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The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14Th-16Th Centuries

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The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14Th-16Th Centuries The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries: Images of Intergeneration Relationships By Welleda Muller The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries: Images of Intergeneration Relationships By Welleda Muller This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Welleda Muller All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9049-9 ISBN (13): 978-1-4438-9049-6 This book is dedicated to all of my colleagues and friends from MaxNetAging: Inês Campos-Rodrigues, Kristen Cyffka, Xuefei Gao, Isabel García-García, Heike Gruber, Julia Hoffman, Nicole Hudl, Göran Köber, Jana Kynast, Nora Mehl, and Ambaye Ogato. TABLE OF CONTENTS List of Illustrations ..................................................................................... ix Acknowledgments .................................................................................... xiii Introduction ................................................................................................. 1 The Adoration of the Magi by Filippino Lippi Chapter One ................................................................................................. 7 Images of Elderly People I Significant details ...................................................................................... 7 a) Body ................................................................................................. 7 b) Gestures .......................................................................................... 14 c) Physical and psychical characteristics ............................................ 25 d) Attributes ........................................................................................ 29 e) Metaphors of old age and time ....................................................... 34 f) Colours .......................................................................................... .38 II Main elderly characters .......................................................................... 44 a) God the Father ................................................................................ 44 b) Joseph ............................................................................................. 47 c) Simeon ........................................................................................... 56 d) Anna, the prophet in the Presentation at the Temple ...................... 58 e) The oldest magus ............................................................................ 60 f) Anne, the mother of the Virgin Mary ............................................. 62 g) Elizabeth ......................................................................................... 68 h) The most popular old saints in Tuscan paintings ........................... 71 Chapter Two .............................................................................................. 75 An Ambiguous Perception of Old Age I Dichotomy between the texts and images ............................................... 75 a) A hesitant positive image of old age in the iconography ................ 76 b) An ambivalent image of old age in the sources .............................. 83 - A cautiously positive vision of old age in the literature ................. 90 - A very negative vision of old age in the literature ....................... 101 - Old age in the demographical sources .......................................... 107 c) Old age as a model ....................................................................... 111 viii Table of Contents II Comparison with other artistic contexts ............................................... 116 a) Joseph and other ridiculous old characters in Northern European paintings ....................................................................................... 116 b) Different Italian visions of old age ............................................... 125 c) Some negative examples in the Tuscan context ........................... 136 Chapter Three .......................................................................................... 139 Images of Intergenerational Relationships I Elderly versus young people ................................................................. 139 a) Several generations in the same image ......................................... 150 b) Age difference between Joseph and Mary .................................... 