Sacra Conversazione in Venice*
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Janson. History of Art. Chapter 16: The
16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists. -
Ave Maris Stella” (1610)
“In the Flesh as Well as in Spirit”1: (Meta) Physical Embodiment in Monteverdi’s setting of “Ave Maris Stella” (1610) Gordon Haramaki San José State University In 1610 Monteverdi published his setting of the plainchant hymn, “Ave maris stella” as part of his massive Vespro della Beata Vergine. Based on the thirteenth-century hymn used for vespers on the feast days of the Virgin Mary and of other female saints, the words are in seven litany-like verses that open with praise for the Virgin Mary, implore for intercession in the central verses, and end with a doxological commendation of the Trinity (ex. 1 and 2). Example 1. Monteverdi’s version of the plainchant “Ave maris stella” Example 2. The text of “Ave maris stella” 1 Ave maris stella, Hail, star of the sea, Dei mater alma, Mother of God, atque semper Virgo, and ever Virgin felix coeli porta. joyful gate of heaven. 2 Sumens illud Ave, Receiving that “Ave” Gabrielis ore, spoken by Gabriel funda nos in pace, and reversing the name “Eva” mutans Evae nomen. establish peace in our lives. 1 Jacobus de Voragine, The Golden Legend: Readings on the Saints, trans. by William Granger Ryan (Princeton, New Jersey, 1993) I, 82-83. “In Saint Elizabeth’s Revelations we read that once when the saint was rapt in ecstasy, she had a vision…Not long afterwards Elizabeth asked the angel with whom she frequently talked what the vision had meant. The angel answered: “You were shown how our Lady was assumed into heaven in the flesh as well as in spirit.” American Musicological Society Annual Conference Indianapolis, November 4, 2010 3 Solve vincia reis, Loose the bonds of sin, profer lumen caecis, bring light to the blind, mala nostra pelle, destroy our wickedness, bona cuncta posce, pray for all that is good. -
On the Exhibition Policies for Raphael's Masterpieces
Renaissance 3/2015 - 1 /lessandra Galiz6i Kroegel “3a.e space #or the great Raphael9& :n the ;*hibition Policies #or Raphael1s 3asterpieces Fig. 1= >iew of the current installation of the 2istine 3adonna in the +emäldegalerie /lte 3eister ?resden @0erbert -oswan., ?resden, 2taatliche 8unstsammlungen ?resdenA. “Raphael, or Ingres, or Picasso are meant Raphael in German and Italian museums during to be meditated upon. !" In order to med- the nineteenth centur) and up to the #irst hal# o# itate on a painting, it is essential to present the t%entieth century.[2] ,his stud) %as inspired it in a #avorable location and %ithin a calm b) (laudia -rin. and /ndreas 0enning1s care#ul atmosphere.& reconstruction o# the various hangings o# the 'e (orbusier[1] 2istine 3adonna #rom 1455, %hen the altarpiece arrived in 2a*on) a#ter its removal #rom the In this essa) I %ill discuss the e*hibition policies church o# 2an 2isto in Piacenza, to the present that %ere developed #or a #e% altarpieces b) day in its current location in the Gem7ldegalerie /lessandra +ali66i 8roegel 3a.e space #or the great Raphael9 .unstte*te.de 3/2015 - 2 <ig. 2= /dol# von 3en6el, Plat6 #Br den groβen Raf#ael9, Raphael in ?resden 1D55/5E, +ouache and pastel on paper, 5F * F2 cm, +er- manisches Gationalmuseum Gurnberg, 'oan o# the cit) of Gurnberg, @3oni.a Runge, +ermanisches Gationalmuseum “3ake space #or the great Raphael9&= a #amous Gurnberg). gouache b) /dolph 3en6el bearing this title (1D55/1D5EA @#ig. 2A illustrates an anecdote %hich ma) have circulated at the court o# 2a*on) #rom /lte 3eister in ?resden, %here it is e*hibited as the middle o# the eighteenth century, and %hich the clima* o# the %estern %ing1s stunning en#i- became %ell-.no%n not onl) in +erman) but to lade o# Italian galleries @#ig. -
Titian: Venus Anadyomene (Venus Emerging from the Sea), C 1525
Art Appreciation Lecture Series 2015 Meet the Masters: Highlights from the Scottish National Gallery Titian: Venus Anadyomene (Venus emerging from the sea), c 1525 Louise Marshall 18/19 February 2015 Lecture summary: “In 1524 Federico Gonzaga, Duke of Mantua, commissioning a work from Sebastiano del Piombo, wrote that he did not want ‘saint’s stuff [cose di sancti]’ but ‘some pictures which are attractive and beautiful to look at’. He seems to have been part of a trend.” (Peter Burke, The Italian Renaissance: culture and society in Italy,165.) Federico Gonzaga would certainly have approved of Titian’s Venus, which exemplifies the new genre of the poesie, or painted poetry, developed in Venice in the early sixteenth century with the paintings of Giorgione (d. 1510) and Titian (c. 1490?-1576). This lecture discusses the ways in which Renaissance patrons and artists looked back to the classical past for inspiration while at the same time transforming and adapting classical subject matter to suit their own purposes. We will look at the way Titian’s deceptively simple composition engages in the paragone (debate/competition) between ancient and modern art, and between painting and sculpture—since it is a recreation of a lost work by Apelles, the most famous and celebrated of all Greek painters, whose composition was known through Roman sculpted copies. In this sense it can be seen as a kind of manifesto, a triumphant proclamation of Titian’s superiority over all comers, a celebration of the power of his brush and its power to transmute paint into living, palpable flesh. -
