Mona Lisa’s Mysterious Smile: The Artist Initiate in Esoteric New Religions
The article discusses the view, held by many nineteenth-century 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 histori...
| Auteur principal: | |
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| Type de support: | Électronique 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 non-standardisés: | B
visual art
B Occulture B cultic milieu B Esotericism B Madonna B Leonardo da Vinci B Symbolist art B Walter Pater B Virgin Mary B New Religions |
| Accès en ligne: |
Volltext (JSTOR) Volltext (lizenzpflichtig) |
| Résumé: | The article discusses the view, held by many nineteenth-century 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: | 1541-8480 |
| Contient: | Enthalten in: Nova religio
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| Persistent identifiers: | DOI: 10.1525/nr.2016.19.4.14 |