DOCSLIB.ORG

Le Voci Del Museo. 30 Collana Di Museologia E Museografia Le Voci Del Museo Collana Di Museologia E Museografia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Le Voci Del Museo. 30 Collana Di Museologia E Museografia Le Voci Del Museo Collana Di Museologia E Museografia Le Voci del Museo. 30 Collana di Museologia e Museografia le voci del museo collana di museologia e museografia Collana diretta da Cristina De Benedictis Antonio Paolucci Comitato scientifico Luca Basso Peressut Pellegrino Bonaretti Enzo Borsellino Pietro Clemente Marisa Dalai Emiliani Paola D’Alconzo Michela Di Macco Arturo Fittipaldi Elena Fumagalli Antonella Gioli Donata Levi Viktoria Markova Maria Cecilia Mazzi Raffaella Morselli Giuseppe Olmi Marinella Pigozzi Krzysztof Pomian Edouard Pommier Cecilia Prete Emanuela Rossi Massimiliano Rossi Ettore Spalletti Segreteria Scientifica Maria Maugeri Angelo Maria Monaco Giacomo Barri “francese” e il suo Viaggio pittoresco d’Italia. Gli anni a Venezia di un peintre-graveur scrittore d’arte nel Seicento Le Voci del Museo. 30 La collana ha un Comitato Scientifico ed un collegio di referee internazionali “Le Voci del Museo” ® is a peer-reviewed book series © Copyright 2014 Ringraziamenti by Edifir Edizioni Firenze s.r.l. Nel congedare questo lavoro desidero ringraziare tutti coloro che a vario titolo hanno contribuito Via Fiume, 8 – 50123 Firenze alla sua realizzazione sostenendomi, consigliando- Tel. 05528639 – Fax 055289478 mi, redarguendomi e accompagnandomi nel lungo www.edifir.it – [email protected] periodo di gestazione trascorso. Sono persone a me molto vicine e colleghi di lavoro, tutti comunque fondamentali per il completamento dell’opera. Responsabile del progetto editoriale Ringrazio allora, oltre al personale delle sedi di stu- Simone Gismondi dio e ricerca frequentate, i lettori anonimi della Peer Review, i membri della collana di studi in cui il lavo- ro è stato accolto e l’editore; a Firenze Cristina de Be- Responsabile editoriale nedictis, Elena Fumagalli, Simone Gismondi, Laura Elena Mariotti Lombardi, Elvira Bojilova; a Bologna Giovanna Pe- rini; al Warburg Institute Charles Hope, Jill Kraye e Fotolito e stampa Paul Taylor; nelle lagune Giuseppe Pavanello, Ros- sella Granziero, Denis Cecchin, Davide Trivellato; a Pacini Editore Industrie Grafiche Lecce i docenti della Facoltà di Beni Culturali. La più profonda riconoscenza va ai miei ciceroni nel mare Progetto Grafico magnum della ricerca, Massimiliano Rossi e Alberto Pavan. Heartfelt Graphic Design Studio – Milano Dedico questo lavoro ai più cari compagni di viag- gio, mia madre Eva, Alberto, Massimiliano, alla me- moria di mia nonna e ai nuovi arrivati, Giuseppe e isbn 978-88-7970-574-5 Carla. In copertina Pompeo Batoni, Ritratto di Joseph Henry, 1750-1751 circa, olio su tela, 98x72.5, particolare (© Baltimora, The Wal- ters Art Museum) Fotocopie per uso personale del lettore possono essere effettuate nei limiti del 15% di ciascun volume/fascicolo di periodico dietro pagamento alla SIAE del compenso previsto dall’art. 68, comma 4, della legge 22 aprile 1941 n. 633 ovvero dall’accordo stipulato tra SIAE, AIE, SNS e CNA, ConfArtigianato, CASA, CLAAI, ConfCommercio, ConfEsercenti il 18 dicembre 2000. Le riproduzioni per uso differente da quello personale sopracitato potranno avvenire solo a seguito di specifica autorizzazione rilasciata dagli aventi diritto/dall’editore. Photocopies for reader’s personal use are limited to 15% of every book/issue of periodical and with payment to SIAE of the compensation foreseen in art. 68, codicil 4, of Law 22 April 1941 no. 633 and by the agreement of December 18, 2000 between SIAE, AIE, SNS and