Love Desire Death
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Body, Identity, and Narrative in Titian's Paintings
Winter i WITTENBERG UNIVERSITY BODY, IDENTITY, AND NARRATIVE IN TITIAN’S PAINTINGS AN UNDERGRADUATE THESIS SUBMITTED TO DR. ALEJANDRA GIMENEZ-BERGER BY LESLIE J. WINTER IN PARTIAL FULFILLMENT OF THE DEGREE BACHELOR OF ARTS WITH HONORS IN ART HISTORY APRIL 2013 Winter ii Table of Contents Pages Abstract iii. 1. Introduction 1. 2. The Painted Parts of the Whole Individual 4. 3. Istoria and The Power of the Figure in Renaissance Art 16. 4. Titian’s Religious Paintings 29. 5. Titian’s Classicizing Paintings 38. 6. Conclusion 48. Endnotes 49. Figure List 55. Figures 57. Bibliography 70. Winter iii Abstract: In the Renaissance, the bodies of individuals were understood as guides to their internal identities, which influenced the public understanding of the figure represented in art—be it in terms of politics, personal life, or legacy. The classicizing and religious paintings by Titian (c. 1488/90-1576) show the subject’s state of being, at a particular moment in a story, through the use of body language. The body is a vehicle for narrative that demonstrates the sitter’s identity, relating the intricacies of the body to both the mind and the story. By exploring the humanist combination of philosophical theories regarding the relationship between the soul and the body, it is clear that Titian used these concepts to elevate the human figures in his narrative paintings. Formal analysis and Renaissance artistic theories by Alberti and others suggest that Renaissance artists operated under the assumption that how their sitters appeared was tantamount to representing their identities. Current scholarship has not yet considered this particular relationship in Titian’s works. -
Colnaghistudiesjournal Journal-01
EDITORIAL COMMITTEE Charles Avery Art Historian specializing in European Xavier F. Salomon Peter Jay Sharp Chief Curator, The Frick Sculpture, particularly Italian, French and English. Collection, New York. Colin Bailey Director, Morgan Library and Museum, New York. Salvador Salort-Pons Director, President & CEO, Detroit Francesca Baldassari Art Historian. Institute of Arts. Piers Baker-Bates Visiting Research Associate in Art History, Jack Soultanian Conservator, The Metropolitan Museum of Colnaghi Studies Journal is produced biannually by the Colnaghi Foundation. Its purpose is Art, New York. The Open University. to publish texts on significant pre-twentieth-century artworks in the European tradition Bruce Boucher Director, Sir John Soane’s Museum, London. Nicola Spinosa Former Director of Museo di Capodimonte, Naples. that have recently come to light or about which new research is underway, as well as Till-Holger Borchert Director, Musea Brugge. Carl Strehlke Adjunct Emeritus, Philadelphia Museum of Art. on the history of their collection. Texts about artworks should place them within the Antonia Boström Keeper of Sculpture, Metalwork, Ceramics Holly Trusted Senior Curator of Sculpture, Victoria & Albert broader context of the artist’s oeuvre, provide visual analysis and comparative images. & Glass, Victoria & Albert Museum, London. Museum, London. Edgar Peters Bowron Former Audrey Jones Beck Curator of Manuscripts may be sent at any time and will be reviewed by members of the journal’s Benjamin van Beneden Director, Rubenshuis, Antwerp. European Art, The Museum of Fine Arts, Houston. Editorial Committee, composed of specialists on painting, sculpture, architecture, Mark Westgarth Programme Director and Lecturer in Art History Xavier Bray Director, The Wallace Collection, London. -
The Triumph of Flora
Myths of Rome 01 repaged 23/9/04 1:53 PM Page 1 1 THE TRIUMPH OF FLORA 1.1 TIEPOLO IN CALIFORNIA Let’s begin in San Francisco, at the California Palace of the Legion of Honor in Lincoln Park. Through the great colonnaded court, past the Corinthian columns of the porch, we enter the gallery and go straight ahead to the huge Rodin group in the central apse that dominates the visitor’s view. Now look left. Along a sight line passing through two minor rooms, a patch of colour glows on the far wall. We walk through the Sichel Glass and the Louis Quinze furniture to investigate. The scene is some grand neo-classical park, where an avenue flanked at the Colour plate 1 entrance by heraldic sphinxes leads to a distant fountain. To the right is a marble balustrade adorned by three statues, conspicuous against the cypresses behind: a muscular young faun or satyr, carrying a lamb on his shoulder; a mature goddess with a heavy figure, who looks across at him; and an upright water-nymph in a belted tunic, carrying two urns from which no water flows. They form the static background to a riotous scene of flesh and drapery, colour and movement. Two Amorini wrestle with a dove in mid-air; four others, airborne at a lower level, are pulling a golden chariot or wheeled throne, decorated on the back with a grinning mask of Pan. On it sits a young woman wearing nothing but her sandals; she has flowers in her hair, and a ribboned garland of flowers across her thighs. -
