DOCSLIB.ORG

Offner Artist List Offner Artists Web.Xls Folder Title Heading DLI Name Box

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

OffnerFolder Artisttitle List Heading OffnerDLI artists name web.xls Box no. Box no. Oversized Adimari Cassoni, Master of the Florentine, 15c Lo Scheggia 93 Oversized Agostino di Giovanni (Agnolo di Ventura filed Agostino and Agnolo da Siena Italian Sculpture with him) 209 Alamanno, Pietro Italian, 16c or later 135 Oversized Alberti, Antonio (Antonio da Ferrara) Italian, 16c or later 135 Albertinelli, Mariotto Italian, 16c or later 135 Oversized Alberto di Arnoldo Italian Sculpture Arnoldi, Alberto 209 Allori, Alessandro Italian, 16c or later 135 Allori, Cristofano Italian, 16c or later 135 Altichiero Venetian, 14-early 15c 39 Alunno di Bennozo Florentine, 15c Alesso di Benozzo Gozzoli 93 Ambrogio de Predis Italian, 16c or later 135 187 Amico di Sandro Portraits 187 207 Oversized Amigoni, Jacopo Italian, 16c or later 135 Andrea da Bologna Bolognese, 14c 30 Oversized Andrea da Firenze Florentine 14c 60 187 Andrea da Murano Italian, 16c or later 135 Andrea del Sarto Italian, 16c or later 135 187 Andrea di Bartolo Sienese, 14c 9 Oversized Andrea di Cione Florentine 14c 84 85, 211 Andrea di Giusto Florentine, 15c 93 Andrea di Jacopo d'Ognabene Italian Sculpture 209 Andrea di Niccolo Sienese, 15c 87 Angelico, Fra Florentine, 15c 93 94, 95, 96 Oversized Angelo di Puccinelli Lucchese, 14c 23 Angers 1310 Pistoia, 13-14c Master of 1310 28 Anguissola, Sofonisba Portraits 187 Oversized Ansuino da Forlì Italian, 16c or later 135 187 Portraits Antelami, Benedetto Italian Sculpture 209 Antico Italian Sculpture 209 Antonello da Messina Italian, 16c or later 135 187 Oversized Antonello de Saliba Italian, 16c or later 135 Oversized Antoniazzo Romano Italian, 16c or later 136 Antonio da Alatri Italian, 16c or later 136 Antonio da Fabriano Italian, 16c or later 136 Antonio da Negroponte Italian, 16c or later 136 Antonio del Ceraiolo Italian, 16c or later 136 OffnerAntonio Artist Veneziano List Florentine 14c Offner artists web.xls 83 84 Arcangelo di Cola da Camerino Italian, 16c or later 136 Oversized Aretine Crucifixion Master Arezzo, 13c Master of the Sherman Predella 20 Aretusi, Pelegrino Italian, 16c or later 136 Arnolfo di Cambio Italian Sculpture 209 Aspertini, Amico Italian, 16c or later 136 Oversized Bacchiacca (Francesco D’Uertino) Italian, 16c or later 136 187 Portraits Badia a Isola Master Sienese, 13c 6 Baldese, Ambrogio Florentine, 15c 97 Baldese, pseudo Florentine, 15c Lippo d'Andrea 97 Oversized Baldovinetti, Alesso Florentine, 15c 97 98, 187 Portraits, Balducci, Giovanni Italian Sculpture Giovanni di Balduccio 209 Balducci, Matteo Italian, 16c or later 136 Bambino Vispo Master Florentine, 15c Starnina, Gherardo 98 Oversized Bandinelli, Baccio Italian, 16c or later 136 Barabino, Nicolò Italian, 16c or later 136 Barberini Master Florentine, 15c Fra Carnevale 98 Bardi San Francesco Master Tuscan-Florentine 13c 52 Bargello Judgement of Paris, Master of Florentine, 15c Master of the Carrand Tondo 99 Barna da Siena Sienese, 14c 9 Oversized Barnaba da Modena Modenese, 14c 31 Oversized Barnes Madonna Del Latte Master Sienese, 14c Cristoforo di Bindoccio 10 Barocci, Federico Italian, 