Guido Mazzoni's Ferrara 'Lamentation' and the patronage of Duchess Eleonora D'Aragona

Show simple item record

dc.contributor Feltman, Jennifer M.
dc.contributor Mixson, James D.
dc.contributor.advisor Jones, Tanja
dc.contributor.author Bernard, Sara Elizabeth
dc.date.accessioned 2019-02-12T14:32:01Z
dc.date.available 2019-02-12T14:32:01Z
dc.date.issued 2018
dc.identifier.other u0015_0000001_0003251
dc.identifier.other Bernard_alatus_0004M_13635
dc.identifier.uri http://ir.ua.edu/handle/123456789/5434
dc.description Electronic Thesis or Dissertation
dc.description.abstract By 1485 the Modenese sculptor Guido Mazzoni (c. 1450–1518) had completed a terracotta Lamentation tableau for the church of Santa Maria della Rosa in Ferrara. The eight over-life-sized, polychromed figures include portraits of the duke and duchess of Ferrara, Ercole I d’Este (1431–1505) and Eleonora d’Aragona (1450–1493). While the afterlife of the Ferrara Lamentation is well-documented, its precise origins are not. No contract for the group survives, and it is mentioned only briefly in surviving correspondence from the Estense court. In this thesis, I suggest that the patron was Duchess Eleonora d’Aragona; recognizing this marks the group as the first independent, large-scale, terracotta Lamentation commissioned by a woman. To support my thesis, I survey Eleonora’s religious influences in her birthplace of Naples, particularly the art patronage of her mother, and especially their shared devotion to the Corpus Domini, or body of Christ. A re-examination of archival and material evidence reveals Eleonora’s relationship with Mazzoni and his family, including, I argue, Mazzoni’s gift of the modello for the Ferrara Lamentation to Eleonora. Finally, I contextualize Eleonora’s patronage within the wide-ranging methods elite women used for commissioning, paying for, and influencing production of art. In establishing Eleonora d’Aragona as patron, this thesis recovers a previously unrecognized example of female patronage in the Northern Italian courts. This offers, as well, new understandings of Eleonora’s patronage methods and scope; the influence of Mazzoni’s diverse patrons on his career trajectory; women’s relationship with large-scale terracotta sculpture; and the power of noble women’s influences and social networks.
dc.format.extent 138 p.
dc.format.medium electronic
dc.format.mimetype application/pdf
dc.language English
dc.language.iso en_US
dc.publisher University of Alabama Libraries
dc.relation.ispartof The University of Alabama Electronic Theses and Dissertations
dc.relation.ispartof The University of Alabama Libraries Digital Collections
dc.relation.hasversion born digital
dc.rights All rights reserved by the author unless otherwise indicated.
dc.subject.other Art history
dc.subject.other European history
dc.subject.other Women's studies
dc.title Guido Mazzoni's Ferrara 'Lamentation' and the patronage of Duchess Eleonora D'Aragona
dc.type thesis
dc.type text
etdms.degree.department University of Alabama. Department of Art and Art History
etdms.degree.discipline Art History
etdms.degree.grantor The University of Alabama
etdms.degree.level master's
etdms.degree.name M.A.


Files in this item

This item appears in the following Collection(s)

Show simple item record

Search DSpace


Browse

My Account