Building the Virgin's House: the Architecture of the Annunciation In
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Ca' Rezzonico
Fondazione Musei Civici di Venezia — Ca’ Rezzonico Museum of the 18th Century Venice The Ferruccio Mestrovich Collection ENG da ballo MEZZANINE BROWNING / THE FERRUCCIO MESTROVICH COLLECTION Canal Grande The Collection The collection contains a nucleus his assets were confiscated by of sixteen paintings, all of high the Yugoslav government and never quality. returned. There are two major works by His son Audace worked for many Iacopo Tintoretto, an altar-piece of years in Venice as a lawyer. striking intensity and an austere His youngest son, Ferruccio, portrait. Particularly noteworthy a passionate scholar of early is a glowing and intimate “Sacra Veneto painting, is the donor of Conversazione” by Bonifacio de’ this collection: the attributions of Pitati; in addition, there are other the paintings are the result of his works by Benedetto Diana, Lelio research and studies; indeed, his Orsi, Jacopo Amigoni, Francesco suggestions and indications have Guardi and Alessandro Longhi, two assisted several scholars on many “soprarchi” (paintings above an occasions in the publication of his arch) by Benedetto Carpaccio, son paintings and other collections. and follower of Vittore and a small panel by Cima da Conegliano. The Mestrovichs belong to an ancient Dalmatian family originally from Zara and have lived in Venice since 1945. The head of the family, Aldo (1885-1969) was persecuted during the Austrian rule for his Ca’ Rezzonico, The Ferruccio Mestrovich Collection Italian patriotism; > 1 1. Benedetto Diana section of the polyptych frieze in the ITINERARY AND (Venice, 1460 ca. – 1525) San Francesco convent church in WORKS OF ART Christ Benedictory Miglionico, near Matera, taken there (oil on wood, 60 x 52,5 cm) at the end of the 16th century after being purchased in Venice by Don It’s a very interesting work of art Marcantonio Mizzoni. -
Cbc Conservazione Beni Culturali
DIPINTI SU TAVOLA E MANUFATTI LIGNEI CBC CONSERVAZIONE BENI CULTURALI La Cooperativa CBC Conservazione Beni Culturali si è costituita nel 1977 tra restauratori provenienti dai corsi dell'Istituto Centrale del Restauro. E' attualmente formata da venti soci, il cui curriculum di studio è consultabile su questo sito. Opera sia per Enti pubblici (Soprintendenze regionali, Comuni, Musei Civici, etc.), che per privati, anche come strutture od Enti, sia in Italia che all’estero. Nel seguente curriculum si dà conto dettagliatamente dell'attività svolta nel settore specifico, suddivisa e ordinata per anno di esecuzione. Presso la sua sede laboratorio sono consultabili le documentazioni sia scritte che fotografiche dei lavori svolti, di cui è stata consegnata copia ai committenti; alcuni lavori sono inoltre stati oggetto di approfondimento e pubblicazione. Contatti Sede legale e laboratorio in Laboratorio in Via dei Priori, 84 Viale Manzoni, 26 - 00185 Roma 06123 Perugia Tel: 06-70.49.52.82 fax: 06-77.200.500 Tel: 075-57.31.532 Mail: [email protected] Mail: [email protected] Sito: www.cbccoop.it FB: @cbccoop Dati Amministrativi Codice Fiscale e numero d’iscrizione al Registro delle Imprese di Roma: N. 02681720583 P.IVA: N. 01101321006 – R.E.A. di Roma: N. 413625 del 12.03.1977 Albo Provinciale delle Imprese Artigiane: N. 133916 del 05.06.1980 Albo delle Società Cooperative al N. A125967 del 23.03.2005 Attestazione di qualificazione alla esecuzione dei lavori pubblici per la Categoria OS2A Classifica IV. DIPINTI SU TAVOLA E MANUFATTI LIGNEI In corso Teramo, Cattedrale di Santa Maria Assunta Jacobello del Fiore: Polittico raffigurante Incoronazione di Maria e Santi Segretariato Regionale per l’Abruzzo Fondazione Trivulzio Autori vari del sec. -
Gold Leafs in 14Th Century Florentine Painting Feuilles D’Or Dans La Peinture Florentine Du Xive Siècle
