alison C. Fleming, Dagmar Germonprez, Carmelina Gugliuzzo, Berthold Hub, Indra Kagis McEwen, Susan J. May, Brian J. Maxson, Anne-Françoise Morel, Almut Pollmer, Bernward Schmidt, Minou Schraven, Andrew Spicer, and Colin Wilder.