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VENETIAN PAINTING in the AGE of TITIAN P
TITIAN and the RENAISSANCE inVENICE EDITED BY BASTIAN ECLERCY AND HANS AURENHAMMER WITH CONTRIBUTIONS BY MARIA ARESIN HANS AURENHAMMER ANDREA BAYER ANNE BLOEMACHER DANIELA BOHDE BEVERLY LOUISE BROWN STEFANIE COSSALTERDALLMANN BENJAMIN COUILLEAUX HEIKO DAMM RITA DELHÉES JILL DUNKERTON BASTIAN ECLERCY MARTINA FLEISCHER IRIS HASLER FREDERICK ILCHMAN ROLAND KRISCHEL ANN KATHRIN KUBITZ ADELA KUTSCHKE SOFIA MAGNAGUAGNO TOM NICHOLS TOBIAS BENJAMIN NICKEL SUSANNE POLLACK VOLKER REINHARDT JULIA SAVIELLO FRANCESCA DEL TORRE SCHEUCH CATHERINE WHISTLER AND MATTHIAS WIVEL PRESTEL MUNICH · LONDON · NEW YORK TITIAN and the RENAISSANCE inVENICE EDITED BY BASTIAN ECLERCY AND HANS AURENHAMMER WITH CONTRIBUTIONS BY MARIA ARESIN, HANS AURENHAMMER, ANDREA BAYER, ANNE BLOEMACHER, DANIELA BOHDE, BEVERLY LOUISE BROWN, STEFANIE COSSALTER-DALLMANN, BENJAMIN COUILLEAUX, HEIKO DAMM, RITA DELHÉES, JILL DUNKERTON, BASTIAN ECLERCY, MARTINA FLEISCHER, IRIS HASLER, FREDERICK ILCHMAN, ROLAND KRISCHEL, ANN KATHRIN KUBITZ, ADELA KUTSCHKE, SOFIA MAGNAGUAGNO, TOM NICHOLS, TOBIAS BENJAMIN NICKEL, SUSANNE POLLACK, VOLKER REINHARDT, JULIA SAVIELLO, FRANCESCA DEL TORRE SCHEUCH, CATHERINE WHISTLER AND MATTHIAS WIVEL PRESTEL MUNICH · LONDON · NEW YORK 2 CONTENTS GREETINGS POESIA AND MYTH p. 8 Painting as Poetry p. 108 FOREWORD Philipp Demandt BELLE DONNE p. 10 Idealised Images of Beautiful Women p. 126 Essays GENTILUOMINI Portraits of Noblemen VENETIAN PAINTING IN THE AGE OF TITIAN p. 150 Hans Aurenhammer p. 16 COLORITO ALLA VENEZIANA Colour, Coloration and the Trade in Pigments PAINTING TECHNIQUES IN SIXTEENTH-CENTURY VENICE p. 184 Jill Dunkerton p. 28 FLORENCE IN VENICE The Male Nude VENICE IN THE RENAISSANCE. p. 204 A SOCIAL AND POLITICAL PROFILE Volker Reinhardt EPILOGUE p. 38 The Impact of the Venetian Renaissance in Europe from El Greco to Thomas Struth p. -
Veneziaterreing.Pdf
ACCESS SCORZÉ NOALE MARCO POLO AIRPORT - Tessera SALZANO S. MARIA DECUMANO QUARTO PORTEGRANDI DI SALA D'ALTINO SPINEA MIRANO MMEESSTTRREE Aeroporto Marco Polo SANTA LUCIA RAILWa AY STATION - Venice MARGHERA ezia TORCELLO Padova-Ven BURANO autostrada S.GIULIANO DOLO MIRA MURANO MALCONTENTA STRÀ i ORIAGO WATER-BUS STATION FIESSO TREPORTI CAVALLINO D'ARTICO FUSINA VTP. - M. 103 for Venice PUNTA SABBIONI RIVIERA DEL BRENTA VENEZIA LIDO WATER-BUS STATION MALAMOCCO VTP - San Basilio ALBERONI z S. PIETRO IN VOLTA WATER-BUS STATION Riva 7 Martiri - Venice PORTOSECCO PELLESTRINA P PIAZZALE ROMA CAe R PARK - Venice P TRONCHETTO CAR PARK - Venice P INDUSTRIAL AREA Cn AR PARK - Marghera P RAILWAY-STATION CAR PARK - Mestre e P FUSINA CAR PARK - Mestre + P SAN GIULIANO CAR PARK - Mestre V P PUNTA SABBIONI CAR PARK - Cavallino The changing face of Venice The architect Frank O. Gehry has been • The Fusina terminal has been designed entrusted with developing what has been by A. Cecchetto.This terminal will be of SAVE, the company that has been run- • defined as a project for the new airport strategic importance as the port of entry ning Venice airport since 1987 is exten- marina. It comprises a series of facilities from the mainland to the lagoon and ding facilities to easily cope with the con- that are vital for the future development historical Venice. stant increase in traffic at Venice airport. of the airport, such as a hotel and an The new airport is able to process 6 mil- The new water-bus station has been desi- administration centre with meeting and • lion passengers a year. -
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. -
Paolo Veroneses Art of Business
Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus Author(s): John Garton Reviewed work(s): Source: Renaissance Quarterly, Vol. 65, No. 3 (Fall 2012), pp. 753-808 Published by: The University of Chicago Press on behalf of the Renaissance Society of America Stable URL: http://www.jstor.org/stable/10.1086/668301 . Accessed: 02/10/2012 14:40 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]. The University of Chicago Press and Renaissance Society of America are collaborating with JSTOR to digitize, preserve and extend access to Renaissance Quarterly. http://www.jstor.org Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus* by J OHN G ARTON Despite the prominent career of Paolo (Caliari) Veronese (1528 –88), much remains to be discovered about his patrons and peers. Several letters written by the artist are presented here for the first time, and their recipient is identified as the humanist Marcantonio Gandino. The letters reference artworks, visitors to Veronese’s studio, and economic data pertaining to the painter. Analyzing the correspondence from a variety of methodological viewpoints reveals how Veronese fulfilled commissions, interacted with nobility, and invested his painterly profits in land on the Venetian terraferma. -
Technical Bulletin Has Been Supported National Gallery Technical Bulletin by Mrs Charles Wrightsman Volume 36 Titian’S Painting Technique from 1540
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. -
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. -
Venice and the Veneto Edited by Peter Humfrey Frontmatter More Information
Cambridge University Press 978-0-521-80843-9 - Venice and the Veneto Edited by Peter Humfrey Frontmatter More information ARTISTIC CENTERS OF THE ITALIAN RENAISSANCE VENICE AND THE VENETO S This volume provides an account of the art and architecture of Venice and the principal cities of the Venetian mainland empire in the enaissance, from 1450 to 1600. Thematically organized, it puts special emphasis on the relationship between art and the political, social, and religious institutions of the Venetian epublic.The creative achievements of major painters such as Bellini,Titian, Tintoretto, and Veronese and of major architects such as Sansovino and Palla- dio are viewed in the context of the particular needs and ideologies of indi- vidual and institutional patrons. Moreover, the distinctive character of Venice as an artistic center is complemented by the discussion of the art produced in the mainland cities of Padua,Treviso,Vicenza,Verona, Brescia, and Bergamo, all of which similarly used visual means to assert their own separate identities. An up-to-date account of the art of early modern Venice, with specially com- missioned essays by a team of internationally known scholars, Venice and the Veneto is also lavishly illustrated with black-and-white and color photographs. Peter Humfrey is professor of art history at the University of St Andrews. He has been a Fellow at Villa I Tatti, Florence, and a member of the Institute of Advanced Study in Princeton. In 2000, he was elected Fellow of the oyal So- ciety of Edinburgh, and in 2005 he received the award of Cavaliere dell’Ordine dell Stella della Solidarietà Italiana. -
Doge Andrea Gritti C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Sixteenth Century Titian Venetian, 1488/1490 - 1576 Doge Andrea Gritti c. 1546/1550 oil on canvas overall: 133.6 x 103.2 cm (52 5/8 x 40 5/8 in.) framed: 160.2 x 128.9 x 9.5 cm (63 1/16 x 50 3/4 x 3 3/4 in.) Inscription: upper left, in black paint: ANDREAS GRITI DOGE / DI VENETIA; center right, in gold leaf: TITIANVS E. F. (Titian, Knight, made it); reverse, on paper: Bought for His Majesty in Italy, 1626.