ArcheoSciences Revue d'archéométrie 33 | 2009 Authentication and analysis of goldwork Gold leafs in 14th century Florentine painting Feuilles d’or dans la peinture florentine du XIVe siècle Giovanni Buccolieri, Alessandro Buccolieri, Susanna Bracci, Federica Carnevale, Franca Falletti, Gianfranco Palam, Roberto Cesareo and Alfredo Castellano Electronic version URL: http://journals.openedition.org/archeosciences/2532 DOI: 10.4000/archeosciences.2532 ISBN: 978-2-7535-1598-7 ISSN: 2104-3728 Publisher Presses universitaires de Rennes Printed version Date of publication: 31 December 2009 Number of pages: 409-415 ISBN: 978-2-7535-1181-1 ISSN: 1960-1360 Electronic reference Giovanni Buccolieri, Alessandro Buccolieri, Susanna Bracci, Federica Carnevale, Franca Falletti, Gianfranco Palam, Roberto Cesareo and Alfredo Castellano, « Gold leafs in 14th century Florentine painting », ArcheoSciences [Online], 33 | 2009, Online since 10 December 2012, connection on 19 April 2019. URL : http://journals.openedition.org/archeosciences/2532 ; DOI : 10.4000/ archeosciences.2532 Article L.111-1 du Code de la propriété intellectuelle. Gold leafs in 14th century Florentine painting Feuilles d’or dans la peinture florentine du XIVe siècle Giovanni Buccolieri*, Alessandro Buccolieri*, Susanna Bracci**, Federica Carnevale*, Franca Falletti**, Gianfranco Palamà*, Roberto Cesareo*** and Alfredo Castellano* Abstract: Gold leafs are typically present in paintings and frescoes of the Italian Renaissance in the 13th and 14th centuries. he chemical com- position and thickness of gold leafs provide important information toward a better understanding of the technology of that epoch. he present paper discusses the results of non-destructive analysis carried out with a portable energy dispersive X-ray luorescence (ED-XRF) equipment on the 14th century panel Annunciation with Saints Catherine of Alexandria, Anthony Abbot, Proculus and Francis by the painter Lorenzo Monaco. -
Vol 3 Issue 2 Artistic Impression
Vol. 3, Issue 2 February, 2021 Burlington Artists League A Word from the President Dear BAL members, Welcome to the February edition of our newsletter. Our previous editor has resigned and until we can find another one, Angela Bostek is serving as our interim editor, taking on yet another responsibility. Our profound thanks, Angela. The month of February conjures up associations with the bleak mid-winter season. On the other hand, it anticipates the arrival of spring, especially if the ground-hog’s prognostications are correct. For us, it means the Small Art Contest. I am pleased that the contest this year has been a success. The entries were as fine as ever and my thanks to all participants and congratulations to the winners! Unfortunately, due to Covid restrictions, we could not have our usual reception to honor the winners. However, as usual, all entries will be on display for the month of February. Please take an hour or so during the month to drop by the gallery to admire all the art submitted for the contest. It’s quite impressive. Now we look forward to the next competition in April. Further information will be forthcoming, watch your email. We hope you will join us for our monthly business meeting by way of Zoom on Thursday, February 18, at 3 p.m. One of the main agenda items will be a discussion of possibly adding a competition at the end of the summer and your input is valuable. In the meantime, stay warm and safe. Jane ********* FEBRUARY CALENDAR OF EVENTS 1st – 28th 14th 18th Jan 22 – Feb 18 Feb. -
The Collaboration of Niccolò Tegliacci and Luca Di Tommè
The Collaboration of Niccolô Tegliacci and Lúea di Tomme This page intentionally left blank J. PAUL GETTY MUSEUM Publication No. 5 THE COLLABORATION OF NICCOLÔ TEGLIACCI AND LUCA DI TOMMÈ BY SHERWOOD A. FEHM, JR. !973 Printed by Anderson, Ritchie & Simon Los Angeles, California THE COLLABORATION OF NICCOLO TEGLIACCI AND LUCA DI TOMMÈ The economic and religious revivals which occurred in various parts of Italy during the late Middle Ages brought with them a surge of .church building and decoration. Unlike the typically collective and frequently anonymous productions of the chan- tiers and ateliers north of the Alps which were often passed over by contemporary chroniclers of the period, artistic creativity in Italy during the thirteenth and fourteenth centuries documents the emergence of distinct "schools" and personalities. Nowhere is this phenomenon more apparent than in Tuscany where indi- vidual artists achieved sufficient notoriety to appear in the writ- ings of their contemporaries. For example, Dante refers to the fame of the Florentine artist Giotto, and Petrarch speaks warmly of his Sienese painter friend Simone Martini. Information regarding specific artists is, however, often l^ck- ing or fragmentary. Our principal source for this period, The Lives of the Painters, Sculptors and Architects by Giorgio Vasari, was written more than two hundred years after Giotto's death. It provides something of what is now regarded as established fact often interspersed with folk tales and rumor. In spite of the enormous losses over the centuries, a large num- ber of paintings survived from the Dugento and Trecento. Many of these are from Central Italy, and a relatively small number ac- tually bear the signature of the artist who painted them. -