Inventive Translation, Portraiture, and Spanish Hapsburg Taste in the Sixteenth Century
9 © Copyrighted Material Inventive Translation, Portraiture and Spanish Habsburg Taste in the Sixteenth Century Elena Calvillo The Spanish Patron In his autobiography, Benvenuto Cellini recounts how when faced with an angry mob of Spaniards from the household of the bishop of Salamanca, he defiantly pointed his gun into the crowd and cried, ‘You treacherous Moors – so this is how you loot the shops and houses in a city like Rome?’1 According to the artist, the Spaniards had come to collect a vase that had been returned to Cellini to be repaired, but because the patron had not yet paid for it, Cellini declined to release it. The commotion surrounding this exchange soon attracted the attention of a few Roman gentlemen, eager to join the fight. Their offer to help Cellini kill his opponents was made ‘with such vehemence that the Spaniards were terrified out of their wits’ and retreated.2 The Spanish courtiers were subsequently admonished by the bishop, who, Cellini claimed, was angered by both the violence initiated by the brash members of his household and by their failure to finish the job. Cellini’s characterization of the Spanish throughout this part of his text, leading up to the Sack of 1527, is similar to many portrayals of this period.3 For Cellini, such a depiction of the troublesome Spaniards served the rhetorical ends of the autobiography by highlighting his loyalty to Rome and his personal bravery, most spectacularly demonstrated in his account of the defence of the Castel Sant’Angelo against imperial troops. A few themes emerge from Cellini’s anecdote. -
Picture Study Portfolio: Titian Sample
Simply Charlotte Mason presents Simply Charlotte Mason presents Breathe a sigh of relief—you, the teacher, don't have to know about art in order to teach picture study! Michelangelo With Picture Study Portfolios you have everything you need to help your family enjoy and appreciate beautiful art. Just 15 minutes once a week and the simple guidance in this book will inuence and enrich your children more than you can imagine. In this book you will nd • A living biography to help your child form a relation with the artist • Step-by-step instructions for doing picture study with the pictures in this portfolio • Helpful Leading Thoughts that will add to your understanding of each picture • Extra recommended books for learning more about the artist "We cannot measure the inuence that one or another artist has upon the child's sense of beauty, upon his power of seeing, as in a picture, the common sight of life; he is enriched more than we know in having really looked at even a single picture."—Charlotte Mason Simply Charlotte Maso.comn Picture St udy Portfolios Titian (1488–1576) by Emily Kiser To be used with the Picture Study Portfolio: Titian published by Simply Charlotte Mason Titian © 2013 by Emily Kiser All rights reserved. No part of this work may be reproduced or distributed in any form by any means— graphic, electronic, or mechanical, including photocopying, recording, taping, or storing in information storage and retrieval systems—without written permission from the publisher. Published and printed by Simply Charlotte Mason 930 New Hope Road #11-892 Lawrenceville, Georgia 30045 ISBN 978-1-61634-211-1 printed ISBN 978-1-61634-212-8 electronic download Cover Design: John Shafer SimplyCharlotteMason.com Contents Picture Study ...................................................5 How to use a Picture Study Portfolio .................................9 Titian The Story of Titian . -
Sebastiano Del Piombo and His Collaboration with Michelangelo: Distance and Proximity to the Divine in Catholic Reformation Rome
