Florence, Italy the Royal Life
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The Master of the Unruly Children and His Artistic and Creative Identities
The Master of the Unruly Children and his Artistic and Creative Identities Hannah R. Higham A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham May 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties.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 This thesis examines a group of terracotta sculptures attributed to an artist known as the Master of the Unruly Children. The name of this artist was coined by Wilhelm von Bode, on the occasion of his first grouping seven works featuring animated infants in Berlin and London in 1890. Due to the distinctive characteristics of his work, this personality has become a mainstay of scholarship in Renaissance sculpture which has focused on identifying the anonymous artist, despite the physical evidence which suggests the involvement of several hands. Chapter One will examine the historiography in connoisseurship from the late nineteenth century to the present and will explore the idea of the scholarly “construction” of artistic identity and issues of value and innovation that are bound up with the attribution of these works. -
'…Con Uno Inbasamento Et Ornamento Alto': the Rhetoric of the Pedestal C. 1430-1550
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UCL Discovery Wright, A; (2011) '... con uno inbasamento et ornamento alto': The rhetoric of the pedestal c. 1430- 1550. Art History, 34 (1) pp. 8-53. 10.1111/j.1467-8365.2010.00798.x. Downloaded from UCL Discovery: http://discovery.ucl.ac.uk/1399808/. ARTICLE ‘…con uno inbasamento et ornamento alto’: the rhetoric of the pedestal c. 1430-1550. Alison Wright School of Arts and Social Sciences, University College London When, in 1504, the Florentine painter Cosimo Rosselli gave his opinion on the best situation for Michelangelo’s colossal David, he suggested it be placed by the cathedral and raised up on a high pedestal (‘uno inbasamento et ornamento alto’).1 Rosselli imagined the marble statue dominating the corner of the entrance steps, just to the right of the façade. Sandro Botticelli lent his backing to Rosselli’s view with the argument that the sculpture would here be best visible to passers-by. Against both these painters, a goldsmith, Andrea Riccio - almost certainly a local Florentine and not the Paduan bronze sculptor - proposed a position in the courtyard of the town hall, the Palazzo della Signoria.2 Here, he claims, the sculpture would be better protected and passers-by would go to see it rather than, as he vividly puts it, ‘the figure should come and see us.’3 Differences of opinion expressed in this unusually well documented debate centred above all around questions of visibility, concern for the statue’s material preservation as well as the representational and ritual needs of the Florentine government.4 Tangentially, the debate also highlighted the crucial role of the pedestal and its physical and ritual situation in mediating the encounter with sculpture. -
Passaporto Per Denaro E Bellezza Passport to Money and Beauty Passaporto Per Denaro E Bellezza
PASSAPORTO PER DENARO E BELLEZZA PASSPORT TO MONEY AND BEAUTY PASSAPORTO PER DENARO E BELLEZZA Le banche rappresentano una parte talmente importante del mondo moderno che è impossibile immaginarlo senza di esse; tuttavia sono un’invenzione relativamente recente, nata dalla crescente mobilità e dal commercio sviluppatosi a partire dalla fne del XII secolo. Le grandi famiglie toscane di mercanti-banchieri – Bardi, Peruzzi e, molto più tardi i Medici – hanno lasciato durevoli testimonianze del proprio talento in campo fnanziario, non solo accumulando enormi fortune, ma traducendole in opere d’arte che sono divenute parte del patrimonio culturale mondiale. La più antica banca al mondo ancora operante – il Monte dei Paschi – fu fondata a Siena nel 1472, solo 25 anni prima dei “roghi delle vanità” del predicatore integralista Savonarola, per i quali i forentini consegnarono per essere bruciate le “cose vane” preziose