The Renaissance Nude October 30, 2018 to January 27, 2019 the J

Total Page:16

File Type:pdf, Size:1020Kb

The Renaissance Nude October 30, 2018 to January 27, 2019 the J The Renaissance Nude October 30, 2018 to January 27, 2019 The J. Paul Getty Museum at the Getty Center 1 6 1. Dosso Dossi (Giovanni di Niccolò de Lutero) 2. Simon Bening Italian (Ferrarese), about 1490 - 1542 Flemish, about 1483 - 1561 NUDE NUDE A Myth of Pan, 1524 Flagellation of Christ, About 1525-30 Oil on canvas from Prayer Book of Cardinal Albrecht of Brandenburg Unframed: 163.8 × 145.4 cm (64 1/2 × 57 1/4 in.) Tempera colors, gold paint, and gold leaf on parchment The J. Paul Getty Museum, Los Angeles Leaf: 16.8 × 11.4 cm (6 5/8 × 4 1/2 in.) 83.PA.15 The J. Paul Getty Museum, Los Angeles Ms. Ludwig IX 19, fol. 154v (83.ML.115.154v) 6 5 3. Simon Bening 4. Parmigianino (Francesco Mazzola) Flemish, about 1483 - 1561 Italian, 1503 - 1540 NUDE Border with Job Mocked by His Wife and Tormented by Reclining Male Figure, About 1526-27 NUDE Two Devils, about 1525 - 1530 Pen and brown ink, brown wash, white from Prayer Book of Cardinal Albrecht of Brandenburg heightening Tempera colors, gold paint, and gold leaf on parchment 21.6 × 24.3 cm (8 1/2 × 9 9/16 in.) Leaf: 16.8 × 11.4 cm (6 5/8 × 4 1/2 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles 84.GA.9 Ms. Ludwig IX 19, fol. 155 (83.ML.115.155) October 10, 2018 Page 1 Additional information about some of these works of art can be found by searching getty.edu at http://www.getty.edu/art/collection/ © 2018 J. Paul Getty Trust 2 5. Antico (Pier Jacopo Alari-Bonacolsi) Pontormo (Jacopo Carucci) Italian, about 1455 - 1528 Italian (Florentine), 1494 - 1557 NUDE Bust of a Young Man, About 1520 Study of a Nude Boy, Partial Figure Study (recto), About Leaded bronze with partial silvering 1518 Object: H: 54.6 × W: 45 × D: 22.3 cm (21 1/2 × 17 Red chalk 11/16 × 8 3/4 in.) 38.9 × 24 cm (15 5/16 × 9 7/16 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles 86.SB.688 7GB.95 7. Dosso Dossi (Giovanni di Niccolò de Lutero) 8. Pontormo (Jacopo Carucci) Italian (Ferrarese), about 1490 - 1542 Italian (Florentine), 1494 - 1557 Allegory of Fortune, About 1530 Portrait of a Halberdier (Francesco Guardi?), 1528-30 Oil on canvas Oil, possibly mixed with tempera, on panel transferred to Unframed: 181.3 × 194.9 cm (71 3/8 × 76 3/4 in.) canvas The J. Paul Getty Museum, Los Angeles Unframed: 95.3 × 73 cm (37 1/2 × 28 3/4 in.) 89.PA.32 The J. Paul Getty Museum, Los Angeles 89.PA.49 October 10, 2018 Page 2 Additional information about some of these works of art can be found by searching getty.edu at http://www.getty.edu/art/collection/ © 2018 J. Paul Getty Trust 5 1 9. Filippino Lippi 10. Lucas Cranach the Elder Italian, about 1457 - 1504 German, 1472 - 1553 NUDE NUDE Studies of Christ at the Column and a Nude from behind, A Faun and His Family with a Slain Lion, About 1526 Early 1480s Oil on panel Metalpoint, heightened with white gouache (recto and Unframed: 82.9 × 56.2 cm (32 5/8 × 22 1/8 in.) verso) on gray prepared paper The J. Paul Getty Museum, Los Angeles 27.1 × 17.5 cm (10 11/16 × 6 7/8 in.) 2003.100 The J. Paul Getty Museum, Los Angeles 91.GG.33 6 11. Jean Bourdichon 12. Albrecht Dürer French, 1457 - 1521 German, 1471 - 1528 NUDE Bathing Bathsheba, About 1498 Composition with Five Figures ("The Desperate Leaf from the Hours of Louis XII Man"), u Tempera colors and gold paint on vellum