DOCSLIB.ORG

Collaborative Painting Between Minds and Hands: Art Criticism, Connoisseurship, and Artistic Sodality in Early Modern Italy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Collaborative Painting Between Minds and Hands: Art Criticism, Connoisseurship, and Artistic Sodality in Early Modern Italy Collaborative Painting Between Minds and Hands: Art Criticism, Connoisseurship, and Artistic Sodality in Early Modern Italy by Colin Alexander Murray A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Colin Murray 2016 Collaborative Painting Between Minds and Hands: Art Criticism, Connoisseurship, and Artistic Sodality in Early Modern Italy Colin Alexander Murray Doctor of Philosophy Department of Art University of Toronto 2016 Abstract The intention of this dissertation is to open up collaborative pictures to meaningful analysis by accessing the perspectives of early modern viewers. The Italian primary sources from the fifteenth to the seventeenth centuries yield a surprising amount of material indicating both common and changing habits of thought when viewers looked at multiple authorial hands working on an artistic project. It will be argued in the course of this dissertation that critics of the seventeenth century were particularly attentive to the practical conditions of collaboration as the embodiment of theory. At the heart of this broad discourse was a trope extolling painters for working with what appeared to be one hand, a figurative and adaptable expression combining the notion of the united corpo and the manifold meanings of the artist’s mano. Hardly insistent on uniformity or anonymity, writers generally believed that collaboration actualized the ideals of a range of social, cultural, theoretical, and cosmological models in which variously formed types of unity were thought to be fostered by the mutual support of the artists’ minds or souls. Further theories arose in response to Giovanni Paolo Lomazzo’s hypothesis in 1590 that the greatest painting would combine the most highly regarded old masters, each contributing their particular talents towards the whole. Presented with this ideal involving inimitable hands and minds, Francesco Scannelli, Carlo Cesare Malvasia, and Marco Boschini each reflected on the practical conditions and possibilities of ii such a scenario. Collectors and connoisseurs, meanwhile, often discerned multiple hands in a single picture, leading to dubious attributions of collaborative authorship, particularly when the social circumstances supporting the collaboration were thought to be projected in the subject matter. The connoisseur’s fanciful tendency could even be exploited by the art market, a phenomenon that is especially observable in a group of half-length figures that was purportedly made by Giorgione, Sebastiano del Piombo, and Titian. Finally, a case study of the Venetian painters Palma Giovane and Aliense, whose families were bonded in marriage on the eve of a series of joint projects, tests the implications of those values in criticism, theory, and connoisseurship when collaboration was put into social practice. iii Acknowledgements The presence of various individuals is very much alive in the pages that follow. First, I owe a great debt to my supervisor, Philip Sohm, who opened my eyes as an undergraduate to the endless potential of primary sources. I have since been privileged to have such an enthusiastic mentor willing me to explore my own interests while also providing me with invaluable direction and encouragement. His scholarship, writing, and inquisitive attitude will serve as ongoing models to follow throughout my career. From discussions with my other two advisors, I could always expect to come away thinking differently about my approach. To Evonne Levy, that voice of methodological rigor always in the back of my mind, I am grateful for her challenging and probing questions, for her important professional advice, and for her encouragement, all of which have made me a stronger and more articulate scholar. To Christy Anderson, I am thankful