DOCSLIB.ORG

The Masterpieces of Titian; Sixty Reproductions of Photographs From

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Masterpieces of Titian; Sixty Reproductions of Photographs From COWANS S ART BOOKS 6*mT THE MASTERPIECES O T0 LONDON O GLASGOW, GOWANS & QRAY, L m From the Library of Frank Simpson « Telegraphic Address Telephone No. ** GALERADA, 1117, LONDON.” MAYFAIR. CLAUDE & TREVELYAN, THE CARLTON GALLERY, PALL MALL PLACE, LONDON, S,W* PURCHASERS AND SELLERS OF FINE PICTURES BY THE BEST OLD MASTERS. Messrs. CLAUDE & TREVELYAN also invite the attention of anyone desiring Portraits painted in Pastel, to the works of Mr. E. F. Wells, the clever painter of Portraits in Pastel. Attention is also directed to the work of Mr. Hubert Coop and Mr. Gregory Robinson, exceptionally clevet painters of Marine and Landscape Pictures in Oil and Water Colour, and to the exceedingly fine Portraits of Horses by Mr. Lynwood Palmer. Pictures and Engravings Cleaned and Restored. Valuations made for Probate or otherwise. Collections Classified and Arranged, CREAT CONTINENTAL SUCCESSES No. 1 KARL . HEINRICH The Original of the Play OLD HEIDELBERG Which has been acted with such very great success by Mr. George Alexander. By W. MEYER-FORSTER. WITH 12 ILLUSTRATIONS. THE ONLY TRANSLATION. Cloth, 3/6 Net. GOWANS & GRAY, Ltd., London and Glasgow. m Is Its* mmt ksfamssSteg Sites is lU^ws&shsr® t® *M mfe» ®»fe to Bwy ©r S^J Q0IUIKE ANTIQUES. FREE TO CONNOISSEURS «y hxssiRATEfi Catalogue Goods Purchased mmen Returnable if Disapproved* Sm&M Items seal oe appro, to satisfactory applicants. S©S Ev®r-clsaftg1f!g Pieees of ©Id gteina, &sd P&ttmy siwaye an feanS, The , . Connoisseur tre&fM ®n elf euBl«efs (ntensfing fo Coffttefor® mb persont #f culture. HE articles are written fey T acknowledged experts, and are illustrated fey unique photographs mtd drawings of ha* portaat examples a»d collections fro® every part of the world. The high standard ®f excellence fey which th« magazine has been distinguished during the three years «£ its pubBcatioa b felly maintained, and when feoaud It forms a standard work of referese*. If you have cover purchased a copy, 4® so* and you wfM he struck at sh® lead that Great Britain hag taken, at aay rate, is the psr@dueti®a &f * really artistic, and at the same time, thoroughly Instructive «sd Interesting publication. 1e t H*Tt 1Se> Pm s^hum, a® act SeeKesMbBiBa. 19a. Nsa roa tmi Hostess SSa»a®88Ss If®. Fear I*hs« p©s 4*®©a@» 1 Publish®* * s * Carmelite Hossse, E.C. Mywttldsg <8e Editorial Offices Temple Chambers, E.C : f| PJ@w Artisti© Publications. DRAWINGS FROM THE OLD MASTERS* FIRST SERIES. Containing SIXTY Reproductions of Drawings by Famous Artists, in th© Albertina Gallery, Vienna, READY. This artistically got-up little volume is uniform in size with Gowans’s Art Books, and will be found to be of absorbing interest by every student of art. Paper Cover, ©d. Wbt; Cloth, Is. Net. Postage, Id. THE PLEASURES OF MR* BRIGGS. Described and Illustrated by JOHW LEECH. READY. Parchment Cover, ©a. Neti Postage, Id. THE BOTTLE. In Sixteen Plates, Designed and Etched by GEORGE CRUIK8HANK. READY. A very daintily produced little edition of those famous stchings. Parchment Cover, ©d. Net* Postage, Id. GOWANS & GRAY, Ltd., Glasgow. BRIMLEY JOHNSON & INCH, Ltd, 35 Leicester