DOCSLIB.ORG

Cheney, Liana

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cheney, Liana Curriculum Vitae LIANA DE GIROLAMI CHENEY Professional Residence Professor of Art History Chair, Department of Cultural Studies and Coordinator of Art History, Interdisciplinary and Intercollegiate Studies UMASS Lowell, Coburn Hall, Room 201 Lowell, MA 01854 Phone: 978-934-3495 Fax: 978-934-3023 E-mail:[email protected] www.uml.ed/dept/culturalstudies Education Degree Year Boston University Ph.D. 1978 Major: Renaissance and Mannerist Art; Minor: Baroque Art Wellesley College Graduate work in Art History: Renaissance and Baroque 1970-1972 University of Miami, Florida M.A. 1970 Major: Art History, Renaissance; Minors: Aesthetics and Studio/Ceramics University of Miami, Florida B.S. 1968 Majors: Philosophy and Psychology; Minor: Art History Teaching Experience 1985-Present Professor of Art History, University of Massachusetts Lowell 1990-Present Affiliated Professor of Art History, Manchester University, GB 2000-2002 Visiting Professor of Art History, Suffolk University, Boston 1996-2000 Visiting Professor of Art History, UMASS Dartmouth 1996-1998 Visiting Professor of Art History, UMASS Amherst 1995-1997 Visiting Professor of Art History, Simmons College 1985-1982 Associate Professor of Art History, University of Lowell 1979-1995 Visiting Professor of Art History, Emmanuel College 1979-1986 Visiting Professor of Art History, York University (Canada) Summer Institute in Florence 1976-1982 Assistant Professor of Art History, University of Lowell 1974-1975 Assistant Professor of Art History, Framingham College 1974-1976 Instructor of Art History, University of Lowell 1973-1974 Instructor of Art History, Boston College 1971-1973 Teaching Fellowship in Art History, Boston University 1971-1972 Instructor of Art History, Massasoit Community College 1971-1972 Assistant Professor of Art History, Bridgewater State College 1970-1971 Lecturer at the Isabella Stewart Gardner Museum 1969-1970 Teaching Assistantship in Art History, University of Miami, Florida COURSES TAUGHT: Art History Courses Art Appreciation, History of Art I and II, History of Architecture, Ancient Art, Greek and Roman Art, Medieval Art, Italian Renaissance, Northern Renaissance, Venetian Renaissance, High Renaissance, Leonardo and Michelangelo, Italian Mannerism, Italian Baroque Art, Northern Baroque Art, French Rococo, American Art, Nineteenth Century Art, Pre-Raphaelite Art, History of Photography, Twentieth Century Art, Post-Modernism, Women in Art, Art, Science and Technology, Mexican Muralists, Art History and Film, Art, Music and Culture, Museum Issues, Theater and the Arts, Critical Issues in Art History, and various Art History Seminars and Directed Studies in Classical Art, Medieval Art, Italian and Northern Renaissance, Mannerism, Baroque Art, Pre-Raphaelite Art, Modern Art, Women Artists, Art History and Film, Museum Studies, History of Photography and History of Graphics. COURSES TAUGHT: Humanities, Interdisciplinary, Distance Learning. Videoconferencing, Interactive TV, OnLine, Cyber/Ed and Language Courses Interdisciplinary: Western Cultural Heritage I and II (Cultural Studies I and II), Ancient Greek Culture, Italian Sixteenth Century, Seventeenth Century Culture, Art, Science and Technology, Biblical Themes in Italian Renaissance Art, Comparative Arts (Looking at Paintings and Listening to Music), Mexican Art