Front Matter

Total Page:16

File Type:pdf, Size:1020Kb

Front Matter Cambridge University Press 978-1-107-13976-3 — Public Painting and Visual Culture in Early Republican Florence George R. Bent Frontmatter More Information PUBLIC PAINTING AND VISUAL CULTURE IN EARLY REPUBLICAN FLORENCE Street corners, guild halls, government oices, and confraternity centers contained paintings that made the city of Florence a visual jewel at pre- cisely the time of its emergence as an international cultural leader. This book considers the paintings that were made speciically for consideration by lay viewers as well as the way they could have been interpreted by audi- ences who approached them with speciic perspectives. Their belief in the power of images, their understanding of the persuasiveness of pictures, and their acceptance of the utterly vital role that art could play as a propagator of civic, corporate, and individual identity made lay viewers keenly aware of the paintings in their midst. Those pictures airmed the piety of the people for whom they were made in an age of social and political upheaval as the city experimented with an imperfect form of republicanism that often failed to adhere to its declared aspirations. George R.Bent is the Sydney Gause Childress Professor of the Arts at Wash- ington and Lee University, where he has taught in the Department of Art and Art History since 1993. A Fulbright scholar, Bent has written about the art of Lorenzo Monaco, Florentine painting of the Late Middle Ages and Early Renaissance, and manuscript production in the fourteenth century. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-13976-3 — Public Painting and Visual Culture in Early Republican Florence George R. Bent Frontmatter More Information PUBLIC PAINTING AND VISUAL CULTURE IN EARLY REPUBLICAN FLORENCE GEORGE R. BENT Washington and Lee University © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-13976-3 — Public Painting and Visual Culture in Early Republican Florence George R. Bent Frontmatter More Information One Liberty Plaza, 20th Floor, New York, ny 10006, usa Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning, and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9781107139763 C George R. Bent 2016 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2016 Printed in The United States of America by Sheridan Books A catalogue record for this publication is available from the British Library. Library of Congress Cataloging–in–Publication Data Names: Bent, George R., author. Title: Public painting and visual culture in early republican Florence / George R. Bent. Description: New York : Cambridge University Press, 2016. | Includes bibliographical references and index. Identiiers: lccn 2016021810 | isbn 9781107139763 (hardback) Subjects: lcsh: Painting, Italian – Italy – Florence – Themes, motives. | Public art – Italy – Florence – History – To 1500. | Art and society – Italy – Florence – History – To 1500. | Florence (Italy) – Civilization. | BISAC: HISTORY / Europe / General. Classiication: lcc nd621.f7 b47 2016 | ddc 701/.03–dc23 LC record available at https://lccn.loc.gov/2016021810 isbn 978-1-107-13976-3 Hardback Cambridge University Press has no responsibility for the persistence or accuracy of urls for external or third-party Internet Web sites referred to in this publication and does not guarantee that any content on such Web sites is, or will remain, accurate or appropriate. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-13976-3 — Public Painting and Visual Culture in Early Republican Florence George R. Bent Frontmatter More Information CONTENTS List of Illustrations page vi Acknowledgments xiii INTRODUCTION: PUBLIC PAINTING AND VISUAL CULTURE IN EARLY REPUBLICAN FLORENCE, 1282–1434 1 1 PAINTINGS IN THE STREETS: TABERNACLES, PUBLIC DEVOTION, AND CONTROL 17 2 IMAGES OF CHARITY: CONFRATERNITIES, HOSPITALS, AND PICTURES FOR THE DESTITUTE 65 3 ART AND THE COMMUNE: POLITICS, PROPAGANDA, AND THE BUREAUCRATIC STATE 105 4 PICTURES FOR MERCHANTS: THE GUILDS, THEIR PAINTINGS, AND THE STRUGGLE FOR POWER 135 5 PUBLIC PAINTING IN SACRED SPACES: PIERS AND PILASTERS IN FLORENTINE CHURCHES 185 6 MURALS FOR THE MASSES: PAINTINGS ON NAVE WALLS 221 7 MASACCIO’S TRINITY AND THE TRIUMPH OF PUBLIC PAINTING FOR COMMON PEOPLE IN EARLY REPUBLICAN FLORENCE 273 Notes 289 Bibliography 311 Index 325 v © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-13976-3 — Public Painting and Visual Culture in Early Republican Florence George R. Bent Frontmatter More Information ILLUSTRATIONS color plates appear between pages 158 and 159 I. Giottino, Lamentation of Christ, ca. 1360, Uizi Galleries, Florence II. Giottino, Madonna della Sagra, 1356, Accademia, Florence III. Andrea del Bonaiuto, Madonna of Humility, ca. 1375, Via San Gallo, Florence IV. Madonna dei Malcontenti, ca. 1385, Via dei Malcontenti, Florence V. Jacopo del Casentino, Madonna della Tromba, ca. 1335–1340, Palazzo Arte della Lana, Florence VI. Santa Maria della Tromba, Codice Rustici, fol. 22, 1442–1447, Biblioteca Seminario Maggiore, Florence VII. Bernardo Daddi, Madonna of Orsanmichele, 1347, Orsanmichele, Florence VIII. Bernardo Daddi, Cruciix (recto), ca. 1345, Museo Poldi Pezzoli, Milan IX. Bernardo Daddi, Cruciix (verso), ca. 1345, Museo Poldi Pezzoli, Milan X. Niccolò di Pietro Gerini, Flagellation of Christ,ca.1390, private collection XI. Workshop of Bernardo Daddi, Allegory of Mercy, 1342, Museo del Bigallo, Florence XII. Niccolò di Pietro Gerini and Ambrogio di Baldese, Abandonment of Children and the Reuniication of Families, 1386, Museo del Bigallo, Florence XIII. Reconstruction, Abandonment of Children and the Reuniication of Families, 1386, Museo del Bigallo, Florence XIV. Jacopo di Cione, Madonna Lactans, ca. 1375, National Gallery of Art, Washington, D.C. XV. Workshop of Lorenzo Monaco, Double Intercession,ca.1400, Metropolitan Museum of Art (The Cloisters), New York XVI. Giotto (?), Enthroned Madonna with Symbols of the City, 1334–1336, Museo Nazionale del Bargello, Florence XVII. Andrea di Cione (?), Expulsion of the Duke of Athens, ca. 1345, Palazzo Vecchio, Florence vi © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-13976-3 — Public Painting and Visual Culture in Early Republican Florence George R. Bent Frontmatter More Information ILLUSTRATIONS vii XVIII. Jacopo di Cione, Coronation of the Virgin, 1373, Accademia, Florence XIX. Fra Angelico, Madonna and Child, 1435, Museo di San Marco, Florence XX. Mariotto di Nardo, Madonna and Child with Saints Stephen and Reparata, ca. 1385, Accademia, Florence XXI. Incipit Page, Arte della Lana 4, fol. 6, ca. 1335, Archivio di Stato, Florence XXII. Sala d’Udienza, Palazzo Arte della Lana, Florence XXIII. Madonna della Lana, ca. 1315, Palazzo Arte della Lana, Florence XXIV. Nardo di Cione (?), Judgment of Brutus, ca. 1345, Palazzo Arte della Lana, Florence XXV. Bernardo