Etching Leaf: 24.3 × 17 cm (9 9/16 × 6 11/16 in.) Sheet: 18.8 × 13.6 cm (7 3/8 × 5 3/8 in.) The J. Paul Getty Museum, Los Angeles The Getty Research Institute Ms. 79, recto (2003.105.recto) 2010.PR.92 2 6 13. Pisanello 14. Master of Petrarch's Triumphs Italian, by 1395 - about 1455 French, active 1490 - 1510 NUDE NUDE Allegory of Prudent Council (reverse), 1444-50 Bathsheba Bathing and The Penitent David, About 1500 Copper alloy Tempera colors and gold paint on vellum Object: Diam.: 6.8 cm, 0.1475 kg (2 11/16 in., 0.3251 lb.) Page: 17.1 × 10.8 cm (6 3/4 × 4 1/4 in.) National Gallery of Art, Washington, Samuel H. Kress Morgan Library & Museum, New York. Purchased by J. Collection, 1957.14.599.a Pierpont Morgan (1837-1913) in 1908 EX.2018.1.1 Photography by Janny Chiu, 2016 EX.2018.1.2 October 10, 2018 Page 3 Additional information about some of these works of art can be found by searching getty.edu at http://www.getty.edu/art/collection/ © 2018 J. Paul Getty Trust 1 1 15. Antonello da Messina 16. Giovanni Bellini Italian, about 1430 - 1479 Italian, about 1431/1436 - 1516 NUDE NUDE Saint Sebastian, 1478-79 Prudence, Before 1500 Oil on canvas transferred from panel Oil on panel Unframed: 171 × 85.5 cm (67 5/16 × 33 11/16 in.) Unframed: 35 × 21.5 × 0.6 cm (13 3/4 × 8 7/16 × 1/4 in.) Gemäldegalerie Alte Meister, Staatliche Venezia, Gallerie dell'Accademia Kunstsammlungen Dresden Su concessione del Ministero dei Beni e delle Attività Photo Credit: bpk Bildagentur / Gemaeldegalerie Alte Culturali e del Turismo. Museo Nazionale Gallerie Meister / Elke Estel/Hans-Peter Klut / Art Resource, NY dell’Accademia di Venezia EX.2018.1.6 EX.2018.1.8 1 1 17. Dieric Bouts 18. Dieric Bouts Netherlandish, about 1415 - 1475 Netherlandish, about 1415 - 1475 NUDE NUDE The Way to Paradise, 1468-69 The Fall of the Damned, 1468-69 Oil on panel Oil on panel Unframed: 115 × 69.5 cm (45 1/4 × 27 3/8 in.) Unframed: 115 × 69.5 cm (45 1/4 × 27 3/8 in.) Lille, Palais des Beaux-Arts This painting is on deposit from the Musée du Louvre to Image © RMN-Grand Palais / Art Resource, NY the Palais des Beaux-Arts, Lille, 1957 Photo: Philippe Bernard Image © RMN-Grand Palais / Art Resource, NY. Photo: EX.2018.1.10 Jean-Gilles Berizzi EX.2018.1.11 1 1 19. Correggio (Antonio Allegri) 20. Jean Fouquet Italian, about 1489 - 1534 French, born about 1415 - 1420, died before 1481 NUDE Melun NUDE Danaë, About 1530 Diptych Virgin and Child, About 1452-55 Oil on canvas Oil on oak panel Unframed: 158 × 189 cm (62 3/16 × 74 7/16 in.) Unframed: 92 × 83.5 cm (36 1/4 × 32 7/8 in.) Galleria Borghese, Ministero dei Beni e delle attività Koninklijk Museum voor Schone Kunsten, Antwerpen culturali e del Turismo Image © www.lukasweb.be - Art in Flandersvzw, photo EX.2018.1.13 Dominique Provost EX.2018.1.17 October 10, 2018 Page 4 Additional information about some of these works of art can be found by searching getty.edu at http://www.getty.edu/art/collection/ © 2018 J. Paul Getty Trust 2 1 21. Antico (Pier Jacopo Alari-Bonacolsi) 22. Giorgione (Giorgio Da Castelfranco) Italian, about 1455 - 1528 Italian, 1477 - 1510 NUDE NUDE Hercules and Antaeus, Model created by 1511, cast Laura, 1506 1519 Oil on canvas, originally mounted on a softwood panel Bronze Unframed: 41 × 33.6 cm, 5.5 kg (16 1/8 × 13 1/4 in., Object: H: 43.2 × W: 22.4 × D: 15.2 cm, 6.933 kg (17 × 12.1253 lb.) 8 13/16 × 6 in., 15.2845 lb.) KHM-Museumsverband, Picture Gallery KHM-Museumsverband, Kunstkammer