Adopted papal kin as art patrons in early modern Rome (1592--1676).

机译：现代罗马早期（1592--1676年）采用教皇亲属作为艺术赞助人。

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This dissertation examines the art patronage of adopted papal nephews in Baroque Rome (1592-1676), exploring the relationship between adoption and the arts in the context of a political system based on clientage and nepotism. When the nephew was not from the same paternal line as the pope, the onus fell on the pope and his nephew to publically proclaim, thereby reifying, the solidity of their relationship. Adopted nephews used the visual arts to create public displays of the unity of the ruling papal family, to demonstrate allegiance to a new paternal affiliation, and as part of the client system, in which works of art acted as signs of favour.;Chapter 1 offers an outline of adoption and its reception based on primary source documents; subsequent chapters are case studies of individual patrons. Cinzio Passeri Aldobrandini's (1551-1610) career demonstrates the essential link between paternity and authority. This chapter presents unpublished documentation regarding Cinzio as a collector and reconsiders the significance of his ties to poet Torquato Tasso.;Scipione Caffarelli Borghese's (1577-1632) commissions reiterate the hierarchical relationship between pope and nephew, preempting potential dissent by reaffirming the source and limitations of his authority and proclaiming the unity of the Borghese papacy. The first detailed reading of Guido Reni's 1608 Vatican Palace frescoes anchors this chapter.;Contemporary commentary regarding the first true adopted nephew, Camillo Astalli Pamphili (1619-63), illustrates the extent of the resistance to adoption. His few commissions, from Velazquez and Claude Lorrain, present him as a worthy nephew in an attempt to normalize his unprecedented situation.;The three adopted nephews of Clement X (1670-76) used their projects to proclaim their crucial role in the Altieri papacy and the illustrious heritage of their Albertoni family roots. From new analyzes of Carlo Maratti's Altieri Palace fresco and its development, to the rediscovery of a lost painting by Baciccio, this chapter highlights the issues at the crux of early modern resistance to adoption: loyalty, memory, and legitimacy.;As the first study of adoption and its relationship to the visual arts in Seicento Rome, this dissertation reconstitutes a key component of baroque society and culture.

机译：本文考察了巴洛克罗马（1592-1676）收养的教皇侄子的艺术赞助，探讨了在基于客户关系和裙带关系的政治制度背景下收养与艺术之间的关系。当外ne与教皇不在同一父系时，责任由教皇及其侄子公开宣布，从而巩固了他们之间的牢固关系。被收养的侄子利用视觉艺术创作了对统治罗马教皇家庭的统一的公开展示，以效忠新的父系，并作为客户体系的一部分，在这种体系中，艺术品是人们青睐的标志。;第一章根据原始资料提供收养和接受的概述；随后的章节是个别顾客的案例研究。 Cinzio Passeri Aldobrandini（1551-1610）的职业生涯证明了亲子关系和权威之间的重要联系。本章介绍了辛齐奥（Cinzio）作为收藏家的未出版文献，并重新考虑了他与诗人托尔夸托·塔索（Torquato Tasso）的联系的重要性。西皮奥·卡法雷利·博尔盖塞（Scipione Caffarelli Borghese）（1577-1632）的委员会重申了教皇和侄子之间的等级关系，通过重申来源和局限性来消除潜在的异议。的权威，并宣布博尔赫教皇组织的统一。吉多·雷尼（Guido Reni）1608年的梵蒂冈宫壁画的第一篇详细读物锚定了这一章。有关第一个真正被领养的侄子Camillo Astalli Pamphili（1619-63）的当代评论，说明了人们对领养的抵制程度。他从委拉斯开兹和克洛德·洛兰（Claude Lorrain）拿来的几笔佣金，把他当成是一个有价值的侄子，试图使他的前所未见的情况正常化。克莱门特十世（Clement X）的三位侄子（1670-76）利用他们的项目，宣告了他们在阿尔蒂里（Altieri）教皇中的关键作用。以及阿尔伯托尼家族根基的杰出传承。从对卡洛·马拉蒂（Carlo Maratti）的《阿尔蒂里宫（Altieri Palace）》壁画及其发展的新分析，到巴克西乔（Baciccio）对失落画作的重新发现，本章重点介绍了早期现代抵制采用的症结所在：忠诚度，记忆力和合法性。关于收养及其与罗马Seicento视觉艺术的关系，本论文重新构成了巴洛克社会和文化的重要组成部分。

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作者
Lloyd, Karen Jean.;
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Rutgers The State University of New Jersey - New Brunswick.;

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授予单位 Rutgers The State University of New Jersey - New Brunswick.;
学科 Biography.;History European.;Art History.
学位 Ph.D.
年度 2010
页码 580 p.
总页数 580
原文格式 PDF
正文语种 eng
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Adopted papal kin as art patrons in early modern Rome (1592--1676).

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