and Culture, Theater in the Visual Arts, Art, Music and Culture, Art History and Film, and Museum Issues. Distance Learning, Website, Online and Cyber/Ed Teaching in Art History: Art Appreciation, History of Art I and History of Art II, Italian Renaissance, Italian Mannerism, Italian Baroque, Northern Baroque, Pre-Raphaelite Art, Greek and Roman Art, Women and Art, Art History, Music and Culture, Northern Renaissance Art, and Art History and Film. Languages: Italian Language and Culture I and II. PUBLICATIONS – Books Edward Burne-Jones' Mythological Themes. London/New York:Peter Lang (forthcoming 2012). 2 Readings in Italian Mannerism II: Architecture and Sculpture. Author and editor. London: Peter Lang Press forthcoming 2012) Giorgio Vasari: The Prefaces: Art and Theory (London: Peter Lang, 2012). Giorgio Vasari: Artistic and Emblematic Manifestations (Washington, DC: New Academia, 2011). Giorgio Vasari’s Life and Lives, A Homage of Einar Rud (Washington, DC: New Academia, 2011). Giorgio Vasari: pennello, pluma e ardore, Liana De Girolami Cheney, Joanna Wolanska and Joseph Grabski, eds. in Artibus et Historiae, Special Edition (2011) Le Dimore di Giorgio Vasari (London: Peter Lang, 2011) Self -Portraits of Women Painters. Washington, DC: New Academia, 2009. Giuseppe Arcimboldo: Magical Paintings. Paris: Parkstone Press International, 2008. Giorgio Vasari’s Teachers: Sacred and Profane Art. London: Peter Lang Publishers, 2007. The Homes of Giorgio Vasari. London: Peter Lang Publishers, 2006. Neoplatonic Aesthetics: Music, Literature and the Visual Arts. Author and editor London: Peter Lang, 2004. Women Artists: “The Most Excellent Women Artists.” Author and editor. 2 vols New York: The Edwin Mellen Press, 2003. Neoplatonism in the Arts. Author and editor New York: The Edwin Mellen Press, 2002. Self -Portraits of Women Painters. London: Ashgate/Scolar Press, 2000. Readings in Italian Mannerism. Author and editor. London: Peter Lang Press, 1997. and revised 2005, paperback edition. Piero della Francesca‟s Treatise on Painting (facsimile). New York: Broude International, 1994. Botticelli's Neoplatonic Images. Maryland: Scripta Humanistica, 1993. Symbolism of 'Vanitas' in the Arts, Literature, and Music. Author and editor, New York: The Edwin Mellen Press, 1993. Medievalism and Pre-Raphaelitism. Author and editor. New York: The Edwin Mellen Press, 1993. Andrea del Verrocchio’s Celebration: 1435-1488. Author and editor. Rocky Mountains, Arizona: Italian Echoes, 1990. Whistler and His Birthplace, Lowell: P&J Company, 1988 (with Edith Burger). Whistler Papers. Lowell: P &J Company, 1986 (with Paul Marks). The Paintings of the Casa Vasari. New York: Garland Publishing Company, 1985. Quattrocento Neoplatonism and Medici Humanism in Botticelli’s Mythological Paintings. Maryland: University Press of America, 1985. Religious Architecture of Lowell, 2 vols. Lowell: Landmark Publishers, 1984. PUBLICATIONS – Articles “John White Alexander‟s Isabella Pot of Basil,” in The Review of the Pre-Raphaelites, Vol 18, Autumn 2010, pp. 19-38. “ Giorgio Vasari‟s Fine Arts: Neoplatonic Imagination, Invention and Creativity,” in Berthold Hulb, Iconology: Neoplatonism and Art in the Renaissance – Perspectives and Contexts of a (Controversial) Alliance (Vienna: University of Vienna, forthcoming 2012). 