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March 27, 2018 RESTORATION of CAPPONI CHAPEL in CHURCH of SANTA FELICITA in FLORENCE, ITALY, COMPLETED THANKS to SUPPORT FROM
Media Contact: For additional information, Libby Mark or Heather Meltzer at Bow Bridge Communications, LLC, New York City; +1 347-460-5566; [email protected]. March 27, 2018 RESTORATION OF CAPPONI CHAPEL IN CHURCH OF SANTA FELICITA IN FLORENCE, ITALY, COMPLETED THANKS TO SUPPORT FROM FRIENDS OF FLORENCE Yearlong project celebrated with the reopening of the Renaissance architectural masterpiece on March 28, 2018: press conference 10:30 am and public event 6:00 pm Washington, DC....Friends of Florence celebrates the completion of a comprehensive restoration of the Capponi Chapel in the 16th-century church Santa Felicita on March 28, 2018. The restoration project, initiated in March 2017, included all the artworks and decorative elements in the Chapel, including Jacopo Pontormo's majestic altarpiece, a large-scale painting depicting the Deposition from the Cross (1525‒28). Enabled by a major donation to Friends of Florence from Kathe and John Dyson of New York, the project was approved by the Soprintendenza Archeologia Belle Arti e Paesaggio di Firenze, Pistoia, e Prato, entrusted to the restorer Daniele Rossi, and monitored by Daniele Rapino, the Pontormo’s Deposition after restoration. Soprintendenza officer responsible for the Santo Spirito neighborhood. The Capponi Chapel was designed by Filippo Brunelleschi for the Barbadori family around 1422. Lodovico di Gino Capponi, a nobleman and wealthy banker, purchased the chapel in 1525 to serve as his family’s mausoleum. In 1526, Capponi commissioned Capponi Chapel, Church of St. Felicita Pontormo to decorate it. Pontormo is considered one of the most before restoration. innovative and original figures of the first half of the 16th century and the Chapel one of his greatest masterpieces. -
The Exhibit at Palazzo Strozzi “Pontormo and Rosso Fiorentino
Issue no. 18 - April 2014 CHAMPIONS OF THE “MODERN MANNER” The exhibit at Palazzo Strozzi “Pontormo and Rosso Fiorentino. Diverging Paths of Mannerism”, points out the different vocations of the two great artist of the Cinquecento, both trained under Andrea del Sarto. Palazzo Strozzi will be hosting from March 8 to July 20, 2014 a major exhibition entitled Pontormo and Rosso Fiorentino. Diverging Paths of Mannerism. The exhibit is devoted to these two painters, the most original and unconventional adepts of the innovative interpretive motif in the season of the Italian Cinquecento named “modern manner” by Vasari. Pontormo and Rosso Fiorentino both were born in 1494; Pontormo in Florence and Rosso in nearby Empoli, Tuscany. They trained under Andrea del Sarto. Despite their similarities, the two artists, as the title of the exhibition suggests, exhibited strongly independent artistic approaches. They were “twins”, but hardly identical. An abridgement of the article “I campioni della “maniera moderna” by Antonio Natali - Il Giornale degli Uffizi no. 59, April 2014. Issue no. 18 -April 2014 PONTORMO ACCORDING TO BILL VIOLA The exhibit at Palazzo Strozzi includes American artist Bill Viola’s video installation “The Greeting”, a intensely poetic interpretation of The Visitation by Jacopo Carrucci Through video art and the technique of slow motion, Bill Viola’s richly poetic vision of Pontormo’s painting “Visitazione” brings to the fore the happiness of the two women at their coming together, representing with the same—yet different—poetic sensitivity, the vibrancy achieved by Pontormo, but with a vital, so to speak carnal immediacy of the sense of life, “translated” into the here-and- now of the present. -
He Was More Than a Mannerist - WSJ
9/22/2018 He Was More Than a Mannerist - WSJ DOW JONES, A NEWS CORP COMPANY DJIA 26743.50 0.32% ▲ S&P 500 2929.67 -0.04% ▼ Nasdaq 7986.96 -0.51% ▼ U.S. 10 Yr 032 Yield 3.064% ▼ Crude Oil 70.71 0.55% ▲ This copy is for your personal, noncommercial use only. To order presentationready copies for distribution to your colleagues, clients or customers visit http://www.djreprints.com. https://www.wsj.com/articles/hewasmorethanamannerist1537614000 ART REVIEW He Was More Than a Mannerist Two Jacopo Pontormo masterpieces at the Morgan Library & Museum provide an opportunity to reassess his work. Pontormo’s ‘Visitation’ (c. 152829) PHOTO: CARMIGNANO, PIEVE DI SAN MICHELE ARCANGELO By Cammy Brothers Sept. 22, 2018 700 a.m. ET New York Jacopo Pontormo (1494-1557), one of the most accomplished and intriguing painters Florence ever produced, has been maligned by history on at least two fronts. First, by the great artist biographer Giorgio Vasari, who recognized Pontormo’s gifts but depicted him as a solitary eccentric who imitated the manner of the German painter and printmaker Albrecht Dürer to a fault. And second, by art historians quick to label him as a “Mannerist,” a term that has often carried negative associations, broadly used to mean excessive artifice and often associated with a period of decline. The term isn’t wrong for Pontormo, but it’s a dead end, explaining away Pontormo’s distinctiveness while sidelining him at the same time. It’s not hard to understand how Pontormo got his Pontormo: Miraculous Encounters reputation. -