Los Papeles De Velázquez
Los Papeles de Velázquez John Phillips August 2007 A hand emerges from a lace cuff, pointed out tiny scraps of paper secreted and droops over the arm of a chair. It is in the corners of Velázquez’s Lances and painted impressionistically, and appears Equestrian Portrait of Philip IV. ‘These bits relaxed. Yet clutched between the thumb of paper serve no purpose in the paintings’, and forefinger, a folded sheet of paper twists she declared with mild indignation, ‘they awkwardly, contravenes perspective, and are blank’. Could I explain them? I shook pushes forward to petition the viewer. This my head. A tiny scrap of paper buried in a small dramatic detail, set against a velvet composition, we reasoned, might carry an backcloth, is a fragment of a full-length inscription or a signature, but blank slips portrait of Archbishop Fernando de Valdés. were either an enigma or an oversight. ‘Had The exactingly carefree brushstrokes and someone, perhaps Velázquez, over-painted inscription on the contorted sheet identify them?’ ‘Had he overlooked to sign these Velázquez as its painter. Whoever cut this paintings off?’ ‘Might similar fragments, fragment from the larger canvas, considering half-hidden in other paintings, provide more perhaps that value resided in its signature, clues?’ ‘What messages or meanings lay may have unintentionally revealed something buried in these unwritten documents?’ were hidden in the larger composition; the artist’s questions that we raised, but had no means aspiration inscribed on an imaginary sheet to answer. So, in the days that followed, I of paper. 2 resolved to investigate the artist through the My interest in Velázquez’s papers narrow prism of his papers. -
The Evolution of Landscape in Venetian Painting, 1475-1525
THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters. -
INNOVATION and EXPERIMENTATION: VENETIAN RENAISSANCE and MANNERISM (Titian and Pontormo) VENETIAN RENAISSANCE
INNOVATION and EXPERIMENTATION: VENETIAN RENAISSANCE and MANNERISM (Titian and Pontormo) VENETIAN RENAISSANCE Online Links: Giovanni Bellini - Wikipedia, the free encyclopedia Feast of the Gods – Smarthistory The Tempest - Smarthistory Titian - Wikipedia, the free encyclopedia Bacchus and Ariadne – Smarthistory Titian's Bacchus and Ariadne- National Gallery Podcast Venus of Urbino - Smarthistory Giorgione - Wikipedia, the free encyclopedia Alfonso I d'Este, Duke of Ferrara - Wikipedia, the free encyclopedia Venus of Urbino - Wikipedia, the free encyclopedia MANNERISM Online Links: Introduction to Mannerism - Smarthistory Correggio's Assumption of the Virgin - Smarthistory (no video) Parmigianino's Madonna of the Long Neck – Smarthistory Benvenuto Cellini's Perseus Beheading Medusa Benvenuto Cellini - Wikipedia, the free encyclopedia Pontormo's Entombment - Smarthistory Giovanni Bellini and Titian. The Feast of the Gods, 1529, oil on canvas Above: Map of 16th century Venice Left: Giovanni Bellini. Self-Portrait The High Renaissance in Venice coincided with the decline of the empire and the threat that the city would lose the independent status it had enjoyed for eight hundred years. Formidable foreign powers such as the French and Spanish kings, the pope, the Holy Roman emperor, and the rulers of Milan united against Venice and formed the League of Cambrai in 1509. They took most of the Venetian territory, including the important city of Verona, but not Venice itself. By 1529, peace was restored along with most of the territory, and Venice propagated the myth of its uniqueness in having survived so great a threat. In this illustration of a scene from Ovid’s, Fasti the gods, Jupiter, Neptune, and Apollo among them, revel in a wooded pastoral setting, eating and drinking, attended by nymphs and satyrs. -
Titian's Later Mythologies Author(S): W
Titian's Later Mythologies Author(s): W. R. Rearick Source: Artibus et Historiae, Vol. 17, No. 33 (1996), pp. 23-67 Published by: IRSA s.c. Stable URL: http://www.jstor.org/stable/1483551 . Accessed: 18/09/2011 17:13 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. IRSA s.c. is collaborating with JSTOR to digitize, preserve and extend access to Artibus et Historiae. http://www.jstor.org W.R. REARICK Titian'sLater Mythologies I Worship of Venus (Madrid,Museo del Prado) in 1518-1519 when the great Assunta (Venice, Frari)was complete and in place. This Seen together, Titian's two major cycles of paintingsof mytho- was followed directlyby the Andrians (Madrid,Museo del Prado), logical subjects stand apart as one of the most significantand sem- and, after an interval, by the Bacchus and Ariadne (London, inal creations of the ItalianRenaissance. And yet, neither his earli- National Gallery) of 1522-1523.4 The sumptuous sensuality and er cycle nor the later series is without lingering problems that dynamic pictorial energy of these pictures dominated Bellini's continue to cloud their image as projected -
