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Caterina Corner in Venetian History and Iconography Holly Hurlburt
Early Modern Women: An Interdisciplinary Journal 2009, vol. 4 Body of Empire: Caterina Corner in Venetian History and Iconography Holly Hurlburt n 1578, a committee of government officials and monk and historian IGirolamo Bardi planned a program of redecoration for the Sala del Maggior Consiglio (Great Council Hall) and the adjoining Scrutinio, among the largest and most important rooms in the Venetian Doge’s Palace. Completed, the schema would recount Venetian history in terms of its international stature, its victories, and particularly its conquests; by the sixteenth century Venice had created a sizable maritime empire that stretched across the eastern Mediterranean, to which it added considerable holdings on the Italian mainland.1 Yet what many Venetians regarded as the jewel of its empire, the island of Cyprus, was calamitously lost to the Ottoman Turks in 1571, three years before the first of two fires that would necessitate the redecoration of these civic spaces.2 Anxiety about such a loss, fear of future threats, concern for Venice’s place in evolving geopolitics, and nostalgia for the past prompted the creation of this triumphant pro- gram, which featured thirty-five historical scenes on the walls surmounted by a chronological series of ducal portraits. Complementing these were twenty-one large narratives on the ceiling, flanked by smaller depictions of the city’s feats spanning the previous seven hundred years. The program culminated in the Maggior Consiglio, with Tintoretto’s massive Paradise on one wall and, on the ceiling, three depictions of allegorical Venice in triumph by Tintoretto, Veronese, and Palma il Giovane. These rooms, a center of republican authority, became a showcase for the skills of these and other artists, whose history paintings in particular underscore the deeds of men: clothed, in armor, partially nude, frontal and foreshortened, 61 62 EMWJ 2009, vol. -
The Symbolism of Blood in Two Masterpieces of the Early Italian Baroque Art
The Symbolism of blood in two masterpieces of the early Italian Baroque art Angelo Lo Conte Throughout history, blood has been associated with countless meanings, encompassing life and death, power and pride, love and hate, fear and sacrifice. In the early Baroque, thanks to the realistic mi of Caravaggio and Artemisia Gentileschi, blood was transformed into a new medium, whose powerful symbolism demolished the conformed traditions of Mannerism, leading art into a new expressive era. Bearer of macabre premonitions, blood is the exclamation mark in two of the most outstanding masterpieces of the early Italian Seicento: Caravaggio's Beheading a/the Baptist (1608)' (fig. 1) and Artemisia Gentileschi's Judith beheading Halo/ernes (1611-12)2 (fig. 2), in which two emblematic events of the Christian tradition are interpreted as a representation of personal memories and fears, generating a powerful spiral of emotions which constantly swirls between fiction and reality. Through this paper I propose that both Caravaggio and Aliemisia adopted blood as a symbolic representation of their own life-stories, understanding it as a vehicle to express intense emotions of fear and revenge. Seen under this perspective, the red fluid results as a powerful and dramatic weapon used to shock the viewer and, at the same time, express an intimate and anguished condition of pain. This so-called Caravaggio, The Beheading of the Baptist, 1608, Co-Cathedral of Saint John, Oratory of Saint John, Valletta, Malta. 2 Artemisia Gentileschi, Judith beheading Halafernes, 1612-13, Museo Nazionale di Capodimonte, Naples. llO Angelo La Conte 'terrible naturalism'3 symbolically demarks the transition from late Mannerism to early Baroque, introducing art to a new era in which emotions and illusion prevail on rigid and controlled representation. -
Janson. History of Art. Chapter 16: The
16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists. -
Titian and Veronese Two Venetian Painters
Titian and Veronese Two Venetian Painters Titian Veronese Garry Law Sack of Rome 1527 – end of the Renaissance in Rome Timeline and Contemporaries / Predecessors Titian - ~1488-1576 • Born Tiziano Vecellio in Pieve di Cadrone – Small fortified town dating back to the Iron Age. • Father a soldier / local councilor / supplier of timber to Venice • Named after a local saint Titianus • Went to Venice aged 9, apprenticed to Zuccato then Gentile Bellini then Giovani Bellini • Partnership with Giorgione – shared workshop – ended with G’s early death • Together redefined Venetian painting • Their work so similar have long been disputes over authorship of some paintings They did undertake some joint works – frescoes Titian was asked to complete some unfinished works after Giorgione’s death – only one such is known for sure – otherwise we don’t know if