TASTE and PRUDENCE in the ART of JUSEPE DE RIBERA by Hannah Joy Friedman a Dissertation Submitted to the Johns Hopkins Universit
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The Virtuoso of Compassion Ingrid D
The Virtuoso of Compassion Ingrid D. Rowland MAY 11, 2017 ISSUE The Guardian of Mercy: How an Extraordinary Painting by Caravaggio Changed an Ordinary Life Today by Terence Ward Arcade, 183 pp., $24.99 Valentin de Boulogne: Beyond Caravaggio an exhibition at the Metropolitan Museum of Art, New York City, October 7, 2016–January 22, 2017; and the Musée du Louvre, Paris, February 20–May 22, 2017 Catalog of the exhibition by Annick Lemoine and Keith Christiansen Metropolitan Museum of Art, 276 pp., $65.00 (distributed by Yale University Press) Beyond Caravaggio an exhibition at the National Gallery, London, October 12, 2016–January 15, 2017; the National Gallery of Ireland, Dublin, February 11–May 14, 2017 Catalog of the exhibition by Letizia Treves and others London: National Gallery, 208 pp., $40.00 (distributed by Yale University Press) The Seven Acts of Mercy a play by Anders Lustgarten, produced by the Royal Shakespeare Company, Stratford-upon- Avon, November 24, 2016–February 10, 2017 Caravaggio: The Seven Acts of Mercy, 1607 Pio Monte della Misericordia, Naples Two museums, London’s National Gallery and New York’s Metropolitan Museum of Art, mounted exhibitions in the fall of 2016 with the title “Beyond Caravaggio,” proof that the foul-tempered, short-lived Milanese painter (1571–1610) still has us in his thrall. The New York show, “Valentin de Boulogne: Beyond Caravaggio,” concentrated its attention on the French immigrant to Rome who became one of Caravaggio’s most important artistic successors. The National Gallery, for its part, ventured “beyond Caravaggio” with a choice display of Baroque paintings from the National Galleries of London, Dublin, and Edinburgh as well as other collections, many of them taken to be works by Caravaggio when they were first imported from Italy. -
Ribera's Drunken Silenusand Saint Jerome
99 NAPLES IN FLESH AND BONES: RIBERA’S DRUNKEN SILENUS AND SAINT JEROME Edward Payne Abstract Jusepe de Ribera did not begin to sign his paintings consistently until 1626, the year in which he executed two monumental works: the Drunken Silenus and Saint Jerome and the Angel of Judgement (Museo di Capodimonte, Naples). Both paintings include elaborate Latin inscriptions stating that they were executed in Naples, the city in which the artist had resided for the past decade and where he ultimately remained for the rest of his life. Taking each in turn, this essay explores the nature and implications of these inscriptions, and offers new interpretations of the paintings. I argue that these complex representations of mythological and religious subjects – that were destined, respectively, for a private collection and a Neapolitan church – may be read as incarnations of the city of Naples. Naming the paintings’ place of production and the artist’s city of residence in the signature formulae was thus not coincidental or marginal, but rather indicative of Ribera inscribing himself textually, pictorially and corporeally in the fabric of the city. Keywords: allegory, inscription, Naples, realism, Jusepe de Ribera, Saint Jerome, satire, senses, Silenus Full text: http://openartsjournal.org/issue-6/article-5 DOI: http://dx.doi.org/10.5456/issn.2050-3679/2018w05 Biographical note Edward Payne is Head Curator of Spanish Art at The Auckland Project and an Honorary Fellow at Durham University. He previously served as the inaugural Meadows/Mellon/Prado Curatorial Fellow at the Meadows Museum (2014–16) and as the Moore Curatorial Fellow in Drawings and Prints at the Morgan Library & Museum (2012–14). -
The Arts Thrive Here
