Chapter 1 in Search of Mantegna's
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La Pittura Friulana Del Rinascimento E Giovanni Antonio
©MinisteroLa dei benipittura e delle attività culturali friulana e del turismo -Bollettino del d'Arte Rinascimento e Giovanni Antonio da Pordenone 1) Punto di partenza del linguaggio pit sata ad una muraglia da icona bizantina, torico di Giovanni Antonio da Pordenone è infissa, alla base, al di là dell'arco, men è l'idioma di compromesso, approssimati tre ne sporge, con le braccia, al di qua: e vo e instabile, dei maestri tolmezzini: il l'arco si ritaglia in un pronao ornato co cui carattere, nell'assieme, sembra · deter me un mosaico protocristiano: come uno minato da una polarità, di rado risolta di quegli «stofados» cari agli sfondi di in unità di stile, tesa tra il desiderio di Cristoforo Scacco. Anche per le pale scol fragili impostazioni spaziali, desunte da pite in legno, frutto della sua maggiore e un volgarizzato e campagnolo padovani più caratteristica attività, Domenico guar smo non ancora mantegnesco, e la per dò, più che alle zone montane, alla pia sistenza di calligrafismi gotici, rifatti di nura ed alla laguna venete: dove la sua continuo attuali dalla vicinanza, e dalla incerta simpatia d'artista di compromesso similarità di simpatie figurative, della pit si volse verso Bartolomeo Vivarini, i cui tura atesina intorno a Michele Pacher. polittici egli si sforzò a tradurre ili legno N el caposcuola Domenico da Tolmezzo, dipinto: e cosÌ venne introducendo nel nelle due sole opere pittoriche che di lui linguaggio carnico una staticità ritmica, siano rimaste: gli affreschi di S. Toscana assonnata, che contribuÌ a disciogliere la a Verona ed il polittico per il Duomo di tensione della calligrafia nordica, ed a ri Udine (1479), ora in S. -
Madonna of Humility, the Blessing Christ, Two Angels, and a Donor [Obverse] C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Andrea di Bartolo Sienese, active from 1389 - died 1428 Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse] c. 1380/1390 tempera on panel painted surface: 28.4 × 17 cm (11 3/16 × 6 11/16 in.) overall: 30 × 18.6 × 0.8 cm (11 13/16 × 7 5/16 × 5/16 in.) framed: 52.1 x 34.3 x 7.6 cm (20 1/2 x 13 1/2 x 3 in.) Samuel H. Kress Collection 1939.1.20.a ENTRY The painting belongs to an uncommon genre of Byzantine origin of devotional icons painted on both sides. [1] It is a simplified version of the portable diptych in which, as in the example discussed here, the Madonna and Child was usually represented on the obverse, and Christ on the Cross on the reverse. [2] The peculiarity here, however, is the presentation of the Virgin according to the iconographic type of the Madonna of Humility: Mary is humbly seated on the ground instead of on a throne. Yet at the same time she is venerated as Queen of Heaven by two angels who flank her in flight, and blessed from above by the half- length figure of Christ, who appears in a trefoil, surrounded by seraphim. [3] On the reverse of the panel is an isolated image of Christ on the Cross, unattended by the usual figures of mourners, soldiers, or onlookers who allude to the event of the Crucifixion. -
San Giorgio Lettera NEW 18 UK
Lettera da San Giorgio Lettera da San Year X, n° 18. Six-monthly publication. March – August 2008 Spedizione in A.P. Art. 2 Comma 20/C Legge 662/96 DC VE. Tassa pagata / Taxe perçue Contents I Programmes (March – August 2008) 3 Editorial Main Future Activities 4 A series of music films “in four seasons” The Ludwig Van Picture Show. LVPS 5 Exhibition Santomaso and the abstract option 6 The Egida Sartori and Laura Alvini Early Music Seminars Johann Rosenmüller (1617-1684). Music and dissimulation in 17th-century Europe 6 Historical Studies Seminar Far from where: sensations, aspirations, directions, spaces 7 Music from Uganda Master class of xylophones, drums and dances and performance by the Ensemble “Ugandan Beat of Africa” 8 International Workshop Passions and Democracy 9 The Vittore Branca Course on Italian Civilisation Venice and Italian civilisation in the centuries of European modernisation: the 19th Century 10 A summer of music and dance from India 11 Books at