Catalogue Listing by Date the Drawings of Bronzino
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March 27, 2018 RESTORATION of CAPPONI CHAPEL in CHURCH of SANTA FELICITA in FLORENCE, ITALY, COMPLETED THANKS to SUPPORT FROM
Media Contact: For additional information, Libby Mark or Heather Meltzer at Bow Bridge Communications, LLC, New York City; +1 347-460-5566; [email protected]. March 27, 2018 RESTORATION OF CAPPONI CHAPEL IN CHURCH OF SANTA FELICITA IN FLORENCE, ITALY, COMPLETED THANKS TO SUPPORT FROM FRIENDS OF FLORENCE Yearlong project celebrated with the reopening of the Renaissance architectural masterpiece on March 28, 2018: press conference 10:30 am and public event 6:00 pm Washington, DC....Friends of Florence celebrates the completion of a comprehensive restoration of the Capponi Chapel in the 16th-century church Santa Felicita on March 28, 2018. The restoration project, initiated in March 2017, included all the artworks and decorative elements in the Chapel, including Jacopo Pontormo's majestic altarpiece, a large-scale painting depicting the Deposition from the Cross (1525‒28). Enabled by a major donation to Friends of Florence from Kathe and John Dyson of New York, the project was approved by the Soprintendenza Archeologia Belle Arti e Paesaggio di Firenze, Pistoia, e Prato, entrusted to the restorer Daniele Rossi, and monitored by Daniele Rapino, the Pontormo’s Deposition after restoration. Soprintendenza officer responsible for the Santo Spirito neighborhood. The Capponi Chapel was designed by Filippo Brunelleschi for the Barbadori family around 1422. Lodovico di Gino Capponi, a nobleman and wealthy banker, purchased the chapel in 1525 to serve as his family’s mausoleum. In 1526, Capponi commissioned Capponi Chapel, Church of St. Felicita Pontormo to decorate it. Pontormo is considered one of the most before restoration. innovative and original figures of the first half of the 16th century and the Chapel one of his greatest masterpieces. -
The Strange Art of 16Th –Century Italy
The Strange Art of 16th –century Italy Some thoughts before we start. This course is going to use a seminar format. Each of you will be responsible for an artist. You will be giving reports on- site as we progress, in as close to chronological order as logistics permit. At the end of the course each of you will do a Power Point presentation which will cover the works you treated on-site by fitting them into the rest of the artist’s oeuvre and the historical context.. The readings: You will take home a Frederick Hartt textbook, History of Italian Renaissance Art. For the first part of the course this will be your main background source. For sculpture you will have photocopies of some chapters from Roberta Olsen’s book on Italian Renaissance sculpture. I had you buy Walter Friedlaender’s Mannerism and Anti-Mannerism in Italian Painting, first published in 1925. While recent scholarship does not agree with his whole thesis, many of his observations are still valid about the main changes at the beginning and the end of the 16th century. In addition there will be some articles copied from art history periodicals and a few provided in digital format which you can read on the computer. Each of you will be doing other reading on your individual artists. A major goal of the course will be to see how sixteenth-century art depends on Raphael and Michelangelo, and to a lesser extent on Leonardo. Art seems to develop in cycles. What happens after a moment of great innovations? Vasari, in his Lives of the Artists, seems to ask “where do we go from here?” If Leonardo, Raphael and Michelangelo were perfect, how does one carry on? The same thing occurred after Giotto and Duccio in the early Trecento. -
1 Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the Universi
Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Art History and Visual Culture In March 2017. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature)…………………………………………………………………………….. 1 Abstract The church of Santo Spirito in Florence is universally accepted as one of the architectural works of Filippo Brunelleschi (1377-1446). It is nevertheless surprising that contrary to such buildings as San Lorenzo or the Old Sacristy, the church has received relatively little scholarly attention. Most scholarship continues to rely upon the testimony of Brunelleschi’s earliest biographer, Antonio di Tuccio Manetti, to establish an administrative and artistic initiation date for the project in the middle of Brunelleschi’s career, around 1428. Through an exhaustive analysis of the biographer’s account, and subsequent comparison to the extant documentary evidence from the period, I have been able to establish that construction actually began at a considerably later date, around 1440. It is specifically during the two and half decades after Brunelleschi’s death in 1446 that very little is known about the proceedings of the project. A largely unpublished archival source which records the machinations of the Opera (works committee) of Santo Spirito from 1446-1461, sheds considerable light on the progress of construction during this period, as well as on the role of the Opera in the realization of the church. -