he did finish others. The Pastoral Concert - Once considered Giorgione – now considered Titian – though some have considered as by both (Louvre). • Portraits - Royal and Papal commissions late in career • Cabinet Pictures • Religious art • Allegorical / Classical Isabella d’Este “La Bella” • Lead the movement to having large pictures for architectural locations on canvas rather than Fresco – which lasted poorly in Venice’s damp climate • Sought to displace his teacher Bellini as official state painter – declined, but achieved on B’s death. • Married housekeeper by whom he already has two children • Wife dies young in childbirth – a daughter modelled for him for his group pictures • Does not remarry – described as flirting with women but not interested in relationships • Ran a large studio – El Greco was one pupil • Of his most successful pictures many copies were made in the studio Penitent Mary Madelene Two of many versions Christ Carrying the Cross. -
Spatial Vision Anomalies in Renaissance Art: Raphael, Giorgione, Dürer
Spatial Vision, Vol. 21, No. 3–5, pp. 363–377 (2008) Koninklijke Brill NV, Leiden, 2008. Also available online - www.brill.nl/sv Spatial vision anomalies in Renaissance art: Raphael, Giorgione, Dürer ROBERT WEALE ∗ University College London Hospital Eye Department, 235 Euston Rd., London NW1 2BU, and Institute of Gerontology, King’s College London, 46 Aldwych, London WC2B 4LL, UK Received 15 March 2006; accepted 10 March 2007 Abstract—Two-dimensional views of three-dimensional space are based on conventions. Renais- sance perspectival drawing invented by Brunelleschi is one of them. It caused difficulties to fifteenth and sixteenth century and later artists, although readily taken up by those understanding mathemat- ics. Raphael was amongst those who did not seem to have understood some of its elements: this is illustrated in the first section. The second addresses the question of whether a squint may manifest in an artist’s work. Giorgione’s ocular anomaly was well documented by several of his self-portraits, and reference is made to some of his paintings with a special analysis of The Tempest. The final sec- tion deals with chromatic stereoscopy, with particular reference to the work of Dürer. His apparently anomalous spatial sense is tentatively explained with the suggestion that he may have suffered from a defect of colour vision (protanomaly). Keywords: Perspective; squint; chromatic stereoscopy. 1. INTRODUCTION The manner in which artists picture space is a matter of convention. As some of their optical illusions show, the Romans were aware of the problem of rendering three-dimensional space on a two-dimensional surface, but, as shown in Pompeii, failed to solve it. -
The Narrowing of Giorgione's Masterpiece (To the Problem of The
International Journal of Art and Art History December 2017, Vol. 5, No. 2, pp. 13-18 ISSN: 2374-2321 (Print), 2374-233X (Online) Copyright © The Author(s).All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijaah.v5n2p2 URL: https://doi.org/10.15640/ijaah.v5n2p2 The Narrowing of Giorgione’s Masterpiece (To the Problem of the Hermitage Judith’s Original Measurements) Ivan Sablin1 The Judith in the museum of Hermitage is one of the few universally acknowledged works by Giorgionei, perhaps the last of them to achieve this standing, for the first time in the 18th century and then definitely, more than a hundred years ago. Such works are rare. Giorgione‟s authorship of even the Castelfranco Madonna has been (recently) contestedii, not to mention a much more complex case of Dresden Venusiii. The most rigorous approach to the size of Giorgione‟s œuvre leaves the artist with only the Three Philosophers in Vienna and the Tempest in Venice, along with the Judith (in spite of some earlier opinions, which have been rejected long ago). None of these attributions is based upon a documentary evidence, be that a verified signature or any archival source, for the only work documented in artist‟s lifetime is the one executed for Fondaco dei tedeschiiv, a fresco cycle long lost to a salty air of Serenissima, its pitiful remains (on show at Franchetti gallery) offering no chance to draw stylistic conclusions for the identification of the other works in question. Yet it is precisely the stylistic analysis that all accepted attributions to Giorgione rely upon, adding to the scarce historic testimonies of not always a trustworthy nature. -
Titian (Tiziano Vecellio)