San Vio 12 Collections Drawings in the Pozzi, Fissore and Donghi Collections at the Giorgio Cini Foundation 16 Projects and Research The New Exhibition Centre at the Giorgio Cini Foundation 19 Presences on San Giorgio Scepticism, mysticism and memories: the universe of Guido Piovene 21 Publications III – IV Contacts Editorial Thirty years after the death of Vittorio Cini, 2007 may be seen as the year of the symbolic completion of the work, which he began over half a century ago, to redevelop the monumental buildings on the island of San Giorgio Maggiore, now also crowned by the extraordinary “return” of the Wedding at Cana to the Palladian refectory. -
Roberto Longhi and the Historical Criticism of Art
Differentia: Review of Italian Thought Number 5 Spring Article 14 1991 The Eloquent Eye: Roberto Longhi and the Historical Criticism of Art David Tabbat Follow this and additional works at: https://commons.library.stonybrook.edu/differentia Recommended Citation Tabbat, David (1991) "The Eloquent Eye: Roberto Longhi and the Historical Criticism of Art," Differentia: Review of Italian Thought: Vol. 5 , Article 14. Available at: https://commons.library.stonybrook.edu/differentia/vol5/iss1/14 This document is brought to you for free and open access by Academic Commons. It has been accepted for inclusion in Differentia: Review of Italian Thought by an authorized editor of Academic Commons. For more information, please contact [email protected], [email protected]. The Eloquent Eye: Roberto Longhi and the Historical Criticism of Art David Tabbat Bernard Berenson once observed that Vasari's greatest strength as a writer was that sure instinct for narrative and char acterization which made him a worthy heir of Boccaccio. Lest his readers misconstrue this appreciation of Vasari's "novelistic ten dency" as a denigration of his work when judged by purely art historical criteria, Berenson added that the author of the Lives "is still the unrivaled critic of Italian art," in part because "he always describes a picture or a statue with the vividness of a man who saw the thing while he wrote about it." 1 To a remarkable degree, these same observations may aptly introduce the work of Roberto Longhi (1890-1970),2who is often regarded by the Italians themselves (whether specialists or inter ested laymen) as the most important connoisseur, critic, and art historian their country has produced in our century. -
Giuseppe Bergamini
Giuseppe Bergamini UN NAIF IN CARNIA: PIETRO FULUTO Pietro Fuluto, pittore carnico dell'inizio del XVI secolo, deve ritenersi «scoperta» di Giuseppe Fiocco, il quale in un esauriente ar ticolo ciel 1925 (1) gli rivendicò dipinti fino allora attribuiti a Do menico eia Tolmezzo e gli costruì una «storia» ed uno sviluppo arti stico che per acutezza cli giudizio risultano tuttora in gran parte at tendibili: gratificandolo, infine, cli quell'appellativo di «Crivelli in sedicesimo» che continua ad esercitare anche oggi una certa sugge stione sullo storico dell'arte che cielFuluto voglia trattare (2). Chi tuttavia per primo inserì il pittore in un organico contesto figurativo, trovandogli uno spazio preciso nella così eletta «scuola tolmezzina», fu Remigio Marini che, pur sufficientemente benevolo nei riguardi della sua «arte», non mancò cli giudizi estremamente pesanti (3). All'inizio ciel suo scritto, anzi, si espresse con termini sui quali val la pena cli meditare: «Non è migliore cli Pietro da San Vito lo scolaro diretto di Gianfrancesco, Pietro Fuluto. Anzi, a esser giusti, (1) G. Fiocco, Piccoli 111aestri, Pietro Fuluto, in «Bollettino d'arte» IV (1924-25). (2) Ignoto al di Maniago ed al Cavalcaselle, il Fuluto non era stato preso in considerazione neanche dagli altri studiosi prima del Fiocco; nonostante i «pa tentissimi documenti» pubblicati da Vincenzo Joppi (Co11tributo quarto ed 11ltin10 alla storia dell'arte i11 Friuli, Venezia 1894, pp. 25-26), gli affreschi di Mione, Luint, Liaris, Osais, continuarono ad essere attribuiti a Domenico da Tolmezzo dal Valentinis (Appendice, in G. B. Cavalcaselle, La pitt11rafri11la11adel Ri11asci111en to 1876), a cura di G. -
Faithful Recovery of Vector Valued Functions from Incomplete Data. Recolorization and Art Restoration