16c or later 136 187 Bartolino (Bartolommeo) de’Grossi Italian, 16c or later Grossi, Bertolino 136 Bartolo di Maestro Fredi Sienese, 14c Bartolo di Fredi 10 Oversized Bartolomeo della Gatta Florentine, 15c 99 Bartolomeo di Fruosino Florentine, 15c 99 Bartolomeo di Giovanni Florentine, 15c 99 Bartolomeo di Tommaso da Foligno Italian, 16c or later 137 Oversized Bartolomeo Veneto Italian, 16c or later 137 187 Portraits Bartolomeo, Fra Italian, 16c or later 136 187, 207 Oversized Basaiti, Marco Italian, 16c or later 137 187 Bassano Family Italian, 16c or later 137 Bassano, Francesco Portraits 187 Bassano, Leandro Portraits 187 Bastiani, Lazzaro Italian, 16c or later 137 Oversized Batoni, Pompeo Italian, 16c or later 137 187 Bellineschi Italian, 16c or later 138 Bellinesque Barberini Italian, 16c or later 138 OffnerBellinesque, Artist ListBorghese Italian, 16c or later Offner artists web.xls 138 Oversized Bellini, Gentile Italian, 16c or later 137 188 OversizedDrg, Gen Bellini, Giovanni Italian, 16c or later 138 188 Portraits, Bellini, Jacopo Italian, 16c or later 138 Oversized Bellotto, Bernardo Italian, 16c or later 138 Bembo Family Italian, 16c or later 138 188 Benaglio, Francesco Italian, 16c or later 138 Benedetto da Maiano Italian Sculpture 209 Benvenuto di Giovanni Sienese, 15c 87 Oversized Berlingheri, Bonaventura Lucchese, 12-13c 21 Berlinghiero Berlinghieri Lucchese, 12-13c 21 Oversized Bernadino dei Conti Italian, 16c or later 138 188 Bernadino di Mariotto Italian, 16c or later 138 Bernard Berenson Annunciation, Master of Florentine, 15c 99 Bernardino da Murano Italian, 16c or later 138 Oversized Bernini, Gianlorenzo Italian, 16c or later 138 209 Sculpture Bertoldo di Giovanni Italian Sculpture 209 Bertucci, Giovanni Italian, 16c or later 139 166 Bettino da Faenza Bolognese, 14c Bittino da Faenza 31 Bevilacqua, Giovanni Ambrogio (Il Leberale) Italian, 16c or later 139 Biadaiolo Master Elder Florentine 14c Master of the Dominican Effigies 60 Biagio d’Antonio Florentine, 15c 99 Bibiena, Alessandro Galli Italian, 16c or later 139 Bicci da Lorenzo Florentine, 15c 99 100 Biduinus Italian Sculpture Biduino 209 Bigallo Master Tuscan-Florentine 13c Master of the Bigallo Crucifix 52 Bissolo, Francesco Italian, 16c or later 139 Oversized Blumenthal Lucchese Lucchese, 14c Priamo di Pietro 23 Boccaccino, Boccaccio Italian, 16c or later 139 188 Boccati, Giovanni Italian, 16c or later 139 Oversized Boltraffio, Giovanni Antonio Italian, 16c or later 139 188 Bonfigli, Benedetto Italian, 16c or later 139 Bonifazio Veronese (Bonifazio De’Pitati) Italian, 16c or later Bonifacio de' Pitati, 139 Bonino da Campione Italian Sculpture 209 Bonsignori, Francesco Italian, 16c or later 139 188 Bordone, Paris Italian, 16c or later 139 188 Oversized Borgognone Italian, 16c or later 139 Offner Artist List Offner artists web.xls 101, 102, Oversized 103, 188, Portraits, Botticelli, Sandro Florentine, 15c 100 207 Gen Botticini, Francesco Florentine, 15c 104 188 Botticini, Raffaelo Florentine, 15c 104 Oversized Braccesco, Carlo di Giovanni (Carlo Da Milano) Italian, 16c or later 140 Bramante, Donato da Urbino Italian, 16c or later 140 Bramantino (Bartolommeo Suardi) Italian, 16c or later 140 189 Brescianino, Andrea del Italian, 16c or later 