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This book explores how certain early modern Italian portraits sought to directly engage the minds and memories of their viewers. Analyzing portraits made between the mid-Quattrocento and the mid-Cinquecento and by artists largely trained and working in the central and northern Italian peninsula, the case studies here demonstrate how these artworks succeeded in preserving both the external appearances and the inner qualities of their sitters. By examining specific portrait forms and compositional techniques, this book shows how several portrait types that gained popularity during this period were influenced by contemporary understandings of communication, identity, science of the brain, and mnemonic practices. These portraits were not merely visual representations but were deeply rooted in the intellectual and cultural frameworks of their time. Portraiture and Mnemonics in Early Modern Italy: Connecting and Remembering demonstrates that the impact of these portrait formats was twofold: they forged connections with viewers and incited said viewers to open their memory centers for mnemonic storage. Taking an interdisciplinary approach to the subject of early modern Italian portraiture, this book will be of interest to researchers studying history, studio art, literature, gender and identity studies, the humanities, science, and psychology.
Rebecca M. Howard is Associate Professor of Art History in the Department of Art and Design at the University of Memphis in Tennessee, USA. Her research focuses on the topics of early modern Italian portraiture, memory, mnemonic devices, and expressions of identity.
List of Illustrations Acknowledgements 1. Introduction to the Early Modern Italian Portrait: Connecting and Remembering Part I: Connecting 2. Dissecting the Early Modern Portrait: Science and Bodily Metaphor 3. Istoria of the Mind: The Albertian Interlocutor Teaches its Portrait Narrative Part II: Remembering 4. Impressed in Wax: Sense Impressions, Portraits, and the Physicality of Memory 5. The Architectural Mnemonic: Founding and Constructing the Portrait's Memory House 6. Concluding Remarks Bibliography Index
