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Images Re-Vues, 13 | 2016 the Deceptive Surface: Perception and Sculpture’S “Skin” 2
Images Re-vues Histoire, anthropologie et théorie de l'art 13 | 2016 Supports The Deceptive Surface: Perception and Sculpture’s “Skin” Illusion de surface : percevoir la « peau » d’une sculpture Christina Ferando Electronic version URL: http://journals.openedition.org/imagesrevues/3931 DOI: 10.4000/imagesrevues.3931 ISSN: 1778-3801 Publisher: Centre d’Histoire et Théorie des Arts, Groupe d’Anthropologie Historique de l’Occident Médiéval, Laboratoire d’Anthropologie Sociale, UMR 8210 Anthropologie et Histoire des Mondes Antiques Electronic reference Christina Ferando, “The Deceptive Surface: Perception and Sculpture’s “Skin””, Images Re-vues [Online], 13 | 2016, Online since 15 January 2017, connection on 30 January 2021. URL: http:// journals.openedition.org/imagesrevues/3931 ; DOI: https://doi.org/10.4000/imagesrevues.3931 This text was automatically generated on 30 January 2021. Images Re-vues est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale 4.0 International. The Deceptive Surface: Perception and Sculpture’s “Skin” 1 The Deceptive Surface: Perception and Sculpture’s “Skin” Illusion de surface : percevoir la « peau » d’une sculpture Christina Ferando This paper was presented at the Institute of Fine Arts, New York University, as part of the symposium “Surfaces: Fifteenth – Nineteenth Centuries” on March 27, 2015. Many thanks to Noémie Étienne, organizer of the symposium, for inviting me to participate and reflect on the sculptural surface and to Laurent Vannini for the translation of this article into French. Images Re-vues, 13 | 2016 The Deceptive Surface: Perception and Sculpture’s “Skin” 2 1 Sculpture—an art of mass, volume, weight, and density. -
Dell' Accademia Di Palermo
DELL’ ACCADEMIA DI PALERMO DI PALERMO ACCADEMIA DELL’ DELL’ ACCADEMIA DI PALERMO CONOSCENZA, CONSERVAZIONE E DIVULGAZIONE SCIENTIFICA Musei e siti delle opere originali National Gallery of Art - Washington (D.C.) Museo dell'Hermitage di S. Pietroburgo British Museum, Londra Royal Academy, Londra Musée del Louvre di Parigi Grande Museo del Duomo - Milano Gipsoteca di Possagno Galleria degli Uffizi - Firenze Galleria dell’Accademia - Firenze Museo Nazionale del Bargello - Firenze Battistero di San Giovanni – Firenze Museo dell’Opera del Duomo - Firenze Musei Vaticani – Città del Vaticano Museo Gregoriano profano - Città del Vaticano Musei Capitolini – Roma Museo dell’Ara Pacis -Roma Museo Nazionale Romano di Palazzo Altemps, Roma Museo Nazionale Romano di Palazzo Massimo - Roma Galleria Borghese - Roma Museo Archeologico di Napoli Duomo - Monreale Galleria Interdisciplinare Regionale della Sicilia di Palazzo Abatellis - Palermo Galleria d'Arte Moderna (GAM) - Palermo Palazzo dei Normanni - Palermo Palazzo Ajutamicristo - Palermo Chiesa e Oratorio di S. Cita - Palermo Oratorio del Rosario in San Domenico - Palermo Cattedrale - Palermo Chiesa di S. Agostino - Palermo Chiesa di S. Maria della Catena - Palermo Museo Pepoli di Trapani Chiesa di S. Maria La Nova - Palermo Chiesa di Santa Maria dello Spasimo - Palermo Teatro Massimo - Palermo Palazzo Sottile - Palermo Museo Archeologico, Olimpia Palazzo della Cassa di Risparmio Vittorio Emanuele - Palermo Museo Interdisciplinare Regionale “A.Pepoli” - Trapani Museo Archeologico, Atene Museo Interdisciplinare Regionale “M. Accascina” - Messina LA GIPSOTECA DELL’ ACCADEMIA DI BELLE ARTI DI PALERMO conoscenza, conservazione e divulgazione scientifica a cura di Giuseppe Cipolla 1 fotografco di Palazzo MIUR – Ministero DIRETTORE CATALOGO RINGRAZIAMENTI dell’Istruzione, dell’Università Mario Zito a cura di Giuseppe Cipolla Abatellis, Palermo Il Direttore, i coordinatori del SOMMARIO e della Ricerca N. -