Image: KHM-Museumsverband / Kunsthistorisches Image: KHM-Museumsverband / Kunsthistorisches Museum,Vienna Museum,Vienna EX.2018.1.27 EX.2018.1.23 2 1 23. Moderno (Galeazzo Mondella) 24. Jan Gossart Italian, 1467 - 1528 , about 1478 - 1532 NUDE NUDE Madonna and Child with Saints (Sacra Conversazione), Hercules and Deianira, 1517 About 1510 Oil on oak panel Silver with gilding Unframed: 36.8 × 26 cm (14 1/2 × 10 1/4 in.) Object: H: 13.9 × W: 10.2 × D: 1 cm (5 1/2 × 4 × 3/8 The Henry Barber Trust, the Barber Institute of Fine Arts, in.) University of Birmingham KHM-Museumsverband, Kunstkammer Image © The Henry Barber Trust, The Barber Institute of KHM-Museumsverband / Kunsthistorisches Museum, Fine Arts, University of Birmingham / Bridgeman Images Wein EX.2018.1.35 EX.2018.1.32 2 6 25. Unknown maker 26. Attributed to the Master of the Cité des Dames and possibly designed by Hans Holbein the Elder workshop German, 1465 - 1524 French, active about 1405 - 1415 L'Épître NUDE NUDE Othéa (The Reliquary of Saint Sebastian, 1497 Hermaphroditus and the Nymph Salmacis Bathing, About Silver, parcel-gilt, hammered, cast and engraved; set 1410-14 with glass, pearls, sapphires and rubies Tempera on parchment Object: H: 50 × W: 20 × D: 14.5 cm, 2.574 kg (19 11/16 Closed: 36.5 × 28.5 cm (14 3/8 × 11 1/4 in.) × 7 7/8 × 5 11/16 in., 5.6746 lb.) The British Library Victoria and Albert Museum, London. Purchased with the Image: British Library / Granger. All Rights Reserved assistance of the National Heritage Memorial Fund and EX.2018.1.38 Art Fund EX.2018.1.37 October 10, 2018 Page 5 Additional information about some of these works of art can be found by searching getty.edu at http://www.getty.edu/art/collection/ © 2018 J. Paul Getty Trust 6 5 27. Master of the Prayer Books of around 1500 28.
Recommended publications
  • Portrait Dated 1512, at the State Hermitage Museum1
    542 Giovanna Perini Folesani УДК: 75.041.5 ББК: 85.103(4)5 А43 DOI: 10.18688/aa177-5-55 Giovanna Perini Folesani Dominicus Who? Solving the Riddle Posed by a Splendid “Venetian” Portrait Dated 1512, at the State Hermitage Museum1 It takes some real quality for a Renaissance portrait to be able to hang close to Giorgione’s Judith in the same museum room without fading or being overshadowed2 (Ill. 124). The high quality of this problematic picture is further proven by its seventeenth-century attribution to Giorgione (who died two years before it was painted) [70, I, p. 105; 15, p. 190]. It is no coinci- dence that this very portrait was chosen for the dust-jacket of the official catalogue in English of the Venetian paintings in the State Hermitage Museum published in the 1990s [31] and has recently travelled to Australia along with other masterpieces from St. Petersburg3. Still, its attri- bution and iconography have proven elusive so far. Its current, yet not undisputed attribution to Domenico Capriolo, a minor Giorgionesque painter, is untenable on both stylistic and historical grounds4. A comparison with his one undis- puted portrait of Lelio Torelli, signed and dated 1528 [23, XIX, pp. 210–211; 87, V, pp. 557–558; 77, XVI, pp. 281–282; 89, IX/3, p. 548, fig. 374], shows that sixteen years later, far from im- proving as an artist, Domenico Capriolo (if he were the author of the State Hermitage picture) would paint in a stiffer, more elementary, much less imaginative and elegant way, having but a clumsy grasp on perspective.