Square, London, W.C, Gowans’s Art Books, No. 8 The Masterpieces of Titian Portrait of Himself F. Hanfstaengl, Photo. (Royal Gallery Berlin) , , THE MASTERPIECES OF TITIAN Sixty reproductions of photographs from the original pain tings principally by F. Banfstaengl, affording examples of the different characteristics of the Artist’s work GOWANS & GRAY, Ltd. 35 Leicester Square, London, W.C. 58 Cadogan Street, Glasgow 1906 Digitized by the Internet Archive in 2015 https://archive.org/details/masterpiecesoftiOOtiti r y HE sixty photographs which follow are all J~ from paintings which are considered by Dr. Gronau in his authoritative work to be genuine Titians. The publishers beg to express their thanks to Mr. Franz Hanfstaengl for the readiness with which he has permitted them to make use of his valuable collection of photographs. Many lovers of Art will no doubt wish to possess larger copies of some of the pictures than those given in this little are necessarily very small. book, which The publishers beg to refer such readers to pages 65 et seq. particulars. , for 6 Titian’s Daughter, Lavinia F. Ilanfstaengl, Photo, {Royal Gallery , Berlin) 7 Titian’s Daughter, Lavinia, F. Hanfstaengl, Photo. as a Bride {Royal Gallery , Dresden) 8 Titian’s Daughter, Lavinia, as a F. Hanfstaengly Photo. Married Woman (.Royal Gallery Dresden) , 9 Emperor Charles V. F. Han/staengl, Photo. {Pinakothek, Munich) IO Charles V. at Muhlberg Braun, Clement Co., Photo. {Prado, Madrid) , II Isabella of Portugal Braun , Clement & Co., Photo (Prado, Madrid) 12 Pope Paul III. F. Han/staengl, Photo. {The Hermitage St. Petersburg) , 13 Pope Paul III. F. Hanfstaengl, Photo. (.National Museum, Naples) Photo. John Frederick, Elector of Saxony F. Hanfstaengl, 'i (Imperial Gallery , Vienna) ) 15 Andrea Gritti, Doge of Venice F. Hanfstaengi, F/ioto. (<Gallery of Count Czernin, Vienna i6 The Duke of Uebino F. Han/staengl, Photo. Florence) ( UJfizi, ) 7 The Duchess of Urbino F. Ilanfstaengl , Photo. ( Ujffizi, Florence I Cardinal Ippolito de’Medici F. Hanfstaengl, Photo. {Pitti, Florence) 9 Isabella d’Este F. Hanjstaengl, Photo. (.Imperial Gallerv. Vienna^ 20 Monsignore Beccadelli F. Han/staengl, Photo. (UJ/izi, Florence) 21 Pietro Aretino F. Haiifstaengl, Photo. {Pitt l, Florence) 22 Benedetto Varchi F. Hanfstaengl, Photo. (. Imperial Gallery, Vienna) 23 yt-cw -c *-wi Jacopo da Strado i''. Iian/staengl, Photo. (Imperial Gallery, Vienna) 24 Titian’s Physician, Parma F. Ilanfstaengl, Photo. (.Imperial Gallery Vienna , ) 25 A Daughter of Roberto Strozzi F. Hanfstaengl, Photo. {Royal Gallery , Berlin) 26 Girl in a Fur Cloak F. Hanfstaengl, Photo. ( Imperial Gallery , Vienna) 27 Portrait of a Young Man Photo. F. Hanfstaengl, ( Pinakothek , Munich) Portrait of a Man F. Photo. Ilanfstaengl, {Pitt/, Florence) Portrait of a Man F. Hanfstaengl, Photo. (Royal Gallery , Dresden) 3° Braun Clement Co., Photo. “L’Homme au Gant , {Louvre, Paris) 3i “La Bella” i'’. Hanfstaengl, Photo. [Pitti Florence ( , ) . 32 Vanity F. Ilan/siaengl Photo , Pinakothek ( , Munich) 33 Flora F. Han/staengl, Photo. ( Uffizi, Florence) C 34 The Toilet of Venus F. Hanjstaengl Photo. , Hermitage St. Petersburg) (The , The Worship of Venus Clement Co., Photo. Braun , (Prado, Madrid) 37 33 Photo. , Han/staengl F. ) Florence Reclining {Uffizi, Venus 39 Photo. , Han/staengl F. ) Florence Reposing , Uffizi Venus ( 40 Photo. , Han/staengl F. Naples') Cupid , and Museum Danae National (. 