Illustrated THE ARTS THRIVE HERE Art Talks Vivian Gordon, Art Historian and Lecturer at the Metropolitan Museum of Art, will present the following: REMEMBERING BIBLICAL WOMEN ARTISTS IN THEIR STUDIOS Monday, April 13, at 1PM Wednesday, May 20, at 1PM Feast your eyes on some of the most Depicting artists at work gives insight into the beautiful paintings ever. This illustrated talk will making of their art as well as their changing status examine how and why biblical women such as in society.This visual talk will show examples Esther, Judith, and Bathsheba, among others, from the Renaissance, the Impressionists, and were portrayed by the “Masters.” The artists Post-Impressionists-all adding to our knowledge to be discussed include Mantegna, Cranach, of the nature of their creativity and inspiration. Caravaggio, Rubens, and Rembrandt. FINE IMPRESSIONS: CAILLEBOTTE, SISLEY, BAZILLE Monday, June 15, at 1PM This illustrated lecture will focus on the work of three important (but not widely known) Impressionist painters. Join us as Ms. Gordon introduces the art, lives and careers of these important fi gures in French Impressionist art. Ines Powell, Art Historian and Educator at the Metropolitan Museum of Art, will present the following: ALBRECHT DURER and HANS HOLBEIN the ELDER Thursday, April 23, at 1PM Unequaled in his artistic and technical execution of woodcuts and engravings, 16th century German artist Durer revolutionized the art world, exploring such themes as love, temptation and power. Hans Holbein the Elder was a German painter, a printmaker and a contemporary of Durer. His works are characterized by deep, rich coloring and by balanced compositions. -
No, Not Caravaggio
2 SEPTEMBER2018 I valletta 201 a NO~ NOT CARAVAGGIO Crowds may flock to view Caravaggio's Beheading of StJohn another artist, equally talented, has an even a greater link with-Valletta -Mattia Preti. n 1613, in the small town of Taverna, in Calabria, southern Italy, a baby boy was born who would grow up to I become one of the world's greatest and most prolific artists of his time and to leave precious legacies in Valletta and the rest of Malta. He is thought to have first been apprenticed to Giovanni Battista Caracciolo, who was known as a follower and admirer of Caravaggio. His brother, Gregorio, was also a painter and painted an altarpiece for the Chapel of . the world designed and built by Preti, sometime in the 1620s Preti joined.him in the Langue of Aragon, Preti offered to do and no fewer than seven of his paintings Rome. · more wor1< on the then new and very, hang within it. They include the There he grasped Caravaggio's bareSt John's Co-Cathedral. Grand monumental titular painting and others techniques and those of other famous Master Raphael Cotoner accepted his which fit perfectly in the architecturally and popular artists of the age, including offer·and commissioned him to decorate designed stone alcoves he created for Rubens and Giovanni Lanfranco. the whole vaulted ceiling. The them. Preti spent time in Venice between 1644 magnificent scenes from the life of St In keeping with the original need for and 1646 taking the chance to observe the John took six years and completely the church, the saints in the images are all opulent Venetian styles and palettes of transformed the cathedral. -
The Collecting, Dealing and Patronage Practices of Gaspare Roomer
ART AND BUSINESS IN SEVENTEENTH-CENTURY NAPLES: THE COLLECTING, DEALING AND PATRONAGE PRACTICES OF GASPARE ROOMER by Chantelle Lepine-Cercone A thesis submitted to the Department of Art History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (November, 2014) Copyright ©Chantelle Lepine-Cercone, 2014 Abstract This thesis examines the cultural influence of the seventeenth-century Flemish merchant Gaspare Roomer, who lived in Naples from 1616 until 1674. Specifically, it explores his art dealing, collecting and patronage activities, which exerted a notable influence on Neapolitan society. Using bank documents, letters, artist biographies and guidebooks, Roomer’s