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THE PAINTERS OF THE SCHOOL OF FERRARA BY EDMUND G. .GARDNER, M.A. AUTHOR OF "DUKES AND POETS IN FERRARA" "SAINT CATHERINE OF SIENA" ETC LONDON : DUCKWORTH AND CO. NEW YORK : CHARLES SCRIBNER'S SONS I DEDICATE THIS BOOK TO FRANK ROOKE LEY PREFACE Itf the following pages I have attempted to give a brief account of the famous school of painting that originated in Ferrara about the middle of the fifteenth century, and thence not only extended its influence to the other cities that owned the sway of the House of Este, but spread over all Emilia and Romagna, produced Correggio in Parma, and even shared in the making of Raphael at Urbino. Correggio himself is not included : he is too great a figure in Italian art to be treated as merely the member of a local school ; and he has already been the subject of a separate monograph in this series. The classical volumes of Girolamo Baruffaldi are still indispensable to the student of the artistic history of Ferrara. It was, however, Morelli who first revealed the importance and significance of the Perrarese school in the evolution of Italian art ; and, although a few of his conclusions and conjectures have to be abandoned or modified in the light of later researches and dis- coveries, his work must ever remain our starting-point. vii viii PREFACE The indefatigable researches of Signor Adolfo Venturi have covered almost every phase of the subject, and it would be impossible for any writer now treating of Perrarese painting to overstate the debt that he must inevitably owe to him. -
The History of Painting in Italy, from the Period of the Revival of the Fine Arts to the End of the Eighteenth Century
THE HISTORY OF PAINTING IN ITALY, FROM THE PERIOD OF THE REVIVAL OF THE FINE ARTS, TO THE END OF THE EIGHTEENTH CENTURY: TRANSLATED gmn tj)e O^rtgtnal Btaltan OF THE ABATE LUIGI I.ANZI. By THOMAS ROSCOE. IN SIX VOLUMES. VOL. VI. CONTAINING THE INDEXES. LONDON: PKINTED FOR W. SIMPKIN AND R. MARSHALL, STATIONERS'-HALL COURT, LUDGATE STREET. 1828. ND }. IVl'Cieery, Tooks Court, Cliancery-Iane, Londou. J. PAUL GETTY MUSEUM UBRABX CONTENTS OF THE SIXTH VOLUME. Page Index I. Professors of Painting mentioned in the 1 worJc ; together with the dates, 8fc. ... Index II. Historical and Critical Publications re- lating to the Art, cited in the Work . .167 Index III. Of some of the most important Matters contained in the Work 197 that ** ^''itft regard to the Abbreviations of words adapted in the above Indexes, to dates birth, and that d. to the deaths of artists. The rest »f b. is applied of of lUill be perfectly intelligible to the English reader. FIRST INDEX. Artists referred to in this work, noting the periods of their Birth and Death, and the authoritiesfor the dates. A. Abate (!') Ciccio, v. Solimene. Abati, or dell' Abate, Niccolo, a Modenese, b. 1509 or 1512, d. 1571. Tiraboschi. Vol. iv. p. 46, and vol. v. pp. 48, 57. • Giovanni, his father, d. 1559. Tiraboschi. iv. 48. Pietro Paolo, brother of Niccolo. Tiraboschi. iv. 48. — Giulio Camillo, son of Niccolo. Tiraboschi. ib. Ercole, son of Giulio, d, 1613. Tiraboschi. ib. Pietro Paolo, son of Ercole, d. 1630, aged 38. Tira- boschi. iv. 50. Abatini, Guido Ubaldo, of Cittk di Castello, d. -
ITALIAN ART SOCIETY NEWSLETTER XXIX, 1, Winter 2018
ITALIAN ART SOCIETY NEWSLETTER XXIX, 1, Winter 2018 An Affiliated Society of: College Art Association Society of Architectural Historians International Congress on Medieval Studies Renaissance Society of America Sixteenth Century Society & Conference American Association of Italian Studies President’s Message from Sean Roberts Scholars Committee member Tenley Bick, exploring the theme of “Processi italiani: Examining Process in Postwar March 21, 2017 Italian Art, 1945-1980.” The session was well-attended, inspired lively discussion between the audience and Dear Members of the Italian Art Society: speakers, and marks