4i Petersburg) St. Hermitage, {The 42 Bacchus and Ariadne F. Hanfstaengl, Photo. {National Gallery, London) 43 . Photo , Han/staen^l F. Vienna) Shepherd , Gallery and Imperial Nymph (. 44 Fall of Man Braun Clement <&» Co., Photo Thk , {Prado, Madrid) The Tribute Money F. Hanfstaengl Photo. , ( Royal Gallery , Dresden) 47 Christ Crowned with Thorns F. Hanfstaengl , Photo. (Pinakothek, Municli) 48 49 The Deposition F. Hanfstaengl, Photo. (Academy, Venice) D 5 ^ Noli me tangere F. Hanfstaengl, Photo. (. London) National Gallery , 5 * The Holy Trinity Braun, Clement Co., Photo. {Prado, Madrid) 52 Photo. , Hanfstaengl F. Virgin the Venice) of , Academy Presentation ( The 53 Photo. , Hanfstaengl F. London) Family , Gallery Holy The National (. 54 Photo. , Hanfstaengl ) Vienna Madonna , Gallery “Cherry’ Imperial The (. £5 Photo , Hanfstaenql f, Vienna) Madonna , Gallery Gipsy Imperial The ( ) 56 The Virgin and Child F. Han/staengl, Photo. (.Pinakothek , Munich . 57 Photo Han/staengl, F. John Child, St. Florence) and and Virgin Uffizi) Anthony ( The r. 53 Photo. Hanfstaengl F. Baptist London) Child, the , John and Gallery and Virgin National The Catherine (. St. 59 Photo. Han/staengl, F. Saints ) Four Dresden and , Child Gallery and {Royal Virgin The 6o The Assumption F. Han/staengl, Photo. {Academy, Venice') Mary Magdalene F. Photo. Hanfitaengl, (Pitti, Florence) 62 Mary Magdalene F. Hanfstaengl Photo. , {The Hermitage St. Petersburg') 63 St. Sebastian F. IIanfstaengl, Photo. {Vatican, Rome ) 64 Photo. St. Jerome in the Desert F. Hanfstaengl, (Brera, Milan) — 65 A C«mpi®te List of Published Photographs of TITIAN’S PICTURES to be had of Mr. Franz Hanfstaengf id Pall Mall East , London , S.W SIZES and PRICES of PHOTOGRAPHS F = Folio Silver Print, i/6 Carbon Print, (io"x 8") ; 3/- R = Royal (i5"x 12") 6/- I = Imperial (21" x 1 6") 12/- Facs = Facsimile (28" x 20^") 3 °/- / / E = Extra (34^' X26' ) 5 ° /- Average Dimensions are quoted. /« ordering it is essential that both Gallery and Order Number are stated as well as the Size. r w ~l Title. Gallery. No. Size. a 2 H as Pa Antwerp, V I Portrait of a Daughter of Roberto Strozzi, - - Berlin, 43 FBI Fae# F Detail of same—Bust, V I Portrait of the Artist’s Daughter, Lavinia, 55 FBI Facs F Portrait of the Artist, * „ 235 F B F Port ait of the Venetian Admiral, Giov. Moro .... 324 F a F • Portrait of a Young Man, ,, 325 F R F Portrait of Perrenot de Granville, Keeper of the Seals, and Prime Minister to Charles V., - Bssangon, V I Portrait of Giovauni Francesco Aquaviva, Duke of Atri, Cassel 8 CFBIFacsE 1 F “The Man of Sorrows,” Chantilly, V I The Tribute Money, Dresden 7 FEI F The Virgin and Child with four Saints, : - . 16 B I F 1 Portrait of a Young Girl with a Vase. ..... 17 f a F Portrait of a Lady In a Red Dress, ! 18 B F Portrait of a Bride, „ is B I 3 F i Portr it of Titian’s Daughter, Lavinia, as a Married Womiii 173 B 1 * j Portrait of a Man, ", 187 a Portrait in Mourning - 198 a * of a Lady ‘ 1 f 1 — 68 6* aft „ A 92 Title. Gallery, No. Size. < !H E ^ pH The Holy Family with the Family of the Donor, - Dresden, 589 B I F Portrait of a Young Lady, - V B I “La Bella,” probably the Duchess Eleanor Gonzaga of Urbino.
