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New, Old, & Unexpected Ii Robert Simon Fine
NEW, OLD, & UNEXPECTED II ROBERT SIMON FINE ART NEW, OLD, & UNEXPECTED II CATALOGUE BY Dominic Ferrante and Robert B. Simon ROBERT SIMON FINE ART Front cover: CONTENTS Gaspar Antoine de Bois-Clair, Double Portrait of King Frederik IV and Queen Louise of Mecklenburg-Güstrow of Denmark, oil on wood strips, laid on panel, 15 ½ x 12 ¾ inches (39.4 x 32.4 cm) Back cover: William Cave Thomas,The Argument, pencil and watercolor on paper, 23 ½ x 18 ½ inches (59.6 x 47 cm) INTRODUCTION 6 High-resolution digital photographs and WORKS 8 condition reports of the works included in this catalogue are available upon request. INSTALLATION 52 All prices are accurate as of October 2020 and are inclusive of the costs of packing, shipping, and ENTRIES 62 insurance to domestic destinations. ENDNOTES 120 © 2020 Robert Simon Fine Art, Inc. Photography by Glenn Castellano ROBERT SIMON FINE ART 22 EAST 80TH STREET · NEW YORK · NY · 10075 TEL: 212·288·9712 FAX: 212·202·4786 BY APPOINTMENT AT: SATIS HOUSE 53 TOWER HILL ROAD EAST · TUXEDO PARK · NY · 10987 TEL: 845·351·2339 FAX: 845·351·4332 ROBERT B. SIMON DOMINIC FERRANTE JR. [email protected] [email protected] INTRODUCTION The second edition ofNew, Old, & Unexpected expands each category. The newest of the “New” is a 2020 work by the New York artist Brendan H. Johnston—a trompe l’oeil triptych that wittily explores issues of material, craft, and illusion. The oldest of the “Old” is a predella by Miguel Alcañiz, the Valencian painter who was a key figure in the transmission of trecento Tuscan style into Spain. -
Front Matter
Cambridge University Press 978-0-521-72855-3 - The Cambridge Companion to Giovanni Bellini Edited by Peter Humfrey Frontmatter More information the cambridge companion to giovanni bellini Giovanni Bellini was the dominant painter of Early Renaissance Venice and is today recognized as one of the greatest of all Italian Renaissance artists. Although he has been the subject of numerous scholarly studies, his art continues to pose intriguing problems. This volume brings together com- missioned essays that focus on important topics and themes in Bellini’s ca- reer. They include a consideration of Bellini’s position in the social and professional life of early modern Venice; reassessments of his artistic rela- tionships with his brother-in-law Mantegna, with Flemish painting, and with the “modern style’’ that emerged in Italy around 1500; and explorations of Bellini’s approaches to sculpture and architecture, and to landscape and color, elements that have always been recognized as central to his pictorial genius. The volume concludes with analyses of Bellini’s constantly evolving pictorial technique and the procedures of his busy workshop. Peter Humfrey is Professor of Art History at the University of St Andrews. He is the author of several books on painting in Renaissance Venice and the Veneto, including Cima da Conegliano, The Altarpiece in Renaissance Venice, and Lorenzo Lotto; and is coauthor of the catalogues for two major loan exhibitions, Lorenzo Lotto: Rediscovered Master of the Renaissance and Dosso Dossi: Court Painter of Renaissance -
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Journal of Arts & Humanities Volume 10, Issue 02, 2021: 28-50 Article Received: 02-02-2021 Accepted: 22-02-2021 Available Online: 28-02-2021 ISSN: 2167-9045 (Print), 2167-9053 (Online) DOI: https://doi.org/10.18533/jah.v10i2.2053 The Enthroned Virgin and Child with Six Saints from Santo Stefano Castle, Apulia, Italy Dr. Patrice Foutakis1 ABSTRACT A seven-panel work entitled The Monopoli Altarpiece is displayed at the Museum of Fine Arts in Boston, Massachusetts. It is considered to be a Cretan-Venetian creation from the early fifteenth century. This article discusses the accounts of what has been written on this topic, and endeavors to bring field-changing evidence about its stylistic and iconographic aspects, the date, the artists who created it, the place it originally came from, and the person who had the idea of mounting an altarpiece. To do so, a comparative study on Byzantine and early-Renaissance painting is carried out, along with more attention paid to the history of Santo Stefano castle. As a result, it appears that the artist of the central panel comes from the Mystras painting school between 1360 and 1380, the author of the other six panels is Lorenzo Veneziano around 1360, and the altarpiece was not a single commission, but the mounting of panels coming from separate artworks. The officer Frà Domenico d’Alemagna, commander of Santo Stefano castle, had the idea of mounting different paintings into a seven-panel altarpiece between 1390 and 1410. The aim is to shed more light on a piece of art which stands as a witness from the twilight of the Middle Ages and the dawn of Renaissance; as a messenger from the Catholic and Orthodox pictorial traditions and collaboration; finally as a fosterer of the triple Byzantine, Gothic, Renaissance expression. -
Rethinking Savoldo's Magdalenes
