Donatello, Michelangelo, and Bernini: Their
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Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
Art 258: Ancient and Medieval Art Spring 2016 Sched#20203
Art 258: Ancient and Medieval Art Spring 2016 Sched#20203 Dr. Woods: Office: Art 559; e-mail: [email protected] Office Hours: Monday and Friday 8:00-8:50 am Course Time and Location: MWF 10:00 – 10:50 HH221 Course Overview Art 258 is an introduction to western art from the earliest cave paintings through the age of Gothic Cathedrals. Sculpture, painting, architecture and crafts will be analyzed from an interdisciplinary perspective, for what they reveal about the religion, mythology, history, politics and social context of the periods in which they were created. Student Learning Outcomes Students will learn to recognize and identify all monuments on the syllabus, and to contextualize and interpret art as the product of specific historical, political, social and economic circumstances. Students will understand the general characteristics of each historical or stylistic period, and the differences and similarities between cultures and periods. The paper assignment will develop students’ skills in visual analysis, critical thinking and written communication. This is an Explorations course in the Humanities and Fine Arts. Completing this course will help you to do the following in greater depth: 1) analyze written, visual, or performed texts in the humanities and fine arts with sensitivity to their diverse cultural contexts and historical moments; 2) describe various aesthetic and other value systems and the ways they are communicated across time and cultures; 3) identify issues in the humanities that have personal and global relevance; 4) demonstrate the ability to approach complex problems and ask complex questions drawing upon knowledge of the humanities. Course Materials Text: F. -
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. -
1-Day Rome City Guide a Preplanned Step-By-Step Time Line and City Guide for Rome
1 day 1-day Rome City Guide A preplanned step-by-step time line and city guide for Rome. Follow it and get the best of the city. 1-day Rome City Guide 2 © PromptGuides.com 1-day Rome City Guide Overview of Day 1 LEAVE HOTEL Tested and recommended hotels in Rome > Take Metro Line A to Ottaviano San Pietro station 09:00-10:10 St. Peter's Basilica Largest Christian Page 5 church in the world 10:10-10:40 Piazza di San Pietro One of the best known Page 5 squares in the world Take Metro Line A from Ottaviano San Pietro station to Termini station (Direction: Anagnina) Change to Metro Line B from Termini station to Colosseo station (Direction: Laurentina) - 30’ in all 11:10-12:40 Colosseum Iconic symbol of Page 6 Imperial Rome Take a walk to Arch of Constantine - 5’ 12:45-12:55 Arch of Constantine Majestic monument Page 6 Lunch time Take a walk to Piazza Venezia 14:30-14:50 Piazza Venezia Focal point of modern Page 7 Rome Take a walk to the Pantheon - 15’ 15:05-15:35 Pantheon The world's largest Page 7 unreinforced concrete Take a walk to Piazza Navona - 10’ dome 15:45-16:15 Piazza Navona One of the most Page 7 beautiful squares in Take a walk to Trevi Fountain - 25’ Rome 16:40-17:10 Trevi Fountain One of the most familiar Page 8 sights of Rome Take a walk to Spanish Steps - 20’ 17:30-18:00 Spanish Steps Rome's most beloved Page 8 Rococo monument END OF DAY 1 © PromptGuides.com 3 1-day Rome City Guide Overview of Day 1 4 © PromptGuides.com 1-day Rome City Guide Attraction Details 09:00-10:10 St. -
The Medici Palace, Cosimo the Elder, and Michelozzo: a Historiographical Survey
chapter 11 The Medici Palace, Cosimo the Elder, and Michelozzo: A Historiographical Survey Emanuela Ferretti* The Medici Palace has long been recognized as an architectural icon of the Florentine Quattrocento. This imposing building, commissioned by Cosimo di Giovanni de’ Medici (1389–1464), is a palimpsest that reveals complex layers rooted in the city’s architectural, urban, economic, and social history. A symbol – just like its patron – of a formidable era of Italian art, the palace on the Via Larga represents a key moment in the development of the palace type and and influenced every other Italian centre. Indeed, it is this building that scholars have identified as the prototype for the urban residence of the nobility.1 The aim of this chapter, based on a great wealth of secondary literature, including articles, essays, and monographs, is to touch upon several themes and problems of relevance to the Medici Palace, some of which remain unresolved or are still debated in the current scholarship. After delineating the basic construction chronology, this chapter will turn to questions such as the patron’s role in the building of his family palace, the architecture itself with regards to its spatial, morphological, and linguistic characteristics, and finally the issue of author- ship. We can try to draw the state of the literature: this preliminary historio- graphical survey comes more than twenty years after the monograph edited by Cherubini and Fanelli (1990)2 and follows an extensive period of innovative study of the Florentine early Quattrocento,3 as well as the fundamental works * I would like to thank Nadja Naksamija who checked the English translation, showing many kindnesses. -
