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Coexistence of Mythological and Historical Elements
COEXISTENCE OF MYTHOLOGICAL AND HISTORICAL ELEMENTS AND NARRATIVES: ART AT THE COURT OF THE MEDICI DUKES 1537-1609 Contents Introduction ........................................................................................................................................................ 3 Greek and Roman examples of coexisting themes ........................................................................ 6 1. Cosimo’s Triumphal Propaganda ..................................................................................................... 7 Franco’s Battle of Montemurlo and the Rape of Ganymede ........................................................ 8 Horatius Cocles Defending the Pons Subicius ................................................................................. 10 The Sacrificial Death of Marcus Curtius ........................................................................................... 13 2. Francesco’s parallel narratives in a personal space .............................................................. 16 The Studiolo ................................................................................................................................................ 16 Marsilli’s Race of Atalanta ..................................................................................................................... 18 Traballesi’s Danae .................................................................................................................................... 21 3. Ferdinando’s mythological dream ............................................................................................... -
MEMOFONTE Rivista On-Line Semestrale
STUDI DI MEMOFONTE Rivista on-line semestrale 15/2015 FONDAZIONE MEMOFONTE Studio per l’elaborazione informatica delle fonti storico-artistiche www.memofonte.it COMITATO REDAZIONALE Proprietario Fondazione Memofonte onlus Direzione scientifica Paola Barocchi Comitato scientifico Paola Barocchi, Francesco Caglioti, Flavio Fergonzi, Donata Levi, Nicoletta Maraschio, Carmelo Occhipinti Cura scientifica Nicoletta Maraschio Cura redazionale Claudio Brunetti, Martina Nastasi Segreteria di redazione Fondazione Memofonte onlus, Lungarno Guicciardini 9r, 50125 Firenze [email protected] ISSN 2038-0488 INDICE N. Maraschio, Editoriale p. 1 F. Conte, Storia della lingua e storia dell’arte in Italia (dopo il 2004) p. 3 V. Ricotta, Ut pictura lingua. Tessere lessicali dal Libro dell’Arte di p. 27 Cennino Cennini P. Manni, Sulla lingua tecnico-scientifica di Leonardo. Bilancio di un p. 44 decennio fecondo E. Carrara, Reconsidering the Authorship of the Lives. Some Observations p. 53 and Methodological Questions on Vasari as a Writer B. Fanini, Le Vite del Vasari e la trattatistica d’arte del Cinquecento: nuovi p. 91 strumenti, nuovi percorsi d’indagine A. Siekiera, Note sul lessico delle Vite di Giorgio Vasari fra la p. 109 Torrentiniana e la Giuntina S. Maffei, I limiti dell’ekphrasis: quando i testi originano immagini p. 120 Eliana Carrara _______________________________________________________________________________ RECONSIDERING THE AUTHORSHIP OF THE LIVES. SOME OBSERVATIONS AND METHODOLOGICAL QUESTIONS ON VASARI AS A WRITER Del resto mi rallegro con voi che certo avete fatto una bella et utile fatica. E v‟annunzio che sarà perpetua, perché l‟istoria è necessaria e la materia dilettevole. Annibal Caro to Giorgio Vasari, 11 December 1547 The resurgence of interest in Giorgio Vasari meritoriously prompted by the fifth centennial celebrations in 20111 has been accompanied by the resurfacing of certain theses that I regard with misgivings in more than one respect. -
Annali Di Storia Di Firenze