Allegory of Love C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Sixteenth Century Workshop of Titian Italian 15th/16th Century Titian Venetian, 1488/1490 - 1576 Allegory of Love c. 1520/1540 oil on canvas overall: 91.4 x 81.9 cm (36 x 32 1/4 in.) Samuel H. Kress Collection 1939.1.259 ENTRY Ever since 1815, when it was discovered by Count Leopoldo Cicognara in the attic of a palace in Ferrara, the picture has attracted controversy with regard both to its attribution and to its subject. [1] Cicognara, a renowned antiquarian and connoisseur, had been commissioned by the Duchess of Sagan to find works by Titian for her, and he was convinced that his discovery was autograph. His friend Stefano Ticozzi agreed, and went on to identify the figures as Alfonso d’Este, Duke of Ferrara, and his mistress (later wife), Laura Dianti, partly on the basis of the Ferrarese provenance, partly on a supposed resemblance of the male figure to known portraits of Alfonso, and partly on the report by Giorgio Vasari that Titian had painted a portrait of Laura. [2] With these credentials, Cicognara sold the picture (together with Titian’s Self-Portrait now in Berlin) to Lord Stewart, British ambassador to the imperial court in Vienna and lover of the Duchess of Sagan. But Stewart was advised by the Milanese dealer Gerli that both pictures were copies, and he accordingly had them sent to Rome to be appraised by the Accademia di San Luca. The academicians pronounced the Self-Portrait to be authentic, but because of the presence of retouching (“alcuni ritocchi”) on the other picture, they Allegory of Love 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Sixteenth Century were unable to decide between Giorgione and Paris Bordone. -
Art History Scholarship Between the 1820S and 1870S: Contextualising the Eastlake Library at the National Gallery, London
Art history scholarship between the 1820s and 1870s: contextualising the Eastlake library at the National Gallery, London Katie Lissamore and Jonathan Franklin Figure 1 Carte de visite photograph of Charles Lock Eastlake, undated. National Gallery Archive NG67/5/1. Photo: The National Gallery, London. The Eastlake Library began life as the personal library of Sir Charles Lock Eastlake (pictured in figure 1).1 He had been a practising painter for a number of years before moving into official roles as Secretary to the Fine Arts Commission that was tasked with overseeing the decoration of the new Houses of Parliament (as of 1841); as Keeper (1843-1847) and then first Director (1855-1865) of the National Gallery; and simultaneously as President of the Royal Academy (1850-1865). At the same time, Eastlake was a researcher and scholar, publishing his pioneering classic of technical art history, Materials for a History of Oil Painting,2 in 1847.3 The Library, numbering 1 The authors would like to thank Dr Susanna Avery-Quash for her kind assistance with this article, which has been adapted and expanded from a presentation with the same title that was delivered in the session ‘Historic Libraries and the Historiography of Art (II)’ at the College Art Association conference in Chicago on Friday, February 14, 2020. The subject of the article arises from a doctoral project which is being co-supervised by Robert Gordon University in Aberdeen, Scotland, and the National Gallery in London, England. Of the two co-authors, Katie Lissamore is the PhD candidate and Jonathan Franklin is one of her three co-supervisors. -
La Firenze Di Winckelmann
LA FIRENZE DI WINCKELMANN a cura di Stefano Bruni e Marco Meli anteprima vai alla scheda del libro su www.edizioniets.com Edizioni ETS www.edizioniets.com Questo volume è stato stampato con il contributo del Dipartimento di Lingue, Letterature e Studi Interculturali dell’Università degli Studi di Firenze e del Dipartimento di Studi Umanistici dell’Università degli Studi di Ferrara Il volume è il primo della serie del Laboratorio Winckelmann del Dipartimento di Lingue, Letterature e Studi Interculturali dell’Università degli Studi di Firenze © Copyright 2018 Edizioni ETS Palazzo Roncioni - Lungarno Mediceo, 16, I-56127 Pisa [email protected] www.edizioniets.com Distribuzione Messaggerie Libri SPA Sede legale: via G. Verdi 8 - 20090 Assago (MI) Promozione PDE PROMOZIONE SRL via Zago 2/2 - 40128 Bologna ISBN 978-884675240-6 Indice Introduzione Stefano Bruni e Marco Meli 7 Ancora tra letteratura e archeologia Maria Fancelli 11 L’informazione sugli Etruschi dal tardo Medioevo al secolo dei Lumi: tra fonti letterarie e viaggio antiquario