Titian (Tiziano Vecellio) a biography Timeline Tiziano Vecellio, known in English as Titian [TI-shuhn], was born where he entertained members of Venetian elite, men of rank, and fellow artists. Subsequently, Titian quickly between 1488-1490 in Pieve di Cadore, a town in the Dolomite became the most well-known painter in Venice, earning commissions from the doges of Venice, and the noble 1490 Mountains just outside Venice. His parents recognized his artistic families of Italy. Nobility such as Federico II Gonzaga, the Duke of Mantua and Francesco Maria della Rovere, 1488/90 Titian (Tizanio Vecellio) abilities and, at age 9 or 10, sent him to Venice with his brother. the Duke of Urbino, commissioned him to create portraits. Titian’s prestigious reputation as a talented por- is born in Pieve de Cadore, Italy Venice was a wealthy, prosperous city boasting of a flourishing traitist spread throughout Europe, and members of the Royal Courts, including Queen Isabella of Portugal, economy that attracted merchants, artists, and craftsmen. the Holy Roman Emperor Charles V and his son Phillip II of Spain, and Pope Paul III, commissioned Titian Titian began his apprenticeship under a minor painter, for his portraits. Sebastian Zuccato, who quickly recognizing his artistic talents, In addition to being known for his portraiture, Titian also c. 1498 Moves to Venice with his and arranged for Titian to work under the guidance of the most painted religious themes, and scenes of mythical and allegori- holder brother to begin apprenticeship prominent painters in Venice, the Bellini brothers. At first Titian cal figures, such as Venus of Urbino and Danaë. -
Sebastiano Del Piombo and His Collaboration with Michelangelo: Distance and Proximity to the Divine in Catholic Reformation Rome
SEBASTIANO DEL PIOMBO AND HIS COLLABORATION WITH MICHELANGELO: DISTANCE AND PROXIMITY TO THE DIVINE IN CATHOLIC REFORMATION ROME by Marsha Libina A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland April, 2015 © 2015 Marsha Libina All Rights Reserved Abstract This dissertation is structured around seven paintings that mark decisive moments in Sebastiano del Piombo’s Roman career (1511-47) and his collaboration with Michelangelo. Scholarship on Sebastiano’s collaborative works with Michelangelo typically concentrates on the artists’ division of labor and explains the works as a reconciliation of Venetian colorito (coloring) and Tuscan disegno (design). Consequently, discourses of interregional rivalry, center and periphery, and the normativity of the Roman High Renaissance become the overriding terms in which Sebastiano’s work is discussed. What has been overlooked is Sebastiano’s own visual intelligence, his active rather than passive use of Michelangelo’s skills, and the novelty of his works, made in response to reform currents of the early sixteenth century. This study investigates the significance behind Sebastiano’s repeating, slowing down, and narrowing in on the figure of Christ in his Roman works. The dissertation begins by addressing Sebastiano’s use of Michelangelo’s drawings as catalysts for his own inventions, demonstrating his investment in collaboration and strategies of citation as tools for artistic image-making. Focusing on Sebastiano’s reinvention of his partner’s drawings, it then looks at the ways in which the artist engaged with the central debates of the Catholic Reformation – debates on the Church’s mediation of the divine, the role of the individual in the path to personal salvation, and the increasingly problematic distance between the layperson and God. -
Barbarigo' by Titian in the National Gallery, London
MA.JAN.MAZZOTTA.pg.proof.corrs_Layout 1 08/12/2011 15:31 Page 12 A ‘gentiluomo da Ca’ Barbarigo’ by Titian in the National Gallery, London by ANTONIO MAZZOTTA ‘AT THE TIME he first began to paint like Giorgione, when he was no more than eighteen, [Titian] made the portrait of a gen- tleman of the Barbarigo family, a friend of his, which was held to be extremely fine, for the representation of the flesh-colour was true and realistic and the hairs were so well distinguished one from the other that they might have been counted, as might the stitches in a doublet of silvered satin which also appeared in that work. In short the picture was thought to show great diligence and to be very successful. Titian signed it in the shadow, but if he had not done so, it would have been taken for Giorgione’s work. Meanwhile, after Giorgione himself had executed the principal façade of the Fondaco de’ Tedeschi, Titian, through Barbarigo’s intervention, was commissioned to paint certain scenes for the same building, above the Merceria’.1 Vasari’s evocative and detailed description, which would seem to be the result of seeing the painting in the flesh, led Jean Paul Richter in 1895 to believe that it could be identified with Titian’s Portrait of a man then in the collection of the Earl of Darnley at Cobham Hall and now in the National Gallery, London (Fig.15).2 Up to that date it was famous as ‘Titian’s Ariosto’, a confusion that, as we shall see, had been born in the seventeenth century. -
Strategy and Identity in the Careers of Sixteenth Century Venetian Painters
