DOCSLIB.ORG

Our Collection, Your Place Barber Home & Cineq Watch Party

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Our Collection, Your Place Barber Home & Cineq Watch Party Watch Party CineQ Our collection, your place Barber Home & CineQ Watch Party For this edition of Barber Home, CineQ will be holding a live watch party showcasing short independent queer film, responding to Domenico Beccafumi’s Reclining Nymph (1519) CineQ is a Birmingham-based queer film festival that makes QTIPOC (Queer, Trans, Intersex People of Colour) stories more accessible. Starting out as a community cinema, CineQ has grown into a four day festival that showcases the best in local and international queer film. Inspired by the beautiful, androgynous water nymph, CineQ has programmed a series of shorts that explores gender identity and expression, celebrating non- binary, intersex and trans narratives. With many Pride events cancelled and safe spaces closed, building a sense of ‘home’ in a nurturing community of support is more important than ever. CineQ queers the notion of ‘home’, examining the queer bodies, identities and communities as a ‘home’. As trans and non-binary rights are being attacked across the world, let’s come together and use the power of art, film and community to build collective love in defiance of fear and ignorance. If you missed this event, fear not! Below you will be able to access a watch-list of all the queer shorts featured in this screening. CineQ Illustration Tomekah George, 2020 barber.org.uk @barberinstitute Domenico Beccafumi (1484–1551) Reclining Nymph Siena, about 1519 Oil on wood Domenico di Pace Beccafumi (1484 situation, reclining on a mossy and - 1551) was an Italian Renaissance fecund riverbank, and the pose. The painter of the Sienese School of nymph is accompanied by a putto Painting. A son of a peasant, he was (a representation of a small, naked, adopted by the landowner Lorenzo often winged, male child) holding Beccafumi, who spotted his talent a whirligig, a spinning windmill toy, for drawing. Despite his training, his perhaps signifying the transience work is often considered provincial and and disquiet of love. only mildly influenced by the then- fashionable Florentine Mannerism. What immediately strikes the modern eye is the nymph’s gender-ambiguous This ‘reclining nymph’, painted on a appearance, with a ‘feminine’ face wooden panel, originally formed part and breasts but an athletic ‘masculine’ of the decoration of the bedchamber physique. Such androgynous figures of Francesco Petrucci of Siena and are a familiar feature in works of his wife Caterina Piccolomini, where Italian Renaissance masters like it was used as the headboard. With Michelangelo and Leonardo. These its themes of love and fertility, it sat figures now provoke a variety of alongside other panels in the room reactions, from mirth to awe, wonder in an illustrated series of virtuous and serious academic questioning. heroines from antiquity. One reason offered for this style is that The androgynous figure in the centre a contemporary sense of propriety was until recently taken to be Venus, limited the availability of female life the goddess of love, sexuality and models, and so enterprising artists fertility. However, more recently the simply used male models and applied figure has been understood to be the head and breasts of women on a water nymph due to the figure’s male bodies. This explanation is not barber.org.uk @barberinstitute totally satisfying as there are many aesthetic values of art. examples of wholly ‘female’ forms from the period. Whilst we can perhaps Another explanation is that imagine the artist, exasperated by androgynous bodies were used lack of supply of models, resorting due to an interest in androgynous to what could be termed a cut-and- figures from classical myths. The shut method of painting, it is more writings of the ancients were being difficult to imagine wealthy patrons re-discovered and incorporated into being satisfied by this approach. the rising number of secular paintings at this time, and the classics abound It seems likely that the Renaissance in androgyny. In the Athenian viewer of such figures must have philosopher Plato’s symposium, perceived them very differently to us, we find Aristophanes’ tale of the their modern counterparts. Perhaps androgyne - the original human in the explanation can be found in whom the sexes were combined, and differing philosophical understandings there is the tale of Hermaphroditus, of sex. American historian and writer the son of Hermes and Aphrodite, Thomas Laqueur argues that there who united with the nymph Salmacis was “… in the sixteenth century, as to form a single body. there had been in classical antiquity, only one canonical body, and that But perhaps the most appealing body was male”. The classical explanation is that androgynous physician Galen held that all bodies figures were simply seen as beautiful were essentially male, that is they and aesthetically pleasing in their held the