DOCSLIB.ORG

Příliš Zaměstnaný Umělec Abstrakt Abstract

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Příliš Zaměstnaný Umělec Abstrakt Abstract Příliš zaměstnaný umělec Abstrakt Abstract Určení autorství uměleckých děl je zhodnocu- Determination of the authorship of artworks in- Too busy artist je a upřesňuje jejich místo v dějinách umění. creases their value and specifies their place in the Znalectví vyžaduje talent a erudici, k tomu pak history of art. Connoisseurship requires a talent přistupují specifické prvky znalecké práce podle and erudition together with specific elements Martin Zlatohlávek osobnostního vybavení, takže někdo klade více of connoisseurship according to personal cha- Univerzita Karlova, Katolická teologická fakulta, Ústav dějin křesťanského umění důraz na detaily v kompozici nebo na figury, racteristics. Therefore, one emphasizes details které se opakují, jiný na stylový rozbor či tech- in a composition or figures which repeat, the nologický průzkum, další na studium dobových other focuses on stylistic or technological ana- dokumentů, apod. V tomto příspěvku autor lysis, another one on studying the contemporary zpřesňuje postup určení uměleckého díla, na documents etc. němž se mohlo podílet více umělců. Zpravidla In this contribution, the author specifies bývá jednoznačně přijímáno, že autor finálního the process of determination of the authorship díla, jako jsou nástěnné malby, oltářní obrazy of an artwork on which more artists could have či závěsná plátna, je také autorem přípravných worked together. As a rule, it is unequivocally ac- náčrtů, studií či dokončených modelů, pokud se cepted that the author of the final artwork, such nejedná o jejich kopie. Autor tohoto příspěvku as frescoes, altarpieces or canvases, is the author ukazuje na několika případech konkrétních zaká- of preparatory studies and models as well, unless zek z různých uměleckých center v Itálii, k nimž se these are considered to be copies. dochovaly kresby ve sbírkách v ČR, že často mistr On several commissions from different ar- připravil podobu výsledné malířské práce ve for- tistic centres in Italy, for which the preparatory mě kreseb a kartonů, podle nichž pracovali jeho studies are preserved in Czech collections, the spolupracovníci a žáci. V některých případech author of this text shows the fact that a master je tato praxe doložena i ve smlouvách nebo zá- often prepared drawings and cartoons but the znamech o platbách, totiž že malíř finálního díla final work was done by his pupils and collabora- má postupovat podle kresby – návrhu (disegno), tors. In some cases, such a practise is documen- které mu bylo předáno mistrem, odpovědným za ted in contracts or in bills. zakázku. Nejasnosti mohou vznikat, jak autor The painter, who executed the final work ukazuje na jenom konkrétním případě, když of art, was supposed to follow the drawing or v záznamu o platbě je použit jak termín „diseg- modello made by his master, who was responsi- no“, tak i „invenzione“ a je nutno rozhodnout, ble for the commission. Uncertainties may arise který z nich vyjadřuje ty konkrétní kresby na pa- as the author of this text shows on a particular píře, podle nichž se má pracovat. Závěrem autor example where in the payment record there are příspěvku konstatuje, že pro určení autorství buď terms like “disegno” and “invenzione” mentioned finálního díla, nebo jeho přípravných předstup- and it is necessary to decide, which term means ňů je třeba brát v potaz všechny dostupné sku- the specific drawings that was to be followed tečnosti, jak z oblasti historických pramenů, tak and according to which the final painting would technologického rozboru či stylového určení. be executed. In conclusion, the author of this text states that for determination of the author- ship of a final artwork or its preparatory studies Klíčová slova all available facts have to be