for several opportunities to learn as a scholar and as a teacher. Her focus on making both research and teaching fun, without sacrificing the solemnity of the material, is infectious and I can only hope to have captured some of that here. I have also had the benefit of incisive comments from three external readers. Going forward, this project will be improved immeasurably because of the feedback from Giancarla Periti, Nicholas Terpstra, and Nicola Suthor. Research and travel would not have been possible without the generous sponsorship of various institutions, including the Social Sciences and Humanities Research Council of Canada, the School of Graduate Studies at the University of Toronto, and the Department of Art, which always seemed to find funding for me when I was most in need. I sincerely appreciate the generosity of the Gladys Krieble Delmas Foundation for funding my research in the Venetian archives in 2012. iv Most of all, I am blessed to have the support system of close relatives and an extended family. Special appreciation is fondly reserved for my wife Sheena, who is never far from my side. She champions my endeavors unflinchingly and without question, unaffected by the isolating effects of a scholar working until late hours, the vacant stares of a researcher lost in thought, the rambling musings of a student working through a problem, and the unfinished chores left for another day by an absentminded partner. Such a patient and forgiving collaborator can only be found in a best friend. Lastly, the role my parents have played in my achievements is unquantifiable after a lifetime of positive influence and unwavering support in every way imaginable. Though they are not the type to expect recognition, it is to them that I justly dedicate this text. v Table of Contents Abstract ii Acknowledgements iv List of Figures ix INTRODUCTION The Concept of Collaboration: Contexts, Distinctions, and a Historiography 1 ‘Collaboration’: Defining our Terms 3 Collaboration Between Theory and Practice – Thinking and Making 5 Collaboration and Workshop Spaces 9 Early Modern Terms for Rivalry and Collaboration 12 Collaborative Authorship in the Scholarship of the Twentieth Century 18 Recent Scholarship on Collaboration 24 The Structure of the Study 31 CHAPTER 1 “One Hand Alone”: Cognitive Style and Typologies of Unity From the Fifteenth to the Seventeenth Century 33 1.1 w Antique Origins of a Collaborative Discourse: The Unapportionable Glory of Pliny’s Laocoön 39 1.2 w The Single Hand in the Fifteenth Century: Consistency of Talent and Continuity of Invention 43 Epilogue to Fifteenth-Century Collaborative Unity 51 1.3 w The Single Hand in the Early Sixteenth Century: Similarities of Styles and Spiritual Compatibility 52 1.3.1 Compatible ‘Airs’: Michelangelo and Sebastiano del Piombo 55 1.3.2 Collaborative Amity and the Single Hand of Mariotto Albertinelli and Fra Bartolomeo 65 1.3.3 One Soul in How Many Hands? 68 1.4 w Thinking and Making on the Margins of the Workshop: Diverse Minds and the Single Hand in Vasari’s Day 72 1.4.1 Managerial Art and the Contested Dualism between Mind and Hand 75 1.4.2 Accommodating Diverse Minds and Styles in Conversation 83 Epilogue to Sixteenth-Century Collaborative Unity 87 1.5 w Baroque Collaboration: The vicendevolezza de’ pennelli from the Carracci to Mitelli and Colonna 90 1.5.1 Rubens and Brueghel: Representing Intertwining Hands 97 1.5.2 The Interlayered Hands of Cerano, Morazzone, and Procaccini in the Quadro delle tre mani 100 1.5.3 The Single Hand of Angelo Michele Colonna and Agostino Mitelli 103 Conclusion to Chapter 1 106 CHAPTER 2 Collaboration as an Ideal: Pondering the Potentialities and Realities of Collaboration 110 2.1 w Antique Origins of the Collaborative Discourse: From Eclectic Imitation to Ideal Collaboration 112 vi 2.2 w Giovanni Paolo Lomazzo’s Ideal Paintings of Adam and Eve: Self-Awareness and Adaptation in Imitation and in Collaboration 117 2.2.1 The Ideal Painting in the General Context of the Idea del tempio della pittura 118 2.2.2 