DOCSLIB.ORG

Beyond Isabella Secular Women Patrons of Art in Renaissance Italy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Beyond Isabella Secular Women Patrons of Art in Renaissance Italy INTRODUCTION: RECOGNIZING NEW PATRONS, POSING NEW QUESTIONS iii Beyond Isabella Secular Women Patrons of Art in Renaissance Italy Edited by Sheryl E. Reiss and David G. Wilkins Sixteenth Century Essays & Studies Volume LIV Truman State University Press BEYOND ISABELLA: SECULAR WOMEN PATRONS OF ART IN RENAISSANCE ITALY Isabella FM Final Pages 3 5/18/01, 6:34 PM iv INTRODUCTION: RECOGNIZING NEW PATRONS, POSING NEW QUESTIONS Copyright © 2001 Truman State University Press Kirksville, Missouri 63501 All rights reserved Library of Congress Cataloging-in-Publication Data Beyond Isabella: secular women patrons of art in Renaissance Italy / edited by Sheryl E. Reiss and David G. Wilkins. p. cm. – (Sixteenth century essays and studies ; 54) Includes bibliographical references and index. ISBN 0-943549-78-7 (cloth) – ISBN 0-943549-88-4 (pbk.), v. 54 1. Women art patrons—Italy. 2. Art patronage—Italy—History. 3. Art, Italian. 4. Art, Renaissance—Italy. I. Reiss, Sheryl E. II. Wilkins, David G. III. Sixteenth century essays & studies ; 54. N5273 .B47 2000 707’.9’45—dc21 00-046674 Text is set in New Caledonia Cover design: Teresa Wheeler Book design: David Alcorn, Alcorn Publication Design, Graeagle, California No part of this work may be reproduced or transmitted in any format by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, without permission in writing from the publisher. The paper in this publication meets or exceeds the minimum requirements of the American National Standard for Permanence of Paper for Printed Library Materials Z39.48 (1984). BEYOND ISABELLA: SECULAR WOMEN PATRONS OF ART IN RENAISSANCE ITALY Isabella FM Final Pages 4 5/18/01, 6:34 PM INTRODUCTION: RECOGNIZING NEW PATRONS, POSING NEW QUESTIONS vii Contents Illustrations viii Prologue xv Acknowledgments xxi Frequently Cited Sources and Abbreviations xxii Introduction: Recognizing New Patrons, Posing New Questions 1 David G. Wilkins Fina da Carrara, née Buzzacarini: Consort, Mother, and Patron of Art 19 in Trecento Padua Benjamin G. Kohl Controlling Women or Women Controlled? Suggestions for Gender Roles 37 and Visual Culture in the Italian Renaissance Palace Roger J. Crum The Women Patrons of Neri di Bicci 51 Rosi Prieto Gilday Caterina Piccolomini and the Palazzo delle Papesse in Siena 77 A. Lawrence Jenkens Renaissance Husbands and Wives as Patrons of Art: The Camerini 93 of Isabella d’Este and Francesco II Gonzaga Molly Bourne Widow, Mother, Patron of Art: Alfonsina Orsini de’ Medici 125 Sheryl E. Reiss Two Emilian Noblewomen and Patronage Networks in the Cinquecento 159 Katherine A. McIver Dutiful Widows: Female Patronage and Two Marian Altarpieces by Parmigianino 177 Mary Vaccaro Vittoria Colonna and the Commission for a Mary Magdalen by Titian 193 Marjorie Och Bronzino in the Service of Eleonora di Toledo and Cosimo I de’ Medici: 225 Conjugal Patronage and the Painter-Courtier Bruce L. Edelstein A Medici Miniature: Juno and a Woman with “Eyes in Her Head Like 263 Two Stars in Their Beauty” Gabrielle Langdon A Widow’s Choice: Alessandro Allori’s Christ and the Adulteress 301 in the Church of Santo Spirito at Florence Elizabeth Pilliod Matrons and Motives: Why Women Built in Early Modern Rome 317 Carolyn Valone About