come gioielli, specchi e opere d’arte possedute. Denaro e Bellezza. I banchieri, Botticelli e il rogo delle vanità non è una mostra su un singolo artista, sebbene si chiuda con molti dipinti di Botticelli e presti particolare attenzione all’infuenza esercitata su di lui da Savonarola. È qualcosa di anche più interessante: una mostra sulla nascita in Toscana del moderno sistema bancario. James M. Bradburne PASSPORT TO MONEY AND BEAUTY Banks are such an important part of the modern world that it is almost impossible to imagine the world without them. Nevertheless, banks are a relatively recent invention, born from increased mobility and growing European trade in the late 12th century. The great Tuscan banking families—the Bardi, the Peruzzi, and of course much later, the Medici—created lasting monuments to their fnancial ingenuity, not only by amassing vast fortunes, but by translating those fortunes into the works of art that have become a part of the world’s cultural heritage. -
THE BERNARD and MARY BERENSON COLLECTION of EUROPEAN PAINTINGS at I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls
THE BERNARD AND MARY BERENSON COLLECTION OF EUROPEAN PAINTINGS AT I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls GENERAL INDEX by Bonnie J. Blackburn Page numbers in italics indicate Albrighi, Luigi, 14, 34, 79, 143–44 Altichiero, 588 Amsterdam, Rijksmuseum catalogue entries. (Fig. 12.1) Alunno, Niccolò, 34, 59, 87–92, 618 Angelico (Fra), Virgin of Humility Alcanyiç, Miquel, and Starnina altarpiece for San Francesco, Cagli (no. SK-A-3011), 100 A Ascension (New York, (Milan, Brera, no. 504), 87, 91 Bellini, Giovanni, Virgin and Child Abbocatelli, Pentesilea di Guglielmo Metropolitan Museum altarpiece for San Nicolò, Foligno (nos. 3379 and A3287), 118 n. 4 degli, 574 of Art, no. 1876.10; New (Paris, Louvre, no. 53), 87 Bulgarini, Bartolomeo, Virgin of Abbott, Senda, 14, 43 nn. 17 and 41, 44 York, Hispanic Society of Annunciation for Confraternità Humility (no. A 4002), 193, 194 n. 60, 427, 674 n. 6 America, no. A2031), 527 dell’Annunziata, Perugia (Figs. 22.1, 22.2), 195–96 Abercorn, Duke of, 525 n. 3 Alessandro da Caravaggio, 203 (Perugia, Galleria Nazionale Cima da Conegliano (?), Virgin Aberdeen, Art Gallery Alesso di Benozzo and Gherardo dell’Umbria, no. 169), 92 and Child (no. SK–A 1219), Vecchietta, portable triptych del Fora Crucifixion (Claremont, Pomona 208 n. 14 (no. 4571), 607 Annunciation (App. 1), 536, 539 College Museum of Art, Giovanni di Paolo, Crucifixion Abraham, Bishop of Suzdal, 419 n. 2, 735 no. P 61.1.9), 92 n. 11 (no. SK-C-1596), 331 Accarigi family, 244 Alexander VI Borgia, Pope, 509, 576 Crucifixion (Foligno, Palazzo Gossaert, Jan, drawing of Hercules Acciaioli, Lorenzo, Bishop of Arezzo, Alexeivich, Alexei, Grand Duke of Arcivescovile), 90 Kills Eurythion (no. -
Sebastiano Del Piombo and His Collaboration with Michelangelo: Distance and Proximity to the Divine in Catholic Reformation Rome
SEBASTIANO DEL PIOMBO AND HIS COLLABORATION WITH MICHELANGELO: DISTANCE AND PROXIMITY TO THE DIVINE IN CATHOLIC REFORMATION ROME by Marsha Libina A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland April, 2015 © 2015 Marsha Libina All Rights Reserved Abstract This dissertation is structured around seven paintings that mark decisive moments in Sebastiano del Piombo’s Roman career (1511-47) and his collaboration with Michelangelo. Scholarship on Sebastiano’s collaborative works with Michelangelo typically concentrates on the artists’ division of labor and explains the works as a reconciliation of Venetian colorito (coloring) and Tuscan disegno (design). Consequently, discourses of interregional rivalry, center and periphery, and the normativity of the Roman High Renaissance become the overriding terms in which Sebastiano’s work is discussed. What has been overlooked is Sebastiano’s own visual intelligence, his active rather than passive use of Michelangelo’s skills, and the novelty of his works, made in response to reform currents of the early sixteenth century. This study investigates the significance behind Sebastiano’s