Self-Awareness and the Adaptive Faculty of Discrezione 120 2.2.3 Artistic Ancestry and Self-Knowledge 125 2.3 w From Chimeras to Indissoluble Friends: Francesco Scannelli’s Practical Conditions for Collaboration 127 2.3.1 Scannelli’s First Condition of Collaboration: Equal Intelligence 130 2.3.2 Scannelli’s Second Condition of Collaboration: Shared Study and Mutual Benefit 131 2.3.3 Scannelli’s Third Condition of Collaboration: Equal Skill and Same Tastes 133 2.3.4 Scannelli’s Solution for the Subjective and Aesthetic Unity of Collaboration 135 2.4 w Historicizing the Ideal from False Starts to Actualized Practice: Carlo Cesare Malvasia on the Carracci 138 2.4.1 The Ideal Painting Left Unfulfilled by Orazio Samacchini 140 2.4.2 The Manifestation of the Ideal Painting in the Carracci Collaboration 143 2.5 w Marco Boschini’s Experience of a United Marvel: Both as a Whole and in Parts 150 2.5.1 Organizing Diversity and the Epistemological Context of Collecting 154 2.5.2 Collaboration as a Discordia Concors 164 2.5.3 Open Artifice and Venetian Liberty 169 Conclusion to Chapter 2 171 CHAPTER 3 Collaboration and Connoisseurship in the Seventeenth Century: The Hands of Sebastiano del Piombo, Giorgione, and Titian Re-Imagined in the Triple Portrait 174 3.1 w The Challenge of Indistinguishability in Early Modern Collecting and Criticism 177 3.2 w The Pasting Process of a pasticcio c. 1600 180 3.3 w Vasari’s Giorgione, Sebastiano del Piombo, and Titian Reified in the Triple Portrait 185 3.4 w Looking for Hands, Looking for Disunity in the Sociable Gallery Space 190 3.5 w A Sudden Niche for Allegedly Collaborative Triple Portraits 197 3.6 w The Reputation and Exploitation of the Giorgione Group in Collecting and Criticism 201 3.7 w Excursus: An Exploration of the Iconography in the Triple Portrait as an Allegory of Collaboration 207 3.7.1 Comparative Allegories of Marriage and Marriage Portraits 209 3.7.2 The Intertwined Initials as an Emblem of Collaborative Oaths 214 3.7.3 A Marriage Allegory Conflated with a Triple Portrait 217 Conclusion to Chapter 3 219 CHAPTER 4 Palma Giovane and Aliense Drawn Together: Marital Bonds, Artistic Patrimonies, and Stylistic Affinities in Late Renaissance Venice 221 4.1 w The Network Beyond the Partnership and the ‘Monotony’ of Venetian Art 225 4.1.1.
Load more

Recommended publications
  • PUBLIC SCULPTURE LOCATIONS Introduction to the PHOTOGRAPHY: 17 Daniel Portnoy PUBLIC Public Sculpture Collection Sid Hoeltzell SCULPTURE 18
    1 2 3 4 5 6 7 VIRGINIO FERRARI RAFAEL CONSUEGRA UNKNOWN ARTIST DALE CHIHULY THERMAN STATOM WILLIAM DICKEY KING JEAN CLAUDE RIGAUD b. 1937, Verona, Italy b. 1941, Havana, Cuba Bust of José Martí, not dated b. 1941, Tacoma, Washington b. 1953, United States b. 1925, Jacksonville, Florida b. 1945, Haiti Lives and works in Chicago, Illinois Lives and works in Miami, Florida bronze Persian and Horn Chandelier, 2005 Creation Ladder, 1992 Lives and works in East Hampton, New York Lives and works in Miami, Florida Unity, not dated Quito, not dated Collection of the University of Miami glass glass on metal base Up There, ca. 1971 Composition in Circumference, ca. 1981 bronze steel and paint Location: Casa Bacardi Collection of the University of Miami Gift of Carol and Richard S. Fine aluminum steel and paint Collection of the University of Miami Collection of the University of Miami Gift of Mr. and Mrs. Alfred Camner Location: Gumenick Lobby, Newman Alumni Center Collection of the Lowe Art Museum, Collection of the Lowe Art Museum, Location: Casa Bacardi Location: Casa Bacardi Location: Gumenick Lobby, Newman Alumni Center University of Miami University of Miami Gift of Mr. and Mrs. Blake King, 2004.20 Gift of Dr. Maurice Rich, 2003.14 Location: Wellness Center Location: Pentland Tower 8 9 10 11 12 13 14 JANE WASHBURN LEONARDO NIERMAN RALPH HURST LEONARDO NIERMAN LEOPOLDO RICHTER LINDA HOWARD JOEL PERLMAN b. United States b. 1932, Mexico City, Mexico b. 1918, Decatur, Indiana b. 1932, Mexico City, Mexico b. 1896, Großauheim, Germany b. 1934, Evanston, Illinois b.
