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The Magic of Donatello Andrew Butterfield
The Magic of Donatello Andrew Butterfield Sculpture in the Age of Donatello: smith Lorenzo Ghiberti, and another Renaissance Masterpieces from young Florentine goldsmith, Filippo Florence Cathedral Brunelleschi—the future architect— an exhibition at the Museum of came in second. A new era in the his- Biblical Art, New York City, tory of art had begun. February 20–June 14, 2015. Like all revolutions, the transfor- Catalog of the exhibition edited by mation of the arts in early-fifteenth- Timothy Verdon and Daniel M. Zolli. century Florence can never be fully Museum of Biblical Art/Giles, explained; at best we can only identify 200 pp., $49.95 some contributing causes. Stimulated in part by the city’s soaring prosperity The Museum of Biblical Art, lodged and growing hegemony, around 1400 in a relatively small space on Broad- the wealthy merchants who ran Flor- way near Lincoln Center, is now show- ence began to pour unprecedented ing nine sculptures by Donatello, one amounts of cash into new buildings, of the greatest of all Renaissance art- paintings, and sculptures. They were ists. Never before have so many of his proud of the architectural splendor best works been shown together in the of Florence and saw it as a sign of the United States. Antonio Quattrone/Opera di Santa Maria del Fiore, Florence city’s manifest destiny. This attitude Among the works on view is Don- was given voice by Leonardo Bruni, atello’s large sculpture of the Old Tes- who wrote around 1403–1404 in his tament prophet Habakkuk. “Speak, Panegyric to the City of Florence: damn you, speak!” Donatello, we are told, repeatedly shouted at the statue As soon as [visitors] have seen . -
Nanni Di Banco and Donatello: a Comparison Paolo Vaccarino
New Mexico Quarterly Volume 22 | Issue 4 Article 7 1952 Nanni di Banco and Donatello: A Comparison Paolo Vaccarino Follow this and additional works at: https://digitalrepository.unm.edu/nmq Recommended Citation Vaccarino, Paolo. "Nanni di Banco and Donatello: A Comparison." New Mexico Quarterly 22, 4 (1952). https://digitalrepository.unm.edu/nmq/vol22/iss4/7 This Contents is brought to you for free and open access by the University of New Mexico Press at UNM Digital Repository. It has been accepted for inclusion in New Mexico Quarterly by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. r ," ~' Vaccarino: Nanni di Banco and Donatello: A Comparison II l. Paolo VaccaTino NANNI DI BANCO AND I DONATELLO: A COMPARISON 1 <. From the Foreword THE REI S a gap in our knowledge which no scholar has ever tried to fill. It is a gap which owes to the lack ofreal attention paid to the work of Nanni di Banco. To fill it is important not only be came of the fact of his amazing artistry, but because the lack of true familiarity with Nanni and his accomplishments has left a hole where a key should be in our knowledge of Renaissan~e art. The art history of the period has inevitably been somewhat in comprehensible, somewhere lacking in logical development. Without the key figure of Nanni, one is at a loss to explain the development of Donatello on one side and Luca della Robbia on the other; or to fill the gap between Giotto and Masaccio, and trace the history of later painters. -
Contents More Information
Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Table of Contents More information CONTENTS S List of Illustrations page xi List of Contributors xxi Acknowledgments xxiii introduction 1 Francis Ames-Lewis 1 florence, 1300–1600 7 Francis W. Kent 2 florence before the black death 35 Janet Robson 3 the arts in florence after the black death 79 Louise Bourdua 4 republican florence, 1400–1434 119 Adrian W. B. Randolph 5 the florence of cosimo “il vecchio” de’ medici: within and beyond the walls 167 Roger J. Crum 6 art and cultural identity in lorenzo de’ medici’s florence 208 Caroline Elam 7 republican florence and the arts, 1494–1513 252 Jill Burke ix © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Table of Contents More information x CONTENTS 8 florence under the medici pontificates, 1513–1537 290 William E. Wallace 9 cosimoiandthearts 330 Elizabeth Pilliod Bibliography 375 Index 413 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Table of Contents More information ILLUSTRATIONS S Color Plates XI Andrea di Cione (Orcagna), Tabernacle, Color plates follow pages xxiv, 120, and 208. Orsanmichele, Florence I Giotto, Crucifix, Santa Maria Novella, XII Anonymous, Episodes from the Lives of Florence Diana and Actaeon (obverse side of II Giotto, Trial by Fire, Bardi Chapel, Santa wooden tray). -
Terracotta Tableau Sculpture in Italy, 1450-1530