3 “Il Corridoio Vasariano: A Resplendent Passage to Medici and Vasari‟s Grandeur,” in Paul Emmons, John Hendrix, Jane Lomholt, eds. The Cultural Role of Architecture (Abingdon, UK: Taylor and Francis/Routledge, 2012) “Edward Burne-Jones: Allegories of Love and Music,” Margaret Hanni, ed., in Festschrift for Professor Alicia Faxon (Washington, DC: New Academia, forthcoming 2012) “Belleza Neoplatónica en las pinturas mitológicas Italianas en el Museo del Prado: del renacimiento al barrocco,” in Los dioses cautivos: Mitología en el Museo del Prado (Madrid: Prado Publicaciones, 2011) “Giorgio Vasari: Il Trasporto di Cristo,” in Artibus et Historiae (forthcoming 2011). “Leonardo da Vinci‟s Annunciation: The Holy Spirit,” in Artibus et Historiae (2011). “Giovanni Segantini‟s Nirvana Cycle: Symbol of Luxuria and Vanitas” in Rosina Neginsky, ed. Symbolism, Its Origins and Its Consequences (Cambridge: Cambridge University Press, 2010). “Giorgio Vasari: Homeowner and Collector,” in David Cast, ed. Compendium on Giorgio Vasari (London: Ashgate Publishers, forthcoming 2011) “Giorgio Vasari‟s Offertory at Cortona,” in Lilian Zirpolo, ed. Anthology of Chapels, Trenton, NJ: WAPACC Press (2011) “ Giorgio Vasari‟s Incredulity of Saint Thomas,” Julie Codell, ed., Festschrift for Helene Roberts on Iconology in Visual Resources, 2011, pp. Giorgio Vasari‟s Portrait of Lorenzo the Magnificent,” in Iconocrazia, eds. Giuseppe Cascione e Donato Mansueto (Bari: University of Bari, 2010), 151-193. “Giorgio Vasari‟s Sala degli Elementi: The Symbolism of Water,” in Discovery (2009), 1-10. “Cappella degli Artisti: Montorsoli‟s Marble Plaque,” in The Historian‟s Eye: Essays n Italian Art in Honor of Andrew Ladis, ed. Hayden B. J. Maginnis and Shelley E. Zuraw (Athens, GA: Georgia Museum of Art, 2009), 215-23 “Leonardo da Vinci‟s Annunciation: Theory of Vision,” in John Hendrix, ed., Renaissance Theory of Visions (London: Ashgate Publishers, 2010), 50-61. “Giorgio Vasari‟s Allegory of Prudence: Mirroring Alciato and Valeriano‟s Emblems,” Emblem Studies, Vol. 7 (2009), 26-37. “Giorgio Vasari‟s and Cesare Ripa‟s Iconologia: The Chamber of Fortune‟s Allegories of Virtues in the Casa Vasari,” in Exploration in Renaissance Culture (Summer 2008), 35-45. “Francesco Colonna‟s Hypnerotomachia Poliphili: A Tale of Neoplatonic Love,” in Donato Mansueto, ed. The Glasgow Emblem Studies (Glasgow: Glasgow University Press, 2008), 47-56. “Bronzino's Pygmalion and Galatea: l‟antica bella maniera,” in Discovery Journal (2006), 5-10. “Luisa Ignacia Roldán, La Roldana: Newly Discovered Sculptures,” in The Journal of Mediterranean Studies (Spring 2006), 148-68. “Accademia della Crusca: arte and imprese,” in International Journal of the Humanities (2005), 25-35. “Giorgio Vasari‟s Studio, Diligenza ed Amorevole Fatica,” in Reading Vasari, eds. A. Barriualt, et.al (London: Philip Wilson, 2004), 259-77. “Francesco Colonna‟s Garden
Load more

Recommended publications
  • Marzo - Aprile 2021 PROGRAMMA DELLE PROPOSTE CULTURALI Marzo - Aprile 2021 RIEPILOGO DELLE PROPOSTE CULTURALI