all elements and properties own right. Mario Equicola, Italian of the male archetype, but that Renaissance humanist, claimed in women’s bodies were deformed 1525 that ‘the effeminate male and versions. Lacquer suggests that this the manly female are graceful in idea persisted into, or perhaps was almost every aspect’. re-born in, the Renaissance. Though contested by contemporary historians While we might not come to any such as Katharine Park and Monica firm conclusions about the use of Green, this “one-sex model”, has been androgynous figures in Renaissance a prominent way to examine sex in art, considering possible meanings Renaissance Art. invites us to question our own received certainties about sex, Alternatively, use of androgynous gender, bodies and beauty. It is all too figures in Renaissance work has easy to imagine that society’s ideas been linked to the artists’ sexuality, about what is male, what is female and perhaps the use of a ‘masculine’ and what is beautiful are universal physique simply shows the sexual and eternal, but by looking at the preference of the painter. This works like Reclining Nymph we see explanation, however, again requires that this is not the case. We might that the patrons be satisfied with conclude that the ambiguous and the results. Perhaps homosexuality, un-categorisable has always existed which was common in Renaissance and that the absence of certainty Italy, simply influenced the broader can itself be beautiful. barber.org.uk @barberinstitute Gender Terms Definitions can cause trouble - by definition they limit options and possibilities. Queerness resists the borders implied by any project to define and categorise. Having said that, it is important to critically engage with definitions if we are to begin to understand what gender means to ourselves and others. Here are some possible definitions of terms that will be relevant when watching CineQ’s programme of shorts, or when looking at Beccafumi’s Reclining Nymph. Gender… Sex… is a description we all give ourselves is a description based on about who we are. Gender is based on various elements of a person’s our own psychology and sense of identity biology, and is usually assigned but is also socially constructed, having to to a person at birth. Sex is do with our relationship to established based on observed biological gender norms. A person’s gender may characteristics like genitals, align with their sex, in which case they hormones, body hair and are generally termed cis, or not, in which more. Often sex is imagined case they are generally termed trans. as being binary (either a man or a woman) but a significant number of people are intersex, having sexual characteristics Gender Expression... that cannot be so easily is the way a person presents themselves categorised into one of two through clothing, demeanour, actions and groups. more. Your external-facing self, and how it is interpreted by others. This may relate to gender identity, but is not the same, for example a person may express themselves Sexual Orientation… in a ‘masc’ way while identifying as a describes which gender(s), if woman. any, a person is sexually and/ or romantically attracted to. Descriptions of sexual Non-Binary… orientation (or sexuality) often is either a specific gender identity that relate to the gender of both the does not fit into the perceived binary subject and object of attraction choice of male / female, or an umbrella (for example a man who is term for a large number of different attracted to women may be identities that don’t fit that binary - for straight but a woman who is example genderqueer, hijra, two-spirit, attracted to women may be a demi-boi, agender etc. Many non-binary lesbian) but is usually considered people use gender-neutral pronouns such in the modern West to be an as they/them, ze/hir, xe/xem in place of entirely separate characteristic he/him or she/her. to gender identity. barber.org.uk @barberinstitute CineQ Watch List Ajamu | Stephen Isaac Wilson CineQ and the Barber do not own the This film celebrates the life and career rights to any of these films or music. of photographer and artist Ajamu, and The full programme is freely available use him as a conduit to explore the black on YouTube. Please click the film titles British gay sexual experience. in this list to watch and support the filmmakers directly. Thank you. Headspace | Jake Graf A rare and intimate glimpse into the trials and tribulations faced by trans Beyond the Binary | D Kettchen folk on a daily basis. A very simplified introduction to non- binary gender for anyone who needs it. Turning | Linnéa Haviland A short animation about the impact Androgyny | Jordan Shelwood of homo- bi- and transphobia on An introspective of androgyny, this film young people, and how support and looks at the nuances between fashion community can help us grow. and gender neutral identities. Body | Nathan Cooper Catechism | Shon Faye An exploration of the body through the Shon Faye reflects on her experiences use of paint.