our continued successful expansion into the fields of modern and contemporary Italian Art. Dario As I get ready to make the long flight to New Donetti received a Conference Travel Grant for Emerging Orleans for RSA, I write to bring you up to date on our Scholars to present his paper “Inventing the New St. Peter’s: recent events, programs, and awards and to remind you Drawing and Emulation in Renaissance Architecture.” The about some upcoming dates for the remainder of this conference also provided an opportunity for another in our academic year and summer. My thanks are due, as series of Emerging Scholars Committee workshops, always, to each of our members for their support of the organized by Kelli Wood and Tenley Bick. IAS and especially to all those who so generously serve CAA also provided the venue for our annual the organization as committee members and board Members Business Meeting. Minutes will be available at the members. IAS website shortly, but among the topics discussed were Since the publication of our last Newsletter, our the ongoing need for more affiliate society sponsored members have participated in sponsored sessions at sessions at CAA, the pros and cons of our current system of several major conferences, our 2018 elections have taken voting on composed slates of candidates selected by the place, and several of our most important grants have Nominating Committee, the increasingly low attendance of been awarded. -
Oil on Copper from the Emilian School, Holy Family
anticSwiss 23/09/2021 18:55:09 http://www.anticswiss.com Oil on copper from the Emilian school, Holy Family FOR SALE ANTIQUE DEALER Period: 17° secolo -1600 Ars Antiqua srl Milano Style: Altri stili +39 02 29529057 393664680856 Height:23cm Width:17.5cm Material:Olio su rame Price:2600€ DETAILED DESCRIPTION: Emilian school, 17th century Holy family Oil on copper applied to panel, 23 x 17.5 cm - with frame 38 x 34 cm The work in question presents an elegant Holy Family depicting the Virgin with the Child in her arms, lying on the trunk of the tree, while behind her stands St. Joseph. The elements of particular importance are the figure of the father of Jesus, who stands protective of the family and the landscape context with the imposing tree trunk that acts as a scenic backdrop for the composition. These elements become necessary to set the painting on two parallel diagonals, one created by the characters themselves, which are grouped following a vertical trend to close with the figure of Joseph; the other, however, delineated by natural elements. Copper is characterized by the evident preciousness in the drapery cut by decisive lines, visible in particular in the dress that curls on Mary's lap, but also for the profusion of gold used in finishing the edges of the woman's mantle and the haloes. Even the rendering of the incarnate becomes precious in the distinction between the ethereal and rosy ones of the Madonna and Child and the clearly darker one of Joseph, as if to underline the divine and earthly nature of the characters. -
A in 1927 Director Hans Posse (1879–1942) Estimated This Painting and Other Two Others (Gall
ANNEX: ATTRIBUTION CHART Nr. Marx, 2005 Hübner, 1876 Morelli, 1880 Woermann, 1887 Morelli, 1891 Woermann, 1908 1 Fra Angelico (school of), Fra Angelico (school of), cat. Benozzo Gozzoli [p. 244] Fra Angelico (school of) Benozzo Gozzoli [p. 337] Fra Angelico (school of) Annunciation, gall. no. 7 no. 17 2 Sandro Botticelli, Virgin and Child Sandro Botticelli, cat. no. 2409 Sandro Botticelli [p. 234] Sandro Botticelli Sandro Botticelli [p. 336] Sandro Botticelli with the Infant Saint John the Baptist, gall. no. 8 3 Sandro Botticelli, From the Life and Sandro Botticelli, cat. no. 26 A Sandro Botticelli [p. 233–234] Sandro Botticelli Sandro Botticelli [p. 336] Sandro Botticelli Work of St. Zenobius, gall. no. 9 4 Sandro Botticelli (school of), Virgin Sandro Botticelli ?, cat. no. 27 Sandro