Venetian Painting in America; the Fifteenth Century
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Treasures from Nickels and Dimes Gifts of Italian Painting from the Samuel H
Treasures from Nickels and Dimes Gifts of Italian Painting from the Samuel H. Kress Foundation In 1953, the Mead’s first director, Charles H. Morgan, wrote to the Kress Foundation’s art director, Guy Emerson, requesting a “Kress Study Collection” of Italian Renaissance and Baroque art for Amherst College. Morgan explained that Amherst could preserve and use such a gift: in 1951, the College’s Fine Arts Department had taken up residence in the new, fireproof, Mead Art Building which—in its various capacities as an art gallery, auditorium, slide library, artists’ studio space, faculty offices, and classroom building— attracted 1,000 undergraduate students each week and some 20,000 outside visitors a year. Crucially, the department’s program of instruction considered first-hand association with original art objects to be its cornerstone. At the time Morgan wrote, the Kress Foundation was ideally positioned to assist Amherst. Founded by Samuel H. Kress in 1929 to “promote the moral, physical and mental welfare and progress of the human race,” the foundation had two mandates: to convey Mr. Kress’ art collection to the public, and to support medical research. Kress (1863-1955) had made a fortune by revolutionizing the five-and-dime variety store. By stocking fewer types of items and buying in bulk directly from manufacturers, Kress’s stores offered comparatively high quality merchandise at relatively low prices. The stores’ window displays were equally innovative—one celebrated example contained nothing but pots and pans priced at a nickel. Kress became interested in art in 1921, when, on a visit to Italy, he met the art dealer Count Alessandro Contini- Bonacossi. -
Ritratto Del Marchese Gian Francesco Gonzaga
SIRBeC scheda OARL - C0050-00706 Ritratto del marchese Gian Francesco Gonzaga Bonsignori Francesco Link risorsa: https://www.lombardiabeniculturali.it/opere-arte/schede/C0050-00706/ Scheda SIRBeC: https://www.lombardiabeniculturali.it/opere-arte/schede-complete/C0050-00706/ SIRBeC scheda OARL - C0050-00706 CODICI Unità operativa: C0050 Numero scheda: 706 Codice scheda: C0050-00706 Visibilità scheda: 3 Utilizzo scheda per diffusione: 03 Tipo scheda: OA Livello ricerca: P CODICE UNIVOCO Codice regione: 03 Numero catalogo generale: 02024468 Ente schedatore: R03/ Accademia Carrara Ente competente: S27 RELAZIONI RELAZIONI CON ALTRI BENI Tipo relazione: è compreso Tipo scheda: COL Codice bene: 03 Codice IDK della scheda correlata: COL-LMD30-0000013 OGGETTO Gruppo oggetti: pittura OGGETTO Definizione: dipinto Disponibiltà del bene: reale SOGGETTO Categoria generale: ritratto Identificazione: Ritratto del marchese Gian Francesco Gonzaga Pagina 2/28 SIRBeC scheda OARL - C0050-00706 LOCALIZZAZIONE GEOGRAFICO-AMMINISTRATIVA LOCALIZZAZIONE GEOGRAFICO-AMMINISTRATIVA ATTUALE Stato: Italia Regione: Lombardia Provincia: BG Nome provincia: Bergamo Codice ISTAT comune: 016024 Comune: Bergamo COLLOCAZIONE SPECIFICA Tipologia: museo Denominazione: Accademia Carrara Denominazione spazio viabilistico: Piazza Giacomo Carrara Denominazione struttura conservativa - livello 1: Accademia Carrara Tipologia struttura conservativa: museo Collocazione originaria: SC ALTRE LOCALIZZAZIONI GEOGRAFICO-AMMINISTRATIVE Tipo di localizzazione: luogo di provenienza LOCALIZZAZIONE -
4. Dressing and Portraying Isabella D'este
Cover Page The handle http://hdl.handle.net/1887/33552 holds various files of this Leiden University dissertation. Author: Dijk, Sara Jacomien van Title: 'Beauty adorns virtue' . Dress in portraits of women by Leonardo da Vinci Issue Date: 2015-06-18 4. Dressing and portraying Isabella d’Este Isabella d’Este, Marchioness of Mantua, has been thoroughly studied as a collector and patron of the arts.1 She employed the finest painters of her day, including Bellini, Mantegna and Perugino, to decorate her studiolo and she was an avid collector of antiquities. She also asked Leonardo to paint her likeness but though Leonardo drew a preparatory cartoon when he was in Mantua in 