practices as an art dealer are studied and his importance as a major figure in the artistic exchange between Northern and Sourthern Europe is elucidated. His collection is primarily reconstructed using inventories, wills and artist biographies. Through this examination, Roomer emerges as one of Naples’ most prominent collectors of landscapes, still lifes and battle scenes, in addition to being a sophisticated collector of history paintings. The merchant’s relationship to the Spanish viceregal government of Naples is also discussed, as are his contributions to charity. Giving paintings to notable individuals and large donations to religious institutions were another way in which Roomer exacted influence. This study of Roomer’s cultural importance is comprehensive, exploring both Northern and Southern European sources. Through extensive use of primary source material, the full extent of Roomer’s art dealing, collecting and patronage practices are thoroughly examined. ii Acknowledgements I am deeply thankful to my thesis supervisor, Dr. Sebastian Schütze. -
Julius S. Held Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt. -
Un Cristo Nudo Del 1400 Rivede La Luce a Lauro Scoperto Un Raro Ciclo Di
Un Cristo nudo del 1400 rivede la luce a Lauro Scoperto un raro ciclo di affreschi del XV secolo a Lauro di Nola. Una rarità iconografica che sta meravigliando gli stessi studiosi. Il 2000, anno giubilare, è trascorso in Campania denso di manifestazioni religiose e appuntamenti culturali che hanno riavvicinato il grande pubblico non solo agli aspetti intimi della fede, ma anche alle necessarie “esteriorità”, tra queste la più ghiotta è stata senza dubbio la mostra artistica sul tema della Croce tenutasi presso la sala Carlo V nel Maschio Angioino. La mostra ricca di straordinari reperti, alcuni dei quali, preziosissimi, mai esposti prima, ha fatto seguito ad un dotto convegno sull’argomento organizzato nei mesi precedenti dal professor Boris Iulianich, emerito nell’Università di Napoli e massimo esperto di storia del Cristianesimo, che ha visto la partecipazione di ben 54 relatori provenienti da ogni angolo del globo. Per rimanere nel tema cristologico vogliamo segnalare una sensazionale scoperta avvenuta nella chiesa di Santa Maria della Pietà a Lauro di Nola (fig. 1), ove nell’ambito di un ciclo di affreschi quattrocenteschi, a lungo rimasti sepolti tra le fondamenta di una chiesa più moderna, spicca una scena del Battesimo di Cristo con un’iconografia assolutamente rara: una ostentatio genitalium in piena regola, che lascia esterrefatti, perché la raffigurazione di nostro Signore completamente nudo, in età adulta è poco meno che eccezionale. In Italia possiamo citare soltanto due altri esempi: il Crocifisso ligneo scolpito da Michelangelo nel convento di Santo Spirito in Firenze ed un mosaico nella cupola del Battistero della Cattedrale di Ravenna risalente al V secolo. -
The Baroque Underworld Vice and Destitution in Rome
press release The Baroque Underworld Vice and Destitution in Rome Bartolomeo Manfredi, Tavern Scene with a Lute Player, 1610-1620, private collection The French Academy in Rome – Villa Medici Grandes Galeries, 7 October 2014 – 18 January 2015 6 October 2014 11:30 a.m. press premiere 6:30 p.m. – 8:30 p.m. inauguration Curators : Annick Lemoine and Francesca Cappelletti The French Academy in Rome - Villa Medici will present the exhibition The Baroque Underworld. Vice and Destitution in Rome, in the Grandes Galeries from 7 October 2014 to 18 January 2015 . Curators are Francesca Cappelletti, professor of history of modern art at the University of Ferrara and Annick Lemoine, officer in charge of the Art history Department at the French Academy in Rome, lecturer at the University of Rennes 2. The exhibition has been conceived and organized within the framework of a collaboration between the French Academy in Rome – Villa Medici and the Petit