SEBASTIANO DEL PIOMBO AND HIS COLLABORATION WITH MICHELANGELO: DISTANCE AND PROXIMITY TO THE DIVINE IN CATHOLIC REFORMATION ROME by Marsha Libina A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland April, 2015 © 2015 Marsha Libina All Rights Reserved Abstract This dissertation is structured around seven paintings that mark decisive moments in Sebastiano del Piombo’s Roman career (1511-47) and his collaboration with Michelangelo. Scholarship on Sebastiano’s collaborative works with Michelangelo typically concentrates on the artists’ division of labor and explains the works as a reconciliation of Venetian colorito (coloring) and Tuscan disegno (design). Consequently, discourses of interregional rivalry, center and periphery, and the normativity of the Roman High Renaissance become the overriding terms in which Sebastiano’s work is discussed. What has been overlooked is Sebastiano’s own visual intelligence, his active rather than passive use of Michelangelo’s skills, and the novelty of his works, made in response to reform currents of the early sixteenth century. This study investigates the significance behind Sebastiano’s repeating, slowing down, and narrowing in on the figure of Christ in his Roman works. The dissertation begins by addressing Sebastiano’s use of Michelangelo’s drawings as catalysts for his own inventions, demonstrating his investment in collaboration and strategies of citation as tools for artistic image-making. Focusing on Sebastiano’s reinvention of his partner’s drawings, it then looks at the ways in which the artist engaged with the central debates of the Catholic Reformation – debates on the Church’s mediation of the divine, the role of the individual in the path to personal salvation, and the increasingly problematic distance between the layperson and God. -
Pietà Rovaiweber Design, Firenze
MITTEILUNGEN DES KUNSTHISTORISCHEN INSTITUTES LVII. BAND — 2015 IN FLORENZ HEFT 3 LVII. BAND — 2015 MITTEILUNGEN DES KUNSTHISTORISCHEN HEFT 3 INSTITUTES IN FLORENZ Inhalt | Contenuto Redaktionskomitee | Comitato di redazione Aufsätze Saggi Alessandro Nova, Gerhard Wolf, Samuel Vitali _ _ Redakteur | Redattore Samuel Vitali _ 255 _ Dorothy F. Glass Editing und Herstellung | Editing e impaginazione The Sculpture of the Baptistery of Parma: Context and Meaning Ortensia Martinez Fucini Kunsthistorisches Institut in Florenz Max-Planck-Institut Via G. Giusti 44, I-50121 Firenze _ 293 _ Cyril Gerbron Tel. 055.2491147, Fax 055.2491155 The Story of Fra Angelico: Reflections in Mirrors [email protected] – [email protected] www.khi.fi.it/publikationen/mitteilungen Die Redaktion dankt den Peer Reviewers dieses Heftes _ 321 _ Christopher J. Nygren für ihre Unterstützung | La redazione ringrazia i peer Titian’s Miracles: Artistry and Efficacy Between the San Rocco and reviewers per la loro collaborazione a questo numero. Christ the Accademia Graphik | Progetto grafico Pietà RovaiWeber design, Firenze Produktion | Produzione Miszellen Appunti Centro Di edizioni, Firenze _ _ Die erscheinen jährlich in drei Heften und könnenMitteilungen im Abonnement oder in Einzelheften bezogen _ 351 _ Donatella Fratini werden durch | Le escono con cadenza Due disegni di Giorgio Vasari provenienti dall’eredità del cavalier quadrimestrale e possonoMitteilungen essere ordinate in abbonamento o singolarmente presso: Francesco Maria Vasari per il Salone dei Cinquecento in Palazzo Vecchio Centro Di edizioni, Lungarno Serristori 35 I-50125 Firenze, Tel. 055.2342666, Fax 055.2342667, [email protected]; www.centrodi.it. _ 361 _ Stefano Pierguidi Preis | Prezzo Il Costantino di Bernini in San Pietro. -
How to Show Pictures to Children
NYPL RESEARCH LIBRARIES 3 3433 07099049 8 AA r ^j\f YOTlK U"Bl""B.Irf T\LDtfro&i^ rrgaoMboo {*toi bj Br»ua, Clcm.iit i t'u. JuUa Andrew i Sun, So. THE HOLY NIGHT (DETAIL) Dresden Gallery HOW TO SHOW PICTURES TO CHILDREN ~h BY V ESTELLE M. HTJHLL AUTHOR OF THE RIVERSU)E ABT SERIES BOSTON NEW YORK CHICAGO HOUGHTON MIFFLIN COMPANY cW^. •p R KQNS COPYRIGHT, 1914, BY ESTELLE M. HURLL • • • • • • C • • • • *» • • • • • • ' • • • • • • • - • • • '.:•. CAMBKIUGK . MASSACHUSETTS U . S . A To J. C. H. WHOSE HELP, ENCOURAGEMENT AND CRITICISM HAVE MADE THE IMPOSSIBLE POSSIBLE ,001 *5»J '* i ,>JJ1 ' ») > 1 1 > B » ,' • i J O \» ^1 ) ) > ) 1 ) 1' T 1 , 1 »• ) >»»<>, > . » ^ 1 »>>«»» JJ >j' »' PREFACE The first suggestion for this little book came from Miss Elizabeth MeCracken, editor of Home Progress, whose enthusiasm and sympathy have been a con- stant inspiration. In her wide correspondence with mothers in regard to the training of children, she dis- covered the need of a book giving practical advice about pictures for children. A similar report came from the libraries, where the same need had long been noticed at the consulting-desks. The call from art educators and pubhc school teachers has been equally urgent. As the custom of hanging pictures in the schoolroom has become almost universal, the demand has arisen for helpful information in matters of art. I am especially grateful to Mr. Henry Turner Bailey, editor of the School Arts Magazine, and Mr. James Frederick Hopkins, director of the Massachusetts Normal Art School, for their words of encouragement and counsel. -