The Decoration of the Chapel of Eleonora Di Toledo in the Palazzo Vecchio, Flor
PREFACE The decoration of the Chapel of Eleonora di Toledo in the Palazzo Vecchio, Flor- ence, is a masterpiece of the art of Agnolo Bronzino (1503-1572), painter to the Medici court in Florence in the sixteenth century. Indeed, as the only com- plex ensemble of frescoes and panels he painted, it could be deemed the central work of his career. It is also a primary monument of the religious painting of cinquecento Florence. Just as Bronzino's splendid portraits and erotic allegories established new modes of secular painting that expressed the ideals of mid- sixteenth-century court life, so his innovative chapel paintings transformed tradi- tional biblical narratives and devotional themes according to a new aesthetic. The chapel is also the locus of the emerging personal imagery of its patron, Duke Cosimo I de' Medici (1519-1574), and its decorations adumbrate many of the metaphors of rule, as they have been called, that would be programmatically developed in his more overtly propagandistic later art. There has been no comprehensive, documented, and illustrated study of this central work of Florentine Renaissance art. It was the subject of a short article by Andrea Emiliani (1961) and of my own essays, one on Bronzino's preparatory studies for the decoration (1971) and two others on individual paintings in the chapel (1987, 1989). These were prolegomena to this full-scale study, in which the recently restored frescoes are also illustrated for the first time. X X V 11 I began this book in 1986 at the Getty Center for Art History and the Human- ities, whose staff and director, Kurt W. -
Santo Spirito Neighborhood Crawl
florence for free free walks and work-arounds for rich italian adventures neighborhood crawl: santo spirito Distance: 2 km (about 1.2 miles) Time: 25 minute walk in total, plus time (up to a day!) for leisurely exploring Cost: $0 Directions: Start out by crossing the Ponte Vecchio. At the bridge’s end, walk straight ahead, looking for a small piazza on your left with a church tucked in the back corner (Sant Felicita). Venture further down Via de’ Guicciardini, past Palazzo Pitti, onto Via Romana, until you reach Via del Campuccio. Turn right, and then make the next right again at Via Caldaie. Walk up to Santo Spirito, head out at the far right of the piazza and turn left on Via Maggio. Walk down to St. Mark’s Church, cross the street and take that right on Via dei Vellutini down to Piazza della Passera. Take Via dello Sprone back out and follow it until you reach Ponte Santa Trinita. Places to see: • Santa Felicita – One of the oldest worship sites in the city, although the current structure mostly dates back to the 18th century. Head here when open in the early morning and venture in under the Vasari Corridor (the arch-shaped interruption in the church’s facade), which also doubled as a private balcony the Medici could worship from without mingling with ordinary plebs. The inside is certainly inspired by the style of Renaissance heavyweight Brunelleschi – the man who solved the riddle of the cathedral dome. He even designed the chapel immediately to the entrance’s right, today known as the Capponi Chapel, which features two masterpieces by Mannerist favorite Jacopo Pontormo. -
Pontormo: Painting in an Age of Anxiety A I C
Pontormo: Miraculous Encounters, on view at the Getty Museum from February , to April , , brings together a small number of exceptional works by Jacopo da Pontormo, one of the greatest PAID UCLA Italian artists of the sixteenth century. The exhibition features one PRESORTED FIRST CLASS U.S. POSTAGE U.S. Pontormo of his most moving and innovative altarpieces, the Visitation, an Painting in an Age of Anxiety unprecedented loan from the parish Church of Santi Michele e Francesco in Carmignano (Prato, Italy), alongside the Getty’s own, iconic Portrait of a Halberdier, and the recently rediscovered Portrait of aYoung Man in a Red Cap from a private collection. These paintings have been reunited with their only surviving preparatory studies and other related drawings, in order to clarify Pontormo’s creative