    [Show full text]
  • WASHINGTON, B.C. June 14, 1973. a Major Catalog on the National
    SIXTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215 extension 224 MAJOR ITALIAN ENGRAVINGS CATALOG PUBLISHED BY NATIONAL GALLERY WASHINGTON, B.C. June 14, 1973. A major catalog on the National Gallery of Art's collection of fifteenth and early sixteenth century Italian prints has been published by the National Gallery. This catalog has been produced in conjunction with the Gallery's comprehensive exhibition, Prints of _the Italian Renaissance, on view June 23 through October 7, 1973. The new volume, Early Italian Engravings from the National Gallery of Art, is the third in a series on the Gallery's graphic arts holdings and the first to be devoted to Italian prints. Over 600 pages in length, it includes reproductions of and scholarly entries on all 191 engravings belonging to the Gallery, and 175 supplementary illustrations. The catalog also contains detailed biographies of every engraver represented in the collection, and discusses problems of dating and stylistic development as they apply to the artist's entire oeuvre in essays which reflect the most extensive new research done in this field since the publication in 1948 of the second part of Arthur M. Hind's corpus. Early Italian Engraving. New ideas are advanced about the attributions of early Florentine prints, and entirely new chronologies are proposed for the engravings of such artists as Andrea Mantegna, Jacopo de f Barbari, and Giulio Campagnola. (more) -2. MAJOR ITALIAN ENGRAVINGS CATALOG PUBLISHED BY NATIONAL GALLERY In addition, the general introduction to the catalog traces the entire development of printmaking in Italy in a systematic way, stressing the importance of the influence of the northern engravers, particularly DUrer and Schongauer.
    [Show full text]
  • Incisioni, Richiestissime Da Un Mercato Molto Fiorente, Giunge Ora Una Rassegna Di Rilevante Interesse, Che Si Apre Oggi Alle 17 Nei Saloni Della Biblioteca Palatina
    Parmigianino e l’incisione <Padre dell'acquaforte italiana> l'ha definito Mary Pittaluga. E Giovanni Copertini ha specificato <Sebbene non si possa più considerare come l'inventore della tecnica dell'acquaforte, pure è da esserne stimato il creatore spirituale ché, con le sue stampe, ha insegnato agli artisti a trasfondere luce d'idealità in poche linee e in un tenue motivo di segni incrociati>. E' questo il lato meno noto del Parmigianino: incantevole pittore, straordinario disegnatore e anche abilissimo incisore; una caratteristica, quella di grafico, che nella grandiosa mostra allestita per celebrare il quinto centenario della nascita dell'artista passa un po' inosservata di fronte alla parata affascinante dei dipinti e dei disegni. Ad illuminare questo aspetto non secondario dell'attività del Parmigianino sia come autore diretto sia soprattutto come fornitore di disegni da trasformare in incisioni, richiestissime da un mercato molto fiorente, giunge ora una rassegna di rilevante interesse, che si apre oggi alle 17 nei saloni della Biblioteca Palatina (fino al 27 settembre) e che ha come titolo <Parmigianino tradotto. La fortuna di Francesco Mazzola nelle stampe di riproduzione tra il Cinquecento e l'Ottocento>. La correda un catalogo, pubblicato dalla Silvana Editoriale, comprendente la presentazione del direttore della Biblioteca Leonardo Farinelli, un approfondito saggio critico di Massimo Mussini e un'introduzione alle schede di Grazia Maria de Rubeis, responsabile del gabinetto delle stampe; il volume documenta tutte le incisioni <parmigianinesche> posseduta dalla Palatina, comprese quelle non esposte, cosicché assume un notevole valore scientifico in un settore ancora scarsamente esplorato con sistematicità. E' a Roma, dove si trasferisce nel 1524, che Francesco Mazzola entra nell'ambiente degli incisori fornendo disegni a Ugo da Carpi, considerato il padre della silografia, e a Jacopo Caraglio, incisore a bulino allievo di Marco Antonio Raimondi.