www.oeaw.ac.at Faithful Recovery of Vector Valued Functions from Incomplete Data. Recolorization and Art Restoration M. Fornasier RICAM-Report 2006-31 www.ricam.oeaw.ac.at Faithful Recovery of Vector Valued Functions from Incomplete Data Recolorization and Art Restoration Massimo Fornasier1 Program in Applied and Computational Mathematics Princeton University, Princeton NJ 08544, USA, [email protected] Abstract. On March 11, 1944, the famous Eremitani Church in Padua (Italy) was destroyed in an Allied bombing along with the inestimable frescoes by Andrea Mantegna et al. contained in the Ovetari Chapel. In the last 60 years, several attempts have been made to restore the fresco fragments by traditional methods, but without much success. We have developed an efficient pattern recognition algorithm to map the original position and orientation of the fragments, based on comparisons with an old gray level image of the fresco prior to the damage. This inno- vative technique allowed for the partial reconstruction of the frescoes. Unfortunately, the surface covered by the fragments is only 77 m2, while the original area was of several hundreds. This means that we can re- construct only a fraction (less than 8%) of this inestimable artwork. In particular the original color of the blanks is not known. This begs the question of whether it is possible to estimate mathematically the original colors of the frescoes by making use of the potential information given by the available fragments and the gray level of the pictures taken before the damage. Can one estimate how faithful such restoration is? In this paper we retrace the development of the recovery of the frescoes as an inspiring and challenging real-life problem for the development of new mathematical methods. -
Elenco Delle Pubblicazioni Di Rodolfo Pallucchini 1930
ELENCO DELLE PUBBLICAZIONI DI RODOLFO PALLUCCHINI 1930. Les Maîtres d'autrefois di Fromentin, in “Convivium”, n. 5, pp. 717-732. 1931. La storia delle arti del disegno di G.C. Winckelmann, in “Convivium”, n. 5, pp. 656-673. Una Madonna di Giambattista Cima da Conegliano, in “Rivista d'Arte”, nn. 1-2, pp. 229-238. Il pittore Giuseppe Angeli, in “Rivista di Venezia”, n. 11, pp. 421-432. 1932. Antonio Marinetti detto il Chiozzotto, in “Rivista di Venezia”, n. 1, pp. 27-34. Francesco Daggiù detto il Cappella, in “Rivista di Venezia”, n. 7, pp. 315-326. Domenico Fedeli detto il Maggiotto, in “Rivista di Venezia”, n. 11, pp. 485-495. Federico Bencovich, in “Rivista d'Arte”, n. 3, pp. 301-320. 1933. Attorno al Piazzetta, in “Rivista di Venezia”, n. 12, pp. 565-578. Di una pittrice veneziana del Settecento: Giulia Lama, in “Rivista d'Arte”, nn. 3-4, pp. 399-413. Recensione a: R. BUSCAROLI, La pittura romagnola del Quattrocento, in “Ateneo Veneto”, pp. 204- 209. Pizzati, Giambattista; Pisbolica, Jacopo; Preti, Francesco Maria: “voci” per l’Allgemeines Lexicon der bildenden Künstler... begründet von U. Thieme F. Becker, Leipzig, vol. XXVII. 1934. L'arte di Giovanni Battista Piazzetta, Bologna, G. Maylender. Contributo alla biografia di Federico Bencovich, in “Atti del R. Istituto Veneto di Scienze, Lettere ed Arti”, 1933-1934, Tomo XCII, parte II, pp. 1491-1511. Un busto in terracotta di Danese Cattaneo, in “L'Arte”, pp. 66-74. Il pittore Francesco Polazzo, in “Rivista di Venezia”, n. 7, pp. 327-342. Sempre a proposito del Polazzo, in “Rivista di Venezia”, n. -
Early Sources Informing Leon Battista Alberti's De Pictura
UNIVERSITY OF CALIFORNIA Los Angeles Alberti Before Florence: Early Sources Informing Leon Battista Alberti’s De Pictura A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Peter Francis Weller 2014 © Copyright by Peter Francis Weller 2014 ABSTRACT OF THE DISSERTATION Alberti Before Florence: Early Sources Informing Leon Battista Alberti’s De Pictura By Peter Francis Weller Doctor of Philosophy in Art History University of California, Los Angeles, 2014 Professor Charlene Villaseñor Black, Chair De pictura by Leon Battista Alberti (1404?