    marzo - aprile 2021 PROGRAMMA DELLE PROPOSTE CULTURALI marzo - aprile 2021 RIEPILOGO DELLE PROPOSTE CULTURALI CONFERENZE - PRESENTAZIONI 2 marzo Artisti/collezionisti tra Cinquecento e Settecento 9 marzo Le donne nell’architettura tra XX e XXI secolo 16 marzo Dante fra arte e poesia 23 marzo La rivincita delle artiste nella pittura del ‘600 - parte II 30 marzo Il “mio”Arturo 6 aprile Arte al tempo di Dante: “Ora ha Giotto il grido!” 20 aprile La lettera di Raffaello a Leone X: nasce la moderna concezione di conservazione dei beni culturali PALAZZI, MUSEI E SITI ARTISTICO/ARCHITETTONICI 11 marzo Il Cimitero Monumentale VISITE A CHIESE 4 marzo Santa Maria Beltrade: Deco’, ma non si direbbe 15 marzo San Marco 24 marzo Chiesa e museo di San Fedele 26 aprile San Francesco al Fopponino VISITE A MOSTRE 10 marzo “Tiepolo. Venezia, Milano, l’Europa” alle Gallerie d’Italia 31 marzo Carla Accardi, una donna come tante, al Museo del ‘900 7 aprile Robot al Mudec: scienza, tecnica, arte, antropologia 14 aprile “Tiepolo. Venezia, Milano, l’Europa” alle Gallerie d’Italia 16 aprile Le Signore del Barocco a Palazzo Reale in copertina: Domenico di Michelino, affresco, 1465, cattedrale di Santa Maria del Fiore - Firenze 2 ITINERARI D’ARTE 18 marzo Dal teatro Dal Verme alla chiesa di Santa Maria alla Porta 22 marzo Una passeggiata lungo le mura spagnole 29 marzo I segreti della Via Moscova e dintorni 12 aprile Nuovi Arrivi tra Piazza Liberty/Piazza Cordusio/via Brisa: la città che cambia 13 aprile Dal Carrobbio alla Darsena, le porte “Ticinesi” e la Milano nei secoli 22 aprile Da piazza della Scala a piazza Belgioioso 27 aprile La lunga storia del Portello ed il nuovo parco Programma elaborato dal team degli Storici dell’Associazione, coordinati dal dott.
    [Show full text]
  • Janson. History of Art. Chapter 16: The
    16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists.
    [Show full text]
  • Press Release
    FOR IMMEDIATE RELEASE Lund Humphries and Getty Publications to collaborate on a groundbreaking new book series highlighting the careers and achievements of women artists LONDON AND LOS ANGELES—Lund Humphries and Getty Publications are pleased to announce the joint publication of the first volumes in the Illuminating Women Artists series. This series of beautifully illustrated books is the first to focus in a deliberate and sustained way on women artists throughout history, to recognize their accomplishments, to revive their name recognition, and to make their works better known to art enthusiasts of the 21st century. The Illuminating Women Artists series launches at a critical moment in our culture. It is a significant contribution to a movement underway—among scholars, museums, art dealers and collectors, and the wider world of cultural heritage—to re-assess the contributions of women artists. The first sub- series focuses on artists from the Renaissance and Baroque periods. The initial volume in the series, by Catherine Hall-van den Elsen, presents the first overview in English of the life and work of Luisa Roldán (1652–1706), a prolific and celebrated sculptor of the Spanish Golden Age. The book, due for publication in September 2021, is replete with invaluable insights into Roldán’s technical innovations and artistic achievements, and it includes a list of all known extant works by the artist. It will be followed in February 2022 by a volume featuring the Italian Baroque painter Artemisia Gentileschi (1593–c.1654), who was recently celebrated in a solo exhibition at London’s National Gallery. Through the lens of cutting-edge scholarship, recent archival discoveries, and new painting attributions, author Sheila Barker offers an engaging overview of Gentileschi’s dramatic and exceptional life story, as well as her enterprising and original engagement with emerging feminist notions of the value and dignity of womanhood.