Load more

Recommended publications
  • The Best of Renaissance Florence April 28 – May 6, 2019
    Alumni Travel Study From Galleries to Gardens The Best of Renaissance Florence April 28 – May 6, 2019 Featuring Study Leader Molly Bourne ’87, Professor of Art History and Coordinator of the Master’s Program in Renaissance Art at Syracuse University Florence Immerse yourself in the tranquil, elegant beauty of Italy’s grandest gardens and noble estates. Discover the beauty, drama, and creativity of the Italian Renaissance by spending a week in Florence—the “Cradle of the Renaissance”—with fellow Williams College alumni. In addition to a dazzling array of special openings, invitations into private homes, and splendid feasts of Tuscan cuisine, this tour offers the academic leadership of Molly Bourne (Williams Class of ’87), art history professor at Syracuse University Florence. From the early innovations of Giotto, Brunelleschi, and Masaccio to the grand accomplishments of Michelangelo, our itinerary will uncover the very best of Florence’s Renaissance treasury. Outside of Florence, excursions to delightful Siena and along the Piero della Francesca trail will provide perspectives on the rise of the Renaissance in Tuscany. But the program is not merely an art seminar—interactions with local food and wine experts, lunches inside beautiful private homes, meanders through stunning private gardens, and meetings with traditional artisans will complement this unforgettable journey. Study Leader MOLLY BOURNE (BA Williams ’87; PhD Harvard ’98) has taught art history at Syracuse University Florence since 1999, where she is also Coordinator of their Master’s Program in Renaissance Art History. A member of the Accademia Nazionale Virgiliana, she has also served as project researcher for the Medici Archive Project and held a fellowship at Villa I Tatti, the Harvard Center for Renaissance Studies.
    [Show full text]
  • Structural Conservation of Panel Paintings 306
    PART FOUR Current Approaches to the Structural Conservation of Panel Paintings 306 Florentine Structural Stabilization Techniques Andrea Rothe and Giovanni Marussich by the great flood of 1966 in Florence than by both World Wars combined. Many paintings Mand other artifacts were submerged in the floodwaters for more than eighteen hours. They were covered with mud mixed with heavy deposits of heating oil that had seeped from the storage tanks housed in the many basements of the city.The worst damage was done to the large num- ber of panel paintings in Florence and the surrounding countryside; those that had been submerged swelled many inches beyond their original size. Subsequently, these paintings were subjected to a long and gradual drying process, first in the limonaia, the old hothouses built by the Medici in the Boboli Gardens for their favorite collection of citrus plants. These hothouses were quickly converted into one large humidity chamber. The humidity was raised to 95% at a temperature of 12 °C over a two-year period. Afterward, the treatment was continued in the former army bar- racks of the Fortezza da Basso, which in the meantime had been trans- formed into the largest restoration laboratory in the world; it had, in fact, become an independent governmental department, a soprintendenza, by special decree. Despite the carefully controlled drying process, many of the panels shrank considerably. This shrinkage caused severe blistering and cupping of the paint layers, as well as deformation of the supports (Cianfanelli, Ciani Passeri, and Rossi Scarzanella 1992). Consequently, many of the panel paintings had to be transferred to canvases and to new, rigid supports.
