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Destructive Pigment Characterization
Looking for common fingerprints in Leonardo’s pupils through non- destructive pigment characterization LETIZIA BONIZZONI 1*, MARCO GARGANO 1, NICOLA LUDWIG 1, MARCO MARTINI 2, ANNA GALLI 2, 3 1 Dipartimento di Fisica, Università degli Studi di Milano, , via Celoria 16, 20133 Milano (Italy) 2 Dipartimento di Scienza dei Materiali, Università degli Studi di Milano-Bicocca, via R. Cozzi 55, 20125 Milano (Italy) and INFN, Sezione Milano-Bicocca. 3 CNR-IFN,piazza L. da Vinci, 20132 Milano (Italy). *Corresponding author: [email protected] Abstract Non-invasive, portable analytical techniques are becoming increasingly widespread for the study and conservation in the field of cultural heritage, proving that a good data handling, supported by a deep knowledge of the techniques themselves, and the right synergy can give surprisingly substantial results when using portable but reliable instrumentation. In this work, pigment characterization was carried out on twenty-one Leonardesque paintings applying in situ XRF and FORS analyses. In-depth data evaluation allowed to get information on the colour palette and the painting technique of the different authors and workshops. Particular attention was paid to green pigments (for which a deeper study of possible pigments and alterations was performed with FORS analyses), flesh tones (for which a comparison with available data from cross sections was made) and ground preparation. Keywords pXRF, FORS, pigments, Leonardo’s workshop, Italian Renaissance INTRODUCTION “Tristo è quel discepolo che non ava[n]za il suo maestro” - Poor is the pupil who does not surpass his master - Leonardo da Vinci, Libro di Pittura, about 1493 1. 1 The influence of Leonardo on his peers during his activity in Milan (1482-1499 and 1506/8-1512/3) has been deep and a multitude of painters is grouped under the name of leonardeschi , but it is necessary to distinguish between his direct pupils and those who adopted his manner, fascinated by his works even outside his circle. -
Andrea Solari Oil Paintings
Andrea Solari Oil Paintings Andrea Solari [Italian Renaissance painter, 1460-1524] Charles d'Amboise canvas painting, 48244-Solari, Andrea-Charles d'Amboise.jpg Oil Painting ID: 48244 | Order the painting Ecce Homo canvas painting, 48245-Solari, Andrea-Ecce Homo.jpg Oil Painting ID: 48245 | Order the painting Man with a Pink Carnation canvas painting, 48246-Solari, Andrea-Man with a Pink Carnation.jpg Oil Painting ID: 48246 | Order the painting Portrait of a Man canvas painting, 48247-Solari, Andrea-Portrait of a Man.jpg Oil Painting ID: 48247 | Order the painting The Lute Player canvas painting, 48248-Solari, Andrea-The Lute Player.jpg Oil Painting ID: 48248 | Order the painting 1/2 Virgin of the Green Cushion canvas painting, 48249-Solari, Andrea-Virgin of the Green Cushion.jpg Oil Painting ID: 48249 | Order the painting Total 1 page, [1] Solari, Andrea (Nationality : Italian Renaissance painter, 1460-1524) Andrea Solari (also Solario) (1460 in Milano - 1524) was an Italian Renaissance painter. Initially named Andre del Gobbo, he was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training. His paintings can be seen in Venice, Milan, The Louvre and the Château de Gaillon (Normandie, France). One of his better known paintings is the Virgin of the Green Cushion (c. 1507) in the Louvre (illustrated here). • We provide hand painted reproductions of old master paintings. You will be amazed at their accuracy. • If you can't find what you are looking for? Please Click Here for upload images for quote. -
Antikenrezeption Im Hochbarock
