In the Shadow of Polidoro. Pirro Ligorio As a Draftsman, Ginette Vagenheim
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In G. B. Falda's Engraving of the Vatican Gardens We See the Villa
BRAMANTE AND THE REDISCOVERY OF AXIAL PLANNING at this time, and to accommodate them the garden APOTHEOSES OF THE who was responsible for several excavations including began to assume the role of outdoor museum. In RENAISSANCE VILLA GARDEN: that of nearby Hadrian’s Villa and for the rediscovery addition to the Belvedere Court at the Vatican, Bra- VILLA D’ESTE AND VILLA LANTE of many antique marbles, mosaics, and other artifacts. mante built a giardino segreto, the so-called Statue Although Castello and the Boboli Gardens contained Being a wealthy humanist collector, Ippolito had, in Court, located between the upper court and the water features symbolically associated with Duke fact, put Ligorio on his payroll as his personal archae- Belvedere, for Pope Julius II’s collection of antique Cosimo’s reputation as a builder of aqueducts, it is to ologist in 1550, the year in which he had been sculpture. In 1584, Cardinal Fernando de’ Medici the Roman Campagna that we must turn to find gar- appointed to the Tivoli post and had begun to dream bought the collection amassed some sixty years ear- dens that apotheosize water and use it with the inven- of a great hillside garden below the palace. One part lier by Cardinal Andrea della Valle, sending the free- tiveness of a choreographer directing the movements of Ligorio’s job was undoubtedly to garner antique standing pieces to Florence to embellish the Boboli of the dance or the creativity of a sculptor exploring marbles to combine with contemporary sculpture in Gardens and keeping the reliefs to decorate the facade the plasticity of clay. -
LOCATING El GRECO in LATE SIXTEENTH-CENTURY
View metadata, citation and similarbroughtCORE papers to you at by core.ac.uk provided by Online Repository of Birkbeck Institutional Theses LOCATING El GRECO IN LATE SIXTEENTH‐CENTURY ROME: ART and LEARNING, RIVALRY and PATRONAGE Ioanna Goniotaki Department of History of Art, School of Arts Birkbeck College, University of London Submitted for the degree of Doctor of Philosophy, July 2017 -1- Signed declaration I declare that the work presented in the thesis is my own Ioanna Goniotaki -2- ABSTRACT Much has been written about the artistic output of Domenicos Theotocopoulos during his time in Spain, but few scholars have examined his works in Venice and even fewer have looked at the years he spent in Rome. This may be in part attributed to the lack of firm documentary evidence regarding his activities there and to the small corpus of works that survive from his Italian period, many of which are furthermore controversial. The present study focuses on Domenicos’ Roman years and questions the traditional notion that he was a spiritual painter who served the principles of the Counter Reformation. To support such a view I have looked critically at the Counter Reformation, which I consider more as an amalgam of diverse and competitive institutions and less as an austere movement that strangled the freedom of artistic expression. I contend, moreover, that Domenicos’ acquaintance with Cardinal Alessandro Farnese’s librarian, Fulvio Orsini, was seminal for the artist, not only because it brought him into closer contact with Rome’s most refined circles, but principally because it helped Domenicos to assume the persona of ‘pictor doctus’, the learned artist, following the example of another of Fulvio’s friends, Pirro Ligorio. -
Center 8 Research Reports and Record of Activities