140 Bronzino, Agnolo Italian, 16c or later 140 189 Bugiardini, Giuliani Italian, 16c or later 140 189 Buonconsiglio, Giovanni Italian, 16c or later 140 Butinone, Bernardino & Bernardino Zenale Italian, 16c or later 140 Butteri, Giovanni Maria Italian, 16c or later 140 Cagnacci (Guido Canlassi ) Italian, 16c or later 140 Campagnola, Domenico Italian, 16c or later 140 Campi, Giulio Italian, 16c or later 140 Canaletto Italian, 16c or later 140 Canova, Antonio Italian Sculpture 210 Caporali, Bartolomeo Italian, 16c or later 140 Caravaggio Italian, 16c or later 141 Cariani, Giovanni (Giovanni De ‘Busi) Italian, 16c or later 141 189 Carlo da Camerino Marches-Romagnae, 14c Olivuccio di Ciccarello da Camerino 33 Carmine Virgin Master Tuscan-Florentine 13c Master of St. Agatha 52 Caroto, Giovanni Francesco Italian, 16c or later 141 Carpaccio, Benedetto Italian, 16c or later 141 Oversized Carpaccio, Vittore Italian, 16c or later 141 189 Drg, Gen Carracci, Agostino Portraits 189 Carracci, Annibale Italian, 16c or later 141 Carracci, Ludovico Italian, 16c or later 141 Carrand Triptych Master Florentine, 15c Giovanni di Francesco del Cervelliera 104 Carrari, Baldassare (Il Giovanne) Italian, 16c or later 141 Carriera, Rosalba Portraits 189 Caselli, Cristoforo Italian, 16c or later 142 Castagnesque Florentine, 15c 106 Castagno, Andrea del Florentine, 15c 105 106, 189 Oversized Castello Master Florentine, 15c Master of the Castello Nativity 106 107, 189 Portraits Castello, Valerio Italian, 16c or later 142 Catena, Vincenzo Italian, 16c or later 142 189 Oversized OffnerCaterino Artist Veneziano List Venetian, 14-early 15c Offner artists web.xls 39 Cavaliere d’Arpino Italian, 16c or later Cesari, Giuseppe 142 Cavalori, Mirabello Italian, 16c or later 142 Cavazzola Italian, 16c or later 142 Cecco di Pietro Pisan, 14c 26 Cellini, Benvenuto Italian Sculpture 209 Cenni, di Francesco di Ser Cenni Florentine, 15c 107 Oversized Cesare da Sesto Italian, 16c or later 142 Cespo Garofani Master Italian, 16c or later Badile, Antonio 142 Chiodarolo, Giovanni Antonio Italian, 16c or later 142 Cigoli, Ludovico Italian, 16c or later 142 Cima, Giovanni Battista (Cima da Conegliano) Italian, 16c or later 142 189 Oversized Cimabue – Assisi Tuscan-Florentine 13c 52 53, 54 Cimabue panels Tuscan-Florentine 13c 54 Civerchio, Vincenzo Italian, 16c or later 142 Civitali, Matteo di Giovanni Italian Sculpture 209 Clovio, Giulio Italian, 16c or later 142 Cola dall’Amatrice Italian, 16c or later 142 Colmar-Matelicia-Marchigan Master Italian, 16c or later Urbani, Lodovico 142 Coltellini, Michele (Cortellini) Italian, 16c or later 142 Coppo di Marcovaldo Tuscan-Florentine 13c 55 Correggio (Antonio Allegri) Italian, 16c or later 143 189 Cossa, Francesco del Italian, 16c or later 143 189 Oversized Costa, Lorenzo Italian, 16c or later 143 191 Portraits Cozzarelli, Guidoccio Sienese, 15c 87 Oversized Crespi, Daniele Italian, 16c or later 144 Crespi, Giuseppe Maria Italian, 16c or later 144 Cristoforo da Bologna, the Younger North Italian, 15c Oversized Cristoforo da Lendinara Italian, 16c or later Canozi, Cristoforo da Lendinara 144 Crivelli, Carlo Italian, 16c or later 144 Oversized Daddi, Bernardo
Recommended publications
  • Uva-DARE (Digital Academic Repository)

