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California State University, Northridge
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Palazzo del Te: Art, Power, and Giulio Romano’s Gigantic, yet Subtle, Game in the Age of Charles V and Federico Gonzaga A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Interdisciplinary Studies with emphases in Art History and Political Science By Diana L. Michiulis December 2016 The thesis of Diana L. Michiulis is approved: ___________________________________ _____________________ Dr. Jean-Luc Bordeaux Date ___________________________________ _____________________ Dr. David Leitch Date ___________________________________ _____________________ Dr. Margaret Shiffrar, Chair Date California State University, Northridge ii ACKNOWLEDGEMENTS I would like to convey my deepest, sincere gratitude to my Thesis Committee Chair, Dr. Margaret Shiffrar, for all of her guidance, insights, patience, and encourage- ments. A massive "merci beaucoup" to Dr. Jean-Luc Bordeaux, without whom completion of my Master’s degree thesis would never have been fulfilled. It was through Dr. Bordeaux’s leadership, patience, as well as his tremendous knowledge of Renaissance art, Mannerist art, and museum art collections that I was able to achieve this ultimate goal in spite of numerous obstacles. My most heart-felt, gigantic appreciation to Dr. David Leitch, for his leadership, patience, innovative ideas, vast knowledge of political-theory, as well as political science at the intersection of aesthetic theory. Thank you also to Dr. Owen Doonan, for his amazing assistance with aesthetic theory and classical mythology. I am very grateful as well to Dr. Mario Ontiveros, for his advice, passion, and incredible knowledge of political art and art theory. And many thanks to Dr. Peri Klemm, for her counsel and spectacular help with the role of "spectacle" in art history. -
Rethinking Savoldo's Magdalenes
Rethinking Savoldo’s Magdalenes: A “Muddle of the Maries”?1 Charlotte Nichols The luminously veiled women in Giovanni Gerolamo Savoldo’s four Magdalene paintings—one of which resides at the Getty Museum—have consistently been identified by scholars as Mary Magdalene near Christ’s tomb on Easter morning. Yet these physically and emotionally self- contained figures are atypical representations of her in the early Cinquecento, when she is most often seen either as an exuberant observer of the Resurrection in scenes of the Noli me tangere or as a worldly penitent in half-length. A reconsideration of the pictures in connection with myriad early Christian, Byzantine, and Italian accounts of the Passion and devotional imagery suggests that Savoldo responded in an inventive way to a millennium-old discussion about the roles of the Virgin Mary and Mary Magdalene as the first witnesses of the risen Christ. The design, color, and positioning of the veil, which dominates the painted surface of the respective Magdalenes, encode layers of meaning explicated by textual and visual comparison; taken together they allow an alternate Marian interpretation of the presumed Magdalene figure’s biblical identity. At the expense of iconic clarity, the painter whom Giorgio Vasari described as “capriccioso e sofistico” appears to have created a multivalent image precisely in order to communicate the conflicting accounts in sacred and hagiographic texts, as well as the intellectual appeal of deliberately ambiguous, at times aporetic subject matter to northern Italian patrons in the sixteenth century.2 The Magdalenes: description, provenance, and subject The format of Savoldo’s Magdalenes is arresting, dominated by a silken waterfall of fabric that communicates both protective enclosure and luxuriant tactility (Figs. -
Cna85b2317313.Pdf