A Political Interpretation of a Proscenium Arch Designed by Francesco Romanelli for the Opera “San Bonifazio” (1638) Leila Zammar
ISSN 2421-2679 146 A political interpretation of a proscenium arch designed by Francesco Romanelli for the opera “San Bonifazio” (1638) Leila Zammar description might ft in part to the character as some of its attributes are usually associated to the personifcation of Justice, I will propose another ome years ago, while I was looking for reading, which better matches the programmatic information about the artists who were meaning the Barberini family wanted to convey hired by the Barberini to stage their operas with the opera San Bonifazio for which his arch Sin Rome for the Carnival season 1638, I found was very likely designed. Romanelli was in fact an interesting drawing by the painter Giovanni one of the artists chosen by the noble family to Francesco Romanelli (c.1610-1662). Te drawing, design works of art that could be a good means held in the Metropolitan Museum of New York, of conveying their political propaganda (about shows an incomplete proscenium arch of a stage the role of Francesco Romanelli see Oy-Marra with the crest of the Barberini placed at the centre 2007: 303-16). of the architrave. Born in Viterbo, Romanelli, also known as Il Viterbese, from his birth city, or Il Rafaellino, afer Rafaello, was trained in Rome where he studied with Il Domenichino (Domenico Zampieri, 1581-1641) frst, and then with Pietro da Cortona (Pietro Berettini, 1596-1669). It is probable that the latter introduced him to the court of the Barberini family since Romanelli was his collaborator in painting the frescos for the chapel inside Palazzo Barberini (1631-32). -
The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans. -
Orsanmichele and the History and Preservation of the Civic Monument
Orsanmichele and the History and Preservation of the Civic Monument Edited by CARL BRANDON STREHLKE National Gallery of Art, Washington Distributed by Yale University Press New Haven and London Contents vii Preface ELIZABETH CROPPER ix Foreword CRISTINA ACI DI N I i Introduction CARL BRANDON STREHLKE 7 "Degno templo e tabernacol santo": Remembering and Renewing Orsanmichele DIANE FINIELLO ZERVAS 2i Orsanmichele before and after the Niche Sculptures: Making Decisions about Art in Renaissance Florence CARL BRANDON STREHLKE 3 5 Designing Orsanmichele: The Rediscovered Rule MARIA TERESA BARTOLI 53 Andrea Pisano's Saint Stephen and the Genesis of Monumental Sculpture at Orsanmichele ENRICA NERI LUSANNA 75 Giovanni di Balduccio at Orsanmichele: The Tabernacle of the Virgin before Andrea Orcagna FRANCESCO CAGLIOTI iii The Limestone Tracery in the Arches of the Original Grain Loggia of Orsanmichele in Florence GERT KREYTENBERG 125 The Trecento Sculptures in the Exterior Tabernacles at Orsanmichele ALESSANDRA GRIFFO 139 If Monuments Could Sing: Image, Song, and Civic Devotion inside Orsanmichele BLAKE WILSON 1 69 Orsanmichele: The Birthplace of Modern Sculpture ARTUR ROSENAUER 179 Restoration of the Statues in the Exterior Niches at Orsanmichele ANNAMARIA GIUSTI 187 The Fat Stonecarver MARY BERGSTEIN 197 Saint Peter of Orsanmichele LUCIANO BELLOSI 2 i 3 A More "Modern" Ghiberti: The Saint Matthew for Orsanmichele ELEONORA LUCIANO 243 Ghiberti's Saint Matthew and Roman Bronze Statuary: Technical Investigations during Restoration EDILBERTO FORMIGLI 257 Predella and Prontezza: On the Expression of Donatello's Saint George ARJAN R. DE KOOMEN 279 Scientific Investigations of the Bronze and Marble Statues of Orsanmichele MAURO MATTEINI 289 Words on an Image: Francesco da Sangallo's Sant'Anna Metterza for Orsanmichele COLIN EISLER WITH THE COLLABORATION OF ABBEY KORNFELD AND ALISON REBECCA W. -
Donatello's Terracotta Louvre Madonna
Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Sandra E. Russell May 2015 © 2015 Sandra E. Russell. All Rights Reserved. 2 This thesis titled Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning by SANDRA E. RUSSELL has been approved for the School of Art + Design and the College of Fine Arts by Marilyn Bradshaw Professor of Art History Margaret Kennedy-Dygas Dean, College of Fine Arts 3 Abstract RUSSELL, SANDRA E., M.A., May 2015, Art History Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning Director of Thesis: Marilyn Bradshaw A large relief at the Musée du Louvre, Paris (R.F. 353), is one of several examples of the Madonna and Child in terracotta now widely accepted as by Donatello (c. 1386-1466). A medium commonly used in antiquity, terracotta fell out of favor until the Quattrocento, when central Italian artists became reacquainted with it. Terracotta was cheap and versatile, and sculptors discovered that it was useful for a range of purposes, including modeling larger works, making life casts, and molding. Reliefs of the half- length image of the Madonna and Child became a particularly popular theme in terracotta, suitable for domestic use or installation in small chapels. Donatello’s Louvre Madonna presents this theme in a variation unusual in both its form and its approach. In order to better understand the structure and the meaning of this work, I undertook to make some clay works similar to or suggestive of it. -
Process: the Example of the Sleeping Hermaphrodite