taken into account malba | kresba | manýrismus | rané baroko | Giulio Romano | Cristoforo Roncalli | Giuseppe Agellio | – historical sources, technological analysis or sty- Giuseppe Cesari, zvaný Il Cavaliere d’Arpino | Flaminio Allegrini listic analysis. Key words painting | drawing | mannerism | early baroque | Giulio Romano | Cristoforo Roncalli | Giuseppe Agellio | Giuseppe Cesari, called Il Cavaliere d’Arpino | Flaminio Allegrini 84 RestauRování a ochRana uměleckých děl 2017 | KONZERVACE A RESTAUROVÁNÍ MALBY A POLYCHROMIE 85 Výzdoba Sala dei Giganti, Palazzo Te, pensiero“ této figury, umístěné potom ve fresce Mantova na stropě Sala dei Giganti v centru všeho dění. Konrad Oberhuber k ní přiřadil právě kresbu ze Jednou z prvních zakázek Giulia Romana v Man- sbírky olomouckého arcibiskupa jako další stu- tově po jeho příchodu z Říma byla stavba a výzdo- peň ve studijním propracování příslušné figury až ba předměstské vily pro Federica Gonzagu, dnes do podoby modella překrytého čtverečkovou sítí, zvaná Palazzo Te. Stavba je to rozsáhlá, s mnoha sloužící k přenesení studované figury na větší místnostmi, z nichž každá byla zvláštním způso- plochu.[6] Toto modello, jak doložil Oberhuber, bem dekorována. Mezi nimi vynikají především bylo kopírováno, a to na kresbách dnes v louvru[7] dvě, Sala di Psiche a Sala dei Giganti. Ve sbírkách a ve Windsor Castle.[8] I další dvě zachované kres- olomouckého arcibiskupa se nachází kresba, stu- by, jako Olympští bohové s Minervou a Neptunem ve dující postavy Jupitera a Juno (obr. 1) pro fresku své středu z pařížského louvru,[9] a Ianus a Saturn na stropě Sala dei Giganti[1]. Její výzdoba začala korunovaný Viktorií z J. Paul Getty Musea v lA[10] v roce 1530, kdy Giulio Romano v kresbě stu- jsou podobně jako kresba z olomoucké sbírky doval a následně připravoval celé řešení fresek modella, sloužící freskařům k jejich finální práci, na stropě a stěnách místnosti plné figur, skal, aniž by kresby byly překryty čtverečkovou sítí. průhledů do krajiny a iluzivních staveb. Námě- Pro sekci porážených gigantů existuje jediná tem bylo vítězství Jupitera se svými bohy nad hodnověrná kresba, a to Gigant v soukromé švý- rebelujícími Giganty, kteří byli poraženi a svrženi carské sbírce.[11] z nebe. Tato antická mytologie byla aktualizová- Podle kreseb Giulia Romana pracovalo ně- na přirovnáním Jupitera s Gonzagou, vládnoucím kolik dílenských spolupracovníků. To je doloženo tehdy v Mantově, případně s císařem Karlem V., záznamy o platbách z let 1532 a 1534 a dopisem který Gonzagy využíval k realizaci svých plánů Giulia Romana ze 4. srpna 1534.[12] Z těchto do- v Itálii a který Mantovu několikrát navštívil, aby kumentů vyplývá, že fresky podle Giuliových kre- zdejšího panovníka povýšil z markýze na vévodu sebných návrhů provedli Rinaldo Mantovano,[13] 1. Giulio Romano, Jupiter a Juno, před 1530, pero a štětec v hnědém tónu, vysvětlováno bělobou, podkresba černou křídou, čtverečkování [ ] černou křídou, papír 437 × 572 mm, sbírky arcibiskupství olomouckého, inv. č. Ke 4524. Foto Arcibiskupství olomoucké. a při tom obdivoval práce Giulia Romana v Pa- Fermo Ghisoni da Caravaggio (1505–1575) 14 lazzo Te. V té době byl Giulio Romano již příliš a luca da Faenza.[15] V citovaném dopise mistr zaměstnaný umělec, který měl za úkol dokončit píše, že práce na freskách prováděl především výzdobu Palazza Te a dále pokračovat v pracích Rinaldo. Konrad Oberhuber dopis označil za ty- Příliš zaměstnaný umělec není výtvarník jakéhosi v různých fázích do objednaného díla zasahovali, v Palazzo Ducale a jinde po městě i mimo něj, pickou „ekfrasis“, v jehož duchu veškeré práce specifického sociálního zařazení, jako byl dvorní připravovali ho, částečně ho prováděli nebo ho jako jediný a oblíbený dvorní architekt, malíř, v Sala dei Giganti byly připsány Rinaldovi, aniž by umělec či umělec, který vedl dílnu, jež byla regist- i dokončovali. Zvláště rozsáhlejší zakázky jako dekoratér atd. Zachované dokumenty dokládají, byli bráni v potaz další spolupracovníci.