Botticelli (school of) [p. Sandro Botticelli (school of) Sandro Botticelli (school of) [p. Sandro Botticelli (school of) and Child with Angels, gall. no. 10 235] 336] 5 — [Location unknown, Saint John the Sandro Botticelli, cat. no. 25 Sandro Botticelli (school of) [p. Sandro Botticelli (school of) Sandro Botticelli (school of) [p. Sandro Botticelli (school of) Evangelist, formerly gall. no. 11]a 233] 336] 6 — [Location unknown, Saint John the Sandro Botticelli, cat. no. 26 Sandro Botticelli (school of) [p. Sandro Botticelli (school of) Sandro Botticelli (school of) Sandro Botticelli (school of) Baptist, formerly gall. no. 12]b 233] [p. 336] 7 Lorenzo di Credi, Virgin and Child Leonardo da Vinci, Lorenzo di Credi (Dutch copy) Lorenzo di Credi Nordic painter [p. 341 ff.] Lorenzo di Credi with Saint John the Baptist, cat. no. 30 [p. -
PRINCE GIOVANNI BATTISTA PAMPHILJ (1648–1709) and the DISPLAY of ART in the PALAZZO AL COLLEGIO ROMANO, ROME Stephanie C. Leon
PRINCE GIOVANNI BATTISTA PAMPHILJ (1648–1709) AND THE DISPLAY OF ART IN THE PALAZZO AL COLLEGIO ROMANO, ROME Stephanie C. Leone, Boston College pon the death of his father Camillo in July 1666, Giovanni Battista Pamphilj’s legal status Uchanged dramatically: the eighteen-year-old prince became the primogenito of his wealthy and powerful family. With his inheritance came responsibilities, including the oversight of his father’s unfinished artistic projects at Sant’Agnese in Agone, Sant’Agostino, Sant’Andrea al Quirinale, the Collegio Innocenziano, and the Palazzo al Collegio Romano. The latter was the new wing, begun in 1659, which had been added to the Palazzo Aldobrandini al Corso (fig. 1), owned by his mother, Princess Olimpia Aldobrandini (1622–1681). After Olimpia, the sole heir to the great Aldrobrandini fortune, married Camillo Pamphilj in 1647, the couple moved into her palace rather than his, the Palazzo Pamphilj in Piazza Navona. The architect Antonio Del Grande designed Camillo’s new wing as a trapezoidal block to the northwest of the Aldobrandini property, between the Piazza al Col- legio Romano and the large courtyard (figs. 2, 3). Today, this unified palace is known as the Palazzo Doria Pamphilj al Corso. Under Camillo, construction was completed and the interior decoration was begun, but the task of outfitting the new rooms fell to Giovanni Battista.1 In this article—drawing on the information provided by two inventories of the palace’s con- tents, dating from ca. 1680 and 1709, respectively—I shall analyze and attempt to reconstruct the furnishings in Prince Pamphilj’s noble, winter, and mezzanine apartments. -
Bernard Berenson
BERNARD BERENSON Formation and Heritage VILLA I TATTI SERIES, 31 BERNARD BERENSON Formation and Heritage JOSEPH CONNORS AND LOUIS A. WALDMAN VILLA I TATTI VILLA I TATTI SERIES, 31 THE HARVARD UNIVERSITY CENTER FOR ITALIAN RENAISSANCE STUDIES © Villa I Tai, e Harvard University Center for Italian Renaissance Studies | itai.harvard.edu All rights reserved. Printed in the United States of America by Sheridan Books, Inc. -- Bernard Berenson: formation and heritage.First [edition]. pages cm.(Villa I Tai ; ) “e core of the present volume consists of the papers presented at the conference ‘Bernard Berenson at Fiy,’ held at I Tai from to October .” Includes bibliographical references and index. ---- (rst) . Berenson, Bernard, –. Art criticsUnited States. I. Connors, Joseph. .dc [B] Book and cover design: Melissa Tandysh Book production: Dumbarton Oaks Publications Cover illustration: William Rothenstein, Bernard Berenson, . Frontispiece: James Kerr-Lawson, Bernard Berenson, ca. Both images are from the Berenson Collection, Villa I Tai e Harvard University Center for Italian Renaissance Studies. (Photo: Paolo De Rocco, Centrica srl, Firenze, © President and Fellows of Harvard College.) Contents One Introduction Two Bernard Berenson and Jean Paul Richter e Giambono’s Provenance Three Art, Commerce, and