«NAPLES M'EST CHÈRE»: Note su Ernest Renan e Domenico Morelli, alle origini del modernismo artistico e religioso = «NAPLES M'EST CHÈRE» : Notes on Ernest Renan and Domenico Morelli, at the origins of artistic and religious modernism.
To improve an interdisciplinary approach to modernism in religion and in the arts, this article focuses on the relations between the French historian and expert of Semitic languages Ernest Renan and the Italian painter Domenico Morelli, an important master of the second half of the xix century, who...
| Subtitles: | «NAPLES M'EST CHÈRE» |
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| Main Author: | |
| Format: | Electronic Article |
| Language: | Italian |
| Check availability: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Ed. Morcelliana
2020
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| In: |
Rivista di storia del cristianesimo
Year: 2020, Volume: 17, Issue: 2, Pages: 483-496 |
| Further subjects: | B
Ernest Renan
B Morelli, Domenico, 1823-1901 B Domenico Morelli B Renan, Ernest, 1823-1892 B italian painting B pittura italiana B Church History B Modernismo B Modernism |
| Summary: | To improve an interdisciplinary approach to modernism in religion and in the arts, this article focuses on the relations between the French historian and expert of Semitic languages Ernest Renan and the Italian painter Domenico Morelli, an important master of the second half of the xix century, who was determined in the renewal of academic painting inspired by the the French Impressionists. The body of work of Morelli (and of some of his pupils) shows a personal interest for sacred and religious themes, often explored with an unorthodox mind. The correspondance with his brother-in-law, the historian and politician Pasquale Villari, shows Morelli's original religious research and his interest in Renan's studies on the history of Christianity. On the other side, despite his early public contempt for the Catholic counterreformist art, Renan appreciated Morelli's works. Renan and Morelli indeed met in Naples in 1879, when Renan was already really popular for his original historical essays. A hitherto unpublished letter of Renan to Morelli's daughter confirms the exchanges between the French historian and the Neapolitan painter. The success of Morelli's painting of sacred themes opened an horizon of expectations which could pave the way for the interest of the italian elites in religious modernists such as Loisy, Sabatier and Laberthonnière. |
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| Contains: | Enthalten in: Rivista di storia del cristianesimo
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