ANNALI DI STORIA DI FIRENZE IX 2014 FIRENZE UNIVERSITY PRESS 2014 ANNALI DI STORIA DI FIRENZE Pubblicazione periodica annuale Gli «Annali» sono la rivista di «Storia di Firenze. Il portale per la storia della città» La versione elettronica ad accesso gratuito è disponibile all’indirizzo <www.fupress.com/asf> Direzione Marcello Verga (Università di Firenze), Andrea Zorzi (Università di Firenze) direttore responsabile Coordinamento editoriale Aurora Savelli (Università di Firenze) Comitato di redazione Anna Benvenuti (Università di Firenze), Bruna Bocchini Camaiani (Università di Firenze), Maurizio Bossi (Fondazione Romualdo Del Bianco), Jean Boutier (École des hautes études en sciences sociales), William J. Connell (Seton Hall University), Fulvio Conti (Università di Firenze), Gábor Klaniczay (Central European University), Stephen J. Milner (University of Manchester), Simone Neri Serneri (Università di Siena), Sergio Raveggi (Università di Siena), Michael Rocke (Harvard Center for Renaissance Studies at Villa I Tatti), Luigi Tomassini (Università di Bologna – Sede di Ravenna), Paola Ventrone (Università Cattolica del “Sacro Cuore” – Milano) Redazione Matteo Mazzoni (Istituto Gramsci Toscano) coordinamento, Marco Bicchierai (Università di Firenze), Francesca Cavarocchi (Istituto Storico della Resistenza in Toscana), Antonio Chiavistelli (Università di Torino), Silvia Diacciati (Firenze), Enrico Faini (Udine), Emanuela Ferretti (Università di Firenze), Pietro Domenico Giovannoni (Università di Roma Tor Vergata), Piero Gualtieri (Firenze), -
VINCENZO BORGHINI: “MDLX a 28 D'ottobre, Nel Qual Dì, Sua
VINCENZO BORGHINI: “MDLX a 28 d’ottobre, nel qual dì, Sua Eccellenza hebbe il tosone, fece l’entrata in Siena come appresso” Biblioteca Nazionale Centrale di Firenze, Ms. II. X. 100 [ca. 1560] edited by CHARLES DAVIS FONTES 50 [28 February 2010] Zitierfähige URL: http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2010/1021/ urn:nbn:de:bsz:16-artdok-10217 1 “MDLX a 28 d’ottobre, nel qual dì, Sua Eccellenza hebbe il tosone”: Cosimo de’ Medici received the Tosone d’Oro from Carlo V in 1546, presumably on 28 October (see p. 16). 2 C O N T E N T S 3 INTRODUCTION: VINCENZO BORGHINI AND HIS NOTES ABOUT THE SIENA ENTRY, 1560 7 THE FULL TEXT OF BORGHINI’S NOTES ABOUT THE ENTRY INTO SIENA 12 INSCRIPTIONS 14 BIOGRAPHY / BIBLIOGRAPHY: VINCENZO BORGHINI (1515-1580) 16 MDLX A 28 D’OTTOBRE, NEL QUAL DÌ, SUA ECCELLENZA HEBBE IL TOSONE 3 I N T R O D U C T I O N VINCENZO BORGHINI AND HIS NOTES ABOUT THE SIENA ENTRY, 1560 FONTES 46 (Bartolomeo Ammanati, 1559), FONTES 48 (Anton Francesco Cirni, Reale Entrata, 1560), and FONTES 49 (Antonio Martellini, Solenne Entrata, 1560) have each treated the written testimonies that document a civic festival important for the emergence and evolution of the political iconography of the Medici principate, established in 1537, an event in which architecture and images played a central rôle. This event was the triumphal entry of Cosimo de’ Medici and his family into Siena following the conclusion of the War of Siena with the fall of Montalcino, in 1559, and the subsequent annexation of Siena to Cosimo’s territories, laying the basis for a Tuscan State. -
Vasari, Prints and Imitation 'I Know That Our Art Consists Primarily in The
Vasari, Prints and Imitation ‘I know that our art consists primarily in the imitation of nature but then, since it cannot by itself reach so high, in the imitation of those judged to be more accomplished artists.’ Thus wrote Giorgio Vasari in his Preface to the Lives of the Artists .1 What then is this imitation? In seeking to respond to this question, the focus in this paper will be on the imitation by artists of other more accomplished masters, rather than on the problem of the imitation of nature, which is not in the essay’s scope. During the fifteenth and sixteenth centuries in Italy, the concept of imitation permeated many fields of endeavour. As an issue of debate it originated with the humanist scholars of the fourteenth century, who made attempts to reconstruct the Latin language as it was used in antiquity prior to what they viewed as the ‘degeneration’ that had occurred in the intervening years. One of the surest ways to recover that language was to read the ancient authors and, when writing Latin, to imitate them. 2 However, the problem of whether one should imitate many different authors or only one, which had been discussed in the ancient Roman texts themselves, became the central issue in Cinquecento debates between rhetoricians. 3 This issue will be returned to, but, as Vasari remarked, ‘theories...when separated from practice are generally of very little use.’4 So at first it will be helpful to see what imitation looks like in the work of a single artist. For this I have chosen Vasari himself, and, in relation to his imitation of other masters, I have limited myself, more or less, to his use of images from copperplate engravings and woodcuts, the models most accessible to all artists in the sixteenth century, even those who did not travel. -
SIGNIFICANT CONNECTIONS Bravo Damien Hirst!