PALPABLE POLITICS AND EMBODIED PASSIONS: TERRACOTTA TABLEAU SCULPTURE IN ITALY, 1450-1530 by Betsy Bennett Purvis A thesis submitted in conformity with the requirements for the degree of Doctorate of Philosophy Department of Art University of Toronto ©Copyright by Betsy Bennett Purvis 2012 Palpable Politics and Embodied Passions: Terracotta Tableau Sculpture in Italy, 1450-1530 Doctorate of Philosophy 2012 Betsy Bennett Purvis Department of Art University of Toronto ABSTRACT Polychrome terracotta tableau sculpture is one of the most unique genres of 15th- century Italian Renaissance sculpture. In particular, Lamentation tableaux by Niccolò dell’Arca and Guido Mazzoni, with their intense sense of realism and expressive pathos, are among the most potent representatives of the Renaissance fascination with life-like imagery and its use as a powerful means of conveying psychologically and emotionally moving narratives. This dissertation examines the versatility of terracotta within the artistic economy of Italian Renaissance sculpture as well as its distinct mimetic qualities and expressive capacities. It casts new light on the historical conditions surrounding the development of the Lamentation tableau and repositions this particular genre of sculpture as a significant form of figurative sculpture, rather than simply an artifact of popular culture. In terms of historical context, this dissertation explores overlooked links between the theme of the Lamentation, the Holy Sepulcher in Jerusalem, codes of chivalric honor and piety, and resurgent crusade rhetoric spurred by the fall of Constantinople in 1453. Reconnected to its religious and political history rooted in medieval forms of Sepulchre devotion, the terracotta Lamentation tableau emerges as a key monument that both ii reflected and directed the cultural and political tensions surrounding East-West relations in later 15th-century Italy. -
Leonardo Da Vinci and the Persistence of Myth Emily Hanson
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 1-1-2012 Inventing the Sculptor: Leonardo da Vinci and the Persistence of Myth Emily Hanson Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Hanson, Emily, "Inventing the Sculptor: Leonardo da Vinci and the Persistence of Myth" (2012). All Theses and Dissertations (ETDs). 765. https://openscholarship.wustl.edu/etd/765 This Thesis is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY Department of Art History & Archaeology INVENTING THE SCULPTOR LEONARDO DA VINCI AND THE PERSISTENCE OF MYTH by Emily Jean Hanson A thesis presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Master of Arts May 2012 Saint Louis, Missouri ACKNOWLEDGEMENTS I wouldn’t be here without the help and encouragement of all the following people. Many thanks to all my friends: art historians, artists, and otherwise, near and far, who have sustained me over countless meals, phone calls, and cappuccini. My sincere gratitude extends to Dr. Wallace for his wise words of guidance, careful attention to my work, and impressive example. I would like to thank Campobello for being a wonderful mentor and friend, and for letting me persuade her to drive the nearly ten hours to Syracuse for my first conference, which convinced me that this is the best job in the world. -
Microstructure Imaging of Florentine Stuccoes Through X-Ray Tomography: a New Insight on Ancient Plaster-Making Techniques
Microstructure imaging of Florentine stuccoes through x-Ray tomography: a new insight on ancient plaster-making techniques Authors: Florian BEAUGNON a,b,c Gianluca GARIANI a,b,d,e Emmanuelle GOUILLART c Anne BOUQUILLONa,b Marc BORMANDf Gilles WALLEZa,b,g Authors affiliations: a Centre de Recherche et de Restauration des Musées de France (C2RMF), Ministère de la Culture et de la Communication, 14, quai François-Mitterrand, 75001 Paris, France b Chimie ParisTech, PSL Research University, CNRS, Institut de Recherche Chimie Paris (IRCP), 75005 Paris, France c Joint Unit CNRS/Saint-Gobain, Surface du Verre et Interfaces (SVI), 39 quai Lucien Lefranc 93303 Aubervilliers, France d Laboratoire de Physicochimie des Polymères et des Interfaces (LPPI), Université de Cergy-Pontoise, 5, mail Gay-Lussac, Neuville-sur-Oise, 95031 Cergy-Pontoise cedex, France e Fondation des Sciences du Patrimoine, LabEX PATRIMA, 33, boulevard du Port, MIR de Neuville, 95011 Cergy-Pontoise, France f Musée du Louvre, 75001 Paris, France g UFR 926, Sorbonne Université, 75005 Paris, France Abstract: Gypsum-based plasters or stuccoes, in spite of their importance and diffusion, received little attention in cultural heritage materials studies. This work introduces a new, non-destructive methodology, using micro-tomography to measure the water/plaster ratio and the morphology of the hemihydrate powder used to make plasters on < 1mm3 samples. This methodology give insight in both the raw material (and ultimately provenance) and the technique used to make plaster. The methodology was tested first on mock-up samples of known composition, then in a case study on 13 low-relief cast plaster sculptures from 15th century Florentine artists. -
