Maurizio Moro: «Imagine del Salvatore dal Pordenon Pittor famoso dipinta».

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dc.contributor.authorBORTONE, MILENA
dc.date.accessioned2023-02-21T08:23:51Z
dc.date.available2023-02-21T08:23:51Z
dc.date.issued2021-12-01
dc.description.abstractIn the essay Note sulla tradizione spirituale e religiosa Quondam denounced the prejudice which for a long time excluded from the field of “literature” the experiences of religious poetry of the pre-baroque era. The issue is greater in the field of figurative arts, where sacred poetry and those who dealt with it still find it hard to establish themselves as sources for the knowledge of works and artistic languages. This is the case of the Venetian Maurizio Moro, a canon and scholar who lived between the 16th and 17th centuries, known above all as the author of the commentary verses on Dürer’s Little Passion (Venice, 1612). The essay discusses the author’s composition on the «Imagine del Salvatore, dal Pordenon pittor famoso dipinta». The text, published in 1609 within the Amorosi stimoli dell’anima penitente and still unknown to those who have treated the Friulan painter, bears witness to a work not otherwise known, re-evaluating Moro as a precious source for art history and criticism.en
dc.description.abstractIn the essay Note sulla tradizione spirituale e religiosa Quondam denounced the prejudice which for a long time excluded from the field of “literature” the experiences of religious poetry of the pre-baroque era. The issue is greater in the field of figurative arts, where sacred poetry and those who dealt with it still find it hard to establish themselves as sources for the knowledge of works and artistic languages. This is the case of the Venetian Maurizio Moro, a canon and scholar who lived between the 16th and 17th centuries, known above all as the author of the commentary verses on Dürer’s Little Passion (Venice, 1612). The essay discusses the author’s composition on the «Imagine del Salvatore, dal Pordenon pittor famoso dipinta». The text, published in 1609 within the Amorosi stimoli dell’anima penitente and still unknown to those who have treated the Friulan painter, bears witness to a work not otherwise known, re-evaluating Moro as a precious source for art history and criticism.it
dc.formatapplication/pdf
dc.identifier.citationItalianistica Debreceniensis, V. 27 (2021) ,
dc.identifier.doihttps://doi.org/10.34102/itde/2021/10370
dc.identifier.eissn2677-1225
dc.identifier.issn1219-5391
dc.identifier.jatitleItal. Debr.
dc.identifier.jtitleItalianistica Debreceniensis
dc.identifier.urihttps://hdl.handle.net/2437/346077en
dc.identifier.volume27
dc.languageit
dc.relationhttps://ojs.lib.unideb.hu/itde/article/view/10370
dc.rights.accessOpen Access
dc.rights.ownerMILENA BORTONE
dc.subjectMaurizio Moro; Pordenone; Painting; History of Art; Sacred Poetryen
dc.subjectMaurizio Moroit
dc.subjectGiovanni Antonio de' Sacchisit
dc.subjectPordenoneit
dc.subjectLetteratura artisticait
dc.subjectPoesia religiosait
dc.subjectStoria dell'Arteit
dc.titleMaurizio Moro: «Imagine del Salvatore dal Pordenon Pittor famoso dipinta».it
dc.typefolyóiratcikkhu
dc.typearticleen
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Italianistica Debreceniensis (DE-journals)