Daddi, Saint Paul, 1333, National Gallery of Art, Washington, D.C. XXVI. Giovanni del Biondo, Martyrdom of Saint Sebastian, ca. 1376, Museo dell’Opera del Duomo, Florence XXVII. Jacopo di Cione and Giovanni del Biondo, Saint Zenobius, ca. 1390, Santa Maria del Fiore, Florence XXVIII. Nardo di Cione, Madonna and Child with Saints John the Baptist, John the Evangelist, Zenobius, and Reparata,ca.1360, Brooklyn Museum of Art, Brooklyn, New York XXIX. Giovanni del Biondo, Saint John the Evangelist,ca.1380, Accademia, Florence XXX. Andrea di Cione and Jacopo di Cione, Saint Matthew and Scenes from His Life, 1369, Uizi, Florence XXXI. Lorenzo Monaco, Agony in the Garden, ca. 1396, Accademia, Florence XXXII. Saints Mary Magdalene, Nicholas, Miniato, Andrew, and Christopher, ca. 1380–1390, San Miniato al Monte, Florence XXXIII. Coronation of the Virgin, ca. 1300, Santa Maria del Fiore, Florence XXXIV. Last Judgment and Biblical Scenes, detail, Last Judgment (southwest, west, and northwest vaults), ca. 1275–1300, San Giovanni, Florence XXXV. Last Judgment and Biblical Scenes, detail, east vault, John the Baptist Imprisoned, ca. 1275–1300, San Giovanni, Florence XXXVI. Andrea di Cione, Triumph of Death, ca. 1345, Santa Croce, Florence XXXVII. Masaccio, Holy Trinity, 1427, Santa Maria Novella, Florence XXXVIII. Pulpit, Santa Maria Novella, Florence XXXIX. View of the Trinity from the east portal, Santa Maria Novella, Florence © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-13976-3 — Public Painting and Visual Culture in Early Republican Florence George R. Bent Frontmatter More Information viii ILLUSTRATIONS black and white figures 1. Fra Angelico, Deposition of Christ, 1435, Museo San Marco, Florence page 3 2. Bernardo Daddi, Madonna del Bagnuolo, ca. 1335, Museo dell’Opera del Duomo, Florence 7 3. Isometric project of Santa Croce with tramezzo, before Vasari’s renovation 10 4. Sketch of Santa Croce with tramezzo 11 5. Niche, Piazza Santo Spirito, Florence 19 6. Taddeo Gaddi, Madonna and Child, ca. 1340, Via Antonino, Florence 20 7. Niccolò
Recommended publications
  • Friends Around Europe
    COMENIUS PROJECT 2011-2013 FRIENDS AROUND EUROPE MELLISTE ALGKOOL-LASTEAED, TARTU, ESTONIA ÉCOLES MATERNELLE ET ÉLÉMENTAIRE DE PONT, ÉCHENOZ LA MÉLINE, FRANCE SZIVÁRVÁNY ÓVODA, SZÉKESFEHÉRVÁR, HUNGARY ISTITUTO COMPRENSIVO DI ATRI, ATRI, ITALY SZKOŁA PODSTAWOWA nr 199 im. JULIANA TUWIMA, ŁÓDŹ, POLAND ESCOLA PAЇSOS CATALANS LLEIDA, CATALONIA, SPAIN LLANDOGO PRIMARY SCHOOL, WALES, UNITED KINGDOM MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY 1 2 International Music Day 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 Castanyada 1st October - International Music Day The teachers perform songs to children. They sing the songs and play upon flute. 31st October - La castanyada In Catalonia every autumn, we celebrate a traditional holiday named “LA CASTANYADA”( = The chesnut Day). A long time ago, on 31st October night, families gathered together by the fireplace and told dead people stories, because the All Saints‟ Eve. In this celebration we cook a kind of sweet little cakes (PANELLETS) and toast chesnuts and sweet potatoes. In our school we participate in a Panellets workshop, autumn crafts, and afternoon festival with dances and songs. There are others schools that also cook chesnuts. This is our PANELLETS RECIPE. Ingredients: 1 kg almond flour 1 kg (or 900gr) sugar. 200 gr boiled potatoe (with the skin).