[16] Fer- rována v cechu. Příliš zaměstnaný umělec byl pro freskové výzdoby presbytářů, kaplí, reprezentač- že mistr Giulio Romano byl obklopen několika mo da Caravaggio, doprovázen lucou da Faenza své dílo natolik znám a proslaven, že dostával ních sálů nebo apartmánů vyžadovaly kolektiv- spolupracujícími freskaři, kteří realizovali Roma- jsou zmiňováni jenom jako asistenti při pracích další a další nabídky zakázek od významných ní práci na různých stupních tvůrčího procesu. novy návrhy na stěnách v paláci, tedy i v Sala na stropě. objednavatelů, a nechtěl je odmítat. Důvodů Z těchto jednotlivých fází vzniku finálního díla dei Giganti. Pracovali podle jeho kreseb, a to Výmalba stropu Sala dei Giganti začala pro to bylo jistě několik. Zakázka se kvůli mimo- máme zachovány různé dílčí kusy jako např. pří- dokončených modelů na papíře nebo kartonu. 1. března 1531 a byla narychlo dokončena v říjnu řádnému postavení zadavatele, jako byl papež, pravné či studijní kresby, kartony, modella, ale Na nich Giulio předvedl vypracované jednotlivé 1532 před příjezdem císaře Karla V. Je možné, kardinál, vévoda, král či císař, prostě nedala od- i ricordi či autorské zmenšené repliky. Historika figury nebo kompozice několika figur dohroma- dokonce pravděpodobné, že některé malby byly mítnout, zakázka byla lukrativní a umělec chtěl umění pak zajímá, kdo je jejich autorem, když dy. Během prací v Palazzo Te se jeho kresebný k tomuto datu provedeny velmi rychle a později, či potřeboval peníze nebo si chtěl dokazovat, že se na realizaci takto rozsáhlého díla, které vyža- styl proměnil. Figurální modely, které jsou zacho- tedy v letech 1533 a 1534 pak přemalovány de- o jeho dílo je stále zájem. Příliš zaměstnaný umě- duje několik stupňů přípravy, podílelo několik vány pro první prostory v paláci, prokazují ještě finitivně.
Load more

Recommended publications
  • The Codex Corazza and Zaccolini's Treatises in the Project of Cassiano Dal Pozzo for the Spreading of Leonardo's Works
    The Codex Corazza and Zaccolini’s Treatises 19 Chapter 2 The Codex Corazza and Zaccolini’s Treatises in the Project of Cassiano dal Pozzo for the Spreading of Leonardo’s Works Alfredo Buccaro Università degli Studi di Napoli “Federico II,” Dipartimento di Architettura Introduction This essay draws on my recent book—written with the support of Carlo Pe- dretti and in the wake of his studies—about the critical edition and reproduc- tion of the Codex Corazza, the apograph by Leonardo kept in the National Library of Naples, as well as on my current studies on the role of the apographs of Zaccolini’s treatises at the Laurentiana Library in Florence within the gen- eral context of the spread of Leonardo’s thinking in Southern Italy.1 Here I aim to describe the relevance of that work and of the ongoing study supported by our illustrious scholar and friend Pedretti. The two mentioned manuscripts have the same origin: they both are part of the family of apo- graphs drawn up under a massive initiative promoted by Cassiano dal Pozzo in 1640 for Cardinal Francesco Barberini, which aimed at the edition of an anthol- ogy of the Ambrosian Leonardo manuscripts. The Codex Corazza had to repre- sent the final draft of this “anthology,” which was ready to print, but never published. It should have included the edition of Leonardo’s texts forming the Treatise on Painting—later published in Paris in 1651—and the apographs kept in the Laurentiana Library: these last ones, still unpublished although partially studied, come from lost originals dating back to 1618–1622, drawn by the paint- er and perspectivist-architect Matteo Zaccolini, a lay brother of the Theatine order, and containing some texts from Leonardo’s writings on perspective and theory of shadows and colors.