-1472) is the earliest surviving treatise on visual art written in humanist Latin by an ostensible practitioner of painting. The book represents a definitive moment of cohesion between the two most conspicuous cultural developments of the early Renaissance, namely, humanism and the visual arts. This dissertation reconstructs the intellectual and visual environments in which Alberti moved before he entered Florence in the curia of Pope Eugenius IV in 1434, one year before the recorded date of completion of De pictura. For the two decades prior to his arrival in Florence, from 1414 to 1434, Alberti resided in Padua, Bologna, and Rome. Examination of specific textual and visual material in those cities – sources germane to Alberti’s humanist and visual development, and thus to the ideas put forth in De pictura – has been insubstantial. This dissertation will therefore present an investigation into the sources available to Alberti in Padua, Bologna and Rome, and will argue that this material helped to shape the prescriptions in Alberti’s canonical Renaissance tract. By more fully accounting for his intellectual and artistic progression before his arrival in Florence, this forensic reconstruction aims to fill a gap in our knowledge of Alberti’s formative years and thereby underline impact of his early career upon his development as an art theorist. -
San Giorgio Lettera 13 UK RIFA
Lettera da San Giorgio Lettera da San Year VII, n° 13. Six-monthly publication. September 2005 – February 2006 Poste Italiane s.p.a. - Spedizione in Abbonamento postale - D.L. 353/2003 (conv. in L. 27/02/2004 n° 46) art. 1, comma 2, DCB VENEZIA. Tassa Pagata/Taxe Perçue Indice Contents I Programmes (September 2005 – February 2006) 3 Editorial 4 Main Future Activities Thirty days hath September. Pilgrims at the Mecca of rare music 5 Presentation Enciclopedia del Cinema Treccani 5 I Dialoghi di San Giorgio The architecture of Babel Creations, extinctions and intercessions in the languages of the global world 6 First World Conference on The Future of Science 7 International Conference The travels of the “Milione” Textual itineraries, vectors for the transmission and metamorphoses of the Devisement du monde by Marco Polo and Rustichello da Pisa considering the multiple sources 8 Oriental Meetings Italian arts and crafts in the Islamic world. Merchants, military men, physicians, missionaries, craftsmen, exiles, sultans and adventurers from 16th to 20th century 8 Course Interpretation of vocal technique and improvisation in the works of Luigi Nono from the 1960s 9 Seminar “in viva voce” Polyphonies from Georgia Indirect identifying strategies. Echoes of polyphonies in Otar Iosseliani’s cinema 9 Exhibition Figure drawings in the Certani Collection at the Giorgio Cini Foundation 10 12th International Seminar of Ethnomusicology Instruments, musicians and instrumental groups: new issues in the study of musical instruments 11 Books at San Vio Presentation of the Giorgio Cini Foundation publications 12 Fondazione Scuola di San Giorgio Projects for training new professional figures 13 Collections The Corrado Balest donation 16 Projects and research ECHO: the largest collection of librettos in the world 19 Presences on San Giorgio “Papa Giovanni” and the Giorgio Cini Foundation 22 Publications III – IV Contacts Editorial Our programme for the second half of 2005 is rich in high-profile initiatives. -
The Allegorical Landscape Alvise Cornaro and His Self-Promotion by the Landscape Paintings in the Odeo Cornaro in Padua
Open Peer Reviewed Journal, www.kunstgeschichte-ejournal.net SÖREN FISCHER The Allegorical Landscape Alvise Cornaro and his Self-Promotion by the Landscape Paintings in the Odeo Cornaro in Padua I Summary The present study deals with the illusionistic landscape paintings in the villa-like Odeo Cornaro of Padua.1 Commissioned by the author, patron of arts and land owner Alvise Cornaro, and executed by Lambert Sustris (c. 1505/1510–c. 1585) and Gualtiero Padovano (c. 1505/10–1552/1553) around 1540/1541, these frescos created for the first time the life-sized pictorial illusion of views onto surrounding landscapes in the Venetian Republic of the 16th century. It is the aim of this study to highlight these frescos as important instruments in Alvise Cornaros self-representation and as allegorical comments on his extensive