repeating, slowing down, and narrowing in on the figure of Christ in his Roman works. The dissertation begins by addressing Sebastiano’s use of Michelangelo’s drawings as catalysts for his own inventions, demonstrating his investment in collaboration and strategies of citation as tools for artistic image-making. Focusing on Sebastiano’s reinvention of his partner’s drawings, it then looks at the ways in which the artist engaged with the central debates of the Catholic Reformation – debates on the Church’s mediation of the divine, the role of the individual in the path to personal salvation, and the increasingly problematic distance between the layperson and God. -
Management Plan Men Agement Plan Ement
MANAGEMENTAGEMENTMANAGEMENTEMENTNAGEMENTMEN PLAN PLAN 2006 | 2008 Historic Centre of Florence UNESCO WORLD HERITAGE he Management Plan of the His- toric Centre of Florence, approved T th by the City Council on the 7 March 2006, is under the auspices of the Historic Centre Bureau - UNESCO World Heritage of the Department of Culture of the Florence Municipality In charge of the Management Plan and coordinator of the project: Carlo Francini Text by: Carlo Francini Laura Carsillo Caterina Rizzetto In the compilation of the Management Plan, documents and data provided di- rectly by the project managers have also been used. INDEXEX INDEX INTRODUCTIONS CHAPTER V 45 Introduction by Antonio Paolucci 4 Socio-economic survey Introduction by Simone Siliani 10 V.1 Population indicators 45 V.2 Indicators of temporary residence. 46 FOREWORD 13 V.3 Employment indicators 47 V.4 Sectors of production 47 INTRODUCTION TO THE MANAGEMENT 15 V.5 Tourism and related activities 49 PLANS V.6 Tourism indicators 50 V.7 Access and availability 51 FIRST PART 17 V.8 Traffi c indicators 54 GENERAL REFERENCE FRAME OF THE PLAN V.9 Exposure to various sources of pollution 55 CHAPTER I 17 CHAPTER VI 56 Florence on the World Heritage List Analysis of the plans for the safeguarding of the site I.1 Reasons for inclusion 17 VI.1 Urban planning and safeguarding methods 56 I.2 Recognition of Value 18 VI. 2 Sector plans and/or integrated plans 60 VI.3 Plans for socio-economic development 61 CHAPTER II 19 History and historical identity CHAPTER VII 63 II.1 Historical outline 19 Summary -
MASTER DRAWINGS Index to Volumes 1–55 1963–2017 Compiled by Maria Oldal [email protected]
MASTER DRAWINGS Index to Volumes 1–55 1963–2017 Compiled by Maria Oldal [email protected] The subject of articles or notes is printed in CAPITAL letters; book and exhibition catalogue titles are given in italics; volume numbers are in Roman numerals and in bold face. Included in individual artist entries are authentic works, studio works, copies, attributions, etc., arranged in sequential order within the citations for each volume. When an author has written reviews, that designation appears at the end of the review citations. Names of collectors are in italics. Abbreviated names of Italian churches are alphabetized as if fully spelled out: "Rome, S. <San> Pietro in Montorio" precedes "S. <Santa> Maria del Popolo." Concordance of Master Drawings volumes and year of publication: I 1963 XII 1974 XXIII–XXIV 1985–86 XXXV 1997 XLVI 2008 II 1964 XIII 1975 XXV 1987 XXXVI 1998 XLVII 2009 III 1965 XIV 1976 XXVI 1988 XXXVII 1999 XLVIII 2010 IV 1966 XV 1977 XXVII 1989 XXXVIII 2000 XLIX 2011 V 1967 XVI 1978 XXVIII 1990 XXXIX 2001 L 2012 VI 1968 XVII 1979 XXIX 1991 XL 2002 LI 2013 VII 1969 XVIII 1980 XXX 1992 XLI 2003 LII 2014 VIII 1970 XIX 1981 XXXI 1993 XLII 2004 LIII 2015 IX 1971 XX 1982 XXXII 1994 XLIII 2005 LIV 2016 X 1972 XXI 1983 XXXIII 1995 XLIV 2006 LV 2017 XI 1973 XXII 1984 XXXIV 1996 XLV 2007 À l’ombre des frondaisons d’Arcueil: Dessiner un jardin du XVIIe siècle, exh. cat. by Xavier Salmon et al. Review. LIV: 397–404 A. S. -
The Production Methods of Neri Di Bicci and the Prevalence of Cartoon Usage in Fifteenth-Century Florence