Load more

Recommended publications
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
    [Show full text]
  • The Toilet of Venus Circle of Veronese
    THE TOILET OF VENUS CIRCLE OF VERONESE THE COURTAULD INSTITUTE OF ART RESEARCH FORUM: CONSERVATION AND ART HISTORICAL ANALYSIS WORKS FROM THE COURTAULD GALLERY By Sarah Bayliss and Alexandra Fliege 1 TABLE OF CONTENTS Table of Contents......................................................................................................................................... 2 Introduction................................................................................................................................................... 3 Iconography................................................................................................................................................... 3 Composition................................................................................................................................................... 6 Provenance..................................................................................................................................................... 9 Materials and Techniques........................................................................................................................ 10 Conclusion...................................................................................................................................................... 13 Bibliography.................................................................................................................................................. 15 Illustrations...................................................................................................................................................
    [Show full text]
  • Dante Gabriel Rossetti and the Italian Renaissance: Envisioning Aesthetic Beauty and the Past Through Images of Women
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN Carolyn Porter Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/113 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Carolyn Elizabeth Porter 2010 All Rights Reserved “DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN” A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. by CAROLYN ELIZABETH PORTER Master of Arts, Virginia Commonwealth University, 2007 Bachelor of Arts, Furman University, 2004 Director: ERIC GARBERSON ASSOCIATE PROFESSOR, DEPARTMENT OF ART HISTORY Virginia Commonwealth University Richmond, Virginia August 2010 Acknowledgements I owe a huge debt of gratitude to many individuals and institutions that have helped this project along for many years. Without their generous support in the form of financial assistance, sound professional advice, and unyielding personal encouragement, completing my research would not have been possible. I have been fortunate to receive funding to undertake the years of work necessary for this project. Much of my assistance has come from Virginia Commonwealth University. I am thankful for several assistantships and travel funding from the Department of Art History, a travel grant from the School of the Arts, a Doctoral Assistantship from the School of Graduate Studies, and a Dissertation Writing Assistantship from the university.
    [Show full text]
  • Titian and Veronese Two Venetian Painters
    Titian and Veronese Two Venetian Painters Titian Veronese Garry Law Sack of Rome 1527 – end of the Renaissance in Rome Timeline and Contemporaries / Predecessors Titian - ~1488-1576 • Born Tiziano Vecellio in Pieve di Cadrone – Small fortified town dating back to the Iron Age. • Father a soldier / local councilor / supplier of timber to Venice • Named after a local saint Titianus • Went to Venice aged 9, apprenticed to Zuccato then Gentile Bellini then Giovani Bellini • Partnership with Giorgione – shared workshop – ended with G’s early death • Together redefined Venetian painting • Their work so similar have long been disputes over authorship of some paintings They did undertake some joint works – frescoes Titian was asked to complete some unfinished works after Giorgione’s death – only one such is known for sure – otherwise we don’t know if he did finish others. The Pastoral Concert - Once considered Giorgione – now considered Titian – though some have considered as by both (Louvre). • Portraits - Royal and Papal commissions late in career • Cabinet Pictures • Religious art • Allegorical / Classical Isabella d’Este “La Bella” • Lead the movement to having large pictures for architectural locations on canvas rather than Fresco – which lasted poorly in Venice’s damp climate • Sought to displace his teacher Bellini as official state painter – declined, but achieved on B’s death. • Married housekeeper by whom he already has two children • Wife dies young in childbirth – a daughter modelled for him for his group pictures • Does not remarry – described as flirting with women but not interested in relationships • Ran a large studio – El Greco was one pupil • Of his most successful pictures many copies were made in the studio Penitent Mary Madelene Two of many versions Christ Carrying the Cross.
