The World of the Venetian Cittadino

Total Page:16

File Type:pdf, Size:1020Kb

The World of the Venetian Cittadino THE DAPHNE MAYO LECTURE 2012 Deborah Howard is Professor of Architectural Good Citizenship: The World History in the Faculty of Architecture and History of Art at the University of Cambridge. A graduate of Cambridge and of the Venetian cittadino of the Courtauld Institute of Art, she taught at University College London, Edinburgh University and the Courtauld Institute, before How were the ‘middle classes’ in Venice returning to Cambridge in 1992. distinguished by rank, wealth, and taste? She has held visiting appointments at Yale, Harvard, Princeton, Smith College, the The cittadini of Venice are best-known to art National Gallery of Art in Washington DC, and the Villa I Tatti in Florence. Her principal historians through their patronage of the great research interests are the art and architecture citizens’ guilds or Scuole Grandi. But they also of Venice and the Veneto; music and architecture in the Renaissance; and the relationship between Italy and the Eastern Mediterranean. In commissioned works of art and architecture in their 2005 she established the Centre for Acoustic and Musical Experiments in own right. Often highly educated and prosperous, Renaissance Architecture (CAMERA) in the Department of History of Art, University of Cambridge. they proved to be ambitious clients for artists of the She was elected a Fellow of the British Academy in 2010. Her most Venetian Renaissance. This lecture challenges the recent books are Sound and Space in Renaissance Venice: Architecture, Music, Acoustics (Yale University Press, 2009, with Laura Moretti), and common perception that their tastes in art were Venice Disputed: Marc’Antonio Barbaro and Venetian Architecture 1550- less refined than those of the ruling nobility. 1600 (Yale University Press, 2011). The University of Queensland Good Citizenship: The World of the Venetian cittadino Art Museum and The School of English, Media Deborah Howard Studies and Art History Professor of Architectural History, Faculty of Architecture and History of Art, University of Cambridge in association with The Alumni Friends of The Wednesday 4 April 6.00 pm University of Queensland Inc. ICTE Auditorium, Sir Llew Edwards Building invite you to attend Free. All welcome. RSVP by Friday 30 March Bookings essential as numbers are limited. Email: [email protected] (07) 3365 3046 Refreshments will be served, after the lecture, in the foyer of the UQ Art Museum. Our current exhibitions Gonkar Gyatso: Three Realms; Fashioning self: Artworks from the Collection; and Beijing hao! Six Chinese photomedia artists will be open for viewing until 8.30 pm. Cover: Titian Sacred and Profane Love 1514 Oil on canvas, 118.0 x 279.0 cm Galleria Borghese, Rome Daphne Mayo (1895-1982) Please note this public lecture will be held in the ICTE Auditorium Daphne Mayo was for much of her life in the Sir Llew Edwards Building, (No 14) which is located diagonally Queensland’s best known artist and a across from the UQ Art Museum in University Drive. passionate advocate for the arts. Her work For map, see www.uq.edu.au/maps/index.html?menu=1&id=280&z=1 includes the tympanum on the Brisbane City Hall and the Women’s War Memorial in ANZAC Square. She was a trustee of the Queensland Art Gallery (1960-67), established an art reference library now at The University of Queensland, and left her private papers to The University of The University of Queensland Queensland’s Fryer Library. Art Museum University Drive, St Lucia Daphne Mayo Visiting Professorship in Visual Culture www.artmuseum.uq.edu.au To honour and commemorate the life of one of Queensland’s most Open daily 10.00 am – 4.00 pm prominent artists and art educators, the School of English, Media Studies Free parking on weekends and Art History at The University of Queensland has established the annual Daphne Mayo Visiting Professorship in Visual Culture. Each year, a major figure will visit Brisbane to speak about the latest trends, influences, and theories in their area of visual culture. They will give public lectures and take master classes with postgraduate students at The University of Queensland. Number 00025B 62059 PW 2k MAR12 CRICOS Provider.
