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DESCRIPTION:Prof. Chriscinda Henry\n\nPastoral Fellowship and the Performan
 ce of Virtuosity in Titian’s Concert Champêtre\n\nThursday\, February 3\, 
 12:30-1:30 EST\n\nRegistration: https://courtauld.ac.uk/whats-on/pastoral-
 fellowship-and-the-performance...\n\nThis talk is held in conjunction with
  the publication of Prof. Henry's new book 'Playful Pictures: Art\, Leisur
 e\, and Entertainment in the Venetian Renaissance Home'. Find out more abo
 ut the book here: https://www.psupress.org/books/titles/978-0-271-08911-9.
 html\n\n \n\n \n\nThis talk places Titian’s Concert Champêtre (ca. 1509–11
 ) within the context of elite domestic leisure in early sixteenth-century 
 Venice. In particular\, it explores the combined role of sociable gatherin
 g\, theatrical performance\, music making\, and art collection in the esta
 blishment of a new mode of self-fashioning and generational distinction on
  the part of young Venetian patricians and the virtuosi they patronized. I
 n his book on the young Titian\, Paul Joannides sensibly hypothesized that
  Titian’s painting registers the allusive portrait likenesses of its patro
 n\, to date unidentified\, in the figure of the seated lutenist\, while Ja
 ynie Anderson and others have observed that this young man wears the unifo
 rm of one of the Compagnie della calza (Companies of the Hose)\, the hyper
 -elite fraternal youth societies that distinguished Venetian festive cultu
 re during the Renaissance. Through identification of the specific company\
 , this talk more precisely considers the implications of this act of picto
 rial self-insertion. Following from Jonathan Unglaub’s sensitive delineati
 on of the values and ideals demonstrated by elite patrician youths during 
 the critical early years of the War of Cambrai (1509–1511)\, I examine the
  cultural pursuits of the Compagnie della calza and their social engagemen
 t with virtuosi through the pastoral mode\, including visual artists\, mus
 icians\, and courtesans. The shepherd maschera adopted by elites and virtu
 osi alike provided the ideal vehicle for a liberating\, poetic form of sel
 f-expression steeped in classical culture\, which was enacted at banquets\
 , feste\, theatrical performances\, and likely also in the more intimate c
 ontext of the ridotto (an informal salon-like gathering in the home). Illu
 strated books and artworks in a variety of media in turn visualized and pr
 eserved this pastoral fantasy world and its homosocial bonds within the ho
 mes of collectors.\n\nChriscinda Henry is Associate Professor of Art Histo
 ry at 91Ö±²¥. Her research focuses on the relationship between 
 art\, recreation\, and festivity in Renaissance Italy. Before joining the 
 faculty at 91Ö±²¥\, she was ACLS/Mellon Postdoctoral fellow at Yale Univer
 sity and Visiting Assistant Professor of Renaissance and Baroque Art Histo
 ry at Oberlin College. Her recent work has been supported by Villa I Tatti
  / The Harvard University Center for Italian Renaissance Studies (Hanna Ki
 el fellow\, 2016-2017)\, the Fonds de Recherche du Québec\, and the Social
  Sciences and Humanities Research Council of Canada. \n\nThis talk is orga
 nised by Dr Irene Brooke (The Courtauld).\n
DTSTART:20220203T173000Z
DTEND:20220203T183000Z
SUMMARY:Chriscinda Henry: Pastoral Fellowship and the Performance of Virtuo
 sity in Titian’s Concert Champêtre
URL:/ahcs/channels/event/chriscinda-henry-pastoral-fel
 lowship-and-performance-virtuosity-titians-concert-champetre-337122
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