AUC Philosophica et Historica (Acta Universitatis Carolinae Philosophica et Historica) is a multidisciplinary academic journal focused on the humanities with more than 50 years of tradition.
The journal is indexed in CEEOL, DOAJ, and EBSCO.
AUC PHILOSOPHICA ET HISTORICA, Vol 2020 No 2 (2020), 13–59
Apuleiův Zlatý osel a antická literární tradice v umění rudolfínské doby
[The Golden Ass of Apuleius and the Classical Literary Tradition in the Visual Arts of the Rudolphine Period]
Pavla Savická
DOI: https://doi.org/10.14712/24647055.2021.2
published online: 02. 08. 2021
abstract
The study follows fortunes of the famous Ancient Roman novel and its impact on the visual arts in the early modern period. Special attention is paid to the Rudolphine art and to the distinctive transformation of the theme of Cupid and Psyche at the court of the emperor. It deals with various changes in meaning of the iconography as it traveled through time, space, and different media and suggests diverse possible readings of works inspired by Apuleius's Golden Ass.
keywords: Apuleius; Rudolf II; The Golden Ass; Metamorphoses; Cupid; Psyche; Bartholomeus Spranger; Joseph Heintz; Matthäus Gundelach
references (92)
1. Mariantonietta Acocella, L' Asino d'oro nel Rinascimento. Dai volgarizzamenti alle raffigurazioni pittoriche, Ravenna 2001.
2. Francis Ames-Lewis, The Intellectual Life of the Early Renaissa nce Artist, New Haven 2000.
3. Leonard Barkan, The Gods Made Flesh: Metamorphosis and the Pursuit of Paganism, New Haven-London 1986.
4. Giovanni Pietro Bellori: Le vite de pittori, scultori ed architetti moderni, Roma 1728.
5. J. R. Berrigan, 'The Prehumanism of Benzo d'Alessandria', Traditio XXV, 1969, s. 253-254. CrossRef
6. Giuseppe Billanovich, I primi Umanisti e le tradizioni dei classici latini, Fribourg 1953.
7. Anthony Blunt, The Hypnerotomachia Poliphili in 17th Century France, Journal of the Warburg Institute Vol. 1, No. 2, 1937, s. 117-137. CrossRef
8. Phylis Pray Bober - Ruth Rubinstein, Renaissance Artists & Antique Sculpture. A Handbook of Sources, London-Turnhout 2010.
9. Giovanni Boccaccio, Genealogy of the pagan gods [Orig.: Genealogia deorum], přeložil Jon Solomon, Cambridge, Mass. 2011.
10. Julian Brooks, Taddeo and Federico Zuccaro. Artist-brothers in Renaissance Rome, Los Angeles 2007.
11. Malcolm Bull, The Mirror of the Gods. Classical Mythology in Renaissance Art, London 2005.
12. William Caferro, Contesting the Renaissance, Oxford 2011. CrossRef
13. Mungo Campbell, Mercury and Psyche - Muller after De Vries, History Today, May 1994, s. 30-35.
14. Thomas P. Campbell, Tapestry in the Renaissance. Art and Magnificence, New York 2002
15. Vicenzo Cartari, Le imagini degli dei degli antichi, Venetia 1625.
16. Robert H. Carver, The Protean ass: the "Metamorphoses" of Apuleius from antiquity to the Renaissance, Oxford 2008. CrossRef
17. Sonia Cavicchioli, Le metamorfosi di Psiche. L'iconografia della favola di Apuleio, Venezia 2002.
18. Miguel de Cervantes Saavedra, Don Quijote de la Mancha, překlad J. B. Pichl, Praha 1866.
19. Fernando Checa, Tizian und die Mythologie, in: Sylvia Ferino-Pagden (ed.), Der späte Tizian und die Sinnlichkeit der Malerei, Wien 2007, s. 216-223.
20. VIA Claudia Cieri Via, L' arte delle metamorfosi: decorazioni mitologiche nel Cinquecento, Roma 2003.
21. James Clifton - Liesbeth M. Helmus - Arthur K. Wheelock Jr. (ed.), Pleasure and Piety. The Art of Joachim Wtewael, Princeton 2015.
22. Richard Cocke, Titian the Second Apelles: the Death of Actaeon, Renaissance Studies, Vol. 13, No. 3, 1999, s. 303-311. CrossRef
23. Gregorio Comanini, Il Figino. Overo del fine della pittura, Mantova 1591.
24. Ioan P. Couliano, Eros and Magic in the Renaissance, Chicago 1987.
25. Ernst Robert Curtius, Evropská literatura a latinský středověk, Praha 1998.
26. Nicole Dacos, Fiamminghi a Roma 1508-1608, Roma 1999.
27. Nicole Dacos, Viaggio a Roma. I pittori europei nel '500, Milano 2012.
28. J. F. D'Amico, The Progress of Renaissance Latin Prose. The Case of Apuleianism, Renaissance Quarterly XXXVII, 1984, s. 364-365. CrossRef
29. Charles Dempsey, Inventing the Renaissance Putto, Chapel Hill 2001.
30. Lodovico Dolce, Le Trasformationi, Venegia 1558.
31. Richard Dutton - Jean E. Howard, A Companion to Shakespeare's Works: The Poems, Problem Comedies, Late Plays, b. m. 2007.