Scholarship e Friendship between Oo Gutekunst of Colnaghi and Bernard Berenson Four Palaces Eternal and Serene e Vision of Altamura and Isabella Stewart Gardner’s Fenway Court Five Bernard Berenson and “Tactile Values” in Florence Six Bernard Berenson’s Florence, Seven Bernard Berenson and Aby Warburg Absolute Opposites Eight Bernard Berenson and Islamic Culture “ought and Temperament” Nine Bernard Berenson and Asian Art Ten Bernard Berenson and Kenneth Clark A Personal View - Eleven Bernard Berenson and Arthur Kingsley Porter Pilgrimage Roads to I Tai Twelve Bernard Berenson and Paul Sachs Teaching Connoisseurship Thirteen “e Cookery of Art” Bernard Berenson and Daniel Varney ompson Jr. -
Printed for the Burlington Fine Arts Club. 1894
Sto&bS:>-,..·.->? · ·.* ·S. hHHBS 3HH»5m£ mmmmmm φmm tMrnwaj^iEtm mMmm^i wmmfm sSlS •x -·«! • s r 1 • •v.'·-- pTS - ·*Η5 ^sr^wpvrvywp^i» "Su ,ijk w,. - • jagra»»* • ssr -- ft * ' V -<£9 * <··-.,·-·. PRINTED FOR THE BURLINGTON FINE ARTS CLUB. 1894. /Λ tm: M^wm w mm -.-ν- sifts*aaeKwasfafcuns Mifi tf&ttilii .·-,·/ ,/V Burlington fine Huts Club. EXHIBITION OF PICTURES, DRAWINGS & PHOTOGRAPHS OF WORKS OF THE SCHOOL OF FERRARA-BOLOGNA, 14:4:0-154:0, Also of MEDALS of MEMBERS of the HOUSES of ESTE and BENTIVOGLIO. LONDON: PRINTED FOR THE BURLINGTON FINE' ARTS CLUB. 1894. EXHIBITION COMMITTEE. CAVALIERE PROFESSORE ADOLFO VENTURI. WALTER ARMSTRONG, ESQ. R. H. BENSON, ESQ. SIDNEY COLVIN, ESQ. HERBERT F. COOK, ESQ. EDWARD J. POYNTER, ESQ., R.A. LIST OF CONTRIBUTORS. HER MAJESTY THE QUEEN. THE TRUSTEES OF THE IRISH NATIONAL GALLERY, DUBLIN. THE COMMITTEE OF THE CORPORATION GALLERIES OF ART, GLASGOW. THE TRUSTEES OF THE ROYAL INSTITUTION, LIVERPOOL. THE CURATORS OF THE UNIVERSITY GALLERIES, OXFORD. THE COUNCIL OF THE ARUNDEL SOCIETY, LONDON. LORD ASHBURTON. *JAMES KNOWLES, ESQ. *SIR HICKMAN BACON, BART. *THE RIGHT HON. SIR HENRY LAYARD, G.C.B. HERR VON BECKERATH, OF BERLIN. THE EARL OF LEICESTER, K.G. *R. H. BENSON, ESQ. *LUDWIG MOND, ESQ., F.R.S. BERNHARD BERENSON, ESQ., OF FLORENCE. J. WINGFIELD MALCOLM, ESQ., OF POLTALLOCII. THE EARL BROWNLOW. C. FAIRFAX MURRAY, ESQ. THE DUKE OF BUCCLEUGH, K.T. *THE EARL OF NORTHBROOK, G.C.S.I. *CHARLES BUTLER, ESQ. THE MARQUIS OF NORTHAMPTON, K.G. SLGNOR CAVALIERI, OF FERRARA. MRS. OMAN. MISS COHEN. CLAUDE PHILLIPS, ESQ. *W. MARTIN CONWAY, ESQ. -
Italian Masters in German Galleries. a Critical Essay on the Italian Pictures
d:J3 , / ü / J> ITALIAN MASTERS IN GERMAN GALLERIES. ITALIAN MASTERS IN GEKMAN GALLEEIES. A CEITICAL ESSAY ON THE ITALIAN PICTURES IN THE GALLERIES OF MUNICH—DRESDEN—BERLIN, BT GIOVANNI MORELLI, MEMBER OF THE ITAXIAX SEXATE. TRANSLATED FROM THE GERMAN BY MRS. LOUISE M. RICHTER. LONDON: G-EORGE BELL AND SONS, YOEE STEEET, COVENT GARDEN. 1883. CHISWICK PRESS :—C. WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE. TVF GUTY CCr^IU PEEFACE. THE most important work on Italian painting, as re- gards both contents and compass, is incontestably " A New History of Painting in Italy, in three volumes, London, 1866," with the continnations, " A History of Painting in North Italy (1871), in two volumes, by J. A. Crowe and Gr. B. Cavalcaselle," and " Tiziano, la sua vita ed i suoi tempi, di G. B. Cavalcaselle e J. A. Crowe, in two volumes, 1877." These seven volumes are known throughout civilized Europe, and are the foundation of all study of Italian painting in England, Germany, and France. This work contains the results of the latest researches by specialists, and is compiled with the greatest industry and a most praiseworthy knowledge of existing records. It has, moreover, the advantage over other histories of Italian art, that it is the work not of one m.an alone, which is sure to make a book on art one-sided, but of two men of equal capacity, one belonging to the Teutonic race, the other to the Latin. The judgments and opinions laid down in the work have by that means acquired a solidity VI PKEFACE.