processes and working methods. This international conference, organized by the UCLA Center for Medieval and Renaissance Studies and the J. Paul Getty Museum, along with the curators of the exhibition, brings together leading scholars currently working on Pontormo’s oeuvre. Both historians and conservators will present new research related to the main themes of the exhibition, including: the works of Pontormo’s maturity, executed between and , within the historical context of the last Florentine republic and the dramatic siege of Florence; the artist’s techniques in drawing and painting; the controversial identifi cation of the sitters of his portraits; the relationship between Pontormo and his most important student, Bronzino; broader questions of attribution and connoisseurship. In addition to formal presentations made by the speakers, conference participants will also study the works present in the exhibition directly in the gallery to foster debate and discussion. -
JOURNAL of the FRIENDS of the UFFIZI GALLERY No
Free publication on www.friendsoftheuffizigallery.org Polistampa - Firenze JOURNAL OF THE FRIENDS OF THE UFFIZI GALLERY No. 76 - December 2019 Homage to the Greatest In the words of 1483–1520, these are the Raphael walking through the Venetian order that through chronological boundaries of poetically entitled palace cham- perspective unveils the visible Antonio Paolucci, the Raphael’s existence. His earli- bers (the Throne Room, Jole’s truth. phases of the brief but est period was spent in Urbino Room, the Sweet Orange Room, The foundations of Rapha- intense life of Raphael. el’s training are Urbino and the artistic and literary culture The fleeting years of his of the court of the Montefel- glorious youth, filled with tro. Urbino taught the son of masterpieces Giovanni Santi two fundamen- tal concepts. First, the omni- presence and pervasiveness of aphael died on April 6, beauty found everywhere and R1520, shortly after his within everything. Still today, thirty-seventh birthday, having few other places in Italy give as come down some days earlier clear a demonstration of this with an “acute and continuous concept as the city of the Mon- fever”, probably malaria, en- tefeltro. Urbino taught the boy, demic and often fatal in Rome heir to his father’s workshop at the time. His funeral was held and trade, that beauty must be in the Pantheon. All Rome was modulated and represented present and all Rome cried – following a codified selection, as Vasari tells us – also because within protocols that find their the Transfiguration, today in the origins and justification within Vatican Pinacoteca, was placed the Court itself. -
Pontormo's Capponi Chapel* Leosteinberg
385 Pontormo's Capponi Chapel* LeoSteinberg Pontormo's work in the Capponi Chapel in Santa Felicita, as "Christ is taken away from His Mother, towards the Florence, began in I525 with the decoration of its hemis- tomb... the Virgin's gesture... becomes one of farewell." pherical dome, a fresco of God the Father surrounded by Meanwhile, on the vault surface directly opposite, the figure four patriarchs. The fresco was followed by four circular of God the Father (known to us from the Uffizi drawings, panels for the pendentives with bust portraits of the evan- Figs. 4-5) extends his right hand in "a gesture of sublime gelists, partly Bronzino's work,1 and by the great altar- compassion and benediction directed across the Chapel to the piece, variously called Descentfrom the Cross (or Deposition), dead Christ." "The fusion by gesture and emotion of dome Pietd, or Entombment (Fig. I).2 The final work, datable in and altarpiece has the effect that the subject-matter of the 1528, was the fresco of the Annunciationon the window wall. parts also becomes one, and that an action takes place across This last, the four tondi, and the altarpiece in its rich the space of the chapel."6 period frame are intact. The cupola decoration was lost In what follows, I will have to quarrel with almost every when the original dome was destroyed to make way for the detail of Shearman's analysis. But my disagreements, in- present shallower vault; nor do we know whether this oc- stead of invalidating, will, I believe, confirm his essential curred in the sixteenth or the eighteenth century.3 In fact, intuition. -
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. -
Predella Journal of Visual Arts, N°37, 2016 - Miscellanea / Miscellany / Predella.Cfs.Unipi.It