CNA, ConfArtigianato, CASA, CLAAI, ConfCommercio, ConfEsercenti. Reproductions for purposes different from the previously mentioned one may be made only after specific authorization by those holding copyright/the Publisher. Indice Elenco delle illustrazioni e crediti fotografici 7 Introduzione di Massimiliano Rossi 13 Capitolo I Un artista francese a Venezia nel Seicento 15 1. Jacques de Pierre de Bar di Lione, alias Giacomo Barri (ca. 1636/8 – post 1690) 17 2. La questione della nazionalità di Barri dal Seicento all’Ottocento 20 3. Barri nelle Brevi Notizie di Bernardo Cavagnis e nelle Notizie di Nadal Melchiori 25 4. Barri promotore del «Colleggio de’ Pittori» a Venezia 38 5. La fortuna critica contemporanea 33 Capitolo II Giacomo Barri pittore senza dipinti ma prolifico incisore (1666-1668) 41 1. L’incisione d’après e il mito di Veronese nel XVII secolo 43 2. Opere e destinatari 46 3. Nel solco dell’incisione di traduzione da Veronese 48 4. Un primato scippato 50 5. L’incisore e i pittori 52 6. L’incisore e il mecenate 58 7. Opere incerte e attribuzioni 63 Capitolo III Il Viaggio pittoresco: la prima guida d’arte tascabile d’Italia (1671) 75 1. Il milieu lagunare 77 2. Alle origini della «letteratura dei Ciceroni» 81 3. Ut pictura poësis, electio e altri spunti critici 83 4. Fonti, posizione critica e contenuti inediti 88 5. Il tipo di opere, i pittori citati e i grandi esclusi 97 6. Il tono confidenziale e il lessico ecfrastico del cicerone 103 7. I limiti del Viaggio 110 Capitolo IV The Painters Voyage of Italy (1679) 129 1. William Lodge e la traduzione inglese del Viaggio pittoresco 131 2. Modifiche, aggiunte e note al testo 131 3. Conclusioni 137 Illustrazioni 141 Capitolo V Trascrizione delle fonti Viaggio pittoresco d’Italia. Testo e note di commento 189 Capitolo VI Trascrizione delle fonti The Painters Voyage of Italy. Testo e note di commento 253 Apparati critici Tavola cronologica della vita e delle opere di Giacomo Barri 303 Appendice documentaria 305 Catalogo delle opere 317 Abstract 335 Indici Indice ragionato dei luoghi nel Viaggio pittoresco 339 Indice ragionato degli artisti e delle loro opere e dei prestiti dalle fonti 349 Bilancio del rapporto tra le fonti e sintesi del paragrafo critico III.4 381 Indice degli autori moderni 383 Indice delle cose notevoli 385 Bibliografia 393 Fonti inedite e manoscritte 395 Fonti 395 Studi 405 Elenco delle illustrazioni e referenze Fotografiche 8 Giacomo Barri “francese” e il suo Viaggio pittoresco d’Italia. 1. Registrazione del matrimonio di Giacomo Barri e Chiara Piatti, ASPV, parrocchia, SS. Apostoli di Venezia, registri matrimoni, 7, 1625-1667, c. 173r (particolare), per gentile concessione dell’ASPV. 2. Istanza per l’istituzione del Collegio dei Pittori, ASV, Senato, Terra, filza 1029, dec. 1682, foglio sciolto, per gentile concessione dell’ASV. 3. Firma autografa di Giacomo Barri, ASV, Senato, Terra, filza 1029, dec. 1682, foglio sciolto (partico- lare), per gentile concessione dell’ASV. 4. Marco Boschini, Allegoria della Pittura come Poesia muta, dal frontespizio delle Ricche Minere della Pittura veneziana, Venezia 1674, per gentile concessione del Warburg Institute, London. 5. Marco Boschini, Le Minere della Pittura, Venezia 1664, frontespizio, per gentile concessione del Warburg Institute, London. 6. Francesco Scannelli, Il Microcosmo della Pittura, Cesena 1657, controfrontespizio e frontespizio, per gentile concessione del Warburg Institute, London. 7. Parmigianino, Antea (particolare), ca. 1535, Napoli, Museo Nazionale di Capodimonte, © Web Art Gallery. 8. Paolo Caliari, Veronese, Nozze di Cana (particolare), Parigi, Musée du Louvre, © Web Art Gallery. 