    [Show full text]
  • Bologna Nei Libri D'arte
    Comune di Bologna Biblioteca dell’Archiginnasio Bologna nei libri d’arte dei secoli XVI-XIX Biblioteca dell’Archiginnasio Piazza Galvani 1, 40124 Bologna www.archiginnasio.it L’immagine della copertina è tratta dal frontespizio del volume: GIAMPIETRO ZANOTTI, Le pitture di Pellegrino Tibaldi e di Niccolò Abbati esistenti nell’Instituto di Bologna descritte ed illustrate da Giampietro Zanotti segretario dell’Accademia Clementina, In Venetia, presso Giambatista Pasquali stampatore e libraio all’Insegna della felicità delle lettere, 1756. Comune di Bologna Biblioteca dell’Archiginnasio Bologna nei libri d’arte dei secoli XVI-XIX a cura di Cristina Bersani e Valeria Roncuzzi Biblioteca dell’Archiginnasio 16 settembre – 16 ottobre 2004 Bologna, 2004 L’esposizione organizzata dall’Archiginnasio rientra nel programma delle manifestazio- ni promosse in occasione del Festival del libro d’arte (Bologna, 17-19 settembre 2004). e si svolge col patrocinio del Ministero per i Beni e le Attività Culturali Ministero degli Affari Esteri Alma Mater Studiorum Associazione Bancaria Italiana Associazione fra le Casse di Risparmio Italiane Si ringraziano per la collaborazione: Adriano Aldrovandi, Caterina Capra, Paola Ceccarelli, Saverio Ferrari, Vincenzo Lucchese, Sandra Saccone, Rita Zoppellari Un ringraziamento particolare a Pierangelo Bellettini e alla professoressa Maria Gioia Tavoni Allestimento: Franco Nicosia Floriano Boschi, Roberto Faccioli, Claudio Veronesi Fotografie: Fornasini Microfilm Service Ufficio Stampa: Valeria Roncuzzi Biblioteca dell’Archiginnasio Piazza Galvani 1, 40124 Bologna www.archiginnasio.it INFO: tel. 051 276811 - 051 276813; FAX 051 261160 Seconda edizione riveduta ed ampliata La proprietà artistica e letteraria di quanto qui pubblicato è riservata alla Biblioteca Comunale dell’Archiginnasio di Bologna e per essa al Comune di Bologna.
    [Show full text]
  • Malcolm Braff's Approach to Rhythm for Improvisation
    Malcolm Braff’s Approach to Rhythm for Improvisation: Definition, Analysis and Aesthetic Daniel Jacobus Steyn de Wet A dissertation submitted to the faculty of humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of MMUS. Johannesburg 2017 Plagiarism Declaration 1. I know that plagiarism is wrong. Plagiarism is to use another’s work and to pretend that it is one’s own. 2. I have used the author date convention for citation and referencing. Each significant contribution to, and quotation in, this thesis from the work or works of other people has been acknowledged through citation and reference. 3. The essay is my own work. 4. I have not allowed and will not allow anyone to copy my work with the intention of passing it off as his or her own work. _______________________ _________________________ Signature Date Human Research Ethics Clearance (non-medical) Certificate Number: 2 Acknowledgements I would like to thank my friends and family for the support they have shown through this time. I further thank the various supervisors and co-supervisors who have at some point had some level of input into this study. On the practical side of my study I thank Malcolm Ney for the high level of classical training that I have received. I thank Andre Petersen for his input into the jazz specific aspects of my performance training. Special thanks to Dr. Carlo Mombelli for the training I received in his ensembles and at his home with regard to beautiful and improvised music. Thanks also go to the supervisors for the majority of my proposal phase Dr.