32. Umberto Eco, Foucaultovo kyvadlo, Praha 2015.
33. Gloria Ehret, Faszination Meisterwerk. Dürer Rembrandt Riemenschneider, Nürnberg 2006.
34. George Eliot [Mary Ann Evans], Middlemarch. A Study of Provintial Life, Edinburgh - London 1874.
35. Robert J. W. Evans, Rudolf II. a jeho svět, Praha 1997.
36. Elena Fontanella (ed.), Amore e Psiche. La favola dell'anima, Milano 2013.
37. Luba Freedman, Classical Myths in Italian Renaissance Painting, Cambridge 2015.
38. Eliška Fučíková - James M. Bradburne - Beket Bukovinská - Jaroslava Hausenblasová - Lubomír Konečný - Ivan Muchka - Michal Šroněk (eds), Rudolf II. a Praha: císařský dvůr a rezidenční město jako kulturní a duchovní centrum střední Evropy, Praha - Londýn - Milán 1997.
39. Julia Haig Gaisser, The fortunes of Apuleius and the "Golden Ass" : a study in transmission and reception, Princeton 2008. CrossRef
40. Carlo Ginzburg, Titian, Ovid, and Sixteenth-Century Codes for Erotic Illustration, in: Clues, Myths, and the Historical Method, Baltimore 1992.
41. Ernst Hans Gombrich, Symbolic Images. Studies in the art of the Renaissance II, Oxford 1985
42. Stephen Greenblatt, The Swerve. How the World Became Modern, New York 2011.
43. Marcia B. Hall - Tracy E. Cooper, The Sensuous in the Counter-Reformation Church, Cambridge 2013.
44. Jane E. Harrison, Pandora's Box, The Journal of Hellenic Studies Vol. 20, 1900, s. 99-114. CrossRef
45. Martha Hollander, An Entrance for the Eyes: Space and Meaning in Seventeenth-Century Dutch Art, Berkeley 2002.
46. Koenraad Jonckheere (ed.), Michiel Coxcie 1499-1592 and the giants of his age, London 2013.
47. Ahuvia Kahane - Andrew Laird (eds), A Companion to the Prologue of Apuleius' Metamorphoses, Oxford 2001.
48. Thomas DaCosta Kaufmann, Lʼ école de Prague. La peinture a la cour de Rodolphe II, Paris 1985. CrossRef
49. Thomas DaCosta Kaufmann, Eros et poesia. La peinture à la cour de Rodolphe II, Revue de l'art, 1985, s. 29-46. CrossRef
50. Thomas DaCosta Kaufmann, The School of Prague. Painting at the court of Rudolf II, Chicago 1988.
51. Thomas DaCosta Kaufmann, A "modern" sculptor in Prague. Adriaen de Vries and the 'Paragone' of the Arts, in: Achim Gnann - Heinz Widauer (eds), Festschrift für Konrad Oberhuber, Milano 2000, s. 283-293.
52. Thomas DaCosta Kaufmann, Arcimboldo. Visual Jokes, Natural History, and Still-life Painting, Chicago 2009. CrossRef
53. Vered Lev Kenaan, "Who cares whether Pandora had a large pithos or small axis?" Jane Harrison and the Emergence of a Dynamic Conception of the Unconscious, in: Vanda Zajko - Ellen OʼGorman (eds), Classical Myth and Psychoanalysis. Ancient and Modern Stories of the Self, Oxford 2013, s. 97-116. CrossRef
54. Jane Kingsley-Smith, Cupid in Early Modern Literature and Culture, Cambridge 2010. CrossRef
55. Susanne H. Kolter, Bartholomaus Spranger "Amor und Psyche" im Kontext rudolfinischer Hofkunst, Jahrbuch des Landesmuseums für Kunst und Kulturgeschichte Oldenburg 2008, s. 12-21.
56. Lubomír Konečný, Tiziano, Lodovico Dolce e i topoi dell immaginazione erotica, Umění XXXX, 1991, s. 1-5.
57. Lubomír Konečný - Štěpán Vácha, Hans von Aachen in Kontext, Praha 2012.
58. Lubomír Konečný, Adaptations of Alciato's emblems by Jan and Raphael Sadeler, Studia Rudolphina X, 2010, s. 129-143.
59. Lubomír Konečný, The Poetry of Titian's "Poesie": the Renaissance, in: György E. Szönyi - Csaba Maczelka (eds), Centers and Peripheries in European Renaissance Culture. Essays by East-Central European Mellon Fellows, Szeged 2012, s. 223-230.