2014 Art Guide
2014 Columban Art Calendar Art Guide Front Cover The Annunciation, Verkuendigung Mariae (detail) Lippi, Fra Filippo (c.1406-1469) In Florence during the late middle ages and Renaissance the story of the Annunciation took on a special meaning. Citizens of this wealthy and pious city dated the beginning of the New Year at the feast day of the Annunciation, March 25th. In this city as elsewhere in Europe, where the cathedral was dedicated to her, the Virgin naturally held a special place in religious life. To emphasize this, Fra Filippo sets the moment of Gabriel’s visit to Mary in stately yet graceful surrounds which recede into unfathomable depths. Unlike Gabriel or Mary, the viewer can detect in the upper left-hand corner the figure of God the Father, who has just released the dove of the Holy Spirit. The dove, a traditional symbol of the third person of the Trinity, descends towards Mary in order to affirm the Trinitarian character of the Incarnation. The angel kneels reverently to deliver astounding news, which Mary accepts with surprising equanimity. Her eyes focus not on her angelic visitor, but rather on the open book before her. Although Luke’s gospel does not describe Mary reading, this detail, derived from apocryphal writings, hints at a profound understanding of Mary’s role in salvation history. Historically Mary almost certainly would not have known how to read. Moreover books like the one we see in Fra Filippo’s painting came into use only in the first centuries CE. Might the artist and the original owner of this painting have greeted the Virgin’s demeanour as a model of complete openness to God’s invitation? The capacity to respond with such inner freedom demanded of Mary and us what Saint Benedict calls “a listening heart”. -
The Strange Art of 16Th –Century Italy
The Strange Art of 16th –century Italy Some thoughts before we start. This course is going to use a seminar format. Each of you will be responsible for an artist. You will be giving reports on- site as we progress, in as close to chronological order as logistics permit. At the end of the course each of you will do a Power Point presentation which will cover the works you treated on-site by fitting them into the rest of the artist’s oeuvre and the historical context.. The readings: You will take home a Frederick Hartt textbook, History of Italian Renaissance Art. For the first part of the course this will be your main background source. For sculpture you will have photocopies of some chapters from Roberta Olsen’s book on Italian Renaissance sculpture. I had you buy Walter Friedlaender’s Mannerism and Anti-Mannerism in Italian Painting, first published in 1925. While recent scholarship does not agree with his whole thesis, many of his observations are still valid about the main changes at the beginning and the end of the 16th century. In addition there will be some articles copied from art history periodicals and a few provided in digital format which you can read on the computer. Each of you will be doing other reading on your individual artists. A major goal of the course will be to see how sixteenth-century art depends on Raphael and Michelangelo, and to a lesser extent on Leonardo. Art seems to develop in cycles. What happens after a moment of great innovations? Vasari, in his Lives of the Artists, seems to ask “where do we go from here?” If Leonardo, Raphael and Michelangelo were perfect, how does one carry on? The same thing occurred after Giotto and Duccio in the early Trecento. -
78 – Entombment of Christ Jacobo Da Pontormo. 1525-28 C.E. Oil on Wood
78 – Entombment of Christ Jacobo da Pontormo. 1525-28 C.E. Oil on wood Video at Khan Academy Altarpiece (Renaissance) The Deposition is located above the altar of the Capponi Chapel of the church of Santa Felicita in Florence. Artist’s masterpiece This painting suggests a whirling dance of the grief-stricken flattened space what are we looking at? o No Cross is visible o the natural world itself also appears to have nearly vanished: a lonely cloud and a shadowed patch of ground with a crumpled sheet provide sky and stratum for the mourners o If the sky and earth have lost color, the mourners have not; bright swathes of pink and blue envelop the pallid, limp Christ (new) style: called Mannerist – o By the end of the High Renaissance, young artists experienced a crisis:[2] it seemed that everything that could be achieved was already achieved. No more difficulties, technical or otherwise, remained to be solved. The detailed knowledge of anatomy, light, physiognomy and the way in which humans register emotion in expression and gesture, the innovative use of the human form in figurative composition, the use of the subtle gradation of tone, all had reached near perfection. The young artists needed to find a new goal, and they sought new approaches.[citation needed] At this point Mannerism started to emerge.[2] The new style developed between 1510 and 1520 either in Florence,[14] or in Rome, or in both cities simultaneously o The word mannerism derives from the Italian maniera, meaning "style" or "manner" o Role model: Laocoon o Started -
