Federigo Zuccarfs Expulsion Conviction?
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What Remains of Titan in Le Marche Tiziano Who Is Name in English Is Titian, Is Well Known in England and in Many Countries
What remains of Titan in Le marCHE Tiziano who is name in English is Titian, is well Known in England and in many countries. His canvases have been displayed in many museums because he worked in many countries of Europe and in Le Marche region. Some of his paintings can be seen by cruise passengers in the summer season because the local museum and Saint Domenic church are open in Ancona. In our region there are unsual imagines because they have deep colours. If we didn’t have his pictures we couldn’t explain many things about our artistic culture between mannerism and the Baroque period. In fact artists used to paint their images using light colours such as yellow, white, green ect.. He influenced the style of Federico Zuccari in Spain who was commissioned by Philip II to paint an “Annunciation”. His painting was destroyed by the Imperor due to its deep colours. He had been chosen because of his bright colours. Also Painters were used to paint their subjects on canvas which was made with a herringbone texture. Princes, Popes and Doges were portrayed by Titian. His career is characterized by a lot of artistic experimentation. After a few years in Venice working with Giovanni Bellini, He began to paint with big mastery. Also, He met Giorgione from Castelfranco who renewed the artistic culture in the city of Venice. We can say that Titian was the “true and great” master. In fact, He collaborated with Giorgione at “Fondaco dei Tedeschi a Rialto”. He used to paint with bright colours because it gave dynamism to his style. -
Saint Agatha Red and Black Chalk
Francesco Montelatici, called Cecco Bravo (Florence 1601 - Innsbruck 1661) Saint Agatha Red and black chalk. 249 x 193 mm. (9 3/4 x 7 5/8 in.) The present sheet is a fine and typical example of Cecco Bravo’s manner, characterized by the use of a combination of red and black chalk and a feathery, seemingly insubstantial depiction of form; also typical of the artist is the slightly curved posture of the standing saint. A closely comparable drawing by Cecco Bravo of Saint Bridget of Sweden, also in red and black chalk, is in a private collection in Lisbon, while another stylistically and thematically comparable drawing is a study of Five Martyr Saints in the Louvre. This drawing is unrelated to any surviving painting by the artist. However, it may be noted that in 1655, near the end of his career, Cecco Bravo received a commission for an altarpiece of The Madonna with Saints Mary Magdalene and Catherine of Alexandria for a chapel in the church of San Romano in Pisa, where it remains today. At the same time, he also painted two canvases of standing female saints for the entrance walls of the same chapel; a Saint Lucy and a Saint Agatha, both of which were still in situ in 1887, when they are mentioned in a guide to the church published that year, but are now lost. The present sheet may have been a preparatory study for the latter painting. Artist description: Little is known of the artistic education of Francesco Montelatici, known as Cecco Bravo, apparently on account of his violent temperament. -
Chiappino Vitelli and Federico Zuccari at the Court of Queen Elizabeth I
4 / 2020 The Journal for Renaissance and Early Modern Diplomatic Studies Francesca Mavilla h ttps://orcid.org/0000-0003-2037-8329 PROMOTING AN ARTIST AS AN INTEGRAL PART OF DIPLOMATIC NETWORKING: CHIAPPINO VITELLI AND FEDERICO ZUCCARI AT THE COURT OF QUEEN ELIZABETH I Abstract In the fi eld of study on relations between Italy and Flanders in the second half of the sixteenth century, the military leader Gian Luigi, better known as Chiappino, Vitelli (1520–75) deserves special attention. Trusted man of Cosimo I de’ Medici and maestro di campo generale of the Spanish armies in Flanders since 1567, he was among the protagonists of the fi rst ten years of the Dutch Revolt. Based on the identifi cation of new archival documents, this essay aims both to