National Gallery of Art Center 8 Research Reports and Record of Activities ¢ am I, ~i.,r .~,4, I , ~, - ....... "It. ",2.'~'~.~D~..o~ ~', ~, : -- "-';"~-'~"'-" tl..~" '~ ' -- ~"' ',"' ." , ~. " ;-.2. ; -,, '6.~ h'.~ ~,,.'.~ II,,..~'.~..~.->'. "~ ;..~,,r~,; .,.z . - -~p__.~..i..... • , ". ~:;° ..' = : .... ..i ~ '- 3:.,'~<'~- i £ :--.-_ National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Center 8 Research Reports and Record of Activities June 1987-May 1988 Washington, 1988 National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Washington, D.C. 20565 Telephone: (202) 842-6480 All rights reserved. No part of this book may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565. Copyright © 1988 Trustees of the National Gallery of Art, Washington. This publication was produced by the Editors Office, National Gallery of Art, Washington. Frontispiece: Thomas Rowlandson, Viewing at the Royal Academy, c. 1815, Paul Mellon Collection, Upperville, Virginia. CONTENTS General Information Fields of Inquiry 9 Fellowship Program 10 Facilities 12 Program of Meetings 13 Publication Program 13 Research Programs 14 Board of Advisors and Selection Committee 14 Report on the Academic Year 1987-1988 Board of Advisors 16 Staff 16 Architectural Drawings Cataloguing Project 16 Members 17 Meetings 21 Lecture Abstracts 32 Members' Research Reports Reports 38 ~llpJ~V~r ' 22P 'w x ~ i~ ~i!~i~,~ ~ ~ ~ ~!~,~!~!ii~!iii~ ~'~,i~ ~ ~ ~i~, ~ HE CENTER FOR AI)VANCED STUDY IN THE VISUAL ARTS was founded T in 1979, as part of the National Gallery of Art, to promote the study of history, theory, and criticism of art, architecture, and urbanism through the formation of a community of scholars. -
El Greco's Portrait of Giulio Clovio As Creator: an Artistic Affinity and Assertion of Creative Identity Jordan Michael Severson University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations August 2015 El Greco's Portrait of Giulio Clovio as Creator: an Artistic Affinity and Assertion of Creative Identity Jordan Michael Severson University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Severson, Jordan Michael, "El Greco's Portrait of Giulio Clovio as Creator: an Artistic Affinity and Assertion of Creative Identity" (2015). Theses and Dissertations. 982. https://dc.uwm.edu/etd/982 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. EL GRECO’S PORTRAIT OF GIULIO CLOVIO AS CREATOR: AN ARTISTIC AFFINITY AND ASSERTION OF CREATIVE IDENTITY by Jordan M. Severson A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History at The University of Wisconsin-Milwaukee August 2015 ABSTRACT EL GRECO’S PORTRAIT OF GIULIO CLOVIO AS CREATOR: AN ARTISTIC AFFINITY AND ASSERTION OF CREATIVE IDENTITY by Jordan M. Severson The University of Wisconsin-Milwaukee, 2015 Under the Supervision of Professor Tanya Tiffany In 1571, Domenikos Theotokopoulos of Crete, today remembered as El Greco, painted a spectacular portrait of the manuscript illuminator Giorgio Giulio Clovio while in Rome. In this portrait, El Greco commemorated Clovio and his work by depicting him with his most praised creation, The Farnese Hours. -
From Ruins to Reconstruction: Past and Present
Archeologia e Calcolatori 28.2, 2017, 27-45 FROM RUINS TO RECONSTRUCTION: PAST AND PRESENT Nel praticare insieme generò in noi un tanto amore, che mai né dí né notte stavamo l’uno senza l’altro: e perché ancora la casa sua era piena di quelli belli studii che aveva fatto il suo valente padre [Filippo Lippi], i quali erano parecchi libri disegnati di sua mano, ritratti dalle belle anticaglie di Roma. Benvenuto Cellini, Vita, I, 12 Among the rare surprises I had during my long permanence at Perugia, in the first place I put the discovery of the fascinating frescoes of the local Quattrocento painter Benedetto Bonfigli (on this painter, see Mancini 1992). Twenty years ago, my colleague of Art History invited me to give a look at the restorations of the frescoes painted by Bonfigli in the years 1449-1456 in the Cappella dei Priori, the Chapel of the local magistrates inside the City Hall, the Palazzo dei Priori. News on his life are really scanty, but it is certain that Bonfigli was included into the group of painters headed by Beato Angelico, to whom Pope Nicholas V, following his decision to move the papal see from the Lateran, commissioned the decoration of the “Appartementi Nicoliniani”, i.e. his apartments in the Vatican, unfortunately destroyed in the course of centuries. The stories painted by Bonfigli on the walls of the Perugian Chapel can be considered among the masterpieces of the Italian early Renaissance, a cycle of frescoes lamentably unknown not only to the great public, but sometimes also to specialists in art history. -
