Books and Articles by Anne H Muraoka
Arts, 2024
Abstract: The function of affectivity has generally focused on post-Council of Trent paintings, w... more Abstract: The function of affectivity has generally focused on post-Council of Trent paintings, where artists sought a new visual language to address the imperative function of sacred images in the face of Protestant criticism and iconoclasm, either guided by the Council’s decree on images, post-Tridentine treatises on sacred art, or by the Counter-Reformation climate of late Cinquecento and early Seicento Italy. This essay redirects the origins of the transformation of the function of chiaroscuro from objective to subjective, from corporeal to spiritual, and from rational to affective to a much earlier period in late Quattrocento and early Cinquecento Milan with Leonardo da Vinci. By tracing the transformation of chiaroscuro as a vehicle of affect beginning with Leonardo’s Virgin of the Rocks, it will become evident that chiaroscuro became a device used to focalize the viewers’ experience dramatically and to move viewers visually and mystically toward unification with God under the influence of the Franciscans.
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Space, Image, and Reform in Early Modern Art
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Art and Reform in the Late Renaissance: After Trent
In Jesse Locker, ed., Art and Reform in the Late Renaissance: After Trent, Routledge, 2018.
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In Oxford Bibliographies Online: Renaissance and Reformation. Edited by Margaret King. New York: ... more In Oxford Bibliographies Online: Renaissance and Reformation. Edited by Margaret King. New York: Oxford University Press, 2018.
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Oxford Bibliographies Online: Renaissance and Reformation, 2013
In Oxford Bibliographies Online: Renaissance and Reformation. Edited by Margaret King. New York: ... more In Oxford Bibliographies Online: Renaissance and Reformation. Edited by Margaret King. New York: Oxford University Press, 2013. [Last modified: 24 May 2018]
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Oxford Bibliographies Online: Renaissance and Reformation, 2000
In Oxford Bibliographies Online: Renaissance and Reformation. Edited by Margaret King. New York: ... more In Oxford Bibliographies Online: Renaissance and Reformation. Edited by Margaret King. New York: Oxford University Press, 2012. (Updated 2018)
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Conference Abstracts by Anne H Muraoka
Renaissance Society of America Conference, San Diego, April 2013
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Renaissance Society of America Conference, New York City, March 2014
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Renaissance Society of America Conference, Chicago, March 2017
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Sixteenth Century Society and Conference, Cincinnati, October 2012
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Sixteenth Century Society and Conference, San Juan, Puerto Rico, October 2013
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Renaissance Society of America, Washington, D.C., March 2012
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Books by Anne H Muraoka
Peter Lang Publishing, Inc. (Renaissance and Baroque Studies and Texts), 2015
The Path of Humility: Caravaggio and Carlo Borromeo establishes a fundamental
relationship betwe... more The Path of Humility: Caravaggio and Carlo Borromeo establishes a fundamental
relationship between the Franciscan humility of Archbishop of Milan Carlo
Borromeo and the Roman sacred works of Caravaggio. This is the first book
to consider and focus entirely upon these two seemingly anomalous personalities
of the Counter-Reformation. The import of Caravaggio’s Lombard artistic
heritage has long been seen as pivotal to the development of his sacred style,
but it was not his only source of inspiration. This book seeks to enlarge the
discourse surrounding Caravaggio’s style by placing him firmly in the environment
of Borromean Milan, a city whose urban fabric was transformed into a
metaphorical Via Crucis. This book departs from the prevailing preoccupation—
the artist’s experience in Rome as fundamental to his formulation of
sacred style—and toward his formative years in Borromeo’s Milan, where
humility reigned supreme.
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Drawing on recent research by established and emerging scholars of sixteenth- and seventeenth-cen... more Drawing on recent research by established and emerging scholars of sixteenth- and seventeenth-century art, this volume reconsiders the art and architecture produced after 1563 across the conventional geographic borders. Rather than considering this period a degraded afterword to Renaissance classicism or an inchoate proto-Baroque, the book seeks to understand the art on its own terms. By considering artists such as Federico Barocci and Stefano Maderno in Italy, Hendrick Goltzius in the Netherlands, Antoine Caron in France, Francisco Ribalta in Spain, and Bartolomeo Bitti in Peru, the contributors highlight lesser known "reforms" of art from outside the conventional centers. As the first text to cover this formative period from an international perspective, this volume casts new light on the aftermath of the Renaissance and the beginnings of "Baroque."