9. Tiziano, Assunzione della Vergine (particolare), 1516-1518, Venezia, Santa Maria Gloriosa dei Frari, © Web Art Gallery. 10. Tintoretto, Ecce Homo (particolare), 1566-67, Venezia, Scuola Grande di San Rocco, Sala dell’Alber- go, © Web Art Gallery. 11. Raffaello, Madonna del pesce, ca.1512-1514, Madrid, Museo Nazionale del Prado, © Web Art Gallery. 12. Francis Place, Ritratto di William Lodge incisore, s. d., © Trustees of the British Museum, London. 13. M. Beale, A. Blootching, Ritratto di Thomas Belasyse Lord Visc. Fauconberg, 1676, © Trustees of the British Museum, London. 14. Paolo Caliari, Veronese, Adorazione dei pastori, ante 1560, olio su tela, Venezia, basilica dei Santi Giovanni e Paolo, © Web Art Gallery. 15. Giacomo Barri, Adorazione dei pastori, da Veronese per il Marchese Agostino Fonseca nobile Veneto, 16 settembre 1666, acquaforte, © Trustees of the British Museum, London. 16. Giacomo Barri, Cena in casa di Simone da Veronese per Coli Gherardi, 29 maggio 1667, acquaforte, su concessione dell’Archivio fotografico Correr, Venezia. 17. Paolo Caliari Veronese, Cena in casa di Simone, ca. 1536, olio su tela, Torino, Galleria Sabauda, © Web Art Gallery. 18. Giacomo Barri, Adorazione dei pastori, da Veronese per Girolamo Cavazza, 16 settembre 1667, acqua- forte, Venezia, su concessione dell’Archivio fotografico Correr. Elenco delle illustrazioni e referenze fotografiche 19. Giacomo Barri, Figure del sofitto d’una sala del Serenissimo palazzo di Venetia detto il Colleggio dipinto da Paulo Veronese, Venezia, 1668, coperta della suite, acquaforte, su concessione dell’Istituto Nazionale della Grafica, Roma. 20. Venezia, Palazzo Ducale, veduta della Sala del Collegio, © Web Art Gallery. 21. Sinossi delle Figure del sofitto d’una sala del Serenissimo palazzo di Venetia detto il Colleggio dipinto da Paulo Veronese, Venezia, 1668, elaborazione grafica dell’autore. 22. Paolo Caliari, Veronese, La Moderazione, 1575/78, olio su tela, Sala del Collegio, Palazzo Ducale, Ve- nezia, su concessione dell’Istituto Nazionale della Grafica, Roma. 23. Giacomo Barri, La Moderazione, in Figure del sofitto d’una sala del Serenissimo palazzo di Venetia detto il Colleggio dipinto da Paulo Veronese, 1668, acquaforte, su concessione dell’Istituto Nazionale della Grafi- ca, Roma. 24. Giacomo Barri, La Vigilanza, in Figure del sofitto d’una sala del Serenissimo palazzo di Venetia detto il Colleggio dipinto da Paulo Veronese, 1668, acquaforte, su concessione dell’Istituto Nazionale
Load more

Recommended publications
  • Profiling Women in Sixteenth-Century Italian
    BEAUTY, POWER, PROPAGANDA, AND CELEBRATION: PROFILING WOMEN IN SIXTEENTH-CENTURY ITALIAN COMMEMORATIVE MEDALS by CHRISTINE CHIORIAN WOLKEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Edward Olszewski Department of Art History CASE WESTERN RESERVE UNIVERISTY August, 2012 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Christine Chiorian Wolken _______________________________________________________ Doctor of Philosophy Candidate for the __________________________________________ degree*. Edward J. Olszewski (signed) _________________________________________________________ (Chair of the Committee) Catherine Scallen __________________________________________________________________ Jon Seydl __________________________________________________________________ Holly Witchey __________________________________________________________________ April 2, 2012 (date)_______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. 1 To my children, Sofia, Juliet, and Edward 2 Table of Contents List of Images ……………………………………………………………………..….4 Acknowledgements……………………………………………………………...…..12 Abstract……………………………………………………………………………...15 Introduction…………………………………………………………………………16 Chapter 1: Situating Sixteenth-Century Medals of Women: the history, production techniques and stylistic developments in the medal………...44 Chapter 2: Expressing the Link between Beauty and