broaden the sphere of investigation and deepen the understanding of the role of Chiappino in cultural exchanges between Florence, the Habsburg’s and Elizabeth I’s courts. At the same time, it is aimed to draw attention to the political and cultural dynamics in which Chiappino Vitelli’s action towards the English Queen is embedded. From the documents, it clearly emerges how Vitelli took advantage of his role to earn the favour of the sovereign and, in addition to his loyalty, he did not hesitate to off er her the most varied of gifts, such as animals, weapons and artists, such as the painter Federico Zuccari, who reached Flanders in 1574. Zuccari’s sending to the English court should be interpreted as an attempt by the military leader to gain the favour of Elizabeth I when the support of the courts of Florence and Madrid seemed to be lacking, especially after the death of Cosimo de’ Medici and the replacement of the Duke of Alba as governor of Flanders. -
Barocci's Immacolata Within 'Franciscan' Umbria
IAN VERSTEGEN Barocci’s Immacolata within ‘Franciscan’ Umbria Abstract This article addresses the iconography of Federico Barocci's Immaculate Conception by inves- tigating local customs. Seeing Urbino and greater Umbria as a region of semiofficial Franciscan belief makes it is possible to understand how Barocci was able to reflect in a precocious way on this venerable subject. Because the belief in Mary's immaculacy was taken for granted, it was possible for an audience to work with a more abbreviated iconography, which became a model for seventeenth century art. The model of sectarian belief is useful for understanding the uni- versality of counterreformation belief and its enforcement in post-Tridentine Italy. Fig. 1: Federico Barocci, Immaculate Conception, c. 1577, Oil on canvas, Galleria Nazionale delle Marche, Urbino 1. Introduction <1> Rome and province, center-periphery, Catholic rite and local custom, have been at the center of definitions of Catholic reform.1 After exchanging the monolithic “counter-reformation” for a more flexible concept of Catholic reform, historians have sought to define how and when canonical teachings and edicts of the pope were actually observed in Italy. One way to discern regularity without demanding the full uniformity of a classic counter-reformation definition of Catholicism is to study the sectarian beliefs that were allowed to be practiced within those same sects. For example, the powerful Franciscans held to aggressive beliefs about Mary that were contrary to accepted church doctrine yet were allowed to use their own breviary, even after Pius V’s reform of the liturgy. <2> This article examines such a case of regional belief that was allowed to seep even into the met- ropolitan structure of a city – Urbino – where the dogma of the Immaculate Conception was celebrated in the conventual church of San Francesco via Federico Barocci’s precocious paint- ing (Fig. -
An Allegory of Generosity Oil on Canvas 122 X 92.4 Cm (48 X 36 ³/ Inches) Inscribed Lower Right: EST.MODUS.IN.REBUS
Francesco Furini (Florence 1603 - 1646) An Allegory of Generosity oil on canvas 122 x 92.4 cm (48 x 36 ³/ inches) Inscribed lower right: EST.MODUS.IN.REBUS Francesco Furini was a leading Florentine painter of the first half of the 17th century. His father, Filippo, was a portrait painter and his sister Alessandra was also a painter, while another sister, Angelica, was a singer at the court of Cosimo II de’Medici, Grand Duke of Tuscany. He first studied with his father, and then was apprenticed to Domenico Passignano and Giovanni Bilivert. He was enormously fascinated by Classical sculpture and studied it in the Medici collection in Florence. The other great influence on the young artist was Raphael, whose work he studied in Rome when he travelled there in 1619. In Rome he also saw the work of Bartolomeo Manfredi and Giovanni da San Giovanni. There the pervasive influence of Caravaggio and his followers greatly affected the young artist. Having come from the more conservative mannerist atmosphere in Florence, in Rome he was confronted by a new more exuberant Baroque tradition then on the rise in Rome. He returned to Florence by 1624 where he worked with Matteo Rosselli. Perhaps the artistic tension between the differing stylistic currents of the time enabled him to create his own truly unique sfumatotechnique. His many paintings with sensual female nudes reveal both his fascination with the grace of Raphael and the great tradition of Classical sculpture, both of which are reinterpreted through his very focused study of nature. He produced many life studies of female models which reveal a lyrical beauty that he carried over to his painted work as well. -