155 c) The magi as the three ages of human life ..................................... 161 d) Very human old people in front of the divine Child ..................... 167 II Gender differences ............................................................................... 178 a) Negative visions of female old age .............................................. 178 b) Gender differences in the iconography ......................................... 184 c) Old women as models .................................................................. 192 Conclusion ............................................................................................... 199 The Paradigm Shift Bibliography ............................................................................................ 207 Primary Sources Secondary Sources LIST OF ILLUSTRATIONS Fig. I-1: Adoration of the Magi, Filippino Lippi, 1496, for the abbey church of San Donato a Scopeto in Florence, Uffizi Gallery Florence. Fig. 1-1: Altarpiece of Sant’ Onofrio, Luca Signorelli, 1484, ordered by Bishop Vagnucci for the cathedral of Perugia, Museo dell’ Opera del Duomo, Perugia, PD. Fig. 1-2: Luca Signorelli, c. 1519-1523, ordered by the brotherhood of Saint Jerome, Museo Statale d’arte medievale e moderna of Arezzo. Fig. 1-3: Presentation at the Temple, Giotto, fresco of the Scrovegni chapel, Padua, 1303-1305, PD. Fig. 1-4: Vision of Saint Brigitte, Niccolo di Tommaso, after 1372, Pinacoteca Vaticana, Rome, PD. Fig. 1-5: Nativity, Taddeo Gaddi, c. 1325, Fundacion Coleccio Thyssen- Bornemisza, Pedralbes, Barcelone, PD. Fig. 1-6: Adoration of the Magi, Fra Angelico, cell 39 of the convent San Marco, Florence, c. 1443, PD. Fig. 1-7: Virgin and Child with Saint Anne, panel for the Florentine church Sant Ambrogio, c. 1424, Uffizi Gallery, Florence, PD. Fig. 1-8: Adoration of the Shepherds, Giacomo Pacchiarotti, 1474-1540, Pinacoteca Nazionale, Sienna, © W. Muller. Fig. 1-9: Holy Family Canigiani, Raphael, c. 1507-1508, Alte Pinakotheke, Munich, PD. Fig. 1-10: Holy Family with Saint Elizabeth or Anne, Bronzino, c. 1527-1528, National Gallery of Art, Washington, PD. Fig. 1-11: Adoration of the Magi, Fra Angelico or Filippo Lippi, Tondo Cook, c. 1440-1460, National Gallery of Art, Washington, PD. Fig. 1-12: Presentation at the Temple, Mariotto di Nardo, active from 1388 to 1424, predella for the church Orsanmichele, Florence, Academia Gallery, © W. Muller. Fig. 1-13: Adoration of the Shepherds, Bartolo di Fredi, 1383, Pinacoteca Vaticana, Rome, PD. Fig. 1-14: Adoration of the Child with Saint Romuald, Filippo Lippi, 1459, Gemäldegalerie, Berlin, PD. Fig. 1-15: Flight into Egypt, Fra Angelico, panel of the Armadio degli argenti, c. 1450, Museum San Marco, Florence, PD. Fig. 1-16: Jacopo Pontormo, 1516, ordered by Francesco Pucci for the church San Michele Visdomini, Florence, © Sailko. Fig. 1-17: Presentation at the Temple, predella of the Pala Strozzi Gentile da Fabriano, Uffizi Gallery, Florence, 1423, © W. Muller. x List of Illustrations Fig. 1-18: Presentation at the Temple, Fra Bartolomeo, 1516, Museum San Marco, Florence, PD. Fig. 1-19: Santa Anna Trinita, Luca di Tommè, for the church dei Cappuccini a San Quirico d’Orcia in Siena, 1367, Pinacoteca Nazionale, Siena, © W. Muller. Fig. 1-20: Virgin and Child with Saint Anne and John the Baptist, Rosso Fiorentino, c. 1521, Country Museum of Art, Los Angeles, PD. Fig. 1-21: Virgin and Child with Saints Bernardino and Catherine, Neroccio di Bartolomeo Landi, c. 1447-1500, Pinacoteca Nazionale, Siena, © Combusken. Fig. 2-1: Adoration of the Magi, Bartolo di Fredi, c. 1390-1400, Musée des Beaux Arts of Dijon, © Sailko. Fig. 2-2: Adoration of the Magi (Pala Strozzi), Gentile da Fabriano, 1423, altarpiece for the chapel Strozzi of the church Santa Trinita of Florence, Uffizi Gallery Florence, PD. Fig. 2-3: The Ages of Man Represented as a Step Scheme, Cristofano Bertelli, engraving, c. 1525, © Wellcome Images. Fig. 2-4: Nativity from the triptych of Bad Wildungen, Konrad von Soest, after 1422, PD. Fig. 2-5: Portinari’s altarpiece, Hugo van der Goes, made in Gent, c. 1475, Uffizi Gallery, Florence, PD. Fig. 2-6: Adoration of the Magi, Brueghel the Elder, 1564, National Gallery, London, PD. Fig. 2-7: Three Ages of Man, Giorgione, c. 1500-1510, Palazzo Pitti, Florence, PD. Fig. 2-8: La Vecchia, Giorgione, c. 1506, Gallery of the Academy, Venice, PD. Fig. 2-9: Self-portrait, Titian, c. 1565-1570, Prado Museum, Madrid, PD. Fig. 2-10: Portrait of Paul III, Titian, 1543, Museum Capodimonte, Naples, PD.
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