Albrecht Dürer's The Men's Bathhouse of 1496-1497: Problems of Sexual Signification.
This essay synthesizes the historiography of art history and sexuality/gender studies, while carefully navigating the difficulties inherent in historical sexual signification, in order to reveal the complexity of Albrecht Dürer's The Men's Bathhouse (Das Männerbad) (1496-97). Over time, the woodcut...
| Publicado en: | Journal for Early Modern Cultural Studies Vol. 16; no. 4; pp. 9 - 38 |
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| Formato: | Essay |
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University of Pennsylvania Press
Fall2016
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=120526185&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 120526185 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 15310485 DBLW jtl: Journal for Early Modern Cultural Studies issn: 15310485 maglogo: N pubinfo: dt: Fall2016 vid: 16 iid: 4 pid: 4636 pub: University of Pennsylvania Press artinfo: ui: 120526185 10.1353/jem.2016.0030 ppf: 9 ppct: 29 formats: fmt: @attributes: type: P size: 4.4MB tig: atl: Albrecht Dürer's The Men's Bathhouse of 1496-1497: Problems of Sexual Signification. aug: au: CAVALLO, BRADLEY J. su: Dürer, Albrecht, 1471-1528 Human sexuality in art 15th century painting Art history Historiography Early Modern Period (Literary period) sug: subj: Dürer, Albrecht, 1471-1528 Human sexuality in art 15th century painting Art history Historiography Early Modern Period (Literary period) ab: This essay synthesizes the historiography of art history and sexuality/gender studies, while carefully navigating the difficulties inherent in historical sexual signification, in order to reveal the complexity of Albrecht Dürer's The Men's Bathhouse (Das Männerbad) (1496-97). Over time, the woodcut has accrued a wide variety of critical responses. Within this fortuna critica, some scholars have attempted to reduce the print to evidence of Dürer's cognizance of classical aesthetics prior to his first trip to Venice in 1494-95, in that it seems to provide a stylistic precursor to his later, more overtly classicizing The Fall of Man (1506, engraving). Other scholars have implicitly or explicitly sought to employ the woodcut as supportive of arguments for the existence of a universal homosexual identity, in that the artwork proves Dürer's homosexuality ergo an early modern homosexuality consonant with the way the modern terms "homosexual"/"heterosexual" conflate sexuality with identity. This essay claims that classicism and eroticism simultaneously inform the full iconographic potentiality of Dürer's print; this analysis of it shows how he inverted the traditional imagery of bathers by imagining men as the sole object of display within an all-male space, and then veiled that socially proscribed, same-sex desire behind the plausible deniability of the classically-derived, nude male figure. pubtype: Academic Journal doctype: Essay src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal for Early Modern Cultural Studies is the property of University of Pennsylvania Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal for Early Modern Cultural Studies holder: University of Pennsylvania Press dt: @attributes: year: 2016 holdings: @attributes: islocal: N |
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