    [Show full text]
  • PRESS RELEASE from the FRICK COLLECTION
    ARCHIVED PRESS RELEASE from THE FRICK COLLECTION 1 EAST 70TH STREET • NEW YORK • NEW YORK 10021 • TELEPHONE (212) 288-0700 • FAX (212) 628-4417 PARMIGIANINO’S ANTEA: A BEAUTIFUL ARTIFICE January 29, 2008, through May1, 2008 Press Preview: Monday, January 28, 2008, 10 a.m. to 11 a.m. (Remarks at 10:15am) The Frick Collection, 1 East 70th Street, New York, NY 10021; RSVP: (212) 547-6844 This winter and spring Parmigianino’s hauntingly beautiful portrait of a young woman known as Antea (c.1531–34) will be on view in the United States for the first time in more than twenty years. Generously lent to The Frick Collection by the Museo di Capodimonte in Naples, this painting is one of the most important portraits of the Italian Renaissance. Like Leonardo da Vinci’s Mona Lisa, Parmigianino’s Antea is a consummate example of a portrait with compelling psychological presence. The sitter’s penetrating gaze and naturalistic presentation suggest that we may be encountering a real person, yet the identity of this young woman is unknown. Many questions about the painting remain unanswered. Of these, the most persistent concerns the sitter’s identity. One of the earliest mentions of the painting, dating from the late seventeenth century, claims she is Antea, a famous Roman courtesan, and Parmigianino’s mistress; other theories suggest she is the daughter or servant Parmigianino (1503–1540), Antea, c.1531–34, oil on canvas, of the artist, a noble bride, or a member of an aristocratic family. Still others 136 x 86 cm, Museo di Capodimonte, Naples have suggested that the painting is an example of an “ideal beauty,” a popular genre of Renaissance female portraiture in which the beauty and virtue of the sitter were of paramount importance, rather than her identity.
    [Show full text]
  • Cambridge University Press 978-0-521-56580-6 - Picturing Women in Renaissance and Baroque Italy Edited by Geraldine A
    Cambridge University Press 978-0-521-56580-6 - Picturing Women in Renaissance and Baroque Italy Edited by Geraldine A. Johnson and Sara F. Matthews Grieco Index More information Index Page numbers in italic indicate as illustration. Abela, Fra Giovan Francesco 28on.48 Angeleri, Carlo 262 n.2 Acidini Luchinat, Cristina 286 n.37 Angelico, Fra Adam, biblical character 172 St. Peter Preaching to the Romans 21,22 Adoration of the Child 179 Anguissola, Sofonisba 5,249 n.12,272 n.i Aeneas 196 Annunziata, Saint 26m.73 Affinati d'Acuto, Fra Giacomo 266 n.28 Antegnati, Gian Giacomo (organ maker) 108 Affo, Ireneo 271 n.25, n.26 Antoninius, Saint, Archbishop of Florence Agnus Dei (wax images of the Lamb of God) 20,35,36,37,39,40, 58, 256 nn.74-75, 159 260 n.68, 285 n.24 Ahl, Diane Cole 257 n.15 Opere abenvivere 39, 252 n.i6 Albarelli, Giuseppe M. 257n.io Summa theologica 173,285 n.24,286 n.30 Albero della pazzia 73 Apuleius, Pseudo- Alberti, Leon Battista 188, 212-13, 288 n.6o, 293 Herbarium 259 n.50 nn.49-50 Aquiliana, Gorg 280 n.52 De re aedificatoria 49, 258 n.24 Aquinas, Thomas 173 Alciati, Andrea 119, 274 nn.32-33 dAquino, Maria 36 Alcoff, Linda 250 n.25 d'Aragona, Alfonso 217,218 Aldimari, Biagio 280 n.56 Araldi, Alessandro Aldrovandi, Ulisse 120,121, 275 n.40, n.43, 276 Cella di Santa Caterina (convent of S. Paolo, n.63 Parma) 99 Aldrovandi Hercolani, Ginevra 134-35,136, Arasse, Daniel 252 n.20, 253 n.29 137 Archconfraternity of Orphans 281 n.69 Alidosi, the family of 273 n.8 Aretino, Pietro 242, 243, 244, 299 n.58, n.65 Alighieri, Dante 28,36,
