Open Daily: 10am - 10pm | Alley door pickup 10am - 7pm 3038 Hennepin Ave Minneapolis, MN
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  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
Medieval Hells: Painting the World of the Dead to Guide the Society of the Living

Medieval Hells: Painting the World of the Dead to Guide the Society of the Living

Gamberini, Andrea

Paperback

Series: Viella History, Art and Humanities Collection, Book 16

Art History

Currently unavailable to order

ISBN13: 9791254695647
Publisher: Viella
Published: Jul 1 2024
Pages: 216
Weight: 6.14
Language: English
As medieval preachers knew well, the fear of punishment was a far more effective lever over human behaviour than the hope of reward. This explained the development of images of Hell that became increasingly complex and crude between the 14th and 15th centuries, in order to disturb minds and stir consciences. But in what direction? And to what end? The answer is not as obvious as it might appear. Since the negative exempla made sense only in relation to the positive ones, the great theatre of the damned also lent itself to a contrary reading in which the figures of the sinners, far from constituting only a terrible admonition, directed the faithful towards attitudes and behaviours that were worthy of reward. To cut a long story short, the negative depictions transformed into proposals for action as a result of the iconographic choices of artists and patrons (communities, private individuals, confraternities, religious orders, etc.) who used the theme of Hell to express their ideals of civil coexistence.

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