Palais, Musée des Beaux-Arts de la Ville de Paris, where it will be shown from 24 February to 24 May 2015. The Baroque Underworld reveals the insolent dark side of Baroque Rome, its slums, taverns, places of perdition. An "upside down Rome", tormented by vice, destitution, all sorts of excesses that underlie an amazing artistic production, all of which left their mark of paradoxes and inventions destined to subvert the established order. This is the first exhibition to present this neglected aspect of artistic creation at the time of Caravaggio and Claude Lorrain’s Roman period, unveiling the clandestine face of the Papacy’s capital, which was both sumptuous and virtuosic, as well as the dark side of the artists who lived there. -
1622] Bartolomeo Manfredi
動としてのカラヴァジズムがローマに成 立したのである。註1) バルトロメオ・マンフレーディ[オスティアーノ、 1582 ― ローマ、1622] 本作品は2002年にウィーンで「マンフレーディの周辺の画家」の 《 キリスト捕 縛 》 作として競売にかけられ世に出た。註 2) その後修復を経て2004年、 1613–15 年頃 油 彩 、カ ン ヴ ァ ス 研究者ジャンニ・パピによって「マンフレーディの最も重要な作品の 120×174 cm ひ と つ 」と し て 紹 介 さ れ ( Papi 2004)、 ハ ー テ ィ エ ( Hartje 2004)お よ Bartolomeo Manfredi [Ostiano, 1582–Rome, 1622] The Capture of Christ び パ ピ( Papi 2013)のレゾネに真筆として掲載されたほか、2005–06 c. 1613–15 年にミラノとウィーンで開かれた「カラヴァッジョとヨーロッパ」展など Oil on canvas 註 3) 120×174 cm にも出 品された。 P.2015–0001 キリストがオリーヴ山で祈りをささげた後、ユダの裏切りによって 来歴/ Provenance: James Hamilton, 1st Duke of Hamilton (1606–1649), Scotland, listed in Inventories of 1638, 1643 and 1649; Archduke Leopold 捕縛されるという主題は、四福音書すべてに記されている(たとえば Wilhelm (1614–1662) from 1649, Brussels, then Vienna, listed in Inventories マタイ 26:47–56)。 銀 貨 30枚で買収されたユダは、闇夜の中誰がイ of 1659, 1660; Emperor Leopold I, Vienna, listed in Inventory of 1705; Emperor Charles VI, Stallburg, Vienna, listed in List of 1735; Anton Schiestl, エス・キリストであるかをユダヤの祭司長に知らせる合図としてイエ Curate of St. Peter’s Church, before 1877, Vienna; Church of St. Stephen, Baden, Donated by Anton Schiestl in 1877; Sold by them to a Private スに接吻をしたのである。マンフレーディの作品では、甲冑をまとった Collection, Austria in 1920 and by descent; Sold at Dorotheum, Vienna, 2 兵士たちに囲まれ、赤い衣をまとったキリストが、ユダから今にも裏 October 2002, lot 267; Koelliker Collection, Milan; purchased by NMWA in 2015. 切りの接吻を受けようとしている。キリストは僅かに視線を下に落と 展覧会歴/ Exhibitions: Milan, Palazzo Reale / Vienna, Liechtenstein し、抵抗するでもなく自らの運 命を受け入 れるかのように静 かに両 手 Museum, Caravaggio e l’Europa: Il movimento caravaggesco internazionale da Caravaggio a Mattia Preti, 15 October 2005–6 February 2006 / 5 を広げている。 March 2006–9 July 2006, no. -
Jusepe De Ribera and the Dissimulation of Sight
Jusepe de Ribera and the Dissimulation of Sight Paper abstract Itay Sapir, Italian Academy, Fall 2011 My overarching research program discusses seventeenth-century Central Italian painting as the site of epistemological subversion. In the Italian Academy project, the contribution of the Hispano-Neapolitan painter Jusepe/José de Ribera to the treatment of these issues will be analyzed. Early in his career, in his Roman years, Ribera was one of the most direct followers of Caravaggio; however, later on he evolved into a fully individual artistic personality, and developed further some of Caravaggio’s innovations. Most current research on Ribera concentrates on filling in the lacunae in the artist’s biography, on describing the change of style that arguably occurred around 1635 from darker, “naturalist” paintings to a more idealistic, classical style, and on discussing Ribera’s confused “national” character as a Spanish- born artist working in Spanish-ruled Naples to patrons both Spanish and Italian. My project will attempt to interpret Ribera’s art in terms of its epistemological stance on questions of sensorial perception, information transmission and opaque mimesis. Iconographical depictions of the senses are a convenient starting point, but I would like to show how Ribera’s pictorial interest in these issues can be detected even in works whose subject matter is more diverse. Some specific points of interest: Ribera’s depiction of figures’ eyes, often covered with thick shadows and thus invisible to the spectator’s gaze and complicating the visual network within the diegetic space of the work; sustained interest in sight deficiencies; and emphasis on haptic elements such as skin teXtures. -
