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The Forty-First George Eliot Memorial Lecture, 2012- Romola's Artists
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln The George Eliot Review English, Department of 2013 The Forty-first George Eliot Memorial Lecture, 2012- Romola's Artists Leonee Ormond Follow this and additional works at: https://digitalcommons.unl.edu/ger Part of the Comparative Literature Commons, Literature in English, British Isles Commons, and the Women's Studies Commons Ormond, Leonee, "The Forty-first George Eliot Memorial Lecture, 2012- Romola's Artists" (2013). The George Eliot Review. 632. https://digitalcommons.unl.edu/ger/632 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in The George Eliot Review by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE FORTY· FIRST GEORGE ELIOT MEMORIAL LECTURE, 2012 Delivered by Leonee Orrnond ROMOLA'S ARTISTS 2012-2013 marks the one hundred and fiftieth birthday of Romola. Originally published in the Comhill Magazine from July 1862 to August 1863 , it later appeared in a three volume edition in 1863. An illustrated edition followed in 1865. George Eliot had begun work on the novel in 1861 , when she was forty-one. She had recently published Si/as Mamer, and The Mill on the Floss , preceded by Adam Bede, had come out not long before that. The genesis of Romola came in May 1860 when George Eliot and George Henry Lewes spent two weeks in Florence. Lewes noted that, 'while reading about Savonarola it occurred to me that his life and times afford fine material for an historical romance'.1 The idea appealed to George Eliot and they began on some preliminary research. -
Challenges Old and New
Issue no. 23 - December 2015 CHALLENGES OLD AND NEW Our association was founded in defiance of the violent destruction of the Via dei Georgofili bombing. Twenty-two years have now passed since that initial collective reaction of civic pride and compensation, and over the years the kinship and solidarity between the Amici degli Uffizi and the Gallery’s executives has grown ever stronger. A unity matured in the last eight years also thanks to the presence and the essential, precious encouragement of director Antonio Natali. With him the Amici degli Uffizi’s patronage has become bold, to say the least: each and every restoration, exhibition, renovation, donation and intervention within the museum has always been a path of knowledge and enrichment, of shared visions and affections, a continuous challenge for new projects for the betterment of the museum. Natali involved us in the most arduous undertakings for a patron: from the past seemingly hopeless restorations of the Madonna della Gatta by Federico Barocci and of the Adoration of the Shepherds by Gerrit van Honthorst -reduced even today to a mere flash of light on the canvas – to the current restoration of the masterpiece Adoration of the Magi by Leonardo, we continue our mission to support the museum with unwavering determination, without any vanity nor expecting honors or returns, true to our vocation to support the artistic heritage of our museum. I could make a long list of accomplishments, a series of happy occasions and achievements attained by the profitable cooperation with our friend Natali. I prefer instead to remember our brief meetings stolen to the work routine to discuss projects and exhibit ideas; our trip to the United States in 2006 when our strong core of Florentine members was supplemented by the branch “Friends of the Uffizi Gallery”, that has since been gathering resources among generous American donors: our long discussions that have always resulted in a positive outcome, further acquisitions and enrichment of the artistic wealth of our museum. -
Simonetta Cattaneo Vespucci: Beauty. Politics, Literature and Art in Early Renaissance Florence
! ! ! ! ! ! ! SIMONETTA CATTANEO VESPUCCI: BEAUTY, POLITICS, LITERATURE AND ART IN EARLY RENAISSANCE FLORENCE ! by ! JUDITH RACHEL ALLAN ! ! ! ! ! ! ! A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Department of Modern Languages School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham September 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT ! My thesis offers the first full exploration of the literature and art associated with the Genoese noblewoman Simonetta Cattaneo Vespucci (1453-1476). Simonetta has gone down in legend as a model of Sandro Botticelli, and most scholarly discussions of her significance are principally concerned with either proving or disproving this theory. My point of departure, rather, is the series of vernacular poems that were written about Simonetta just before and shortly after her early death. I use them to tell a new story, that of the transformation of the historical monna Simonetta into a cultural icon, a literary and visual construct who served the political, aesthetic and pecuniary agendas of her poets and artists. -