Antikenrezeption im Hochbarock Herausgegeben van Herbert Beck und Sabine Schulze GEBR. MANN VERLAG· BERLIN lRVTNG LAVIN Bernini and Antiquity - The Baroque Paradox A Poetical View* My chief purpose in this paper is to bring together and consider under one heading two papers by earlier scholars on apparently quite different subjects that are fundamcntnl to some of our current views on the relationship of Baroque art to antiquity. In a brief note entitled ··Rhetoric and Baroque Art". published in 1955 . Giulio Carlo Argan for the first time offered what has since become perhaps the prevalent interpretation of Ba roque art. base d on the classical tradition of rhetoric'. The primary source book on the subject. Arist0tle's treatise on rhetoric. became available in Italian translation in 1570. The wide influence of Argan ·s essay was very salubrious. suggesting as it did that Baroque style. often regarded as a decadent superabundance of ornament and conceit. could better be under stood positively as a deliberate and sophisticated technique of persuasion. T he second paper. published by RudolfWiukower in 1963, compared the use ofanciem models by Poussin. the arch classicist of France. and Bernini, the outstanding representative of Italian Baroque 2 exuberance . With great perspicuity Wittkower showed from preparatory studies how classical sources functioned in diametrically opposite ways in the development of their works. Poussin would typicall y start with a dynamic. ··Baroque" design. into which ancient models would then intervene to produce a restrained. classicizing final version: Bernini. on the other hand. would often start with a classical prototype. which he would then transform into a free and volatile ·'Baroque'· solution. -
3 a Martyr of Painting
The social lives of paintings in Sixteenth-Century Venice Kessel, E.J.M. van Citation Kessel, E. J. M. van. (2011, December 1). The social lives of paintings in Sixteenth-Century Venice. Retrieved from https://hdl.handle.net/1887/18182 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral License: thesis in the Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/18182 Note: To cite this publication please use the final published version (if applicable). 3 A Martyr of Painting Irene di Spilimbergo, Titian, and Venetian Portraiture between Life and Death Pygmalion’s love for the figure of ivory, which was made by his own hands, gives us an example of those people who try to circumvent the forces of nature, never willing to en- joy that sweet and soft love that regularly occurs between man and woman. While we are naturally always inclined to love, those people give themselves over to love things that are hardly fruitful, only for their own pleasure, such as Paintings, Sculptures, medals, or similar things. And they love them so dearly that those same things manage to satisfy their desires, as if their desire had been satisfied by real Love that has to be between man and woman.1 Giuseppe Orologi, comment on Ovid’s Metamorphoses (1578) As Giuseppe Orologi, a writer with connections to Titian, makes clear in his commentary on Ovid’s story of the sculptor Pygmalion, some people of his 1 ‘L’amore di Pigmaleone, alla figura di Avorio fatta da le sue mani, ci da essempio -
Wliery Lt News Release Fourth Street at Constitution Avenue Nw Washington Dc 20565 • 737-4215/842-6353
TI ATE WLIERY LT NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215/842-6353 PRESS PREVIEW AUGUST 9, 1984 10:00 A.M. - 1:00 P.M. FOR IMMEDIATE RELEASE RENAISSANCE DRAWINGS FROM THE AMBROSIANA AT NATIONAL GALLERY OF ART WASHINGTON, D.C. JULY 27, 1984. The Biblioteca Ambrosiana in Milan, one of Europe's most prestigious research libraries, houses an impressive collection of manuscripts, printed books, and drawings. From the approximately 12,000 drawings in the Ambrosiana collection, eighty-seven sheets from the late fourteenth to early seventeenth centuries will go on view in the National Gallery of Art's West Building beginning August 12, 1984 and running through October 7, 1984. The Ambrosiana collection contains some of the finest works of North Italian draftsmanship. Until recently, these drawings (with the exception of those of the Venetian School) have received little attention from scholars outside Italy. This exhibition brings to the United States for the first time works from the Biblioteca Ambrosiana by prominent artists of the North Italian Schools as well as by major artists of the Renaissance in Italy and Northern Europe. The show includes works by Pisanello, Leonardo, Giulio Romano, Vasari, Durer, Barocci, Bans Holbein the Elder and Pieter Bruegel the Elder. Some of the earliest drawings in the exhibition are by the masters of the International Gothic Style. Several drawings by the prolific (MORE) RENAISSANCE DRAWINGS FRCM THE AMBROSIANA -2. draftsman, Pisanello, appear in the shew. Figures in elegant and fashionable costumes are depicted in his Eleven Men in Contemporary Dress. -
Marzo - Aprile 2021 PROGRAMMA DELLE PROPOSTE CULTURALI Marzo - Aprile 2021 RIEPILOGO DELLE PROPOSTE CULTURALI
marzo - aprile 2021 PROGRAMMA DELLE PROPOSTE CULTURALI marzo - aprile 2021 RIEPILOGO DELLE PROPOSTE CULTURALI CONFERENZE - PRESENTAZIONI 2 marzo Artisti/collezionisti tra Cinquecento e Settecento 9 marzo Le donne nell’architettura tra XX e XXI secolo 16 marzo Dante fra arte e poesia 23 marzo La rivincita delle artiste nella pittura del ‘600 - parte II 30 marzo Il “mio”Arturo 6 aprile Arte al tempo di Dante: “Ora ha Giotto il grido!” 20 aprile La lettera di Raffaello a Leone X: nasce la moderna concezione di conservazione dei beni culturali PALAZZI, MUSEI E SITI ARTISTICO/ARCHITETTONICI 11 marzo Il Cimitero Monumentale VISITE A CHIESE 4 marzo Santa Maria Beltrade: Deco’, ma non si direbbe 15 marzo San Marco 24 marzo Chiesa e museo di San Fedele 26 aprile San Francesco al Fopponino VISITE A MOSTRE 10 marzo “Tiepolo. Venezia, Milano, l’Europa” alle Gallerie d’Italia 31 marzo Carla Accardi, una donna come tante, al Museo del ‘900 7 aprile Robot al Mudec: scienza, tecnica, arte, antropologia 14 aprile “Tiepolo. Venezia, Milano, l’Europa” alle Gallerie d’Italia 16 aprile Le Signore del Barocco a Palazzo Reale in copertina: Domenico di Michelino, affresco, 1465, cattedrale di Santa Maria del Fiore - Firenze 2 ITINERARI D’ARTE 18 marzo Dal teatro Dal Verme alla chiesa di Santa Maria alla Porta 22 marzo Una passeggiata lungo le mura spagnole 29 marzo I segreti della Via Moscova e dintorni 12 aprile Nuovi Arrivi tra Piazza Liberty/Piazza Cordusio/via Brisa: la città che cambia 13 aprile Dal Carrobbio alla Darsena, le porte “Ticinesi” e la Milano nei secoli 22 aprile Da piazza della Scala a piazza Belgioioso 27 aprile La lunga storia del Portello ed il nuovo parco Programma elaborato dal team degli Storici dell’Associazione, coordinati dal dott. -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
825646166411.Pdf
FRANCESCO CAVALLI L’AMORE INNAMORATO Nuria Rial soprano Hana Blažíková soprano L’ARPEGGIATA Christina Pluhar theorbo, baroque harp Doron David Sherwin cornetto Veronika Skuplik baroque violin Judith Steenbrink baroque violin Eero Palviainen archlute, baroque guitar Marcello Vitale baroque guitar Sarah Ridy baroque harp Margit Übellacker psaltery Elisabeth Seitz psaltery Lixsania Fernandes viola da gamba Rodney Prada viola da gamba Paulina van Laarhoven lirone Josetxu Obregon baroque cello Rüdiger Kurz violone Boris Schmidt double bass Haru Kitamika harpsichord, organ Francesco Turrisi harpsichord, organ David Mayoral percussion Christina Pluhar direction 1 L’Armonia (Prologo) 7:47 11 Affliggetemi, guai dolenti 2:23 L’Ormindo L’Artemisia 3 2 Sinfonia 2:31 12 Che città 3:34 Il Giasone L’Ormindo 3 Piante ombrose 3:07 Giovanni Girolamo Kapsperger La Calisto 13 Toccata prima 5:30 4 Restino imbalsamate 4:20 14 Alle ruine del mio regno 7:07 La Calisto La Didone 5 Vieni, vieni in questo seno 3:39 15 L’alma fiacca svanì 4:23 La Rosinda La Didone 6 Verginella io morir vo’ 3:54 Andrea Falconieri La Calisto 16 La suave melodia 3:30 7 Ninfa bella 3:37 66:52 La Calisto 8 Non è maggior piacere 4:38 La Calisto 9 Dammi morte 4:33 L’Artemisia 10 Sinfonia 2:18 Nuria Rial 3, 4, 6, 8, 12, 14, 15 L’Eliogabalo Hana Blažíková 1, 5, 7, 9, 11 4 Christina Pluhar L’Armonia (Prologo) Restino imbalsamate from L’Ormindo, 1644 from La Calisto, 1651 Libretto by Giovanni Faustini Libretto by Giovanni Faustini 5 Arr. Christina Pluhar Arr. -
