A very few preparatory drawings, however, are extant, and The Hanged Man from Tarot cards is thought to resemble the archetypal pittura infamante theme, as Tarot decks were first produced in northern Italy in the 1440s. Detailed descriptions of pitture infamanti in primary sources are rare. ![]() There are no surviving examples of pitture infamanti frescoes, but contemporary sources suggest that they were brightly colored. įamous artists who painted pitture infamanti frescoes include Andrea del Castagno, Sandro Botticelli, and Andrea del Sarto. The topos of mundus inversus ("world upside down") is often associated with comedy and humiliation. The act of hanging itself was also significant, as affluent criminals would generally be afforded the privilege of beheading rather than hanging hanging was also shameful in religious contexts (e.g. Pittura infamante always depicted men and never women, and generally depicted upper-class men (who would have the most to lose from character assassination). Pittura infamante could originate as more favorable depictions, only to be transformed after the subject had fallen out of favor. Pitture infamanti were far more common in Republican Florence than in autocratic city states, whose rulers often deemed them to be sources of "disrepute." Themes Ĭommon themes of pittura infamante - which were meant to be humiliating - include depicting the subject as wearing a mitre or hanging upside down, being in the presence of unclean animals such as pigs or donkeys or those deemed evil like snakes pittura infamante would also contain captions listing the offenses of the subject. Florentine law required the Podestà have such caricatures painted, and accompanied by verbal identification of those held in contempt of court for financial offenses ( bad debt, bankruptcy, fraud, forgery, etc.). Pitture infamanti could appear in any public place, but some places were more frequently adorned with them for example, the first floor exterior of the Bargello (originally a barracks and prison, now an art museum) periodically contained numerous, life-size, pittura infamante frescoes. As such, pittura infamante has its roots in the doctrines of fama and infamia in ancient Roman law. Īccording to Samuel Edgerton, the genre began to decline precisely when it came to be regarded as a form of art rather than effigy the power of the genre derived from a feudal-based code of honor, where shame was one of the most significant social punishments. Commissioned by governments of city-states and displayed in public centers, pittura infamante were both a form of "municipal justice" (or " forensic art" ) and a medium for internal political struggles. Popular subjects of pittura infamante include traitors, thieves, and those guilty of bankruptcy or public fraud, often in cases where no legal remedy was available. It does not store any personal data.Pittura infamante ( pronounced Italian for "defaming portrait" plural pitture infamanti) is a genre of defamatory painting and relief, common in Renaissance Italy in city-states in the north and center of the Italian Peninsula during the Trecento, Quattrocento, and Cinquecento. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other. The cookies is used to store the user consent for the cookies in the category "Necessary". ![]() The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly.
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