In this provocative revisionist work, Evonne Levy brings fresh theoretical perspectives to the study of the qpropagandisticq art and architecture of the Jesuit order as exemplified by its late Baroque Roman church interiors. The first extensive analysis of the aims, mechanisms, and effects of Jesuit art and architecture, this original and sophisticated study also evaluates how the term qpropagandaq functions in art history, distinguishes it from rhetoric, and proposes a precise use of the term for the visual arts for the first time. Levy begins by looking at Nazi architecture as a gateway to the emotional and ethical issues raised by the term qpropaganda.q Jesuit art once stirred similar passions, as she shows in a discussion of the controversial nineteenth-century rubric the qJesuit Style.q She then considers three central aspects of Jesuit art as essential components of propaganda: authorship, message, and diffusion. Levy tests her theoretical formulations against a broad range of documents and works of art, including the Chapel of St. Ignatius and other major works in Rome by Andrea Pozzo as well as chapels in Central Europe and Poland. Innovative in bringing a broad range of social and critical theory to bear on Baroque art and architecture in Europe and beyond, Levy s work highlights the subject-forming capacity of early modern Catholic art and architecture while establishing qpropagandaq as a productive term for art history.qArgan and Hauser are taken up by Maravall, Culture of the Baroque, who argues for the Baroque as a mass culture ... Wittkower cited Argana#39;s essay and included a section on rhetoric in his Art and Architecture in Italy, 2:3, the first edition ofanbsp;...
|Title||:||Propaganda and the Jesuit Baroque|
|Author||:||Evonne Anita Levy|
|Publisher||:||Univ of California Press - 2004-03-15|