Giovannangelo Camporeale 13 Ort und Funktion der Etrusker im System der Kunstgeschichte Winckelmanns Adolf H. Borbein 31 Zwischen antiquarischer Wissenschaft und Kunstgeschichte? Winckelmanns Description des pierres gravées du feu Baron de Stosch Elisabeth Décultot 39 WINCKELMANN, STOSCH E L’AMBIENTE CULTURALE FIORENTINO 51 Winckelmanns Etruskerbild in Deutschland – eine Skizze Max Kunze 53 Le gemme Stosch Maria Elisa Micheli 67 Johann Winckelmann e Philipp Stosch collezionista di sigilli Andrea Muzzi 79 Winckelmann nella Galleria delle Statue Fabrizio Paolucci 87 Winckelmann, l’Arringatore e i Tuscanica Signa Gianfranco Adornato 107 5 Dopo Gori L’interesse per gli Etruschi nel Granducato tra gli ultimi lustri di Francesco Stefano e l’età di Pietro Leopoldo Stefano Bruni 115 WINCKELMANN TRA ROMA E FIRENZE 131 Winckelmann studioso dell’italiano Massimo Fanfani 133 Wertsteigerung durch Stilkritik. -
Quadreria (1750-1850)
A PICTURE GALLERY IN THE ITALIAN TRADITION OF THE QUADRERIA (1750-1850) SPERONE WESTWATER 2 A PICTURE GALLERY IN THE ITALIAN TRADITION OF THE Q UADRERIA (1750-1850) SPERONE WESTWATER 2 A PICTURE GALLERY IN THE ITALIAN TRADITION OF THE QUADRERIA (1750-1850) 10 January - 23 February 2013 curated by Stefano Grandesso, Gian Enzo Sperone and Carlo Virgilio Essay by Joseph J. Rishel catalogue edited by Stefano Grandesso SPERONE WESTWATER in collaboration with GALLERIA CARLO VIRGILIO & CO. - ROME (cat. no. 15) This catalogue is published on the occasion of the exhibition A Picture Gallery in the Italian Tradition of the Quadreria* (1750-1850), presented at Sperone Westwater, New York, 10 January through 23 February, 2013. 257 Bowery, New York, NY 10002 *A quadreria is a specifically Italian denomination for a collection of pictures (quadri) up to and beyond the eighteenth century, with the pictures normally covering the entire wall space from floor to ceiling. Before the advent of the illuminist concept of the picture gallery (pinacoteca), which followed a classification based on genre and chronology suitable for museums or didactic purposes, the quadreria developed mainly according to personal taste, affinity and reference to the figurative tradition. Acknowledgements Leticia Azcue Brea, Liliana Barroero, Walter Biggs, Emilia Calbi, Giovanna Capitelli, Andrew Ciechanowiecki, Stefano Cracolici, Guecello di Porcia, Marta Galli, Eileen Jeng, Alexander Johnson, David Leiber, Nera Lerner, Todd Longstaffe-Gowan, Marena Marquet, Joe McDonnell, Roberta Olson, Ann Percy, Tania Pistone, Bianca Riccio, Mario Sartor, Angela Westwater Foreword Special thanks to Maryse Brand for editing the texts by Joseph J. Rishel English translation Luciano Chianese Photographic Credits Arte Fotografica, Roma Studio Primo Piano di Giulio Archinà Marino Ierman, Trieste The editor will be pleased to honor any outstanding royalties concerning the use of photographic images that it has so far not been possible to ascertain. -
La Scrittura Odeporica Di Marianna Dionigi
!"#$% & '( $&%$# $%$#"$ )% '( "#*&#+ & $, " %% $#! #%#& "**" (((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((( ,( - ( & .&/# !" )#$ ,& .".%&#%& $/"/ $'"$(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((( ,( 0 1( & "/"#" !&$ ' 2$+"#& *)%) $& !" $ "$##$3 " $2 2$%& # /" *"$ !" &.."#$(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((( ,( 4 -( $.$ "#"/"3 2&#"* 2$ "%2&#% & & !)& '"/"& !&/#& !" %$#%$ 2$22$((((((((((((((((((((((( ,( - 5( $ "$##$ " *$%$/ 6 7)&.%((( # .$%% )#/ )#$ 8"%$(((((((((((((((((((((((((((((((((((((((((((((((((((( ,( 9 0( " $##" !&$ 2$%) "%: * &$%"8$ ;<9<9=(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((( ,( -- 9( )/>" !&$ 8"%$ & !&,& $ !" $ "$##$ *2& )/>" !&$#"2$((((((((((((((((((((((((((((((((((((( ,( -< ? @ ( *>&/$ & )!"%$ 8$&#%& ,$&.".%$A " ,.%& " $ !)$ .&#%&#+$((((((((((((((((((((((((((((((((((((((( ,( 5 1( $ "$##$ ,"%% "*& $ %&2,& $3 "#/2B $#%& ,$ $!"/2$ $"#"$#((((((((((((((((((((((((((((((((((((((( ,( 54 -( 2$/".%& !" $*C& % & $B )++"3 !".&/#$ & !$ 8& $ #8"%: !&" ((((((((((((((((((((((((( ,( 0D 5( 3 , #%)$ " ,& , "#*","$#%" *$8$ !" "$A #.$,&8&++$ !& ,"%% &.* "# $ "$##$(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((( ,( 9D 0( !".&/#" !& %$**)"# !" $# )*$3 !" 8"$//" $B)2 !" '$2"/"$A((((((((((((((((((((((((((( ,( D9 (((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((%$8& -