    [Show full text]
  • Catholic%Than%Rome:% Art%And%Lay
    ! ! ! More%Catholic%than%Rome:% Art%and%Lay%Spirituality%at%Venice's%Scuola%di%S.%Fantin,%1562B1605% % By% % Meryl%Faith%Bailey% % % A%dissertation%submitted%in%partial%satisFaction%oF%the%% % requirements%For%the%degree%oF%% % Doctor%of%Philosophy%% % in%% % History%oF%Art% % in%the% % Graduate%Division% % of%the% % University%of%California,%Berkeley% % Committee%in%Charge:% Professor%Loren%Partridge,%Chair% Professor%Elizabeth%Honig% Professor%Todd%Olson% Professor%Randolph%Starn% % Spring%2011% ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ©%By%Meryl%Faith%Bailey,%2011% All%Rights%Reserved Abstract% ! More%Catholic%than%Rome:% Art%and%Lay%Spirituality%at%Venice's%Scuola%di%S.%Fantin,%1562B1605% % By% % Meryl%Faith%Bailey% % Doctor%oF%Philosophy%in%History%oF%Art% % University%of%California,%Berkeley% % Professor%Loren%Partridge,%Chair! ! This%dissertation%explores%the%art%patronage%oF%a%small%group%oF%devout% Venetian%laymen%across%Five%decades%up%to%the%papal%Interdict%oF%Venice%in%1606B 1607.%It%takes%a%new%approach%to,%and%offers%new%perspectives%on,%this%crucial%but% largely%neglected%moment%in%the%city’s%cultural%history.%Authorized%by%the%state%to% provide%spiritual%comfort%and%assistance%to%prisoners%condemned%to%death,%the% Scuola%di%S.%Fantin%played%a%pivotal%role%in%both%the%city’s%religious%life%and%its% criminal%justice%system.%Public%execution%was%a%highly%choreographed%rite%with% proFound%political%and%theological%meaning.%By%repositioning%the%brutal%rite%oF% punishment%within%the%context%oF%Christian%Forgiveness,%charity,%and%salvation,%the%
    [Show full text]
  • FB Catalogue Final.Pdf
    Seattle, Seattle Art Museum Fort Worth, Kimbell Art Museum October 17 2019 - January 26 2020 March 01 2020 - June 14 2020 Curated by Sylvain Bellenger with the collaboration of Chiyo Ishikawa, George Shackleford and Guillaume Kientz Embassy of Italy Washington The Embassy of Italy in Washington D.C. Museo e Real Bosco di Capodimonte Seattle Art Museum Director Illsley Ball Nordstrom Director and CEO Front cover Sylvain Bellenger Amada Cruz Parmigianino Lucretia Chief Curator Susan Brotman Deputy Director for Art and 1540, Oil on panel Linda Martino Curator of European Painting and Sculpture Naples, Museo e Real Bosco Chiyo Ishikawa di Capodimonte Exhibition Department Patrizia Piscitello Curatorial Intern Exhibition Catalogue Giovanna Bile Gloria de Liberali Authors Documentation Department Deputy Director for Art Administration Sylvain Bellenger Alessandra Rullo Zora Foy James P. Anno Christopher Bakke Head of Digitalization Exhibitions and Publications Manager Proofreading and copyediting Carmine Romano Tina Lee Mark Castro Graphic Design Restoration Department Director of Museum Services Studio Polpo Alessandra Golia and Chief Registrar Lauren Mellon Photos credits Legal Consulting Museo e Real Bosco di Capodimonte Studio Luigi Rispoli Associate Registrar for Exhibitions © Alberto Burri by SIAE 2019, Fig. 5 Megan Peterson © 2019 Andy Warhol Foundation American Friends of Capodimonte President for the Visual Arts by SIAE, Fig. 6 Nancy Vespoli Director of Design and Installation Photographers Nathan Peek and his team Luciano Romano Speranza Digital Studio, Napoli Exhibition Designer Paul Martinez Published by MondoMostre Printed in Italy by Tecnostampa Acting Director of Communications Finished printing on September 2019 Cindy McKinley and her team Copyright © 2019 MondoMostre Chief Development Ofcer Chris Landman and his team All Rights Reserved.