Donatello, Michelangelo, and Bernini: Their
DONATELLO, MICHELANGELO, AND BERNINI: THEIR UNDERSTANDING OF ANTIQUITY AND ITS INFLUENCE ON THE REPRESENTATION OF DAVID by Kathryn Sanders Department of Art and Art History April 7, 2020 A thesis submitted to the Honors Council of the University of the Colorado Dr. Robert Nauman honors council representative, department of Art and Art History Dr. Fernando Loffredo thesis advisor, department of Art and Art History Dr. Sarah James committee member, department of Classics TABLE OF CONTENTS INTRODUCTION…………………………………………………..……………….……………1 Chapter I: The Davids…………………………………………………..…………………5 Chapter II: Antiquity and David…………………………………………………………21 CONCLUSION………………...………………………………………………………………...40 BIBLIOGRAPHY………………………………………………………………………………..58 LIST OF FIGURES Figure 1: Donatello, David, 1430s……………………………………………………………….43 Figure 2: Michelangelo, David, 1504……………………………………………………………44 Figure 3: Bernini, David, 1624…………………………………………………………………..45 Figure 4: Donatello, David, 1408-1409………………………………………………………….46 Figure 5: Taddeo Gaddi, David, 1330…………………………………………………………...47 Figure 6: Donatello, Saint Mark, 1411…………………………………………………………..48 Figure 7: Andrea del Verrocchio, David, 1473-1475……………………………………………49 Figure 8: Bernini, Monsignor Montoya, 1621-1622……………………………………………..50 Figure 9: Bernini, Damned Soul, 1619…………………………………………………………..51 Figure 10: Annibale Carracci, Polyphemus and Acis, 1595-1605……………………………….52 Figure 11: Anavysos Kouros, 530 BCE………………………………………………………….53 Figure 12: Polykleitos, Doryphoros, 450-440 BCE……………………………………………..54 Figure 13: Praxiteles, Hermes and Dionysus, 350-330 BCE…………………………………….55 Figure 14: Myron, Discobolus, 460-450 BCE…………………………………………………...56 Figure 15: Agasias, Borghese Gladiator, 101 BCE……………………………………………...57 Introduction “And there came out from the camp of the Philistines a champion named Goliath, of Gath, whose height was six cubits and a span. He had a helmet of bronze on his head, and he was armed with a coat of mail; the weight of the coat was five thousand shekels of bronze. -
Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494
ABSTRACT Title of Dissertation: KING OF THE RENAISSANCE: ART AND POLITICS AT THE NEAPOLITAN COURT OF FERRANTE I, 1458-1494 Nicole Riesenberger, Doctor of Philosophy, 2016 Dissertation directed by: Professor Meredith J. Gill, Department of Art History and Archaeology In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture. -
Vasari's Vite and Italian Artists in Sixteenth-Century England
Vasari’s Vite and Italian artists in sixteenth-century England Cinzia Maria Sicca Figure 1 Giorgio Vasari, Le vite de’ più eccellenti pittori, scultori et architettori . (Florence, 1568). References to works of art or individuals traveling to England are found in Vasari’s lives of Benedetto da Maiano, Pietro Torrigiani, Benedetto da Rovezzano, Girolamo da Treviso, Rosso Fiorentino, Perino del Vaga, Baccio Bandinelli, Bastiano ‘Aristotile’ da Sangallo, the brothers Davit and Benedetto del Ghirlandaio and their nephew Ridolfo (son of Domenico), Giovan Francesco Penni (il Fattore), as well as in a final, miscellaneous section in the Giuntina edition of 1568 entitled ‘Di diversi artefici Italiani’ (Of several different Italian artists). (Figure 1) This selection is striking for the density of Tuscan artists who, with the only exception of Girolamo da Treviso, appear to have dominated the flux of artistic exchange between the two countries during the sixteenth century. The exception, however, is no less meaningful since Girolamo’s complicated career took him to Venice, Bologna, Rome and Mantua making him a vehicle for the transmission of the highly experimental style that had been incubating in this latter city. The migration of artists to England, as well as to other European countries, is discussed by Vasari within the general framework of a far-ranging view of the Journal of Art Historiography Number 9 December 2013 Cinzia Maria Sicca Vasari’s Vite and Italian artists in sixteenth- century England movement of art through time and space, and serves the ultimate purpose of demonstrating the superiority of central Italian art. Writing about artists who had left their motherland and settled anywhere in Europe was, however, hugely problematic for Vasari who had no direct knowledge of the works produced abroad and was thus unable to discuss them in any detail. -
Lives of the Most Eminent Painters Sculptors and Architects