Recommended publications
  • UQFL139 Queensland Art Fund Collection
    FRYER LIBRARY Manuscript Finding Aid UQFL139 Queensland Art Fund Collection Size 7 boxes Contents Minutes of meetings, annual reports, circulars, correspondence and financial records, correspondence regarding nomination of trustee, Art Library records, newspaper clippings, press publicity reports, papers on the Queensland Art Fund lunch hour talks. Biography The Queensland Art Fund was organized by Vida Lahey and Daphne Mayo to promote public interest in the Queensland Art Gallery. Through purchases and gifts, the Fund acquired paintings, books and a collection of 2000 photographs given by the Carnegie Corporation, New York. When Art Fund activities ceased, the collections were divided among the Queensland Art Gallery, the Queensland University and other public bodies. Notes Open access Minutes of Meetings, Annual Reports and Circulars Box 1 One volume—minutes of general meetings, annual reports and circulars, 1930-1945. Contains minutes, newspaper clippings, financial statements, annual reports etc One volume—minute book of executive meetings of Queensland Art Fund, 5 Dec 1927- 25 Nov 1947 (Handwritten notes stuck to back cover, names and addresses of committee members stuck to front cover, also loose list of members’ names) One notebook—Queensland Art Funds sub-committee, minutes, 5 Jun 1929-8 Oct 1930. (Handwritten minutes) One notebook—Queensland Art Fund Ladies committee, minutes Apr 19??-Jun 1930. (Handwritten minutes) One notebook—Queensland Art Fund Ladies committee, minutes, 21 Mar 1930- 4 Apr 1930. One folder—notices, invitations etc, contains blank subscription receipt book, invitations One folder—loose minutes, agendas (Some undated, others dated 8 May 1929- Feb 1932) One folder—loose annual reports, contains report to members Feb 1930, report to first annual meeting (six copies), report 1942-1945.
    [Show full text]
  • Appendices 2011–12
    Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse
    [Show full text]
  • A Eudaimonistic Model for Femininity in the Art of Vida Lahey (1882-1968 )
    ‘Wanted, a strong girl, able to milk and make herself agreeable’: A Eudaimonistic Model for Femininity in the Art of Vida Lahey (1882-1968 ) Author Lovell, Susan Published 2008 Journal Title Australian Feminist Studies DOI https://doi.org/10.1080/08164640802020576 Copyright Statement © 2008 Taylor & Francis. This is the author-manuscript version of the paper. Reproduced in accordance with the copyright policy of the publisher.Please refer to the journal link for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/22869 Link to published version http://www.tandf.co.uk/journals/carfax/08164649.html Griffith Research Online https://research-repository.griffith.edu.au 'Wanted, a strong girl, able to milk and make herself agreeable' : A Eudaimonistic Model for Femininity in the Art of Vida Lahey (1882- 1968) In 1916 the Australian artist Vida Lahey came to London to form a home base for her three brothers and 12 cousins who were fighting in Europe. The visit was also an opportunity to connect to her Irish heritage. During some 'off duty' time, as she was cycling through the Irish countryside, she came across the notice that forms the title of this paper: 'Wanted, a strong girl, able to milk and make herself agreeable' (Lahey 1919, 9). That Vida even recorded the advertisement in her journal says something about the impression that it made on her. The roles of domestic worker and 'agreeable' object form the twin poles of an ideologically determined continuum along which single women have traditionally been expected to define themselves. It is a short, rather constrained continuum because the definition of femininity has been articulated in tandem with the heterosexual institution of the family.
    [Show full text]
  • Graham Clifton Southwell
    Graham Clifton Southwell A thesis submitted in fulfilment of the requirement for the degree of Master of Arts (Research) Department of Art History Faculty of Arts and Social Sciences University of Sydney 2018 Bronze Southern Doors of the Mitchell Library, Sydney A Hidden Artistic, Literary and Symbolic Treasure Table of Contents Abstract Acknowledgements Chapter One: Introduction and Literature Review Chapter Two: The Invention of Printing in Europe and Printers’ Marks Chapter Three: Mitchell Library Building 1906 until 1987 Chapter Four: Construction of the Bronze Southern Entrance Doors Chapter Five: Conclusion Bibliography i! Abstract Title: Bronze Southern Doors of the Mitchell Library, Sydney. The building of the major part of the Mitchell Library (1939 - 1942) resulted in four pairs of bronze entrance doors, three on the northern facade and one on the southern facade. The three pairs on the northern facade of the library are obvious to everyone entering the library from Shakespeare Place and are well documented. However very little has been written on the pair on the southern facade apart from brief mentions in two books of the State Library buildings, so few people know of their existence. Sadly the excellent bronze doors on the southern facade of the library cannot readily be opened and are largely hidden from view due to the 1987 construction of the Glass House skylight between the newly built main wing of the State Library of New South Wales and the Mitchell Library. These doors consist of six square panels featuring bas-reliefs of different early printers’ marks and two rectangular panels at the bottom with New South Wales wildflowers.