    [Show full text]
  • Catalogue of the Eleventh Annual Exhibition of Engravings, Etchings, Woodcuts of the Xv and Xvi Centuries
    CATALOGUE OF THE ELEVENTH ANNUAL EXHIBITION OF ENGRAVINGS, ETCHINGS, WOODCUTS OF THE XV AND XVI CENTURIES MARCH 3RD TO MARCH 2IST, 1936 M. KNOEDLER & COMPANY, INC. 14 EAST FIFTY-SEVENTH STREET NEW YORK ILLUSTRATED BOOKS AND NEWSPAPERS Discourse was deemed Man's noblest attribute, And written words the glory of his hand; Then followed Printing with enlarged command For thought — dominion vast and absolute For spreading truth, and making love expand. Now prose and verse sun\ into disrepute Must lacquey a dumb Art that best can suit The taste of this once-intellectual hand. A backward movement surely have we here, From manhood — bac\ to childhood; for the age — Bac\ towards caverned life's first rude career. U Avaunt this vile abuse of pictured page. Must eyes be all in all, the tongue and ear Nothing? Heaven keep us from a lower stage. WILLIAM WORDSWORTH ARTISTS REPRESENTED IN THIS EXHIBITION GERMANY ANONYMOUS (1425-1450) DOTTED PRINT 5 MASTER E. S 6 MARTIN SCHONGAUER 7 ANONYMOUS NORTH GERMAN (About 1480) 9 MASTER B. G 10 SCHOOL OF MARTIN SCHONGAUER 10 ISRAHEL VAN MECKENEM 10 MASTER M Z 13 AUGUSTIN HIRSCHVOGEL 14 HANS SEBALD LAUTENSACK 14 HANS BURGKMAIR 15 JOHANN ULRICH WECHTLIN (Pilgrim) 15 LUCAS CRANACH r6 NETHERLANDS MASTER F VB (F. van Brugge?) j$ LUCAS VAN LEYDEN Xo DIRICK JACOBSZOON VELLERT 21 ITALY NIELLO PRINT (Attributed to Francesco Francia) ....... 22 ANONYMOUS FLORENTINE: THE SIBYLS 22 CRISTOFANO ROBETTA 2, ANONYMOUS NORTH ITALIAN: "THE TAROCCHI CARDS" 24 DOMENICO BECCAFUMI (Master H-E) 2K ANONYMOUS XVI CENTURY: ROMAN SCHOOL 25 ANDREA MANTEGNA . _- -*5 SCHOOL OF ANDREA MANTEGNA 26 BARTOLOMEO DA BRESCIA 27 NICOLETTO ROSEX DA MODENA 28 JACOPO DE' BARBARI ...
    [Show full text]
  • News Release the Metropolitan Museum of Art
    news release The Metropolitan Museum of Art For Release: Contact: Immediate Harold Holzer Norman Keyes, Jr. SCHEDULE OF EXHIBITIONS - JANUARY/FEBRUARY 1994 EDITORS PLEASE NOTE: Information provided below is subject to change. To confirm scheduling and dates, call the Communications Department (212) 570-3951. For Upcoming Exhibitions, see page 3; Continuing Exhibitions, page 8; New and Upcoming Permanent Installations, page 10; Traveling Exhibitions, page 12; Visitor Information, pages 13, 14. EDITORS PLEASE NOTE: On April 13, the Metropolitan will open for the first time sixteen permanent galleries embracing the arts of India, Pakistan, Afghanistan, Bangladesh, Sri Lanka, Nepal, Tibet, Indonesia, Thailand, Cambodia, Vietnam, Burma, and Malaysia. The new Florence and Herbert Irving Galleries for the Arts of South and Southeast Asia will include some 1300 works, most of which have not been publicly displayed at the Museum before. Dates of several special exhibitions have been extended, including Church's Great Picture: The Heart of the Andes (through January 30); A Decade of Collecting: Friends of Asian Art Gifts, 1984- 1993 (through January 30); and Tang Family Gifts of Chinese Painting (indefinite close). Museum visitors may now for the first time enter the vestibule or pronaos of the Temple of Dendur in The Sackler Wing, and peer into the antechamber and sanctuary further within this Nubian temple, which is one of the most popular attractions at the Metropolitan. Three steps have been installed on the south side to facilitate closer study of the monument and its wall reliefs; a ramp has been added on the eastern end for wheelchair access. (Press Viewing: Wednesday, January 19, 10:00 a.m.-noon).