    [Show full text]
  • The Lost Manuscripts of Leonardo Da Vinci
    THE LOST MANUSCRIPTS OF LEONARDO DA VINCI A history of Leonardo da Vinci’s manuscripts and a calculation of how many remain lost by RICHARD SHAW POOLER Submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY in the subject of ART HISTORY at the UNIVERSITY OF SOUTH AFRICA Promoter: Prof Bernadette Van Haute -------------------------------------- OCTOBER 2014 DECLARATION I declare that THE LOST MANUSCRIPTS OF LEONARDO DA VINCI is my own work and that all the sources that I have used or quoted have been indicated or acknowledged by means of complete references. ……………………………. Richard Shaw Pooler Date ………………………….. Title: THE LOST MANUSCRIPTS OF LEONARDO DA VINCI A history of Leonardo da Vinci’s manuscripts and a calculation of how many remain lost Summary: This thesis investigates the history of Leonardo da Vinci’s manuscripts, explains the recovery of some of those that were lost, and calculates what proportion of his work remains lost. It does this by researching the following four main topics: the compilation of his manuscripts; the dispersal and loss of his manuscripts; the recovery and reconstruction of some manuscripts; and an estimate of what remains lost. Most of Leonardo’s manuscripts were written in the last thirty years of his life. The first part of this thesis traces which manuscripts were written and when. After his death, his manuscripts dispersed and it is not known how many were lost. The next section details the dispersal. Recovery of some manuscripts took place followed by further dispersal and loss. Part of the recovery was due to key collectors such as Pompeo Leoni.
    [Show full text]
  • RESTAURI · RECUPERI · INVENTARI Un Poco Noto Ciclo Di Evangelisti Di Agostino Rubini1
    92 RESTAURI · RECUPERI · INVENTARI UN POCO NOTO CICLO DI EVANGELISTI sculture, che avrebbero invece dovuto essere saldate entro DI AGOSTINO RUBINI1 il 1 aprile 1785.7 Questi documenti, pubblicati solo nel la- voro della Vattolo, erano probabilmente già noti in quanto abstract. The article is about four Evangelists sculptures Camillo Semenzato parlò, nel 1966, di «una tradizione» che decorating the facade of San Lorenzo’s church in assegnava queste opere a Gregorio Morlaiter;8 lo studioso, Mestre (Venice); works of the sculptor Agostino Rubini pur notando un notevole scarto stilistico rispetto alle altre (1558/59-before 1592), they were offered by a benefactor sculture dell’artista, definito in questo caso «scadente e con- at the beginning of 19th Century and their provenance is fuso», accettò l’attribuzione, riportata poi da Antonia Nava unknown. The attribution to this artist was made possible Cellini e dalla stessa Vattolo senza alcuna discussione.9 Essa only in recent times, thanks to a restoration of the building which revealed the artist’s signature on Saint Mark and è poi stata in seguito contestata da Simone Guerriero, che Saint John. The purpose of this paper is to analyze and to ha identificato questa serie di Evangelisti con quelli ornanti date these sculptures, comparing them with the works of un tempo l’altare maggiore della vecchia chiesa veneziana Alessandro Vittoria, who was Rubini’s uncle and master. di Santa Maria della Pietà, scolpiti da Enrico Merengo e che vennero acquistati il 20 luglio 1782 proprio da Gregorio Mor-
    [Show full text]
  • Article (Accepted Version)