    [Show full text]
  • RAFFAELLO SANZIO Una Mostra Impossibile
    RAFFAELLO SANZIO Una Mostra Impossibile «... non fu superato in nulla, e sembra radunare in sé tutte le buone qualità degli antichi». Così si esprime, a proposito di Raffaello Sanzio, G.P. Bellori – tra i più convinti ammiratori dell’artista nel ’600 –, un giudizio indicativo dell’incontrastata preminenza ormai riconosciuta al classicismo raffaellesco. Nato a Urbino (1483) da Giovanni Santi, Raffaello entra nella bottega di Pietro Perugino in anni imprecisati. L’intera produzione d’esordio è all’insegna di quell’incontro: basti osservare i frammenti della Pala di San Nicola da Tolentino (Città di Castello, 1500) o dell’Incoronazione di Maria (Città del Vaticano, Pinacoteca Vaticana, 1503). Due cartoni accreditano, ad avvio del ’500, il coinvolgimento nella decorazione della Libreria Piccolomini (Duomo di Siena). Lo Sposalizio della Vergine (Milano, Pinacoteca di Brera, 1504), per San Francesco a Città di Castello (Milano, Pinacoteca di Brera), segna un decisivo passo di avanzamento verso la definizione dello stile maturo del Sanzio. Il soggiorno a Firenze (1504-08) innesca un’accelerazione a tale processo, favorita dalla conoscenza dei tra- guardi di Leonardo e Michelangelo: lo attestano la serie di Madonne con il Bambino, i ritratti e le pale d’altare. Rimonta al 1508 il trasferimento a Roma, dove Raffaello è ingaggiato da Giulio II per adornarne l’appartamento nei Palazzi Vaticani. Nella prima Stanza (Segnatura) l’urbinate opera in autonomia, mentre nella seconda (Eliodoro) e, ancor più, nella terza (Incendio di Borgo) è affiancato da collaboratori, assoluti responsabili dell’ultima (Costantino). Il linguaggio raffaellesco, inglobando ora sollecitazioni da Michelangelo e dal mondo veneto, assume accenti rilevantissimi, grazie anche allo studio dell’arte antica.
    [Show full text]
  • Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6’ x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS Copyrighted materials in this document have not been filmed at the request of the author. They are available for consultation at the author’s university library.
    [Show full text]
  • Women and Arts : 75 Quotes
    WOMEN AND ARTS : 75 QUOTES Compiled by Antoni Gelonch-Viladegut For the Gelonch Viladegut Collection website Paris, March 2011 1 SOMMARY A GLOBAL INTRODUCTION 3 A SHORT HISTORY OF WOMEN’S ARTISTS 5 1. The Ancient and Classic periods 5 2. The Medieval Era 6 3. The Renaissance era 7 4. The Baroque era 9 5. The 18th Century 10 6. The 19th Century 12 7. The 20th Century 14 8. Contemporary artists 17 A GENERAL BIBLIOGRAPHY 19 75 QUOTES: WOMEN AND THE ART 21 ( chronological order) THE QUOTES ORDERED BY TOPICS 30 Art’s Definition 31 The Artist and the artist’s work 34 The work of art and the creation process 35 Function and art’s understanding 37 Art and life 39 Adjectives’ art 41 2 A GLOBAL INTRODUCTION In the professional world we often speak about the "glass ceiling" to indicate a situation of not-representation or under-representation of women regarding the general standards presence in posts or roles of responsibility in the profession. This situation is even more marked in the world of the art generally and in the world of the artists in particular. In the art history women’s are not almost present and in the world of the art’s historians no more. With this panorama, the historian of the art Linda Nochlin, in 1971 published an article, in the magazine “Artnews”, releasing the question: "Why are not there great women artists?" Nochlin throws rejects first of all the presupposition of an absence or a quasi-absence of the women in the art history because of a defect of " artistic genius ", but is not either partisan of the feminist position of an invisibility of the women in the works of art history provoked by a sexist way of the discipline.