Master Document Template
Copyright by Claire I. Sumner 2020 The Thesis Committee for Claire I. Sumner Certifies that this is the approved version of the following Thesis: Canonizing Zuccaro: The Early Life of Taddeo Series and the Building of an Artistic Legacy APPROVED BY SUPERVISING COMMITTEE: Louis Alexander Waldman, Supervisor Miroslava Benes Canonizing Zuccaro: The Early Life of Taddeo Series and the Building of an Artistic Legacy by Claire I. Sumner Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin August 2020 Dedication For my parents, without whom I could never have found my passion for art or finished this thesis. Thank you for all your encouragement and support. Acknowledgements This thesis could never have been completed without the generosity and encouragement of generations of historians. Most directly my advisor Dr. Louis Alexander Waldman and my second reader Dr. Miroslava Benes. Their support and advice were invaluable. I must also thank the scholars who generously donated their time and expertise to attend my colloquium: Dr. Jefferey Chipps Smith, Dr. Douglas Biow, Dr. John Clarke, and Christine Zappella. Special thanks to my friend, peer, and roommate Ingrid Kottke who donated her time to act as my scribe during the proceedings and talked me down from numerous intellectual cliffs in the months following. I would also like to acknowledge the importance of the scholars who guided me through my undergraduate years at Randolph College. Dr. Andrea Campbell and Dr. -
Exegesis and Dissimulation in Visual Treatises
Political Art of the Papacy: Visual Representations of the Donation of Constantine in the Early Modern Period by Silvia Tita A dissertation submitted in partial fulfillment on the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2013 Doctoral Committee: Professor Megan L. Holmes, Co-Chair Lecturer Thomas C. Willette, Co-Chair Professor Celeste A. Brusati Professor Louise K. Stein Associate Professor Achim Timmermann © Silvia Tita 2013 Acknowledgments The research period of this project brought me great intellectual joy. This would not have happened without the assistance of many professionals to whom I am much indebted. My deep gratitude to the staffs of the Biblioteca Apostolica Vaticana (with special thanks to Dott. Paolo Vian), the Archivio Segreto Vaticano, the Archivio di Stato Roma, the Biblioteca Angelica, the Biblioteca Casanatense, the Biblioteca Centrale di Roma, the Bibliotheca Hertziana, the Biblioteca di Storia dell'Arte et Archeologia, the Istituto Nazionale per la Grafica in Rome, the Biblioteca Marucelliana in Florence, Bibliothèque Nationale de France in Paris, the Departement des Arts Graphique and the Departement des Objets d'Art of the Louvre. I would also like to thank to the curators of the Kunstkammer Department of the Kunsthistorisches Museum in Vienna, especially to Dr. Konrad Schlegel who generously informed me on the file of the Constantine Cabinet. The project was born and completed as it is in Michigan. I would like to thank all members of my committee. Tom Willette deeply believed in the project and my ideas from the very beginning and offered great advice during our long conversations. -
Illustrations for Dante's Inferno