Rethinking Savoldo’s Magdalenes: A “Muddle of the Maries”?1 Charlotte Nichols The luminously veiled women in Giovanni Gerolamo Savoldo’s four Magdalene paintings—one of which resides at the Getty Museum—have consistently been identified by scholars as Mary Magdalene near Christ’s tomb on Easter morning. Yet these physically and emotionally self- contained figures are atypical representations of her in the early Cinquecento, when she is most often seen either as an exuberant observer of the Resurrection in scenes of the Noli me tangere or as a worldly penitent in half-length. A reconsideration of the pictures in connection with myriad early Christian, Byzantine, and Italian accounts of the Passion and devotional imagery suggests that Savoldo responded in an inventive way to a millennium-old discussion about the roles of the Virgin Mary and Mary Magdalene as the first witnesses of the risen Christ. The design, color, and positioning of the veil, which dominates the painted surface of the respective Magdalenes, encode layers of meaning explicated by textual and visual comparison; taken together they allow an alternate Marian interpretation of the presumed Magdalene figure’s biblical identity. At the expense of iconic clarity, the painter whom Giorgio Vasari described as “capriccioso e sofistico” appears to have created a multivalent image precisely in order to communicate the conflicting accounts in sacred and hagiographic texts, as well as the intellectual appeal of deliberately ambiguous, at times aporetic subject matter to northern Italian patrons in the sixteenth century.2 The Magdalenes: description, provenance, and subject The format of Savoldo’s Magdalenes is arresting, dominated by a silken waterfall of fabric that communicates both protective enclosure and luxuriant tactility (Figs. -
The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth
The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Adam R. Gustafson June 2011 © 2011 Adam R. Gustafson All Rights Reserved 2 This dissertation titled The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria by ADAM R. GUSTAFSON has been approved for the School of Interdisciplinary Arts and the College of Fine Arts _______________________________________________ Dora Wilson Professor of Music _______________________________________________ Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT GUSTAFSON, ADAM R., Ph.D., June 2011, Interdisciplinary Arts The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria Director of Dissertation: Dora Wilson Drawing from a number of artistic media, this dissertation is an interdisciplinary approach for understanding how artworks created under the patronage of Albrecht V were used to shape Catholic identity in Bavaria during the establishment of confessional boundaries in late sixteenth-century Europe. This study presents a methodological framework for understanding early modern patronage in which the arts are necessarily viewed as interconnected, and patronage is understood as a complex and often contradictory process that involved all elements of society. First, this study examines the legacy of arts patronage that Albrecht V inherited from his Wittelsbach predecessors and developed during his reign, from 1550-1579. Albrecht V‟s patronage is then divided into three areas: northern princely humanism, traditional religion and sociological propaganda. -
Antonello Da Messina's Dead Christ Supported by Angels in the Prado
1 David Freedberg The Necessity of Emotion: Antonello da Messina’s Dead Christ supported by Angels in the Prado* To look at Antonello da Messina’s painting of the Virgin in Palermo (fig. 1) is to ask three questions (at least): Is this the Virgin Annunciate, the Immaculate Mother of God about to receive the message that she will bear the Son of God? Or is it a portrait, perhaps even of someone we know or might know? Does it matter? No. What matters is that we respond to her as if she were human, not divine or transcendental—someone we might know, even in the best of our dreams. What matters is that she almost instantly engages our attention, that her hand seems to stop us in our passage, that we are drawn to her beautiful and mysterious face, that we recognize her as someone whose feelings we feel we might understand, someone whose emotional state is accessible to us. Immediately, upon first sight of her, we are involved in her; swiftly we notice the shadow across her left forehead and eye, and across the right half of her face, the slight turn of the mouth, sensual yet quizzical at the same time.1 What does all this portend? She has been reading; her hand is shown in the very act of being raised, as if she were asking for a pause, reflecting, no doubt on what she has just seen. There is no question about the degree of art invested in this holy image; but even before we think about the art in the picture, what matters is that we are involved in it, by * Originally given as a lecture sponsored by the Fondación Amigos Museo del Prado at the Museo del Prado on January 10, 2017, and published as “Necesidad de la emoción: El Cristo muerto sostenido por un ángel de Antonello de Messina,” in Los tesoros ocultos del Museo del Prado, Madrid: Fundación Amigos del Museo del Prado; Crítica/Círculo de Lectores, 2017, 123-150. -