    [Show full text]
  • College of Fine and Applied Arts Annual Meeting 5:00P.M.; Tuesday, April 5, 2011 Temple Buell Architecture Gallery, Architecture Building
    COLLEGE OF FINE AND APPLIED ARTS ANNUAL MEETING 5:00P.M.; TUESDAY, APRIL 5, 2011 TEMPLE BUELL ARCHITECTURE GALLERY, ARCHITECTURE BUILDING AGENDA 1. Welcome: Robert Graves, Dean 2. Approval of April 5, 2010 draft Annual Meeting Minutes (ATTACHMENT A) 3. Administrative Reports and Dean’s Report 4. Action Items – need motion to approve (ATTACHMENT B) Nominations for Standing Committees a. Courses and Curricula b. Elections and Credentials c. Library 5. Unit Reports 6. Academic Professional Award for Excellence and Faculty Awards for Excellence (ATTACHMENT C) 7. College Summary Data (Available on FAA Web site after meeting) a. Sabbatical Requests (ATTACHMENT D) b. Dean’s Special Grant Awards (ATTACHMENT E) c. Creative Research Awards (ATTACHMENT F) d. Student Scholarships/Enrollment (ATTACHMENT G) e. Kate Neal Kinley Memorial Fellowship (ATTACHMENT H) f. Retirements (ATTACHMENT I) g. Notable Achievements (ATTACHMENT J) h. College Committee Reports (ATTACHMENT K) 8. Other Business and Open Discussion 9. Adjournment Please join your colleagues for refreshments and conversation after the meeting in the Temple Buell Architecture Gallery, Architecture Building ATTACHMENT A ANNUAL MEETING MINUTES COLLEGE OF FINE AND APPLIED ARTS 5:00P.M.; MONDAY, APRIL 5, 2010 FESTIVAL FOYER, KRANNERT CENTER FOR THE PERFORMING ARTS 1. Welcome: Robert Graves, Dean Dean Robert Graves described the difficulties that the College faced in AY 2009-2010. Even during the past five years, when the economy was in better shape than it is now, it had become increasingly clear that the College did not have funds or personnel sufficient to accomplish comfortably all the activities it currently undertakes. In view of these challenges, the College leadership began a process of re- examination in an effort to find economies of scale, explore new collaborations, and spur creative thinking and cooperation.
    [Show full text]
  • VENETIAN PAINTING in the AGE of TITIAN P
    TITIAN and the RENAISSANCE inVENICE EDITED BY BASTIAN ECLERCY AND HANS AURENHAMMER WITH CONTRIBUTIONS BY MARIA ARESIN HANS AURENHAMMER ANDREA BAYER ANNE BLOEMACHER DANIELA BOHDE BEVERLY LOUISE BROWN STEFANIE COSSALTERDALLMANN BENJAMIN COUILLEAUX HEIKO DAMM RITA DELHÉES JILL DUNKERTON BASTIAN ECLERCY MARTINA FLEISCHER IRIS HASLER FREDERICK ILCHMAN ROLAND KRISCHEL ANN KATHRIN KUBITZ ADELA KUTSCHKE SOFIA MAGNAGUAGNO TOM NICHOLS TOBIAS BENJAMIN NICKEL SUSANNE POLLACK VOLKER REINHARDT JULIA SAVIELLO FRANCESCA DEL TORRE SCHEUCH CATHERINE WHISTLER AND MATTHIAS WIVEL PRESTEL MUNICH · LONDON · NEW YORK TITIAN and the RENAISSANCE