    [Show full text]
  • Education Resource About the Artist
    EDUCATION RESOURCE ABOUT THE ARTIST Lloyd Rees was born in Brisbane on 17 March 1895. He was well known for his sketches of Brisbane at the time and studied at the Central Technical College. Rees moved to Sydney in 1917 to work for Sydney Ure Smith at the Smith & Julius Studio, one of Australia’s earliest advertising agencies to feature art works and colour printing, which provided regular work for artists and set new standards for the advertising industry. Ure Smith encouraged and commissioned Rees to draw the architecture and landscapes of Sydney. In this exhibition, you can see his observations of Brisbane buildings, streets and landscapes, and his fascination with the effect of light on his subjects, which continued throughout his career. In his later years, Lloyd Rees’s works became more abstract as he began to focus specifically on sources and effects of light. Despite his rapidly failing eyesight, Rees continued to paint, claiming that a benefit of its deterioration was that he was able to look directly at the sun. Key ideas to explore • Portraiture • Draughting • Architecture • Illustration • Drawing • Urban scenery • Landscape • Scale Lloyd Rees as a young man / Image courtesy: Fryer Library, University of Queensland DID YOU KNOW? Lloyd Rees painted The sunlit tower 1986 when he Lloyd Rees’s art works have been included was 91 years old. This work won the Queensland in major surveys of Australian art since 1923, Art Gallery’s Jack Manton Prize in 1987 and is and he is represented in all public and many included in this exhibition. private collections throughout the country.
    [Show full text]
  • Art Training in Brisbane to 1991
    Chapter 2 Those who started, those who stayed, those who departed, those who strayed: Art training in Brisbane to 1991 Glenn R. Cooke Preamble Throughout the second half of the twentieth century the higher education sector in Australia went through a series of reorganisations culminating in the Dawkins Report 1988 which recommended that the various technical colleges, teachers’ colleges and colleges of advanced education be incorporated into a system of multi-campus universities. Negotiations were put underway so that on 1 July 1991 the Queensland Conservatorium of Music amalgamated with Griffith University. The art, craft and design courses and students of the Queensland College of Art, from Associate Diploma level on, also joined Griffith University and on 1 January 1992 an independent history of 110 years was brought to a close. The history of the college over this time also reflected a series of restructures to mirror perceived educational needs and the political agendas of Queensland governments. The Brisbane School of Arts was founded in 1881 and incorporated into the Brisbane Technical College in 1884. As a result of the Technical Instruction Act of 1908, the suburban technical colleges at South Brisbane and West End were merged with Brisbane to form the Central Art training in Brisbane to 1991 Glenn R. Cooke Technical College (CTC) in 1909. When the Queensland Institute of Technology was established in 1965 on the same site, the CTC and its Art Branch retained their independence. In 1972 the Art Branch separated from the CTC to become the College of Art (CoA) which, two years later moved from George Street to purpose- built premises shared with the Seven Hills TAFE and was formally renamed the Queensland College of Art (QCA) in 1982.
    [Show full text]
  • PATRICIA FORTINI BROWN Curriculum Vitae - 1
    PATRICIA FORTINI BROWN Curriculum Vitae - 1 Patricia Fortini Brown, Professor Emerita Princeton University Dept. of Art and Archaeology Princeton, NJ 08544-1018 Home 609/683-4076; Cell 609/462-9838 Email [email protected] EDUCATION: University of California, Berkeley: A.B. Political Science, 1959; M.A. History of Art, 1978; Ph.D. History of Art, 1983 Dissertation: “The Painted Histories of the Scuole Grandi of Venice, c. 1494-1534" ACADEMIC POSITIONS: University of California, Berkeley, Dept. of History of Art Teaching Assistant/Associate, 1978-80 Mills College, Oakland, California, Dept. of Art Lecturer, 1983 Princeton University, Dept. of Art and Archaeology Assistant Professor, 1983-89; Associate Professor, 1989-97; Professor, 1997-2010; Professor Emeritus, 2010-present Department Chair, 1999-2005; Acting Chair, Fall 2007 University of Cambridge, Slade Professor of Fine Arts, 2000-1 (Lent term: January-March 2001) Fellow Commoner, St John’s College Venice International University, Summer Humanities Seminar, Lecturer, 2003, 2004 American Universities in Asia, Summer School, Tsinghua University, Beijing, China, Summer 2012 HONORS, AWARDS AND FELLOWSHIPS: 1980-82: Social Science Research Council and American Council of Learned Societies International Doctoral Research Fellowship 1980-81: Fulbright-Hays Grant to Italy 1980-81: University of California Italian-American Traveling Fellowship (declined) 1982: Gladys Krieble Delmas Foundation Grant for Research in Venice 1982: University of California Humanities Research Grant 1984, 1985, 1986, 1987, 1991, 1997, 2005: Princeton University, University Committee on Research in the Humanities and the Social Sciences, research grants 1989-90: Rome Prize Fellowship, American Academy in Rome 1989-90: Villa I Tatti Fellowship (declined) 1989-90: John Simon Guggenheim Fellowship (deferred to 1992-93) 1989: Premio "Salotto Veneto 89", for the best book published on Venetian culture -- second prize awarded to Venetian Narrative Painting in the Age of Carpaccio 1991-95: Andrew W.
