The Endless Periphery: Toward a Geopolitics of Art in Lorenzo Lotto's Italy (Louise Smith Bross Lecture Series)

While the masterpieces of the Italian Renaissance are usually associated with Italy’s historical seats of power, some of the era’s most characteristic works are to be found in places other than Florence, Rome, and Venice. They are the product of the diversity of regions and cultures that makes up the country. In __Endless Periphery__, Stephen J. Campbell examines a range of iconic works in order to unlock a rich series of local references in Renaissance art that include regional rulers, patron saints, and miracles, demonstrating, for example, that the works of Titian spoke to beholders differently in Naples, Brescia, or Milan than in his native Venice. More than a series of regional microhistories, __Endless Periphery__ tracks the geographic mobility of Italian Renaissance art and artists, revealing a series of exchanges between artists and their patrons, as well as the power dynamics that fueled these exchanges. A counter history of one of the greatest epochs of art production, this richly illustrated book will bring new insight to our understanding of classic works of Italian art. Contents......Page 8 List of Illustrations......Page 10 Foreword / John A. Bross......Page 16 Preface......Page 18 Acknowledgments......Page 22 1. Off the Axis: The Renaissance without Vasari......Page 24 Working with — and without — Vasari’s Lives......Page 31 Court Centers as World Cities......Page 37 What Was Italy?......Page 42 Models for Renaissance Cultural Geography: Dialect Pluralism versus Literary Canons......Page 45 2. Place, Event, and the Geopolitics of Art......Page 48 Place in Relational Geography......Page 57 Place as Event and Performance in an Altarpiece by Lorenzo Lotto......Page 60 Regionalism and Its Discontents......Page 66 3. The View from Messina: Lombards, Sicilians, and the Modern Manner......Page 74 The questione meridionale in the History of Art......Page 77 A Southern Renaissance without Vasari......Page 83 Cesare da Sesto: Raffaelesco or Anti-Raphael?......Page 88 Polidoro da Caravaggio’s Radical Late Style......Page 109 Lorenzo Lotto: An Artist “Out of Place”......Page 120 Lotto and Gaudenzio: Parallel Careers......Page 126 From Varallo to Loreto: Landscapes of Pilgrimage......Page 127 Holding Rome at a Distance: Lotto’s Loreto Network......Page 139 Excursus: The Meaning of Style......Page 164 Coercive Geometry......Page 169 Moti: Emotional Dynamics......Page 175 Gaudenzio as City Artist......Page 195 5. Brescia and Bergamo, 1520–50: Sacred Naturalism and the Place of the Eucharist......Page 204 Eucharistic Heterotopias in Lombardy: Romanino at Pisogne......Page 216 Painting/Christogram/Eucharist......Page 219 Moretto and the Substance of Style......Page 234 6. Against Titian......Page 250 Artists “Off the Axis”: The Campi, the Carracci, and the Legacy of Correggio......Page 251 The Afterlife of Titian in Milan......Page 260 The 1540s: Titian as “Italian” Artist......Page 269 Ludovico Dolce and the Invention of Venetian Painting......Page 277 The Placelessness of Titian’s Late Style......Page 279 Notes......Page 294 Bibliography......Page 342 Index......Page 366