    [Show full text]
  • Profiling Women in Sixteenth-Century Italian
    BEAUTY, POWER, PROPAGANDA, AND CELEBRATION: PROFILING WOMEN IN SIXTEENTH-CENTURY ITALIAN COMMEMORATIVE MEDALS by CHRISTINE CHIORIAN WOLKEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Edward Olszewski Department of Art History CASE WESTERN RESERVE UNIVERISTY August, 2012 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Christine Chiorian Wolken _______________________________________________________ Doctor of Philosophy Candidate for the __________________________________________ degree*. Edward J. Olszewski (signed) _________________________________________________________ (Chair of the Committee) Catherine Scallen __________________________________________________________________ Jon Seydl __________________________________________________________________ Holly Witchey __________________________________________________________________ April 2, 2012 (date)_______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. 1 To my children, Sofia, Juliet, and Edward 2 Table of Contents List of Images ……………………………………………………………………..….4 Acknowledgements……………………………………………………………...…..12 Abstract……………………………………………………………………………...15 Introduction…………………………………………………………………………16 Chapter 1: Situating Sixteenth-Century Medals of Women: the history, production techniques and stylistic developments in the medal………...44 Chapter 2: Expressing the Link between Beauty and
    [Show full text]
  • Luca Longhi Két Festménye Budapesten
    zöldöli kívül a kendőn renaissance-kori átfestések is vol- fejek sebének eredeti festésének maradványai láthatók. tak. A barna lazúrszerű szín a zöld aláfestés oxidációjának Megjegyzendő, hogy a fej két oldaláról leomló haj csak bizonyult. részben eredeti: a mellkas jobb oldalán a haj csigájából a Az eredeti enyves krétaalapozásra később felhordott legalsó rész hiányzik és ferdén letört a baloldali vállra ve- enyves réteg erősen kötődött az eredeti temperafestékhez, tődő hajtincs. amely finom és vékony. Színe világos rózsaszínű, s átvette Befejezésül hangsúlyoznunk kell a szobor jó kvalitá- az alapozás törésvonalkáit. Ezen a testszínen néhol a kék sát és egyáltalán előkerülésének történeti értékét. Ezzel erek fölfestett maradványai láthatók, amelyek alig ki- a korpusszal a 15. század végi, szepességi származású emelkedően plasztikusak és a végtagok alsó részének faszobrok sora szép darabbal gyarapodott. izomzatán jelennek meg. A sebek sötétvörös, transzpa- rens krapplakkjából elég sok maradt meg. Maria Marga-Spoloéniková A később festett testszínek alig különböznek egymás- tól. Különösen nehéz vállalkozás volt az eredetinél alig száz évvel későbbi temperafestés leválasztása. A barokk idők átfestése jobban igyekezett dinamizálni, naturalisz- JEGYZETEK tikusabbá tenni a korpuszt, hogy a tájdalmak borzalmát 1 Doering — Hurtig: Christliche Symbole, 1940, 33. hangsúlyozza — néhol zöldes-lila foltokkal. 2 J. liakoí : Koncepcie elejin Stredovekého dreveného sochárstva A restaurálás fő feladata az eredeti állapot legalább Slovenska do polovice 15. storocia II. Uinéní: XXVII — 1979 — megközelítő helyreállítása volt. A fa viszonylagosan jó 5- 431- állapotúnak mutatkozott, helyenként a túlságos beszá- 3 Radocsay 1). : A középkori Magyarország faszobrai, Bpcst, radás jeleivel. Szú az alsó részeken okozott károkat. 1967. 199, 162. A faragott részekből hiányoznak: a kezek összes ujjai, 4 Vaculik, K.: Gotické umenic Slovenska, 197.5.
    [Show full text]
  • Classicism and Baroque Allegory in Poussin's
    Pleasure’s Poise: Classicism and Baroque Allegory in Poussin’s ‘Dance to the Music of Time’ ‘Like all artists of his period, Poussin placed great weight on the clarity and legibility of an allegory.’1 Thus the verdict of Otto Grautoff, in his 1914 monograph on Nicolas Poussin (1594–1665), describing speci!cally the artist’s portrayal of earthly transience and vanity, ‘The Dance of Human Life’. Clarity was already a catchphrase in Poussin scholarship in Grautoff’s day, used most often in response to the artist’s technical precision and eye for compositional balance, as if his paintings’ classical symmetry and limpid light indicated a correspondingly lucid meaning. Classical transparency and rationality as an antidote to Baroque convolution and obscurity – this neat formulation breaks down before an intricate allegorical invention like ‘A Dance to the Music of Time’, as ‘The Dance of Human Life’ is now known (Fig. 1).2 Confusion, not clarity, best characterizes the litany of responses to this picture over the last three and a half centuries, and there are no letters or recorded dialogues that shed light on the artist’s intentions or programme. But this confusion is not primarily due to a lack of such sources, or to a growing distance from the time of the picture’s creation. It was there from the very beginning, for central to the painting’s conception is the mystery of life’s liminal stages, in all their persistent changeableness. The work’s resonance derives, and derived, from its resistance to legibility – from the complex circuit of meaning it stages for the viewer.