    [Show full text]
  • Four Years Ago, Jack Savoretti Quit Making Music. He
    KÜNSTLER: JACK SAVORETTI SINGLE: TIE ME DOWN ALBUM: WRITTEN IN SCARS LABEL: BMG Chrysalis/ rough trade LC: 19813 VÖ: 13.02.2015 Four years ago, Jack Savoretti quit making music. He’d had enough – of scratching a living as an independent artist, of business bust-ups, of being touted as a soon-to-be star. He’d spent two years (and all of his savings) in legal dispute with a former manager and seen the release of his second album so botched it barely came out. He was 26 and recently married, with a baby on the way. “I thought that was my run, I’d had fun and now it was time to get a proper job,” says Savoretti. “I was done with music and, honestly, I didn’t mind.” What happened next couldn’t have surprised the singer more. “As soon as I said, ‘screw this’, I couldn’t stop writing,” he recalls. “I wrote out of anger, although the songs were more of a cry for help. It was the best, most personal music I’d ever made. I realised I had really learnt how to write, how to express exactly what was in my head.” That album, 2011’s critically-acclaimed ‘Before The Storm’, saw Savoretti turn a corner. That he was an exceptional singer was never in dispute – those gorgeous, gritty, soul- soaked vocals that caused such a fuss when he first emerged and saw his DIY debut, 2007’s ‘Between The Minds’, championed by Radio 2 – but by his own admission, his early work was him finding his feet.
    [Show full text]
  • The Toilet of Venus Circle of Veronese
    THE TOILET OF VENUS CIRCLE OF VERONESE THE COURTAULD INSTITUTE OF ART RESEARCH FORUM: CONSERVATION AND ART HISTORICAL ANALYSIS WORKS FROM THE COURTAULD GALLERY By Sarah Bayliss and Alexandra Fliege 1 TABLE OF CONTENTS Table of Contents......................................................................................................................................... 2 Introduction................................................................................................................................................... 3 Iconography................................................................................................................................................... 3 Composition................................................................................................................................................... 6 Provenance..................................................................................................................................................... 9 Materials and Techniques........................................................................................................................ 10 Conclusion...................................................................................................................................................... 13 Bibliography.................................................................................................................................................. 15 Illustrations...................................................................................................................................................
    [Show full text]
  • Chryssa B. 1933, Athens D. 2013, Athens New York Times 1975–78
    Chryssa b. 1933, Athens d. 2013, Athens New York Times 1975–78 Oil and graphite on canvas Solomon R. Guggenheim Museum, New York, Gift, Michael Bennett 80.2717 Chryssa began making stamped paintings based on the New York Times in 1958 and continued to do so into the 1970s. To create these works, she had rubber stamps produced based on portions of the newspaper before, as she described it, covering “the entire area [of a canvas] with a fragment repeated precisely.” Over time Chryssa’s treatment of the motif became increasingly abstract, as she more strictly adhered to a gridded composition and selected sections of newsprint with type too small to be legibly rendered in rubber. By deemphasizing the content and format of the newspaper, she redirected focus to the tension between mechanized reproduction and her careful process of stamping by hand. Jacob El Hanani b. 1947, Casablanca Untitled #171 1976–77 Ink and acrylic on canvas Solomon R. Guggenheim Museum, New York, Gift, Mr. and Mrs. George M. Jaffin 77.2291 With its dense profusion of finely drawn lines, Jacob El Hanani’s Untitled #171 is a feat of physical endurance, patience, and precision. As the artist said, “It is a personal challenge to bring drawing to the extreme and see how far my eyes and fingers can go.” Rather than approach this effort as an end unto itself, El Hanani has often related it to Jewish traditions of handwriting religious texts—a parallel suggesting a desire to transcend the self through a devotional level of discipline. This aspiration is given form in the way the short, variously weighted lines lose their discreteness from afar and blend into a vaporous whole.
