The Eagle 1986
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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Arts and Law The University of Birmingham May 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties.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. -
Establishing the Tudor Dynasty: the Role of Francesco Piccolomini in Rome As First Cardinal Protector of England
2017 IV Establishing the Tudor Dynasty: The Role of Francesco Piccolomini in Rome as First Cardinal Protector of England Susan May Article: Establishing the Tudor Dynasty: The Role of Francesco Piccolomini in Rome as First Cardinal Protector of England Establishing the Tudor Dynasty: The Role of Francesco Piccolomini in Rome as First Cardinal Protector of England1 Susan May Abstract: Between 1492 and 1503, Francesco Todeschini Piccolomini (1439–1503) was the first officially appointed Cardinal Protector of England. This paper focuses on a select few of his activities executed in that capacity for Henry Tudor, King Henry VII. Drawing particularly on two unpublished letters, it underscores the importance for King Henry of having his most trusted supporters translated to significant bishoprics throughout the land, particularly in the northern counties, and explores Queen Elizabeth of York’s patronage of the hospital and church of St Katharine-by-the-Tower in London. It further considers the mechanisms through which artists and humanists could be introduced to the Tudor court, namely via the communication and diplomatic infrastructure of Italian merchant-bankers. This study speculates whether, by the end of his long incumbency of forty-three years at the Sacred College, uncomfortably mindful of the extent of a cardinal’s actual and potential influence in temporal affairs, Piccolomini finally became reluctant to wield the power of the purple. Keywords: Francesco Todeschini Piccolomini; Henry VII; early Tudor; cardinal protector; St Katharine’s; Italian merchant-bankers ope for only twenty-six days following his election, taking the name of Pius III (Fig. 1), Francesco Todeschini Piccolomini (1439–1503) has understandably been P overshadowed in reputation by his high-profile uncle, Aeneas Silvius Piccolomini, Pope Pius II (1458–64). -
The Note-Books of Samuel Butler
The Note−Books of Samuel Butler Samuel Butler The Note−Books of Samuel Butler Table of Contents The Note−Books of Samuel Butler..........................................................................................................................1 Samuel Butler.................................................................................................................................................2 THE NOTE−BOOKS OF SAMUEL BUTLER...................................................................................................16 PREFACE....................................................................................................................................................17 BIOGRAPHICAL STATEMENT...............................................................................................................20 I—LORD, WHAT IS MAN?.......................................................................................................................24 Man........................................................................................................................................................25 Life........................................................................................................................................................26 The World..............................................................................................................................................27 The Individual and the World................................................................................................................28 -
Notes and References
Notes and References CHAPTER ONE. CHIASMUS AND SAMUEL BUTLER: AN INTRODUCTORY SKETCH 1. It is not important per se that the inversion of two elements - rather than three, four, five, etc. - should be singled out as a feature of the definition. For a structure to qualify as an example of bilateral symmetry the strict requirement is that, whatever the order is in one half, it should be inverted in the other half. Thus abe-cba, abed-deba, and so forth, are examples of bilateral symmetry no less than ab-ba. The ab-ba structure, however, is the most important, and it is convenient to use the term 'chiasmus' to refer primarily to that variety. In order for us to know that an inversion of sequentially ordered elements is taking place, we need a minimum of two elements. The ab-ba structure is therefore the minimal version of bilateral symmetry. If more elements than two in each half of the two-part structure are inverted (abe-cba, etc.) this may be thought of as an added boon. But on no account should the definition of chiasmus demand that the inversion be of more than two elements.. If the order of two elements is inverted, then we already know that there is a tendency towards symmetry, and this is most certainly so if the two inverted elements are, in one sense or another, the most important elements of the structure (which, again, repetition automatically tends to make them). Whether the name chiasmus should be given also to structures such as abe-cba and abed-deba, or reserved for ab-ba structures, is a quibble over words. -
WRAP THESIS Shilliam 1986.Pdf