Lives of the Most Eminent Painters Sculptors and Architects Giorgio Vasari Lives of the Most Eminent Painters Sculptors and Architects Table of Contents Lives of the Most Eminent Painters Sculptors and Architects.......................................................................1 Giorgio Vasari..........................................................................................................................................2 LIFE OF FILIPPO LIPPI, CALLED FILIPPINO...................................................................................9 BERNARDINO PINTURICCHIO........................................................................................................13 LIFE OF BERNARDINO PINTURICCHIO.........................................................................................14 FRANCESCO FRANCIA.....................................................................................................................17 LIFE OF FRANCESCO FRANCIA......................................................................................................18 PIETRO PERUGINO............................................................................................................................22 LIFE OF PIETRO PERUGINO.............................................................................................................23 VITTORE SCARPACCIA (CARPACCIO), AND OTHER VENETIAN AND LOMBARD PAINTERS...........................................................................................................................................31 -
Is Leonardo Da Vinci's Only Sculpture in the Victoria and Albert
AiA Art News-service Is Leonardo da Vinci's only sculpture in the Victoria and Albert Museum? Italian scholar says terracotta statuette, currently attributed to Antonio Rossellino, is actually by the 15th- century master GARETH HARRIS 8th February 2019 11:30 GMT The Virgin with the laughing Child (around 1465) in the V&A collection is currently attributed to Antonio Rossellino © Victoria and Albert Museum A terracotta statuette due to go on show in Florence next month has been attributed to Leonardo da Vinci, making the work the only existing sculpture by the 16th-century master. The Virgin with the Laughing Child, which belongs to the Victoria and Albert Museum in London (V&A), has been attributed to Leonardo by Francesco Caglioti, an art history professor at the University Federico II of Naples. The newly attributed work is due to go on show in the first retrospective dedicated to Leonardo’s mentor, the Florentine Renaissance artist Andrea del Verrocchio (1435-88) which opens at the Palazzo Strozzi next month (Verrochio, Master of Leonardo, 9 March-14 July). The exhibition, co- curated by Caglioti and Andrea De Marchi, will travel to the National Gallery of Art in Washington DC (29 September-2 February 2020); a V&A spokeswoman confirmed that the Virgin statuette will not tour however. In an interview in the Italian newspaper La Repubblica, Caglioti says that “there are a thousand details, which dispel any doubts regarding the [new] attribution”. He draws comparisons between the features of St. Anne in Leonardo’s 1503 painting The Virgin and Child with Saint Anne and the Virgin depicted in the sculpture, saying that the smiles on both faces are similar. -
Guide to Mr. Morgan's Study Described Around 1912 As “The
Guide to Mr. Morgan’s Study Described around 1912 as “the most beautiful room in America,” the West Room served as Pierpont Morgan’s private study. As he became less involved with his Wall Street office, he was able to spend an increasing amount of time here. Surrounded by favorite objects from his collections, he received scholars, dealers, and statesmen as well as business colleagues and friends. Morgan also spent long, quiet hours sitting by the fire, smoking his cigar, and playing solitaire. In addition to the Renaissance-inspired furnishings of the room, the art displayed reveals the breadth of his interests and activity as a collector. Ceiling In 1905 the architect Charles McKim purchased the sixteenth-century coffered wooden ceiling, which was shipped to New York in several sections and reassembled to fit the room. It was recently discovered that the two coats of arms decorating the ceiling were painted during the library’s construction by James Wall Finn, based on examples found in a book on Renaissance bookplates owned by Morgan. Walls The original red silk damask wall covering was patterned after those in the Roman palace (now called the Villa Farnesina) of Agostino Chigi, the famed Renaissance banker and patron of the arts. Chigi’s coat of arms, consisting of an eight-pointed star and mountain formation, constitutes the dominant pattern. Morgan’s original wall fabric deteriorated from exposure to pollution and his cigar smoke; the present wall covering is a replica from the renowned Parisian textile house of Scalamandré. Stained Glass Panels The stained glass fragments were incorporated into the windows when the library was built.