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 -
Vasari. the Life of Jacopo Pontormo
The Life ofjacopo da Pontormo, Florentine Painter [1494-1556] According to what some people say, the ancestors or fore- fathers of Bartolomeo di Jacopo di Martino, the father of Jacopo da Pontormo, whose Life we are presently writing, were originally from Ancisa, a castle in the upper Valdarno, which is also very famous as the place in which the ancestors of Messer Francis Petrarch had their early origins. But •whether his forefathers were from there or elsewhere, the pre- viously mentioned Bartolomeo, a Florentine and, according to what I have heard, one of the Carrucci family, was said to have been a disciple of Domenico del Ghirlandaio; it is also said that, having executed many works in the Valdarno, as a painter of moderate talent for those times, he eventually came to Empoli to do some paintings, and living there and in places nearby, he took as his wife in the town of Pontormo a very virtuous and honest young girl named Alessandra, daughter of Pasquale di Zanobi and his wife Mona Brigida. And so, in the year 1493, Bartolomeo's son Jacopo was born,* but since his father died in the year 1499, his mother in 1504, and his grand- father in 1506, Jacopo remained in the care of his grandmother Mona Brigida, who kept him in Pontormo for several years and had him taught reading and writing as well as the first principles of Latin grammar; he was finally taken to Florence at the age of thirteen and was made a ward of the court so that, following the custom, his few possessions might be protected and preserved; and after placing him in the home of a certain shoemaker named Battista, a distant relative, Mona Brigida returned to Pontormo and took with her one of Jacopo's sisters. -
The Evolution of the Medici Portrait: from Business to Politics
THE EVOLUTION OF THE MEDICI PORTRAIT: FROM BUSINESS TO POLITICS A Thesis Submitted to the Office of Graduate Studies College of Arts and Sciences of John Carroll University in Partial Fulfillment of the Requirements for the Degree of Master of Arts By Mark J. Danford Spring, 2013 This thesis of Mark Danford is hereby accepted ________________________________________ ____________________ Reader – Dr. Edward Olszewski Date ________________________________________ ____________________ Reader – Dr. Brenda Wirkus Date ________________________________________ ____________________ Advisor – Dr. Linda Koch Date I certify that this is the original document ________________________________________ ____________________ Author – Mark J. Danford Date Acknowledgements There are many people I would like to thank for their encouragement and support during my graduate studies. I would like to thank the following people at John Carroll University: Dr. William Francis Ryan for introducing me to the Humanities Program; Dr. Brenda Wirkus for advising me and working with my hectic schedule so that I could complete my studies; and Dr. Linda Koch for providing me with an excellent foundation in the field of Art History as well as taking the extra time out of her schedule in order to be my thesis advisor. I would also like to thank Dr. Edward Olszewski from Case Western Reserve University for agreeing to be an additional reader of my thesis and offering his expertise concerning Florence and the Medici. I would like to thank the following people for making my research a little easier and offering me access to the curatorial files in their respective institutions: Andrea Mall from Registration at the Toledo Museum of Art; Anne Halpern from the Department of Curatorial Records at the National Gallery of Art; and Jennifer Vanim from the department of European Painting & Sculpture before 1900 at the Philadelphia Museum of Art. -
RAR, Volume 15, 1995
The RUTGERS ART REVIEW Published by the Graduate Students of the Department of Art History at Rutgers, The State University of New Jersey Volume 15,1995 Copyright © 1996 by Rutgers, The State University of New Jersey All rights reserved Manufactured in the United States of America ISSN 0194-049X Typeset by Craig Eliason Benefactors The Graduate Student Association, Rutgers, The State University of New Jersey Patrons The Samuel Pardoe Foundation James Smalls Contributors Robert Bergman Rona Goffen Archer St. Clair Harvey Joan Marter Sarah Blake McHam Elizabeth McLachlan Friends Anonymous (1) A. S. Arbury Evan Brownstein Marianne Ficarra John F. Kenfield III Jack Spector David G. Wilkins The editorial board of the Rutgers Art Review, volume 15, gratefully acknowledges the advice and expertise of the faculty of the department of Art History, Rutgers Univer sity, and, in particular, faculty advisors Matthew Baigell and Tod Marder. The board also thanks all the professional readers of papers submitted for this issue. The editors extend special thanks to Anand Commissiong, office director of the Catharine R. Stimpson Graduate Publications Office of Rutgers University, without whom this issue could not have been published. The Rutgers Art Review extends its appreciation to Nikola Stojsin and Donald Fallon, members of the Graduate Student Association/Graduate Publications Committee, Rutgers University. Their continued professional support has been crucial to the success of the RAR. Rutgers Art Review Volume 15 Co-Editors Maggie Patrick-Sternin -