1499, now in the Louvre, he would never complete a portrait (fig. 5). Although Isabella is as well known for her love of fashion as her patronage, little has been written about the dress she wears in this cartoon. Like most of Leonardo’s female sitters, Isabella is portrayed without any jewellery. The only art historian to elaborate on this subject was Attilio Schiaparelli in 1921. Going against the communis opinio, he posited that the sitter could not be identified as Isabella d’Este. He considered the complete lack of ornamentation to be inappropriate for a marchioness and therefore believed the sitter to be someone of lesser status than Isabella.2 However, the sitter is now unanimously identified as Isabella d’Este.3 The importance of splendour was discussed at length in the previous chapter. Remarkably, Isabella is portrayed even more plainly than Cecilia Gallerani and the sitter of the Belle Ferronnière, both of whom are shown wearing at least a necklace (figs. -
Mantegna 1506-2006
Ministero per i Beni e le Attività Culturali Comitato Nazionale per le Celebrazioni del quinto centenario della morte di Andrea Mantegna Ministero per i Beni e le Attività Culturali Comitato Nazionale per le Celebrazioni del quinto centenario della morte di Andrea Mantegna Il Comitato Nazionale per le celebrazioni del quinto centenario MANTEGNA della morte di Andrea Mantegna (Isola di Carturo, 1431 c. – Mantova, 1506), istituito dal Ministero per i Beni e le Attività Culturali e composto dai più importanti studiosi del primo Rinascimento italiano, affiancati dai rappresentanti delle Regioni, degli Enti locali 1506-2006 e degli altri Enti interessati, celebra il grande artista attraverso una mostra in ognuna delle città nelle quali la presenza del maestro e delle sue opere è documentata. COMUNE DI PADOVA COMUNE DI MANTOVA Centro Internazionale d’Arte e di Cultura di Palazzo Te Padova Padova Verona Mantova Musei Civici e Biblioteche Museo di Castelvecchio Centro Internazionale d’Arte e di Cultura Musei Civici agli Eremitani Via Porciglia, 35 – 35123 Padova Corso Castelvecchio, 2 – 37121 Verona di Palazzo Te Tel. 049 8204508 – fax 049 8204566 Tel 045 8062611 – fax 045 8010729 Viale Te, 19 – 46100 Mantova e-mail: [email protected] e-mail: [email protected] Tel. 0376 369198 – fax 0376 220943 e-mail: [email protected] Verona Palazzo della Gran Guardia www.andreamantegna2006.it Mantova Palazzo Te Pubblicazione a cura di Tekne 16 settembre 2006 14 gennaio 2007 l Comitato Nazionale per le celebrazioni pubblicazione fra il 1450 e il 1457 di tre del quinto centenario della morte di grandi opere, uscite dalle botteghe di uno I Andrea Mantegna (Isola di Carturo, 1431 scultore fiorentino, Donatello, e di un pittore c. -
Susanna Avery-Quash
Victoria Albert &Art & Love ‘Incessant personal exertions and comprehensive artistic knowledge’: Prince Albert’s interest in early Italian art Susanna Avery-Quash Essays from a study day held at the National Gallery, London on 5 and 6 June 2010 Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love ‘Incessant personal exertions and comprehensive artistic knowledge’: Prince Albert’s interest in early Italian art Susanna Avery-Quash When an honoured guest visited Osborne House on the Isle of Wight he may have found himself invited by Prince Albert (fig. 1) into his private Dressing and Writing Room. This was Albert’s inner sanctum, a small room barely 17ft square, tucked away on the first floor of the north-west corner of the original square wing known as the Pavilion. Had the visitor seen this room after the Prince’s rearrangement of it in 1847, what a strange but marvellous sight would have greeted his eyes! Quite out of keeping with the taste of every previous English monarch, Albert had adorned this room with some two dozen small, refined early Italian paintings,1 whose bright colours, gilding and stucco ornamentation would have glinted splendidly in the sharp light coming from the Solent and contrasted elegantly with the mahogany furniture. -
Giovannino Battista: the Boy Baptist in Quattrocento Italian