THE PAINTERS OF THE SCHOOL OF FERRARA BY EDMUND G. .GARDNER, M.A. AUTHOR OF "DUKES AND POETS IN FERRARA" "SAINT CATHERINE OF SIENA" ETC LONDON : DUCKWORTH AND CO. NEW YORK : CHARLES SCRIBNER'S SONS I DEDICATE THIS BOOK TO FRANK ROOKE LEY PREFACE Itf the following pages I have attempted to give a brief account of the famous school of painting that originated in Ferrara about the middle of the fifteenth century, and thence not only extended its influence to the other cities that owned the sway of the House of Este, but spread over all Emilia and Romagna, produced Correggio in Parma, and even shared in the making of Raphael at Urbino. Correggio himself is not included : he is too great a figure in Italian art to be treated as merely the member of a local school ; and he has already been the subject of a separate monograph in this series. The classical volumes of Girolamo Baruffaldi are still indispensable to the student of the artistic history of Ferrara. It was, however, Morelli who first revealed the importance and significance of the Perrarese school in the evolution of Italian art ; and, although a few of his conclusions and conjectures have to be abandoned or modified in the light of later researches and dis- coveries, his work must ever remain our starting-point. vii viii PREFACE The indefatigable researches of Signor Adolfo Venturi have covered almost every phase of the subject, and it would be impossible for any writer now treating of Perrarese painting to overstate the debt that he must inevitably owe to him. -
Myth and Prophecy in Juan Ginés De Sepúlveda's Crusading
Bulletin for Spanish and Portuguese Historical Studies Journal of the Association for Spanish and Portuguese Historical Studies Volume 35 | Issue 1 Article 4 2011 Myth and Prophecy in Juan Ginés de Sepúlveda’s Crusading "Exhortación" Luna Nájera Guest Researcher at the Scaliger Institute, [email protected] Follow this and additional works at: https://digitalcommons.asphs.net/bsphs Recommended Citation Nájera, Luna (2011) "Myth and Prophecy in Juan Ginés de Sepúlveda’s Crusading "Exhortación"," Bulletin for Spanish and Portuguese Historical Studies: Vol. 35 : Iss. 1 , Article 4. https://doi.org/10.26431/0739-182X.1008 Available at: https://digitalcommons.asphs.net/bsphs/vol35/iss1/4 This Article is brought to you for free and open access by Association for Spanish and Portuguese Historical Studies. It has been accepted for inclusion in Bulletin for Spanish and Portuguese Historical Studies by an authorized editor of Association for Spanish and Portuguese Historical Studies. For more information, please contact [email protected]. Myth and Prophecy in Juan Ginés de Sepúlveda’s Crusading "Exhortación" Cover Page Footnote I am grateful to Prof. Eva Woods Peiró for sharing her workspace with me while I was doing research for this project during the year I was her colleague at Vassar College. Her supportive collegiality was, and continues to be, invaluable. I am also indebted to the members of Vassar College’s Medieval and Renaissance Faculty Seminar, whose feedback on an earlier version of this article greatly broadened my perspective of Sepúlveda. This article is available in Bulletin for Spanish and Portuguese Historical Studies: https://digitalcommons.asphs.net/bsphs/vol35/ iss1/4 BULLETIN FOR SPANISH AND PORTUGUESE HISTORICAL STUDIES 35:1/December 2010/48-68 Myth and Prophecy in Juan Ginés de Sepúlveda’s Crusading “Exhortación” LUNA NÁJERA Leiden University, Scaliger Institute The Spanish humanist Juan Ginés de Sepúlveda (ca. -
University of Florida Thesis Or Dissertation Formatting Template
THE IDEAL OF THE REAL: MID-VICTORIAN REPRESENTATIONS OF THE ARTIST AND THE INVENTION OF REALISM By DANIEL SCHULTZ BROWN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Daniel Schultz Brown 2 To my advisor, Pamela Gilbert: for tireless patience, steadfast support and gentle guidance 3 TABLE OF CONTENTS page LIST OF FIGURES .......................................................................................................... 6 ABSTRACT ..................................................................................................................... 7 CHAPTER 1 INTRODUCTION .................................................................................................... 11 History of Realism ................................................................................................... 14 Overview of Critical Literature ................................................................................. 21 Chapter Overview ................................................................................................... 34 2 “LESS EASILY DEFINED THAN APPREHENDED”: MID-VICTORAIN THEORIES OF REALISM ....................................................................................... 41 John Ruskin ............................................................................................................ 45 George Henry Lewes ............................................................................................. -