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/34806 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. FOREIGN INFLUENCES ON AND INNOVATION IN ENGLISH TOMB SCULPTURE IN THE FIRST HALF OF THE SIXTEENTH CENTURY by Nicola Jane Shilliam B.A. (Warwick) Ph.D. dissertation Warwick University History of Art September 1986 SUMMARY This study is an investigation of stylistic and iconographic innovation in English tomb sculpture from the accession of King Henry VIII through the first half of the sixteenth century, a period during which Tudor society and Tudor art were in transition as a result of greater interaction with continental Europe. The form of the tomb was moulded by contemporary cultural, temporal and spiritual innovations, as well as by the force of artistic personalities and the directives of patrons. Conversely, tomb sculpture is an inherently conservative art, and old traditions and practices were resistant to innovation. The early chapters examine different means of change as illustrated by a particular group of tombs. The most direct innovations were introduced by the royal tombs by Pietro Torrigiano in Westminster Abbey. The function of Italian merchants in England as intermediaries between Italian artists and English patrons is considered. Italian artists also introduced terracotta to England. -
Michelangelo: 1 Michelangelo: “The Divine One” “The Divine One” 1 Goings on 2 Michelangelo, Cont
Tidings Bayshore Presbyterian Church March 25, 2015 Inside This Issue Michelangelo: 1 Michelangelo: “The Divine One” “The Divine One” 1 Goings On 2 Michelangelo, cont. Painter, sculptor and architect Michelangelo Buonarroti was born in 3 Building and Grounds Update Caprese, Italy on March 6, 1475. During a more than 70-year career, he won near-mythical fame as one of Europe’s preeminent 3 Birthdays/Anniversaries “Renaissance Men,” and counted kings and popes among his many 3 admirers and patrons. Temperamental and brilliant, Michelangelo Prayer List crafted several masterpieces 4 From the Pastor’s Desk including the statue of David, the “Pieta” and the ceiling of the Sistine 4 News From Beth-El Chapel. On the 540th anniversary of 4 his birth, here are nine surprising Just Another Day on the Bayshore facts about the artist often called “the 5 Volunteer List Divine One.” 1. A jealous rival broke his nose when he was a teenager. As a teen, Michelangelo was sent to live and study in the home of GOINGS ON Lorenzo de’ Medici, then one of the most important art patrons in all of Europe. His steady hand with a Sunday, March 29 chisel and paintbrush soon made him the envy of all his fellow pupils. Palm Sunday Service 10:30 am One young rival named Pietro Torrigiano grew so enraged at Michelangelo’s superior talent—and perhaps also his sharp tongue— that he walloped him in the nose, leaving it permanently smashed and Thursday, April 2 disfigured. “I gave him such a blow on the nose that I felt bone and Maundy Thursday Tenebrae Service 7:00 pm cartilage go down like biscuit beneath my knuckles,” Torrigiano later bragged, “and this mark of mine he will carry with him to the grave.” Friday, April 3 2. -
Lady-Margaret-School-Service.Pdf
Westminster Abbey A Service to celebrate the Centenary of Lady Margaret School Tuesday 17 th October 2017 Noon The hands of Lady Margaret Beaufort’s effigy on her tomb; the work of Pietro Torrigiano (1472 –1528). ‘Every one that knew her loved her, and everything that she said or did became her.’ St John Fisher (1469–1535) HISTORICAL NOTE Lady Margaret School has its origins in Whitelands College School, founded in 1842. In 1917, the original school was threatened with closure, but due to the strenuous efforts of Enid Moberly Bell, her friends, and the staff of the school, a substantial number of the pupils were ‘rescued’ and Lady Margaret School came into being in September of that same year. Miss Moberley Bell remained Headteacher for the next thirty years. The school takes its name from Lady Margaret Beaufort, Countess of Richmond and Derby (1443–1509) the mother of Henry VII, whence the choice of the Tudor Rose as the school’s emblem. Lady Margaret Beaufort was founder of St John’s and Christ’s Colleges, Cambridge. Lady Margaret Hall, the first women’s college at Oxford University, is also named after her. She is buried here in Westminster Abbey. The first school building was Belfield House, Parsons Green, the oldest of the three houses which form part of the present school. In 1937, a second house was purchased, but before long war broke out and the school was evacuated to Midhurst in Sussex. The school re-opened in 1943 and in 1947 became a two-form entry grammar school under the leadership of Florence Elsie Marshall (1947–71). -
Vasari's Vite and Italian Artists in Sixteenth-Century England
Vasari’s Vite and Italian artists in sixteenth-century England Cinzia Maria Sicca Figure 1 Giorgio Vasari, Le vite de’ più eccellenti pittori, scultori et architettori . (Florence, 1568). References to works of art or individuals traveling to England are found in Vasari’s lives of Benedetto da Maiano, Pietro Torrigiani, Benedetto da Rovezzano, Girolamo da Treviso, Rosso Fiorentino, Perino del Vaga, Baccio Bandinelli, Bastiano ‘Aristotile’ da Sangallo, the brothers Davit and Benedetto del Ghirlandaio and their nephew Ridolfo (son of Domenico), Giovan Francesco Penni (il Fattore), as well as in a final, miscellaneous section in the Giuntina edition of 1568 entitled ‘Di diversi artefici Italiani’ (Of several different Italian artists). (Figure 1) This selection is striking for the density of Tuscan artists who, with the only exception of Girolamo da Treviso, appear to have dominated the flux of artistic exchange between the two countries during the sixteenth century. The exception, however, is no less meaningful since Girolamo’s complicated career took him to Venice, Bologna, Rome and Mantua making him a vehicle for the transmission of the highly experimental style that had been incubating in this latter city. The migration of artists to England, as well as to other European countries, is discussed by Vasari within the general framework of a far-ranging view of the Journal of Art Historiography Number 9 December 2013 Cinzia Maria Sicca Vasari’s Vite and Italian artists in sixteenth- century England movement of art through time and space, and serves the ultimate purpose of demonstrating the superiority of central Italian art. Writing about artists who had left their motherland and settled anywhere in Europe was, however, hugely problematic for Vasari who had no direct knowledge of the works produced abroad and was thus unable to discuss them in any detail. -