    [Show full text]
  • Colour and Response Education Kit Developed by the University of Southern Queensland in Collaboration with Flying Arts Alliance and Art Education Association (AEA)
    Colour and Response Education Kit Developed by the University of Southern Queensland in collaboration with Flying Arts Alliance and Art Education Association (AEA) Australian art teachers recognise the Reconciliation journey as integral to all aspects of art teachers’ work in education contexts. We acknowledge the original Owners of the land upon which we work with Australian art teachers and students, and we pay our respects to Elders, past, present and emerging. In doing so, we commit to listen deeply to Story and be respectful of Country in and through our collaborations with First Nations People. Respectful art teachers keep at the fore of their practice the need to embody mindful, inclusive, accessible and culturally appropriate approaches to art teaching, learning and making with their students. CONTENTS Contents …………………………………………………………………………………………………………………….…. p. 1 For Teachers…………………………………………………………………………………………………………………... p. 2 Taking Art to the Skies…………………………………………………………………………………………………….. p. 5 Map of Queensland …………….…………………………………………………………………………………………. p. 10 A Brief History of Art in Queensland ………………………………………………………………………………. p.11 Selected Key Events ……………………………………………………………………………………………………….. p. 15 The Artist's perspective - Mervyn Moriarty ………………………………………………………………….. p. 17 The Impact of the Flying Arts School - Recollections from Students ……………………………….. p. 27 Colour and Response ……………………………………………………………………………………………………… p. 20 Artists and Colour …………………………………………………………………………………………………………… p. 23 Colour and Response - Responding and
    [Show full text]
  • Mt Thompson Crematorium/Former
    - Draft History - Mt Thompson Crematorium/former Brisbane Crematorium The former Brisbane Crematorium at Nursery Road, Holland Park, comprising a brick chapel, mortuary, retort room, offices, columbarium garden, caretaker‟s house and landscaped gardens, was designed by Melbourne architects, Charles and Frank Heath and executed by Addison and Macdonald architects. It opened on 10 September 1934 as Queensland‟s first crematorium and incorporates artwork by noted Queensland sculptor Daphne Mayo. Although cremation has been used for the disposal of the dead in many societies for millennia, its use in the Western world, dates from the second half of the nineteenth century. Before it was accepted as an appropriate means of disposal of the dead, theological arguments and tradition needed to be overcome. An early step in this process was the exhibition of a cremation chamber at the Vienna Exposition in 1873. In the following year the Cremation Society of England was formed by Queen Victoria‟s surgeon and other medical practitioners. Subsequently, the first crematoria were built in 1878 at Woking in England and Gotha in Germany. However, the first cremation in Britain in this period took place in 1884 when William Price cremated his son‟s body and subsequently won a court case establishing cremation as legal. Woking Crematorium conducted its first cremation on 26 March 1886.1 In Australia, the cremation movement began in the late nineteenth century but only slowly gained favour. It campaigned for cremation on the basis of public health benefits, and economic and aesthetic grounds. In 1891 South Australia became the first colony to legalise cremation.