the Contributors 337 BEYOND ISABELLA: SECULAR WOMEN PATRONS OF ART IN RENAISSANCE ITALY viii INTRODUCTION: RECOGNIZING NEW PATRONS, POSING NEW QUESTIONS Illustrations Introduction: Recognizing New Patrons, Posing New Questions David G. Wilkins 1. Nicola di Maestro Antonio d’Ancona, detail of patron (?), Madonna and Child 2 with Donor and Saints Leonard, Jerome, John the Baptist, and Francis, 1472. Pittsburgh, Carnegie Museum of Art (photo: University of Pittsburgh) 2. Nicola di Maestro Antonio d’Ancona, Madonna and Child with Donor and 3 Saints Leonard, Jerome, John the Baptist, and Francis, 1472. Pittsburgh, Carnegie Museum of Art (photo: University of Pittsburgh) 3. Circle of Bernardo Daddi (?), Votive Panel, 1335 (?), Florence, Museo dell’ 7 Opera del Duomo (photo: Alinari/Art Resource, N.Y.) 4. Florentine, mid-fourteenth century, Lamentation from San Remigio, ca. 1350, 8 Florence, Galleria degli Uffizi (photo: Alinari/Art Resource, N.Y.) Fina da Carrara, née Buzzacarini: Consort, Mother, and Patron of Art in Trecento Padua Benjamin G. Kohl 1. Baptistery, Padua, exterior, rebuilt 1260 (photo: courtesy Judith Kohl ) 25 2. Giusto de’ Menabuoi and assistants, frescoes on the west wall of the Baptistery, 27 Padua, 1376–78 (photo: courtesy Ministero per i Beni Culturali ed Ambientali, Soprintendenza Beni Artistici e Storici, Veneto) 3. Giusto de’ Menabuoi and assistants, Polyptych with Madonna Enthroned, 38 Scenes from the Life of Saint John the Baptist and Saints, 1376–78, Padua, Baptistery (photo: courtesy Ministero per i Beni Culturali ed ambientali, Soprintendenza Beni Artistici e Storici, Veneto) 4. Giusto de’ Menabuoi and assistants, The Birth of Saint John the Baptist, 1376– 30 78. Padua, Baptistery (photo: courtesy Ministero per i Beni Culturali ed ambientali, Soprintendenza Beni Artistici e Storici, Veneto) 5. Giusto de’ Menabuoi and assistants, The Birth of Saint John the Baptist, detail 30 of Fina Buzzacarini and Her Three Daughters, 1376–78, Padua, Baptistery (photo: courtesy Ministero per i Beni Culturali ed ambientali, Soprintendenza Beni Artistici e Storici, Veneto) Controlling Women or Women Controlled? Suggestions for Gender Roles and Visual Culture in the Italian Renaissance Palace Roger J. Crum 1. Florentine, late fifteenth century, The Assembly of a Domestic Inventory, 39 Florence, San Martino del Vescovo (photo: Scala/Art Resource, N.Y.) The Women Patrons of Neri di Bicci Rosi Prieto Gilday 1. Neri di Bicci, Assumption of the Virgin, 1456, Ottawa, National Gallery of 52 Canada (photo: National Gallery of Canada, Ottawa) BEYOND ISABELLA: SECULAR WOMEN PATRONS OF ART IN RENAISSANCE ITALY Isabella FM Final Pages 8 5/18/01, 6:34 PM INTRODUCTION: RECOGNIZING NEW PATRONS, POSING NEWILLUSTRATIONS QUESTIONS ix 2. Neri di Bicci, Annunciation, 1455, Florence, Santa Maria Novella 53 (photo: Alinari/Art Resource, N.Y.) 3. Neri di Bicci, Trinity, 1463, formerly Florence, San Niccolò Oltrarno 55 (photo: Alinari/Art Resource, N.Y.) Caterina Piccolomini and the Palazzo delle Papesse in Siena A. Lawrence Jenkens 1. Palazzo delle Papesse, Siena, Via di Città, begun ca. 1460 (photo: author) 78 2. Palazzo delle Papesse, detail, ground floor (photo: author) 79 3. Palazzo delle Papesse, detail, piano nobile (photo: author) 79 4. Reconstruction of Pius II’s proposed intervention in Siena: (A) Palazzo 81 Piccolomini; (B) Loggia dei Papa; (C) enlarged Piazza Piccolomini (drawing: Wolfgang Jung) 5. Loggia del Papa, Siena, 1460–62 (photo: author) 81 6. Giacomo Piccolomini’s Palazzo Nuovo (now Palazzo Piccolomini), Siena, 82 Banchi di Sotto, begun 1469 (photo: author) 7. Andrea Piccolomini’s Casamento Vecchio (now Palazzo Piccolomini), Siena, 82 Piazza del Campo, late fifteenth century (photo: author) Renaissance Husbands and Wives as Patrons of Art: The Camerini of Isabella d’Este and Francesco II Gonzaga Molly Bourne 1. Attributed to Andrea Mantegna, Portrait of Francesco II Gonzaga, ca. 1500, 94 Dublin, National Gallery of Ireland (photo: National Gallery of Ireland) 2. Castello di San Giorgio, Mantua, showing the Torretta di San Nicolò 96 (photo: author) 3. Plan of Castello di San Giorgio, Mantua, piano nobile (from Sylvia Ferino- 96 Pagden, ed., “La Prima Donna del Mondo”: Isabella d’Este, Fürsten und Mäzenatin der Renaissance, exh. cat. [Vienna: Kunsthistorisches Museum Vienna, 1994], p. 14, fig. 27) 4. View of Isabella’s Grotta in the Castello di San Giorgio, Mantua (photo: author) 97 5. View from Sala delle Cappe in the Castello di San Giorgio, Mantua, of the 97 hallway (on left) leading to Isabella’s Studiolo, and the entrance (on right) leading down to Grotta (photo: author) 6. Six ceramic floor tiles from Isabella’s Studiolo, Milan, Museo di Castello 98 Sforzesco (from Sylvia Ferino-Pagden, ed., “La Prima Donna del Mondo”: Isabella d’Este, Fürsten und Mäzenatin der Renaissance, exh. cat. [Vienna: Kunsthistorisches Museum Vienna, 1994], p.189, cat. no. 175) 7. Lorenzo Costa, Allegory of the Court of Isabella d’Este, ca. 1506, Paris, Musée 98 du Louvre (photo: RMN) 8. “Sala del Sole,” apartments of Francesco II on ground floor of Castello di San 99 Giorgio, Mantua (photo: author) 9. Gabriele Bertazzolo, Urbis Mantuae Descriptio, Mantua, 1628 (photo: author) 100 BEYOND ISABELLA: SECULAR WOMEN PATRONS OF ART IN RENAISSANCE ITALY Isabella FM Final Pages 9 5/18/01, 6:34 PM x INTRODUCTIONLLUSTRATIONS: RECOGNIZING NEW PATRONS, POSING NEW QUESTIONS 10. Gabriele Bertazzolo, Urbis Mantuae Descriptio, Mantua, 1628, detail of area 101 around Palazzo di San Sebastiano (in circle) (photo: author) 11. Porta Pusterla, Mantua, view ca. 1900 from Te island, showing waterway and 101 bridge leading to Te island (photo: Archivio di Stato, Mantua, authorization 28/99) 12. Palazzo di San Sebastiano, Mantua, distant view ca. 1900 from Te island, 102 showing city walls, Porta Pusterla, and bridge leading to Te island (photo: Archivio di Stato, Mantua, authorization 28/99) 13. Palazzo di San Sebastiano, Mantua, view ca. 1900 from Te island, with Porta 103 Pusterla visible at right (photo: Archivio di Stato, Mantua, authorization 28/99) 14. Schematic plan of Mantua (photo: Carpeggiani and Pagliari, 1983, p. 35) 104 A-B = Gonzaga axis d = Church and convent of San Sebastiano a = Ducal Palace-Castello complex e = House of Andrea Mantegna b = Cathedral of San Pietro f = Palazzo San Sebastiano c = Church of Sant’Andrea g = Palazzo Te 15. Palazzo di San Sebastiano, Mantua, modern view of south façade (photo: author) 104 16. Palazzo di San Sebastiano, Mantua, modern view of walled-in arcade on north 105 façade (photo: author) 17. Palazzo di San Sebastiano, Mantua, “Camera del Crogiolo” (photo: author) 105 18. Plan (1994) of the ground floor of Palazzo di San Sebastiano with room labels 106 indicating author’s reconstruction; dark shading shows original walling (plan: courtesy Arch.
