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

dc.contributorFeltman, Jennifer M.
dc.contributorMixson, James D.
dc.contributor.advisorJones, Tanja
dc.contributor.authorBernard, Sara Elizabeth
dc.contributor.otherUniversity of Alabama Tuscaloosa
dc.date.accessioned2019-02-12T14:32:01Z
dc.date.available2019-02-12T14:32:01Z
dc.date.issued2018
dc.descriptionElectronic Thesis or Dissertationen_US
dc.description.abstractBy 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.en_US
dc.format.extent138 p.
dc.format.mediumelectronic
dc.format.mimetypeapplication/pdf
dc.identifier.otheru0015_0000001_0003251
dc.identifier.otherBernard_alatus_0004M_13635
dc.identifier.urihttp://ir.ua.edu/handle/123456789/5434
dc.languageEnglish
dc.language.isoen_US
dc.publisherUniversity of Alabama Libraries
dc.relation.hasversionborn digital
dc.relation.ispartofThe University of Alabama Electronic Theses and Dissertations
dc.relation.ispartofThe University of Alabama Libraries Digital Collections
dc.rightsAll rights reserved by the author unless otherwise indicated.en_US
dc.subjectArt history
dc.subjectEuropean history
dc.subjectWomen's studies
dc.titleGuido Mazzoni's Ferrara 'Lamentation' and the patronage of Duchess Eleonora D'Aragonaen_US
dc.typethesis
dc.typetext
etdms.degree.departmentUniversity of Alabama. Department of Art and Art History
etdms.degree.disciplineArt History
etdms.degree.grantorThe University of Alabama
etdms.degree.levelmaster's
etdms.degree.nameM.A.
Files
Original bundle
Now showing 1 - 1 of 1
Loading...
Thumbnail Image
Name:
file_1.pdf
Size:
159.99 MB
Format:
Adobe Portable Document Format