    Uva-DARE (Digital Academic Repository)

    UvA-DARE (Digital Academic Repository) Sassetta's Madonna della Neve. An Image of Patronage Israëls, M. Publication date 2003 Link to publication Citation for published version (APA): Israëls, M. (2003). Sassetta's Madonna della Neve. An Image of Patronage. Primavera Pers. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:03 Oct 2021 Index Note Page references in bold indicate Avignonese period of the papacy, 108, Bernardino, Saint, 26, 82n, 105 illustrations. 11 in Bertini (family), 3on, 222 - Andrea di Francesco, 19, 21, 30 Abbadia Isola Baccellieri, Baldassare, 15011 - Ascanio, 222 - Abbey of Santi Salvatore e Cirino, Badia Bcrardcnga, 36n - Beatrice di Ascanio, 222, 223
  • The Mariology of St. Bonaventure As a Source of Inspiration in Italian Late Medieval Iconography

    The Mariology of St. Bonaventure As a Source of Inspiration in Italian Late Medieval Iconography

    José María SALVADOR GONZÁLEZ, La mariología de San Buenaventura como fuente de inspiración en la iconografía bajomedieval italiana The mariology of St. Bonaventure as a source of inspiration in Italian late medieval iconography La mariología de San Buenaventura como fuente de inspiración en la iconografía bajomedieval italiana1 José María SALVADOR-GONZÁLEZ Universidad Complutense de Madrid [email protected] Recibido: 05/09/2014 Aceptado: 05/10/2014 Abstract: The central hypothesis of this paper raises the possibility that the mariology of St. Bonaventure maybe could have exercised substantial, direct influence on several of the most significant Marian iconographic themes in Italian art of the Late Middle Ages. After a brief biographical sketch to highlight the prominent position of this saint as a master of Scholasticism, as a prestigious writer, the highest authority of the Franciscan Order and accredited Doctor of the Church, the author of this paper presents the thesis developed by St. Bonaventure in each one of his many “Mariological Discourses” before analyzing a set of pictorial images representing various Marian iconographic themes in which we could detect the probable influence of bonaventurian mariology. Key words: Marian iconography; medieval art; mariology; Italian Trecento painting; St. Bonaventure; theology. Resumen: La hipótesis de trabajo del presente artículo plantea la posibilidad de que la doctrina mariológica de San Buenaventura haya ejercido notable influencia directa en varios de los más significativos temas iconográficos
  • Summary for Deaccession by National Gallery of Art, October 15

    Summary for Deaccession by National Gallery of Art, October 15

    KRESS COLLECTION DIGITAL ARCHIVE Deaccession by National Gallery of Art, October 15, 1952 IDENTIFIER DIS014 INSTITUTION National Gallery of Art, Washington, District of Columbia OFFER DATE ACCEPTANCE DATE 10/15/1952 10/21/1952 OFFER DOCUMENTATION ACCEPTANCE DOCUMENTATION Letter from the Samuel H. Kress Foundation in Board of Board of Trustees Minutes Vol. 9: 1579-1582; 1588-1595. Trustees Minutes Vol. 9: 1579-1581. National Gallery of Art, National Gallery of Art, Gallery Archives, 1B Board of Trustees Gallery Archives, 1B Board of Trustees Meeting Minutes. Meeting Minutes. 194 RELATED ART OBJECTS Milanese 16th Century The Man of Sorrows Unknown, Italian Madonna and Christ Child Enthroned with Angels Attributed to Girolamo da Cremona Triumph of Divinity [The Triumphs of Fame, Time and Divinity] NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 1 KRESS COLLECTION DIGITAL ARCHIVE Cosimo Rosselli Adoration of the Child with Saints Neri di Bicci The Martyrdom of Saint Apollonia Niccolò di Pietro Gerini Madonna and Child Andrea di Vanni Saint Clare Girolamo del Pacchia Madonna and Child NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 2 KRESS COLLECTION DIGITAL ARCHIVE Ambrogio Bergognone Madonna and Child Alvise Vivarini Saint Jerome Alvise Vivarini Saint John the Baptist Master of San Jacopo a Muciano Saint Jerome in His Study Taddeo di Bartolo Saint Geminianus NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 3 KRESS COLLECTION DIGITAL ARCHIVE Attributed to L'Ortolano The Presentation in the Temple
  • Prato E Le Grandi Ville Medicee Di Poggio a Caiano E

