Príncipe da guerra e das artes: as fronteiras entre a esfera militar e a esfera cultural durante o papado de Júlio II (1503-1513)
Autor(a) principal: | |
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Data de Publicação: | 2022 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Manancial - Repositório Digital da UFSM |
Texto Completo: | http://repositorio.ufsm.br/handle/1/24423 |
Resumo: | This work presents an analysis of the papacy of Julius II (1503-1513) and the construction of his reputation through the patronage practice of the artist Michelangelo Buonarroti (1475-1564) and the instrumentalization of the fame of this young sculptor who executed, between 1508 and 1512, the decoration of the Sistine vault. In view of this, our main documental contribution was a clipping of the fresco that adorns the ceiling of the Sistine Chapel. Our auxiliary sources are three works written in the first half of the sixteenth century. The first was written by Niccolò Machiavelli (1469- 1527), called The Prince (1532), this one stands out for the analysis of political practices between the end of the 15th century and the first years of the 1500s. The second document was written by Francesco Guicciardini (1473-1541) and entitled Storia d’Italia (1561), this work stands out for the narrative of the political-military events that took place on the peninsula between 1492 and 1534. The third source was written in 1550 and reprinted in 1568, by Giorgio Vasari (1511-1574), called Life of Michelangelo Buonarroti; this one is unique in its perception of the relationship between the painter and the patron. Our point of view is based on the concepts of New Cultural History, but especially on the aspect of the struggle of representations formulated by the French historian Roger Chartier. Our methodology is based on the iconographic and iconological proposal made by the art historian Erwin Panofsky (1892-1968). Finally, the work is divided into two chapters, so in the first we reconstruct, in part, the performance of Giuliano Della Rovere (1443- 1513) as a cardinal involved in the political-military issues of the papacy and how the whims of Fortune they favored and, to a certain extent, allowed him to build his own destiny to achieve fame, honor, and glory. We also approach the roveresque performance as patron of some artists and as a buyer of artistic pieces. In the second chapter we focus on the interpretation of the Sistine fresco and Julius II's relationship with the artist Michelangelo. In the second chapter we focus on the interpretation of the Sistine fresco and Julius II's relationship with the artist Michelangelo. However, in addition to the formal analysis of the iconographic arrangement, we inserted the pictorial source in a broader field that also included Julius II's practices as patron, pope, prince and general. In view of this, we identify that Julius II did not establish clear boundaries between the military sphere and the cultural sphere during his period as a cardinal as well as during the time he was as bishop of Christ. |
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Príncipe da guerra e das artes: as fronteiras entre a esfera militar e a esfera cultural durante o papado de Júlio II (1503-1513)Prince of war and arts: the borders between the military and cultural spheres during the papacy of Julius II (1503-1513)Júlio IIMovimento renascentista italianoPapadoHistória políticaJulius IIItalian renaissance movementPapacyPolitical historyCNPQ::CIENCIAS HUMANAS::HISTORIAThis work presents an analysis of the papacy of Julius II (1503-1513) and the construction of his reputation through the patronage practice of the artist Michelangelo Buonarroti (1475-1564) and the instrumentalization of the fame of this young sculptor who executed, between 1508 and 1512, the decoration of the Sistine vault. In view of this, our main documental contribution was a clipping of the fresco that adorns the ceiling of the Sistine Chapel. Our auxiliary sources are three works written in the first half of the sixteenth century. The first was written by Niccolò Machiavelli (1469- 1527), called The Prince (1532), this one stands out for the analysis of political practices between the end of the 15th century and the first years of the 1500s. The second document was written by Francesco Guicciardini (1473-1541) and entitled Storia d’Italia (1561), this work stands out for the narrative of the political-military events that took place on the peninsula between 1492 and 1534. The third source was written in 1550 and reprinted in 1568, by Giorgio Vasari (1511-1574), called Life of Michelangelo Buonarroti; this one is unique in its perception of the relationship between the painter and the patron. Our point of view is based on the concepts of New Cultural History, but especially on the aspect of the struggle of representations formulated by the French historian Roger Chartier. Our methodology is based on the iconographic and iconological proposal made by the art historian Erwin Panofsky (1892-1968). Finally, the work is divided into two chapters, so in the first we reconstruct, in part, the performance of Giuliano Della Rovere (1443- 1513) as a cardinal involved in the political-military issues of the papacy and how the whims of Fortune they favored and, to a certain extent, allowed him to build his own destiny to achieve fame, honor, and glory. We also approach the roveresque performance as patron of some artists and as a buyer of artistic pieces. In the second chapter we focus on the interpretation of the Sistine fresco and Julius II's relationship with the artist Michelangelo. In the second chapter we focus on the interpretation of the Sistine fresco and Julius II's relationship with the artist Michelangelo. However, in addition to the formal analysis of the iconographic arrangement, we inserted the pictorial source in a broader field that also included Julius II's practices as patron, pope, prince and general. In view of this, we identify that Julius II did not establish clear boundaries between the military sphere and the cultural sphere during his period as a cardinal as well as during the time he was as bishop of Christ.Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESEste trabalho apresenta uma análise sobre o papado de Júlio II (1503-1513) e a construção da sua reputação através da prática do mecenato do artista Michelangelo Buonarroti (1475-1564) e a instrumentalização da fama desse jovem escultor que executou, entre 1508 e 1512, a decoração da abóboda sistina. Em vista disso, nosso aporte documental principal foi um recorte do afresco que orna o teto da Capela Sistina. Nossas fontes auxiliares foram três obras redigidas na primeira metade do século XVI. A primeira foi escrita por Nicolau Maquiavel (1469-1527), chamada O Príncipe (1532), essa se destaca pela análise das práticas políticas entre o fim do século XV e primeiros anos da década de 1500. O segundo documento foi escrito por Francesco Guicciardini (1473-1541) e intitulado como Storia d’Italia (1561), tal obra se sobressai pela narrativa dos eventos político-militares que transcorreram na península entre 1492 e 1534. A terceira fonte foi escrita em 1550 e reeditada em 1568, por Giorgio Vasari (1511-1574), chamado Vida de Michelangelo Buonarroti; essa é singular pela sua percepção da relação entre o pintor e o mecenas. Nosso ponto de vista é fundamentado pelos conceitos da Nova História Cultural, mas, especialmente, pelo aspecto da luta de representações formulado pelo historiador francês Roger Chartier. Nossa metodologia se baseia na proposta iconográfica e iconológica elaborada pelo historiador da arte Erwin Panofsky (1892-1968). Por fim, o trabalho é divido em dois capítulos, assim no primeiro reconstruímos, em parte, a atuação de Giuliano Della Rovere (1443-1513) como um cardeal envolvido nas questões político-militares do papado e de que maneira os caprichos da Fortuna o favoreceram e, em certa medida, permitiram que aquele construísse seu próprio destino para alcançar a fama, a honra e a glória. Abordamos também a atuação roveresca como mecenas de alguns artistas e como comprador de peças artísticas. No segundo capítulo nos concentramos na interpretação do afresco sistino e a relação de Júlio II com o artista Michelangelo. Contudo, além da análise formal do arranjo iconográfico, inserimos a fonte pictórica em um campo mais amplo que englobou também as práticas de Júlio II como mecenas, papa, príncipe e general. Em vista disso, identificamos que Júlio II não estabeleceu fronteiras nítidas entre a esfera militar e a esfera cultural durante o período como cardeal bem como durante o tempo que esteve como bispo de Cristo.Universidade Federal de Santa MariaBrasilHistóriaUFSMPrograma de Pós-Graduação em HistóriaCentro de Ciências Sociais e HumanasMendonça Júnior, Francisco de Paula Souza dehttp://lattes.cnpq.br/6177272366272480Quírico, Tamara CarneiroRemedi, José Martinho RodriguesSchio, Jordana Eccel2022-05-23T19:19:16Z2022-05-23T19:19:16Z2022-02-16info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisapplication/pdfhttp://repositorio.ufsm.br/handle/1/24423porAttribution-NonCommercial-NoDerivatives 4.0 Internationalhttp://creativecommons.org/licenses/by-nc-nd/4.0/info:eu-repo/semantics/openAccessreponame:Manancial - Repositório Digital da UFSMinstname:Universidade Federal de Santa Maria (UFSM)instacron:UFSM2022-05-23T19:19:17Zoai:repositorio.ufsm.br:1/24423Biblioteca Digital de Teses e Dissertaçõeshttps://repositorio.ufsm.br/ONGhttps://repositorio.ufsm.br/oai/requestatendimento.sib@ufsm.br||tedebc@gmail.comopendoar:2022-05-23T19:19:17Manancial - Repositório Digital da UFSM - Universidade Federal de Santa Maria (UFSM)false |
dc.title.none.fl_str_mv |
Príncipe da guerra e das artes: as fronteiras entre a esfera militar e a esfera cultural durante o papado de Júlio II (1503-1513) Prince of war and arts: the borders between the military and cultural spheres during the papacy of Julius II (1503-1513) |
title |
Príncipe da guerra e das artes: as fronteiras entre a esfera militar e a esfera cultural durante o papado de Júlio II (1503-1513) |
spellingShingle |
Príncipe da guerra e das artes: as fronteiras entre a esfera militar e a esfera cultural durante o papado de Júlio II (1503-1513) Schio, Jordana Eccel Júlio II Movimento renascentista italiano Papado História política Julius II Italian renaissance movement Papacy Political history CNPQ::CIENCIAS HUMANAS::HISTORIA |
title_short |
Príncipe da guerra e das artes: as fronteiras entre a esfera militar e a esfera cultural durante o papado de Júlio II (1503-1513) |
title_full |
Príncipe da guerra e das artes: as fronteiras entre a esfera militar e a esfera cultural durante o papado de Júlio II (1503-1513) |
title_fullStr |