Mariangelo Accursio and Pirro Ligorio the Possible (And Interesting) Genesis of CIL VI 990* and CIL VI 991* Gian Luca Gregori Sapienza Università Di Roma, Italia
La falsificazione epigrafica Questioni di metodo e casi di studio a cura di Lorenzo Calvelli Mariangelo Accursio and Pirro Ligorio The Possible (and Interesting) Genesis of CIL VI 990* and CIL VI 991* Gian Luca Gregori Sapienza Università di Roma, Italia Alessandro Papini Ghent University, Belgium Abstract This paper aims at providing a detailed analysis of two epigraphic forgeries transcribed by Pirro Ligorio under the lemma “Accursia” in his Enciclopedia del mondo antico: CIL VI 990* and CIL VI 991*. In particular, we make an attempt to identify the genuine inscriptions that might have provided Ligorio with the necessary inspiration to compose these two forgeries and to shed new light on the curious choice of the nomen ‘Accursius’, which appears in both texts. Keywords Epigraphic forgeries. Mariangelo Accursio. Pirro Ligorio. CIL VI 990*. CIL VI 991*. Summary 1 CIL VI 991*. – 2 CIL VI 990*. 1 CIL VI 991* Pirro Ligorio (Naples 1512-Ferrara 1583), under the lemma “Accursia” in his En- ciclopedia del mondo antico,1 transcribes an inscription that he claims to have found “nella via Appia, per la via a destra uscendo dalla porta di San Sebastiano”: 1 The manuscript is currently housed in the Archivio di Stato di Torino. For a detailed overview on Pirro Ligorio, see Coffin 2004; Occhipinti 2007; Loffredo, Vagenheim 2018. Antichistica 25 | Storia ed epigrafia 8 e-ISSN 2610-8291 | ISSN 2610-8801 ISBN [ebook] 978-88-6969-386-1 | ISBN [print] 978-88-6969-387-8 Edizioni Ca’Foscari Peer review | Open access 149 Submitted 2019-07-03 | Accepted 2019-09-10 | Published 2019-12-16 © 2019 | cb Creative Commons Attribution 4.0 International Public License DOI 10.30687/978-88-6969-386-1/008 Gian Luca Gregori, Alessandro Papini Mariangelo Accursio and Pirro Ligorio CIL VI 991*: DIs manibus, / M. -
Locating El Greco in Late Sixteenth-Century Rome : Art and Learning, Rivalry and Patronage
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Locating El Greco in late sixteenth-century Rome : art and learning, rivalry and patronage https://eprints.bbk.ac.uk/id/eprint/40280/ Version: Public Version Citation: Goniotaki, Ioanna (2017) Locating El Greco in late sixteenth- century Rome : art and learning, rivalry and patronage. [Thesis] (Un- published) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email LOCATING El GRECO IN LATE SIXTEENTH‐CENTURY ROME: ART and LEARNING, RIVALRY and PATRONAGE Ioanna Goniotaki Department of History of Art, School of Arts Birkbeck College, University of London Submitted for the degree of Doctor of Philosophy, July 2017 -1- Signed declaration I declare that the work presented in the thesis is my own Ioanna Goniotaki -2- ABSTRACT Much has been written about the artistic output of Domenicos Theotocopoulos during his time in Spain, but few scholars have examined his works in Venice and even fewer have looked at the years he spent in Rome. This may be in part attributed to the lack of firm documentary evidence regarding his activities there and to the small corpus of works that survive from his Italian period, many of which are furthermore controversial. The present study focuses on Domenicos’ Roman years and questions the traditional notion that he was a spiritual painter who served the principles of the Counter Reformation. To support such a view I have looked critically at the Counter Reformation, which I consider more as an amalgam of diverse and competitive institutions and less as an austere movement that strangled the freedom of artistic expression. -
The Difficult Rebirth of the Herm Bust