Logo/Barra Comune Di Milano / Palazzo Reale
BERNARDINO LUINI E I SUOI FIGLI Palazzo Reale, 9 aprile | 13 luglio 2014 Dal 9 aprile 2014 l‟arte del Rinascimento torna nelle sale di Palazzo Reale con una grande mostra dedicata a Bernardino Luini, curata da Giovanni Agosti e Jacopo Stoppa. Bernardino Luini e i suoi figli è un progetto promosso dal Comune di Milano-Cultura, organizzato da Palazzo Reale insieme alla Soprintendenza per i Beni Storici, Artistici ed Etnoantropologici di Milano e al Dipartimento di Beni Culturali e Ambientali dell‟Università degli Studi di Milano e prodotto insieme a Gruppo 24Ore Cultura, con il sostegno di Cosmit, Ford, e in collaborazione con l‟architetto Piero Lissoni, che ha curato allestimento e illuminazione anche grazie al supporto di Flos. La mostra, ospitata nelle sale del piano nobile di Palazzo Reale e nella sala delle Cariatidi, racconta l‟intero percorso dell’artista, dalle ricerche giovanili ai quadri della maturità, con un occhio costante, da un lato, al lavoro dei suoi contemporanei (Bramantino, Lorenzo Lotto, Andrea Solario, Giovanni Francesco Caroto, Cesare da Sesto e molti altri); dall‟altro, alla traiettoria artistica dei figli di Luini, e in particolare del più piccolo Aurelio. Un intero secolo di arte lombarda va dunque in scena a Palazzo Reale, attraverso tele, tavole, disegni, affreschi staccati, arazzi, sculture in legno e in marmo, codici miniati, volumi a stampa. Il percorso espositivo presenta una selezione di circa duecento opere provenienti soprattutto dalle raccolte milanesi (dalla Madonna del roseto della Pinacoteca di Brera al Gesù Bambino dell‟Ambrosiana, dal Sant’Antonio del Poldi Pezzoli all‟Ercole e Atlante del Castello Sforzesco), ma integrate da significativi prestiti europei (per esempio dal Louvre e dallo Jacquemart-André di Parigi, dall‟Albertina di Vienna, dal Szépművészeti Múzeum di Budapest) e americani (dai musei di Houston e di Washington). -
La Rivincita Del Colore Sulla Linea Disegni Veneti Dall'ashmolean Museum E Dagli Uffizi
La rivincita del Colore sulla Linea Disegni veneti dall'Ashmolean Museum e dagli Uffizi Firenze, Gallerie degli Uffizi Gabinetto dei Disegni e delle Stampe, Sala Edoardo Detti e Sala del Camino 25 ottobre 2016 - 15 gennaio 2017 Lista delle opere esposte: 1. Giovanni Bellini (attivo dal 1459 ca. - Venezia, 1516) Compianto su Cristo morto Pigmento steso a pennello, tracce di incisioni di contorno, tavola di pioppo preparata a gesso Firenze, Gallerie degli Uffizi, Galleria delle Statue e delle Pitture, inv. 1890, n. 943 2. Giovanni Bellini, ambito Ritratto d'uomo, 1515-1520 ca. Carboncino, gessetto bianco, carta cerulea sbiadita Firenze, Gallerie degli Uffizi, Gabinetto dei Disegni e delle Stampe, inv. 688 E 3. Vittore Carpaccio (Venezia, 1460/ 1466 ca. - 1525/ 1526 ca.) Testa di donna per l''Apoteosi di sant'Orsola' (Venezia, Gallerie dell’Accademia), 1490-1500 Pietra nera, pennello e inchiostro diluito, biacca (carbonato basico di piombo), carta cerulea Oxford, Ashmolean Museum, WA 1977.17 recto 4. Vittore Carpaccio (Venezia, 1460/ 1466 ca. - 1525/ 1526 ca.) Il trionfo di san Giorgio, 1500-1504 Pietra rossa, penna e inchiostro su due fogli di carta uniti tra loro Firenze, Gallerie degli Uffizi, Gabinetto dei Disegni e delle Stampe, inv. 1287 E recto 5. Giulio Campagnola (Padova, 1482 ca. - Venezia, dopo il 1517) Paesaggio campestre con case e un fiume Penna e inchiostro Firenze, Gallerie degli Uffizi, Gabinetto dei Disegni e delle Stampe, inv. 463 P 6. Tiziano Vecellio, attribuito (Pieve di Cadore, 1485/ 1490 ca. - Venezia, 1576) San Girolamo in un paesaggio con la laguna sullo sfondo Penna e inchiostro Firenze, Gallerie degli Uffizi, Gabinetto dei Disegni e delle Stampe, inv. -
