those sensations that exist beyond the rational and quantifiable realm of visual representation, such as the ineffable sensation of love. Utilizing a different line of inquiry, A Childhood (2007), Hubert Damisch’s astute account of Piero della Memory by Piero della Francesca Francesca’s advocated an anti-biographical (and anti-Vasarian) mode of Madonna del Parto, interpretation, instead foregrounding the of painting” itself, set within the framework “operation of the connections between image and viewer, rather than between image and textual source (or image as a manifestation of cultural practice). For Damisch, Piero’s fresco is as much about progeny, birth, and creation as about the fundamental conceits of art historical analysis itself. In (2004), Patricia Fortini Brown (2004) wove Private Lives in Renaissance Venice together architectural and art historical analysis to reconstruct the domestic environment. Jacqueline Musacchio, (1999) addressed The Art and Ritual of Childbirth in Renaissance Italy works of art depicting childbirth as well as those created for and in its commemoration, by positioning them within the larger context of a mother’s pregnancy, labor, and confinement. Geraldine Johnson’s essay, Values: Sculpture and the Family in Fifteenth-Century “Family Florence” (2000), on the emergence of the portrait bust as a type, is another important contribution, examining the elision of portraits of children and images of a very young Saint John the Baptist. Two exhibitions at the Metropolitan Museum of Art in recent years addressed the topic, albeit obliquely—The (2011) and Renaissance Portrait from Donatello to Bellini Art (2008)—as did the 2013 exhibition, and Love in Renaissance Italy The Springtime of the organized by the Louvre and the Renaissance: Sculpture and the Arts in Florence, 1400-1460, Palazzo Strozzi. And, fundamental to any treatment of children’s bodies is Leo Steinberg’s inimitable (1983). ` The Sexuality of Christ in Renaissance Art and Modern Oblivion
those sensations that exist beyond the rational and quantifiable realm of visual representation, such as the ineffable sensation of love. Utilizing a different line of inquiry, A Childhood Memory by Piero della Francesca (2007), Hubert Damisch’s astute account of Piero della Francesca’s Madonna del Parto, advocated an anti-biographical (and anti-Vasarian) mode of interpretation, instead foregrounding the “operation of painting” itself, set within the framework of the connections between image and viewer, rather than between image and textual source (or image as a manifestation of cultural practice). For Damisch, Piero’s fresco is as much about progeny, birth, and creation as about the fundamental conceits of art historical analysis itself. In Private Lives in Renaissance Venice (2004), Patricia Fortini Brown (2004) wove together architectural and art historical analysis to reconstruct the domestic environment. Jacqueline Musacchio, The Art and Ritual of Childbirth in Renaissance Italy (1999) addressed works of art depicting childbirth as well as those created for and in its commemoration, by positioning them within the larger context of a mother’s pregnancy, labor, and confinement. Geraldine Johnson’s essay, “Family Values: Sculpture and the Family in Fifteenth-Century Florence” (2000), on the emergence of the portrait bust as a type, is another important contribution, examining the elision of portraits of children and images of a very young Saint John the Baptist. Two exhibitions at the Metropolitan Museum of Art in recent years addressed the topic, albeit obliquely—The Renaissance Portrait from Donatello to Bellini (2011) and Art and Love in Renaissance Italy (2008)—as did the 2013 exhibition, The Springtime of the Renaissance: Sculpture and the Arts in Florence, 1400-1460, organized by the Louvre and the Palazzo Strozzi. And, fundamental to any treatment of children’s bodies is Leo Steinberg’s inimitable The Sexuality of Christ in Renaissance Art and Modern Oblivion (1983). `
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