The difficult rebirth of the herm bust Daniela Gallo HOME It was supposedly during the excavations of the ruins of Hadrian’s Villa at Tivoli that the architect Fra Giocondo da Verona conducted around 1488, that the first ancient herm portraits were found again[*]. Often broken, as they had been re-used as building material, these herms retained the names of famous men from Greek Antiquity, to which they had been dedicated, thus stirring the interest of antiquarians. During the realization of Pope Julius III’s Villa a little beyond Fig. 1. Marcus Meijers, Porta del Popolo – the construction of Herm bust of Marcello which began in 1551 under Vignola’s Venuti, 1730, terracotta, supervision, after an overall design by 49,2×32,2 cm, Todd Longstaffe-Gowan & Tim Vasari -, a certain number of herms Knox Collection, London, were taken away to be reinstalled in the Malplaquet House. pathways of the garden. Recovering in that way a new decorative function, all of the headless herms received at that time new heads. At the time of Julius III’s death, in 1555, Cardinal Giovanni de’ Medici inherited most of them, for the new Pope, Pius IV, put the northern part of the Villa Giulia estate at the disposal of Cosimo I, Grand Duke of Tuscany, Fig. 2. The signature on the and his family. Upon Cardinal Giovanni’s side of the Herm bust of Marcello Venuti. premature death in 1562, his Roman belongings were transferred to his younger brother, Cardinal Ferdinando, who, at the beginning of 1576, bought Cardinal Ricci da Montepulciano’s Villa on the Pincio and had the collection of herms – which had become a Medici collection – carried from Villa Giulia. -
Rome and the Guidebook Tradition
Rome and the Guidebook Tradition Rome and the Guidebook Tradition From the Middle Ages to the 20th Century Edited by Anna Blennow and Stefano Fogelberg Rota ISBN 978-3-11-061044-4 e-ISBN (PDF) 978-3-11-061563-0 e-ISBN (EPUB) 978-3-11-061578-4 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives4.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2018963421 Bibliografic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutschen Nationalbibliografie; detailed bibliografic data are available on the Internet at http://dnb.dnb.de. © 2019 Anna Blennow and Stefano Fogelberg Rota, published by Walter de Gruyter GmbH, Berlin/Boston Typesetting: Integra Software Services Pvt. Ltd. Printing and binding: CPI books GmbH, Leck Cover image: Giambattista Nolli, Nuova Pianta di Roma (1748). Public Domain, via Wikimedia Commons www.degruyter.com Acknowledgements The project “Topos and Topography: Rome as the Guidebook City” has been based at the Swedish Institute for Classical Studies in Rome between 2013 and 2016, and financed by the Swedish Foundation for Humanities and Social Sciences (Riksbankens Jubileumsfond). The seven members of the project – also known as “the seven hills of Rome”–are Anna Blennow, Anna Bortolozzi, Carina Burman, Stefano Fogelberg Rota, Sabrina Norlander Eliasson, Victor Plahte Tschudi, and Frederick Whitling. The chapters of the present publication contain the results of the subprojects of the participants, as well as a valuable addition in the form of a study of Ludwig Schudt’sinfluentialLe Guide di Roma, performed by four scholars at the Royal Netherlands Institute in Rome (estimated neighbour of the Swedish Institute in via Omero): Arnold Witte, Head of Art History at the Netherlands Institute, together with Eva van Kemenade, Niels Graaf, and Joëlle Terburg. -
The Morgan to Exhibit Superb Sixteenth-Century Italian Drawings by Such Masters As Raphael, Michelangelo, and Parmigianino