Pontormo: Painting in an Age of Anxiety A I C
Pontormo: Miraculous Encounters, on view at the Getty Museum from February , to April , , brings together a small number of exceptional works by Jacopo da Pontormo, one of the greatest PAID UCLA Italian artists of the sixteenth century. The exhibition features one PRESORTED FIRST CLASS U.S. POSTAGE U.S. Pontormo of his most moving and innovative altarpieces, the Visitation, an Painting in an Age of Anxiety unprecedented loan from the parish Church of Santi Michele e Francesco in Carmignano (Prato, Italy), alongside the Getty’s own, iconic Portrait of a Halberdier, and the recently rediscovered Portrait of aYoung Man in a Red Cap from a private collection. These paintings have been reunited with their only surviving preparatory studies and other related drawings, in order to clarify Pontormo’s creative processes and working methods. This international conference, organized by the UCLA Center for Medieval and Renaissance Studies and the J. Paul Getty Museum, along with the curators of the exhibition, brings together leading scholars currently working on Pontormo’s oeuvre. Both historians and conservators will present new research related to the main themes of the exhibition, including: the works of Pontormo’s maturity, executed between and , within the historical context of the last Florentine republic and the dramatic siege of Florence; the artist’s techniques in drawing and painting; the controversial identifi cation of the sitters of his portraits; the relationship between Pontormo and his most important student, Bronzino; broader questions of attribution and connoisseurship. In addition to formal presentations made by the speakers, conference participants will also study the works present in the exhibition directly in the gallery to foster debate and discussion. -
Leonardo Da Vinci: Painter at the Court of Milan
Leonardo Da Vinci: Painter at the Court of Milan 9 November 2011 – 5 February 2012 Sainsbury Wing and Sunley Room Admission free Sponsored by Credit Suisse 'Leonardo da Vinci: Painter at the Court of Milan' is the most complete display of Leonardo’s rare surviving paintings ever held. This unprecedented exhibition – the first of its kind anywhere in the world – brings together sensational international loans never before seen in the UK, including 'La Belle Ferronière' (Musée du Louvre, Paris), the 'Madonna Litta' (Hermitage, Saint Petersburg) and 'Saint Jerome' (Pinacoteca Vaticana, Rome). While numerous exhibitions have looked at Leonardo da Vinci as an inventor, scientist or draughtsman, this is the first to be dedicated to his aims and techniques as a painter. Inspired by the recently restored National Gallery painting, 'The Virgin of the Rocks', this exhibition focuses on Leonardo as an artist and in particular on the work he produced during his career as court painter to Duke Lodovico Sforza in Milan in the late 1480s and 1490s. Benefiting from his salaried position, Leonardo had the freedom to explore ways of perceiving and recording human proportion, expression and anatomy and the myriad forms of plants and animals. These investigations fed into his extraordinary paintings: marvellous combinations of the real and the ideal, the natural and the divine. Featuring the finest paintings and drawings by Leonardo and his followers, the exhibition examines Leonardo’s pursuit for perfection in his representation of the human form. As a painter, he aimed to convince viewers of the reality of what they were seeing while still aspiring to create ideals of beauty – particularly in his exquisite portraits – and, in his religious works, to convey a sense of awe-inspiring mystery. -
Lives of the Most Eminent Painters Sculptors and Architects
Lives of the Most Eminent Painters Sculptors and Architects Giorgio Vasari Lives of the Most Eminent Painters Sculptors and Architects Table of Contents Lives of the Most Eminent Painters Sculptors and Architects.......................................................................1 Giorgio Vasari..........................................................................................................................................2 LIFE OF FILIPPO LIPPI, CALLED FILIPPINO...................................................................................9 BERNARDINO PINTURICCHIO........................................................................................................13 LIFE OF BERNARDINO PINTURICCHIO.........................................................................................14 FRANCESCO FRANCIA.....................................................................................................................17 LIFE OF FRANCESCO FRANCIA......................................................................................................18 PIETRO PERUGINO............................................................................................................................22 LIFE OF PIETRO PERUGINO.............................................................................................................23 VITTORE SCARPACCIA (CARPACCIO), AND OTHER VENETIAN AND LOMBARD PAINTERS...........................................................................................................................................31 -
