Location Reservations Website Opening Ownership
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Discovering Florence in the Footsteps of Dante Alighieri: “Must-Sees”
1 JUNE 2021 MICHELLE 324 DISCOVERING FLORENCE IN THE FOOTSTEPS OF DANTE ALIGHIERI: “MUST-SEES” In 1265, one of the greatest poets of all time was born in Florence, Italy. Dante Alighieri has an incomparable legacy… After Dante, no other poet has ever reached the same level of respect, recognition, and fame. Not only did he transform the Italian language, but he also forever altered European literature. Among his works, “Divine Comedy,” is the most famous epic poem, continuing to inspire readers and writers to this day. So, how did Dante Alighieri become the father of the Italian language? Well, Dante’s writing was different from other prose at the time. Dante used “common” vernacular in his poetry, making it more simple for common people to understand. Moreover, Dante was deeply in love. When he was only nine years old, Dante experienced love at first sight, when he saw a young woman named “Beatrice.” His passion, devotion, and search for Beatrice formed a language understood by all - love. For centuries, Dante’s romanticism has not only lasted, but also grown. For those interested in discovering more about the mysteries of Dante Alighieri and his life in Florence , there are a handful of places you can visit. As you walk through the same streets Dante once walked, imagine the emotion he felt in his everlasting search of Beatrice. Put yourself in his shoes, as you explore the life of Dante in Florence, Italy. Consider visiting the following places: Casa di Dante Where it all began… Dante’s childhood home. Located right in the center of Florence, you can find the location of Dante’s birth and where he spent many years growing up. -
Cellini Vs Michelangelo: a Comparison of the Use of Furia, Forza, Difficultà, Terriblità, and Fantasia
International Journal of Art and Art History December 2018, Vol. 6, No. 2, pp. 22-30 ISSN: 2374-2321 (Print), 2374-233X (Online) Copyright © The Author(s).All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijaah.v6n2p4 URL: https://doi.org/10.15640/ijaah.v6n2p4 Cellini vs Michelangelo: A Comparison of the Use of Furia, Forza, Difficultà, Terriblità, and Fantasia Maureen Maggio1 Abstract: Although a contemporary of the great Michelangelo, Benvenuto Cellini is not as well known to the general public today. Cellini, a master sculptor and goldsmith in his own right, made no secret of his admiration for Michelangelo’s work, and wrote treatises on artistic principles. In fact, Cellini’s artistic treatises can be argued to have exemplified the principles that Vasari and his contemporaries have attributed to Michelangelo. This paper provides an overview of the key Renaissance artistic principles of furia, forza, difficultà, terriblità, and fantasia, and uses them to examine and compare Cellini’s famous Perseus and Medusa in the Loggia deiLanzi to the work of Michelangelo, particularly his famous statue of David, displayed in the Galleria dell’ Accademia. Using these principles, this analysis shows that Cellini not only knew of the artistic principles of Michelangelo, but that his work also displays a mastery of these principles equal to Michelangelo’s masterpieces. Keywords: Cellini, Michelangelo, Renaissance aesthetics, Renaissance Sculptors, Italian Renaissance 1.0Introduction Benvenuto Cellini was a Florentine master sculptor and goldsmith who was a contemporary of the great Michelangelo (Fenton, 2010). Cellini had been educated at the Accademiade lDisegno where Michelangelo’s artistic principles were being taught (Jack, 1976). -
Sources of Donatello's Pulpits in San Lorenzo Revival and Freedom of Choice in the Early Renaissance*