Load more

Recommended publications
  • The Epistemology of the ABC Method Learning to Draw in Early Modern Italy
    The Epistemology of the ABC Method Learning to Draw in Early Modern Italy Nino Nanobashvili Even if some northern European drawing books in the tradition of Albrecht Durer started with a dot, a line and geometrical figures (» Fig. 1), the so-called ABC meth- od was the most popular approach in the European manuals between the sixteenth and nineteenth centuries. Thus, these drawing books began by initially presenting the parts of the body in the same order: eyes, noses, mouth, ears, heads, hands, feet and so on, and continued by constructing the whole body. This method was named “ABC“ because of its basic character and because of parallelizing the drawing process of face members with letters.1 Most manuals for beginners from other fields were similarly named in general ABCs.2 Artists had been using the ABC method in their workshops at least since the mid-fifteenth century in Italy, much before the first drawing books were printed. Around 1600 it became so self-evident that a pupil should begin their drawing education with this method that one can recognize the youngest apprentices in programmatic images just by studying eyes and noses.3 Even on the ceiling of Sala del Disegno in the Roman Palazzo Zuccari the youngest student at the left of Pittura presents a piece of paper with a drafted eye, ear and mouth (» Fig. 2).4 What is the reason that the ABC method became so common at least in these three centuries? How could drawing body parts be useful at the beginning of artistic 1 In 1683, Giuseppe Mitelli arranged body parts together with letters in his drawing book Il Alfabeto del Sogno to emphasize this parallel.
    [Show full text]
  • Profiling Women in Sixteenth-Century Italian
    BEAUTY, POWER, PROPAGANDA, AND CELEBRATION: PROFILING WOMEN IN SIXTEENTH-CENTURY ITALIAN COMMEMORATIVE MEDALS by CHRISTINE CHIORIAN WOLKEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Edward Olszewski Department of Art History CASE WESTERN RESERVE UNIVERISTY August, 2012 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Christine Chiorian Wolken _______________________________________________________ Doctor of Philosophy Candidate for the __________________________________________ degree*. Edward J. Olszewski (signed) _________________________________________________________ (Chair of the Committee) Catherine Scallen __________________________________________________________________ Jon Seydl __________________________________________________________________ Holly Witchey __________________________________________________________________ April 2, 2012 (date)_______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. 1 To my children, Sofia, Juliet, and Edward 2 Table of Contents List of Images ……………………………………………………………………..….4 Acknowledgements……………………………………………………………...…..12 Abstract……………………………………………………………………………...15 Introduction…………………………………………………………………………16 Chapter 1: Situating Sixteenth-Century Medals of Women: the history, production techniques and stylistic developments in the medal………...44 Chapter 2: Expressing the Link between Beauty and
    [Show full text]
  • Benvenuto Cellini on the Principles and Method of Learning the Art of Drawing and the Question of Amateur Drawing Education
    Swarthmore College Works Art & Art History Faculty Works Art & Art History 2004 Drawing The Line: Benvenuto Cellini On The Principles And Method Of Learning The Art Of Drawing And The Question Of Amateur Drawing Education Patricia L. Reilly Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-art Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Let us know how access to these works benefits ouy Recommended Citation Patricia L. Reilly. (2004). "Drawing The Line: Benvenuto Cellini On The Principles And Method Of Learning The Art Of Drawing And The Question Of Amateur Drawing Education". Benvenuto Cellini: Sculptor, Goldsmith, Writer. 26-52. https://works.swarthmore.edu/fac-art/28 This work is brought to you for free and open access by . It has been accepted for inclusion in Art & Art History Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. BENVENUTO CELLINI Sculptor, Goldsmith, Writer EDITED BY Margaret A. Gallucci Paolo L. Rossi Cambridge UNIVERSITY PRESS PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom 6^533 CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, UK QeoH 40 West 20th Street, New York, ny 10011-4211, USA 477 Williamstown Road, Port Melbourne, vie 3207, Australia Ruiz de Alarcon 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http: / /www. cambridge.org © Cambridge University Press 2004 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.