    [Show full text]
  • The Library of Professor Leo Steinberg
    The Library of Professor Leo Steinberg 4164 titles in ca. 4600 physical volumes INTRODUCTORY MATERIAL DICTIONARY OF ART HISTORIANS A Biographical Dictionary of Historic Scholars, Museum Professionals and Academic Historians of Art Steinberg, Leo, né Zalman Lev Date born: July 9, 1920 Place Born: Moscow, Russia Date died: March 13, 2011 Place died: New York, NY Michelangelo- and modernist art historian; Benjamin Franklin professor of art at University of Pennsylvania, 1975- 1991. Steinberg was born in Moscow of German-Jewish parents (his mother was Anyuta Esselson [Steinberg], 1890- 1954) and his father, Isaac Nachman Steinberg (1888-1957), government figure and lawyer in revolutionary Russia. Lenin appointed Steinberg's father commissar of justice. His idealism, (he wanted to abolish the prison system, for example) forced the family into exile in Berlin, where the younger Steinberg grew up. After the rise of the Nazis in Germany, the family moved to London where Steinberg studied (studio) painting and sculpture at the Slade School in London from 1936 to 1940. After World War II he immigrated to New York working initially as a freelance writer and translator (including a holocaust account, Ashes and Fire, 1947). He also taught drawing at the Parsons School of Design. He studied art history at the Institute of Fine Arts, New York University, under Richard Krautheimer and Wolfgang Lotz, receiving his Ph.D., in 1960. His dissertation, written under Lotz, was on Borromini's San Carlo alle Quattro Fontane. In 1962 he an art editor for Life magazine married Dorothy Seiberling (later divorced). Between 1962-1975 Steinberg taught art history and life drawing at Hunter College, the City University of New York.
    [Show full text]
  • 2009-2010 Newsletter
    WILLIAMS G RADUATE PROGRAM IN THE HISTORY OF A RT OFFERED IN COLLABORATION WITH THE CLARK ACADEMIC YEAR 2009–10 Newsletter CLASS OF 1955 MEMORIAL PROFESSOR OF ART MARC GOTLIEB Letter from the Director Greetings from Williamstown. I hope last year, Sicily, Naples, Rome, Florence, and Venice, thanks you enjoy our latest newsletter, which to the kind participation of Michael Cole, E.J. Johnson, and enters its second year of redesign. Tom Loughman ’95. Next year: Greece, and Paris too, in the Once again we have tried to convey company of Elizabeth McGowan and myself. This will be my a sense of our curriculum and experi- own first trip to Greece, and needless to say I’m thrilled (and ence here from the students’ point of thrilled to have such a guide as Liz). This past year I had the opportunity to meet program view. And once again it is a great plea- alumni in Los Angeles and in Houston—on each occasion, sure to be able to highlight news and accomplishments of our and thanks to the assistance of graduates in each city, we distinguished alumni, who now number well over four hundred. were able to put a group event together and trade stories, All of the many photos that follow generally show our recollections, and advice about the program’s past and its students smiling, and indeed often they are. But don’t let that future. I look forward to working with you on more such fool you; sometimes it is indeed just a pose. Our program events in the years to come is extraordinarily demanding, both in terms of academic On a final note, many thanks to our student authors, and non-academic commitments.