    [Show full text]
  • ELISABETTA SIRANI's JUDITH with the HEAD of HOLOFERNES By
    ELISABETTA SIRANI’S JUDITH WITH THE HEAD OF HOLOFERNES by JESSICA COLE RUBINSKI (Under the Direction of Shelley Zuraw) ABSTRACT This thesis examines the life and artistic career of the female artist, Elisabetta Sirani. The paper focuses on her unparalleled depictions of heroines, especially her Judith with the Head of Holofernes. By tracing the iconography of Judith from masters of the Renaissance into the mid- seventeenth century, it is evident that Elisabetta’s painting from 1658 is unique as it portrays Judith in her ultimate triumph. Furthermore, an emphasis is placed on the relationship between Elisabetta’s Judith and three of Guido Reni’s Judith images in terms of their visual resemblances, as well as their symbolic similarities through the incorporation of a starry sky and crescent moon. INDEX WORDS: Elisabetta Sirani, Judith, Holofernes, heroines, Timoclea, Giovanni Andrea Sirani, Guido Reni, female artists, Italian Baroque, Bologna ELISABETTA SIRANI’S JUDITH WITH THE HEAD OF HOLOFERNES by JESSICA COLE RUBINSKI B.A., Florida State University, 2003 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2008 © 2008 Jessica Cole Rubinski All Rights Reserved ELISABETTA SIRANI’S JUDITH WITH THE HEAD OF HOLOFERNES by JESSICA COLE RUBINSKI Major Professor: Dr. Shelley Zuraw Committee: Dr. Isabelle Wallace Dr. Asen Kirin Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2008 iv To my Family especially To my Mother, Pamela v ACKNOWLEDGEMENTS First, I would like to thank Robert Henson of Carolina Day School for introducing me to the study of Art History, and the professors at Florida State University for continuing to spark my interest and curiosity for the subject.
    [Show full text]
  • Early Art Literature
    ARS LIBRI Early Art Literature Catalogue 139 EARLY ART LITERATURE Catalogue 139 A selection from Ars Libri’s stock of rare books on art Full descriptions and additional illustrations are available at our website, www.arslibri.com. Payment details are supplied at the end of the catalogue. Please contact us for further information. 1 AN ALBUM OF BAROQUE REPRODUCTIVE PRINTS. 4 (ALGAROTTI COLLECTION) [SELVA, GIOVANNI 75 seventeenth- and eighteenth-century etchings and engravings, ANTONIO]. Catalogue des tableaux, des desseins et des livres mounted on 71 leaves. Folio. Nineteenth-century English marbled qui traitent de l’art du dessein, de la galerie du feu Comte boards, 3/4 morocco gilt (rubbed). The album includes, among other Algarotti à Venise. (8), lxxx pp. Handsome engraved headpiece at contents, Agostino Carracci’s “Saint Francis Consoled by the Musi- the outset, by Volpato. Lrg. 8vo. Contemporary marbled wraps., cal Angel” after Vanni (cf. Bohlin 204) and his “Ecce Homo” after backed in the 19th century with cloth tape. Correggio (cf. Bohlin 143); Michel Dorigny’s “The Academy of The privately printed catalogue of the collection of Count Art,” and Cornelis Cort’s “Rest on the Flight to Egypt” after Baroc- Francesco Algarotti and his brother Count Bonomo Algarotti, ci. There are several partial or nearly complete reproductive series, simultaneously issued in Italian and (per Schlosser) in German. All including Dietrich-Theodor Crüger after Sarto’s Life of the Baptist three issues are very rare. Though not stated, the catalogue was (17 plates on 15); Pietro Santi Bartoli after Lanfranco (16 plates, compiled by the Venetian architect, garden designer and writer Gio- including title); and 22 various plates after Vouet by Dorigny, Torte- vanni Antonio Selva (1751-1819), with contributions by Pietro bat, Daret and others.