Women, Virtue and Visual Imagery During the Counter-Reformation in the Papal States, 1575-1675
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 Maniera Devota/mano Donnesca: Women, Virtue And Visual Imagery During The Counter-Reformation In The Papal States, 1575-1675 Patricia Rocco Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/101 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MANIERA DEVOTA/MANO DONNESCA WOMEN, VIRTUE AND VISUAL IMAGERY DURING THE COUNTER-REFORMATION IN THE PAPAL STATES, 1575-1675 by PATRICIA ROCCO A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy The City University of New York 2014 ©2014 PATRICIA ROCCO All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy Professor James Saslow Date Chair of Executive Committee Professor Claire Bishop Date Executive Officer Professor James Saslow Professor Elinor Richter Professor Barbara Lane Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MANIERA DEVOTA/MANO DONNESCA WOMEN, VIRTUE AND VISUAL IMAGERY DURING THE COUNTER-REFORMATION IN THE PAPAL STATES, 1575-1675 by Patricia Rocco Adviser: Professor James Saslow The history of women’s participation in religious movements during the Early Modern period in Europe has long been less commented upon in modern scholarship than that of their male counterparts. -
Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting at the National Gallery of Art Washington June 18–September 17, 2006
Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Updated: April 3, 2006 Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting at the National Gallery of Art Washington June 18–September 17, 2006 —Titian’s Concert Champêtre Comes to the U.S. for the First Time— Titian Pastoral Concert ("Concert Champêtre"), c. 1510 oil on canv as unf ramed: 105 x 136.5 cm (41 5/16 x 53 3/4) Musée du Louv re, Departement des Peintures, Paris Photo: Réunion des Musées Nationaux/Art Resource, NY Washington, DC. A major new international exhibition, Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting, will present more than 50 masterpieces from the most exciting period of the Renaissance in Venice. Premiering June 18 through September 17 at the National Gallery of Art, Washington, the exhibition explores the relationships between these and other artists, emphasizes their innovative treatments of new pictorial themes such as the pastoral landscape, and reveals what modern conservation science has discovered about the Venetian painters’ techniques. Two museums with outstanding collections of Renaissance art, the National Gallery of Art, Washington, and the Kunsthistorisches Museum, Vienna, are the exhibition organizers: together they are contributing about one-third of the works on view. Among the most admired masterworks of the Renaissance, Titian’s Pastoral Concert ("Concert Champêtre") (c. 1510), is being lent by the Louvre to the United States for the first time. The exhibition features significant loans from The National Gallery, London; the Prado, Madrid; the Uffizi, Florence; and many other museums and private collections. -
Lorenzo Lotto on Vice and Virtue Victor Hurtado University of Texas at El Paso, [email protected]
Pathways: A Journal of Humanistic and Social Inquiry Volume 1 Issue 1 Pathways: A Journal of Humanistic and Social Article 3 Inquiry 2-15-2019 Ritratto di un uomo con simboli: Lorenzo Lotto on Vice and Virtue Victor Hurtado University of Texas at El Paso, [email protected] This paper is posted at ScholarlyCommons. https://repository.upenn.edu/pathways_journal/vol1/iss1/3 For more information, please contact [email protected]. Ritratto di un uomo con simboli: Lorenzo Lotto on Vice and Virtue Abstract The ra t of Lorenzo de Tomasso Lotto (1480-1557) has until recently gained critical attention. Lotto, born in Venice to Tomasso Lotto, lived and traveled throughout Italy. The Portrait of Man with Allegorical Symbols on display at the El Paso Museum of Art is one of Lotto’s most elusive paintings. A man of about thirty years of age is portrayed on a neutral background and divides a set of six allegorical symbols in axially. He gestures toward a set of three symbols hanging from a festoon of laurel leaves: an armillary sphere, intertwined palm branches, and a full-blown bladder. A number of scholars have attempted to identify Lotto’s Ritratto as a self- portrait, a portrait of Marcello Framberti, or an Italian alchemist. These interpretations, however, are not supported by the available evidence. Confining the sitter to a particular identity limits interpretive possibilities and ignores historical and cultural contexts. Thus, this piece examines the portrait as a whole, situating it within its historical, cultural, and artistic contexts, and proposes that Lotto’s Ritratto alludes to a meaning that is philosophical, open-ended, and universal rather than specific nda particular.