Venice, Childe Harold IV and Beppo, July 30Th 1817-January 7Th 1818
116 Venice, Childe Harold IV and Beppo, July 30th 1817-January 7th 1818 Venice, 1817 July 30th 1817-January 7th 1818 Edited from B.L.Add.Mss. 47234. In the notes, “J.W.” indicates assistance from Jack Wasserman, to whom I’m most grateful. Hobhouse has been on a tour of Italy since December 5th 1816, and hasn’t seen Byron – who’s just moved from Venice to La Mira – since Byron left Rome on May 20th. For the next five-and-a-half months he’s with Byron in Venice and the surrounding area. Byron is for the most part polishing Childe Harold IV, and Hobhouse takes upon himself the task of annotating it. The truly significant event, however – which neither man fully understands, and Hobhouse never will – is when Byron, having read Hookham Frere’s Whistlecraft, suddenly composes Beppo on October 9th. Venice is held by Austria, which is systematically running down its economy so that the poor are reduced to eating grass. Hobhouse glances at the state of the place from time to time. His terribly British account of the circumcision ceremony on August 2nd implies much about what Byron found fascinating about the city – though Byron would never put such feelings into explicit prose. Wednesday July 30th 1817: I got up at four – set off half past five, and, crossing the Po, went to Rovigo, three posts and a half. A long tedious drive, in flats. From Rovigo I went to Padua without going five miles out of my way to see Arquà in the Euganean Hills – Petrarch’s tranquil place – it was too hot – the thermometer at eighty-three in the shade. -
PERSPECTIVES on the COMPETITION 0F I4002 Dean
PERSPECTIVES ON THE COMPETITION 0F I40 02 Thesis for II“ Degree of M. A. MICHIGAN STATE UNIVERSITY Dean Minton 1977 rHESlS - g .. .,;.)' OVERDUE FINES: “I. _, ' 25¢ per day per im '4‘ #:X\\\\II. W: fw‘“ 'm Place in book return to remove ‘iw' 4V5??- -" charge from circulation records ' ‘ .4. "'20‘)‘ -‘.-’«v'/v‘- .I ‘ :‘ ' . “C".q .A": ABSTRACT PERSPECTIVES ON THE COMPETITION OF 1400-2 By Dean Minton This study is primarily a historiographical examina- tion of the competition among artists for the commission to cast the second set of doors for the Florentine Baptistry in 1400-2. By examining perspectives selected from a vast store of writings on the subject, one may reconstruct the event, speculate on the views of those involved and learn some of the deve10pments of art historical writing since the time of the competition. Part I examines the scarce documentary evidence sur- rounding the competitions. Part II looks at the most repre- sentative cross-section of authors who have commented on the contest. Part III reconstructs the viewpoints of humanists, artists and merchants toward art at the time of the event itself. From this, one may see the historical importance the competition has as an indication of the changing views toward art; from medieval to modern. PERSPECTIVES ON THE COMPETITION OF lhOO-Z By Dean Minton A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Art 1977 7/ 36 6M; ACKNOWLEDGMENTS I am very much indebted to Dr. Webster Smith's attempts to keep this thesis on a straight and narrow path and to his vigorous editorializing. -
Die Kaiserliche Gemäldegalerie in Wien Und Die Anfänge Des Öffentlichen Kunstmuseums
GUDRUN SWOBODA (HG.) Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums BAND II EUROPÄISChe MUSEUMSKULTUREN UM 1800 Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums 2013 BÖHLAU VERLAG WIEN KÖLN WEIMAR GUDRUN SWOBODA (HG.) Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums BAND 2 EUROPÄISCHE MUSEUMSKULTUREN UM 1800 2013 BÖHLAU VERLAG WIEN KÖLN WEIMAR IMPRESSUM Gudrun Swoboda (Hg.) Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums Band 1 Die kaiserliche Galerie im Wiener Belvedere (1776–1837) Band 2 Europäische Museumskulturen um 1800 Kunsthistorisches Museum Wien, Wien 2013 Redaktion Gudrun Swoboda, Kristine Patz, Nora Fischer Lektorat Karin Zeleny Art-Direktion Stefan Zeisler Graphische Gestaltung Johanna Kopp, Maria Theurl Covergestaltung Brigitte Simma Bildbearbeitung Tom Ritter, Michael Eder, Sanela Antic Hervorgegangen aus einem Projekt des Förderprogramms forMuse, gefördert vom Bundesministerium für Wissenschaft und Forschung Veröffentlicht mit Unterstützung des Austrian Science Fund (FWF): PUB 121-V21/PUB 122-V21 Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://portal.dnb.de abrufbar. Abbildungen auf der Eingangsseite Bernardo Bellotto, Wien, vom Belvedere aus gesehen. Öl auf Leinwand, um 1758/61. Wien, Kunsthistorisches Museum, Gemäldegalerie Inv.-Nr. 1669, Detail Druck und Bindung: Holzhausen Druck Gmbh, Wien Gedruckt auf chlor- und säurefreiem Papier Printed in Austria ISBN 978-3-205-79534-6 Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. © 2013 Kunsthistorisches Museum Wien – www.khm.at © 2013 by Böhlau Verlag Ges.m.b.H. -
Center 31 National Gallery of Art, Washington Art, of National Gallery
center 31 National Gallery of Art, Washington Center 31 National Gallery of Art Center for Advanced Study in the Visual Arts Center 31 National Gallery of Art center for advanced study in the visual arts Center 31 Record of Activities and Research Reports June 2010 – May 2011 Washington, 2011 National Gallery of Art center for advanced study in the visual arts Washington, dc Mailing address: 2000B South Club Drive, Landover, Maryland 20785 Telephone: (202) 842-6480 Fax: (202) 842-6733 E-mail: [email protected] Website: www.nga.gov/casva Copyright © 2011 Board of Trustees, National Gallery of Art, Washington. All rights reserved. This book may not be reproduced, in whole or in part (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law, and except by reviewers from the public press), without written permission from the publishers. Produced by the Center for Advanced Study in the Visual Arts and the Publishing Office, National Gallery of Art, Washington issn 1557-198X (print) issn 1557-1998 (online) Editor in Chief, Judy Metro Deputy Publisher and Production Manager, Chris Vogel Series Editor, Peter M. Lukehart Center Report Coordinator, Mattie M. Schloetzer Managing Editor, Cynthia Ware Design Manager, Wendy Schleicher Assistant Production Manager, John Long Assistant Editor, Magda Nakassis Designed by Patricia Inglis, typeset in Monotype Sabon and Ellington display by John Long, and printed on McCoy Silk by the Whitmore Group, Baltimore, Maryland Cover: Design study for the East Building (detail), I. M. Pei & Partners, National Gallery of Art East Building Design Team, c. 1968. National Gallery of Art, Washington, Gallery Archives Half-title page: I. -
Volume 23 E-Mail: [email protected] / Web: Telephone: +39-055-603-251 / Fax: +39-055-603-383 Autumn 2003
The Harvard University Center for Italian Renaissance Studies Villa I Tatti Via di Vincigliata 26, 50135 Florence, Italy Volume 23 E-mail: [email protected] / Web: http://www.itatti.it—,m— Telephone: +39-055-603-251 / Fax: +39-055-603-383 Autumn 2003 ur first year has passed in the blink windows and balconies everywhere. The Oof an eye. On 2 September 2002, Letter from Florence invasion came on March 20th, and not a Françoise and I rounded the last mad P few of the Fellows had to reconcile their curve of the Via di Vincigliata to our disapproval of American military hege- new home, and to life amidst a commu- mony with a respect, I think real and nity of Fellows who were even newer to growing, for American educational insti- I Tatti than we were. Six mother tutions, especially the one they were in. tongues (Bulgarian and Czech in addi- Good will on the part of everyone got us tion to the mainstream four) quickly through a difficult time. boiled down to two dominant In the end the Fellows were here to Sprachgebiete at the lunch table, and with work, and work they did, culminating in goodwill on everyone’s part and the help most of them giving shop talks in the Big of bilingual bridge personalities a com- Library. We experimented with the out- munity gradually took shape. Short trips side lecture format, compressing the time helped give us a sense of camaraderie, for refreshments but expanding that first to the Scuola Normale in Pisa with allotted to questions.