SIGNIFICANT CONNECTIONS Bravo Damien Hirst! But why Florence and why that room? They were my first thoughts after viewing Damien Hirst’s diamond encrusted skull, For the Love of God, in the Palazzo Vecchio, Florence. The more I thought about the dazzlingly beautiful object afterwards and it’s location within the Camera of Cosimo de’ Medici, which visitors reach by passing through the Studiolo of Francesco I de’ Medici, the more I admired Hirst and curator, Francesco Bonami, for reviving a long tradition of displaying rare and curious objects in traditional cabinets. “Cabinet”, although originally designating a chest used to keep small and precious items, referred in the sixteenth century to intimately scaled rooms designed to display private collections. I was one of six people on a bitterly cold January morning to enter the exhibition with great expectations. Public access to the small, barrel-vaulted Studiolo is normally restricted so we had a rare three-minute opportunity to admire its jewel box like interior before being ushered into a completely blackened and enclosed space. For three more minutes we bumped into one another as we walked around the central and only feature of the room – a brightly illuminated showcase containing the artwork. Crouching down to examine the diamond paved interior of the eye sockets, nasal passage and mandible or standing tall to take in the perfect covering of the crania with its central pear shaped pink diamond cluster it was over all too soon. But what an impression it left on the viewer and how long it remained in the mind’s eye. -
(Title of the Thesis)*
FRANCESCO SALVIATI RITRATTISTA: EXPERIMENTS IN CINQUECENTO PORTRAITURE by Xiaoyin Huang A thesis submitted to the Graduate Program in Art History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (April, 2013) Copyright ©XiaoyinHuang, 2013 Abstract This dissertation aims to provide a comprehensive study of Francesco Salviati’s portraits, analyzed within a chronological framework. Traditional attributions are re-examined and recent discoveries included to establish a reliable core group of the artist’s portraits, one exhibiting a stylistic coherence. Salviati’s activities as a portraitist are placed in the historical, political, cultural and artistic context of his time, with particular emphasis on patronage. Versatile and well-connected, Francesco served a number of top-ranking patrons of his time, including Cardinal Giovanni Salviati, Pier Luigi and Alessandro Farnese (in Rome), Duke Cosimo I de’ Medici (in Florence), the Grimani family (in Venice), King Henri II, and the Cardinal of Lorraine in France. This study intends to navigate portraiture’s role in the relationships between the courtier-artist and his princely patrons. Characterized by innovation and experimentation, Salviati’s portraits vary in composition, media and supports. As one of the earliest artists to produce portrait miniatures in Italy, Francesco evidently introduced the genre to Cosimo I de’ Medici’s court to create an aura of a royal court equal to that in France and England. His experiments with the use of various stone supports for portraits are discussed in relation to his status as the leading painter in Rome after the death of Sebastiano del Piombo in 1547. -
ART and the GLOBAL MOBILIZATION at the TURN of the MILLENNIUM (Comment on Prof. Bredekamp's Paper)
Originalveröffentlichung in: Changing concepts of nature at the turn of the millenium : proceedings; plenary session of the Pontifical Academy of Sciences, 26 - 29 October 1998 (Pontificiae Academiae Scientiarum Scripta varia ; 95), Vatican City 2000, S. 251-256 ART AND THE GLOBAL MOBILIZATION AT THE TURN OF THE MILLENNIUM1 (Comment on Prof. Bredekamp's Paper) FRANK FEHRENBACH We have heard that the image of 'Mother Nature' responds to an older image: that of nature as a distanced power, who withholds her goods from humanity, yet who at the same time demonstrates, through her own example, ways to overcome deficiency. Nature is conceived technomorphically, as a craftswoman who is not always perfect in her products. The philosophical and religious traditions behind this image are clear: There is Plato's conception, for example, of the Demiurge who imperfectly imitates the world of Ideas, and the neo-platonic vision of a perfect world of Ideas that become contaminated in their materialization. There is the Judeo-Christian belief in a 'natura lapsa,' a perfect divine creation that was damaged in man's Fall. And there is the idea (not yet articulated in Alain de Lille's Anticlaudian, and, it seems to me, specifically early modern) that nature is perfected by man, that culture, as a technology, creates a second nature which gradually replaces the original. This involves a harmonistic motif, one we find depicted, for example, in the central ceiling fresco in Francesco I de Medici's studiolo in the Palazzo Vecchio in Florence (Fig. 1). In Vincenzo Borghini's sketch of the program, the thought is made clear: unfinished nature voluntarily offers her products (in this case, an unpolished gem) to Prometheus, who, as an embodiment of human technology, in turn guarantees the 1 I wish to express my gratitude to Michael Cole, Princeton/ Chapel Hill, for his translation of the German text.