    [Show full text]
  • Drawing Upon Themselves: Women's Self-Portraits in A
    DRAWING UPON THEMSELVES: WOMEN'S SELF-PORTRAITS IN A MAN'S WORLD Submitted by Monica Ann Mersch Department of Art In partial fulfillment of the requirements for the Degree of Master of Fine Arts Colorado State University Fort Collins, Colorado Spring 1996 CLEARANCE FOR ART HISTORY RESEARCH PAPER FOR M.F.A. CANDIDATES This paper must be completed and filed before the final examination of the candidate. This clearance sheet must be filled out and filed in the candidate's record. I have completed and filed the original term paper in art history in the Art Department office and I have given a copy to the course instructor. Course Number Year 0/tf I Yl~t1--~ Student signature Instructor signature ~a.~Adviser signature 1 Drawing Upon Themselves: Women's Self-Portraits in a Man's World A man can do well depending only upon himself and can brave public opinion; but a woman who has done well has only accomplished half her task; for what others think of her counts no less than what she in fact is (Radisch 441 ). As long as people who call themselves artists have depicted others, they have also created images of themselves. As far back as Hildegaard von Bingen in the twelfth century, and probably before, almost every artist or artisan who has picked up a pen, a brush, or a chisel has been concerned with the depiction of self. Male artists have had the ability to present themselves as they are, as subject and artist, without a division between the two. Women artists have historically traveled a slightly different, and considerably rougher path than their male counterparts.
    [Show full text]
  • Body, Identity, and Narrative in Titian's Paintings
    Winter i WITTENBERG UNIVERSITY BODY, IDENTITY, AND NARRATIVE IN TITIAN’S PAINTINGS AN UNDERGRADUATE THESIS SUBMITTED TO DR. ALEJANDRA GIMENEZ-BERGER BY LESLIE J. WINTER IN PARTIAL FULFILLMENT OF THE DEGREE BACHELOR OF ARTS WITH HONORS IN ART HISTORY APRIL 2013 Winter ii Table of Contents Pages Abstract iii. 1. Introduction 1. 2. The Painted Parts of the Whole Individual 4. 3. Istoria and The Power of the Figure in Renaissance Art 16. 4. Titian’s Religious Paintings 29. 5. Titian’s Classicizing Paintings 38. 6. Conclusion 48. Endnotes 49. Figure List 55. Figures 57. Bibliography 70. Winter iii Abstract: In the Renaissance, the bodies of individuals were understood as guides to their internal identities, which influenced the public understanding of the figure represented in art—be it in terms of politics, personal life, or legacy. The classicizing and religious paintings by Titian (c. 1488/90-1576) show the subject’s state of being, at a particular moment in a story, through the use of body language. The body is a vehicle for narrative that demonstrates the sitter’s identity, relating the intricacies of the body to both the mind and the story. By exploring the humanist combination of philosophical theories regarding the relationship between the soul and the body, it is clear that Titian used these concepts to elevate the human figures in his narrative paintings. Formal analysis and Renaissance artistic theories by Alberti and others suggest that Renaissance artists operated under the assumption that how their sitters appeared was tantamount to representing their identities. Current scholarship has not yet considered this particular relationship in Titian’s works.