    Prato E Le Grandi Ville Medicee Di Poggio a Caiano E

    PRATO (about 120 km return) This a very busy town to the west of Florence, rich with ancient monuments and also an important centre for the textile and wool industry. The Duomo – Cattedrale di Santo Stefano St. Stephen Cathedral is one of the most beautiful churches in Tuscany, a mix of Romanesque, Gothic and Renaissance styles. It keeps the precious Reliquia della Cintola (Sacro Cingolo) della Madonna (relic of the Holy Belt of the Virgin Mary), given by Mary to Saint Thomas the Apostle. Inside can also be found masterpieces of the Italian art with works by Filippo Lippi, Paolo Uccello and Agnolo Gaddi, as well as by Giovanni Pisano, Mino da Fiesole, Rossellino and Da Maiano. Erected in the Romanesque style in the 12th-13th centuries, the church was enlarged in the 14th century with the addition of a Gothic transept. The elegant façade with its white and green marble stripes (Prato green marble) is dated 1385-1457. Above the portal is a beautiful lunette in glazed terracotta by Andrea della Robbia from 1498, portraying a refined Madonna col Bambino e Santi. On the right corner, resting on a bronze capital by Michelozzo is the famous Pergamo del Sacro Cingolo, the Pulpit of the Holy Belt, with the Danza dei Putti (Dance of the Angels) by Donatello on the parapet (the original work of these replicas is kept inside the Duomo Museum next to the church). The pulpit was created for the public exhibition of the relic of the Holy Belt which is shown to the crowd on Christmas Day, at Easter, on May 1st and August 15th, and, in a more solemn way, on September 8th, for the celebration of the Nativity of Virgin Mary.
  • Indexes Index of Changes of Attribution

    Indexes Index of Changes of Attribution

    INDEXES INDEX OF CHANGES OF ATTRIBUTION Old Attributioll Kress Number New Attributioll Amadeo da Pistoia KI024 'Alunno di Benozzo,' p. II7, Fig. 320 Amadeo cia Pistoia KI02S 'Alunno di Denozzo,' p. II8, Fig. 319 Andrea da Firenze K263 Master of the Fabriano Altarpiece, p. 29, Fig. 68 Andrea di Giusto K269 Attributed to Vecchietta, p. lSI, Fig. 409 Baldovinetti K402 Pier Francesco Fiorentino, p. II4, Fig. 312 Balduccio, Matteo K222 Girolamo di Benvenuto, p. 162, Fig. 448 Baronzio KI3I2 Master of the Life of St. John the Baptist, p. 68, Fig. 182 Baronzio K264 Master of the Life of St.John the Baptist, p. 69, Fig. 184 Baronzio KI084 Master of the Blessed Clare, p. 70, Fig. 187 Bartolo di Fredi K204S Paolo di Giovanni Fei, p. 62, Fig. IS9 Bartolommeo di Giovanni K77 Master of the 'Apollini Sacrum,' p. 128, Fig. 34S Bartolommeo di Giovanni K79 Master of the 'Apollini Sacrum,' p. 128, Fig. 346 Bartolommeo di Giovanni KI72IA, B Master of the Apollo and Daphne Legend, p. 129, Figs. 347, 349 Cimabue(?) K36r Italian School, c. 1300, p. 6, Fig. II Cimabue (?) K324 Italian School, c. 1300, p. 6, Fig. 12 Cimabue, Contemporary 01 KII89 Tuscan School, Late XIII Century, p. 6, Fig. 8 Cossa, Francesco del K3 87 Ferrarese School, Late XV Century, p. 86, Fig. 236 Daddi, Bernardo KI97 Master of San Martino alla Palma, p. 30, Fig. 71 Daddi, Bernardo, Follower of K263 Master of the Fabriano Altarpiece, p. 29, Fig. 68 Domenico di Michelino KS40 Pesellino and Studio, p. IIO, Fig. 302 Domenico di Michelino KS41 Pesellino and Studio, p.
  • The Production Methods of Neri Di Bicci and the Prevalence of Cartoon Usage in Fifteenth-Century Florence

    The Production Methods of Neri Di Bicci and the Prevalence of Cartoon Usage in Fifteenth-Century Florence