The Production Methods of Neri di Bicci and the Prevalence of Cartoon Usage in Fifteenth-Century Florence Jennifer Adrienne Diorio A thesis submitted to the Graduate Program in the Department of Art in conformity with the requirements for the Degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada August 2013 Copyright © Jennifer Adrienne Diorio 2013 ABSTRACT Florentine artist Neri di Bicci (1418-1492) was one of the most prolific and financially successful artists of the fifteenth century. The hundreds of extant paintings from his workshop are a testament to his industry, which is further underlined by a close examination of the 798 entries he wrote between 1453 and 1475 in his account book, his Ricordanze. The purpose of this dissertation is to analyse the monetary and social history in Neri’s Ricordanze in order to provide a framework for an exploration of the way that paintings were constructed in Neri’s workshop, and a close examination of the evidence concerning collaboration between Neri and his contemporaries. This thesis determined that the repeated use of full-size paper patterns, known as cartoons, was a key aspect of Neri’s painting procedure. Cartoon usage was established by overlaying scaled images of paintings in Photoshop, which demonstrated that the outlines of many of Neri’s figures and architectural designs were identical. Analysing the price of Neri’s paintings also revealed trends which suggested that he used cartoons. Half of the 224 objects described in the Ricordanze cost 30 lire or less, and the average of the 40 paintings between two and four square meters was 151 lire, less than half the regional average for paintings of comparable size. -
The Crucifixion C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Thirteenth and Fourteenth Century Paintings Bernardo Daddi active by 1320, died probably 1348 The Crucifixion c. 1320/1325 tempera on poplar panel painted surface (including gilded frame): 34.9 × 22.7 cm (13 3/4 × 8 15/16 in.) overall: 35.5 × 23.6 × 2.7 cm (14 × 9 5/16 × 1 1/16 in.) framed: 40 x 27.9 cm (15 3/4 x 11 in.) Inscription: upper center on the tablet topping the cross: IC . XC (Jesus Christ) [1] [1] The Greek letters are the commonly used abbreviations of IHCOYC XRICTOC, the Greek version of the name Jesus with the title Christ, literally the “Anointed One” (the translation of the Hebrew “Messiah”); Hans Feldbusch, “Christusmonogramm,” in Reallexikon zur deutschen Kunstgeschichte, edited by Otto Schmitt and Zentralinstitut für Kunstgeschichte München, 10 vols., Stuttgart, 1937-2003: 3(1954):707-720. Samuel H. Kress Collection 1961.9.2 ENTRY The panel, which to judge from its proportions and rectangular shape was probably originally the right shutter of a diptych,[1] shows the Crucifixion, with the kneeling Mary Magdalene clinging to the cross; to the left, Mary, Mother of Jesus, who swoons, supported by her arm on the shoulders of one of the holy women on one side and Saint John on the other;[2] and, to the right, the centurion, a Pharisee, and a third man, who witness the Crucifixion with arms and eyes raised and seem to speak to Christ on the cross.[3] To the sides of the cross, against the gold ground, small angels in flight gather the blood that flows from the Savior’s wounds. -
Tuscany Travels Through Art
TUSCANY TRAVELS THROUGH ART Searching for beauty in the footsteps of great artists tuscany TRAVELS THROUGH ART Searching for beauty in the footsteps of great artists For the first time, a guide presents itineraries that let you discover the lives and works of the great artists who have made Tuscany unique. Architects, sculptors, painters, draughtsmen, inventors and unrivalled genius– es have claimed Tuscany as their native land, working at the service of famous patrons of the arts and leaving a heritage of unrivalled beauty throughout the territory. This guide is essential not only for readers approaching these famous names, ranging from Cimabue to Modigliani, for the first time, but also for those intent on enriching their knowledge of art through new discoveries. An innovative approach, a different way of exploring the art of Tuscany through places of inspiration and itineraries that offer a new look at the illustrious mas– ters who have left their mark on our history. IN THE ITINERARIES, SOME IMPORTANT PLACES IS PRESENTED ** DON’T MISS * INTERESTING EACH ARTIST’S MAIN FIELD OF ACTIVITY IS DISCUSSED ARCHITECT CERAMIST ENGINEER MATHEMATICIAN PAINTER SCIENTIST WRITER SCULPTOR Buon Voyage on your reading trip! Index of artists 4 Leona Battista Alberti 56 Caravaggio 116 Leonardo da Vinci 168 The Pollaiolo Brothers 6 Bartolomeo Ammannati 58 Galileo Chini 118 Filippo Lippi 170 Pontormo 8 Andrea del Castagno 62 Cimabue 120 Filippino Lippi 172 Raffaello Sanzio 10 Andrea del Sarto 64 Matteo Civitali 124 Ambrogio Lorenzetti 174 Antonio Rossellino -