Press Contacts Patrick Milliman 212.590.0310, [email protected] Sandra Ho 212.590.0311, [email protected] THE MORGAN TO EXHIBIT SUPERB SIXTEENTH-CENTURY ITALIAN DRAWINGS BY SUCH MASTERS AS RAPHAEL, MICHELANGELO, AND PARMIGIANINO SHOW IS THE FIRST IN NEW YORK TO FOCUS ON LATE RENAISSANCE DRAWING IN ROME Rome After Raphael Opens January 22, 2010 **Press Preview: Thursday, January 21, 2010, 10 a.m. until noon** RSVP: (212) 590.0393, [email protected] New York, NY, November 13, 2009—In the early 1500s, Rome’s majesty was a distant memory: its marble temples and palaces had been ransacked; its population was a fraction of what it had been in antiquity. Yet, over the course of the next hundred years, the Eternal City would experience an amazing rebirth, as a series of popes rebuilt and revitalized Rome and its population doubled. At the center of this metamorphosis was an unprecedented influx of artistic talent and creative exchange. It is this remarkable period in art history that is the subject of a new exhibition, Rome After Raphael, at The Morgan Library & Museum. Featuring more than eighty works selected almost exclusively from the Morgan’s exceptional collection of Italian drawings, the exhibition brings to light the intense artistic activity in Rome from the Renaissance to the beginning of the Baroque period, approximately from 1500 to 1600. The show is on view from January 22 through May 9, 2010. The exhibition is the first in New York to focus solely on Roman Raffaellino da Reggio, The Apparition of the Angel to St. -
Pirro Ligorio and Two Columna Caelata Drawings at Windsor
Edinburgh Research Explorer Pirro Ligorio and two columna caelata drawings at Windsor Castle Citation for published version: Campbell, I & Gaston, R 2010, 'Pirro Ligorio and two columna caelata drawings at Windsor Castle', Papers of the British School at Rome, vol. 78, no. November 2010, pp. 265-287. https://doi.org/10.1017/S006824620000088X Digital Object Identifier (DOI): 10.1017/S006824620000088X Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Papers of the British School at Rome Publisher Rights Statement: © British School at Rome, 2010. Campbell, I., & Gaston, R. (2010). Pirro Ligorio and two columna caelata drawings at Windsor Castle. Papers of the British School at Rome, 78(November 2010), 265-287doi: 10.1017/S006824620000088X General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 10. Oct. 2021 Papers of the British School at Rome http://journals.cambridge.org/ROM Additional services for Papers of the British School at Rome: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Pirro Ligorio and two columna caelata drawings at Windsor Castle Ian Campbell and Robert W. -
Garden Design Principles and the Extensive Use of Water Elements in Villa D’ Este, Tivoli, Italy
Online Journal of Art and Design volume 8, issue 4, October 2020 Garden Design Principles and the Extensive Use of Water Elements in Villa d’ Este, Tivoli, Italy Parisa GÖKER1, Elmas ERDOĞAN2 1Bilecik Şeyh Edebali, University, Faculty of Fine arts and Design, Department of Interior Architecture and Environmental Design, Bilecik 2Ankara University, Faculty of Agriculture, Department of Landscape Architecture, Ankara Abstract Villa d'Este in Tivoli is regarded as one of the most substantial examples of Renaissance culture and garden art owing to its palace and garden. Villa d'Este has always set a model and influenced the development of European gardens as being one of the first miracle gardens. Drains, tunnels and conduits diverted the Aniene waters in many points in Roman time both to supply water to villa ‘gardens and public palaces and to explode waterfalls to supply motive energy mills. Accordingly, Cardinal Ippolito II d’Este and Pirro Ligorio designed a project naturally to divert the Aniene waters and to bring them to Villa d’Este and to visualize the garden as a hill crossed by many underground tunnels and passages as it is in Tivoli’s. In this study, the history, design, constructional characteristics and the layout scheme of Villa d’Este situated in Tivoli, as the garden of Italian Renaissance Period was analyzed. Having a significant cultural landscape value with regards to the usage of water, including the variety of water usage methods (fountain, grotto, cascade and pool), the water features within Villa d’Este garden will be examined in the studies; thus, explaining each and every water structure in detail.