    [Show full text]
  • Florence's First–Known Woman Painter
    ITALY SuorFlorence’s Plautillafirst–known woman Nelli painter A discovery in a Florentine market led Jane Fortune to her first invisible artist, and the birth of the AWA. Here is the story of the first invisible female painter t an antique book fair in of Santa Caterina da Siena in Florence’s Nelli, born Pulisena Margherita Florence, just over thirteen years Piazza San Marco, now a museum, where Nelli, was, instead, the daughter of a ago, I chanced upon a book, her masterwork Lamentation with Saints successful fabric merchant, Piero di Suor Plautilla Nelli (1524–1588), is currently on display. In 1538, when Nelli Luca Nelli, whose ancestors originated The First Woman Painter of took her vows, the convent still devoutly from the Tuscan area of Mugello. There AFlorence, (Ed. Jonathan Nelson, 1998). Based adhered to Fra’ Girolamo Savonarola’s is a modern–day street in Florence, Via on a symposium sponsored by Georgetown (1452–1498) reformist principles which del Canto de’ Nelli, in the San Lorenzo University at Florence’s Villa Le Blaze in deeply influenced the nuns’ spiritual area, named for her family, and the new 1998, it was the first book written about Nelli journey and shaped their convent life, sacristy of the church of San Lorenzo is in 70 years, the previous one, having been for he promoted devotional painting and the original site of her family’s home. authored by Giovanna Pierattini, in 1938. I drawing by religious women as a way for After the death of her mother, and her had not heard of Nelli, but as a Renaissance them to avoid sloth.
    [Show full text]
  • 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.
    [Show full text]
  • Portrait of a Lady, Possibly the Poet Maddalena Salvetti
    Bartolommeo Traballesi (Florence c. 1540 - Florence 1585) Portrait of a Lady, possibly the Poet Maddalena Salvetti (1557-1610), in a Green Dress and Pearls, Standing at a Draped Table, with a Pet Squirrel oil on panel, the reverse branded with the mark ‘A•A’ 97.2 x 73.7 cm (38¼ x 29 in) This elegantly aloof and elevated portrait, possibly of the poet Maddalena Salvetti (c.1557-1610), has recently been attributed as a rare work by the Florentine artist, Bartolommeo Traballesi. Previous attributions have been made to Agnolo Bronzino (1503-1572) - and later his school - and Tommaso Manzuoli, called Maso da San Friano (1536-1571).¹ It is likely that this portrait was commissioned to celebrate the marriage in 1572 of Maddalena Salvetti to Zanobi Acciaiolli (1548-1613), a commander in the Order of Saint Stephen - a dynastic military order founded in 1561 by Cosimo I de’ Medici (1519-1574). In its early years, the Order successfully took part in the Spanish wars against the Ottomans, being present at the siege of Malta (1565), the Battle of Lepanto (1571) and the capture of Annaba in Algeria. 125 Kensington Church Street, London W8 7LP United Kingdom www.sphinxfineart.com Telephone +44(0)20 7313 8040 Fax: +44 (0)20 7229 3259 VAT registration no 926342623 Registered in England no 06308827 The Acciaioli were a prominent Florentine banking family (Compagna di Ser Leone degli Acciaioli e de’ suoi consorti) whose business spread from Greece to Western Europe. During the mid-fourteenth century Bishop Angiolo Acciaioli (1298-1357) briefly ruled Florence and subsequently from about 1390 until 1460, the family ruled the Duchy of Athens, maintaining close ties with the younger branch of the Medici through the marriage of Laudomia Acciaioli to Pierfrancesco de’ Medici (1430-1436).
    [Show full text]
  • Benvenuto Cellini on the Principles and Method of Learning the Art of Drawing and the Question of Amateur Drawing Education
    Swarthmore College Works Art & Art History Faculty Works Art & Art History 2004 Drawing The Line: Benvenuto Cellini On The Principles And Method Of Learning The Art Of Drawing And The Question Of Amateur Drawing Education Patricia L. Reilly Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-art Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Let us know how access to these works benefits ouy Recommended Citation Patricia L. Reilly. (2004). "Drawing The Line: Benvenuto Cellini On The Principles And Method Of Learning The Art Of Drawing And The Question Of Amateur Drawing Education". Benvenuto Cellini: Sculptor, Goldsmith, Writer. 26-52. https://works.swarthmore.edu/fac-art/28 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Art & Art History Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. BENVENUTO CELLINI Sculptor, Goldsmith, Writer EDITED BY Margaret A. Gallucci Paolo L. Rossi Cambridge UNIVERSITY PRESS PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom 6^533 CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, UK QeoH 40 West 20th Street, New York, ny 10011-4211, USA 477 Williamstown Road, Port Melbourne, vie 3207, Australia Ruiz de Alarcon 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http: / /www. cambridge.org © Cambridge University Press 2004 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.