[1] Samuel H. Kress Collection 1961.9.45 ENTRY Since its cleaning soon after its arrival in America in 1954, the picture has been universally regarded as one of the finest of all Titian’s portraits. Previously, the authenticity of the signature was occasionally contested, as by Joseph Archer Crowe and Giovanni Battista Cavalcaselle, who reattributed the picture to Pordenone; by Henry Thode, who attributed it to Tintoretto; and by August L. Mayer, who found the “Falstaffian” bulk alien to Titian, and who suggested Palma Giovane as the author. [1] Mayer also implicitly questioned the reliability of the inscription identifying the sitter as Doge Gritti, a doubt at one time shared by Rodolfo Pallucchini. [2] In part, this doubt was the consequence of the observation by both these authors that for stylistic reasons the picture appears to date from after circa 1545, whereas Gritti had died in 1538. But comparison with the various other known likenesses of Gritti, in both painting and sculpture, provides ample confirmation that he is indeed the doge portrayed here; and the outstanding matter of debate, therefore, is whether Titian painted the portrait during Gritti’s reign as doge (1523–1538) or to commemorate him some time after his death. -
Bernardino Licinio: Portraiture, Kinship and Community in Renaissance Venice
Bernardino Licinio: Portraiture, Kinship and Community in Renaissance Venice by Karine Tsoumis A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Karine Tsoumis 2013 Bernardino Licinio: Portraiture, Kinship and Community in Renaissance Venice Karine Tsoumis Doctor of Philosophy Department of Art University of Toronto 2013 Abstract Bernardino Licinio was a painter of Bergamasque origin active in Venice from c. 1510 to c. 1550. Licinio was a prolific painter of portraits, concert scenes and religious images for the home and headed a prosperous family workshop. Yet the artist is largely denied importance within the current art historical narrative, being conceived as “minor,” “provincial” or “second- rate.” My dissertation questions the “constructedness” of historical identities and presents the first nuanced understanding of Licinio’s place within Venetian culture. I argue that his status as “minor” is a modern construct rather than a reflection of his contemporaries’ perception. My dissertation inscribes itself within endeavours to “de-centre” the Renaissance conceptually, and is especially indebted to recent studies of material culture that challenge art historical hierarchies and aesthetic biases. The dissertation provides a multilayered reading of Bernardino Licinio’s artistic identity through frameworks that stem from what I consider unique aspects of his practice, while others arise from problems posed by his historiographical reception. The artist’s position between Venice and Bergamo provides the line of enquiry for chapter one, where I engage with the Bergamasque ii community conceived, on the one hand, as a form of historiographical framing, and on the other, as a social reality. -
Abortion, , Academies, , , Accademie. See Also Agrarian Academies
Cambridge University Press 978-0-521-88359-7 - Venice: History of the Floating City Joanne M. Ferraro Index More information INDEX abortion, , male, academies, , , political, , – Accademie. See also agrarian Aegean Sea, , , , , , , , academies , degli Incogniti, , markets, dei Granelleschi, Africa, North, , , , , , , , dei Ricoverati, , , , , , , della Giudecca, Agnadello, Battle of, , , delle Belle Arti, , agrarian academies, Scienze, Lettere, ed Arti, Brescia, acqua alta. See oods Giorgioli, acquaroli, , , Padua, Acre, –, , , , Royal Agricultural Society, Adige River, , , Udine, adolescence, agrarian reform, patrician, agriculture, , , , , , , , Adriatic Sea, , , commercial, , colonies, Aigues-Mortes, and Corsairs, Albanesi. See Albanians declining hegemony, Albania, , , English blockade, Albanians, , , –, , , and