Leonardo in Verrocchio's Workshop
National Gallery Technical Bulletin volume 32 Leonardo da Vinci: Pupil, Painter and Master National Gallery Company London Distributed by Yale University Press TB32 prelims exLP 10.8.indd 1 12/08/2011 14:40 This edition of the Technical Bulletin has been funded by the American Friends of the National Gallery, London with a generous donation from Mrs Charles Wrightsman Series editor: Ashok Roy Photographic credits © National Gallery Company Limited 2011 All photographs reproduced in this Bulletin are © The National Gallery, London unless credited otherwise below. All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including BRISTOL photocopy, recording, or any storage and retrieval system, without © Photo The National Gallery, London / By Permission of Bristol City prior permission in writing from the publisher. Museum & Art Gallery: fig. 1, p. 79. Articles published online on the National Gallery website FLORENCE may be downloaded for private study only. Galleria degli Uffizi, Florence © Galleria deg li Uffizi, Florence / The Bridgeman Art Library: fig. 29, First published in Great Britain in 2011 by p. 100; fig. 32, p. 102. © Soprintendenza Speciale per il Polo Museale National Gallery Company Limited Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività St Vincent House, 30 Orange Street Culturali: fig. 1, p. 5; fig. 10, p. 11; fig. 13, p. 12; fig. 19, p. 14. © London WC2H 7HH Soprintendenza Speciale per il Polo Museale Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività Culturali / Photo Scala, www.nationalgallery. org.uk Florence: fig. 7, p. -
Impronte D'arte
Impronte d’Arte [Traces of Art] Comune di Forlì ImproImpronten d’Arte d’TracesArt of Art e Ufficio Informazione e Accoglienza Turistica Piazzetta della Misura, 5 - 47121 Forlì Tel. +39.0543.712.435 Fax +39.0543.712.755 e-mail: [email protected] www.turismoforlivese.it URP - Informagiovani Piazzetta della Misura, 5 - 47121 Forlì Tel. +39.0543.712.444/5 Fax +39.0543.712.450 e-mail: [email protected] [email protected] www.comune.forli.fc.it www.informagiovani.comune.forli.fc.it Impronte d’arte Fonti bibliografiche Traces of art Bibliographic sources Pubblicazione a cura dell’Unità Servizi Informativi (IAT-URP-Informagiovani) - Comune di Forlì AA.VV., Cara, vecchia città. Published by Unità Servizi Informativi (IAT-URP-Informagiovani) - Comune di Forlì Percorsi attraverso vie, chiese e palazzi di Forlì, Comune di Forlì, Forlì 1989 AA.VV., Benvenuti a Forlì, Comune di Forlì, Forlì 1990 AA.VV., La Provincia di Forlì-Cesena, Guide d’Italia, Touring Club italiano, Milano 2003 Archivio fotografico/photographs: Archivio Fotografico Unità Servizi Informativi e Ufficio E. Caruso, Forlì, Città e cittadini tra Ottocento e Novecento, I° vol., Edizione Girasole, Forlì 1990 Informazione e Accoglienza Turistica del Comune di Forlì, Archivio Fotografico Ufficio Stampa A. Colombi Ferretti, L. Prati (a cura di), Francesco Menzocchi, Forlì 1502-1574, Comune di Forlì Comune di Forlì, Archivio Fotografico Istituti Culturali del Comune di Forlì, Foto Giorgio Liverani, e Edisai srl, Ferrara 2003 Archivio Fotografico Provincia di Forlì-Cesena. A. Fabbri, Percorsi nella città, Provincia di Forlì-Cesena, Assessorato al Turismo, Forlì, ristampa giugno 2003 In copertina/cover images: Palazzo Orsi Mangelli, Particolare Rocca di Ravaldino, Monumento M. -
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). -
Two Parallels to Ancient Egyptian Scenes Montefalco, Florence, San Gimignano, and Pisa
BULLETIN OF THE MUSEUM OF FINE ARTS VOLUME XXXV BOSTON, AUGUST, 1937 NUMBER 210 The Presentation of the Virgin Attributed to Fra Carnevale, active 1450- 1484 Charles Potter Kling Fund PUBLISHED BIMONTHLY SUBSCRIPTION ONE DOLLAR XXXV, 50 BULLETIN OF THE MUSEUM OF FINE ARTS worked in Urbino, was influenced strongly by Piero della Francesca, and was familiar with Umbrian architecture. We can suppose also that the artist knew the painting of the Marches, and was ac- quainted with the style of the Florentine painters Paolo Uccello, Domenico Veneziano, and Benozzo Gozzoli. As has been said before, the artist must have been trained as an architect as well as a painter. Whether the author of the paintings was Fra Carnevale or some other painter is impossible to say unless