Artistic Interest in the Life of Alexander the Great During the Italian Renaissance

dc.contributor.authorFisher, Allisonen
dc.contributor.departmentArt Historyen
dc.contributor.supervisorHoeniger, Cathleenen
dc.date2013-04-17 11:47:31.549
dc.date.accessioned2013-04-17T19:18:04Z
dc.date.issued2013-04-17
dc.degree.grantorQueen's University at Kingstonen
dc.descriptionThesis (Ph.D, Art History) -- Queen's University, 2013-04-17 11:47:31.549en
dc.description.abstractAlexander the Great (356-323 BCE) was the king of Macedon and one of the greatest military commanders in the ancient world. Before his death at the age of thirty-three, Alexander had conquered Greece, the Persian Empire, and northern India. Alexander provided a model of a secular ruler for leaders in medieval and Renaissance Europe. Furthermore, with the revival of antique culture during the Renaissance, the life of Alexander became a favourite classical subject in art and literature. My thesis seeks to examine the artistic interest in the life of Alexander during the Italian Renaissance. During the late Middle Ages and the Renaissance, artists portrayed episodes from the life of Alexander for elite patrons, who commissioned monumental frescoes and panel-paintings, along with pieces of maiolica pottery, tapestry and sculpture for use in the rituals of court life. While Alexander represented a model of secular authority for the patron, he was also intrinsically linked with art. Alexander's court artists, particularly Apelles, had a legacy that was eagerly emulated by modern artists. This thesis begins by tracing the long literary tradition of Alexander. Accounts by ancient authors, medieval romances, and new humanist texts all informed the production of images of the ancient king. I will explore the earliest representations of Alexander influenced by the humanist themes of uomini famosi and Petrarch's I Trionfi, followed by the reception and the appeal of portraits of Alexander created by Andrea del Verrocchio, Valerio Belli, and Giulio Romano. I will argue that, based on evidence in the form of drawings, Raphael had life-long artistic interest in Alexander, and many of his designs were adapted by other artists, including a fresco by Sodoma at the Villa Farnesina, and finely decorated maiolica pottery. Finally, I will consider the monumental cycles of frescoes executed by artists for patrons, who had a profound personal connection to the ancient monarch. While the artistic interest in the life of Alexander seems to derive from the fact that he was an all'antica subject, as I will demonstrate throughout this thesis, this interest took many forms for patrons, artists, and viewers.en
dc.description.degreePhDen
dc.description.restricted-thesisI want to publish sections of my thesis as articles and a book within the next five years.en
dc.embargo.liftdate2017-02-13
dc.embargo.terms1825en
dc.identifier.urihttp://hdl.handle.net/1974/7879
dc.language.isoengen
dc.relation.ispartofseriesCanadian thesesen
dc.rightsThis publication is made available by the authority of the copyright owner solely for the purpose of private study and research and may not be copied or reproduced except as permitted by the copyright laws without written authority from the copyright owner.en
dc.subjectAlexander the Greaten
dc.subjectRaphaelen
dc.subjectItalian Renaissanceen
dc.titleArtistic Interest in the Life of Alexander the Great During the Italian Renaissanceen
dc.typethesisen
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