Príncipe da guerra e das artes: as fronteiras entre a esfera militar e a esfera cultural durante o papado de Júlio II (1503-1513) |
title_full_unstemmed |
Príncipe da guerra e das artes: as fronteiras entre a esfera militar e a esfera cultural durante o papado de Júlio II (1503-1513) |
title_sort |
Príncipe da guerra e das artes: as fronteiras entre a esfera militar e a esfera cultural durante o papado de Júlio II (1503-1513) |
author |
Schio, Jordana Eccel |
author_facet |
Schio, Jordana Eccel |
author_role |
author |
dc.contributor.none.fl_str_mv |
Mendonça Júnior, Francisco de Paula Souza de http://lattes.cnpq.br/6177272366272480 Quírico, Tamara Carneiro Remedi, José Martinho Rodrigues |
dc.contributor.author.fl_str_mv |
Schio, Jordana Eccel |
dc.subject.por.fl_str_mv |
Júlio II Movimento renascentista italiano Papado História política Julius II Italian renaissance movement Papacy Political history CNPQ::CIENCIAS HUMANAS::HISTORIA |
topic |
Júlio II Movimento renascentista italiano Papado História política Julius II Italian renaissance movement Papacy Political history CNPQ::CIENCIAS HUMANAS::HISTORIA |
description |
This work presents an analysis of the papacy of Julius II (1503-1513) and the construction of his reputation through the patronage practice of the artist Michelangelo Buonarroti (1475-1564) and the instrumentalization of the fame of this young sculptor who executed, between 1508 and 1512, the decoration of the Sistine vault. In view of this, our main documental contribution was a clipping of the fresco that adorns the ceiling of the Sistine Chapel. Our auxiliary sources are three works written in the first half of the sixteenth century. The first was written by Niccolò Machiavelli (1469- 1527), called The Prince (1532), this one stands out for the analysis of political practices between the end of the 15th century and the first years of the 1500s. The second document was written by Francesco Guicciardini (1473-1541) and entitled Storia d’Italia (1561), this work stands out for the narrative of the political-military events that took place on the peninsula between 1492 and 1534. The third source was written in 1550 and reprinted in 1568, by Giorgio Vasari (1511-1574), called Life of Michelangelo Buonarroti; this one is unique in its perception of the relationship between the painter and the patron. Our point of view is based on the concepts of New Cultural History, but especially on the aspect of the struggle of representations formulated by the French historian Roger Chartier. Our methodology is based on the iconographic and iconological proposal made by the art historian Erwin Panofsky (1892-1968). Finally, the work is divided into two chapters, so in the first we reconstruct, in part, the performance of Giuliano Della Rovere (1443- 1513) as a cardinal involved in the political-military issues of the papacy and how the whims of Fortune they favored and, to a certain extent, allowed him to build his own destiny to achieve fame, honor, and glory. We also approach the roveresque performance as patron of some artists and as a buyer of artistic pieces. In the second chapter we focus on the interpretation of the Sistine fresco and Julius II's relationship with the artist Michelangelo. In the second chapter we focus on the interpretation of the Sistine fresco and Julius II's relationship with the artist Michelangelo. However, in addition to the formal analysis of the iconographic arrangement, we inserted the pictorial source in a broader field that also included Julius II's practices as patron, pope, prince and general. In view of this, we identify that Julius II did not establish clear boundaries between the military sphere and the cultural sphere during his period as a cardinal as well as during the time he was as bishop of Christ. |
publishDate |
2022 |
dc.date.none.fl_str_mv |
2022-05-23T19:19:16Z 2022-05-23T19:19:16Z 2022-02-16 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
format |
masterThesis |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://repositorio.ufsm.br/handle/1/24423 |
url |
http://repositorio.ufsm.br/handle/1/24423 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.rights.driver.fl_str_mv |
Attribution-NonCommercial-NoDerivatives 4.0 International http://creativecommons.org/licenses/by-nc-nd/4.0/ info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Attribution-NonCommercial-NoDerivatives 4.0 International http://creativecommons.org/licenses/by-nc-nd/4.0/ |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Santa Maria Brasil História UFSM Programa de Pós-Graduação em História Centro de Ciências Sociais e Humanas |
publisher.none.fl_str_mv |
Universidade Federal de Santa Maria Brasil História UFSM Programa de Pós-Graduação em História Centro de Ciências Sociais e Humanas |
dc.source.none.fl_str_mv |
reponame:Manancial - Repositório Digital da UFSM instname:Universidade Federal de Santa Maria (UFSM) instacron:UFSM |
instname_str |
Universidade Federal de Santa Maria (UFSM) |
instacron_str |
UFSM |
institution |
UFSM |
reponame_str |
Manancial - Repositório Digital da UFSM |
collection |
Manancial - Repositório Digital da UFSM |
repository.name.fl_str_mv |
Manancial - Repositório Digital da UFSM - Universidade Federal de Santa Maria (UFSM) |
repository.mail.fl_str_mv |
atendimento.sib@ufsm.br||tedebc@gmail.com |
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1805922055926841344 |