Girolamo Muziano, Scipione Pulzone, and the First Generation of Jesuit Art
journal of jesuit studies 6 (2019) 196-212 brill.com/jjs Girolamo Muziano, Scipione Pulzone, and the First Generation of Jesuit Art John Marciari The Morgan Library & Museum, New York [email protected] Abstract While Bernini and other artists of his generation would be responsible for much of the decoration at the Chiesa del Gesù and other Jesuit churches, there was more than half a century of art commissioned by the Jesuits before Bernini came to the attention of the order. Many of the early works painted in the 1580s and 90s are no longer in the church, and some do not even survive; even a major monument like Girolamo Muzia- no’s Circumcision, the original high altarpiece, is neglected in scholarship on Jesuit art. This paper turns to the early altarpieces painted for the Gesù by Muziano and Scipione Pulzone, to discuss the pictorial and intellectual concerns that seem to have guided the painters, and also to some extent to speculate on why their works are no longer at the Gesù, and why these artists are so unfamiliar today. Keywords Jesuit art – Il Gesù – Girolamo Muziano – Scipione Pulzone – Federico Zuccaro – Counter-Reformation – Gianlorenzo Bernini Visitors to the Chiesa del Gesù in Rome, or to the recent exhibition of Jesuit art at Fairfield University,1 might naturally be led to conclude that Gianlorenzo 1 Linda Wolk-Simon, ed., The Holy Name: Art of the Gesù; Bernini and His Age, Exh. cat., Fair- field University Art Museum, Early Modern Catholicism and the Visual Arts 17 (Philadelphia: Saint Joseph’s University Press, 2018). -
Observations on Van Dyck As a Religious Painter Thomas L
Document generated on 09/28/2021 9:09 p.m. RACAR : Revue d'art canadienne Canadian Art Review Observations on van Dyck as a Religious Painter Thomas L. Glen Volume 10, Number 1, 1983 URI: https://id.erudit.org/iderudit/1074637ar DOI: https://doi.org/10.7202/1074637ar See table of contents Publisher(s) UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada) ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Glen, T. L. (1983). Observations on van Dyck as a Religious Painter. RACAR : Revue d'art canadienne / Canadian Art Review, 10(1), 45–52. https://doi.org/10.7202/1074637ar Tous droits réservés © UAAC-AAUC (University Art Association of Canada | This document is protected by copyright law. Use of the services of Érudit Association d'art des universités du Canada), 1983 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Observations on van Dyck as a Religions Painter* THOMAS L. GLEN McGill University When dealing with Europcan religious art of the for the main altar of the Church of St. Walburgis seventeenth century, one must inevitably contend (Fig. 2). In Rubens’ altarpiece we witness Christ with the awesome personality of Sir Peter Paul triumphant. -
Roberto Longhi E Giulio Carlo Argan. Un Confronto Intellettuale Luiz Marques Universidade Estadual De Campinas - UNICAMP
NUMERO EDITORIALE ARCHIVIO REDAZIONE CONTATTI HOME ATTUALE Roberto Longhi e Giulio Carlo Argan. Un confronto intellettuale Luiz Marques Universidade Estadual de Campinas - UNICAMP 1. Nel marzo del 2012 ha avuto luogo a Roma, all’Accademia dei Lincei e a Villa Medici, un Convegno sul tema: “Lo storico dell’arte intellettuale e politico. Il ruolo degli storici dell’arte nelle politiche culturali francesi e italiane”[1]. L’iniziativa celebrava il centenario della nascita di Giulio Carlo Argan (1909) e di André Chastel (1912), sottolineando l’importanza di queste due grandi figure della storiografia artistica italiana e francese del XX secolo. La celebrazione fornisce l’occasione per proporsi di fare, in modo molto modesto, un confronto intellettuale tra Roberto Longhi (1890-1970)[2] e Giulio Carlo Argan (1909-1992)[3], confronto che, a quanto ne so, non ha finora tentato gli studiosi. Solo Claudio Gamba allude, di passaggio, nel suo profilo biografico di Argan, al fatto che questo è “uno dei classici della critica del Novecento, per le sue indubitabili doti di scrittore, così lucidamente razionale e consapevolmente contrapposto alla seduttrice prosa di Roberto Longhi”[4]. Un contrappunto, per quello che si dice, poco più che di “stile”, e nient’altro. E ciò non sorprende. Di fatto, se ogni contrappunto pressuppone logicamente un denominatore comune, un avvicinamento tra i due grandi storici dell’arte pare – almeno a prima vista – scoraggiante, tale è la diversità di generazioni, di linguaggi, di metodi e, soprattutto, delle scelte e delle predilezioni che li hanno mossi. Inoltre, Argan è stato notoriamente il grande discepolo e successore all’Università di Roma ‘La Sapienza’ di Lionello Venturi (1885-1961), il cui percorso fu contrassegnato da conflitti con quello di Longhi[5]. -
Inventing an Italian Landscape @ Columbia University's