    [Show full text]
  • Frick Acquires Unique Sèvres Porcelain Vase and an Important Renaissance Drawing
    FRICK ACQUIRES UNIQUE SÈVRES PORCELAIN VASE AND AN IMPORTANT RENAISSANCE DRAWING The Frick’s Board of Trustees announces the acquisition of two objects that will enhance the museum’s holdings in areas that interested founder Henry Clay Frick at the end of his life: eighteenth-century French porcelain and Italian Renaissance drawings. A rare and beautiful vase created at the Royal Manufactory of Sèvres has been acquired in honor of Anne L. Poulet, who retired at the end of September after serving as Director for eight years. The vase, a partial purchase by the Frick and a partial gift from Alexis and Nicolas Kugel, is the first piece of hard-paste porcelain from the Royal Manufactory of Sèvres to enter the Collection. It complements the museum’s substantial Sèvres Vase Japon, 1774, Royal Manufactory of Sèvres, France, painted and gilded hard-paste porcelain with silver-gilt mounts, The Frick Collection; photo: holdings made with the earlier soft-paste formula, Michael Bodycomb objects obtained by Mr. Frick from the dealer Joseph Duveen. This latest acquisition is particularly appropriate given the interest of Director Emerita Anne Poulet in eighteenth-century French decorative arts. The vase will be displayed this winter alongside selections from a promised gift of hard-paste Meissen porcelain objects in the new Portico Gallery for Decorative Arts and Sculpture, which opens to the public on December 13. Also entering the collection is Domenico Beccafumi (1486–1551), Head of a Man, ca. 1512–14, red chalk on paper, 8 ¼ x 5 ¼ inches; Verso: Sketch for the an important Italian Renaissance by drawing the Sienese artist Domenico Beccafumi Façade of the Palazzo Borghesi, Siena; Seated Putti, pen and brown ink and black chalk, gift to The Frick Collection from (1486–1551), a two-sided sheet given to the Frick by Trustee Barbara G.
    [Show full text]
  • 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.
    [Show full text]
  • The Fresco Decoration of the Oratorio Dei Buonomini Di San Martino: Piety and Charity in Late-Fifteenth Century Florence a Thesi
    Birmingham City University The Fresco Decoration of the Oratorio dei Buonomini di San Martino: Piety and Charity in Late-Fifteenth Century Florence 2 Volumes A Thesis in Art History by Samantha J.C. Hughes-Johnson Submitted in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy May 2016 Volume I Abstract Despite the emergence of various studies focusing on Florentine lay sodalities, the Procurators of the Shamed Poor of Florence, otherwise known as the Buonomini di San Martino, have received little attention from social historians and much less consideration from historians of art. Consequently, there are several distinct research gaps concerning the charitable operations of this lay confraternity and the painted decorations within its oratory that beg to be addressed. The greatest research breach pertains to the fresco decoration of the San Martino chapel as, despite the existence of various pre- iconographic descriptions of the murals, comprehensive iconographic and comparative analyses of these painted works have never before been carried out. Moreover, the dating of the entire cycle and the attribution of one of its lunette paintings is questionable. Accordingly, the present study addresses these deficiencies. Central to the current research is an original, in-depth art historical analysis of the frescoed paintings. Involving the methodologies of iconographic and comparative analyses alongside connoisseurship, the present investigation has allowed the researcher to establish the following: the art historical significance of the oratory murals; the dating of the fresco cycle; the attribution of an executor for the Dream of Saint Martin fresco; the identification of portraits of Lorenzo and Giuliano de’ Medici within the Buonomini cycle; the disclosure of the shamed poor as non-patrician representatives of Florence.
    [Show full text]
  • Alfonso Landi, Memorie Intorno Alle Pitture, Statue E Altre Opere Che Si
    RACCONTO DI PITTURE , DI STATUE , E D ’ALTRE OPERE ECCELLENTI , CHE SI TROVANO NEL TEMPIO DELLA CATTEDRALE DI SIENA CO ’ I NOMI , COGNOMI , E PATRIE DEGL ’ARTEFICI DI ESSE , PER QUANTO PERÒ SI È POTUTO TROVARE DA ME ALFONSO DEL SIG . POMPILIO DI LATTANZIO DI GIROLAMO LANDI COMINCIATO FIN DALL ’ANNO 1655. Per esecuzione delle cose promesse, invocato primieramente con ogni umiltà la divina assistenza, e il favorevole aiuto della gran madre di Dio mia signora, cominciarò a raccontare l'opere esistenti nella cattedrale della città di Siena. La prima pittura è nella nicchia esistente in testa al tempio dietro all'altare maggiore. Questa è divisa in tre quadri da quattro pilastri piani fatti di stucco tutti arabescati d'assai rilievo co' suoi capitelli, e cornici brustate d'oro. I due quadri che sono a' lati del quadro di mezzo dalla parte di sopra son scemati da due quadretti di forma longa cavati da essi e parimente divisa dalla sua conchiglia da un fregio con sua cornice lavorato a fogliami brustati d'oro, il qual fregio ricorre sopra all'altezza de' capitelli di sotto da l'un lato all'altro tutta la nicchia. Nella conchiglia si rappresenta in pittura l'Ascensione di N.S. al cielo con una gloria di angioli intorno al Cristo che riempie tutta quella parte. Nel quadro di mezzo de' tre quadri grandi esistenti nel fondo della nicchia tirato a arco, [che pareggia l'altezza de' quadri esistenti a' lati] v'è rappresentata la V.M. con due Apostoli stanti tutti in piedi; ne' due quadri grandi da' lati vi sono cinque Apostoli per ciascuna parte stanti in piedi, parte sedenti in terra in diverse positure: nell'un, e nell'altro de' due quadri piccoli v'è un angelo librato sull'ali con un ramo d'oliva in mano, con la persona e faccia verso gli Apostoli situati sotto di loro.
