Starting from an inventory and other documents; Ann Roberts has identified some 30 works of art that originated from the convent of San Domenico of Pisa. She here examines those objects commissioned for and made by the nuns during the fifteenth century; some of the objects included have never before been published. One of her goals in this study is to bring into the discussion of Renaissance art a body of images that have been previously overlooked; because they come from a non-Florentine context and because they do not fit modern notions of the "development" of Renaissance style. She also analyzes the function of the images - social as well as religious - within the context of a female Dominican convent. Finally; she offers descriptions of and documentation for the process of patronage as it was practiced by cloistered women; and the making of art in such enclosures. The author presents a catalogue of works; which gives basic data and bibliography for the objects described in the text. Roberts offers other valuable resources in the appendices; including unpublished C19th inventories of the objects in the convent at various moments; documents regarding the commission of works of art for the convent; letters written by the nuns; a list of the Prioresses of San Domenico; lists of nuns at different points in the fifteenth and early sixteenth century; and a list of the relics owned by the convent in the sixteenth century. Roberts firmly grounds her interpretation in the values of the Order to which the nuns belonged; and in the political and social concerns of their city.
#403323 in eBooks 2016-12-13 2016-12-13File Name: B01NBGTD12
Review
4 of 4 people found the following review helpful. great history of the origins of NYC jazz loft scene.By jsohello. first of all. a disclosure: i am friends with the author. but i want to give an unbiased. fair review here. so here goes: this is an easy-to-read. scholarly book. as well a superb reference source. i first read this as the authors doctoral thesis at harvard. it took me a bit to get into the flow of the narrative. since the author goes back-and-forth between his informative interchanges with jazz musician/historian. juma sultan. and his own insights. however. this is a must-read book for those who are interested in the origin of the free-jazz movement in the lower east side area of NYC. make no mistake. this is a superbly annotated book. if you buy it. you will learn so much from just seeing all of the references. that being said. this was both a fun and informative read. if you want to know how the free-jazz. loft movement evolved in NYC. this is a mandatory purchase. i bought the hard-cover version as a permanent addition to my library. (and. and btw. buy george lewis book as well on the AACM. whose similarly creative music developed at the same time in chicago).1 of 1 people found the following review helpful. Im enjoying this book very much. I just began ...By Mischa FalkenburgIm enjoying this book very much. I just began reading while on the beach during Labor Day. The first chapter "could" have been substituted as the introduction. but this would be my ONLY "complaint".I would encourage (as I feel the author does as well) anyone else with access to other archives should carry this ball a bit further. I was spending my free time during those years in NYC. but sadly. I dont have the archive re: "Loft Jazz. The time is fleeting as we are all getting a bit older every day.4 of 6 people found the following review helpful. Steaming Pile of Academic VerbiageBy Jean ElkinAs a jazz fan. I was excited to see a new book about one of the great periods for the music. the 70s lofts. Unfortunately. it would be hard to imagine a more pretentious treatment of that topic than Hellers. Pages are taken up with the kind of academic drivel that feels like navel gazing. I ended up skimming through entire sections in search of actual information. The whole book felt like a lost opportunity.
