Prof. Dr. Lorenzo Pericolo
Professor of Art History
Modernity and Divinity in Guido Reni’s Art
According to his most prominent biographer, Carlo Cesare Malvasia (1678), Guido Reni (1575–1642) was the promoter and inventor of the new “maniera moderna” in the fourth age of painting. In connection with the critical edition and annotated English translation of the Life of Guido Reni by Malvasia (scheduled for publication in 2018), I have started research for a new book on Guido Reni’s modernity. In Malvasia’s opinion, the main feature of Guido’s modernity was his “divine style” (which he defines in the proem of his life as “celestial ideas” and “nobility”). My intention is to reconstruct from Guido’s perspective the formulation and development of his own notion of modernity in the arts. Critical here is an understanding of the artistic notions of “grace,” “divinity,” and the “supernatural body.”
- Early Modern Art Theory
- Baroque Painting in Italy and France
- Pictorial Narrative and Its Implementation
- Representation of Architecture in Painting
Caravaggio and Pictorial Narrative: Dislocating the Istoria in Early Modern Painting (London: Harvey Miller, 2011).
Lorenzo Pericolo and Jessica N. Richardson, eds., Remembering the Middle Ages in Early Modern Italy (Turnhout: Brepols, 2015).
Alexander Nagel and Lorenzo Pericolo, eds., Subject as Aporia in Early Modern Art, (Aldershote: Ashgate), 2010.
“‘Donna bella e crudele’: Michelangelo’s Divine Heads in Light of the Rime,” Mitteilungen des Kunsthistorischen Instituts, Florenz (forthcoming 2017)
“Whiteout: Self-Awareness and Self-Identity in Guido Reni Non-Finito,” In Proceedings of the 34th International CIHA Congress (Beijing: CIHA, 2017).
“The Renaissance Masterpiece: Giorgio Vasari on Perfection,” in Lorenzo Pericolo and Elisabeth Oy-Marra, eds., Perfection: The Evolving Essence of Art and Architecture in Early Modern Europe (Turnhout: Brepols, 2018).
“The Shifting Boundaries of the Middle Ages: From Die Kultur der Renaissance in Italien (1860) to Anachronic Renaissance (2010),” in Lorenzo Pericolo and Jessica N. Richardson, eds., Remembering the Middle Ages in Early Modern Italy (Turnhout: Brepols, 2015): 271–321.
“Incorporating the Middle Ages: The Bellini and the ‘Greek’ and ‘German’ Architecture of Medieval Venice,” in Lorenzo Pericolo and Jessica N. Richardson, eds., Remembering the Middle Ages in Early Modern Italy (Turnhout: Brepols, 2015): 139–67.
“Giorgio Vasari and the Invisible Prince: The Palazzo Vecchio as a Figure of Introjection,” in L. Bertolini, A. Calzona, G.M. Cantarella and S. Caroti, eds., Il Principe Invisibile: La rappresentazione e la riflessione sul potere tra Medioevo e Rinascimento (Turnhout: Brepols, 2015): 401–24.
“Statuino: “An Undercurrent of Anticlassicism in Italian Baroque Art Theory,” Art History (2015): 862–89.