the Road to Recognition Strategy and identity in the careers of sixteenth century Venetian painters Clim Wijnands / 4222385 / Master Thesis / dr. Bram de Klerck / 28-08-2017 Table of Contents Introduction 3 1. Vantage points 7 1.1 Theoretical framework 7 1.2 Consuming and social stratification in Renaissance Venice 13 1.3 Patronage in Renaissance Venice 18 2. Lorenzo Lotto: the wanderer 25 2.1 A promising start 27 2.2 Problems and solutions in Venice 34 2.3 Running to stand still 40 3. Giovanni Antonio da Pordenone: the embodiment of the new 49 3.1 From provincial artist to recognised master 51 3.2 Establishing a foothold 60 3.3 The conquest of Venice 64 4. Gerolamo Savoldo: the original avant-garde 69 4.1 Fashioning a marketable identity 71 4.2 Breakthrough and oblivion 77 Conclusion 86 Bibliography 90 Figures 95 Appendices 110 2 Introduction Art history has always had the tendency to focus on the accomplished painters at the top of the artistic food chain. In reality, however, many talented painters struggled immensely to reach that top, while an even larger number of mediocre painters could only dream of fame and glory. This research is not primarily concerned with the elite artists, nor does it cover the many anonymous painter-craftsmen in the periphery of the art market. Instead, it is devoted to the middle group of ambitious and skilled artists trying to break out of the margins of the art world. Sixteenth-century Venice was a city with an abundance of churches, scuole and palaces, and was governed by a culturally sophisticated elite. -
Boucher: Three Pastoral Scenes
Art Appreciation Lecture Series 2015 Meet the Masters: Highlights from the Scottish National Gallery Meet the Masters: Boucher: three pastoral scenes Lecturer: Professor Mark Ledbury, University of Sydney 10 & 11 June 2015 Lecture summary: This lecture explores the three Pastoral Scenes by François Boucher in the Scottish National Gallery , discussing the personal, institutional and generic contexts in which they were produced and understood and examining through them whether the oft-repeated criticisms of Boucher’s unnatural and unrealistic pastoral style were in fact a product of misunderstanding both of the genre and the complexity of the painter’s compositions. The Lecture will argue that Boucher’s enjoyment of both artifice and nature, and his unashamed love of painting as decoration, demonstrate not his moral debauchery and superficiality but his keen and essential grasp of the painter’s role and the possibilities of painting in the eighteenth century. Slide list: 1. Gustaf Lumberg, Portrait of François Boucher (1741, Pastel, Musée du Louvre, Paris) 2. François Boucher, Venus and Vulcan (1732, Oil on Canvas, Musée du Louvre, Paris) 3. François Boucher, Portrait of Madame Pompadour (1748, Oil on Canvas, Munich, Alte Pinakothek) 4. François Boucher, Odalisque , (c1745, Oil on Canvas, Paris: Louvre) 5. François Boucher, Study of a woman , (Chalk, Pencil on Paper, New York, Cooper Hewitt) 6. François Boucher, The Milliner (Morning) 1746 Oil on Canvas, , Stockholm, Nationalmuseum 7. François Boucher, Pastoral Scene (The offering to the Village Girl), c1762, Oil on Canvas, National Gallery of Scotland 8. François Boucher, Pastoral Scene (The Gallant or Aimiable Pastoral), c.1762, Oil on Canvas, National Gallery of Scotland 9. -
National Gallery of Art •
National Gallery of Art • . w ' ' • Information Officer, Deborah Ziska FOR IMMEDIATE RELEASE CONTACT: (202) 842-6353 July 31, 1997 Nancy Starr, Publicist NATIONAL GALLERY OF ART PRESENTS FIRST U.S. EXHIBITION OF ITALIAN RENAISSANCE MASTER LORENZO LOTTO WASHINGTON, D.C. -- The first U.S. exhibition of paintings by Italian Renaissance master Lorenzo Lotto (c.1480 - 1556/1557) will be presented this fall at the National Gallery of Art. Lorenzo Lotto: Rediscovered Master of the Renaissance, on view November 2, 1997 - March 1, 1998, will include fifty works by this fascinating artist, whose work is not sufficiently well known in the United States. Lotto's portraits, allegories, and religious paintings, with their brilliant color and arresting details, have an idiosyncratic character not usually associated with the Renaissance. Many of the paintings in the show are being lent by churches and museums in the picturesque locations in Italy where Lotto originally worked. The exhibition is organized by the National Gallery of Art, in association with the Accademia Carrara di Belle Arti, Bergamo, one of the premier repositories of Lotto's work. The National Gallery of Art will be the only venue in the United States. After its Washington showing, the exhibition will travel to the Accademia Carrara in -more- Fourth Street at Constitution Avenue, N.W., Washington, D.C. 20565 Lorenzo Lotto...page 2 Bergamo (April 2 - June 28, 1998), as part of the museum's 200th anniversary celebration, and to the Galeries nationales d'Exposition of the Grand Palais, Paris (October 12, 1998 - January 11, 1999). United Airlines is the official carrier for this exhibition, which is supported by an indemnity from the Federal Council on the Arts and the Humanities.