! " #$ % ! &'()*+',)+"- )'+./.#')+.012 3 3 %! ! 34http://www.jstor.org/stable/3047811 ! +565.67552+*+5 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org THE SOURCES OF DONATELLO'S PULPITS IN SAN LORENZO REVIVAL AND FREEDOM OF CHOICE IN THE EARLY RENAISSANCE* IRVING LAVIN HE bronze pulpits executed by Donatello for the church of San Lorenzo in Florence T confront the investigator with something of a paradox.1 They stand today on either side of Brunelleschi's nave in the last bay toward the crossing.• The one on the left side (facing the altar, see text fig.) contains six scenes of Christ's earthly Passion, from the Agony in the Garden through the Entombment (Fig. -
Gender Dynamics in Renaissance Florence Mary D
Early Modern Women: An Interdisciplinary Journal Vol. 11, No. 1 • Fall 2016 The Cloister and the Square: Gender Dynamics in Renaissance Florence Mary D. Garrard eminist scholars have effectively unmasked the misogynist messages of the Fstatues that occupy and patrol the main public square of Florence — most conspicuously, Benvenuto Cellini’s Perseus Slaying Medusa and Giovanni da Bologna’s Rape of a Sabine Woman (Figs. 1, 20). In groundbreaking essays on those statues, Yael Even and Margaret Carroll brought to light the absolutist patriarchal control that was expressed through images of sexual violence.1 The purpose of art, in this way of thinking, was to bolster power by demonstrating its effect. Discussing Cellini’s brutal representation of the decapitated Medusa, Even connected the artist’s gratuitous inclusion of the dismembered body with his psychosexual concerns, and the display of Medusa’s gory head with a terrifying female archetype that is now seen to be under masculine control. Indeed, Cellini’s need to restage the patriarchal execution might be said to express a subconscious response to threat from the female, which he met through psychological reversal, by converting the dangerous female chimera into a feminine victim.2 1 Yael Even, “The Loggia dei Lanzi: A Showcase of Female Subjugation,” and Margaret D. Carroll, “The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence,” The Expanding Discourse: Feminism and Art History, ed. Norma Broude and Mary D. Garrard (New York: HarperCollins, 1992), 127–37, 139–59; and Geraldine A. Johnson, “Idol or Ideal? The Power and Potency of Female Public Sculpture,” Picturing Women in Renaissance and Baroque Italy, ed. -
The Majolica Collection of the Museum of Bargello
The majolica collection of the Museum of Bargello A different approach to the Museum exhibition Leonardo ZAFFI, University of Florence, Department of Architecture, Italy Stefania VITI, University of Florence, Department of Architecture, Italy Keywords: Museum of Bargello, Majolica collection, design of Museums staging, resilience of Museums Introduction Nowadays the art exhibitions cannot just show the art collections, but they need to emotionally involve the visitors. The Museums users are not anymore scholars and experts only; many of them are non-specialists, wishful for evocative emotions and multi-disciplinary experiences. These new requirements, together with the need to preserve the art collections from the possible dangers (the time-effects, the natural disasters as much as human attacks), lead the new technology to play a crucial role in the design of the exhibitions layout. The design of a new art exhibition requires the involvement of many different technical and artistic knowledges. This research is focused on the design of the majolica collection exhibited at Museum of Bargello of Florence, which has been founded in 1865 as first National Museum in Italy. The Museum presents several art collections of high value, very different from each other. Even the displays exhibited at the Museum present a large variety, due to the different properties of the collections to exhibit and to the age of the staging design. Since the Museum foundation to nowadays, indeed, several displays have been followed one another, and some of them have become part of its asset. The current curators, therefore, have to deal with the double need i) to renew the exhibition, in order to guarantee the high profile of the Museum, and to optimize the expressive potentiality of each art good, and ii) to protect the art collections, providing to each item the due safety. -
