Venice, Print, and the Early Modern Icon

Wilson, Bronwen (2006) Venice, Print, and the Early Modern Icon. Urban History, 33 (1). pp. 39-64. ISSN 0963-9268

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Abstract

Venetian printmakers in the sixteenth century were enthusiastic participants in what became a project of civic self-promotion as they looked beyond the local market to an international one. In response to the fascination of foreigners who marvelled at the city's singular topography and its reputation for liberty and licentiousness, the bird's-eye view and images of local social types – such as the doge and courtesan – became transmuted into icons of the city's urban identity. The medium and modes of representation used to reproduce the republic's social and physical organization on paper are crucial here, for it was the repetition and sedimentation of visual conventions that forged iconicity. Venice was redefined as a centre in which all the world could be seen. And the mechanisms for this redefinition, as this article argues, emerged, in part, out of print, for it was because the city could be seen from the eye of a bird, on paper as an image, by foreigners – that it could be re-envisioned from the outside in.

Item Type: Article
Faculty \ School: Faculty of Arts and Humanities > School of Art History and World Art Studies
University of East Anglia > Faculty of Arts and Humanities > Research Centres > Centre for European and American Art History
University of East Anglia > Faculty of Arts and Humanities > Research Centres > Sainsbury Centre for the Visual Arts
University of East Anglia > Faculty of Arts and Humanities > Research Groups > Art History and World Art Studies
Related URLs:
Depositing User: Katherine Humphries
Date Deposited: 14 Jan 2013 15:12
Last Modified: 25 Jul 2018 06:01
URI: https://ueaeprints.uea.ac.uk/id/eprint/40763
DOI: 10.1017/S0963926806003518

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