Poster Discussion
Building Your Dreams Teaching Poster The Building of a Palace Piero di Cosimo; Italian, 1461-1521 Oil on Panel About 1515-1520 Bequest of John Ringling, 1936 SN22 Sunshine State Standards (3-5) Math: Measurement (MA.B.1.2, MA.B.2.2, MA.B.3.2, MA.B.4.2) Geometry and Spatial Sense (MA.C.1.2, MA.C.2.2, MA.C.3.2) Science: Force and Motion (SC.C.2.2) Visual Arts: Skills and Techniques ((VA.A.1.2) Cultural and Historical Connections (VA.C.1.2) 1 Building Your Dreams Teaching Poster Introduction Objectives Students will: 1. Learn that artists create landscapes and architecture that exist only in their imagination; 2. Learn that an understanding of the mathematical concepts of measurement and geometry is valuable and useful as a tool for the creative thinker and artist; 3. Learn about Renaissance innovations in the arts and science that impacted generations to come. About the Art The Building of the a Palace is a painting from the Renaissance period of art, which spanned the years 1450 to 1600. The Renaissance (or rebirth) was a time of rediscovery of Greek and Roman art and literature, and the beginning of scientific study of anatomy and the world. Philosophers, writers, scientists, and artists of the day based their principles on math and science as they knew it. The Renaissance oil painting on wood panel, The Building of a Palace by Piero di Cosimo is unusual for a variety of reasons. Typically, Piero painted religious and mythological subjects. Many scholars believe this is not about an actual building, but an allegorical work created between 1515 and 1520, near the end of the artist’s life. -
Botticelli's Images of Simonetta Vespucci: Between Portrait and Ideal Monika Schmitter, University of Massachusetts - Amherst
University of Massachusetts Amherst From the SelectedWorks of Monika Schmitter 1995 Botticelli's Images of Simonetta Vespucci: Between Portrait and Ideal Monika Schmitter, University of Massachusetts - Amherst Available at: https://works.bepress.com/monika_schmitter/6/ Rutgers Art Review 15 (1995) 33 Botticelli's Images of Simonetta Vespucci: Between Portrait and Ideal Monika A. Schmitter A series of five mysterious, portraitlike images produced by Sandro Botticelli's workshop in the late fifteenth century shows the same female sitter, bust length, in profile, with an extremely ornate hairstyle. These images are difficult to classify. On the one hand, they follow the conventions of portraiture—they show a single, bust-length figure in profile against a plain, colored background or an architectural setting; on the other hand, because the woman is portrayed with decorated, loose, overabundant, waving hair and somewhat classical dress, she appears to be a more generalized type— a nymph or goddess rather than a mortal woman. Besides being visually intriguing in their own right, these images have played a pivotal, although not always fully acknowledged, role in the historiography of Botticelli, of his famous painting Primavera (Galleria degli Uffizi, Florence), and, by extension, of Florentine culture and society under the rule of Lorenzo de' Medici. The various images have often been identified as portraits of Simonetta Cattaneo Vespucci, a Genoese woman married to a Florentine, who was the object of Giuliano de' Medici's unrequited love. Simonetta was Giuliano's "Petrarchan mistress"—a beautiful, chaste, and unattainable upper-class woman whom he adored from afar in the spirit of Petrarch's love for Laura. -
Michelangelo, Selected Poems