    Article Rédiger le livre que Nicolas Poussin n'a jamais écrit: Prolégomènes à une pratique uchronique de l'histoire de l'art BLANC, Jan Reference BLANC, Jan. Rédiger le livre que Nicolas Poussin n’a jamais écrit: Prolégomènes à une pratique uchronique de l’histoire de l’art. Retour d'y voir, 2013, vol. VI-VIII, p. 131-161 Available at: http://archive-ouverte.unige.ch/unige:93412 Disclaimer: layout of this document may differ from the published version. 1 / 1 REVUE_6_FINAL_Revue 28/08/13 01:40 Page131 131 Jean Blanc Rédiger le livre que Nicolas Poussin n’a jamais écrit Prolégomènes à une pratique uchronique de l’histoire de l’art J. Blanc — Rédiger le livre que Nicolas Poussin n’a jamais écrit – Une pin-up, vous dis-je. – Tout de même, pour un historien comme vous, c’est un peu anachronique. – Il faut appeler un chat un chat. Daniel Arasse1 Dans cet article, je souhaiterais poser les bases historiographiques et métho- dologiques d’un projet de recherche que je viens d’entamer autour de la place de la théorie de l’art dans l’œuvre de Nicolas Poussin (1594-1665), et dont la principale originalité est de se fonder non pas seulement sur un discours historique traditionnel, justifiant mes choix et mes interprétations des tableaux du peintre romain, mais aussi sur la fabrication d’un objet historique non ou mal identifié : le livre que le peintre italien semble avoir eu le projet de faire publier de son vivant et qui n’a finalement pas vu le jour, pour des raisons sur lesquelles je reviendrai.
    [Show full text]
  • Rowland Charles Mackenzie Phd Thesis
    THE SOUND OF COLOUR : THE INTELLECTUAL FOUNDATIONS OF DOMENICHINO'S APPROACH TO MUSIC AND PAINTING Rowland Charles MacKenzie A Thesis Submitted for the Degree of PhD at the University of St Andrews 1998 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/15247 This item is protected by original copyright Rowland Charles MacKenzie The Sound of Colour: The Intellectual Foundations of Domenichino's Approach to Music and Painting. Part One Master of Philosophy Thesis, University of St Andrews Submitted on March 31st 1998. ProQuest Number: 10167222 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10167222 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 b 'u £ \ DECLARATIONS I, Rowland Charles MacKenzie, hereby certify that this thesis, which is approximately 78,000 words in length has been written by me, that it is a record of work carried out by me and that it has not been submitted in any previous application for a higher degree.
    [Show full text]
  • RES.5 the Restoration of Quaglio's Wall Paintings in Ljubljana
    Institute for the Protection of Cultural Heritage of Slovenia Restoration Centre THE RESTORATION OF QUAGLIO'S WALL PAINTINGS IN LJUBLJANA CATHEDRAL THE RESTORATION OF QUAGLIO'S WALL PAINTINGS PAINTINGS WALL QUAGLIO'S OF RESTORATION THE IN LJUBLJANA CATHEDRAL THE RESTORATION OF QUAGLIO'S WALL PAINTINGS IN LJUBLJANA CATHEDRAL Ljubljana, 2012 Original title in Slovenian: Zavod za varstvo kulturne dediščine Slovenije Restavratorski center Restavriranje Quaglievih poslikav v ljubljanski stolnici Konservatorsko-restavratorski projekt na poslikavah Giulia Quaglia (1668–1751) na ladijskem oboku in zahodni steni stolne cerkve sv. Nikolaja v Ljubljani, ZVKDS Restavratorski center (2002–2006) RES. 5 publikacije ZVKDS Restavratorskega centra Institute for the Protection of Cultural Heritage of Slovenia Restoration Centre The Restoration of Quaglio’s Wall Paintings This publication is dedicated to three Slovenian art historians: in Ljubljana Cathedral A conservation-restoration project involving the wall paintings created by Giulio Quaglio (1668–1751) Academician Dr. Emilijan Cevc, Prof. Dr. Nace Šumi on the nave vault and the western wall of the Cathedral of St Nicholas in Ljubljana, IPCHS Restoration Centre (2002–2006) RES. 5 and Prof. Dr. Sergej Vrišer. The publications of the IPCHS Restoration Centre Issued and published by: Institute for the Protection of Cultural Heritage of Slovenia, on its behalf: dr. Jelka Pirkovič Introductions: Miljenko Domijan, Jernej Hudolin, Josip Korošec, Msgr. Alojz Uran Authors: Marta Bensa, Giuseppe Bergamini, Josip Korošec, Giovanna Nevyjel, Claudia Ragazzoni, Polonca Ropret, Mateja Neža Sitar, Rado Zoubek Editing sources and literature: Mateja Neža Sitar, Daniela Milotti Bertoni Indexing: Mateja Neža Sitar Editor: Mateja Neža Sitar Members of the editorial board: Ivan Bogovčič, Jernej Hudolin, Josip Korošec (chairman), Msgr.