Casva Center for Advanced Study in the Visual Arts
NATIONAL GALLERY OF ART • BULLETIN 34 casva Center for Advanced Study in the Visual Arts Collaboration, Conservation, and Context n support of its mission to gener- a volume of the National Gallery of ate new research and to promote Art’s Studies in the History of Art series, discussion of the way we think which should become an important ref- Iabout and experience art, CASVA holds erence work for scholars throughout the scholarly symposia every year. These world, including Japan. are typically highly collaborative, The findings of a similarly complex engaging both curatorial and conser- set of collaborative meetings held some vation departments, as well as other six years ago appeared in another such institutions. volume this spring. Orsanmichele and Most recently, the Center collabo- the History and Preservation of the Civic rated with colleagues to arrange a Monument (Studies in the History of series of meetings in connection with Art, volume 76), edited by Carl Brandon the exhibition Colorful Realm: Bird- Strehlke, includes papers from two sym- and-Flower Paintings by Itō Jakuchū posia, one held at the Gallery in October (1716 – 1800), which featured thirty of 2005 and the other in Florence a year Jakuchū’s scrolls from the Zen monas- later. The inspiration was again an exhi- Fig. 1. Nanni di Banco, Four Crowned tery Shōkokuji, together with his trip- bition marking the completion of a long Martyr Saints, c. 1409 – c. 1417, marble tych of the Buddha Śākyamuni. These campaign of restoration, and the loans with traces of gilding, after conserva- works of art, the subjects of long and were again made in the expectation that tion, in the exhibition Monumental careful restoration, were lent to the CASVA would bring together experts to Sculpture from Renaissance Florence: National Gallery of Art by the Imperial explore the history and conservation of Household of Japan for just one month. -
Michelangelo's David-Apollo
Michelangelo’s David-Apollo , – , 106284_Brochure.indd 2 11/30/12 12:51 PM Giorgio Vasari, Michelangelo Michelangelo, David, – Buonarroti, woodcut, from Le vite , marble, h. cm (including de’ più eccellenti pittori, scultori e base). Galleria dell’Accademia, architettori (Florence, ). Florence National Gallery of Art Library, Washington, Gift of E. J. Rousuck The loan of Michelangelo’s David-Apollo () from a sling over his shoulder. The National Gallery of Art the Museo Nazionale del Bargello, Florence, to the owns a fteenth-century marble David, with the head of National Gallery of Art opens the Year of Italian Culture, Goliath at his feet, made for the Martelli family of Flor- . This rare marble statue visited the Gallery once ence (. ). before, more than sixty years ago, to reafrm the friend- In the David-Apollo, the undened form below the ship and cultural ties that link the peoples of Italy and right foot plays a key role in the composition. It raises the United States. Its installation here in coincided the foot, so that the knee bends and the hips and shoul- with Harry Truman’s inaugural reception. ders shift into a twisting movement, with the left arm The ideal of the multitalented Renaissance man reaching across the chest and the face turning in the came to life in Michelangelo Buonarroti ( – ), opposite direction. This graceful spiraling pose, called whose achievements in sculpture, painting, architecture, serpentinata (serpentine), invites viewers to move and poetry are legendary (. ). The subject of this around the gure and admire it from every angle. Such statue, like its form, is unresolved. -
Florence Celebrates the Uffizi the Medici Were Acquisitive, but the Last of the Line Was Generous