Jupiter, albergo/ghi, , and lagoons, Aldine Press, littoral, –, Aleppo, , markets, Alexandria, , , , , , , , , migrants from, –, protection of, , Algarotti, Francesco, educator, Spanish threat, alum, , trade links, Alvisopoli, publishing house, Venice as Queen, , Amadi family, adultery, , , –, ambassadors adulthood education of, female, ambassadorships, , © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88359-7 - Venice: History of the Floating City Joanne M. Ferraro Index More information 242 Index America assembly, general, 53, 55, 217 Revolution, 180 asylums, 165, 169, 172 American Friends of the Marciana, 214 -
The Quadro Da Portego in Sixteenth-Century Venetian Art* Monika Schmitter, University of Massachusetts - Amherst
University of Massachusetts Amherst From the SelectedWorks of Monika Schmitter Fall 2011 The Quadro da Portego in Sixteenth-Century Venetian Art* Monika Schmitter, University of Massachusetts - Amherst Available at: https://works.bepress.com/monika_schmitter/1/ The Quadro da Portego in Sixteenth-Century Venetian Art Author(s): Monika Schmitter Source: Renaissance Quarterly, Vol. 64, No. 3 (Fall 2011), pp. 693-751 Published by: The University of Chicago Press on behalf of the Renaissance Society of America Stable URL: http://www.jstor.org/stable/10.1086/662848 . Accessed: 28/08/2014 09:36 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]. The University of Chicago Press and Renaissance Society of America are collaborating with JSTOR to digitize, preserve and extend access to Renaissance Quarterly. http://www.jstor.org This content downloaded from 128.119.169.74 on Thu, 28 Aug 2014 09:36:32 AM All use subject to JSTOR Terms and Conditions The Quadro da Portego in Sixteenth-Century Venetian Art* by M ONIKA S CHMITTER During the sixteenth century a symbiotic relationship developed between the form, use, and symbolic associations of the Venetian portego, the central reception and entertainment hall of Venetian palaces, and the paintings that were increasingly commissioned to ornament these spaces. -
The History of Collecting Giorgione in America – an Outline
KLÁRA GARAS†* THE HISTORY OF COLLECTING GIORGIONE IN AMERICA – AN OUTLINE Abstract: Klára Garas was called upon in 1993 to write about the paintings by or attributed to Giorgione preserved in America. The manuscript was completed, but it has been never published. The author passed the article to the Acta Historiae Artium shortly before her death (26 June 2017), and it is published now only with small technical amendments. Keywords: Giorgione, art collecting in America, Italian Renaissance The history of art collecting in America, especially atmosphere, there seems to have been a certain inter- of Italian Renaissance paintings can only be roughly est in works of art coming from Italy and elsewhere outlined here and only in connection with one of its since about the 1780s. We even hear of an important leading masters, Giorgione.1 In his catalogue of the shipment of Venetian paintings sent to Philadelphia exhibition Raphael in America (Washington, 1983), by a famous English collector and resident in Venice D. A. Brown gives us a valuable summary of the dif- (1774–1790) for the considerable sum of 9,000 Zec- ferent trends of development, which can also serve as chini.4 What it might have contained and where the background in relation to Giorgione.2 Art collecting pictures got to, is unfortunately unknown. In the first started at the very beginning, when, at the end of the half of the nineteenth century there were already col- eighteenth century, amid the struggles for independ- lections, and regular exhibitions in Boston, New York, ence, American culture and art was built upon its own Philadelphia, Baltimore, etc.