1558-1603) in England, and their cousin Queen Mary of Scotland (r. Queenship, already a dangerous mix of political power with a woman’s natural roles as wife and mother, became even more troubling with the early modern phenomenon of queens regnant on several thrones across Europe, including three in the British Isles: Queen Mary I (r. In early modern times, women and monsters were on the margins of the natural order, deemed less than human and subordinate in all things to men-the perfect specimen, and head of state and household. Drawing on sensorial approaches from art theory, philosophy, human geography and urban studies, I will examine several works across the early modern period that employ sound to sensorially engage the beholder in imaginative interpretation. The represented interrelatedness of sound and motion is used to pull the viewer into considerations of time and timelessness, motion and its absence. While the underlying ideas draw from the classical world, reinvigorated in Renaissance art discourse, this paper will refine and expand the traditional thematic approach to the senses or their hierarchies by addressing the ways in which the lived experience of sensory reality is used by artists to imaginatively render a rationale for the unfolding action of a work. However, I would like to address the interplay between painting and time through the representation of the senses. This subject has often been part of the paragone between ephemeral forms like poetry and music, and durable forms like painting and sculpture. In the visual medium, artists can compress narrative, simultaneously represent different strands of narrative, or show one of the temporal media as a way of referencing time. Literary narrative, poetry, and music naturally lend themselves to the discussion since they generally unfold over time. One of the principal challenges of representation is the convincing communication of the passage of time.
0 kommentar(er)