The Royal Image and Modern Spanish Iconoclasm [La Imagen Real Y La Iconoclasia Española Moderna]
The Royal Image and Modern Spanish Iconoclasm [La imagen real y la iconoclasia española moderna] Jeffrey Schrader University of Colorado, Denver, United States of America From the nineteenth century onward a considerable number of hostile actions against the portraits of royalty and religious art have been recorded. This icono clasm which, before the nineteenth century, was blamed on foreigners, began to become more common among Spaniards early in the century, increasing with the Carlist wars. Due to their increased frequency, such violent actions against these types of representation, both monarchical and religious, came to acquire a very characteristic social function, becoming rites dramatizing popular support for prog ress. The moments of greatest violence against these works took place during the Spanish civil war, including burning and sacking of churches and even murders of priests. With the rise of Francoism, the dictator cast the blame on foreign govern ments, which seems to suggest a generalized tendency by the Spanish authorities to attribute such acts alien forces. Keywords: iconoclasm; religious art; monarchical portraits; Spain; Contemporary Period. A partir del siglo xix detectamos un gran número de acciones hostiles contra los retratos de la realeza y el arte religioso. Esta iconoclastia, de la que se culpó al extranjero antes del siglo xix, comienza a adquirir fuerza dentro del pueblo espa ñol a principios del mismo siglo, con las guerras carlistas. Las acciones violentas contra este tipo de representaciones, tanto monárquicas como religiosas, debido a su auge llegan a adquirir una función social muy característica: ritos que escenifi can el apoyo al progreso por parte del pueblo. -
Michelangelo's Julius II Tomb As Template for the Sistine Chapel Ceiling
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2019 Sculpting in Marble and Fresco: Michelangelo's Julius II Tomb as Template for the Sistine Chapel Ceiling Jillian Gates [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Gates, Jillian, "Sculpting in Marble and Fresco: Michelangelo's Julius II Tomb as Template for the Sistine Chapel Ceiling". Senior Theses, Trinity College, Hartford, CT 2019. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/754 Sculpting in Marble and Fresco: Michelangelo’s Julius II Tomb as Template for the Sistine Chapel Ceiling A Senior Thesis Presented By Jillian Gates To the Art History Department In Fulfillment of the Requirements for Honors in Art History Advisor: Professor Kristin Triff Trinity College Hartford, Connecticut May 2019 2 Table of Contents Table of Contents …………………………………………………………………………. 2 Chapter I: Introduction ……………………………………………………………………. 3 Chapter II: Julius II Tomb ……………………………………………………………….. 15 Chapter III: Sistine Chapel Ceiling ………………………………………………………. 33 Chapter IV: Conceptual Similarities ……………………………………………………… 47 Chapter V: A Shared Vision ………………………………………………………………. 54 Chapter VI: Figure Similarities …………………………………………………………… 58 Chapter VII: Consequences of Michelangelo’s Technique After the Ceiling …………… 64 Chapter VIII: Conclusion …………………………………………………………………… 71 Bibliography ………………………………………………………………………………….. 74 Appendix ……………………………………………………………………………………… 76 3 Chapter I: Introduction As a seminal artistic figure of the early Renaissance period, Michelangelo produced works of art that defined the canon of art. Through his early sculpted and painted works, the ambitions Michelangelo had for himself as an artist were evident. Not only were the works he created masterful for such a young age, but they also pushed the boundaries of existing artistic and stylistic techniques. -
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 -
Sacred Mysteries: the Abbey's Shrine for Henry VIII's Grandmother
Sacred Mysteries: the Abbey’s shrine for Henry VIII’s grandmother Lady Margaret's tomb effigy, by Pietro Torrigiano, in Henry VII's Chapel, Westminster Abbey CREDIT: COPYRIGHT DEAN AND CHAPTER OF WESTMINSTER We’re lucky still to have the brilliant Gothic glasshouse of Henry VII’s chapel at Westminster Abbey. It might have been destroyed in the war – or earlier. After all, only outraged defence by parishioners saved the neighbouring church of St Margaret’s from demolition by the Duke of Somerset’s men who in 1549 came to tear it down for stone to build Somerset House. That detail comes from a lecture given in Henry VII’s chapel itself by the Cambridge historian Richard Rex last night as part of celebrations for the 500th anniversary of its dedication. His focus was the role played in her son’s project by Lady Margaret Beaufort (1443-1509), who in her time was known as “the King’s Mother”, rather like our late Queen Mother. We think of her as a founder of Cambridge colleges (Christ’s and St John’s), but Dr Rex made the case for her being “the first woman in English history to exercise real public power”. What I found interesting in the exercise of that power was the spreading, by the circle of scholarly clerics with whom she surrounded herself, of devotion to the Holy Name of Jesus. It marked the whole religious landscape with what Dr Rex called something of an “obsession” with Jesus. This runs counter to the old myth that devotion to saints in the Middle Ages obscured the centrality of Jesus Christ.