ArtNews December 1982 Florence Celebrates The Uffizi The Medici were acquisitive, but the last of the line was generous. She left all the family’s treasures to the people of Florence. by Milton Gendel Whenever I vist The Uffizi Gallery, I start with Raphael’s classic portrait of Leo X and Two Cardinals, in which the artist shows his patron and friend as a princely pontiff at home in his study. The pope’s esthetic interests are indicated by the finely worked silver bell on the red-draped table and an illuminated Bible, which he has been studying with the aid of a gold-mounted lens. The brass ball finial on his chair alludes to the Medici armorial device, for Leo X was Giovanni de’ Medici, the second son of Lorenzo the Magnificent. Clutching the chair, as if affirming the reality of nepotism, is the pope’s cousin, Cardinal Luigi de’ Rossi. On the left is Cardinal Giulio de’ Medici, another cousin, whose look of reverie might be read, I imagine, as foreseeing his own disastrous reign as Pope Clement VII. That was five years in the future, of course, and could not have been anticipated by Raphael, but Leo had also made cardinals of his three nephews, so it wasn’t unlikely that another member of the family would be elected to the papacy. In fact, between 1513 and 1605, four Medici popes reigned in Rome. Leo X was a true Renaissance prince, whose civility and love of the arts impressed everyone - in the tradition of his father, Lorenzo the Magnificent. -
Celebrating the City: the Image of Florence As Shaped Through the Arts
“Nothing more beautiful or wonderful than Florence can be found anywhere in the world.” - Leonardo Bruni, “Panegyric to the City of Florence” (1403) “I was in a sort of ecstasy from the idea of being in Florence.” - Stendahl, Naples and Florence: A Journey from Milan to Reggio (1817) “Historic Florence is an incubus on its present population.” - Mary McCarthy, The Stones of Florence (1956) “It’s hard for other people to realize just how easily we Florentines live with the past in our hearts and minds because it surrounds us in a very real way. To most people, the Renaissance is a few paintings on a gallery wall; to us it is more than an environment - it’s an entire culture, a way of life.” - Franco Zeffirelli Celebrating the City: the image of Florence as shaped through the arts ACM Florence Fall, 2010 Celebrating the City, page 2 Celebrating the City: the image of Florence as shaped through the arts ACM Florence Fall, 2010 The citizens of renaissance Florence proclaimed the power, wealth and piety of their city through the arts, and left a rich cultural heritage that still surrounds Florence with a unique and compelling mystique. This course will examine the circumstances that fostered such a flowering of the arts, the works that were particularly created to promote the status and beauty of the city, and the reaction of past and present Florentines to their extraordinary home. In keeping with the ACM Florence program‟s goal of helping students to “read a city”, we will frequently use site visits as our classroom. -
Donatello, Michelangelo, and Bernini: Their
DONATELLO, MICHELANGELO, AND BERNINI: THEIR UNDERSTANDING OF ANTIQUITY AND ITS INFLUENCE ON THE REPRESENTATION OF DAVID by Kathryn Sanders Department of Art and Art History April 7, 2020 A thesis submitted to the Honors Council of the University of the Colorado Dr. Robert Nauman honors council representative, department of Art and Art History Dr. Fernando Loffredo thesis advisor, department of Art and Art History Dr. Sarah James committee member, department of Classics TABLE OF CONTENTS INTRODUCTION…………………………………………………..……………….……………1 Chapter I: The Davids…………………………………………………..…………………5 Chapter II: Antiquity and David…………………………………………………………21 CONCLUSION………………...