Books by Estelle Lingo
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)
London and Turnhout: Harvey Miller/Brepols, November 2017.
The study takes the art of the Tuscan... more London and Turnhout: Harvey Miller/Brepols, November 2017.
The study takes the art of the Tuscan sculptor Francesco Mochi (1580-1654) as the entry point for an inquiry into the historical and cultural forces reshaping sculpture at the beginning of the seventeenth century. Mochi's determination to carry forward a Florentine and Michelangelesque tradition, while reconciling it with post-Tridentine religious imperatives, produced an extreme tension in his art that resulted in some for the century's most breathtaking sculptures ̶ though ultimately fracturing his career. The book will offer wholly new interpretations of Mochi's major works and a new, historically engaged account of the origins of "baroque" sculpture, one that situates both Mochi's distinctive art and the rise to dominance of Gianlorenzo Bernini's religious sculpture in relation to the specific challenges confronting the medium of sculpture in a climate of religious, political, and artistic change.
New Haven and London: Yale University Press, 2007.
Thematic study of the art of the seventeenth-... more New Haven and London: Yale University Press, 2007.
Thematic study of the art of the seventeenth-century Flemish sculptor François Duquesnoy and his pursuit in Rome of a modern artistic practice in "the Greek manner." The book reconstructs the understanding of Greek art between 1550 and 1750 and the contributions of Duquesnoy's circle to the coalescence of the Greek ideal within European culture. This seventeenth-century vision of Greek art is shown to have formed the basis of Johann Joachim Winckelmann's early understanding of the formal perfections of Greek sculpture, overturning the longstanding assumption that no meaningful distinction between ancient Greek and Roman art was made prior to Winckelmann's work in the eighteenth century.
Selected Articles by Estelle Lingo
RES: Anthropology and Aesthetics, 2019
In Perfection: The Evolving Essence of Art and Architecture in Early Modern Europe, ed. Lorenzo P... more In Perfection: The Evolving Essence of Art and Architecture in Early Modern Europe, ed. Lorenzo Pericolo and Elisabeth Oy-Marra. London and Turnhout: Harvey Miller/Brepols, 2019, 261-73..
In After Trent: Rethinking Global Art around 1600, ed. Jesse Locker. New York: Routledge, 2018, 3... more In After Trent: Rethinking Global Art around 1600, ed. Jesse Locker. New York: Routledge, 2018, 33-46.
In Textile Terms: A Glossary, ed. Anika Reineke, Anne Röhl, Mateusz Kapustka, and Tristan Weddige... more In Textile Terms: A Glossary, ed. Anika Reineke, Anne Röhl, Mateusz Kapustka, and Tristan Weddigen. Textile Studies 9. Berlin: Edition Imorde/Gebr. Mann Verlag, 2017.
In Begriffichkeit, Konzepte, Definitionen: Schreiben über Kunst und ihre Medien in Giovan Pietro ... more In Begriffichkeit, Konzepte, Definitionen: Schreiben über Kunst und ihre Medien in Giovan Pietro Belloris Viten und der Kunstliteratur der Frühen Neuzeit, ed. Elisabeth Oy-Marra et al. Wiesbaden: Harrassowitz, 2014, 173-86.
In Critical Perspectives on Roman Baroque Sculpture, ed. Anthony Colantuono and Steven Ostrow. Un... more In Critical Perspectives on Roman Baroque Sculpture, ed. Anthony Colantuono and Steven Ostrow. University Park: Pennsylvania State University Press, 2014, 63-85.
In Matters of Weight: Force, Gravity and Aesthetics in the Early Modern Period, ed. David Kim. Be... more In Matters of Weight: Force, Gravity and Aesthetics in the Early Modern Period, ed. David Kim. Berlin: Edition Imorde/Gebr. Mann Verlag, 2013, 129-50.
Oxford Art Journal 32 (2009): 1-16.
Talks by Estelle Lingo
Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence, May 24., 2022
McIntire Lecture series, University of Virginia, November 10. I Tatti Thursday Seminar series, Vi... more McIntire Lecture series, University of Virginia, November 10. I Tatti Thursday Seminar series, Villa I Tatti, Florence, April 28.
Presented in Delineating Fiorentinità in Seventeenth-Century Art, Alessandro Nova, chair, Renaiss... more Presented in Delineating Fiorentinità in Seventeenth-Century Art, Alessandro Nova, chair, Renaissance Society of America Annual Conference, Berlin, March 26.
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Books by Estelle Lingo
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)
The study takes the art of the Tuscan sculptor Francesco Mochi (1580-1654) as the entry point for an inquiry into the historical and cultural forces reshaping sculpture at the beginning of the seventeenth century. Mochi's determination to carry forward a Florentine and Michelangelesque tradition, while reconciling it with post-Tridentine religious imperatives, produced an extreme tension in his art that resulted in some for the century's most breathtaking sculptures ̶ though ultimately fracturing his career. The book will offer wholly new interpretations of Mochi's major works and a new, historically engaged account of the origins of "baroque" sculpture, one that situates both Mochi's distinctive art and the rise to dominance of Gianlorenzo Bernini's religious sculpture in relation to the specific challenges confronting the medium of sculpture in a climate of religious, political, and artistic change.
Thematic study of the art of the seventeenth-century Flemish sculptor François Duquesnoy and his pursuit in Rome of a modern artistic practice in "the Greek manner." The book reconstructs the understanding of Greek art between 1550 and 1750 and the contributions of Duquesnoy's circle to the coalescence of the Greek ideal within European culture. This seventeenth-century vision of Greek art is shown to have formed the basis of Johann Joachim Winckelmann's early understanding of the formal perfections of Greek sculpture, overturning the longstanding assumption that no meaningful distinction between ancient Greek and Roman art was made prior to Winckelmann's work in the eighteenth century.
Selected Articles by Estelle Lingo
Talks by Estelle Lingo
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)
The study takes the art of the Tuscan sculptor Francesco Mochi (1580-1654) as the entry point for an inquiry into the historical and cultural forces reshaping sculpture at the beginning of the seventeenth century. Mochi's determination to carry forward a Florentine and Michelangelesque tradition, while reconciling it with post-Tridentine religious imperatives, produced an extreme tension in his art that resulted in some for the century's most breathtaking sculptures ̶ though ultimately fracturing his career. The book will offer wholly new interpretations of Mochi's major works and a new, historically engaged account of the origins of "baroque" sculpture, one that situates both Mochi's distinctive art and the rise to dominance of Gianlorenzo Bernini's religious sculpture in relation to the specific challenges confronting the medium of sculpture in a climate of religious, political, and artistic change.
Thematic study of the art of the seventeenth-century Flemish sculptor François Duquesnoy and his pursuit in Rome of a modern artistic practice in "the Greek manner." The book reconstructs the understanding of Greek art between 1550 and 1750 and the contributions of Duquesnoy's circle to the coalescence of the Greek ideal within European culture. This seventeenth-century vision of Greek art is shown to have formed the basis of Johann Joachim Winckelmann's early understanding of the formal perfections of Greek sculpture, overturning the longstanding assumption that no meaningful distinction between ancient Greek and Roman art was made prior to Winckelmann's work in the eighteenth century.