    [Show full text]
  • Michael Sweerts (1618-1664) and the Academic Tradition
    ABSTRACT Title of Document: MICHAEL SWEERTS (1618-1664) AND THE ACADEMIC TRADITION Lara Rebecca Yeager-Crasselt, Doctor of Philosophy, 2013 Directed By: Professor Arthur K. Wheelock, Jr., Department of Art History and Archaeology This dissertation examines the career of Flemish artist Michael Sweerts (1618-1664) in Brussels and Rome, and his place in the development of an academic tradition in the Netherlands in the seventeenth century. Sweerts demonstrated a deep interest in artistic practice, theory and pedagogy over the course of his career, which found remarkable expression in a number of paintings that represent artists learning and practicing their profession. In studios and local neighborhoods, Sweerts depicts artists drawing or painting after antique sculpture and live models, reflecting the coalescence of Northern and Southern attitudes towards the education of artists and the function and meaning of the early modern academy. By shifting the emphasis on Sweerts away from the Bamboccianti – the contemporary group of Dutch and Flemish genre painters who depicted Rome’s everyday subject matter – to a different set of artistic traditions, this dissertation is able to approach the artist from new contextual and theoretical perspectives. It firmly situates Sweerts within the artistic and intellectual contexts of his native Brussels, examining the classicistic traditions and tapestry industry that he encountered as a young, aspiring artist. It positions him and his work in relation to the Italian academic culture he experienced in Rome, as well as investigating his engagement with the work of the Flemish sculptor François Duquesnoy (1597-1643) and the French painter Nicholas Poussin (1594-1665). The breadth of Sweerts’ artistic and academic pursuits ultimately provide significant insight into the ways in which the Netherlandish artistic traditions of naturalism and working from life coalesced with the theoretical and practical aims of the academy.
    [Show full text]
  • Nicolas Poussin's Self-Portraits for Pointel and Chantelou
    NICOLAS POUSSIN'S SELF-PORTRAITS FOR POINTEL AND CHANTELOU Roberta Prevost Department ofArt History McGill University, Montreal August, 2001 A thesis submitted to the Faculty ofGraduate Studies and Research in partial fulfilment ofthe requirements ofthe degree ofMaster ofArts © Roberta Prevost, 2001 ------------------------ National Library Bibliothèque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1 A ON4 canada canada Your fie vow référence Our fie Notrs rtilé_ The author has granted a non­ L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library ofCanada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies ofthis thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership ofthe L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts frOID it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son pemnSSlOn. autorisation. 0-612-79027-4 Canada CONTENTS ACKNOWLEDGEMENTS .i ABSTRACT , '" .ii RÉsUMÉ .iii LIST OF ILLUSTRATIONS ,. '" '" .iv INTRODUCTION '" 1 L BACKGROUND i. History ofthe Self-Portraits and Poussin's early association with Chantelou , '" '" '" 4 ii. Reading the images 11 II. THE PATRONS AND POUSSIN'S LETTERS i. Chantelou's jealousy and an altemate scenario for the Self-Portraits 24 ii.