    The Production Methods of Neri di Bicci and the Prevalence of Cartoon Usage in Fifteenth-Century Florence Jennifer Adrienne Diorio A thesis submitted to the Graduate Program in the Department of Art in conformity with the requirements for the Degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada August 2013 Copyright © Jennifer Adrienne Diorio 2013 ABSTRACT Florentine artist Neri di Bicci (1418-1492) was one of the most prolific and financially successful artists of the fifteenth century. The hundreds of extant paintings from his workshop are a testament to his industry, which is further underlined by a close examination of the 798 entries he wrote between 1453 and 1475 in his account book, his Ricordanze. The purpose of this dissertation is to analyse the monetary and social history in Neri’s Ricordanze in order to provide a framework for an exploration of the way that paintings were constructed in Neri’s workshop, and a close examination of the evidence concerning collaboration between Neri and his contemporaries. This thesis determined that the repeated use of full-size paper patterns, known as cartoons, was a key aspect of Neri’s painting procedure. Cartoon usage was established by overlaying scaled images of paintings in Photoshop, which demonstrated that the outlines of many of Neri’s figures and architectural designs were identical. Analysing the price of Neri’s paintings also revealed trends which suggested that he used cartoons. Half of the 224 objects described in the Ricordanze cost 30 lire or less, and the average of the 40 paintings between two and four square meters was 151 lire, less than half the regional average for paintings of comparable size.
  • Bibliografie

    Bibliografie

    Bibliografie Deze bibliografie heeft vooral betrekking op de vroeg-renaissance. Publicaties in de Italiaanse taal zijn i.h.a. buiten beschouwing gelaten. Alberti, L.B., On painting. New York, 1991. Alberti, L.B., On painting and on sculpture. London, 1972. Antal, F., Florentine painting and its social background. Cambridge, Mass., 1986. Baldini, U., Masaccio. Florence, 1990. Baldini, U. & O. Casazza, La Cappella Brancacci. Milan, 1990. Baldini, U. & O. Casazza, The Crucifix by Cimabue, Milan, 1983. Baron, H., The crisis of the early Italian renaissance. Princeton, NJ, 1966. Basile, G., Giotto. La Capella degli Scrovegni. Florence, 1992. Baskovits, M., ‘Giotto born again’. Beitrage zu den Quellen Masaccios, in: Zeitschrift für Kunstgeschichte 29, 1966, p. 51-66. Baxandall, M., Giotto and the orators. Humanist observers of painting in Italy and the discovery of pictorial composition. 1350-1450. Oxford, 1971. Baxandall, M., Painting and experience in fifteenth-century Italy. Oxford, 1972. Beck, J.H., ‘Masaccio’s early career as a sculptor’, in: Art Bulletin 1971, p. 177-195. Beck, J.H., ‘Fatti di Masaccio …’, in: Essays in archeology and the humanities in memoriam Otto J. Brendel. Mainz, 1976, p. 211-214. Beck, J.H., Masaccio. The documents. New York, 1978. Beck, J.H., ‘Masaccio’s Madonnas’, in: Masaccio 1422/1989: atti del convegno del 22 april 1989. Pieve di San Pietro a Cascia, Regello, Florence, 1990, p. 48-53. Beck, J.H., Italiaanse renaissanceschilderkunst. Keulen, 1999. Bellosi, L., Giotto. Firenze, 1981. Bennett, B.A. & D.G. Wilkins, Donatello. Oxford, 1984. Berenson, B., ‘A new Masaccio’, in: Art in America 1930, p. 45-53.
  • CV Angelo Tartuferi 2020.Pdf

    CV Angelo Tartuferi 2020.Pdf

    Curriculum Vitæ Informazioni personali Nome TARTUFERI Angelo Indirizzo Via Giuseppe Richa 74 - 50134 - FIRENZE (FI) Telefono 055 /473642 E-mail [email protected] Cittadinanza ITA Data di nascita 16/08/1957 Titoli di studio Data di 07/03/1989 conseguimento Titolo conseguito Dottore di ricerca Titolo della Tesi La pittura a Firenze nel Duecento. Nome e indirizzo Universit� degli Studi di ROMA "La Sapienza" - P.zza Aldo Moro, 5 - ROMA istituzione Data di 17/04/1986 conseguimento Titolo conseguito Diploma di scuola di specializzazione Descrizione Corso annuale con quattro esami e tesi finale Voto conseguito 70 e lode su 70 "Un codice miniato fiorentino del primo Trecento: 'I Fatti dei Romani';Berlin, Titolo della Tesi Staatsbibliothek Preussischer Kulturbesitz, Hamilton 67 / Firenze, Biblioteca Riccardiana, Cod. 2418" Nome e indirizzo Universit� degli Studi di FIRENZE - P.zza S. Marco, 4 - FIRENZE istituzione Data di 30/06/1982 conseguimento Titolo conseguito Diploma universitario (vecchio ordin.) Descrizione Laurea di Dottore in Lettere Voto conseguito 110 e lode Nome e indirizzo Universit� degli Studi di FIRENZE - P.zza S. Marco, 4 - FIRENZE istituzione Esperienze Periodo 25/07/1990 - oggi Posizione Altro Qualifica Posizione economica C5 Tipo di attività Storico dell'arte del Ministero per i Beni Culturali svolta Nome e indirizzo Galleria dell'Accademia di Firenze - Via Ricasoli 58 Firenze istituzione - 1 - Tipo istituzione Ente di ricerca pubblico italiano Periodo 25/02/2013 - 31/05/2013 Posizione Professore a contratto Qualifica Professore a contratto Tipo di attività Corso di Storia e tecnica del restauro svolta Nome e indirizzo Universit� degli Studi di PERUGIA - P.zza dell' Universita', 1 - PERUGIA istituzione Struttura Dip.
  • Lucchese, Aretine, and Umbrian Schools Xiii Century Florentine, Venetian, Paduan, Modenese, and Sienese Schools Xiii-Xiv Century