    [Show full text]
  • Tuscany Travels Through Art
    TUSCANY TRAVELS THROUGH ART Searching for beauty in the footsteps of great artists tuscany TRAVELS THROUGH ART Searching for beauty in the footsteps of great artists For the first time, a guide presents itineraries that let you discover the lives and works of the great artists who have made Tuscany unique. Architects, sculptors, painters, draughtsmen, inventors and unrivalled genius– es have claimed Tuscany as their native land, working at the service of famous patrons of the arts and leaving a heritage of unrivalled beauty throughout the territory. This guide is essential not only for readers approaching these famous names, ranging from Cimabue to Modigliani, for the first time, but also for those intent on enriching their knowledge of art through new discoveries. An innovative approach, a different way of exploring the art of Tuscany through places of inspiration and itineraries that offer a new look at the illustrious mas– ters who have left their mark on our history. IN THE ITINERARIES, SOME IMPORTANT PLACES IS PRESENTED ** DON’T MISS * INTERESTING EACH ARTIST’S MAIN FIELD OF ACTIVITY IS DISCUSSED ARCHITECT CERAMIST ENGINEER MATHEMATICIAN PAINTER SCIENTIST WRITER SCULPTOR Buon Voyage on your reading trip! Index of artists 4 Leona Battista Alberti 56 Caravaggio 116 Leonardo da Vinci 168 The Pollaiolo Brothers 6 Bartolomeo Ammannati 58 Galileo Chini 118 Filippo Lippi 170 Pontormo 8 Andrea del Castagno 62 Cimabue 120 Filippino Lippi 172 Raffaello Sanzio 10 Andrea del Sarto 64 Matteo Civitali 124 Ambrogio Lorenzetti 174 Antonio Rossellino
    [Show full text]
  • Righteous Indignation by Heidi J
    56 Copyright © 2014 Institute for Faith and Learning at Baylor University Due to copyright restrictions, this image is only available in the print version of Christian Reflection. Domenico Beccafumi’s Moses Breaking the Tablets of the Law depicts the people “caught in the act” of idol worship and horrified by what Moses, in his righteous anger, is about to do. Domenico Beccafumi (c. 1485-1551), MOSES BREAKING THE TABLETS OF THE LAW (c. 1529-1535). Painting on wood. 77 ½” x 54 ¾”. Duomo, Pisa, Italy. Photo: © Scala / Art Resource, NY. Used by permission. Anger in Christian Art 57 Righteous Indignation BY HEIDI J. HORNIK oses becomes furious when he returns from Mt. Sinai with God’s ten commandments and discovers that the people are worshiping Ma golden calf: “As soon as he came near the camp, and saw the calf and the dancing, Moses’ anger burned hot, and he threw the tablets from his hands and broke them at the foot of the mountain” (Exodus 32:19). As he witnesses both idolatry and extreme wickedness by God’s people, Moses’ righteous indignation manifests itself in a rage of destruction. Domenico Beccafumi, a Mannerist or Late Renaissance artist from Siena, Italy, paints the people “caught in the act” and horrified by what Moses is about to do. The artist heightens the action by an exaggerated pose, with Moses’ left hip slung dramatically outward to create a strong diagonal leading our eyes up to the tablet in his hand. His golden robe and the changeant drapery (changing colors of yellow, pink, and blues) of the woman in the foreground are characteristics of the Mannerist style.