    [Show full text]
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) The academization of art A practice approach to the early histories of the Accademia del Disegno and the Accademia di San Luca Jonker, M.J. Publication date 2017 Document Version Other version License Other Link to publication Citation for published version (APA): Jonker, M. J. (2017). The academization of art: A practice approach to the early histories of the Accademia del Disegno and the Accademia di San Luca. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:26 Sep 2021 Chapter Nine Conceptions and Practices of disegno in Artistic Treatises and Academies 9.1. Artists as intellectuals: authorship of artistic treatises Shortly after the foundation of the Accademia del Disegno and the Accademia di San Luca, several of their members composed theoretical texts, in which the concept of disegno occupied a central place.
    [Show full text]
  • Lascivoiusness and Devotion. Art in Florence in the Second Half of the 16Th Century” by Carlo Falciani and Antonio Natali
    INDEX 1) Press release 2) Fact Sheet 3) Photo Sheet 4) Exhibition Walkthrough 5) “Lascivoiusness and devotion. Art in Florence in the second half of the 16th century” by Carlo Falciani and Antonio Natali 6) Fondazione Palazzo Strozzi Director General Arturo Galansino catalogue introduction A CLOSER LOOK Important works of arts restored expressly for the exhibition The exhibition in figures 7) Activities in the exhibition and beyond 8) List of the works 9) Timeline PRESS RELEASE Starting 21 September, a spectacular exhibition devoted to the art of the second half of the 16th century from the "Modern Manner" to the Counter-Reformation The Cinquecento in Florence “modern maner” and counter-reformation. From Michelangelo, Pontormo and Giambologna Palazzo Strozzi, 21 September 2017–21 January 2018 #500Firenze A unique event bringing together, for the very first time, a collection of absolute masterpieces by Michelangelo, Andrea del Sarto, Rosso Fiorentino, Bronzino, Giorgio Vasari, Santi di Tito and Giambologna from Italy and abroad, many of them specially restored for the occasion. From 22 September 2017 to 21 January 2018 Palazzo Strozzi will be hosting The Cinquecento in Florence, a spectacular exhibition devoted to the art of the second half of the 16th century in the city, bringing together works by such artists as Michelangelo, Andrea del Sarto, Rosso Fiorentino, Pontormo, Bronzino, Giorgio Vasari, Santi di Tito and Giambologna. The final act in a trilogy of exhibitions curated by Carlo Falciani and Antonio Natali that began with Bronzino in 2010 and was followed by Pontormo and Rosso Fiorentino in 2014, the exhibition explores an era of outstanding cultural and intellectual talent, the second half of the 16th century in Florence, in a heated debate between the "modern manner" and the Counter-Reformation, between the sacred and the profane: an extraordinary age for the history of art in Florence, marked by the Council of Trent and by the personality of Francesco I de' Medici, one of the greatest figures in the history of courtly patronage of the arts in Europe.
    [Show full text]
  • Resolved Stolen Art Claims
    RESOLVED STOLEN ART CLAIMS CLAIMS FOR ART STOLEN DURING THE NAZI ERA AND WORLD WAR II, INCLUDING NAZI-LOOTED ART AND TROPHY ART* DATE OF RETURN/ CLAIM CLAIM COUNTRY† RESOLUTION MADE BY RECEIVED BY ARTWORK(S) MODE ‡ Australia 2000 Heirs of Johnny van Painting No Litigation Federico Gentili Haeften, British by Cornelius Bega - Monetary di Giuseppe gallery owner settlement1 who sold the painting to Art Gallery of South Australia, Adelaide Australia 05/29/2014 Heirs of The National Painting No Litigation - Richard Gallery of “Head of a Man” Return - Semmel Victoria previously attributed Painting to Vincent van Gogh remains in museum on 12- month loan2 * This chart was compiled by the law firm of Herrick, Feinstein LLP from information derived from published news articles and services available mainly in the United States or on the Internet, as well as law journal articles, press releases, and other sources, consulted as of August 6, 2015. As a result, Herrick, Feinstein LLP makes no representations as to the accuracy of any of the information contained in the chart, and the chart necessarily omits resolved claims about which information is not readily available from these sources. Information about any additional claims or corrections to the material presented here would be greatly appreciated and may be sent to the Art Law Group, Herrick, Feinstein LLP, 2 Park Avenue, New York, NY 10016, USA, by fax to +1 (212) 592- 1500, or via email to: [email protected]. Please be sure to include a copy of or reference to the source material from which the information is derived.