    Lucchese, Aretine, and Umbrian Schools Xiii Century Florentine, Venetian, Paduan, Modenese, and Sienese Schools Xiii-Xiv Century

    LUCCHESE, ARETINE, AND UMBRIAN SCHOOLS XIII CENTURY FLORENTINE, VENETIAN, PADUAN, MODENESE, AND SIENESE SCHOOLS XIII-XIV CENTURY LUCCHESE SCHOOL, c. I200 MARGARITONE KI7I5 : Figure 6 Margarito d'Arezzo, called by Vasari Margaritone. School of Arezzo. Active second half of thirteenth century. There MADONNA AND CHILD. EI Paso, Tex., El Paso Museum is only one documentary reference to him, in 1262; but he of Art {1961-6/1}, since 1961.1 Transferred from wood to signed a number ofpaintings. Probably trained in Florence, masonite {1950-51}. 46kx30! in. {II8'2X78'2 cm.}, with­ he progressed from a very flat style to a somewhat more out moldings. Good condition; cleaned very slightly 1953. plastic manner. Lucca was the center of the most important Tuscan School KI347 : Figure I of painting during the twelfth century and well into the thirteenth. The work of the early period was varied and MADONNA AND CHILD ENTHRONED. Washington, rich; by the early thirteenth century it had become less D.C., National Gallery of Art {807}, since 1945. Wood. exuberant, more stereotyped and uniform. Though 38kx 19k in. {97X49.5 cm.}. Inscribed, with the artist's executed by a heavier hand, KI715 seems to go back for in­ signature, at bottom: MARGARIT' [de a] RITIO ME FECIT spiration to the figures of the holy women in scenes on the {Margaritus of Arezzo made me}.l Fair condition. earliest surviving panel from the School of Lucca, the painted cross signed by Guglielmo and dated II 38 in the The lack of perspective in this painting - only the footstool Cathedral of
  • Annual Report 1939

    Annual Report 1939

    REPORT ON THE NATIONAL GALLERY OF ART 1939 SMITHSONIAN INSTITUTION WASHINGTON D. C. REPORT ON THE NATIONAL GALLERY OF ART FOR THE YEAR ENDED JUNE 30, 1939 From the Smithsonian Report for 1939 Pages 32-46 IPERX UNITED STATES GOVERNMENT PRINTING OFFICE WASHINGTON : 1940 APPENDIX 2 REPORT ON THE NATIONAL GALLERY OF ART SIR : Pursuant to the provisions of section 5 (D) of Public Resolu- tion No. 14, Seventy-fifth Congress, approved March 24, 1937,1 have the honor to submit, on behalf of the Board of Trustees of the Na- tional Gallery of Art, the second annual report of the Board covering )its operations for the fiscal year ended June 30,1939. Under the aforementioned joint resolution, Congress appropriated "to the Smithsonian Institution the area bounded by Seventh Street, ^Constitution Avenue, Fourth Street, and North Mall Drive (now Madison Drive) Northwest, in the District of Columbia, as a site for a National Gallery of Art; authorized the Smithsonian Institu- tion to permit The A. Mellon Educational and Charitable Trust, a public charitable trust, established by the late Hon. Andrew W. Mellon, of Pittsburgh, Pa., to construct thereon a building to be designated the "National Gallery of Art"; and created, in the Smith- sonian Institution, a bureau to be directed by a board to be known as the "Trustees of the National Gallery of Art," charged with the maintenance and administration of the National Gallery of Art. The Board is comprised of the Chief Justice of the United States, the Secretary of State, the Secretary of the Treasury, and the Secre- tary of the Smithsonian Institution, ex officio, and five General Trustees.
  • MASTERPIECES of PAINTING in the J. PAUL GETTY MUSEUM This Page Intentionally Left Blank MASTERPIECES of PAINTING in the J