inVENICE EDITED BY BASTIAN ECLERCY AND HANS AURENHAMMER WITH CONTRIBUTIONS BY MARIA ARESIN, HANS AURENHAMMER, ANDREA BAYER, ANNE BLOEMACHER, DANIELA BOHDE, BEVERLY LOUISE BROWN, STEFANIE COSSALTER-DALLMANN, BENJAMIN COUILLEAUX, HEIKO DAMM, RITA DELHÉES, JILL DUNKERTON, BASTIAN ECLERCY, MARTINA FLEISCHER, IRIS HASLER, FREDERICK ILCHMAN, ROLAND KRISCHEL, ANN KATHRIN KUBITZ, ADELA KUTSCHKE, SOFIA MAGNAGUAGNO, TOM NICHOLS, TOBIAS BENJAMIN NICKEL, SUSANNE POLLACK, VOLKER REINHARDT, JULIA SAVIELLO, FRANCESCA DEL TORRE SCHEUCH, CATHERINE WHISTLER AND MATTHIAS WIVEL PRESTEL MUNICH · LONDON · NEW YORK 2 CONTENTS GREETINGS POESIA AND MYTH p. 8 Painting as Poetry p. 108 FOREWORD Philipp Demandt BELLE DONNE p. 10 Idealised Images of Beautiful Women p. 126 Essays GENTILUOMINI Portraits of Noblemen VENETIAN PAINTING IN THE AGE OF TITIAN p. 150 Hans Aurenhammer p. 16 COLORITO ALLA VENEZIANA Colour, Coloration and the Trade in Pigments PAINTING TECHNIQUES IN SIXTEENTH-CENTURY VENICE p. 184 Jill Dunkerton p. 28 FLORENCE IN VENICE The Male Nude VENICE IN THE RENAISSANCE. p. 204 A SOCIAL AND POLITICAL PROFILE Volker Reinhardt EPILOGUE p. 38 The Impact of the Venetian Renaissance in Europe from El Greco to Thomas Struth p.
    [Show full text]
  • (Marciano 1725 - 1733 1239 Della Chiana – Arezzo) [956-957]
    Subsection: County of Cesa (Marciano 1725 - 1733 1239 Della Chiana – Arezzo) [956-957] The goods of the County of Cesa were tied to the bishopric of Arezzo, obtained in 1724 by Bernardo Guadagni (1674-1759), son of Donato Maria Guadagni (1641-1718) and Maria Maddalena Corsini (+1679) , later cardinal with his religious name of Giovanni Antonio. The 17 books of administration and of the balances of the County of Cesa are kept in two envelopes belonging to the branch of the Guadagni of Santo Spirito. 956 [203] 1725 – 1732 1240 Books of Administration and Balances of the County of Cesa 1725-1728 8 registers contained in envelope. 1) “Earning snd expense (from February 26, 1725 to April 15, 1732), parchment bound (1 x 1 inches), cc. 183. 2) “Book of livestocks belonging to the very eminent marchese Neri and Guadagni brothers” (from March 2, 1725 to May 31, 1726), cardboard bound (1 x 1 inches), cc. 47. 3) Balance (to May 31, 1726), c.s. (1 x 1 inches), cc. 60. 4) “Balance of the livestocks (from March 2, 1725 to May 31, 1726), c.s. (1 x 1 inches), cc. 46. 5) C.s. administrator Arcangiolo Maria Toti of the very eminent marchesi Neri, Piero and Jacopo Guadagni (from June 1, 1726 to May 31, 1727), c.s. (1 x 1 inches), cc. 48. 6) “Book of the livestock of the very eminent marchese Neri and Guadagni brothers” (from June 1, 1727 to May 31, 1728), c.s., cc. 60. 7) “Balance of the livestock” (from June 1, 1727 to May 31, 1728), c.s.