Introduction: Rethinking Art after the Council of Trent (Jesse M. Locker)
Chapter 1
On the ‘Reform’ of Painting: Annibale Carracci and Caravaggio (Clare Robertson)
Chapter 2
Sculpture, Rupture, and the ‘Baroque’ (Estelle Lingo)
Chapter 3
Spanish Artists in the Forefront of the Tridentine Reform (Marcus Burke)
Chapter 4
Judgment, Resurrection, Conversion: Art in France During the Wars of Religion (Iara A. Dundas)
Chapter 5
Reform after Trent in Florence (Marcia Hall)
Chapter 6
Quella inerudita semplicità lombarda: The Lombard Origins of Baroque and Counter-Reformation Affectivity (Anne Muraoka)
Chapter 7
The Allure of the Object in Post-Tridentine Spanish Painting (Carmen Ripollés)
Chapter 8
Federico Barocci, History, and the Body of Art (Stuart Lingo)
Chapter 9
Neither for Trent nor Against: Faith and Works in Hendrick Goltzius’s Allegories of the Christian Creed (Walter Melion)
Chapter 10
Francisco Ribalta’s Last Supper as a Symbol of Reform in Early Modern Valencia (Lisandra Estevez)
Chapter 11
Water in Counter-Reformation Rome (Katherine Rinne)
Chapter 12
A Missionary Order without Saints: The Extraordinary Case of the Iconography of Unbeatified Jesuits in Italy and South America, 1560-1622 (Gauvin Alexander Bailey)
Chapter 13
Bernardo Bitti: An Italian Reform Painter in Peru (Christa Irwin)
Chapter 14
Painting as Relic: Giambattista Marino’s Dicerie Sacre and the Shroud of Turin (Andrew Casper)
Chapter 15
Resisting the Baroque in mid-Seventeenth-Century Florence (Eva Struhal)
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Papers by Anne H Muraoka
Counter-Reformation treatises are typically dismissed as determiners of style. This dissertation ... more Counter-Reformation treatises are typically dismissed as determiners of style. This dissertation challenges the prevailing view that rejects Counter-Reformation theory
as key motivators of sacred style, and will prove that one treatise in particular, Cardinal Gabriele Paleotti’s 1582 Discorso intorno alle imagini sacre e profane, held a
considerable amount of authority almost immediately after its publication. Through a
close study of the Discorso’s nature-centered language and its applicability to the
Lombard tradition of presenting “tangible presences,” it is evident that one artist, in
particular, fulfilled Paleotti’s vision for a “reformed” sacred style, and one who seldom
appears in connection with the cardinal: Michelangelo Merisi da Caravaggio. The
interconnection of Paleotti’s theology of nature, Lombard painting style, and the sacred works of Caravaggio is established through this contextual study of Counter-Reformation Rome in the late Cinquecento and early Seicento. Paleotti’s Discorso is evaluated as a whole and as an expression of Paleotti’s ideas on sacred art. This examination and analyses of Paleotti’s major points and emphases shows how they collectively form a cohesive language and theoretical basis (“theology of nature”) for the reformulation of sacred images based on naturalism. Careful readings of Cinquecento and Seicento literature on art (from Vasari to Bellori) draw correspondences between the words used to describe Lombard style and Paleotti’s
language in his Discorso. The dissemination of his “theology of nature” is demonstrated through reconstruction of Paleotti’s Roman circle. Paleotti’s important ties to the Oratorians, the Jesuits, the Accademia di San Luca, and his friendships with key cardinal patrons in the circle of Cardinal Francesco Maria Del Monte, provided an ideal network for the dissemination of his ideas that would in fact put him into contact with Caravaggio. Caravaggio’s plebian religious scenes and figures correlate with Paleotti’s conviction that naturalism served as a bridge between painted subject and Christian viewer. This dissertation fills not only a critical lacuna in Counter-Reformation studies, but also opens new contextualizing avenues of research and dialogue on the intricate and determining relationship between Counter-Reformation theory and style, at which, at the heart, stand Cardinal Paleotti and Caravaggio.
