Dott. Giovanni Sassu
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The Master of the Unruly Children and His Artistic and Creative Identities
The Master of the Unruly Children and his Artistic and Creative Identities Hannah R. Higham A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham May 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines a group of terracotta sculptures attributed to an artist known as the Master of the Unruly Children. The name of this artist was coined by Wilhelm von Bode, on the occasion of his first grouping seven works featuring animated infants in Berlin and London in 1890. Due to the distinctive characteristics of his work, this personality has become a mainstay of scholarship in Renaissance sculpture which has focused on identifying the anonymous artist, despite the physical evidence which suggests the involvement of several hands. Chapter One will examine the historiography in connoisseurship from the late nineteenth century to the present and will explore the idea of the scholarly “construction” of artistic identity and issues of value and innovation that are bound up with the attribution of these works. -
André Derain Stoppenbach & Delestre
ANDR É DERAIN ANDRÉ DERAIN STOPPENBACH & DELESTRE 17 Ryder Street St James’s London SW1Y 6PY www.artfrancais.com t. 020 7930 9304 email. [email protected] ANDRÉ DERAIN 1880 – 1954 FROM FAUVISM TO CLASSICISM January 24 – February 21, 2020 WHEN THE FAUVES... SOME MEMORIES BY ANDRÉ DERAIN At the end of July 1895, carrying a drawing prize and the first prize for natural science, I left Chaptal College with no regrets, leaving behind the reputation of a bad student, lazy and disorderly. Having been a brilliant pupil of the Fathers of the Holy Cross, I had never got used to lay education. The teachers, the caretakers, the students all left me with memories which remained more bitter than the worst moments of my military service. The son of Villiers de l’Isle-Adam was in my class. His mother, a very modest and retiring lady in black, waited for him at the end of the day. I had another friend in that sinister place, Linaret. We were the favourites of M. Milhaud, the drawing master, who considered each of us as good as the other. We used to mark our classmates’s drawings and stayed behind a few minutes in the drawing class to put away the casts and the easels. This brought us together in a stronger friendship than students normally enjoy at that sort of school. I left Chaptal and went into an establishment which, by hasty and rarely effective methods, prepared students for the great technical colleges. It was an odd class there, a lot of colonials and architects. -
Painting in Renaissance Siena
Figure r6 . Vecchietta. The Resurrection. Figure I7. Donatello. The Blood of the Redeemer. Spedale Maestri, Torrita The Frick Collection, New York the Redeemer (fig. I?), in the Spedale Maestri in Torrita, southeast of Siena, was, in fact, the common source for Vecchietta and Francesco di Giorgio. The work is generally dated to the 1430s and has been associated, conjecturally, with Donatello's tabernacle for Saint Peter's in Rome. 16 However, it was first mentioned in the nirieteenth century, when it adorned the fa<;ade of the church of the Madonna della Neve in Torrita, and it is difficult not to believe that the relief was deposited in that provincial outpost of Sienese territory following modifications in the cathedral of Siena in the seventeenth or eighteenth century. A date for the relief in the late I4 5os is not impossible. There is, in any event, a curious similarity between Donatello's inclusion of two youthful angels standing on the edge of the lunette to frame the composition and Vecchietta's introduction of two adoring angels on rocky mounds in his Resurrection. It may be said with little exaggeration that in Siena Donatello provided the seeds and Pius II the eli mate for the dominating style in the last four decades of the century. The altarpieces commissioned for Pienza Cathedral(see fig. IS, I8) are the first to utilize standard, Renaissance frames-obviously in con formity with the wishes of Pius and his Florentine architect-although only two of the "illustrious Si enese artists," 17 Vecchietta and Matteo di Giovanni, succeeded in rising to the occasion, while Sano di Pietro and Giovanni di Paolo attempted, unsuccessfully, to adapt their flat, Gothic figures to an uncon genial format. -
Italia Milano Roma Mondo Speciale Tefaf Berlino Londra New York Parigi Vienna SUPPLEMENTO DI «IL GIORNALE DELL’ARTE» N