    [Show full text]
  • Florence Next Time Contents & Introduction
    TABLE OF CONTENTS Introduction Conventional names for traditional religious subjects in Renaissance art The Cathedral of Florence (Duomo) The Baptistery Museo dell’Opera del Duomo The other Basilicas of Florence Introduction Santissima Annunciata Santa Croce and Museum San Lorenzo and Medici Chapels San Marco and Museum Santa Maria del Carmine and Brancacci Chapel Santa Maria Novella and Museum San Miniato al Monte Santo Spirito and Museum Santa Trinita Florence’s other churches Ognissanti Orsanmichele and Museum Santi Apostoli Sant’Ambrogio San Frediano in Cestello San Felice in Piazza San Filippo Neri San Remigio Last Suppers Sant’Apollonia Ognissanti Foligno San Salvi San Marco Santa Croce Santa Maria Novella and Santo Spirito Tours of Major Galleries Tour One – Uffizi Tour Two – Bargello Tour Three – Accademia Tour Four – Palatine Gallery Museum Tours Palazzo Vecchio Museo Stefano Bardini Museo Bandini at Fiesole Other Museums - Pitti, La Specola, Horne, Galileo Ten Lesser-known Treasures Chiostro dello Scalzo Santa Maria Maggiore – the Coppovaldo Loggia del Bigallo San Michele Visdomini – Pontormo’s Madonna with Child and Saints The Chimera of Arezzo Perugino’s Crucifixion at Santa Maria dei Pazzi The Badia Fiorentina and Chiostro degli Aranci The Madonna of the Stairs and Battle of the Centaurs by Michelangelo The Cappella dei Magi, Palazzo Medici-Riccardi The Capponi Chapel at Santa Felicita Biographies of the Artists Glossary of Terms Bibliography SimplifiedTime-line diagram Index INTRODUCTION There can’t be many people who love art who won’t at some time in their lives find themselves in Florence, expecting to see and appreciate the incredibly beautiful paintings and sculptures collected in that little city.
    [Show full text]
  • The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14Th-16Th Centuries
    The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries: Images of Intergeneration Relationships By Welleda Muller The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries: Images of Intergeneration Relationships By Welleda Muller This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Welleda Muller All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9049-9 ISBN (13): 978-1-4438-9049-6 This book is dedicated to all of my colleagues and friends from MaxNetAging: Inês Campos-Rodrigues, Kristen Cyffka, Xuefei Gao, Isabel García-García, Heike Gruber, Julia Hoffman, Nicole Hudl, Göran Köber, Jana Kynast, Nora Mehl, and Ambaye Ogato. TABLE OF CONTENTS List of Illustrations ..................................................................................... ix Acknowledgments .................................................................................... xiii Introduction ................................................................................................
    [Show full text]
  • Musica Sanat Corpus Per Animam': Towar Tu Erstanding of the Use of Music
    `Musica sanat corpus per animam': Towar tU erstanding of the Use of Music in Responseto Plague, 1350-1600 Christopher Brian Macklin Doctor of Philosophy University of York Department of Music Submitted March 2008 BEST COPY AVAILABLE Variable print quality 2 Abstract In recent decadesthe study of the relationship between the human species and other forms of life has ceased to be an exclusive concern of biologists and doctors and, as a result, has provided an increasingly valuable perspective on many aspectsof cultural and social history. Until now, however, these efforts have not extended to the field of music, and so the present study representsan initial attempt to understand the use of music in Werrn Europe's responseto epidemic plague from the beginning of the Black Death to the end of the sixteenth century. This involved an initial investigation of the description of sound in the earliest plague chronicles, and an identification of features of plague epidemics which had the potential to affect music-making (such as its geographical scope, recurrence of epidemics, and physical symptoms). The musical record from 1350-1600 was then examined for pieces which were conceivably written or performed during plague epidemics. While over sixty such pieces were found, only a small minority bore indications of specific liturgical use in time of plague. Rather, the majority of pieces (largely settings of the hymn Stella coeli extirpavit and of Italian laude whose diffusion was facilitated by the Franciscan order) hinted at a use of music in the everyday life of the laity which only occasionally resulted in the production of notated musical scores.