    [Show full text]
  • Ground Layers in European Painting 1550–1750
    Ground Layers in European Painting 1550–1750 CATS Proceedings, V, 2019 Edited by Anne Haack Christensen, Angela Jager and Joyce H. Townsend GROUND LAYERS IN EUROPEAN PAINTING 1550–1750 GROUND LAYERS IN EUROPEAN PAINTING 1550–1750 CATS Proceedings, V, 2019 Edited by Anne Haack Christensen, Angela Jager and Joyce H. Townsend Archetype Publications www.archetype.co.uk in association with First published 2020 by Archetype Publications Ltd in association with CATS, Copenhagen Archetype Publications Ltd c/o International Academic Projects 1 Birdcage Walk London SW1H 9JJ www.archetype.co.uk © 2020 CATS, Copenhagen The Centre for Art Technological Studies and Conservation (CATS) was made possible by a substantial donation by the Villum Foundation and the Velux Foundation, and is a collabora- tive research venture between the National Gallery of Denmark (SMK), the National Museum of Denmark (NMD) and the School of Conservation (SoC) at the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation. ISBN: 978-1-909492-79-0 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. All rights reserved. No part of this publication 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 publishers. Every effort has been made to trace copyright holders and to obtain their permission for the use of copyright material. The publisher would be pleased to rectify any omissions in future reprints. Front cover illustration: Luca Giordano, The Flight into Egypt, c.1700, oil on canvas, 61.5 × 48.9 cm, The Metropolitan Museum of Art, New York City, inv.
    [Show full text]
  • Renaissance Siena
    Renaissance Siena Habent sua fata libelli SIXTEENTH CENTURY ESSAYS & STUDIES SERIES GENERAL EDITOR Raymond A. Mentzer University of Iowa EDITORIAL BOARD OF SIXTEENTH CENTURY ESSAYS & STUDIES ELAINE BEILIN HELEN NADER Framingham State College University of Arizona MIRIAM U. CHRISMAN CHARLES G. NAUERT University of Massachusetts, Emerita University of Missouri, Emeritus BARBARA B. DIEFENDORF THEODORE K. RABB Boston University Princeton University PAULA FINDLEN MAX REINHART Stanford University University of Georgia SCOTT H. HENDRIX SHERYL E. REISS Princeton Theological Seminary Cornell University JANE CAMPBELL HUTCHISON JOHN D. ROTH University of Wisconsin–Madison Goshen College RALPH KEEN ROBERT V. SCHNUCKER University of Iowa Truman State University, Emeritus ROBERT M. KINGDON NICHOLAS TERPSTRA University of Wisconsin, Emeritus University of Toronto MARY B. MCKINLEY MARGO TODD University of Virginia University of Pennsylvania MERRY WIESNER-HANKS University of Wisconsin–Milwaukee Art in ontext Edited by A. Lawrence Jenkens Sixteenth Century Essays & Studies 71 Truman State University Press Copyright © 2005 Truman State University Press, Kirksville, Missouri USA All rights reserved tsup.truman.edu Cover art: Pinturicchio, Meeting Between Frederick III and Eleanor of Aragon, 1505–8. Fresco, Piccolomini Library, Duomo, Siena. Reproduced by permission from Scala/ Art Resource, NY. Cover design: Shaun Hoffiditz Type: Bembo™, The Monotype Corporation Printed by: McNaughton & Gunn Inc., Saline, Michigan USA Library of Congress Cataloging-in-Publication Data Renaissance Siena : art in context / edited by A. Lawrence Jenkens. p. cm. — (Sixteenth century essays and studies ; v. 71) Includes bibliographical references and index. ISBN 1-931112-42-8 (hardback : alk. paper) — ISBN 1-931112-43-6 (pbk. : alk. paper) 1. Art, Renaissance—Italy—Siena.
    [Show full text]