The Scultori and Ghisi Engraving Enterprise in Sixteenth-Century Mantua and Beyond
“OLD IN SUBSTANCE AND NEW IN MANNER”: THE SCULTORI AND GHISI ENGRAVING ENTERPRISE IN SIXTEENTH-CENTURY MANTUA AND BEYOND by Hilary Letwin A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland December, 2013 Part 1 Abstract: This dissertation seeks to reframe the way in which the prints of the incisori Mantovani, Giovanni Battista (1503-1575), Adamo (1530?-1587) and Diana Scultori (1547-1612), and Giorgio Ghisi (1520-1582), are examined. Previously, their contributions in the printmaking process, largely engraving prints that are after the designs of other artists, have been dismissed as reproductive. This dissertation examines the ways in which these printmakers worked to elevate their engravings from simply reproductive to creative works of art in their own right. Their engravings, which certainly took inspiration from the designs of Giulio Romano, among others, were not the product of a close collaboration between a master and the engravers. Instead, the engravers appear to have worked fairly autonomously, in Mantua and elsewhere, engaging with and manipulating their source material, experimenting technically and in the design of their prints, and finally questioning the role of engraving within the greater framework of artistic practice in the sixteenth century. Chapter one examines the work of Giovanni Battista, who used printmaking as a creative outlet, seeking a freedom not possible in his other sculptural projects that were carried out according to the specifications of patrons and artistic masters. His engravings can be seen as an attempt to “conquer” these outside influences. Chapter two considers the prints and career of Adamo Scultori, who used his prints to comment on the “enslavement” of reproductive printmakers to their sources. -
Spanish Painting;
A SPANISH PAINTING TEXT BY A. DE BERUETE Y MORET (DIRECTOR OF THE PRADO MUSEUM, MADRID) 192 I EDITED BY GEOFFREY HOLME “THE STUDIO,” Ltd., LONDON, PARIS, NEW YORK Digitized by the Internet Archive in 2016 https://archive.org/details/spanishpaintingOOberu ) ) LIST OF ARTISTS WHOSE WORKS ARE REPRODUCED IN THIS VOLUME IN COLOURS PLATE El Greco (Domenico Theotocopuli) ( “ ” La Gloria de Felipe II The Glory of Philip II) . iii Francisco de Ribalta San Pedro ( Saint Peter) . vii Don Diego Rodriguez de Silva y Velazquez Venus y Cupido ( Venus and Cupid) ..... xii Francisco de Goya y Lucientes El Columpio ( The Swing) ...... xxiv Joaquin Sorolla Saliendo del Baho ( After Bathing) ..... xxxiii Luis Masriera Sombras Reflejadas ( Reflected Shadows) .... xxxvi Jose Pinazo Crepusculo Twilight xxxlx ( ....... Jose Benlliure Gil Haciendo Bolillos Lace-making xlii ( ) ..... Fernando Alvarez de Sotomayor Paisanas Gallegas ( Galician Peasant-women xlv ) .... Francisco Sancha Un Pueblo Andaluz ( An Andalusian Village) .... xlviii IN MONOTONE Hernando Yanez de la Almedina Santa Catalina ( Saint Catherine) ...... i Juan Pantoja de la Cruz Philip II . ii El Greco (Domenico Theotocopuli) San Pablo ( Samt Paul) ....... iv El Entierro del Conde de Orgaz ( The Burial of the Count o) Orgaz) v . vi Retrato de un Caballero ( Portrait of a Nobleman) . Francisco de Zurbaran El Beato Dominico Enrique Suzon ( The Dominican, Henry Suzon) viii Don Diego Rodriguez de Silva y Velazquez Calabacillas el Calabacillas the . ix Bufon ( , Buffoon) Las Meninas ( The Maids of Honour) x detail xi » m ,, » ( • • xiii Philip IV . Infante Baltasar Carlos ....... xiv detail • • • • • ,, „ „ ( ) xvi La Dama del Albanico ( The Lady with a Fan) .... Fray Juan Rizi de Guevara Un Caballero Joven (A Young Cavalier) .... -
421.Pdf (2.446Mb)