    [Show full text]
  • Following the Early Modern Engraver, 1480-1650 September 18, 2009-January 3, 2010
    The Brilliant Line: Following the Early Modern Engraver, 1480-1650 September 18, 2009-January 3, 2010 When the first engravings appeared in southern Germany around 1430, the incision of metal was still the domain of goldsmiths and other metalworkers who used burins and punches to incise armor, liturgical objects, and jewelry with designs. As paper became widely available in Europe, some of these craftsmen recorded their designs by printing them with ink onto paper. Thus the art of engraving was born. An engraver drives a burin, a metal tool with a lozenge-shaped tip, into a prepared copperplate, creating recessed grooves that will capture ink. After the plate is inked and its flat surfaces wiped clean, the copperplate is forced through a press against dampened paper. The ink, pulled from inside the lines, transfers onto the paper, printing the incised image in reverse. Engraving has a wholly linear visual language. Its lines are distinguished by their precision, clarity, and completeness, qualities which, when printed, result in vigorous and distinctly brilliant patterns of marks. Because lines once incised are very difficult to remove, engraving promotes both a systematic approach to the copperplate and the repetition of proven formulas for creating tone, volume, texture, and light. The history of the medium is therefore defined by the rapid development of a shared technical knowledge passed among artists dispersed across Renaissance and Baroque (Early Modern) Europe&mdash;from the Rhine region of Germany to Florence, Nuremberg, Venice, Rome, Antwerp, and Paris. While engravers relied on systems of line passed down through generations, their craft was not mechanical.
    [Show full text]
  • Che Si Conoscono Al Suo Già Detto Segno Vasari's Connoisseurship In
    Che si conoscono al suo già detto segno Vasari’s connoisseurship in the field of engravings Stefano Pierguidi The esteem in which Giorgio Vasari held prints and engravers has been hotly debated in recent criticism. In 1990, Evelina Borea suggested that the author of the Lives was basically interested in prints only with regard to the authors of the inventions and not to their material execution,1 and this theory has been embraced both by David Landau2 and Robert Getscher.3 More recently, Sharon Gregory has attempted to tone down this highly critical stance, arguing that in the life of Marcantonio Raimondi 'and other engravers of prints' inserted ex novo into the edition of 1568, which offers a genuine history of the art from Maso Finiguerra to Maarten van Heemskerck, Vasari focused on the artist who made the engravings and not on the inventor of those prints, acknowledging the status of the various Agostino Veneziano, Jacopo Caraglio and Enea Vico (among many others) as individual artists with a specific and recognizable style.4 In at least one case, that of the Martyrdom of St. Lawrence engraved by Raimondi after a drawing by Baccio Bandinelli, Vasari goes so far as to heap greater praise on the engraver, clearly distinguishing the technical skills of the former from those of the inventor: [...] So when Marcantonio, having heard the whole story, finished the plate he went before Baccio could find out about it to the Pope, who took infinite 1 Evelina Borea, 'Vasari e le stampe', Prospettiva, 57–60, 1990, 35. 2 David Landau, 'Artistic Experiment and the Collector’s Print – Italy', in David Landau and Peter Parshall, The Renaissance Print 1470 - 1550, New Haven and London: Yale University Press, 1994, 284.
    [Show full text]
  • Teaching Gallery Picturing Narrative: Greek Mythology in the Visual Arts
    list of Works c Painter andré racz (Greek, Attic, active c. 575–555 BC) (American, b. Romania, 1916–1994) after giovanni Jacopo caraglio Siana Cup, 560–550 BC Perseus Beheading Medusa, VIII, 1945 Teaching gallery fall 2014 3 5 1 1 (Italian, c. 1500/1505–1565) Terracotta, 5 /8 x 12 /8" engraving with aquatint, 7/25, 26 /8 x 18 /4" after rosso fiorentino gift of robert Brookings and charles University purchase, Kende Sale Fund, 1946 (Italian, 1494–1540) Parsons, 1904 Mercury, 16th century (after 1526) Marcantonio raimondi 1 Pen and ink wash on paper, 10 /8 x 8" ca Painter (Italian, c. 1480–c. 1530) gift of the Washington University (Greek, South Italian, Campanian) after raphael Department of art and archaeology, 1969 Bell Krater, mid-4th century BC (Italian, 1483–1520) 1 5 Terracotta, 17 /2 x 16 /8" Judgment of Paris, c. 1517–20 3 15 after gustave Moreau gift of robert Brookings and charles engraving, 11 /8 x 16 /16" Picturing narrative: greek (French, 1826–1898) Parsons, 1904 gift of J. lionberger Davis, 1966 Jeune fille de Thrace portant la tête d’Orphée (Thracian Girl Carrying the alan Davie school of orazio fontana Mythology in the visual arts Head of Orpheus), c. 1865 (Scottish, 1920–2014) (Italian, 1510–1571) 1 1 Oil on canvas, 39 /2 x 25 /2" Transformation of the Wooden Horse I, How Cadmus Killed the Serpent, c. 1540 7 5 University purchase, Parsons Fund, 1965 1960 Maiolica, 1 /8 x 10 /8" 1 1 Oil on canvas, 60 /8 x 72 /4" University purchase, elizabeth northrup after Marcantonio raimondi gift of Mr.