A cura di Franco Fanelli Questo mese (Arte contemporanea e Gallerie) 146 mostre Anna Maria Farinato (Arte antica) in 72 città Laura Giuliani (Archeologia) Walter Guadagnini (Fotografia) di 15 Paesi «IL GIORNALE DELL’ARTE» | MARZO 2020 IL GIORNALE DELLE MOSTRE Italia Milano Roma Mondo Speciale Tefaf Berlino Londra New York Parigi Vienna SUPPLEMENTO DI «IL GIORNALE DELL’ARTE» N. 406 MARZO 2020 / SOCIETÀ EDITRICE ALLEMANDI N. 406 MARZO 2020 / SOCIETÀ SUPPLEMENTO DI «IL GIORNALE DELL’ARTE» Un fotogramma del video «Nova» (2019) di Cao Fei. Cortesia (2019) di Cao Fei. Un fotogramma del video «Nova» dell’artista e di Vitamin Creative Space e Sprüth Magers. Dal 4 marzo al 17 maggio l’artista progetto espositivo per le Serpentine cinese presenta un nuovo Galleries di Londra. BOLOGNA GRESSONEY-SAINT-JEAN PISTOIA VENARIA REALE IL GIORNALE DELLE MOSTRE ITALIA Bologna Tutti insieme a casa Ricomposto il Polittico Griffoni, perla del Quattrocento emiliano «Santa Lucia» di Francesco del Cossa, Washington, Bologna. La riscoperta di un capola- National Gallery of Art. voro è la realizzazione di un evento In alto, Cecilia Cavalca che resterà probabilmente irripetibi- e Mauro Natale «Nudo femminile di schiena» (1735 ca) di Pierre Subleyras e, sotto, il logo della mostra le. Nell’epico racconto di un «ritorno a casa», nel mistico ritrovarsi di quel Così, in una mostra vo- Venaria gruppo di santi eleganti e solenni, una lutamente concentrata squadra di campioni spirituali «ricon- e filologica, dove a in- vocata» dopo quasi 300 anni, c’è, infat- cantare è, come sempre ti, il sapore dell’impresa memorabile. dovrebbe essere, la rara Tra Barocco e C’è, insomma, aria di festa, a Bologna, qualità degli originali, nell’accogliere questa mostra, «La ri- l’unica concessione alla Neoclassicismo scoperta di un capolavoro. -
Dreamitaly0709:Layout 1
INSIDE: The Artistic Village of Dozza 3 Private Guides in Ravenna 5 Bicycling Through Ferrara 6 Where to Stay in Bologna 8 Giorgio Benni Giorgio giasco, flickr.com giasco, Basilica di San Vitale MAMbo SPECIAL REPORT: EMILIA-ROMAGNA Bologna: dream of City of Art ith its appetite for art, Bologna’s ® Wcontributions to the good life are more than gustatory. Though known as the “Red City” for its architecture and politics, I found a brilliant palette of museums, galleries, churches and markets, with mouth-watering visuals for every taste. ITALYVolume 8, Issue 6 www.dreamofitaly.com July/August 2009 City Museums For a splash of Ravcnna’s Ravishing Mosaics 14th-century sculp- ture start at the fter 15 centuries, Ravenna’s lumi- across the region of Emilia-Romagna. Fontana del Nettuno A nous mosaics still shine with the With only a day to explore, I’m grate- in Piazza Maggiore. golden brilliance of the empires that ful that local guide Verdiana Conti Gianbologna’s endowed them. These shimmering Baioni promises to weave art and bronze god — Fontana Nettuno sacred images reveal both familiar and history into every step. locals call him “the giant” — shares the unexpected chapters in Italian history water with dolphins, mermaids and while affirming an artistic climate that We meet at San Apollinaire Nuovo on cherubs. Close by, Palazzo Comunale’s thrives today. Via di Roma. A soaring upper floors contain the Collezioni basilica, its narrow side Comunale d’Arte, which includes opu- Ravenna attracted con- aisles open to a broad lent period rooms and works from the querors from the north nave where three tiers 14th through 19th centuries. -
ITALIAN ART SOCIETY NEWSLETTER XXIX, 3, Fall 2018
ITALIAN ART SOCIETY NEWSLETTER XXIX, 3, Fall 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 Rosen and I, quite a few of our officers and committee members were able to attend and our gathering in Rome September 15, 2018 served too as an opportunity for the Membership, Outreach, and Development committee to meet and talk strategy. Dear Members of the Italian Art Society: We are, as always, deeply grateful to the Samuel H. Kress Foundation for their support this past decade of these With a new semester (and a new academic year) important events. This year’s lecture was the last under our upon us once again, I write to provide a few highlights of current grant agreement and much of my time at the moment IAS activities in the past months. As ever, I am deeply is dedicated to finalizing our application to continue the grateful to all of our members and especially to those lecture series forward into next year and beyond. As I work who continue to serve on committees, our board, and to present the case for the value of these trans-continental executive council. It takes the hard work of a great exchanges, I appeal to any of you who have had the chance number of you to make everything we do possible. As I to attend this year’s lecture or one of our previous lectures to approach the end of my term as President this winter, I write to me about that experience. -