    [Show full text]
  • THE EARLIER WORK of TITIAN by CLAUDE
    THE EARLIER WORK OF TITIAN By CLAUDE PHILLIPS Keeper of the Wallace Collection 1897 [Illustration: _Flora_] [Illustration: The Portfolio Artistic Monographs With many Illustrations] LIST OF ILLUSTRATIONS PLATES PAGE page 1 / 110 Flora. Uffizi Gallery, Florence ....................... Frontispiece Sacred and Profane Love. Borghese Gallery, Rome..................... 36 Virgin and Child, with Saints. Louvre............................... 54 Le Jeune Homme au Gant. Louvre...................................... 62 ILLUSTRATIONS PRINTED IN COLOUR Design for a Holy Family. Chatsworth................................ 86 Sketch for the Madonna di Casa Pesaro. Albertina.................... 96 ILLUSTRATIONS IN THE TEXT The Man of Sorrows. In the Scuola di S. Rocco, Venice............... 23 Virgin and Child, known as "La Zingarella." Imperial Gallery, Vienna 25 The Baptism of Christ. Gallery of the Capitol, Rome................. 29 page 2 / 110 The Three Ages. Bridgewater Gallery ................................ 35 Herodias with the Head of John the Baptist. Doria Gallery, Rome..... 39 Vanitas. Alte Pinakothek, Munich.................................... 41 St. Anthony of Padua causing a new-born Infant to speak. Fresco in the Scuola del Santo, Padua............................................. 43 "Noli me tangere." National Gallery................................. 45 St. Mark enthroned, with four Saints. S. Maria della Salute, Venice. 49 The Madonna with the Cherries. Imperial Gallery, Vienna............. 51 PAGE Madonna and Child, with St. John and
    [Show full text]
  • The Nude Figure in Renaissance Art Thomas Martin
    19 The Nude Figure in Renaissance Art Thomas Martin The establishment of the nude as an independent and vital subject in post-antique western art occurred during the Renaissance and is, along with the use of perspective, one of the most important markers differentiating Renaissance art from medieval art. One factor driving these innovations was the desire to portray a world that conforms to visual reality, where objects decrease in size as they move away from the picture plane, and where human anatomy is rigorously understood. Just as Renaissance artists employed perspective to portray naturalistic spaces, so they also populated those spaces with proportional, anatomically accurate figures and, during the course of the fifteenth and sixteenth centuries, the occasions when those figures were depicted nude occurred more and more frequently. Naturalism, however, was but one motive for the increased use of the nude, and by the first half of the 1500s, the naked body had achieved a wider and more varied presence in art than had been the case in the Middle Ages or even in antiquity where, with few exceptions, its use was confined to male athletes, heroes, and divinities. This essay will focus on two issues: where is the nude used – i.e., what are its locations – and what are the meanings of its uses? As it is today, the body in the Renaissance was multivalent. European Christian society believed that as a cause of lust and sin, the body was fearful and needed to be covered up. Yet at the same time it was the form the Savior, Jesus Christ, took during his lifetime, and the Catholic Church taught that it is in our very own earthly bodies that, after the last trumpet, we will spend eternity either in bliss in Heaven or in despair in Hell.
    [Show full text]
  • Simonetta Cattaneo Vespucci: Beauty. Politics, Literature and Art in Early Renaissance Florence
    ! ! ! ! ! ! ! SIMONETTA CATTANEO VESPUCCI: BEAUTY, POLITICS, LITERATURE AND ART IN EARLY RENAISSANCE FLORENCE ! by ! JUDITH RACHEL ALLAN ! ! ! ! ! ! ! A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Department of Modern Languages School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham September 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT ! My thesis offers the first full exploration of the literature and art associated with the Genoese noblewoman Simonetta Cattaneo Vespucci (1453-1476). Simonetta has gone down in legend as a model of Sandro Botticelli, and most scholarly discussions of her significance are principally concerned with either proving or disproving this theory. My point of departure, rather, is the series of vernacular poems that were written about Simonetta just before and shortly after her early death. I use them to tell a new story, that of the transformation of the historical monna Simonetta into a cultural icon, a literary and visual construct who served the political, aesthetic and pecuniary agendas of her poets and artists.