further information is brought to light. For want of a better name, therefore (and the use of a name at least evokes discussion), the attribu- tion to Fra Carnevale may as well be continued for the present. What is important, however, is the superb quality of the picture itself and its high position in the field of Renaissance painting. When one considers the fine draughtsmanshipof the architecture, the rhythmic flow of figures in the composition, thedignity and feel- ing for form, especially in the foreground figures, and finally the modernity of the whole conception, one finds that the painting stands on its own merits without the accompaniment of a great name to enhance its prestige. C. C. CUNNINGHAM. Fig. 5 (detail). Head of the Virgin's Mother Two Parallels to Ancient Egyptian Scenes Montefalco, Florence, San Gimignano, and Pisa. -
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. -
En/Gendering Representations of Childbirth in Fifteenth-Century Franco-Flemish Devotional Manuscripts
En/Gendering Representations of Childbirth in Fifteenth-Century Franco-Flemish Devotional Manuscripts Two Volumes Elizabeth Anne L'Estrange dL V ,0 Submitted in accordance with the requirements for the degreeof Doctor of Philosophy The University of Leeds School of Fine Art, History of Art, and Cultural Studies September2003 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from this thesis may be published without proper acknowledgement. ACKNOWLEDGEMENTS My thanks go firstly to my supervisors, Tony Hughes and Eva Frojmovic, whose encouragementand close criticisms have been very much appreciated.Their ability to seethis thesis from many different perspectives has been extremely helpful. I also thank Oliver Pickering and Adrian Wilson for their time and comments, and Ian Moxon, whose assistancewith Latin has been invaluable. I am grateful to the University of Leeds for their financial assistancein the form of a ResearchScholarship. My friends have been a constant source of emotional support during this project and thanks go in particular to Rhiannon Daniels and Eva De Visscher. I am also grateful to Phillippa Plock and Cathy McClive for our lively discussions. I am especially indebted to those friends with whom I have escaped to sunnier climes: Eleanor Wilson, Kate Bingham, Rachael Morris, and Caroline Braley. I also thank Shane Blanchard for his support and for his supply of cricketing anecdotes. Finally I thank my Mum and Dad, and my brother Rob, whose continual love and encouragementallowed me to start and finish this thesis. -
Renaissance Art in Rome Giorgio Vasari: Rinascita
Niccolo’ Machiavelli (1469‐1527) • Political career (1498‐1512) • Official in Florentine Republic – Diplomat: observes Cesare Borgia – Organizes Florentine militia and military campaign against Pisa – Deposed when Medici return in 1512 – Suspected of treason he is tortured; retired to his estate Major Works: The Prince (1513): advice to Prince, how to obtain and maintain power Discourses on Livy (1517): Admiration of Roman republic and comparisons with his own time – Ability to channel civil strife into effective government – Admiration of religion of the Romans and its political consequences – Criticism of Papacy in Italy – Revisionism of Augustinian Christian paradigm Renaissance Art in Rome Giorgio Vasari: rinascita • Early Renaissance: 1420‐1500c • ‐‐1420: return of papacy (Martin V) to Rome from Avignon • High Renaissance: 1500‐1520/1527 • ‐‐ 1503: Ascension of Julius II as Pope; arrival of Bramante, Raphael and Michelangelo; 1513: Leo X • ‐‐1520: Death of Raphael; 1527 Sack of Rome • Late Renaissance (Mannerism): 1520/27‐1600 • ‐‐1563: Last session of Council of Trent on sacred images Artistic Renaissance in Rome • Patronage of popes and cardinals of humanists and artists from Florence and central/northern Italy • Focus in painting shifts from a theocentric symbolism to a humanistic realism • The recuperation of classical forms (going “ad fontes”) ‐‐Study of classical architecture and statuary; recovery of texts Vitruvius’ De architectura (1414—Poggio Bracciolini) • The application of mathematics to art/architecture and the elaboration of single point perspective –Filippo Brunellschi 1414 (develops rules of mathematical perspective) –L. B. Alberti‐‐ Della pittura (1432); De re aedificatoria (1452) • Changing status of the artist from an artisan (mechanical arts) to intellectual (liberal arts; math and theory); sense of individual genius –Paragon of the arts: painting vs.