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Books and Articles by Anne H Muraoka
Conference Abstracts by Anne H Muraoka
Books by Anne H Muraoka
relationship between the Franciscan humility of Archbishop of Milan Carlo
Borromeo and the Roman sacred works of Caravaggio. This is the first book
to consider and focus entirely upon these two seemingly anomalous personalities
of the Counter-Reformation. The import of Caravaggio’s Lombard artistic
heritage has long been seen as pivotal to the development of his sacred style,
but it was not his only source of inspiration. This book seeks to enlarge the
discourse surrounding Caravaggio’s style by placing him firmly in the environment
of Borromean Milan, a city whose urban fabric was transformed into a
metaphorical Via Crucis. This book departs from the prevailing preoccupation—
the artist’s experience in Rome as fundamental to his formulation of
sacred style—and toward his formative years in Borromeo’s Milan, where
humility reigned supreme.
Introduction: Rethinking Art after the Council of Trent (Jesse M. Locker)
Chapter 1
On the ‘Reform’ of Painting: Annibale Carracci and Caravaggio (Clare Robertson)
Chapter 2
Sculpture, Rupture, and the ‘Baroque’ (Estelle Lingo)
Chapter 3
Spanish Artists in the Forefront of the Tridentine Reform (Marcus Burke)
Chapter 4
Judgment, Resurrection, Conversion: Art in France During the Wars of Religion (Iara A. Dundas)
Chapter 5
Reform after Trent in Florence (Marcia Hall)
Chapter 6
Quella inerudita semplicità lombarda: The Lombard Origins of Baroque and Counter-Reformation Affectivity (Anne Muraoka)
Chapter 7
The Allure of the Object in Post-Tridentine Spanish Painting (Carmen Ripollés)
Chapter 8
Federico Barocci, History, and the Body of Art (Stuart Lingo)
Chapter 9
Neither for Trent nor Against: Faith and Works in Hendrick Goltzius’s Allegories of the Christian Creed (Walter Melion)
Chapter 10
Francisco Ribalta’s Last Supper as a Symbol of Reform in Early Modern Valencia (Lisandra Estevez)
Chapter 11
Water in Counter-Reformation Rome (Katherine Rinne)
Chapter 12
A Missionary Order without Saints: The Extraordinary Case of the Iconography of Unbeatified Jesuits in Italy and South America, 1560-1622 (Gauvin Alexander Bailey)
Chapter 13
Bernardo Bitti: An Italian Reform Painter in Peru (Christa Irwin)
Chapter 14
Painting as Relic: Giambattista Marino’s Dicerie Sacre and the Shroud of Turin (Andrew Casper)
Chapter 15
Resisting the Baroque in mid-Seventeenth-Century Florence (Eva Struhal)
Papers by Anne H Muraoka
as key motivators of sacred style, and will prove that one treatise in particular, Cardinal Gabriele Paleotti’s 1582 Discorso intorno alle imagini sacre e profane, held a
considerable amount of authority almost immediately after its publication. Through a
close study of the Discorso’s nature-centered language and its applicability to the
Lombard tradition of presenting “tangible presences,” it is evident that one artist, in
particular, fulfilled Paleotti’s vision for a “reformed” sacred style, and one who seldom
appears in connection with the cardinal: Michelangelo Merisi da Caravaggio. The
interconnection of Paleotti’s theology of nature, Lombard painting style, and the sacred works of Caravaggio is established through this contextual study of Counter-Reformation Rome in the late Cinquecento and early Seicento. Paleotti’s Discorso is evaluated as a whole and as an expression of Paleotti’s ideas on sacred art. This examination and analyses of Paleotti’s major points and emphases shows how they collectively form a cohesive language and theoretical basis (“theology of nature”) for the reformulation of sacred images based on naturalism. Careful readings of Cinquecento and Seicento literature on art (from Vasari to Bellori) draw correspondences between the words used to describe Lombard style and Paleotti’s
language in his Discorso. The dissemination of his “theology of nature” is demonstrated through reconstruction of Paleotti’s Roman circle. Paleotti’s important ties to the Oratorians, the Jesuits, the Accademia di San Luca, and his friendships with key cardinal patrons in the circle of Cardinal Francesco Maria Del Monte, provided an ideal network for the dissemination of his ideas that would in fact put him into contact with Caravaggio. Caravaggio’s plebian religious scenes and figures correlate with Paleotti’s conviction that naturalism served as a bridge between painted subject and Christian viewer. This dissertation fills not only a critical lacuna in Counter-Reformation studies, but also opens new contextualizing avenues of research and dialogue on the intricate and determining relationship between Counter-Reformation theory and style, at which, at the heart, stand Cardinal Paleotti and Caravaggio.
relationship between the Franciscan humility of Archbishop of Milan Carlo
Borromeo and the Roman sacred works of Caravaggio. This is the first book
to consider and focus entirely upon these two seemingly anomalous personalities
of the Counter-Reformation. The import of Caravaggio’s Lombard artistic
heritage has long been seen as pivotal to the development of his sacred style,
but it was not his only source of inspiration. This book seeks to enlarge the
discourse surrounding Caravaggio’s style by placing him firmly in the environment
of Borromean Milan, a city whose urban fabric was transformed into a
metaphorical Via Crucis. This book departs from the prevailing preoccupation—
the artist’s experience in Rome as fundamental to his formulation of
sacred style—and toward his formative years in Borromeo’s Milan, where
humility reigned supreme.