    [Show full text]
  • The Renaissance Nude
    Large Print The Renaissance Nude The Sackler Wing of galleries Rooms 1 and 2 Do not remove from gallery The Renaissance Nude Royal Academy of Arts The Sackler Wing of Galleries 3rd March - 2nd June 2019 Contents Page 5 Room 1 - Introduction Page 7 The Nude and Christian Art Page 20 Room 2 Page 22 Humanism and the Expansion of Secular Themes Exhibition supported by The Thompson Family Charitable Trust Peter & Geraldine Williams The Sackler Wing of Galleries You are in room 1 3 2 1 5 4 Audio Desk Exit to room 2 1 2 51 3 =showcases Exhibition entrance 3 Multimedia tour room 1 Main commentary Descriptive commentary 100 Introduction Jan Gossaert, Christ on the Cold 1 51 Stone, c. 1530 Dirk Bouts, The Way to Paradise; 2 The Fall of the Damned, 1468-69 Jean Bourdichon, Bathsheba Bathing, 3 Hours of Louis XII, 1498/99 4 Room 1 The 100 Renaissance Nude :KHQ0LFKHODQJHOR¿QLVKHGKLVµ/DVW Judgement’ in 1541, the monumental wall painting in the Sistine Chapel was celebrated as a triumph. The mural’s vast array of nudes, however, soon proved to be so controversial that, shortly after the artist’s death in 1564, Pope Pius IV ordered concealing draperies WREHSDLQWHGRYHUVRPHRIWKH¿JXUHV 8QWLOWKHQWKHQXGHKDGÀRXULVKHGLQ Renaissance Europe. Even in the face of objections and consternation, it had achieved an increasingly dominant role in the visual arts across the continent, with artistic training itself closely focused on the study of the unclothed body. (continued over) 5 It appeared in sacred and secular contexts, from small, intimate objects to PRQXPHQWDOGHFRUDWLYHSURJUDPPHV¿OOLQJ church interiors and stately palaces.
    [Show full text]
  • The Evolution of Landscape in Venetian Painting, 1475-1525
    THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters.
    [Show full text]
  • News Release
    NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 CONTACT: Dena Crosson Laura Carter (202) 842-6353 ** FOR IMMEDIATE RELEASE PRESS PREVIEW: Tuesday, Oct. 20, 1987 11:00 a.m. - 2:00 p.m. THE ART OF ROSSQ FIORENTINO TO OPEN AT NATIONAL GALLERY First U.S. Exhibition Ever Devoted Solely to 16th-century Italian Renaissance Artist October 1, 1987 - The first exhibition in the United States ever devoted solely to the works and designs of 16th-century Italian Renaissance artist Rosso Florentine opens Oct. 25 at the National Gallery of Art's West Building. Rosso Fiorentino Drawings, Prints and Decorative Arts consists of 117 objects, including 28 drawings by Rosso, 80 prints after his compositions, majolica and enamel platters, and tapestries made from his designs. On view through Jan. 3, 1988, the exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Giovanni Battista di Jacopo (1494-1540), best known as Rosso Fiorentino, worked in Florence from 1513 until 1524, when he went to Rome. He left the city during the infamous Sack of Rome in 1527, wandering about Italy until 1530, when he went to France to work for King Francis I at Fontainebleau. Rosso began his career with a style modeled on the art of the Florentine Renaissance, but he is now seen as one of the founders of the anticlassical style called Mannerism. An intense and eccentric individual, Rosso was internationally famous in the 16th century while today he is most readily recognized for his work at Fontainebleau and for the great impact of his Italian style on French art.
    [Show full text]