    [Show full text]
  • J. Paul Getty Trust Press Clippings, 1954-2019 (Bulk 1983-2019), Undated
    http://oac.cdlib.org/findaid/ark:/13030/c8r215vp Online items available Finding aid for the J. Paul Getty Trust Press Clippings, 1954-2019 (bulk 1983-2019), undated Nancy Enneking, Rebecca Fenning, Kyle Morgan, and Jennifer Thompson Finding aid for the J. Paul Getty IA30017 1 Trust Press Clippings, 1954-2019 (bulk 1983-2019), undated Descriptive Summary Title: J. Paul Getty Trust press clippings Date (inclusive): 1954-2019, undated (bulk 1983-2019) Number: IA30017 Physical Description: 43.35 Linear Feet(55 boxes) Physical Description: 2.68 GB(1,954 files) Repository: The Getty Research Institute Institutional Records and Archives 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: The records comprise press clippings about the J. Paul Getty Trust, J. Paul Getty Museum, other Trust programs, and Getty family and associates, 1954-2019 (bulk 1983-2019) and undated. The records contain analog and digital files and document the extent to which the Getty was covered by various news and media outlets. Request Materials: To access physical materials at the Getty, go to the library catalog record for this collection and click "Request an Item." Click here for general library access policy . See the Administrative Information section of this finding aid for access restrictions specific to the records described below. Please note, some of the records may be stored off site; advanced notice is required for access to these materials. Language: Collection material is in English Administrative History The J. Paul Getty Trust's origins date to 1953, when J.
    [Show full text]
  • Mary Magdalene in Renaissance Noli Me Tangere Images Michelle Lambert-Monteleon University of South Florida
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 5-20-2004 Heavenly Venus: Mary Magdalene In Renaissance Noli Me Tangere Images Michelle Lambert-Monteleon University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Lambert-Monteleon, Michelle, "Heavenly Venus: Mary Magdalene In Renaissance Noli Me Tangere Images" (2004). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/1124 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Heavenly Venus: Mary Magdalene In Renaissance Noli Me Tangere Images by Michelle Lambert-Monteleon A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts Department of Humanities and American Studies College of Arts and Sciences University of South Florida Major Professor: Naomi Yavneh, Ph.D. Mario Ortiz, Ph.D. Ruth Banes, Ph.D. Date of Approval: May 20, 2004 Keywords: magdalen, women, art, gender, sexuality © Copyright 2004 , Michelle Lambert-Monteleon Acknowledgments I would like to thank the entire Humanities department at USF for inspiring me as an undergraduate and graduate student to pursue my dream of becoming a professor of the humanities. Special thanks to Drs. Helena Szépe and Mario Ortiz for helping me to achieve my goal without any prior knowledge of my abilities. Your dedication is laudable. Dr. Ruth Banes, thank you for your guidance and for keeping me on the right track throughout my journey.
    [Show full text]
  • The Allure of Artifice: Titian's Half-Lengths and the Courtesan As
    19 The Allure of Artifice The Allure of Artifice: Titian’s Half-Lengths and the Courtesan as Masquerader* Maureen McVeigh MacLure Introduction Titian’s Flora (Figure 1) depicts a young, fair-skinned and fair-haired woman dressed in a diaphanous white camicia, an undergarment commonly worn by Renaissance women. Although the camicia fully covers the woman’s arms and torso, it has fallen from her left shoulder, exposing most of her left breast. A length of rose-colored damask is draped loosely over her shoulder and around her waist, an incongruous adornment given her partial nudity. The subject’s half-undone coiffure, with much of her golden hair loose over her shoulders, implies that she is situated in an intimate setting. However, Titian (ca. 1488-1576) has omitted any details that would confirm a specific context. Instead, the figure appears against a simple backdrop of subtly modulated brown tones. In the absence of a clearly articulated environment that would illuminate the figure’s identity, her gestures and the few attributes that Titian imparts to her are the only means of interpretation. The small bouquet the subject clutches in her right hand has prompted her traditional identification with Flora, the Roman goddess of flowers and spring.1 However, the contemporary gold ring she wears on the knuckle of her middle finger belies her connection with this mythological figure, as Flora is usually portrayed fully immersed in the natural world, outside the realm of material adornments. Although Flora is one of Titian’s most well-known female
    [Show full text]