Introduction: Rethinking Art after the Council of Trent (Jesse M. Locker)
Chapter 1
On the ‘Reform’ of Painting: Annibale Carracci and Caravaggio (Clare Robertson)
Chapter 2
Sculpture, Rupture, and the ‘Baroque’ (Estelle Lingo)
Chapter 3
Spanish Artists in the Forefront of the Tridentine Reform (Marcus Burke)
Chapter 4
Judgment, Resurrection, Conversion: Art in France During the Wars of Religion (Iara A. Dundas)
Chapter 5
Reform after Trent in Florence (Marcia Hall)
Chapter 6
Quella inerudita semplicità lombarda: The Lombard Origins of Baroque and Counter-Reformation Affectivity (Anne Muraoka)
Chapter 7
The Allure of the Object in Post-Tridentine Spanish Painting (Carmen Ripollés)
Chapter 8
Federico Barocci, History, and the Body of Art (Stuart Lingo)
Chapter 9
Neither for Trent nor Against: Faith and Works in Hendrick Goltzius’s Allegories of the Christian Creed (Walter Melion)
Chapter 10
Francisco Ribalta’s Last Supper as a Symbol of Reform in Early Modern Valencia (Lisandra Estevez)
Chapter 11
Water in Counter-Reformation Rome (Katherine Rinne)
Chapter 12
A Missionary Order without Saints: The Extraordinary Case of the Iconography of Unbeatified Jesuits in Italy and South America, 1560-1622 (Gauvin Alexander Bailey)
Chapter 13
Bernardo Bitti: An Italian Reform Painter in Peru (Christa Irwin)
Chapter 14
Painting as Relic: Giambattista Marino’s Dicerie Sacre and the Shroud of Turin (Andrew Casper)
Chapter 15
Resisting the Baroque in mid-Seventeenth-Century Florence (Eva Struhal)
as key motivators of sacred style, and will prove that one treatise in particular, Cardinal Gabriele Paleotti’s 1582 Discorso intorno alle imagini sacre e profane, held a
considerable amount of authority almost immediately after its publication. Through a
close study of the Discorso’s nature-centered language and its applicability to the
Lombard tradition of presenting “tangible presences,” it is evident that one artist, in
particular, fulfilled Paleotti’s vision for a “reformed” sacred style, and one who seldom
appears in connection with the cardinal: Michelangelo Merisi da Caravaggio. The
interconnection of Paleotti’s theology of nature, Lombard painting style, and the sacred works of Caravaggio is established through this contextual study of Counter-Reformation Rome in the late Cinquecento and early Seicento. Paleotti’s Discorso is evaluated as a whole and as an expression of Paleotti’s ideas on sacred art. This examination and analyses of Paleotti’s major points and emphases shows how they collectively form a cohesive language and theoretical basis (“theology of nature”) for the reformulation of sacred images based on naturalism. Careful readings of Cinquecento and Seicento literature on art (from Vasari to Bellori) draw correspondences between the words used to describe Lombard style and Paleotti’s
language in his Discorso. The dissemination of his “theology of nature” is demonstrated through reconstruction of Paleotti’s Roman circle. Paleotti’s important ties to the Oratorians, the Jesuits, the Accademia di San Luca, and his friendships with key cardinal patrons in the circle of Cardinal Francesco Maria Del Monte, provided an ideal network for the dissemination of his ideas that would in fact put him into contact with Caravaggio. Caravaggio’s plebian religious scenes and figures correlate with Paleotti’s conviction that naturalism served as a bridge between painted subject and Christian viewer. This dissertation fills not only a critical lacuna in Counter-Reformation studies, but also opens new contextualizing avenues of research and dialogue on the intricate and determining relationship between Counter-Reformation theory and style, at which, at the heart, stand Cardinal Paleotti and Caravaggio.