The Un Vers Ty Pr
THE UNVERS TY PR NTS 19 IS S UE NO V. 1 . 10 S UP E R S E D I N G A L L P RE VI O US C ATALOGUE S BU R E A U O F UNI VE R S I T ' Y T R AVE L I N B M C H U E T TR ITY P LAC E O STO N. ASSA S T S P oints to be noted in ordering The University P rints P LEASE READ C AREFULLY T his cat al ogue contains a complete list of all the reproductions we T he price of the p rints is one c ent each or eighty cents per hundred. i t ith t he acc an in hand Complete set s of 5 00 pr n s w omp y g book, ' S cial disc nt ofiered sch s or H andbooks separately, pe ou to ool it cl ubs ordering in qu ant y. E ach rie is ish d in nd f r sam st as O lin s and se s publ e bou o m, e yle ut e H and for li rar use. P ric er l the sa as for book, b y e p vo ume, me i unbound ser es. No order for less t han t wenty-five prints will be sent u nless with other goods. A n rd r l an is ncl d it h er a u o e b k e ose w ev y catal ogue . -
The Corsini Collection: a Window on Renaissance Florence Exhibition Labels
The Corsini Collection: A Window on Renaissance Florence Exhibition labels © Auckland Art Gallery Toi o Tāmaki, 2017 Reproduction in part or in whole of this document is prohibited without express written permission. The Corsini Family Members of the Corsini family settled in Florence in the middle of the 13th century, attaining leading roles in government, the law, trade and banking. During that time, the Republic of Florence became one of the mercantile and financial centres in the Western world. Along with other leading families, the Corsini name was interwoven with that of the powerful Medici until 1737, when the Medici line came to an end. The Corsini family can also claim illustrious members within the Catholic Church, including their family saint, Andrea Corsini, three cardinals and Pope Clement XII. Filippo Corsini was created Count Palatine in 1371 by the Emperor Charles IV, and in 1348 Tommaso Corsini encouraged the foundation of the Studio Fiorentino, the University of Florence. The family’s history is interwoven with that of the city and its citizens‚ politically, culturally and intellectually. Between 1650 and 1728, the family constructed what is the principal baroque edifice in the city, and their remarkable collection of Renaissance and Baroque art remains on display in Palazzo Corsini today. The Corsini Collection: A Window on Renaissance Florence paints a rare glimpse of family life and loyalties, their devotion to the city, and their place within Florence’s magnificent cultural heritage. Auckland Art Gallery Toi o Tāmaki is delighted that the Corsini family have generously allowed some of their treasures to travel so far from home. -
Santa Maria Del Popolo Piazza Del Popolo Metro Station: Flaminio, Line a 7 AM – 12 PM (Closed Sunday) 4 PM – 7 PM (Closed Sunday)
Santa Maria del Popolo Piazza del Popolo Metro station: Flaminio, line A 7 AM – 12 PM (Closed Sunday) 4 PM – 7 PM (Closed Sunday) Sculpture of Habakkuk and the Angel by Bernini (after 1652) in the Chigi Chapel Crucifixion of St. Peter (1600-01) by Caravaggio in the Cerasi Chapel. Baroque facade added by Bernini in 1600 Standing on the Piazza del Popolo, near the northern gate of the Aurelian Wall, the Basilica of Santa Maria del Popolo is a small temple with a splendid Renaissance decoration in its interior. In its interior Santa Maria del Popolo’s decoration is unlike any other church in Rome. The ceiling, less high than most built during the same period, is practically bare, while the decoration of each of the small chapels is especially remarkable. Among the beautiful art work found in the church, it is worth highlighting the Chapel Cerasi, which houses two canvases by Caravaggio from 1600, and the Chapel Chigi, built and decorated by Raphael. If you look closely at the wooden benches, you’ll be able to see inscriptions with the names of the people the benches are dedicated to. This custom is also found in a lot of English speaking countries like Scotland or Edinburgh, where the families of the person deceased buy urban furniture in their honour. ******************************************** Located next to the northern gate of Rome on the elegant Piazza del Popolo, the 15th-century Santa Maria del Popolo is famed for its wealth of Renaissance art. Its walls and ceilings are decorated with paintings by some of the greatest artists ever to work in Rome: Pinturicchio, Raphael, Carracci, Caravaggio and Bernini. -