    [Show full text]
  • Barjai, Miya Studio and Young Brisbane Artists of the 1940S;
    BARJAI, MIYA STUDIO AND YOUNG BRISBANE ARTISTS OF THE 1940S; TOWARDS A RADICAL PRACTICE by MICHELE ELIZABETH ANDERSON A thesis submitted in fulfilment of the requirements for the degree of Bachelor of Arts with Honours DEPARTMENT OF ART HISTORY UNIVERSITY OF QUEENSLAND JULY 1987 n To the late Laurence Collinson m We can no more allow the warped wills of old men to fashion for us the future. It is ours. Cast off the leaden weights that make the drab decrees. Climb the high heart's wall and cry out Action. Barrie Reid, "These Leaden Weights", Barjai, No. 13, March 1944, p. 3. w TABLE OF CONTENTS LIST OF ILLUSTRATIONS V ACKNOWLEDGMENTS ix INTRODUCTION 1 CHAPTER ONE Barjai and the Barjai Group, 1943-1947: Art and Literature / Youth, War and Politics 10 CHAPTER TWO Young Brisbane Artists at War's End and The Younger Artists' Group of 1945 61 CHAPTER THREE Miya Studio and The Artists' Group of the New Theatre Club: The Studio Base 1945-1950 110 CHAPTER FOUR Miya Studio and The Artists' Group of The New Theatre Club: Exhibitions 1945-1950 157 CONCLUSION 204 APPENDICES 206 ILLUSTRATIONS 214 BIBLIOGRAPHY ' 254 LIST OF ILLUSTRATIONS 1 Ian Gall, Cartoon, The Courier-Mail, 11 May 1942, p. 4 (Photograph courtesy of John Uxley Library). 2 Cover, Barjai, No. 5, 1943 (Photographic access courtesy of John Oxley Library). 3 Cover, Barjai, No. 8, 1943 (Photographic access courtesy of John Oxley Library). 4 Cover, Barjai, No. 12, January 1944 (Photographic access courtesy of John Oxley Library). 5 Cover, Barjai, No. 14, May 1944 (Photographic access courtesy of John Oxley Library).
    [Show full text]
  • Building Churches in Scotland 96 Occupying 132 Relating – Church Buildings and Their Surroundings 164 Conclusion 200 Bibliography 212
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Building the Reformed Kirk: the cultural use of ecclesiastical buildings in Scotland, 1560–1645 by Graham T. Chernoff A thesis submitted for the degree of Doctor of Philosophy at the University of Edinburgh July 2012 Abstract This thesis examines the built environment and culture of Scotland between 1560 and 1645 by analysing church buildings erected during the period. The mid-sixteenth- century ecclesiastical Reformation and mid-seventeenth-century political and ecclesiastical tumult in Scotland provide brackets that frame the development of this physical aspect of Scottish cultural history. This thesis draws most heavily on architectural and ecclesiastical history, and creates a compound of the two methods. That new compound brings to the forefront of the analysis the people who produced the buildings and for whom the church institution operated.
    [Show full text]
  • The Journal of Professional Historians Issue Seven, 2020 Circa: the Journal of Professional Historians Issue Seven, 2020 Professional Historians Australia
    Circa The Journal of Professional Historians Issue seven, 2020 Circa: The Journal of Professional Historians Issue seven, 2020 Professional Historians Australia Editor: Christine Cheater ISSN 1837-784X Editorial Board: Carmel Black Neville Buch Emma Russell Richard Trembath Ian Willis Layout and design: Lexi Ink Design Copy editor: Fiona Poulton Copyright of articles is held by the individual authors. Except for the purposes of private study, research, criticism or review as permitted by the Copyright Act, no part of this publication may be reproduced by any process without the permission of the author. Address all correspondence to: The Editor, Circa Professional Historians Australia PO Box 9177 Deakin ACT 2600 [email protected] The content of this journal represents the views of the contributors and not the official view of Professional Historians Australia. Cover images: Top: Ivan Vasiliev in an extract from Spartacus during a gala celebrating the reopening of the Bolshoi Theatre, 28 October 2011. http://en.kremlin.ru/events/president/news/13260/photos/10521 Bottom: Hoff’s students Treasure Conlon, Barbara Tribe and Eileen McGrath working on the Eastern Front relief for the Anzac Memorial, Hoff’s studio, 1932. Photograph courtesy McGrath family CONTENTS EDITORIAL . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..III Part one: Explorations Out of the Darkness, into the Light: Recording child sexual abuse narratives HELEN PENROSE, PHA (VIC & TAS) 2 Part two: Discoveries Discoveries to A Women’s Place: Women and the Anzac Memorial DEBORAH BECK, PHA (NSW & ACT). .. 9 Planter Inertia: The decline of the plantation in the Herbert River Valley BIANKA VIDONJA BALANZATEGUI, PHA (QLD). 20 Part three: Reflections DANCE AS PERFORMATIVE PUBLIC HISTORY?: A JOURNEY THROUGH SPARTACUS CHRISTINE DE MATOS, PHA (NSW & ACT) .
    [Show full text]