The Art of Commemoration in the Renaissance

In the early 1980s, Irving Lavin was invited to deliver The Slade Lectures at Oxford University, and he took it as an opportunity to develop an idea he had long considered but never articulated: that the Italian fifteenth-century revival of ancient art was an outward sign of fundamental changes in humanity's perception of the inner self. The change started when the individual emerged from the Middle Ages and began to exhibit a previously unknown awareness of the past as opposed to the present. The individual became a person who could make choices about existence on the basis of a new internal consciousness. What the Renaissance called the "new man" chose what emerged from the classical world as a higher culture and, having absorbed and transformed it, adopted it. The new mode of being not only transformed human actions, it also became the basis for a new manifestation in the arts in a style we term Renaissance.

To develop this idea, in what Irving Lavin called The Art of Commemoration in the Renaissance, he studied the Renaissance contribution under several rubrics that form the basis of this collection. Chapters include:

1. Memory and the Sense of Self: On the Role of Memory in Psychological Theory from Antiquity to Giambattista Vico

2. On the Sources and Meaning of the Renaissance Portrait Bust

3. On Illusion and Allusion in Italian Sixteenth-Century Portrait Busts

4. Great Men Past and Present

5. Equestrian Monuments: The Indomitable Horseman

6. Collective Commemoration and the Family Chapel.

Revising and developing through the years and until his death in 2019, Irving Lavin continued to expand, contract, and update this extravagant array of objects and ideas. These essays have now been edited in their final form, with updated notes and bibliography, by Marilyn Aronberg Lavin.

"In the early 1980s, Irving Lavin delivered The Slade Lectures at Oxford University exploring his idea that the Italian fifteenth-century revival of ancient art was an outward sign of fundamental changes in humanity's perception of the inner self. This volume publishes for the first time six essays, which he based on those lectures and which he continued to work on until his death in 2019: Memory and the Sense of Self; On the Sources and Meaning of the Renaissance Portrait Bust; On Illusion and Allusion in Italian Sixteenth-Century Portrait Busts; Great Men Past and Present; Equestrian Monuments; and Collective Commemoration and the Family Chapel"--
Irving Lavin (1927-2019) had a long teaching career at the Institute of Fine Arts, NYU. He won the Porter Prize three times before he was 40, and he discovered several previously unknown Bernini sculptures in Rome and elsewhere. In 1973, he was appointed to the Institute for Advanced Study, School of Historical Studies, Princeton, NJ, from which he retired in 2002.
Marilyn Aronberg Lavin (MA Washington University; PhD, NYU), has been Visiting Lecturer with rank of Professor at the University of Maryland, Yale, Princeton, and the Università di Roma, La Sapienza. She is best known for her work on Piero della Francesca, on Italian mural painting, and on the Barberini Inventories of Art (Morey Award for Distinguished Scholarship). In 1991, she created the Consortium for Art and Architectural Historians (CAAH), the first listserv for art history.