Cultural and Religious Studies, August 2016, Vol. 4, No. 8, 488-520 doi: 10.17265/2328-2177/2016.08.002 D DAVID PUBLISHING Illustrations for Dante’s Inferno: A Comparative Study of Sandro Botticelli, Giovanni Stradano, and Federico Zuccaro Liana De Girolami Cheney SIEALE, Universidad de Coruña, Spain This essay is twofold: the first part focuses on the interpretation of the concept of Hell in Dante’s Inferno and Italian culture as depicted in Last Judgment scenes such as Giotto’s in the Arena Chapel of Padua; Signorelli’s in the Orvieto Cathedral; and Michelangelo’s in the Sistine Chapel in Rome. The second part deals with the drawing illustrations for the text of Dante’s Divine Comedy composed by the Florentine painters Sandro Botticelli, Giovanni Stradano, and Federico Zuccaro. Here the emphasis is on Dante’s Inferno, which comments upon Neoplatonic personalities, Florentine politics, and current popular art. Comparisons with some of Botticelli’s, Stradano’s, and Zuccaro’s drawing illustrations indicate the assimilation of classical artistic concepts such as Horace’s ut pictura poesis [as is painting so is poetry] as well as Plato’s furor poeticus [poetical inspiration] promoted in the writings of Marsilio Ficino, a Renaissance Neoplatonic philosopher. Keywords: Dante, Divine Comedy, canto (chant), Hell, creativity, poetry, drawings, Botticelli, Stradano, Zuccaro, Neoplatonism, ut pictura poesis, furor poeticus, Marsilio Ficino Introduction Nel mezzo del cammin di nostra vita mi ritrovai per un a selva oscura che la diritta via era smarrita. [In the middle of the journey of our life I found myself astray in a dark forest Where the straight road was gone.] Dante’s Inferno, Canto I The Divine Comedy or poema sacro [sacred poem], the masterpiece of the Florentine poet Dante Alighieri (1265-1321), is the most widely illuminated book of medieval literature. -
Kent Academic Repository Kent Academic Repository Full Text Document (Pdf)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kent Academic Repository Kent Academic Repository Full text document (pdf) Citation for published version Cardellicchio, Luciano (2017) A new methodology for reconstructing the building process. The case study of the new Hertziana library in Rome. In: Construction History Society - Conference Proceedings 2017. Cambridge Press. (In press) DOI Link to record in KAR http://kar.kent.ac.uk/66488/ Document Version Author's Accepted Manuscript Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html A new methodology for reconstructing the building process. The case study of the new Hertziana library in Rome Luciano Cardellicchio, University of Kent [email protected] Introduction The Hertziana Library is the Rome-based Italian art history research branch of the Max Planck organisation for the promotion of science in Munich1. -
Bernini As the Seicento Michelangelo: Imitation and Identity in Art, Architecture and Biography
Bernini as the Seicento Michelangelo: Imitation and Identity in Art, Architecture and Biography by Carolina Mangone A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Art University of Toronto © Copyright by Carolina Mangone 2012 Bernini as the Seicento Michelangelo: Imitation and Identity in Art, Architecture and Biography Carolina Mangone Doctor of Philosophy, History of Art Department of Art University of Toronto 2012 Abstract This dissertation examines how Gianlorenzo Bernini (1598-1680), acclaimed the “Michelangelo of his age,” constructed his identity by imitating the art, practices and persona of Michelangelo Buonarroti (1475-1564). Buonarroti’s “inimitability,” a disputed sixteenth-century notion that became ever more contentious as newly critical seventeenth-century perspectives of his work and practice questioned his worth as a model for imitation, furnishes the point of departure for investigating how Bernini became Bernini through and against his predecessor. By analysing Gianlorenzo’s formal, stylistic, theoretical and conceptual references to Buonarroti in his early narrative sculpture (ch.1), his sculpted self-portraits (ch.2), his work at St. Peter’s (ch.3), his architectural ornament (ch.4) as well as the intertextual strategies attending the literary uses of the association between the two artists (ch.5), I shed light on various imitative modes –ranging from emulation, allusion and paraphrase, to repetition, quotation and bricolage – that Bernini and his biographers employed to shape the artist into Michelangelo’s worthy “son” rather than his burdened epigone. In positing a filial model as a flexible framework for understanding Bernini’s life-long relationship to Michelangelo, I take a cue from early modern art writers who suggested that the way to ii overcome Buonarroti’s inimitability was to resemble him faintly, the way a son resembles a father. -