DOW Final Text Panels
Wunderkammer In the 1550s a new kind of collecting emerged among wealthy Europeans as they confronted the explosion of knowledge following the discovery of distant lands and new, basic scientific principles. Emperors, princes, nobles, and merchants assembled paintings, precious objects, scientific instruments, games, and natural wonders to create individualized micro- cosms. In these chambers of wonder (Wunderkammern)—and their smaller counterparts, the cabinets of wonder (Wunderkabinette)—rare and unusual natural specimens co-existed with exquisite artificial pro- ductions and the latest technological inventions. Designed as store- houses of knowledge and instruments for learning, these all-embracing collections also provided occasions for intellectual amusement, med- itation on God’s creation, and the display of wealth and status. Playful and profound, compact yet universal, these singular spaces encouraged visitors to assemble objects into ever-changing configu- rations—like their cyber equivalent, the Internet. Both invite constant visual engagement as the primary mode of interaction. By bringing the exceptional into the world at hand, Wunderkammern accustomed the eye to visual stimulations not unlike those dominating our contemporary life. Leading toward the modern public museum, Wunderkammern inspired the mind to expand the limits of imagination and to be transported beyond the here and now. Little Epiphanies With the invention of the microscope in the early 1600s, viewers could experience sudden insight (epiphanies) into a formerly invisible universe of minute things. The multiple-lens compound microscope, initially produced by Dutch opticians and commercialized about 1660, was the first such instrument. Paradoxically, the single-lens microscope seems to have been invented after the compound microscope. Even though chromatic aberration—caused by the differences in refraction of the colored rays of the spectrum—often blurred and distorted the images, fundamental scientific discoveries were enabled by both types of early microscopes. -
Folke Gernert Fictionalizing Heterodoxy
Folke Gernert Fictionalizing heterodoxy Folke Gernert Fictionalizing heterodoxy Various uses of knowledge in the Spanish world from the Archpriest of Hita to Mateo Alemán ISBN 978-3-11-062872-2 e-ISBN (PDF) 978-3-11-062877-7 e-ISBN (EPUB) 978-3-11-062878-4 This work is licensed under the Creative Commons Attribution NonCommercial-NoDerivatives 4.0 license. For more information, see http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2019941632. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Folke Gernert, published by Walter de Gruyter GmbH, Berlin/Boston Printing and binding: CPI books GmbH, Leck www.degruyter.com Contents Acknowledgements VII Introduction 1 The Tratado de la divinança by Lope de Barrientos, in the European Context 7 PhysiognomyinPrintand its Readers 20 The Legitimacy of the Partially Occult Sciences, Physiognomyand Chiromancy in the Face of the Inquisition 35 The Precariousness of Knowing the Occult: The Problematic Status of Physiognomy 59 The Physiognomic Knowledge of the Archpriest of Hita 81 The Problematic Competences of the Female Rogue: La LozanaAndaluza and La pícara Justina 100 Predictive Astrology: From King Alcaraz to La Lozana Andaluza 112 Miscellaneous Knowledge, Good and Bad, in aBookofChivalry: the Baldo of 1542 127 The Accumulation of (un)useful Knowledge in the Moralistic Commentaries of the Baldo and the Guzmán de Alfarache 153 Bibliography 173 Index 198 Acknowledgements The essays collected in this book are English translations of previouslypub- lished material.