………………………………………………………………...40 BIBLIOGRAPHY………………………………………………………………………………..58 LIST OF FIGURES Figure 1: Donatello, David, 1430s……………………………………………………………….43 Figure 2: Michelangelo, David, 1504……………………………………………………………44 Figure 3: Bernini, David, 1624…………………………………………………………………..45 Figure 4: Donatello, David, 1408-1409………………………………………………………….46 Figure 5: Taddeo Gaddi, David, 1330…………………………………………………………...47 Figure 6: Donatello, Saint Mark, 1411…………………………………………………………..48 Figure 7: Andrea del Verrocchio, David, 1473-1475……………………………………………49 Figure 8: Bernini, Monsignor Montoya, 1621-1622……………………………………………..50 Figure 9: Bernini, Damned Soul, 1619…………………………………………………………..51 Figure 10: Annibale Carracci, Polyphemus and Acis, 1595-1605……………………………….52 Figure 11: Anavysos Kouros, 530 BCE………………………………………………………….53 Figure 12: Polykleitos, Doryphoros, 450-440 BCE……………………………………………..54 Figure 13: Praxiteles, Hermes and Dionysus, 350-330 BCE…………………………………….55 Figure 14: Myron, Discobolus, 460-450 BCE…………………………………………………...56 Figure 15: Agasias, Borghese Gladiator, 101 BCE……………………………………………...57 Introduction “And there came out from the camp of the Philistines a champion named Goliath, of Gath, whose height was six cubits and a span. He had a helmet of bronze on his head, and he was armed with a coat of mail; the weight of the coat was five thousand shekels of bronze. -
Classical Mythology in Florence
Tom Sienkewicz Monmouth College [email protected] Classical Mythology in Florence Museo Archeologico especially the Chimaera, and the François Vase Minos and Scylla, Theseus and the Minotaur (Ovid 8.1-185) Calydonian Boar Hunt (Ovid 8.260-546) Homer. Iliad XXIII (Funeral Games of Patroclus) Ulysses and Polyphemus (Ovid 14.160-220) Classical Mythology at the Duomo Porta della Mandorla, Campanile and Opera del Duomo Orpheus/Eurydice (Ovid 10.1-80) Daedalus/Icarus (Ovid 8.185-260) Public sculpture Piazza della Signoria and Loggia Dei Lanzi. Hercules and Cacus (Ovid. Fasti.1.540ff) Perseus and Medusa (Ovid 4.610-803) Classical Mythology in the Palazzo Vecchio Circe (Ovid 14.240-310) Rape and Intervention of Sabine Women (Livy 1.9-10) Hercules and Nessus (Ovid 9.1-150) Classical Mythology in the Studiolo di Francesco Primo Classical Mythology in the Palazzo Medici-Riccardi Rape of Persephone (Ovid 5.380-500) The Mythology in the Public Sculpture of Florence Apollo and Daphne 1.450-570 Classical Mythology in the Bargello Classical Mythology in the Uffiizi Classical Mythology in the Pitti Palace Classical Mythology in the Boboli Gardens especially the Grotta of Buontalenti Classical Mythology in the Medici Villa at Poggio a Caiano Hercules in Florence The François Vase c.570 B.C. found in tomb at Fonte Rotella near Chiusi in 1844-45 Made by Ergotomos Painted by Kleitias Side A Side B Calydonian Boar Hunt Theseus' Crane Dance The Funeral Games of Patroclus Battle of Lapiths and Centaurs The Marriage of Peleus and Thetis The Marriage -
Cellini's Perseus and Medusa: Configurations of the Body
CELLINI’S PERSEUS AND MEDUSA: CONFIGURATIONS OF THE BODY OF STATE by CHRISTINE CORRETTI Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Dissertation Advisor: Professor Edward J. Olszewski Department of Art History CASE WESTERN RESERVE UNIVERSITY January, 2011 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Christine Corretti candidate for the Doctor of Philosophy degree.* (signed) Professor Edward J. Olszewski (chair of the committee) Professor Anne Helmreich Professor Holly Witchey Dr. Jon S. Seydl (date) November, 2010 *We also certify that written approval has been obtained for any proprietary material contained therein. 1 Copyright © 2011 by Christine Corretti All rights reserved 2 Table of Contents List of Illustrations 4 Abstract 9 Introduction 11 Chapter 1 The Story of Perseus and Medusa, an Interpretation 28 of its Meaning, and the Topos of Decapitation Chapter 2 Cellini’s Perseus and Medusa: the Paradigm of Control 56 Chapter 3 Renaissance Political Theory and Paradoxes of 100 Power Chapter 4 The Goddess as Other and Same 149 Chapter 5 The Sexual Symbolism of the Perseus and Medusa 164 Chapter 6 The Public Face of Justice 173 Chapter 7 Classical and Grotesque Polities 201 Chapter 8 Eleonora di Toledo and the Image of the Mother 217 Goddess Conclusion 239 Illustrations 243 Bibliography 304 3 List of Illustrations Fig. 1 Benvenuto Cellini, Perseus and Medusa, 1545-1555, 243 Loggia dei Lanzi, Florence, Italy. Fig. 2 Donatello, Judith and Holofernes, c. 1446-1460s, Palazzo 244 Vecchio, Florence, Italy. Fig. 3 Heracles killing an Amazon, red figure vase.