Predella journal of visual arts, n°37, 2016 - Miscellanea / Miscellany www.predella.it / predella.cfs.unipi.it Direzione scientifica e proprietà / Scholarly Editors-in-Chief and owners: Gerardo de Simone, Emanuele Pellegrini - [email protected] Predella pubblica ogni anno due numeri online e due numeri monografici a stampa / Predella publishes two online issues and two monographic print issues each year Tutti gli articoli sono sottoposti alla peer-review anonima / All articles are subject to anonymous peer-review Comitato scientifico / Editorial Advisory Board: Diane Bodart, Maria Luisa Catoni, Michele Dantini, Annamaria Ducci, Fabio Marcelli, Linda Pisani, Riccardo Venturi Cura redazionale e impaginazione / Editing & Layout: Paolo di Simone (con la collaborazione di / with the collaboration of: Nikhil Das, Giulia Del Francia) Predella journal of visual arts - ISSN 1827-8655 pubblicato nel mese di Settembre 2016 / published in the month of September 2016 Eliana Carrara Agnolo Bronzino: The Muse of Florence Review of Agnolo Bronzino: The Muse of Florence, edited by Liana De Girolami Cheney, Washington, New Academia Publishing, 2014, 612 pp.; 82 b/w ills., $34.00; ISBN 9780991504770 The volume, dedicated to the memory of Professor Craig Hugh Smyth, aims to shed a new light on the figure of Agnolo Bronzino, an important artist at the court of Cosimo I de’ Medici, and his wealthy patrons. Thise wide collection of essays is a tribute to Craig Hugh Smyth (1915-2006), to whom Professor Liana De Girolami Cheney has dedicated a brief but accurate biographical profile. The brilliant director of Villa i Tatti from 1973 to1985, Smyth was one of the “Monument Men” after the Second World War. -
V43.9005.001 Zaloga
NEW YORK UNIVERSITY IN FLORENCE Fall 2010 V43.9005.001 Renaissance Art Instructor: Jane Zaloga ( [email protected] ) Room: British Institute Library Office Hours: Monday after class or by appointment M 9:00-10:30, AND W 9:00-10:30 OR W 10:30-12:00 Description This course will introduce you to Renaissance Art from the period ca. 1280-1700. In this period, a dynamic artistic culture emphasized intense creativity while, paradoxically, remaining deeply rooted in tradition. Guided by an evolving practice and theory, artists transformed their activity from craft into intellectual discipline. Taking advantage of your semester in Florence, we will focus primarily on Italian art and architecture and its relation to that of other European centers. We will use the city of Florence itself as our classroom as we study the development of Renaissance Art in context during this dramatic period. We will study paintings, sculpture, and architecture of this period from a variety of perspectives. We will examine aesthetic and stylistic qualities, explore issues of social, political and economic contexts, as well as investigate the function of art, a concern that was critical to artistic production of the period. As the works we will study are often still in their original physical settings, we will have a unique opportunity to experience the works as their original viewers did and as their creators intended. By looking at the works of art and architecture from such multiple vantage points, you will hopefully come to a richer understanding of the masterpieces of Renaissance Art. Methodology The course will meet twice a week. -
The Cinquecento in Florence at Palazzo Strozzi (Review)
The Cinquecento in Florence at Palazzo Strozzi (Review) By arttrav on Sep 19, 2017 with 8 Comments • • • • The much awaited exhibit on the Cinquecento in Florence opens on September 21 at Palazzo Strozzi. It’s the third in a line of exhibits dedicated to this period by curators Carlo Falciani and Antonio Natali, starting with Bronzino in 2010 and continuing with Pontormo and Rosso Fiorentino in 2014. As such, it’s been a decade in the making, a conclusion that, after focusing on the most famous names of this period, proposes a thematic overview of the century. This is a scholarly exhibit, with roots in exhibitions dedicated to the 16th century staged at Palazzo Strozzi earlier in the 20th century (1940 and 1956). It intends to debunk “countless clichés [about the period] according to which, after the magnificent era of early 16th-century Florence, the city was destined for a languid and sterile autumn.” And for sure there is nothing autumnal in the vivid colours and range of styles of the many altarpieces (in particular) shown here. For viewers less familiar than the curators with the standard interpretations of this period (a category into which I put myself), there’s an opportunity to compare the styles of the period’s most important artists and their followers, observe how sculpture and painting evolved together, and learn about some of the themes of concern to this public. As with many shows at Palazzo Strozzi, racing through to see what’s inside, I find myself at the end earlier than I expect it.