Napoleón y el espejo de la antigüedad : arqueología de las imágenes del poder
"During Napoleon's astounding accession to power, the artists in his entourage developed a visual narrative inspired by Roman iconography to reinforce the image of an undefeated military hero favoured by Fortune ... Emperor Bonaparte titled his new-born son King of Rome, recalling the lege...
Gespeichert in:
| VerfasserInnen: | |
|---|---|
| Dokumenttyp: | Buch |
| Sprache: | Spanish |
| Veröffentlicht: |
València
: Universitat de València, Departament d'Història de l'Art
, 2014
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| Schriftenreihe: | Cuadernos Ars longa
5 |
| Schlagwörter: | |
| Online Zugang: | Inhaltsverzeichnis |
| Bibliogr. Hinweis: | Rezensiert in:
[Rezension von: Víctor Mínguez y Inmaculada Rodríguez, Napoleón y el espejo de la antigüedad. Arqueología de las imágenes del poder] |
| Verantwortlich: | Víctor Mínguez; Inmaculada Rodríguez Moya |
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| 245 | 1 | 0 | |a Napoleón y el espejo de la antigüedad |b arqueología de las imágenes del poder |c Víctor Mínguez; Inmaculada Rodríguez Moya |
| 264 | 1 | |a València |b Universitat de València, Departament d'Història de l'Art |c 2014 | |
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| 490 | 1 | |a Quaderns "Ars Longa |v 5 | |
| 500 | |a Includes bibliographical references (p. [445]-477) and index | ||
| 505 | 8 | |a Prólogo: grande y bello como lo antiguoEl águila y a la apoteosis -- Imperator ecuestre -- Sol invictus -- El ritual de la dextrarum iunctio -- De la diadema a la corona -- La curación taumatúrgica -- Desnudos divinizados -- Melancolía imperial -- El rostro de la muerte -- Epílogo: bajo la máscara de César y de Alejandro. | |
| 520 | |a "During Napoleon's astounding accession to power, the artists in his entourage developed a visual narrative inspired by Roman iconography to reinforce the image of an undefeated military hero favoured by Fortune ... Emperor Bonaparte titled his new-born son King of Rome, recalling the legendary figure of Romulus and the greatness of the Rex Romanorum, which preceded the Germanic emperorship. During this period Antiquity became a splendid mirror that magnified Napoleon's heroic deeds. The visual rhetoric of power in Napoleon's court reached its peak with the Europe Romanticism, when new artists and writers depicted Napoleon as the ultimate tragic hero comparable only to Alexander the Great or Caesar"-- | ||
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