    [Show full text]
  • Renaissance History Through His Humanist Accomplishments
    3-79 A / /vO.7Y HUMANISM AND THE ARTIST RAPHAEL: A VIEW OF RENAISSANCE HISTORY THROUGH HIS HUMANIST ACCOMPLISHMENTS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of Master of Science By Douglas W. Miller, B.A., M.S. Denton, Texas August, 1991 Miller, Douglas W., Humanism and the Artist Raphael: A View of Renaissance History Through His Humanist Accomplishments. Master of Science (History), August, 1991, 217 pp., 56 illustrations, bibliography, 43 titles. This thesis advances the name of Raphael Santi, the High Renaissance artist, to be included among the famous and highly esteemed Humanists of the Renaissance period. While the artistic creativity of the Renaissance is widely recognized, the creators have traditionally been viewed as mere craftsmen. In the case of Raphael Santi, his skills as a painter have proven to be a timeless medium for the immortalizing of the elevated thinking and turbulent challenges of the time period. His interests outside of painting, including archaeology and architecture, also offer strong testimony of his Humanist background and pursuits. ACKNOWLEDGEMENT I would like to gratefully acknowledge the kind and loving support (and patience) that I have received from my wife and my entire family. Thank you for everything, and I dedicate this thesis to all of you, but especially to the person that most embodies all those humanist qualities this thesis attempts to celebrate and honor. That person is my father. iii TABLE OF CONTENTS LIST OF ILLUSTRATIONS.. ... .. v INTRODUCTION................. CHAPTER I. HUMANISM: THE ESSENCE OF THE RENAISSANCE.
    [Show full text]
  • Download Press Release
    Contents Exhibition Facts Press Release Wall Texts Biography Supporting Program Exhibition Facts Press Conference 28 September 2017 | 10 am Opening 28 September 2017 | 6.30 pm Duration 29 September 2017 to 7 January 2017 Venue Propter Homines Hall Curator Dr Achim Gnann Exhibits 150 Catalogue The catalogue is available for EUR 34,90 in the Albertina’s museum shop and at www.albertina.at Contact Albertinaplatz 1 | A-1010 Vienna T +43 (0)1 534 83 - 0 [email protected] | www.albertina.at Opening hours NEW Daily 10 am – 6 pm Wednesdays & Fridays 10 am – 9 pm Press contact Mag. Verena Dahlitz T +43 (01) 534 83 - 510 | M +43 (0) 699 10981746 [email protected] Mag. Ivana Novoselac-Binder T +43 (01) 534 83 - 514 | M +43 (0)699 12178741 [email protected] Mag. Fiona Sara Schmidt T +43 (01) 534 83 - 511 | M +43 (0)699 12178720 [email protected] Mag. Barbara Walcher T +43 (01) 534 83 - 512 | M +43 (0)699 10981743 [email protected] Presented by Sponsor Partner Mediapartner RAPHAEL 29 September 2017 – 7 January 2018 Together with Leonardo da Vinci and Michelangelo, Raphael completes the triumvirate of Italian Renaissance artists. Moreover, the world-famous drawings of this prematurely deceased master (1483–1520) make him one of art history’s great draftsmen. The Albertina Museum is now paying tribute to Raphael with a major exhibition of 150 paintings and drawings. Starting from the Albertina Museum’s own significant holdings and rounded out by the most beautiful and important drawings from prominent museums such as the Uffizi, the Royal Collection of the British Royal Family, the British Museum, the Louvre, the Vatican Museums, and the Ashmolean Museum, this monographic presentation places Raphael’s thinking and conceptual process front and center: featured works range from initial spontaneous artist’s impressions to virtuosic detail studies, compositional studies, and the completed paintings themselves.
    [Show full text]