    [Show full text]
  • MONTEPULCIANO's PALAZZO COMUNALE, 1440 – C.1465: RETHINKING CASTELLATED CIVIC PALACES in FLORENTINE ARCHITECTURAL and POLITI
    MONTEPULCIANO’S PALAZZO COMUNALE, 1440 – c.1465: RETHINKING CASTELLATED CIVIC PALACES IN FLORENTINE ARCHITECTURAL AND POLITICAL CONTEXTS Two Volumes Volume I Koching Chao Ph.D. University of York History of Art September 2019 ABSTRACT This thesis argues for the significance of castellated civic palaces in shaping and consolidating Florence’s territorial hegemony during the fifteenth century. Although fortress-like civic palaces were a predominant architectural type in Tuscan communes from the twelfth century onwards, it is an understudied field. In the literature of Italian Renaissance civic and military architecture, the castellated motifs of civic palaces have either been marginalised as an outdated and anti-classical form opposing Quattrocento all’antica taste, or have been oversimplified as a redundant object lacking defensive functionality. By analysing Michelozzo’s Palazzo Comunale in Montepulciano, a fifteenth-century castellated palace resembling Florence’s thirteenth-century Palazzo dei Priori, this thesis seeks to address the ways in which castellated forms substantially legitimised Florence’s political, military and cultural supremacy. Chapter One examines textual and pictorial representations of Florence’s castellation civic palaces and fortifications in order to capture Florentine perceptions of castellation. This investigation offers a conceptual framework, interpreting the profile of castellated civic palaces as an effective architectural affirmation of the contemporary idea of a powerful city-republic rather than being a symbol of despotism as it has been previously understood. Chapters Two and Three examine Montepulciano’s renovation project for the Palazzo Comunale within local and central administrative, socio-political, and military contexts during the first half of the fifteenth century, highlighting the Florentine features of Montepulciano’s town hall despite the town’s peripheral location within the Florentine dominion.
    [Show full text]
  • "Things Not Seen" in the Frescoes of Giotto
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2017 "Things Not Seen" in the Frescoes of Giotto: An Analysis of Illusory and Spiritual Depth Aaron Hubbell Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Hubbell, Aaron, ""Things Not Seen" in the Frescoes of Giotto: An Analysis of Illusory and Spiritual Depth" (2017). LSU Master's Theses. 4408. https://digitalcommons.lsu.edu/gradschool_theses/4408 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. "THINGS NOT SEEN" IN THE FRESCOES OF GIOTTO: AN ANALYSIS OF ILLUSORY AND SPIRITUAL DEPTH A Thesis Submitted to the Graduate Faculty of Louisiana State University and the School of Art in partial fulfillment of the requirements for the degree of Master of Arts in Art History in The School of Art by Aaron T. Hubbell B.F.A., Nicholls State University, 2011 May 2017 ACKNOWLEDGEMENTS I would like to thank my thesis advisor, Dr. Elena Sifford, of the College of Art and Design for her continuous support and encouragement throughout my research and writing on this project. My gratitude also extends to Dr. Darius Spieth and Dr. Maribel Dietz as the additional readers of my thesis and for their valuable comments and input.