activities in land cultivation for the good of the Venetian Republic and its people. >1< II Introduction: The Odeo Cornaro in Padua In the first half of the cinquecento, Alvise Cornaro, born in Venice (c. 1484–1566) as son of Antonio di Giacomo and Angeliera Angelieri, belonged next to Gian Giorgio Trissino and Daniele Barbaro to the high class of humanistic society in the Venetian Republic, yet he was never accepted as an aristocrat (Ill. 1).2 Although he tried to prove his aristocracy to the authorities throughout his life, his name was never to be put into the Golden Book of the Republic.3 Aristocracy remained denied to him. Agriculture and the reclamation of land were central elements of Alvise's life:4 For him, agriculture, or as he expressed with the term santa agricoltura5 referring to the ancient Roman authors on agriculture such as Publius Vergilius Maro and Lucius Iunius Moderatus Columella, signified independence and power for both the individual and the entire state of Venice. -
Altichiero in the Fifteenth Century
Richards, J. (2014) Altichiero in the Fifteenth Century. In: Knapton, M., Law, J. and Smith, A. (eds.) Venice and the Veneto during the Renaissance: the legacy of Benjamin Kohl. Firenze University Press: Firenze, pp. 427-445. ISBN 9788866556633. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/75292/ Deposited on: 12 August 2016 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk John Richards, Altichiero in the Fifteenth Century, in Michael Knapton, John E Law, Alison A Smith (eds), Venice and the Veneto during the Renaissance: The Legacy of Benjamin Kohl. Firenze University Press, 2014, pp.427-445. Abstract Altichiero was the dominant north Italian painter of the later Trecento. In Padua, in the 1370s and early 1380s, he worked for patrons close to Petrarch and his circle and perhaps in direct contact with the poet himself. By the time of the second edition of Vasari’s Vite (1568) the memory of Altichiero’s work had suffered significant occlusion, and Vasari’s account of him is little more than an appendix to his life of Carpaccio. Only since the later nineteenth century, and particularly in the last fifty or so years, has Altichiero’s reputation been restored. It is the purpose of this paper to examine aspects of that reputation 1 throughout the century or so after the painter’s death (by April 1393). The complex polarities of fame and infamy, fame and death, contemporary reputation and posthumous glory occupied a central place in early Renaissance thought, above all in that of Petrarch (1304-74). -
MAMFA Rivera 2013.Indd
Diego Rivera The Italian Sketchbook, 1920–21 Diego Rivera The Italian Sketchbook, 1920–21 mary-anne martin fine art 23 east 73rd street new york, ny 10021 This catalogue accompanies the exhibition Diego Rivera: The Italian Sketchbook 1920–21, which will be presented at Master Drawings New York 2013. On view at the gallery January 25–February 22, 2013. Mary-Anne Martin | Fine Art 23 East 73rd Street New York, NY 10021 Tel: (212) 288-2213 Fax: (212) 861-7656 [email protected] www.mamfa.com Cover: Diego Rivera in Paris, c. 1920 collection inba, casa diego rivera, guanajuato Diego Rivera The Italian Sketchbook Pencil, conté crayon and ink on paper 30 drawings on 28 pages unbound, dimensions variable 1920–21 provenance Arquin, Florence, Diego Rivera, The Angelina Beloff (Rivera’s first wife) Shaping of an Artist, 1889-1921, gift to Jean Charlot, 1945 University of Oklahoma Press, 1971, by descent to Martin Charlot, pp. 113–143 and ff. the artist’s son Exhibition catalogue for Diego Rivera: A Retrospective, Detroit Institute of exhibition history Arts (traveling exhibition), 1986, W.W. Diego Rivera, 50 Años de su Labor Artistico, Norton, New York, fig. 73, p. 52 in the Instituto Nacional de Bellas Artes, catalogue (scaffold study). Mexico City, August–December 1949, Diego Rivera: Catálogo General de Obra de no. 192, illus. Caballete, Instituto Nacional de Bellas Diego Rivera: A Retrospective, Detroit Artes, Mexico, 1989, no. 347, p. 52. Institute of Arts, February 10–April 27, Marnham, Patrick, Dreaming with His 1986, no. 89, illus. Eyes Open: A Life of Diego Rivera, Alfred literature A.