    [Show full text]
  • Natura, Ars, Fortuna, Virtus, Unanimiter Deflent. Muerte Y Fama Temprana De Agostino Mitelli (1660-1667)
    Natura, Ars, Fortuna, Virtus, unanimiter deflent. Muerte y fama temprana de Agostino Mitelli (1660-1667) Natura, Ars, Fortuna, Virtus, unanimiter deflent. The death and early reputation of Agostino Mitelli (1660-1667) García Cueto, David * Fecha de terminación del trabajo: mayo de 2003. Fecha de aceptación por la revista: noviembre de 2003. C.D.U.: 75 Mitelli, Agostino BIBLID [0210-962-X(2004); 35; 239-256] RESUMEN El nacimiento de la fama del artista durante la Edad Moderna se revela desde la actualidad como un fenómeno en buena medida dirigido y planificado. Este trabajo analiza el episodio concreto de la fama temprana del pintor boloñés Agostino Mitelli, causada entre otras circunstancias, por su temprana muerte en Madrid durante el mes de agosto de 1660. Para ello se han considerado diversos testimonios literarios y poéticos procedentes de fuentes de la época, todas ellas anteriores a 1667, año de la aparición de la oración IIPrencipe, consagrada a la memoria del pintor e hito en este proceso. Palabras clave: Historiografía del arte; Biografía; Elogios poéticos; Pintores; Pintura barroca. Identificadores: Mitelli, Agostino. Topónimos: Madrid; Bolonia. Período: Siglo 17. ABSTRACT Artistic reputation in the Modern Age has become a phenomenon which is largely controlled and consciously planned. In this study we discuss an example of this: the reputation achieved by the Bolognese painter Agostino Mitelli, largely posthumous, since it was mainly the result of his early death in Madrid in August 1660. Severa! contemporary literary and poetic documents are examined. These documents ali date from before 1667, when ll Prencipe, devoted to the memory of the painter and key element in the establishing of his reputation, was published.
    [Show full text]
  • Press Release
    FRICK TO PRESENT FIRST MAJOR NORTH AMERICAN EXHIBITION ON RENAISSANCE PAINTER GIOVANNI BATTISTA MORONI MORONI: THE RICHES OF RENAISSANCE PORTRAITURE February 21 through June 2, 2019 In Renaissance Italy, one of the aims of portraiture was to make the absent seem present through naturalistic representation of the sitter. This notion—that art can capture an individual exactly as he or she appears—is exemplified in the work of Giovanni Battista Moroni. The artist spent his entire career in and around his native Bergamo, a region in Lombardy northeast of Milan, and left a corpus of portraits that far outnumbers those of his contemporaries who worked in major artistic centers, including Titian in Venice and Bronzino in Florence. Though Moroni never achieved their fame, he innovated the genre of portraiture in spectacular ways. This winter and spring, Giovanni Battista Moroni (b. 1520–24; d. 1579/80), Portrait of a Young Woman, ca. 1575, oil on canvas, private collection; photo: the Frick presents the first major exhibition in North Michael Bodycomb America devoted to his work, bringing together nearly two dozen of Moroni’s most arresting and best known portraits from international collections to explore the innovations and experiments that belie his masterful illusion of recording reality. They will be shown alongside a selection of complementary objects— Renaissance jewelry, textiles, arms and armor, and other luxury items—that exemplify the material and visual world that Moroni recorded, embellished, and transformed. Moroni: Moroni, Giovanni Gerolamo Grumelli, called The Man in Pink, dated 1560, oil on canvas, Fondazione Museo di Palazzo Moroni, Bergamo–Lucretia The Riches of Renaissance Portraiture was organized by Aimee Ng, Associate Curator, Moroni Collection; photo: Mauro Magliani 1 The Frick Collection; Simone Facchinetti, Researcher, Università del Salento, Lecce; and Arturo Galansino, Director General, Palazzo Strozzi, Florence.