Renaissance to Regent Street: Harold Rathbone and the Della Robbia Pottery of Birkenhead
RENAISSANCE TO REGENT STREET: HAROLD RATHBONE AND THE DELLA ROBBIA POTTERY OF BIRKENHEAD JULIET CARROLL A thesis submitted in partial fulfilment of the requirements of Liverpool John Moores University for the degree of Doctor of Philosophy APRIL 2017 1 Renaissance to Regent Street: Harold Rathbone and the Della Robbia Pottery of Birkenhead Abstract This thesis examines the ways in which the unique creativity brought to late Victorian applied art by the Della Robbia Pottery was a consequence of Harold Rathbone’s extended engagement with quattrocento ceramics. This was not only with the sculpture collections in the South Kensington Museum but through his experiences as he travelled in Italy. In the first sustained examination of the development of the Della Robbia Pottery within the wider histories of the Arts and Crafts Movement, the thesis makes an original contribution in three ways. Using new sources of primary documentation, I discuss the artistic response to Italianate style by Harold Rathbone and his mentors Ford Madox Brown and William Holman Hunt, and consider how this influenced the development of the Pottery. Rathbone’s own engagement with Italy not only led to his response to the work of the quattrocento sculptor Luca della Robbia but also to the archaic sgraffito styles of Lombardia in Northern Italy; I propose that Rathbone found a new source of inspiration for the sgraffito workshop at the Pottery. The thesis then identifies how the Della Robbia Pottery established a commercial presence in Regent Street and beyond, demonstrating how it became, for a short time, an outstanding expression of these Italianate styles within the British Arts and Crafts Movement. -
1 Renaissance Artists
Renaissance Artists - Materials and Techniques NGA Teachers Institute 2015 Image List. Lecturer: Lance Moore Slide No. Title/Images 1 Title Slide: Artists of the Renaissance - Materials and Techniques Jan Gossaert - St. Luke Painting the Madonna, 1520-25. Kunsthistorisches Museum, Vienna 2 The Italian Renaissance - Ancient Inspirations Giovanni Paolo Panini – View of the Roman Forum, 1747. The Walters Art Museum, Baltimore Laocoön and His Sons, c. 27 BC and 68 AD, The Vatican Museums, Rome 3 Map: Europe 1260-1510 4 Artists of the Renaissance : The Renaissance Man Leonardo da Vinci - Uomo Vitruviano, c.1490. Pen and ink with wash over metalpoint on paper. Gallerie dell'Accademia, Venice 5 The Atelier Workshop - The Guild System H. Collaert (after J. Stradanus) - Color Olivi, c.1590 6 Pinturicchio (1454-1513) Sienene Master and Workshop Virgin and Child with St. John. Egg Tempera on Panel, ca. 1495-96 'Piccolomini library' in the Duomo of Siena, 1502-3 Detail of Choir Book, Illuminated Manuscript 7 Painting of the Renaissance - Media matters. Italian and Flemish, Portrait details Masolino da Panicale – Fresco, c. 1425 Robert Campin - Oil on Panel, c. 1430 8 Renaissance Techniques I. Disegno: composition, perspective, drawing, paper, drawing tools & techniques II. Painting Systems: fresco, illuminated manuscripts, easel painting 9 Disegno: Compositional Construction Piero della Francesca - The Baptism of Christ, 1449-60, Tempera on Panel. NG London Pieter Bruegel the Elder - The Wedding Dance, 1566. Oil on Panel, The Detroit Insititute of Arts 10 Disegno: "Perspective" Duccio - The Annunciation, c.1308-16, Pinacoteca Siena Jan van Eyck - Arnolfini Portrait, 1434. Oil on oak, NG London.