    MASTERPIECES of PAINTING in the J. PAUL GETTY MUSEUM This Page Intentionally Left Blank MASTERPIECES of PAINTING in the J

    MASTERPIECES OF PAINTING IN THE J. PAUL GETTY MUSEUM This page intentionally left blank MASTERPIECES OF PAINTING IN THE J. PAUL GETTY MUSEUM Burton B. Fredericksen THE J. PAUL GETTY MUSEUM MALIBU. CALIFORNIA 1988 © 1980,1988 The J. Paul Getty Museum Published 1980. Revised edition 1988. 17985 Pacific Coast Highway Malibu, California 90265 Library of Congress Cataloging-in-Publication Data J. Paul Getty Museum. Masterpieces of painting. Includes index. 1. J. Paul Getty Museum—Catalogs. 2. Painting- California—Malibu—Catalogs. 1. Fredericksen, Burton B. 11. Title. N582.M25A63 1988 75o'.74'oi9493 88-2924 ISBN 0-89236-137-9 (pbk.) ISBN 0-89236-141-7 (hbk.) Cover: HENDRICK TER BRUGGHEN (Dutch, 1588-1629). Woman with an Ape: Allegory of Taste (?), 1627. Oil on canvas. 102.9x 90-1 cm (40V2 x 35V2 in.). 85.PA.5. Back cover: AMBROSIUS BOSSCHAERT THE ELDER (Dutch, 1573-1621). Basket of Flowers, 1614. Oil on copper. 28.6 x 38.1 cm (11 xk x 15 in.). 83.pc.386. Printed in Japan CONTENTS Foreword John Walsh Introduction Italian School (numbers 1-15) Flemish and Dutch Schools (numbers 16-29) French School (numbers 30-46) Other Schools (numbers 47-51) Index of Artists This page intentionally left blank FOREWORD Turning the pages of this book gives all of us who work at the Getty Museum a particular feeling of exhilaration. This is a young institution with a daunting job, to build important collections in a time of dwindling supply. Burton Fredericksen's survey of our finest paintings gives a measure of our progress in the last decade, for the reader who cracks the code of accession numbers will discover how many of the works have been acquired recently.
  • The Late Trecento Fresco Decoration of the Palazzo Datini in Prato

    The Late Trecento Fresco Decoration of the Palazzo Datini in Prato

    THE LATE TRECENTO FRESCO DECORATION OF THE PALAZZO DATINI IN PRATO by Sara Catharine Ellis A thesis submitted to the Department of Art In conformity with the requirements for the degree of Master of Arts Queen‟s University Kingston, Ontario, Canada (October, 2010) Copyright © Sara Catharine Ellis, 2010 Abstract Francesco di Marco Datini (c. 1335-1410) left his native city of Prato, near Florence, in about 1350 to become a successful merchant in Avignon, France. He returned three decades later to decorate his newly built private residence in the historic center of Prato. Under his patronage, frescoes of sacred and secular subject matter were executed in the residence from 1389-95. The artists that have been concretely identified, or suggested, as working in the Palazzo Datini include: Arrigo di Niccolò, from Prato; minor painters Dino di Puccio, Jacopo d‟Agnolo, and Agnolo; Florentine artists Tommaso del Mazza, Bartolomeo di Bertozzo, and Pagolino d‟Ugolino; and the master artists Niccolò di Pietro Gerini and Agnolo Gaddi. Many of the original frescoes were uncovered during renovations of the 1950s. Those in the entry hall and ground floor rooms survive in varied condition. This recovery is significant because the survival of large scale private works of this kind in Italy is rare. Datini‟s legacy also comprises hundreds of ledgers, account books, and thousands of personal and business letters dating from 1363 to 1410. These are now contained in the Archivio Storico di Prato. Using the surviving visual and written material as a reference point, this thesis examines the contexts behind Datini‟s choices as patron.