    [Show full text]
  • Illustrations Ij
    Mack_Ftmat.qxd 1/17/2005 12:23 PM Page xiii Illustrations ij Fig. 1. Expulsion of Adam and Eve from Paradise, ca. 1015, Doors of St. Michael’s, Hildesheim, Germany. Fig. 2. Masaccio, Expulsion of Adam and Eve from Paradise, ca. 1425, Brancacci Chapel, Church of Santa Maria del Carmine, Flo- rence. Fig. 3. Bernardo Rossellino, Facade of the Pienza Cathedral, 1459–63. Fig. 4. Bernardo Rossellino, Interior of the Pienza Cathedral, 1459–63. Fig. 5. Leonardo da Vinci, The Last Supper, 1495–98, Refectory of the Monastery of Santa Maria delle Grazie, Milan. Fig. 6. Anonymous Pisan artist, Pisa Cross #15, late twelfth century, Museo Civico, Pisa. Fig. 7. Anonymous artist, Cross of San Damiano, late twelfth century, Basilica of Santa Chiara, Assisi. Fig. 8. Giotto di Bondone, Cruci‹xion, ca. 1305, Arena (Scrovegni) Chapel, Padua. Fig. 9. Masaccio, Trinity Fresco, ca. 1427, Church of Santa Maria Novella, Florence. Fig. 10. Bonaventura Berlinghieri, Altarpiece of St. Francis, 1235, Church of San Francesco, Pescia. Fig. 11. St. Francis Master, St. Francis Preaching to the Birds, early four- teenth century, Upper Church of San Francesco, Assisi. Fig. 12. Anonymous Florentine artist, Detail of the Misericordia Fresco from the Loggia del Bigallo, 1352, Council Chamber, Misericor- dia Palace, Florence. Fig. 13. Florentine artist (Francesco Rosselli?), “Della Catena” View of Mack_Ftmat.qxd 1/17/2005 12:23 PM Page xiv ILLUSTRATIONS Florence, 1470s, Kupferstichkabinett, Staatliche Museen zu Berlin. Fig. 14. Present-day view of Florence from the Costa San Giorgio. Fig. 15. Nicola Pisano, Nativity Panel, 1260, Baptistery Pulpit, Baptis- tery, Pisa. Fig.
    [Show full text]
  • THE BERNARD and MARY BERENSON COLLECTION of EUROPEAN PAINTINGS at I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls
    THE BERNARD AND MARY BERENSON COLLECTION OF EUROPEAN PAINTINGS AT I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls GENERAL INDEX by Bonnie J. Blackburn Page numbers in italics indicate Albrighi, Luigi, 14, 34, 79, 143–44 Altichiero, 588 Amsterdam, Rijksmuseum catalogue entries. (Fig. 12.1) Alunno, Niccolò, 34, 59, 87–92, 618 Angelico (Fra), Virgin of Humility Alcanyiç, Miquel, and Starnina altarpiece for San Francesco, Cagli (no. SK-A-3011), 100 A Ascension (New York, (Milan, Brera, no. 504), 87, 91 Bellini, Giovanni, Virgin and Child Abbocatelli, Pentesilea di Guglielmo Metropolitan Museum altarpiece for San Nicolò, Foligno (nos. 3379 and A3287), 118 n. 4 degli, 574 of Art, no. 1876.10; New (Paris, Louvre, no. 53), 87 Bulgarini, Bartolomeo, Virgin of Abbott, Senda, 14, 43 nn. 17 and 41, 44 York, Hispanic Society of Annunciation for Confraternità Humility (no. A 4002), 193, 194 n. 60, 427, 674 n. 6 America, no. A2031), 527 dell’Annunziata, Perugia (Figs. 22.1, 22.2), 195–96 Abercorn, Duke of, 525 n. 3 Alessandro da Caravaggio, 203 (Perugia, Galleria Nazionale Cima da Conegliano (?), Virgin Aberdeen, Art Gallery Alesso di Benozzo and Gherardo dell’Umbria, no. 169), 92 and Child (no. SK–A 1219), Vecchietta, portable triptych del Fora Crucifixion (Claremont, Pomona 208 n. 14 (no. 4571), 607 Annunciation (App. 1), 536, 539 College Museum of Art, Giovanni di Paolo, Crucifixion Abraham, Bishop of Suzdal, 419 n. 2, 735 no. P 61.1.9), 92 n. 11 (no. SK-C-1596), 331 Accarigi family, 244 Alexander VI Borgia, Pope, 509, 576 Crucifixion (Foligno, Palazzo Gossaert, Jan, drawing of Hercules Acciaioli, Lorenzo, Bishop of Arezzo, Alexeivich, Alexei, Grand Duke of Arcivescovile), 90 Kills Eurythion (no.