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright San Giovannino: The Boy Baptist in Quattrocento Italian Art Georgina Sybella Macneil, 28 August 2013 Thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy (Ph.D.) Department of Art History and Film Studies, University of Sydney, Australia Abstract This thesis explores the imagery of the young John the Baptist in Renaissance art. The phenomenon of John’s juvenescence has been noted but insufficiently explored by previous scholarship. -
Titian (Tiziano Vecellio)
Titian (Tiziano Vecellio) a biography Timeline Tiziano Vecellio, known in English as Titian [TI-shuhn], was born where he entertained members of Venetian elite, men of rank, and fellow artists. Subsequently, Titian quickly between 1488-1490 in Pieve di Cadore, a town in the Dolomite became the most well-known painter in Venice, earning commissions from the doges of Venice, and the noble 1490 Mountains just outside Venice. His parents recognized his artistic families of Italy. Nobility such as Federico II Gonzaga, the Duke of Mantua and Francesco Maria della Rovere, 1488/90 Titian (Tizanio Vecellio) abilities and, at age 9 or 10, sent him to Venice with his brother. the Duke of Urbino, commissioned him to create portraits. Titian’s prestigious reputation as a talented por- is born in Pieve de Cadore, Italy Venice was a wealthy, prosperous city boasting of a flourishing traitist spread throughout Europe, and members of the Royal Courts, including Queen Isabella of Portugal, economy that attracted merchants, artists, and craftsmen. the Holy Roman Emperor Charles V and his son Phillip II of Spain, and Pope Paul III, commissioned Titian Titian began his apprenticeship under a minor painter, for his portraits. Sebastian Zuccato, who quickly recognizing his artistic talents, In addition to being known for his portraiture, Titian also c. 1498 Moves to Venice with his and arranged for Titian to work under the guidance of the most painted religious themes, and scenes of mythical and allegori- holder brother to begin apprenticeship prominent painters in Venice, the Bellini brothers. At first Titian cal figures, such as Venus of Urbino and Danaë. -
The Word Made Visible in the Painted Image
The Word made Visible in the Painted Image The Word made Visible in the Painted Image: Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller The Word made Visible in the Painted Image: Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller 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 Stephen Miller 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): 1-4438-8542-8 ISBN (13): 978-1-4438-8542-3 For Paula, Lucy and Eddie CONTENTS List of Illustrations ..................................................................................... ix Acknowledgements .................................................................................... xi Introduction ................................................................................................. 1 Chapter One ................................................................................................. 3 Setting the Scene The Rise of Humanism and the Italian Renaissance Changing Style and Attitudes of Patronage in a Devotional Context The Emergence of the Altarpiece in -
The Evolution of Landscape in Venetian Painting, 1475-1525
THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters. -
Van Ham Kunstauktionen
Van Ham Kunstauktionen Los 1019 Auction Title Fine Art Date 19.11.2020 - 14:00:00 Preview 13.11.2020 - 10:00:00 bis 16.11.2020 - 18:00:00 MANTEGNA, ANDREA 1431 Isola di Carturo - 1506 Mantua Werkstatt Titel: Martyrium des Heiligen Johannes des Täufers. Technik: Tempera und Öl auf Holz. Montierung: Parkettiert. Maße: 36 x 52cm. Rahmen/Sockel: Rahmen. Rückseitig: Auf der Tafel Sammler- und Restauratorenetiketten. Literatur: U. B. Schmitt, Francesco Bonsignori, München 1961, S.130 (als Francesco Bonsignori); F. Heinemann: Giovanni Bellini e i Belliani, Band I. Venedig 1963, Nr. V.163, S. 242, Abb. 700 (als Lauro Padovano); E. Zafran: European Art in the High Museum. Atlanta 1984, S. 40 mit Abb. (als zugeschrieben an Francesco Bonsignori); F. Zeri, F. Rossi: Accademia Carrara di Belle Arti Bergamo. La raccolta Morelli nell'Accademia Carrara, Mailand 1986, S. 133-135 (als Francesco Bonsignori); G. Valagussa: Accademia Carrara Bergamo - dipinti italiani del Trecento e del Quattrocento. Catalogo completo, Mailand 2018, S. 266-268 (als Lauro Padovano?). Provenienz: Vermutlich Sammlung Gonzaga, Mantua (15.