    [Show full text]
  • PRESS RELEASE from the FRICK COLLECTION
    ARCHIVED PRESS RELEASE from THE FRICK COLLECTION 1 EAST 70TH STREET • NEW YORK • NEW YORK 10021 • TELEPHONE (212) 288-0700 • FAX (212) 628-4417 ADVANCE SCHEDULE OF EXHIBITIONS Through Spring 2009 PLEASE NOTE: The information provided below is a partial listing and is subject to change. Before publication, please confirm scheduling by calling the Media Relations & Marketing Department at (212) 547-6844 or by emailing [email protected]. CURRENT & UPCOMING PRESENTATIONS REOPENED, RELIT FRAGONARD ROOM On view now GABRIEL DE SAINT-AUBIN (1724–1780) Through January 27, 2008 PARMIGIANINO’S ANTEA: A BEAUTIFUL ARTIFICE January 29, 2008, through April 27, 2008 THE ARNHOLD COLLECTION OF MEISSEN PORCELAIN, 1710–50 March 25, 2008, through June 29, 2008 ANDREA RICCIO: RENAISSANCE MASTER OF BRONZE September 16, 2008, through January 4, 2009 MASTERPIECES OF EUROPEAN PAINTING FROM THE NORTON SIMON MUSEUM October 28, 2008, through January 18, 2009 CASPAR DAVID FRIEDRICH: NATURE AS REVELATION Parmigianino (1503–1540), Antea, c.1531-1534, oil on canvas, 136 x 86 February 10, 2009, through, May 3, 2009 cm, Museo di Capodimonte, Naples REOPENED, RELIT FRAGONARD ROOM Visitors may enjoy, as never before possible, one of The Frick Collection’s most remarkable galleries, the Fragonard Room, which has undergone its first major relighting and refurbishment in sixty years. This initiative, undertaken by Richard Renfro and his associate Eileen Pierce of Renfro Design Group, Inc., required the summer closure of the room, during which time the principal panels of Fragonard’s masterpiece series The Progress of Love were placed on view in the East Gallery. The panels were recently reinstalled in the gallery bearing the artist’s name, which reopened on Tuesday, October 23, 2007.
    [Show full text]
  • The Poetry of Parmigianino's “Schiava Turca”
    Iconic Painting is Newly Interpreted and Comes to the U.S. for the First Time THE POETRY OF PARMIGIANINO’S “SCHIAVA TURCA” The Frick Collection, New York May 13 through July 20, 2014 Legion of Honor, Fine Arts Museums of San Francisco July 26 through October 5, 2014 Francesco Mazzola (1503–1540), called Parmigianino after Parma, the Northern Italian city of his birth, was one of the most prolific and celebrated artists of the sixteenth century. Known as “Raphael reborn,” he mastered the arts of painting, drawing, and printmaking and was renowned for his portraits. Today his exquisite portrait of an unknown woman called the Schiava Turca (Turkish Slave) is an icon of Parma. The painting, which has rarely been seen outside its home institution, the Galleria Nazionale di Parma, travels to the United States for the first time for its presentation at The Frick Collection (and subsequently at the Legion of Honor, part of the Fine Arts Museums of San Francisco). The showing at the Frick marks the museum’s third collaboration with the Foundation for Italian Art & Culture (FIAC), a series of loans focused on the female portrait in the Renaissance. The collaboration previously featured Raphael’s La Fornarina (Rome, Parmigianino, Schiava Turca, c. 1531–34, oil on panel, Galleria Nazionale di Parma, photo: Scala/Art Resource, NY Galleria Nazionale d’Arte Antica, Palazzo Barberini) and Parmigianino’s Antea (Naples, Museo di Capodimonte). The Poetry of Parmigianino’s “Schiava Turca” will be accompanied by a catalogue and numerous public programs. The exhibition is curated by Aimee Ng, Research Associate at The Frick Collection and Lecturer in the Department of Art History and Archaeology at Columbia University, and is organized by 1 The Frick Collection with the Foundation for Italian Art & Culture.