BARRY X BALL: REMAKING SCULPTURE Process: The Example of the Sleeping Hermaphrodite Barry X Ball reinvents traditional sculptural formats and existing art historical landmarks using state-of-the-art 3D scanning technology, computer-aided design (CAD) software, and computer- numerically-controlled (CNC) milling machines, in combination with centuries-old craft techniques requiring thousands of hours of detailed handwork. The Hermaphrodite Endormi (Sleeping Hermaphrodite) in the Louvre Museum in Paris offered an ideal starting point for Ball’s artistic explorations. Not only is the subject an embodiment of duality (see the object label and exhibition catalogue for more information on this), the object is a composite work of art interpreted by numerous authors over centuries. The figure is a second-century CE Roman copy of a second-century BCE Greek original. Discovered near the Baths of Diocletian in Rome in 1608, it joined the distinguished collection of Cardinal Scipione Borghese, who, in 1619, commissioned the young Gian Lorenzo Bernini to carve the mattress for it and David Larique to restore the figure. Ball continues this engagement with the work in the 21st century, reconsidering it for a contemporary audience and using the technological tools at his disposal. The illustrated review that follows elucidates the multi-step process Ball undertakes in making his Masterworks, like Sleeping Hermaphrodite. Ball works with museums to make extremely high-resolution three-dimensional digital scans of works of art. Because of their microscopic detail, the scans are very useful to the institutions charged with preserving the sculpture. Ball donates the scans to the museums for documentation and conservation and uses them Digital scanning of Hermaphrodite Endormi (Sleeping Hermaphrodite) in the Salle des Caryatids, as his point of departure for creating a new work. -
1. Compare and Contrast the High Renaissance Period with the Baroque Period
Preliminary Handout: David and Goliath Summarize the story of David and Goliath: How is David significant in Medici Florence? High Renaissance Period The Baroque Period Dates of the period: Dates of the period: Locations: Locations: Influences on the period: Influences on the period: Stylistic Characteristics: Stylistic Characteristics: Compare Donatello's David, Michelangelo's David, and Bernini’s David Donatello's David Michelangelo's David Bernini’s David Date Period Material Height Nude? Contrapposto? Moment in story: David represents... Original location: Stylistic Characteristics: Short Answer Essays: Please write a concise paragraph essay answering each of the questions below. You will work in groups and do a short two-minute presentation to the class on one question. 1. Compare and contrast the High Renaissance period with the Baroque period. What are the important influences and stylistic differences? 2. What are the primary defining elements of Italian Baroque sculpture and architecture? Select one Baroque sculpture and one Baroque building in Italy and discuss how they exemplify the style. 3. Compare and contrast Donatello, Michelangelo, and Bernini's David. How does each work embody the stylistic principles of its age? 4. Describe Bernini's Apollo and Daphne. What moment does it depict in Ovid's myth? Why would the Church approve of such a work? 5. How has Bernini drawn from his knowledge of theater, writing plays, and producing stage designs to create an emotionally dramatic experience for worshipers that involve architecture, sculpture, and painting at the Cornaro chapel? 6. How is Gianlorenzo Bernini’s work typical of the Baroque period? Give several examples of his work that support your answer. -
Herculaneum Archaeology
Defining Beauty - Alistair Thorley A First Hand Experience of the Apolline Project - Iona Hampson The Ancient Graffiti Project - Rebecca Benefiel & Jacqueline DiBiasie 2014 Southeastern College Art Conference - Lisa Gastrell The First Herculaneum Summer School - Sarah Hendriks Bronze sculpture from the Villa of the Papyri , Museo Archeologico Nazionale Napoli herculaneum archaeology herculaneum Society - Issue 19 Summer 2015 of the Friends Herculaneum the newsletter Defining beauty - the body in Ancient Greek art A Review of the recent exhibition at the British Museum by Alistair Thorley Head of Classics, Stockport Grammar School Defining beauty is about as easy as raising children or trusting politicians and so the latest superstar British Museum exhibition is ambitious in its scope. The first darkened room showcases five of Classical Greece’s best attempts to define the indefinable, all dramatically spotlit. Ilissos, the river god whose turbulent course has flowed from Athens to London and then, most recently, to St. Petersburg and back, has a beauty where flesh, drapery and water coalesce across his body. Apoxyomenos radiates a self-confidence in his muscular body. Doryphoros (via Georg Römer’s stunning bronze copy) finds beauty in mathematical perfection. The beauty of the Townley Diskobolos lies in the grace he achieves despite his clenched crouch. However, newspaper coverage of the exhibition has focused on the one female statue amidst the buff young males. The opening of the exhibition is Aphrodite’s bottom. The statue is turned 180 degrees from the angle at which she is normally first encountered on the way to the Duveen Gallery. It is easy to see why we start this way.