60. Lubomír Konečný, Cupid Carving His Bow. From Parmigianino to Rubens, Source. Notes in the History of Art XXXVI, no. 1, 2014, s. 24-30. CrossRef
61. Milan Kundera, Zneuznávané dědictví Cervantesovo, Brno 2005.
62. Paolo Lomazzo, Trattato dell'arte della pittvra, scoltvra, et architettvra, Milano 1584.
63. Martin Mádl (ed.) Tencalla II. Barokní nástěnná malba v českých zemích, Praha 2013.
64. Ilja Markx-Veldman, The Idol on the Ass; Fortune and the Sleeper. Maarten Van Heemskerck's Use of Emblem and Proverb Books in Two Prints, Simiolus: Netherlands Quarterly for the History of Art, vol. 6, no. 1, 1972, s. 20-28. CrossRef
65. Sally Metzler, Bartholomeus Spranger, Splendor and Eroticism in Imperial Prague, the complete works, New Haven 2014.
66. Jacqueline Marie Musacchio, Art, Marriage, & Family in the Florentine Renaissance Palace, New Haven 2008.
67. Alexander Nagel, Merchant of Venice, Art Forum, January 2007, s. 109.
68. Alexander Nagel - Christopher S. Wood, Anachronic Renaissance, New York 2010. CrossRef
69. William R. Newman - Anthony Grafton (eds), Secrets of Nature Astrology and Alchemy in Early Modern Europe, Cambridge, Mass. 2001.
70. Dora Panofsky - Erwin Panofsky, Pandora's Box. The Changing Aspects of a Mythical Symbol, New York 1962.
71. Erwin Panofsky, Renaissance and Renascences in Western Art, Stockholm 1965.
72. Erwin Panofsky, Problems in Titian. Mostly Iconographic, New York 1969.
73. Erwin Panofsky, Význam ve výtvarném umění, Praha 1981.
74. Francesco Petrarca, Le Familiari. Edizione critica per cura di Vittorio Rossi, vol. III, Firenze 1997.
75. Ivo Purš - Hedvika Kuchařová (eds), Knihovna arcivévody Ferdinanda II. Tyrolského (1529-1595), Praha 2016.
76. Evelyn Reitz, Discordia concors. Kulturelle Differenzerfahrung und ästhetische Einheitsbildung in der Prager Kunst um 1600, Berlin 2015.
77. Emil Karel Josef Reznicek, Bartholomäus Spranger als Bildhauer, in: Antje Kosegarten - Peter Tigler (eds), Festschrift Ulrich Middeldorf, Textband, Berlin 1968, s. 370-375.
78. G. N. Sandy, 'Book 11: Ballast or Anchor?', in: B. L. Hijmans - R. Th. van der Paardt (eds), Aspects of Apuleius' Golden Ass, Groningen 1978, s. 123-140.
79. Fritz Saxl, The Villa Farnesina, in: Lectures, b. m. 1957, s. 189-199.
80. Jean Seznec, The Survival of the Pagan Gods. The Mythological Tradition and Its Place in Renaissance Humanism and Art, New York 1961.
81. Frits Scholten (ed.), Adriaen de Vries 1556-1626, Amsterdam-Stocholm-Los Angeles 1999.
82. J. J. M. Tobin, Shakespeare's Favorite Novel. A Study of The Golden Asse as Prime Source, London 1984.
83. Giuseppe Tomasi di Lampedusa, Il Gattopardo, Milano 1997.
84. Giorgio Vasari, Vita di Perino del Vaga, in: Opere di Giorgio Vasari. Pittore e Architetto Aretino. Volume II, Firenze 1822.
85. Giorgio Vasari, Le vite de'piu eccellenti pittori, scultori e architetti, vol. 1, Firenze 1846.
86. Elena Venturini (ed.), Le collezioni Gonzaga. Il Carteggio tra la corte cesarea e Mantova (1559-1636), Carteggio, Cinisello Balsamo 2002.
87. Luisa Vertova, Cupid and Psyche in Renaissance Painting before Raphael, Journal of the Warburg and Courtauld Institutes Vol. 42, 1979, s. 104-121. CrossRef
88. Florian Weiland-Pollerberg, Amor und Psyche in der Renaissance. Medienspezifisches Erzahlen im Bild, Petersberg 2004.
89. Evelyn Welch, Presentism and the Renaissance and Early Modern Historian, Past & Present, Volume 234, Issue 1, 2017, s. 245-253. CrossRef
90. Jürgen Zimmer, Joseph Heintz der Ältere als Maler, Weissenhorn 1971.
91. Maaike Zimmerman, 'Food for Thoughtʼ for Readers of Apuleiusʼ The Golden Ass, in: Michael Paschalis - Stelios Panayotakis - Gareth L. Schmeling (eds), Readers and Writers in the Ancient Novel, Ancient Narrative Supplements 12, 2009, s. 218-240.
92. Giacomo [Jacopo] Zucchi, Discorso sopra li dei de' gentili, e loro imprese, Roma 1602.
Apuleiův Zlatý osel a antická literární tradice v umění rudolfínské doby is licensed under a Creative Commons Attribution 4.0 International License.