    [Show full text]
  • Thoughts About Paintings Conservation This Page Intentionally Left Blank Personal Viewpoints
    PERSONAL VIEWPOINTS Thoughts about Paintings Conservation This page intentionally left blank Personal Viewpoints Thoughts about Paintings Conservation A Seminar Organized by the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Research Institute at the Getty Center, Los Angeles, June 21-22, 2001 EDITED BY Mark Leonard THE GETTY CONSERVATION INSTITUTE LOS ANGELES & 2003 J- Paul Getty Trust THE GETTY CONSERVATION INSTITUTE Getty Publications 1200 Getty Center Drive, Suite 500 Timothy P. Whalen, Director Los Angeles, CA 90049-1682 Jeanne Marie Teutónico, Associate Director, www.getty.edu Field Projects and Science Christopher Hudson, Publisher The Getty Conservation Institute works interna- Mark Greenberg, Editor in Chief tionally to advance conservation and to enhance Tobi Levenberg Kaplan, Manuscript Editor and encourage the preservation and understanding Jeffrey Cohen, Designer of the visual arts in all of their dimensions— Elizabeth Chapín Kahn, Production Coordinator objects, collections, architecture, and sites. The Institute serves the conservation community through Typeset by G&S Typesetters, Inc., Austin, Texas scientific research; education and training; field Printed in Hong Kong by Imago projects; and the dissemination of the results of both its work and the work of others in the field. Library of Congress In all its endeavors, the Institute is committed Cataloging-in-Publication Data to addressing unanswered questions and promoting the highest possible standards of conservation Personal viewpoints : thoughts about paintings practice. conservation : a seminar organized by The J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Research Institute at the Getty Center, Los Angeles, June 21-22, 2001 /volume editor, Mark Leonard, p.
    [Show full text]
  • Daddi, Bernardo Also Known As Daddo, Bernardo Di Active by 1320, Died Probably 1348
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Thirteenth and Fourteenth Century Paintings Daddi, Bernardo Also known as Daddo, Bernardo di active by 1320, died probably 1348 BIOGRAPHY Son of Daddo di Simone, Bernardo is recorded for the first time in the registers of the Arte dei Medici e Speziali when he enrolled in the guild (which also included artists) between 1312 and 1320.[1] By this date he must have been a firmly established painter, as the reconstruction of his oeuvre also suggests; presumably, he had been born by the last decade of the thirteenth century, if not earlier. His first securely dated work is the signed triptych in the Uffizi, Florence; its inscription contains not only the artist’s name but also the year 1328. Recent studies, however, have assigned various works, also of large dimensions, to previous years, such as the cycle of frescoes in the chapel of the Pulci and Berardi families in Santa Croce in Florence; the polyptych of San Martino at Lucarelli (Siena), now in the New Orleans Museum of Art; and the polyptych divided among the Galleria Nazionale in Parma, the Museo Lia in La Spezia, and a private collection.[2] Although perhaps trained in the circle of painters such as Lippo di Benivieni or the Master of San Martino alla Palma,[3] in the second or the early third decade of the fourteenth century Bernardo worked in close contact with Giotto’s shop (executing for the church of Santa Croce, then the preserve of the pupils and followers of the great master, not only the abovementioned frescoes but also possibly the Parma–La Spezia polyptych).[4] During the fourth and fifth decades of the century, Daddi’s shop seems to have produced by preference numerous small but precious panels destined for private devotion.