Ferrara Di Ferrara
PROVINCIA COMUNE DI FERRARA DI FERRARA Visit Ferraraand its province United Nations Ferrara, City of Educational, Scientific and the Renaissance Cultural Organization and its Po Delta Parco Urbano G. Bassani Via R. Bacchelli A short history 2 Viale Orlando Furioso Living the city 3 A year of events CIMITERO The bicycle, queen of the roads DELLA CERTOSA Shopping and markets Cuisine Via Arianuova Viale Po Corso Ercole I d’Este ITINERARIES IN TOWN 6 CIMITERO EBRAICO THE MEDIAEVAL Parco Corso Porta Po CENTRE Via Ariosto Massari Piazzale C.so B. Rossetti Via Borso Stazione Via d.Corso Vigne Porta Mare ITINERARIES IN TOWN 20 Viale Cavour THE RENAISSANCE ADDITION Corso Ercole I d’Este Via Garibaldi ITINERARIES IN TOWN 32 RENAISSANCE Corso Giovecca RESIDENCES Piazza AND CHURCHES Trento e Trieste V. Mazzini ITINERARIES IN TOWN 40 Parco Darsena di San Paolo Pareschi WHERE THE RIVER Piazza Travaglio ONCE FLOWED Punta della ITINERARIES IN TOWN 46 Giovecca THE WALLS Via Cammello Po di Volano Via XX Settembre Via Bologna Porta VISIT THE PROVINCE 50 San Pietro Useful information 69 Chiesa di San Giorgio READER’S GUIDE Route indications Along with the Pedestrian Roadsigns sited in the Historic Centre, this booklet will guide the visitor through the most important areas of the The “MUSEO DI QUALITÀ“ city. is recognised by the Regional Emilia-Romagna The five themed routes are identified with different colour schemes. “Istituto per i Beni Artistici Culturali e Naturali” Please, check the opening hours and temporary closings on the The starting point for all these routes is the Tourist Information official Museums and Monuments schedule distributed by Office at the Estense Castle. -
Ancient and Contemporary Province of Mantua
REGGIONELL’EMILIA ancient and contemporary province of Mantua province of Parma province of Modena province of The monuments and their positions on the Massa Carrara plain attached map are indicated in the text by province of Lucca hill the number between square brackets [ ] mountain REGGIO EMILIA Located in northern Italy, in the heart of the Po valley, the province of Reggio Emilia is one of the nine provinces of Emilia Romagna. Crossed by Via Emilia, it lies between the provinces of Parma to the west and Modena to the east. The Po river separates it from the province of Mantua to the north while southwards the Apennines connect it to Tuscany through mountain passes of historical importance. Reggio Emilia throughout history of the 15th century, the town came under the Tricolore flag was chosen in Reggio as the flag of Reggio Emilia (Regium Lepidi) was founded by the rule of the Este family who remained lords of the newly created Cispadane Republic: the same Romans around 175 B.C. as an urban settlement the area until the 19th century. The Renaissance green, white and red flag, after many changes and along Via Aemilia, one of the main roads in the period in Reggio was studded with prominent vicissitudes, now represents the Italian Republic. Roman empire. Finds discovered in the area artistic and literary figures: Matteo Maria Boiardo, During the Fascist period, dissenting voices and 1 testify to intense economic activities which author of the poem Orlando Innamorato, was born protests always endured in Reggio and, after lasted throughout the Imperial period until the in Scandiano, not far from Reggio Emilia where 1943, they led to the struggle for Liberation. -
Il Palazzo Ducale Di Sassuolo: Prospettive Per L’Intervento Di Restauro Del Fronte Meridionale
Il Palazzo Ducale di Sassuolo: prospettive per l’intervento di restauro del fronte meridionale. La contestualizzazione paesaggistica del complesso. Arch. Emanuela Storchi, Funzionario Architetto presso la Soprintendenza Archeologia, Belle Arti e Paesaggio per la Città Metropolitana di Bologna e le Province di Modena, Reggio Emilia e Ferrara Responsabile Unico del Procedimento Il Palazzo Ducale di Sassuolo è interessato da un progetto di restauro relativo al fronte sud del complesso che ha lo scopo non solo di consolidare e rifunzionalizzare il fronte che si affaccia sui Giardini Ducali con la sua scenografica terrazza e la sottostante vasara (spazio destinato al ricovero invernale delle piante in vaso), ma anche di ripristinare il sistema di visuali originali che dal palazzo permettevano