    [Show full text]
  • Stylistic Change & L'idea Della Bellezza in Early Modern
    ABSTRACT Title of Dissertation: MODALITIES OF THE IDEA: STYLISTIC CHANGE & L’IDEA DELLA BELLEZZA IN EARLY MODERN ITALY James Lee Hutson, Jr., Doctor of Philosophy, 2008 Dissertation Directed by: Professor Anthony Colantuono Department of Art History and Archeology In the careers of many prominent seventeenth-century painters such as Annibale Carracci, Guercino, Domenichino and even Caravaggio there is a familiar stylistic progression: each began their careers with a chiaroscuro manner rooted in Venetian and Emilian naturalism and then later shift to a markedly classicizing manner characterized by a brightening or lightening of the palette, a tendency to idealize the human form, and an insistence on composing in a series of parallel planes. The art-theoretical concept known as L’Idea della bellezza was the touchstone in cases where this stylistic phenomenon manifested itself. Developed and modified in antiquity to maintain its relevance to art theory, the Platonic Idea went through many variations and interpretative models until it was reintroduced to art theory in the Renaissance. At the same time, expectations of artists increased as the arti di disegno sought to be included among the liberal arts. Artists’ primary and secondary phases of education ensured a reading knowledge of Latin and equipped them with the ability to engage with the theoretical material of their day. This intellectual interest was reinforced by the foundations of the Florentine Accademia del Disegno, and later the Bolognese Accademia degl’Incamminati. As the number of publications by artists seemingly dwindled in the period following Mannerism, it was assumed that artists were increasingly disinterested with the complex theoretical discourse taken up by a growing number of critics and theorists.
    [Show full text]
  • Early Modern Italy
    EARLY MODERN ITALY A comprehensive bibliography of works in English & French © Gregory Hanlon Baroque History Enterprises 5539 Columbus Place Halifax B3K 2G7 CANADA (902) 454-0566 4th Edition February 2002 DO NOT PHOTOCOPY! 1 Table of Contents Introduction p. 3 English 1 General studies & historiography p. 7 2 Travel & Historical Geography p. 10 3 Politics & Administration p. 13 4 Economy & Demography p. 28 5 Social stratification & Behaviour p. 40 6 Religion p. 51 7 Language arts & Erudition p. 71 8 Music & Spectacle p. 90 9 Beaux-Arts & Architecture p. 106 10 Science & Technology p. 132 French 1 General studies & historiography p. 150 2 Travel & Historical Geography p. 153 3 Politics & Administration p. 157 4 Economy & Demography p. 176 5 Social stratification & Behaviour p. 193 6 Religion p. 198 7 Language arts & Erudition p. 212 8 Music & Spectacle p. 225 9 Beaux-Arts & Architecture p. 230 10 Science & Technology p. 242 2 EARLY MODERN ITALY: A COMPREHENSIVE BIBLIOGRAPHY Gregory Hanlon (Dalhousie University, Halifax Canada) The aim of the bibliography compiled below is to refute, once and for all, the notion that the Early Modern period of Italian history has been “forgotten” by historians. Its very existence will allow scholars and students greater ease of consultation, and should stimulate the growth of a field now in full flower. Quite apart from the huge, and often excellent production of Italian scholars, the period has attracted the talent and energy of thousands of authors who have published their work in the two principal languages of the western world, English and French. It is through these languages that a new generation of students and scholars can be introduced to this long and central epoch of Italian and European history.