Roman Reminiscences in Toledo – El Greco's Trinity
Albert Boesten -Stengel Toruń, Katedra Historii Sztuki i Kultury, Uniwersytet Mikołaja Kopernika Roman Reminiscences in Toledo – El Greco’s Trinity he Trinity1 (ill. 41), painted in 1577 to 1579 for the attic of the main altarpiece in the church of Santo Domingo el Antiguo in Toledo, is considered a typical exam- ple of El Greco’s use of visual sources. Scholars tried to find out motifs or formal Tschemes, El Greco once should have adopted from originals or through copies, and then, from such observations, deduced the painter’s stylistic choices taken from or “influences” of notable masters.2 Modern comments recognize in the composition of El Greco’s Trinity at least three visual models: Albrecht Dürer’s Trinity -woodcut3 (ill. 42) from 1511; Michelangelo Buonar- roti’s Florence ‑Pietà4 (ill. 43), executed from 1547 and abandoned, unfinished, in Rome after 1555; Taddeo Zuccari’s Lamentation with Angels5 (ill. 44), painted in Rome in the DOI: http://dx.doi.org/10.15633/9788374385114.05 1 El Greco, Trinity with Angels, oil on canvas, 300 × 178 cm, Madrid, Museo Nacional del Prado. Cfr. R. Gómez, El Greco, Madrid 2007, p. 45–53. 2 J. Gudiol, El Greco, Barcelona 1982, passim; J. Álvarez Lopera, El Greco. Estudio y catálogo, I–II, Madrid 2002–2007, passim. 3 A. Dürer, The Trinity (B. 123), 1511, woodcut, 39, 2 × 28, 4 cm; cfr. E. Panofsky, Das Leben und die Kunst Albrecht Dürers, München 1977, fig. 185. 4 Michelangelo Buonarroti, Pietà, Firenze, Museo dell’Opera del Duomo; cfr. L. Steinberg, Michelangelo’s Florentine Pietà: The Missing Leg, “The Art Bulletin” L, 1968, no. -
Studi E Notizie Su Federico Barocci. a Cura Della Brigata Urbinate Degli
% BRIGATA DEGLI AMICI DEI MONUMENTI :: :: :: ^^= URBINO = / STUDI E NOTIZIE su FEDERICO BAROCCI Fiji l. SuiìiKf.stit autoritratto di Pederico Baroici (avanti il restauro) nella Galleria Nazionale dì Urljino. STUDI E NOTIZIE su FEDERICO BAROCCI (A cura della Brigata urbinate degli Amici dei Monumenti) FIEENZE ISTITUTO MICROGRAFICO ITALIANO EDITORE 1913 TUTTI 1 DIRITTI RISERVATI 461-913 — Firenze, Tip. Enrico Ariani, Via Ghibellina, 51-53. La Brigata Urbinate degli Amici dei Monumenti — che già nel dì 30 settembre dello scorso anno volle ricordato il terzo centenario dalla morte di Federico Barocci, tributandogli modeste onoranze e mandan- done per le stamjie alcuni cenni biografici e artistici — non crede con ciò di avere soddisfatto interamente il debito suo verso V esimio pittore, risorto oggi, e ben risorto, nella universale estimazione come uno dei pochissimi che, in tempi volgenti alla decadenza^ sep- pero mantenere la tradizione dei grandi maestri del Rinascimento e ravvivarla anzi con lo studio perse- verante del vero e con le ispirazioni attinte agli ideali più, nobili ed alti. Prendendo quindi occasione dai rinnovati maggiori festeggiamenti per V inaugurazione del monumento che Urbino innalza alVinsigne suo Fi- glio .^ la Brigata intende essa pure contribuire alla migliore conoscenza delVUomo e delV opera sua con questa raccolta di Studi e notizie, che è lieta di dare alla luce, grazie alla volenterosa e dotta collabora- — VI — zione di alcuni concittadini e di parecchi scrittori diarie fra i piti reputati, i quali tutti hanno diritto alla riconoscenza della Brigata (1) e del ptihblico. Resti dunque il libro come testimonianza di reve- renza e di affetto verso VUomo che, illustrando se stesso, crebbe lustro alla patria, tenuta sempre in cima di ogni suo pensiero ; possa trovare benevola e larga accoglienza presso quanti amano l'arte; e stimoli an- che gli Urbinati a gareggiare coti quell'Antico nel- l'amore di ogni cosa buona e bella, nella dignità della vita, nella infaticata operosità.