Inventing an Italian Landscape @ Columbia University’s Italian Academy for Advanced Studies Distinguished Visiting Professorship Published on iItaly.org (http://www.iitaly.org) Inventing an Italian Landscape @ Columbia University’s Italian Academy for Advanced Studies Distinguished Visiting Professorship Iwona Adamczyk (April 02, 2012) Italian Academy Distinguished Visiting Professorship in art history, archaeology, and Italian studies at Columbia University’s Italian Academy for Advanced Studies is made possible by the Compagnia di San Paolo. Lurking with its serene and ethereal postcard images, Venice continuously becomes part of itineraries of travelers to the Bel Paese. Not many people who had the opportunity to travel to Italy have skipped the city built on water. It is hard to believe such was not the case in the eighteenth century. “At the end of the eighteenth century, Venice is not on the maps of travelers as they follow in the classicism and antiquity and therefore end up visiting Rome, Naples and Sicily” – stated Professor Anna Ottani Cavina [2] at the inaugural lecture of the Compagnia di San Paolo [3] Italian Academy Distinguished Visiting Professorship, held on March 21st, at Columbia University’s Italian Academy for Advanced Studies. [4] CU’s Italian Academy CU’s Italian Academy Professor Ottani Cavina is the first to hold this prestigious position established at Columbia University [5] by a generous multi-year funding from the Compagnia di San Paolo. “The Visiting Professorship in art history, archeology and Italian studies although in its first year, is already attracting a wide student audience” - pointed out Abigail Asher, Page 1 of 3 Inventing an Italian Landscape @ Columbia University’s Italian Academy for Advanced Studies Distinguished Visiting Professorship Published on iItaly.org (http://www.iitaly.org) the Director of Development and Publications at the CU Italian Academy. -
The Mariology of St. Bonaventure As a Source of Inspiration in Italian Late Medieval Iconography
José María SALVADOR GONZÁLEZ, La mariología de San Buenaventura como fuente de inspiración en la iconografía bajomedieval italiana The mariology of St. Bonaventure as a source of inspiration in Italian late medieval iconography La mariología de San Buenaventura como fuente de inspiración en la iconografía bajomedieval italiana1 José María SALVADOR-GONZÁLEZ Universidad Complutense de Madrid [email protected] Recibido: 05/09/2014 Aceptado: 05/10/2014 Abstract: The central hypothesis of this paper raises the possibility that the mariology of St. Bonaventure maybe could have exercised substantial, direct influence on several of the most significant Marian iconographic themes in Italian art of the Late Middle Ages. After a brief biographical sketch to highlight the prominent position of this saint as a master of Scholasticism, as a prestigious writer, the highest authority of the Franciscan Order and accredited Doctor of the Church, the author of this paper presents the thesis developed by St. Bonaventure in each one of his many “Mariological Discourses” before analyzing a set of pictorial images representing various Marian iconographic themes in which we could detect the probable influence of bonaventurian mariology. Key words: Marian iconography; medieval art; mariology; Italian Trecento painting; St. Bonaventure; theology. Resumen: La hipótesis de trabajo del presente artículo plantea la posibilidad de que la doctrina mariológica de San Buenaventura haya ejercido notable influencia directa en varios de los más significativos temas iconográficos -
The Guido Riccio Controversy and Resistance to Critical Thinking
Syracuse Scholar (1979-1991) Volume 11 Issue 1 Syracuse Scholar Spring 1991 Article 5 3-21-1991 The Guido Riccio controversy and resistance to critical thinking Gordon Moran Michael Mallory Follow this and additional works at: https://surface.syr.edu/suscholar Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Moran, Gordon and Mallory, Michael (1991) "The Guido Riccio controversy and resistance to critical thinking," Syracuse Scholar (1979-1991): Vol. 11 : Iss. 1 , Article 5. Available at: https://surface.syr.edu/suscholar/vol11/iss1/5 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in Syracuse Scholar (1979-1991) by an authorized editor of SURFACE. For more information, please contact [email protected]. Moran and Mallory: The Guido Riccio controversy THE GUIDO RICCIO CONTROVERSY AND RESISTANCE TO CRITICAL THINKING GORDON MORAN and MICHAEL MALLORY HE PALAZZO PUBBLICO IN SIENA, ITALY, is decorated Twith some of Italian art's most famous murals, or frescoes. The undisputed favorite of many art lovers and of the Sienese them selves is the Guido Riccio da Fogliano at the Siege ofMontemassi (fig. 1, upper fresco), a work traditionally believed to have been painted in 1330 by Siena's most renowned master, Simone Martini. Supposedly painted at the height of the golden age of Sienese painting, the Guido Riccio fresco has come to be seen as the quintessential example of late medieval taste and the em bodiment of all that is Sienese in the art of the early decades of the four teenth century.