Mona Lisas mysterious smile: the artist initiate in esoteric new religions
The article discusses the view, held by many nineteenthcentury authors, of Leonardo da Vinci as an esotericist, and his La Gioconda as mysterious, sinister and filled with hidden signs. This "esoterization" of the painting and its creator was part of a broader tendency to view artists, bot...
| Auteur principal: | |
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| Type de support: | Numérique/imprimé Article |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Journals Online & Print: | En cours de chargement...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publié: |
University of Californiarnia Press
[2016]
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| Dans: |
Nova religio
Année: 2016, Volume: 19, Numéro: 4, Pages: 14-32 |
| Sujets / Chaînes de mots-clés standardisés: | B
Leonardo, da Vinci 1452-1519, Mona Lisa
/ Interprétation
/ Nouvelles religions
/ Ésotérisme
/ Histoire 1800-1900
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| RelBib Classification: | AG Vie religieuse AZ Nouveau mouvement religieux TJ Époque moderne |
| Accès en ligne: |
Volltext (doi) |
| Résumé: | The article discusses the view, held by many nineteenthcentury authors, of Leonardo da Vinci as an esotericist, and his La Gioconda as mysterious, sinister and filled with hidden signs. This "esoterization" of the painting and its creator was part of a broader tendency to view artists, both historical and contemporary, as magicians and mystics in some sense. Hereby, art became integrated into the endeavors of various esoteric groups and thinkers, and an originally secular Renaissance work was absorbed into a nineteenth-century "occulture" or "cultic milieu." |
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| ISSN: | 1092-6690 |
| Contient: | Enthalten in: Nova religio
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| Persistent identifiers: | DOI: 10.1525/nr.2016.19.4.14 |