Sebastiano Del Piombo and His Collaboration with Michelangelo: Distance and Proximity to the Divine in Catholic Reformation Rome
SEBASTIANO DEL PIOMBO AND HIS COLLABORATION WITH MICHELANGELO: DISTANCE AND PROXIMITY TO THE DIVINE IN CATHOLIC REFORMATION ROME by Marsha Libina A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland April, 2015 © 2015 Marsha Libina All Rights Reserved Abstract This dissertation is structured around seven paintings that mark decisive moments in Sebastiano del Piombo’s Roman career (1511-47) and his collaboration with Michelangelo. Scholarship on Sebastiano’s collaborative works with Michelangelo typically concentrates on the artists’ division of labor and explains the works as a reconciliation of Venetian colorito (coloring) and Tuscan disegno (design). Consequently, discourses of interregional rivalry, center and periphery, and the normativity of the Roman High Renaissance become the overriding terms in which Sebastiano’s work is discussed. What has been overlooked is Sebastiano’s own visual intelligence, his active rather than passive use of Michelangelo’s skills, and the novelty of his works, made in response to reform currents of the early sixteenth century. This study investigates the significance behind Sebastiano’s repeating, slowing down, and narrowing in on the figure of Christ in his Roman works. The dissertation begins by addressing Sebastiano’s use of Michelangelo’s drawings as catalysts for his own inventions, demonstrating his investment in collaboration and strategies of citation as tools for artistic image-making. Focusing on Sebastiano’s reinvention of his partner’s drawings, it then looks at the ways in which the artist engaged with the central debates of the Catholic Reformation – debates on the Church’s mediation of the divine, the role of the individual in the path to personal salvation, and the increasingly problematic distance between the layperson and God. -
The Evolution of Landscape in Venetian Painting, 1475-1525
THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters. -
How Slaves Used Northern Seaports' Maritime Industry to Escape And
Eastern Illinois University The Keep Faculty Research & Creative Activity History May 2008 Ports of Slavery, Ports of Freedom: How Slaves Used Northern Seaports’ Maritime Industry To Escape and Create Trans-Atlantic Identities, 1713-1783 Charles Foy Eastern Illinois University, [email protected] Follow this and additional works at: http://thekeep.eiu.edu/history_fac Part of the United States History Commons Recommended Citation Foy, Charles, "Ports of Slavery, Ports of Freedom: How Slaves Used Northern Seaports’ Maritime Industry To Escape and Create Trans-Atlantic Identities, 1713-1783" (2008). Faculty Research & Creative Activity. 7. http://thekeep.eiu.edu/history_fac/7 This Article is brought to you for free and open access by the History at The Keep. It has been accepted for inclusion in Faculty Research & Creative Activity by an authorized administrator of The Keep. For more information, please contact [email protected]. © Charles R. Foy 2008 All rights reserved PORTS OF SLAVERY, PORTS OF FREEDOM: HOW SLAVES USED NORTHERN SEAPORTS’ MARITIME INDUSTRY TO ESCAPE AND CREATE TRANS-ATLANTIC IDENTITIES, 1713-1783 By Charles R. Foy A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Graduate Program in History written under the direction of Dr. Jan Ellen Lewis and approved by ______________________ ______________________ ______________________ ______________________ ______________________ New Brunswick, New Jersey May, 2008 ABSTRACT OF THE DISSERTATION PORTS OF SLAVERY, PORTS OF FREEDOM: HOW SLAVES USED NORTHERN SEAPORTS’ MARITIME INDUSTRY TO ESCAPE AND CREATE TRANS-ATLANTIC IDENTIES, 1713-1783 By Charles R. Foy This dissertAtion exAmines and reconstructs the lives of fugitive slAves who used the mAritime industries in New York, PhilAdelphiA and Newport to achieve freedom. -
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