Guidanationalgallery.Pdf
A short visit to the National Gallery London (from the Early Renaissance to the Masters of the 16th Century) Viaggio d’istruzione a Londra a.s. 2016-2017 classi 4C e 4D Madonna and Child enthroned (later part of the 13th century) Margaritone d’Arezzo Room 51 Margaritone d’Arezzo was the first artist from Arezzo whose name we know and whose work survives. He was active during the middle decades of the 13th century. Margaritone’s given name was Margarito, but it was transcribed erroneously by Vasari as “Margaritone”. It is by this latter form that he is usually known today. This is one of the earliest pictures in the National Gallery, dating from the later part of the 13th cen- tury. We can see the Virgin Mary seated on a throne decorated with lions’ heads, and Christ enthroned in the lap of Mary. They’re both within an oval shape, called a ‘Mandorla’, which represents the heavenly realm, and which also contains a couple of angels swinging incense burners. Mary is wearing a crown typical of Byzan- tine art and, if you look at the Christ figure, although he’s the size of a baby he’s painted as a much ol- der child, almost as a little man, and he is wearing scholars’ robes and holds a scroll in his left hand. Again, these are ways of representing philosophers and men of wisdom in Byzantine and medieval Greek traditions. There’s also a hint of a change from the perspective-less art of the Byzantine and that’s with Mary’s feet. -
How Novelle May Have Shaped Visual Imaginations
University of New Hampshire University of New Hampshire Scholars' Repository Faculty Publications 5-5-2016 How Novelle May Have Shaped Visual Imaginations Patricia A. Emison University of New Hampshire, [email protected] Follow this and additional works at: https://scholars.unh.edu/faculty_pubs Recommended Citation Emison, P. A. “How Novelle May Have Shaped Visual Imaginations,” Humanities, 5,2 2016: http : //www.mdpi.com/2076 − 0787/5/2/27 This Article is brought to you for free and open access by University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Faculty Publications by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. Article How Novelle May Have Shaped Visual Imaginations Patricia Emison Department of Art and Art History, University of New Hampshire, Durham, NH 03824, USA; [email protected]; Tel.: +1-603-862-1409 Academic Editors: Albrecht Classen and Peter Lamarque Received: 9 December 2015; Accepted: 16 April 2016; Published: 5 May 2016 Abstract: Artists figure fairly frequently in novelle, so it is not unreasonable to suppose that they may have taken more than a passing interest in the genre. Although much scholarly effort has been dedicated to the task of exploring how Horace’s adage “ut pictura poësis” affected the course of the visual arts during the Italian Renaissance and vast scholarly effort has been assigned to the study of Boccaccio’s literary efforts (much more so than the efforts of his successors), relatively little effort has been spent on the dauntingly interdisciplinary task of estimating how the development of prose literary imagination may have affected habits of perception and may also have augmented the project of integrating quotidian observations into pictorial compositions. -
Visualizing Dynasty and Dissent in Jacopo Pontormo's Portrait Of
Visualizing dynasty and dissent in Jacopo Pontormo’s Portrait of Cosimo il Vecchio Mary Hogan Camp Figure 1 Pontormo, Portrait of Cosimo il Vecchio, c. 1519, oil on panel, 90 x 72 cm Uffizi Gallery (inv. 1890, n. 3574), Florence. Photograph courtesy of Wikimedia Commons (Public Domain) The Portrait of Cosimo il Vecchio, c. 1519, marked the first Medicean portrait commission for the rising young Florentine artist Jacopo Pontormo (b.1494). [Figure1] It proved pivotal in his career, garnering him the favour and patronage of the Medici, who would continue to give him commissions and eventually place him on their payroll, where he remained for over twenty-four years until his death in 1556.1 At the time this commission was given, however, there was no such future surety: the family was facing a crisis, and the survival of the Medici line was in grave doubt. In 1516, Duke Giuliano de’ Medici, the youngest son of Lorenzo the Magnificent and ruler of Florence, had died childless at the age of thirty-seven. In 1519, his twenty-six-year-old nephew and successor, Duke Lorenzo, succumbed to a combination of syphilis and tuberculosis just twenty-one days after the birth of his only daughter Catherine. Their unexpected deaths left the family with no legitimate heir to power. There was one 1 Elizabeth Pilliod, Pontormo, Bronzino, Allori: a genealogy of Florentine art, New Haven: Yale University Press, 2001, 17. Journal of Art Historiography Number 17 December 2017 Mary Hogan Camp Visualizing dynasty and dissent in Jacopo Pontormo’s Portrait of Cosimo il Vecchio glimmer of hope, and of a hoped-for change in fortune: the birth of a healthy son to Maria Salviati, granddaughter of Lorenzo the Magnificent, on 12 June 1519, only one month after Duke Lorenzo’s death.