-16. Jh.); Sammlung Vieweg, Braunschweig; Auktion Lepke, Berlin, 18.03.1930, lot 23, Abb. Tafel 46, als Paduaner Meister um 1500; Kunsthandel E.&A. Silbermann Galleries, New York; High Museum of Art, Atlanta; Auktion Christie's, New York, 26.01.2005, lot 277; Sammlung Prof. Dr. Thomas Olbricht, Essen. Van Ham Kunstauktionen GmbH & Co KG, Hitzelerstr. 2, 50968 Köln, Tel. +49 (221) 92 58 62-0, Fax: +49 (221) 92 58 62-4, E-Mail: [email protected] Van Ham Kunstauktionen Das vorliegende Gemälde ist zusammen mit einer Tafel der Darstellung "Der Heilige Johannes der Evangelist lässt Drusiana auferstehen" (Bergamo, Pinacoteca dell'Accademia Carrara, Inv. -
Palazzo Querini Stampalia Portego
Palazzo Querini Stampalia Museum Portego entrance Giovanni Mythology Bellini room room The earliest documents concerning the construction of the palace are from 1513-14 and point to Nicolò Querini as commissioner of the works. Grandson Francesco continued the works of enlargement and restoration in various stages throughout the first half of the century. From this period archival documents note nothing of importance until the acquisitions of the following century: in 1614 the building which is now the east wing of the palace and in 1653 part of the house between the canal and the church in Campo Santa Maria Formosa. The last radical transformation of Ca’ Querini was between 1789 and 1797 for the occasion of the marriage in 1790 between Alvise, son of Zuanne, and Maria Teresa Lippomano. In addition to the elevation of the third floor, completed after 1795, there was a large scale restructuring of the interiors with the reduction of the length of the portego and the evolution of the decorative scheme on which worked Jacopo Guarana, Davide Rossi, ornamentalist Giuseppe Bernardino Bison, gilder Domenico Sartori and brothers and stucco workers Giuseppe and Pietro Castelli. The museum is presented in such a way as to recall a patrician residence of the eighteenth century with the display of all of the collections of the family: furnishings, porcelain, sculpture, fabrics, chandeliers, globes, as well as paintings, in order to bring to life the spaces once truly inhabited by the Querini. A rich theatre where every detail plays an important role, from the fabrics in some rooms woven according to original patterns, to the curtains and the pelmets which adorn the windows to the original chandeliers. -
Pietro Perugino
Pietro Perugino Italy, 1445 - 1523 Italy, 1445 - 1523 Nativity Nativity (From the Polyptych of St. Augustine), 1506-10, National Gallery, Perugia. Oil Painting ID: 28621 Baptism of Christ, detail 46572-Perugino, Pietro-Baptism of Christ, detail.jpg Oil Painting ID: 46572 Baptism of Christ, detail II 46573-Perugino, Pietro-Baptism of Christ, detail.jpg Oil Painting ID: 46573 Epiphany 46574-Perugino, Pietro-Epiphany.jpg Oil Painting ID: 46574 1/5 Madonna and Child II 46575-Perugino, Pietro-Madonna and Child.jpg Oil Painting ID: 46575 Madonna del Sacco 46576-Perugino, Pietro-Madonna del Sacco.jpg Oil Painting ID: 46576 Madonna in Glory with the Child and Saints 46577-Perugino, Pietro-Madonna in Glory with the Child and Saints.jpg Oil Painting ID: 46577 Madonna with Child and Little St John 46578-Perugino, Pietro-Madonna with Child and Little St John.jpg Oil Painting ID: 46578 Madonna with Child and Little St John II 46579-Perugino, Pietro-Madonna with Child and Little St John.jpg Oil Painting ID: 46579 2/5 Madonna with Saints Adoring the Child 46580-Perugino, Pietro-Madonna with Saints Adoring the Child.jpg Oil Painting ID: 46580 Marriage of the Virgin 46581-Perugino, Pietro-Marriage of the Virgin.jpg Oil Painting ID: 46581 Portrait of a Young Man II 46582-Perugino, Pietro-Portrait of a Young Man.jpg Oil Painting ID: 46582 Self-Portrait 46583-Perugino, Pietro-Self-Portrait.jpg Oil Painting ID: 46583 St Nicholas of Tolentino 46584-Perugino, Pietro-St Nicholas of Tolentino.jpg Oil Painting ID: 46584 3/5 Tezi Altarpiece 46585-Perugino, Pietro-Tezi