ART HUMANITIES: PRIMARY SOURCE READER Section 4: Michelangelo Art Humanities Primary Source Reading 15 Michelangelo, Selected Poems The passages that follow attest to Michelangelo as a personification of what we now call a “Renaissance Man.” Though he is best known for his sculpture, painting, and architecture, Michelangelo was also a prolific poet, composing over three hundred pieces during his lifetime, sometimes even jotting down lines of verse in the margins of his drawings. Though an edition of 105 of his poems was abortively prepared between 1542 and 1546, the first printed version of his written work appeared in 1623 in a volume edited by his grandnephew Michelangelo the Younger. The latter Michelangelo drew from the edition prepared earlier, as well as family manuscripts, while altering the nature of the poems by completing some,and changing the language and content of others to conform with Counter-Reformation ideas about faith and love. This was the only available version of the artist’s poetry until 1863, and, therefore, it shaped scholarly understanding of Michelangelo through the first part of the 19th century. The artist dealt with such broad themes as love and death, and, as in the selections here, the nature of artistic creativity. At the same time, the following poems provide us with a type of written self-portrait, which may be read alongside the images he created of himself in the guise of St. Bartholomew in the Last Judgment, and the figure of Nicodemus in the Florence Pietà. As the following examples suggest, Michelangelo’s insights on himself were frequently in strong contrast to Vasari’s effusively laudatory commentary on the artist’s life and works. -
Botticelli Past and Present Ever, the Significant and Continued Debate About the Artist
The recent exhibitions dedicated to Botticelli around the world show, more than and Present Botticelli Past ever, the significant and continued debate about the artist. Botticelli Past and Present engages with this debate. The book comprises four thematic parts, spanning four centuries of Botticelli’s artistic fame and reception from the fifteenth century. Each part comprises a number of essays and includes a short introduction which positions them within the wider scholarly literature on Botticelli. The parts are organised chronologically beginning with discussion of the artist and his working practice in his own time, moving onto the progressive rediscovery of his work from the late eighteenth to the turn of the twentieth century, through to his enduring impact on contemporary art and design. Expertly written by researchers and eminent art historians and richly illustrated throughout, the broad range of essays in this book make a valuable contribution to Botticelli studies. Ana Debenedetti is an art historian specialising in Florentine art, artistic literature and workshop practice in the Renaissance. She is Curator of Paintings at the Victoria and Albert Museum, responsible for the collections of paintings, drawings, watercolours and miniatures. She has written and published on Renaissance art and Botticelli philosophy. Caroline Elam is a Senior Research Fellow at the Warburg Institute, University of London. She specialises in architecture, art and patronage in the Italian Renaissance and in the reception of early Italian art in the late nineteenth and twentieth century. Past She has held academic positions at the University of Glasgow, King’s College, Cambridge and Westfield College, University of London. -
Renaissance Art
Renaissance Art By: Abhishek Garg Table of Contents Introduction...…………………………………………………………….Page Three Chapter I: The Renaissance…………………………………………….....Page Four Chapter II: Painting…………………………………………………........Page Nine Chapter III: In the Workshop……………………………………….….Page Sixteen Chapter IV: Essential Artists………………………………………....Page Nineteen Chapter V: Leonardo da Vinci………………………………….…Page Twenty-Five Chapter VI: The Renaissance’s Legacy……………………….......Page Thirty-Four Conclusion……………………………………………………......Page Thirty-Eight Bibliography……………………………………………………,,,,Page Thirty-Nine Image Citations……………………………………………………..Page Forty-One 2 Introduction Throughout my life I have been passionately invested in art. I have always wanted to learn how we got to where we are today. The Renaissance has greatly influenced modern culture and delivered some of the most prominent works in history. The stylized differences that we incorporate as art progresses piques my interest in a myriad of ways. Renaissance works incorporate a natural, calm beauty, which greatly influences my art and modern works. When we think of the Renaissance we think of classical artists such as Michelangelo. But there is much more to this period then we think. So how has this time period influenced what we create today? How did it improve society then? In only the span of 300 years, society evolved in a plethora of ways ranging from literature to art to science. Individuals were presented the freedom to express their own views compared to traditional beliefs. Specific artists were able to present their culture realistically. When we analyze art from this period we understand how important the pieces were to culture. Also, understanding how pieces from this time influenced other subjects, such as medicine, is fascinating. This complex period greatly inspires how we currently think.