    [Show full text]
  • Van Dyck, Rubens, and the Status of Portraiture Adam Eaker Submitted
    Lore of the Studio: Van Dyck, Rubens, and the Status of Portraiture Adam Eaker Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2016 ©2016 Adam Eaker All rights reserved ABSTRACT Lore of the Studio: Van Dyck, Rubens, and the Status of Portraiture Adam Eaker This dissertation offers a new interpretation of Anthony van Dyck’s art and career, taking as its point of departure a body of contemporary anecdotes, poems, and art theoretical texts that all responded to Van Dyck’s portrait sittings. It makes a decisive break with previous scholarship that explained Van Dyck’s focus on portraiture in terms of an intellectual deficit or a pathological fixation on status. Instead, I argue that throughout his career, Van Dyck consciously made the interaction between painter and sitter a central theme of his art. Offering an alternate account of Van Dyck’s relationship to Rubens as a young painter, the opening chapter examines Van Dyck’s initial decision to place portraiture at the heart of his production. I trace that decision to Van Dyck’s work on a series of history paintings that depict the binding of St. Sebastian, interpreted here as a programmatic statement on the part of a young artist with a deep commitment to life study and little interest in an emerging hierarchy of genres that deprecated portraiture. The second chapter surveys the portrait copies of both Rubens and Van Dyck, demonstrating that imitative and historicist investigations link their approaches to portraiture.
    [Show full text]
  • The Frick Collection Members’ Magazine Winter 2008
    The Frick Collection members’ magazine winter 2008 upcoming exhibition The Arnhold Collection of Meissen Porcelain, 1710–50 March 25 through June 29, 2008 annual report july 2006–june 2007 The Frick Collection Letter from the Director Board of Trustees The coming year promises to be an exciting christine a. butler christine a. one for The Frick Collection. We will be offer- Margot Bogert, Chairman ing a number of superb exhibitions, beginning Howard Phipps Jr., Vice Chairman with Parmigianino’s Antea: A Beautiful Artifice, L. F. Boker Doyle, Treasurer which opens on January 29. The show features John P. Birkelund, Secretary a masterpiece by Parmigianino that has capti- Peter P. Blanchard III vated audiences for centuries, and we are grate- W. Mark Brady ful to the Museo di Capodimonte in Naples for lending the work. I. Townsend Burden III The magnificent porcelain bustard featured on the magazine’s cover is one of more than Walter A. Eberstadt one hundred objects that will be presented exclusively at the Frick as part of our second Emily T. Frick exhibition of 2008, The Arnhold Collection of Meissen Porcelain, 1710–50, opening in March. Agnes Gund Works such as this bird, from the early years of the Meissen manufactory, are particularly Franklin W. Hobbs rare and have always been prized. Although well known to specialists, the Arnhold collection Martha Loring has never before been the subject of a major public exhibition, and I am delighted to be able Anne L. Poulet, ex officio to introduce to our visitors these remarkable and important objects. Juan Sabater Our 2008 exhibition schedule also includes Masterpieces in Bronze: Riccio, Sculptor of Stephen A.
    [Show full text]
  • Lorenzo Lotto's Portraits of Women
    © COPYRIGHT by Amanda Chadbourne 2018 ALL RIGHTS RESERVED LORENZO LOTTO’S PORTRAITS OF WOMEN: A CASE STUDY OF INNOVATIONS IN CINQUECENTO FEMALE PORTRAITURE BY Amanda Chadbourne ABSTRACT This thesis argues that the Cinquecento Venetian artist Lorenzo Lotto, inspired by the innovations in female portraiture of Leonardo da Vinci and Giorgione, sought to imbue single- sitter portraits of women with a higher level of individualism and personality, resulting in a sense of agency and autonomy not typical of other portraits of women in the period. Through a case study of Lotto’s Portrait of a Lady as Lucretia, with additional analysis of his Lucina Brembati and Laura da Pola portraits, I explore the ambiguity tied to gender and sexuality often present after the rise of new categories of female portraits, especially the new genre depicting mistresses and courtesans in sixteenth century Italy. Further, I propose an alternative identity for the sitter in the Lucretia portrait than the conventional one, which identifies her as a noblewoman named Lucrezia Pesaro. I argue rather that she is a cortigiana onesta, or honest courtesan, who adopted the pseudonym Lucrezia (the vernacular version of Lucretia) in order to convey humanistic learning and ironic wit concerning the theme of chastity in relation to her profession. Courtesans occupied an ambiguous place in Renaissance society; this could at times threaten to upset conventional gender roles in society. Part of my argument is that the artistic traditions of Venice and Northern Italy, along with the unique culture of courtesans in Venice, spurred Lotto’s ingenuity in crafting an ambivalent and multi-dimensional portrait that showcased his sitter’s identity in a novel way.
    [Show full text]