- Department of Fine Arts
M.S. 092 Mandel Center 211
Brandeis University
415 South Street
Waltham MA 02454
Jonathan Unglaub
Brandeis University, Fine Arts, Faculty Member
- Institute for Advanced Study, School of Historical Studies, Department Memberadd
- Baroque art and architecture, Italian Renaissance Art, Italian Literature, Italian Renaissance and Baroque Art, Italian Baroque art, 17th Century French Baroque Artist Nicolas Poussin, and 28 moreNicolas Poussin, Raphael, Sebastiano del Piombo, Titian, Caravaggio, Giulio Rospigliosi, Poussin, Guido Reni, Ut Pictura Poesis, Ekphrasis, Giorgione, Giambattista Marino, Giovan Battista Marino, Text And Image, Poetics, Pastoral Poetry, Art Theory, Virgin Mary, Castiglione Baldassarre, Torquato Tasso, Santa Teresa de Ávila, Gianlorenzo Bernini, Reception of Ovid, Ovid Metamorphoses, Agostino Carracci, Claude Lorrain, Giorgio Vasari, and Art Historyedit
- Jonathan Unglaub (Ph.D., Columbia) is Associate Professor of Fine Arts at Brandeis University. A primary area of rese... moreJonathan Unglaub (Ph.D., Columbia) is Associate Professor of Fine Arts at Brandeis University. A primary area of research focus has been the art and literary culture of Nicolas Poussin (1594-1665). His scholarship on the painter encompasses two books: Poussin and the Poetics of Painting: Pictorial Narrative and the Legacy of Tasso (Cambridge University Press, 2006; paperback 2014) and Poussin's Sacrament of Ordination: History Faith and the Sacred Landscape (Yale University Press, 2013), as well as some half dozen published studies. Unglaub's other publications and current research range across the sixteenth and seventeenth centuries in Italy, and includes studies on Raphael, Caravaggio, Bernini, Guercino, Carracci, Guido Reni, Sebastiano del Piombo, and Venetian Renaissance pastoral painting, as well as a book project on pictorial transitivity and Marian corporeality in Raphael's Sistine Madonna and other Renaissance images of the Incarnation.edit
Research Interests: 17th Century French Baroque Artist Nicolas Poussin, Paul of Tarsus, Catacombs of Rome, Landscape painting, Sacramental Theology and Liturgical Studies, and 15 moreEpistle to the Romans, Counter-Reformation art, Bible in the Reformation and Counter-Reformation, Sacraments, Counter-Reformation, Traditio legis, Cassiano dal Pozzo, Barberini patronage, Ordination, Nicolas Poussin, Counter Reformation Italy, Classicism In Art, Bible. New Testament. paul's epistle to the Romans, Seven Sacraments, and Antonio Bosio
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Research Interests: Italian Baroque art, 17th Century French Baroque Artist Nicolas Poussin, Early Opera, Italian Renaissance and Baroque Art, Cassiano dal Pozzo, and 10 moreLukas Holste, Originality in art, Nicolas Poussin, Clement IX, Guido Reni, Giulio Rospigliosi, Giuseppe Cesari, Novita, Baroque. Rome. Painting. Guido Reni. 17th century, and Modes (musical)
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Research Interests: History of Music Theory, Dance History, Allegory, Italian Renaissance literature, 17th Century French Baroque Artist Nicolas Poussin, and 11 more17th-century Italian Opera, Gianlorenzo Bernini, Personifications of abstract ideas, Nicolas Poussin, Clement IX, ópera, Giulio Rospigliosi, Modes (musical), Personification Allegory, Landi, Stefano, and Michelangelo Rossi
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Research Interests: Petrarchism, Giorgio Vasari, Castiglione Baldassarre, Parmigianino, Petrarchan Poetry, and 15 moreRaphael, Raffaello, The Gonzaga of Mantua, Francesco Petrarca, Renaissance and Baroque altarpieces, Raphael of Urbino, Il Libro Del Cortegiano, Leone X, Leo X, Laocoön, Jacopo Sadoleto, Sistine Madonna, Raffaello Sanzio, Bernardo Accolti, and Elisabetta Gonzaga
NOTE: For better image of fig. 21, see 18.2 in the more recent Accolti article posted above. For image of cleaned Sarto portrait (fig. 23), see fig. 18.3.
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This essay investigates the visual language of Guercino's monumental altarpiece of St Petronilla for St Peter's (1623), through which he constructs an authoritative image of her sanctity deeply intertwined with the art and fabric of the... more
This essay investigates the visual language of Guercino's monumental altarpiece of St Petronilla for St Peter's (1623), through which he constructs an authoritative image of her sanctity deeply intertwined with the art and fabric of the renewed church, particularly as it pertains to Michelangelo's legacy at the site. The saint's body, almost in tandem with the sculptor's Pietà, circulated throughout the old and new basilica during its gradual demolition and reconstruction. Guercino's imagery consolidates references to Petronilla's relics, her cult and the statue in the configuration of the saint suspended at her grave. A hitherto unnoticed portrait of Michelangelo underscores these associations and renews his exemplarity as a sacred artist in the service of the papacy. The evocations of Michelangelo's sculpture and person, the body of Petronilla, together with the altarpiece's setting and architectural imagery, encourage an interpretation of the altarpiece as a microhistory of St Peter's basilica itself.