    [Show full text]
  • Table of Contents
    TABLE OF CONTENTS 9 FOREWORD Susan Madocks Lister 11 PREFACE 13 INTRODUCTION How to Approach the Art. The Sites 19 THE ORIGINS OF FLORENTINE PAINTING HISTORICAL SKETCH 31 The Survival of Medieval Florence, 1000–1348 SITE 1 SANTA CROCE CHURCH AND MUSEUM 34 Medieval Notions of the Human Figure Coppo di Marcovaldo 36 Art and the Visible World Giotto 42 Beyond Giotto Taddeo Gaddi 46 Earliest Florentine Last Supper Taddeo Gaddi 47 Anticipating International Gothic Agnolo Gaddi 49 High Mannerism Francesco Salviati, Agnolo Bronzino 51 Counter-Reformation Restraints Alessandro Allori 53 The Last of a Glorious Tradition Cimabue HISTORICAL SKETCH 54 Plague, Revolt, Humanism, the Medici, 1348–1433 SITE 2 ORSANMICHELE 56 Turning Points Donatello, Nanni di Banco, Lorenzo Ghiberti 60 Gothic Sculpture and Painting Orcagna, Bernardo Daddi HISTORICAL SKETCH 62 Medici Dynasty, the Rule of Genius, 1434-1492 SITE 3 SANTA MARIA DEL CARMINE, BRANCACCI CHAPEL 66 Birth of Renaissance Painting Masaccio and Masolino 73 A Baseline Master of the Saint Agatha SITE 4 UFFIZI GALLERY 76 Room 2 Twelfth to Early Fourteenth Centuries, the Human Figure Anonymous Masters, Cimabue, Duccio, Giotto 83 Room 3 Sienese Influence Ambrogio Lorenzetti, Simone Martini 86 Room 4 Fourteenth-Century Gothic Painting Bernardo Daddi, Giottino, Orcagna 89 Room 5 International Gothic Lorenzo Monaco, Gentile da Fabriano 93 Room 7 Early Renaissance Investigations into Nature Masaccio and Masolino, Fra Angelico, Domenico Veneziano, Paolo Uccello 98 Room 8 Renaissance Colorists Filippo Lippi,
    [Show full text]
  • Full Press Release
    Press Contacts Patrick Milliman 212.590.0310, [email protected] Alanna Schindewolf 212.590.0311, [email protected] ROSSO FIORENTINO’S CAPTIVATING HOLY FAMILY IS THE CENTERPIECE OF NEW EXHIBITION AT THE MORGAN ON FLORENTINE MANNERISM Fantasy and Invention: Rosso Fiorentino and Sixteenth-Century Florentine Drawing November 16, 2012–February 3, 2013 New York, NY, October 19, 2012—The emergence of Mannerism in Florentine Renaissance art as exemplified by the brilliant painter Rosso Fiorentino is the subject of a new exhibition at The Morgan Library & Museum, opening on November 16, 2012. The show includes the artist’s extraordinary painting, Holy Family with the Young Saint John the Baptist, as well a selection of drawings, printed books, letters, and manuscripts by other Florentine masters. The Holy Family, on loan from the Walters Art Museum in Baltimore, is one of only three paintings by Rosso in the United States. Fantasy and Invention: Rosso Fiorentino and Sixteenth-Century Florentine Drawing will remain on view at the Morgan through February 3, 2013. Rosso Fiorentino (1494–1540) Holy Family with the Young Saint John the Baptist, ca. 1520 Born Giovanni Battista di Jacopo di Guaspare in The Walters Art Museum, Baltimore Photo © The Walters Art Museum, Baltimore Florence, Rosso Fiorentino (1494–1540)—so known because of his distinctive red hair—was one of the foremost exponents of the late Renaissance style known as Mannerism, or the maniera. Characterized by extreme artifice, effortless grace, and refinement, and given to displays of inventive fantasy, spatial ambiguity, and strange beauty, this style developed about 1520 simultaneously in Rome (in the circle of Raphael) and in Florence (in the work of artists associated with Andrea del Sarto).
    [Show full text]