    [Show full text]
  • WISHBOOK-2019.Pdf
    FRONT COVER Crivelli Madonna with Child - Carlo Crivelli XV - XVI Century Art Department pages 136 - 139 Contents 3 4 Letter from the President of the Vatican City State 94 Coronation of the Virgin with Angels and Saints 6 Letter from the Director of the Vatican Museums 98 Enthroned Madonna and Child Letter from the International Director of the 102 Saints Paola and Eustochium 8 Patrons of the Arts 106 Stories of the Passion of Christ 110 Icons from the Tower of Pope John XXIII 10 BRAMANTE COURTYARD Long-term Project Report 126 XV – XVI CENTURY ART 16 CHRISTIAN ANTIQUITIES 128 Tryptich of the Madonna and Child with Saints 18 Drawn Replicas of Christian Catacombs Paintings 132 Apse of the Church of San Pellegrino 22 GREEK AND ROMAN ANTIQUITIES 136 Crivelli Madonna with Child 24 Chiaramonti Gallery Wall XlV 140 Madonna and Child with Annunciation and Saints 30 Ostia Collection: Eleven Figurative Artifacts 144 XVII – XVIII CENTURY ART AND TAPESTRIES Ostia Collection: Two Hundred and Eighty-three 34 Household Artifacts 146 Noli Me Tangere Tapestry 38 Statue of an Old Fisherman 150 Plaster Cast of the Bust of Pope Pius VII 42 Polychrome Mosaic with Geometric Pattern 154 Two Works from the Workshop of Canova 162 Portrait of Pope Clement IX 46 GREGORIAN ETRUSCAN ANTIQUITIES 166 Embroidery Drawings for Papal Vestments 48 Krater, Kylixes and Perfume Jars 52 Gold Necklaces from the Regolini-Galassi Tomb 170 XIX CENTURY AND CONTEMPORARY ART 56 Astarita Collection: Thirty-three Figurative Vases 172 Clair de Lune 60 Ceremonial Clasp from the Regolini-Galassi Tomb 176 Model of Piazza Pius XII 64 Amphora and a Hundred Fragments of Bucchero 180 HISTORICAL COLLECTIONS 68 DECORATIVE ARTS 182 Two Jousting Shields 70 Rare Liturgical Objects 186 Drawing of the Pontifical Army Tabella 76 Tunic of “St.
    [Show full text]
  • Management Plan Men Agement Plan Ement
    MANAGEMENTAGEMENTMANAGEMENTEMENTNAGEMENTMEN PLAN PLAN 2006 | 2008 Historic Centre of Florence UNESCO WORLD HERITAGE he Management Plan of the His- toric Centre of Florence, approved T th by the City Council on the 7 March 2006, is under the auspices of the Historic Centre Bureau - UNESCO World Heritage of the Department of Culture of the Florence Municipality In charge of the Management Plan and coordinator of the project: Carlo Francini Text by: Carlo Francini Laura Carsillo Caterina Rizzetto In the compilation of the Management Plan, documents and data provided di- rectly by the project managers have also been used. INDEXEX INDEX INTRODUCTIONS CHAPTER V 45 Introduction by Antonio Paolucci 4 Socio-economic survey Introduction by Simone Siliani 10 V.1 Population indicators 45 V.2 Indicators of temporary residence. 46 FOREWORD 13 V.3 Employment indicators 47 V.4 Sectors of production 47 INTRODUCTION TO THE MANAGEMENT 15 V.5 Tourism and related activities 49 PLANS V.6 Tourism indicators 50 V.7 Access and availability 51 FIRST PART 17 V.8 Traffi c indicators 54 GENERAL REFERENCE FRAME OF THE PLAN V.9 Exposure to various sources of pollution 55 CHAPTER I 17 CHAPTER VI 56 Florence on the World Heritage List Analysis of the plans for the safeguarding of the site I.1 Reasons for inclusion 17 VI.1 Urban planning and safeguarding methods 56 I.2 Recognition of Value 18 VI. 2 Sector plans and/or integrated plans 60 VI.3 Plans for socio-economic development 61 CHAPTER II 19 History and historical identity CHAPTER VII 63 II.1 Historical outline 19 Summary
    [Show full text]