    [Show full text]
  • ESTRATTO Gli Esordi Del Tema Della Colonna Libera a Milano E A
    ESTRATTO ANTONELLA RANALDI, Gli esordi del tema della colonna libera a Milano e a Bologna. La difesa di Ambrogio Magenta al suo progetto per il SS. Salvatore a Bologna (1605-1623), in Storia e storiografia dell’arte dal Rinascimento al Barocco in Europa e nelle Americhe, Metodologia, critica, casi di studi, a cura di Franco Buzzi, Arnold Nesselrath, Lydia Salviucci Insolera, Atti II Convegno Internazionale (Milano, Ambrosiana 9-10 giugno 2016), Bulzoni Editore, Roma, 2017, pp. 381-402 - ISBN 978-88-6897-080-2 Gli esordi del tema della colonna libera a Milano e a Bologna. La difesa di Ambrogio Mazenta al suo progetto per il San Salvatore a Bologna (1605-1623) Antonella Ranaldi Protagonista in Santa Maria in Campitelli di Carlo Rainaldi1, il tema della colonna libera, con l’effetto plastico chiaroscurale che ne deriva, ebbe particolare fortuna nell’architettura barocca in Italia e fuori dall’Italia, in Francia e nei nuovi mondi. Nella seconda metà del XVI secolo, la scelta di colonne a tutto tondo, estrapolate dal muro, connota due esempi paradigmatici, tra loro apparentati, l’uno a Milano negli anni di Carlo Borromeo, l’altro a Bologna da parte del Cardinal Gabriele Paleotti. In San Fedele dei gesuiti, Pellegrino Tibaldi utilizza colonne libere su un alto basamento, poste agli angoli e a metà della lunghezza dell’aula, a scandire l’aula rettangolare in due campate quadrate coperte con volta a vela. Nella cattedrale di San Pietro a Bologna la colonna libera viene introdotta da Domenico Tibaldi, fratello di Pellegrino, nella tribuna voltata a crociera con colonne agli angoli, degli anni Settanta del Cinquecento (fig.
    [Show full text]
  • Pittori Bolognesi E Committenze Romane Nel Pontificato Di Paolo V
    Originalveröffentlichung in: Mochi Onori, Lorenza ; Schütze, Sebastian ; Solinas, Francesco (Hrsgg.): I Barberini e la cultura europea del Seicento. Rom 2007, S. 47-56 Pittori bolognesi e committenze romane nel pontificato di Paolo V Sybille Ebert-Schifferer Dopo i ben noti antecedenti di Annibale Carracci e della brica di San Pietro, gli interventi interessarono la residenza nel- sua scuola a palazzo Farnese, gli anni decisivi per l’affermazione le sue varie articolazioni; nel palazzo di Montecavallo riguar- dei pittori bolognesi a Roma, e quindi per l’awio di una svol- darono l’ampliamento dell’edificio lungo la via Pia, nonché la ta stilistica nell’arte romana, soprattutto per quanto riguarda la costruzione della cappella e la decorazione sia esterna che in- grande decorazione ad affresco, sono quelli del pontificato di terna, mentre nella chiesa di Santa Maria Maggiore fu edifica- Paolo V (1605-1621). Fu proprio il successo della volta e la ne- ta la cappella Paolina su disegno di Flaminio Ponzio. I pittori, cessità di proseguire la decorazione delle pareti della galleria scultori, doratori, stuccatori, orafi e fonditori qui attivi sono di palazzo Farnese, nonché la morte di Agostino Carracci a Par- stati giustamente definiti una “rassegna collettiva ” dei miglio- ma nel 1602, ad attirare a Roma, nella bottega di Annibale, un ri artisti del momento 2. Questa rappresentanza indiscriminata gran numero di giovani artisti bolognesi ed emiliani. Questo delle molteplici proposte artistiche del momento caratterizza notevole incremento dell’atelier del pittore non fu ininfluente quasi tutti i grandi progetti borghesiani, i cui esiti si inserisco- sulla “ riorganizzazione efficientistica dei modi della produzione no nella tradizione pittorica tardomanierista e di manierismo pittorica" 1 del Carracci; se la nuova situazione indusse l’artista riformato che contraddistingue quasi tutte le grandi superfici a riorganizzare il suo metodo di lavoro, riorientò pure - quan- ad affresco allora visibili a Roma.
    [Show full text]