ITALIAN STUDIES: DUECENTO AND TRECENTO I DANTE

ITALIAN STUDIES: DUECENTO AND TRECENTO I DANTE 334 Romance Languages IX. ITALIAN STUDIES DUECENTO AND TRECENTO I DANTE By Catherine M. Keen, Lecturer in Italian, University of Leeds 1. General Dante has caught the imagination, in the year 2000, of a public far wider than the academic readership normally addressed in these pages, thanks to the exhibition of Sandro Botticelli’s illustrations to the DC mounted in Berlin, Rome, and London, and accompanied by a beautifully produced catalogue, Sandro Botticelli, pittore della Divina Commedia, ed. Sebastiano Gentile, 2 vols, Mi, Skira, 277, 295 pp. The first volume, dedicated to the contextual part of the exhibition, contains a number of essays on the reading of D. in Quattrocento Florence, and on B.’s artistic culture, techniques, and environment; it also includes a series of images, in the sixth section of visual material (‘Dante nel Quattrocento fiorentino’, 215–59), that relate directly to the depiction of D., the illustration of the DC, and the production of 15th-c. commentaries, that dantisti may find particularly absorbing. C. Vasoli, ‘Dante e la cultura fiorentina del maturo Quattrocento’ (12–25), discusses the 15th-c. debates over D.’s civic, literary, and philosophical status, tracing the evolution from Bruni to Ficino of approaches to the poet and to the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Year’s Work in Modern Language Studies Brill

ITALIAN STUDIES: DUECENTO AND TRECENTO I DANTE

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Publisher
BRILL
Copyright
© Copyright 2001 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0084-4152
eISSN
2222-4297
D.O.I.
10.1163/22224297-90000360
Publisher site
See Article on Publisher Site

Abstract

334 Romance Languages IX. ITALIAN STUDIES DUECENTO AND TRECENTO I DANTE By Catherine M. Keen, Lecturer in Italian, University of Leeds 1. General Dante has caught the imagination, in the year 2000, of a public far wider than the academic readership normally addressed in these pages, thanks to the exhibition of Sandro Botticelli’s illustrations to the DC mounted in Berlin, Rome, and London, and accompanied by a beautifully produced catalogue, Sandro Botticelli, pittore della Divina Commedia, ed. Sebastiano Gentile, 2 vols, Mi, Skira, 277, 295 pp. The first volume, dedicated to the contextual part of the exhibition, contains a number of essays on the reading of D. in Quattrocento Florence, and on B.’s artistic culture, techniques, and environment; it also includes a series of images, in the sixth section of visual material (‘Dante nel Quattrocento fiorentino’, 215–59), that relate directly to the depiction of D., the illustration of the DC, and the production of 15th-c. commentaries, that dantisti may find particularly absorbing. C. Vasoli, ‘Dante e la cultura fiorentina del maturo Quattrocento’ (12–25), discusses the 15th-c. debates over D.’s civic, literary, and philosophical status, tracing the evolution from Bruni to Ficino of approaches to the poet and to the

Journal

The Year’s Work in Modern Language StudiesBrill

Published: Dec 20, 2000

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