    [Show full text]
  • SYMBOLIC HISTORY Through Sight and Sound
    SYMBOLIC HISTORY Through Sight and Sound 16. Giants in the Earth (16th Century) CHARLES G. BELL ST. JOHN'S COLLEGE SANTA FE, NEW MEXICO or 1260 CANYON ROAD SANTA FE, NEW MEXICO 87501 September 1995 Last Revised January ‘96 1 Charles Greenleaf Bell, 1260 Canyon Rd., Santa Fe, NM 87501 SYMBOLIC HISTORY Through Sight and Sound 16. Giants in the Earth (16th Century) 1) Giulio Romano, 1530-32, Fall of the Giants, frescoed room, corner and two walls, Palazzo del Te, Mantua (CGB '86) 1a) Same, detail, stream and Giant under rocks, (CGB '86); video brings in another detail from the last slide of the show, 80+1. Music: Ant .de Cabezon, c. 1540, Tiento de Primer Tono, Videro on HMV DA 5207 In The Winter's Tale, the living Hermione is presented as a statue "by that rare Italian master Julio Romano, who, had he himself eternity, and could put breath into his work, would beguile Nature of her custom, so perfectly is he her ape." In this 1530 Mantuan vault, his heaven-storming giants fall under the rocks of Pelion and Ossa. (music) In the tientos of Cabezon, we feel what turned the loves and thought of that century toward Prometheus, Icarus, Phaeton and Faust. 2) Titian, 1543-44, David and Goliath, Santa Maria della Salute, Venice; + V detail) (music continued) There were giants in the earth in those days...when the sons of God came in unto the daughters of men. And when the spiritual force stored in medieval creed-condensers struck through the physical, it stirred Gargantuan prodigies: the arts of space and mass, Hermetic and Lucretian science, Reformation, Utopias, world conquest, Platonic love, the Age of Gold.
    [Show full text]
  • San Giorgio Lettera UK 15=ITA
    Lettera da San Giorgio Lettera da San Year VIII, n° 15. Six-monthly publication. September 2006– February 2007 Spedizione in A.P. Art. 2 Comma 20/c Legge 662/96 DCB VE. Tassa pagata Indice Contents I Programmes (September 2006 – February 2007) 3 Editorial 4 Main Future Activities Exhibition Amarti ora e sempre. Eleonora Duse and Francesca da Rimini 5 The Backdoor or Le Salon des Refusés or All the Feasts at Temple (of rare music) 6 Exhibition Fantasy Heads in 18th-century Venetian Painting 7 The Dialoghi di San Giorgio Martyrs. Testimonies of faith, cultures of death and new forms of political action 9 Second World Conference on The Future of Science. Evolution 9 Dance from Indonesia Workshop on Javanese court dance by Pak Widodo Kusnantyo 10 Conference Andrea Zanzotto – from Soligo to the Venice Lagoon 11 Science Festival Le Parole del Mare. A voyage in science and culture with the Atlante Linguistico del Mediterraneo 12 Course on performing vocal music Nostalgic distance utopian future. Madrigal for several “caminantes” with Gidon Kremer, for violin 8-track tape (1988-1989) 13 “10 August 1806 Suppression of the monastery of San Giorgio” Conference for the Bicentenary promoted by the Benedictine Abbey of San Giorgio Maggiore and Ca’ Foscari University, Venice 13 Music from Bulgaria Seminar “in viva voce” 10. Female Polyphonic Singing from Bulgaria Concert by the group Bitrishki Babi 14 International Conference Literature from both sides of the Adriatic 15 13th International Seminar on Ethnomusicology Ethnomusicology and contemporary music 15 Books at San Vio 16 Collections The drawings in the Certani Collection at the Giorgio Cini Foundation 20 Projects and Research The new Manica Lunga 24 Presences on San Giorgio The monastery after the Napoleonic measures of 1806 27 Publications III – IV Contacts Editorial The second half of the 2006 promises to be an interesting and lively time thanks to a series of now traditional major initiatives.
    [Show full text]