1 PERMISSION I give permission for public access to my thesis and for any copying to be done at the discretion of the archives librarian and/or the College librarian. _________________________ ______________________ Signature Date 2 THE EMPRESS’S NEW CLOTHES: NORTHERN ITALIAN WIVES AND THEIR CLASSICAL EXEMPLARS Maureen McVeigh, Class of 2010 Mount Holyoke College Department of Art History Thesis Adviser: Professor Christine Geisler Andrews 3 ACKNOWLEDGMENTS I would first like to express my sincere gratitude to my senior honors thesis advisor, Professor Christine Andrews, for her guidance and encouragement throughout the process of researching, writing, and refining my project. I feel especially privileged to have been one half of the undertaking of such a large student project, and to have had the opportunity to form such a rewarding scholarly partnership with her. My thesis is the product of many hours of discussion, all of which were a pleasure. I could not have completed this project without Professor Andrews’s invaluable input. Special thanks to Professor Bettina Bergmann, who has been willing to dispense advice and offer important leads, no matter where in the world either of us may have been. Her suggestion that I read a particular article in Apollo Magazine launched the expansive research that eventually became the basis for my thesis, and her scholarship on ancient Roman women has been invaluable for my understanding of the function of their pictorial presence in the Renaissance. She also deserves an especially warm “thank-you” for so graciously accepting a spot on my defense committee despite another round of geographic distance. -
Aic Paintings Specialty Group Postprints
AIC PAINTINGS SPECIALTY GROUP POSTPRINTS Papers Presented at the Thirty-third Annual Meeting of the American Institute for Conservation of Historic & Artistic Works Minneapolis, Minnesota June 8-13,2005 Compiled by Helen Mar Parkin Volume 18 2006 The American Institute for Conservation of Historic & Artistic Works This publication entitled 2006 AIC Paintings Specialty Group Postprints is produced by the Paintings Specialty Group of the American Institute for Conservation of Historic & Artistic Works (AIC). © 2006 The American Institute for Conservation of Historic & Artistic Works Publication of this serial began in 1988. Except for Volume 3 (1990) all issues until Volume 16 are unnumbered. ISSN 1548-7814 The papers presented in publication have been edited for clarity and content but have not undergone a formal process of peer review. This publication is primarily intended for the members of the Paintings Specialty Group of the American Institute for Conservation of Historic & Artistic Works. The Paintings Specialty Group is an approved division of the American Institute for Conservation of Historic & Artistic Works, but does not necessarily represent AIC policies or opinions. Opinions expressed in this publication are those of the contributors and not official statements of either the Paintings Specialty Group or the American Institute for Conservation of Historic & Artistic Works. Responsibility for the materials/methods described herein rests solely with the contributors. Additional copies of this publication are available for purchase by contacting the Publications Manager at the American Institute for Conservation of Historic and Artistic Works. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences - Permanence of Paper for Publication and Documents in Libraries and Archives, ANSI/NISO Z39.48-1992. -
Download Article
This edition of the Technical Bulletin has been supported National Gallery Technical Bulletin by Mrs Charles Wrightsman volume 36 Titian’s Painting Technique from 1540 Series editor: Ashok Roy Photographic credits © National Gallery Company Limited 2015 All images © The National Gallery, London, unless credited All rights reserved. No part of this publication may be transmitted otherwise below. in any form or by any means, electronic or mechanical, including CAMBRIDGE photocopy, recording, or any storage and retrieval system, without © Fitzwilliam Museum, Cambridge: 51, 52. prior permission in writing from the publisher. CINCINNATI, OHIO Articles published online on the National Gallery website © Cincinnati Art Museum, Ohio / Bridgeman Images: 3, 10. may be downloaded for private study only. DRESDEN Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden First published in Great Britain in 2015 by © Photo Scala, Florence/bpk, Bildagnetur für Kunst, Kultur und National Gallery Company Limited Geschichte, Berlin: 16, 17. St Vincent House, 30 Orange Street London WC2H 7HH EDINBURGH Scottish National Gallery © National Galleries of Scotland, photography by John McKenzie: 250–5. www.nationalgallery.co.uk FLORENCE British Library Cataloguing-in-Publication Data. Gabinetto dei Disegni e delle Stampe, Galleria degli uffizi, Florence A catalogue record is available from the British Library. © Soprintendenza Speciale per il Polo Museale Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività Culturali: 12. ISBN: 978 1 85709 593 7 Galleria Palatina, Palazzo Pitti, Florence © Photo Scala, ISSN: 0140 7430 Florence – courtesy of the Ministero Beni e Att. Culturali: 45. 1040521 LONDON Apsley House © Stratfield Saye Preservation Trust: 107. Publisher: Jan Green Project Manager: Claire Young © The Trustees of The British Museum: 98.