By Henry Maguire
During this interdisciplinary examine, Henry Maguire examines the effect of numerous literary genres and rhetorical suggestions at the visible arts of Byzantium. particularly, he exhibits that the literary elaborations of the sermons and hymns of the church nourished the imaginations of artists, and essentially affected the iconography, variety, and association in their paintings. utilizing provocative fabric formerly surprising to artwork historians, he concentrates on non secular artwork from a.d. 843 to 1453. during this interdisciplinary research, Henry Maguire examines the influence of numerous literary genres and rhetorical thoughts at the visible arts of Byzantium. specifically, he exhibits that the literary elaborations of the sermons and hymns of the church nourished the imaginations of artists, and essentially affected the iconography, sort, and association in their paintings. utilizing provocative fabric formerly unusual to paintings historians, he concentrates on non secular paintings from a.d. 843 to 1453.
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Extra info for Art and Eloquence in Byzantium
Z In 1608 Caravaggio painted a picture based upon the same Biblica1 story, now in the Cathedral at La Valletta, Malta, which has absolute1y no bearing upon Honthorst's painting. 8 After having dated The Beheading qf Saint John the Baptist in 1618 on stylistic grounds, Miss Eve Borsook later informed me that this date was further justified through documents which she had found in the State Archives in Rome. See E. Borsook, "Documents Concerning tbeArtisticAssociates ofSanta Mariadella Scala in Rome," The Burlington Magazine, XCVI (1954), 271.
M. Houtzager, "Opmerkingen over Het WerkvanHendrickTerbrugghen," Nederlands Kunsthistorisch ]aarboek, VI, 1955, p. 149, writes that Professor Hoogewerffhas told her of a Toung Singer by Honthorst executed in 1609. She goes on to say that this Honthorst painting is the same composition as Terbrugghen's signed and dated picture in the Museum in Gothenburg. Professor Hoogewerff has informed me that Miss Houtzager has misunderstood him and that he knows of no picture by Honthorst from 1609. 2 J. G.
Honthorst might possibly have visited his fellow townsman in Rome, and as a result ofthispersonal contact with E1sheimer's engraver, the German's concepts of painting could have been clearly impressed upon Honthorst. One can imagine the two young friends discussing E1sheimer's methods, particu1arly that of using copper to achieve a greater chiaroscuro, during their Ieisure time, and, if this were true, Honthorst wou1d have received inva1uab1e information regarding the possibilities of artificia1lighting in painting.