di traguardare il casino di caccia, mediante la riapertura della loggiato centrale. L’intervento si avvarrà di due finanziamenti per un importo complessivo di 4.200.000 Euro: -Fondi per lo Sviluppo e la Coesione FSC 2007-2013, riprogrammazione delle economie di gara relative alla delibera CIPE n.38 del 2012, Ministero per i beni e le attività culturali e per il turismo per un importo di 3.500.000 Euro -Fondi provenienti dalla rimodulazione del piano degli interventi finanziati attraverso le risorse stanziate ai sensi dell’art. 1, comma 140, della legge 232/2016, per un importo di 700.000 Euro. La gara per i servizi tecnici e di progettazione è stata pubblicata dalla Centrale di Committenza INVITALIA per conto delle Gallerie Estensi in data 3 Marzo 2020 ed il bando e le informazioni sono disponibili sui siti web istituzionali dei due soggetti. -
Ambassadors in Golden-Age Madrid the Court of Philip IV Through Foreign Eyes
Ambassadors in Golden-Age Madrid The Court of Philip IV through Foreign Eyes edited by Jorge Fernández-Santos and José Luis Colomer prologue by John H. Elliott epilogue by Miguel-Ángel Ochoa Brun Nationalism and Transnationalism in the Court of Spain | 13 Prologue: Nationalism and Transnationalism in the Court of Spain John H. Elliott In the summer of 1963 Lord Hailsham, at that time the British Minister for Science, came back from Moscow, where he had been sent as the emissary of the Prime Minister, Harold Macmillan, to take part in negotiations being conducted with the Russians for partial nuclear disarmament. He returned to London with presents for Macmillan from his opposite number, Nikita Kruschev, the Premier of the Soviet Union. These consisted of caviar, crab meat and wine. Macmillan reciprocated with a vase and some Stilton cheese.1 It was one further, and rather banal, episode in the long story of diplomatic gift-giving that is a central theme of this book. Madrid, the seat of the Spanish court since 1561, was a great, and perhaps the greatest, European centre for the exchange of diplomatic gifts during the later sixteenth and seventeenth centuries. Effectively the capital of a world- wide monarchy, the Monarquía española, Madrid exercised a gravitational pull over the representatives of the other states of Europe, whether they were en- emies or rivals, allies or satellites of the Spanish crown. At least until the 1640s and 1650s, when Spain’s European hegemony ceased to be taken for granted, the Spanish Habsburg monarchs, Philip II, Philip III and Philip IV, enjoyed a commanding position on the international stage. -
Cna85b2317313.Pdf
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. -
Catalogue Entry
CALLISTO FINE ARTS 17 Georgian House 10 Bury Street London SW1Y 6AA +44 (0)207 8397037 [email protected] www.callistoart.com Jacopo della Quercia (Quercegrossa, c.1372 – Siena, 1438) Warrior Saint c.1426-1430 Marble 53x23x14 cm Bibliography: Casciaro, Raffaele, “Celsis Florentia nota tropheis”, in Raffaele Casciaro e Paola Di Girolami, a cura di, Jacopo della Quercia ospite a Ripatransone, Tracce di scultura toscana tra Emilia e Marche. Ripatransone, Firenze, 2008, pp. 21-39 Custoza, Gian Camillo, con prefazione di Giancarlo Gentilini, “Jacopo della Quercia. San Paolo”, Venezia, 2011 Gentilini, Giancarlo, introduzione di, David Lucidi, con la collaborazione di, “Scultura italiana del Rinascimento”, Firenze, 2013, pp. 13-15 CALLISTO FINE ARTS 17 Georgian House 10 Bury Street London SW1Y 6AA +44 (0)207 8397037 [email protected] www.callistoart.com Gentilini, Giancarlo, scheda, in Massimo Pulini, a cura di, “Lo Studiolo di Baratti”, Cesena, 2010, cat. 1, pp. 30-33 Ortenzi, Francesco, in “Lo Studiolo di Baratti”, catalogo della mostra (Cesena 2010), a cura di M. Pulini, Cesena 2010, pp. 30-33 n. 1; Ortenzi, Francesco, scheda, in Raffaele Casciaro e Paola Di Girolami, a cura di, “Jacopo Della Quercia ospite a Ripatransone. Tracce di scultura toscana tra Emilia e Marche”. Ripatransone, Firenze, 2008, cat. 5, pp. 64-68 Exhibitions: “Scultura italiana del Rinascimento”, a cura di Giancarlo Gentilini e David Lucidi, Firenze, The Westin Excelsior, 5-9 ottobre 2013 “Lo Studiolo di Baratti”, a cura di Massimo Pulini, Cesena, Galleria Comunale d’Arte, 6 febbraio – 11 aprile 2010 “Jacopo della Quercia ospite a Ripatransone. Tracce di scultura toscana tra Emilia e Marche”, a cura di Raffaele Casciaro e Paola Di Girolami, Ripatransone, Chiesa di Sant’Agostino, 28 giugno – 14 settembre 2008 This marvellous work has been attributed to Jacopo della Quercia by Francesco Ortenzi in 2008 and by Giancarlo Gentilini in 2011.