Press Release
FOR IMMEDIATE RELEASE Lund Humphries and Getty Publications to collaborate on a groundbreaking new book series highlighting the careers and achievements of women artists LONDON AND LOS ANGELES—Lund Humphries and Getty Publications are pleased to announce the joint publication of the first volumes in the Illuminating Women Artists series. This series of beautifully illustrated books is the first to focus in a deliberate and sustained way on women artists throughout history, to recognize their accomplishments, to revive their name recognition, and to make their works better known to art enthusiasts of the 21st century. The Illuminating Women Artists series launches at a critical moment in our culture. It is a significant contribution to a movement underway—among scholars, museums, art dealers and collectors, and the wider world of cultural heritage—to re-assess the contributions of women artists. The first sub- series focuses on artists from the Renaissance and Baroque periods. The initial volume in the series, by Catherine Hall-van den Elsen, presents the first overview in English of the life and work of Luisa Roldán (1652–1706), a prolific and celebrated sculptor of the Spanish Golden Age. The book, due for publication in September 2021, is replete with invaluable insights into Roldán’s technical innovations and artistic achievements, and it includes a list of all known extant works by the artist. It will be followed in February 2022 by a volume featuring the Italian Baroque painter Artemisia Gentileschi (1593–c.1654), who was recently celebrated in a solo exhibition at London’s National Gallery. Through the lens of cutting-edge scholarship, recent archival discoveries, and new painting attributions, author Sheila Barker offers an engaging overview of Gentileschi’s dramatic and exceptional life story, as well as her enterprising and original engagement with emerging feminist notions of the value and dignity of womanhood. -
Mona Lisa: a Comparative Evaluation of the Different Versions S
ONA LISA: A COMPARATIVE EVALUATION OF THE MDIFFERENT VERSIONS AND THEIR COPIES Salvatore Lorusso* Dipartimento di Beni Culturali Alma Mater Studiorum Università di Bologna, Ravenna, Italy Andrea Natali Dipartimento di Beni Culturali Alma Mater Studiorum Università di Bologna, Ravenna, Italy Keywords: “Mona Lisa”, versions, copies 1. Introduction In a previous study [1], which included stylistic and diagnostic analyses, it was found that the oil painting on canvas “Mona Lisa with columns”, part of a private collection in a museum in St. Petersburg (Figure 1), is a copy of the “Mona Lisa” by Leonardo (Figure 2) dating to a period between 1590 and 1660. Noteworthy features include the good quality, readability and expressiveness emanating from the work, which presum- ably is of Nordic influence, specifically German-Flemish. Figure 1. Photograph in the visible of the painting “Mona Lisa with Columns”, St. Petersburg (oil on canvas 63.2 x 85.2 cm ) CONSERVATION SCIENCE IN CULTURAL HERITAGE * Corresponding author: [email protected] 57 Figure 2. The Louvre “Mona Lisa” More specifically, given the importance of the subject, which includes Leonardo’s well-known masterpiece, the conclusion that was reached in defining the above paint- ing a copy of the original, involved examining, from a methodological point of view, investigations carried out in 2004 on the Louvre “Mona Lisa” by the “Center for Re- search and Restoration of the Museums of France”, and published in “Au coeur de La Joconde – Léonard de Vinci Décodé”. This sequence of investigations – which were certainly not aimed at authentication – were examined together with those of the Na- tional Gallery in London, thus enabling comparisons to be made with other works by Leonardo [2-3].