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Janson. History of Art. Chapter 16: The
16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists. -
Susanna Avery-Quash
Victoria Albert &Art & Love ‘Incessant personal exertions and comprehensive artistic knowledge’: Prince Albert’s interest in early Italian art Susanna Avery-Quash Essays from a study day held at the National Gallery, London on 5 and 6 June 2010 Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love ‘Incessant personal exertions and comprehensive artistic knowledge’: Prince Albert’s interest in early Italian art Susanna Avery-Quash When an honoured guest visited Osborne House on the Isle of Wight he may have found himself invited by Prince Albert (fig. 1) into his private Dressing and Writing Room. This was Albert’s inner sanctum, a small room barely 17ft square, tucked away on the first floor of the north-west corner of the original square wing known as the Pavilion. Had the visitor seen this room after the Prince’s rearrangement of it in 1847, what a strange but marvellous sight would have greeted his eyes! Quite out of keeping with the taste of every previous English monarch, Albert had adorned this room with some two dozen small, refined early Italian paintings,1 whose bright colours, gilding and stucco ornamentation would have glinted splendidly in the sharp light coming from the Solent and contrasted elegantly with the mahogany furniture. -
VENICE Grant Allen's Historical Guides
GR KS ^.At ENICE W VENICE Grant Allen's Historical Guides // is proposed to issue the Guides of this Series in the following order :— Paris, Florence, Cities of Belgium, Venice, Munich, Cities of North Italy (Milan, Verona, Padua, Bologna, Ravenna), Dresden (with Nuremberg, etc.), Rome (Pagan and Christian), Cities of Northern France (Rouen, Amiens, Blois, Tours, Orleans). The following arc now ready:— PARIS. FLORENCE. CITIES OF BELGIUM. VENICE. Fcap. 8vo, price 3s. 6d. each net. Bound in Green Cloth with rounded corners to slip into the pocket. THE TIMES.—" Good work in the way of showing students the right manner of approaching the history of a great city. These useful little volumes." THE SCOTSMAN "Those who travel for the sake of culture will be well catered for in Mr. Grant Allen's new series of historical guides. There are few more satisfactory books for a student who wishes to dig out the Paris of the past from the im- mense superincumbent mass of coffee-houses, kiosks, fashionable hotels, and other temples of civilisation, beneath which it is now submerged. Florence is more easily dug up, as you have only to go into the picture galleries, or into the churches or museums, whither Mr. Allen's^ guide accordingly conducts you, and tells you what to look at if you want to understand the art treasures of the city. The books, in a word, explain rather than describe. Such books are wanted nowadays. The more sober- minded among tourists will be grateful to him for the skill with which the new series promises to minister to their needs." GRANT RICHARDS 9 Henrietta St. -
Giovannino Battista: the Boy Baptist in Quattrocento Italian
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright San Giovannino: The Boy Baptist in Quattrocento Italian Art Georgina Sybella Macneil, 28 August 2013 Thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy (Ph.D.) Department of Art History and Film Studies, University of Sydney, Australia Abstract This thesis explores the imagery of the young John the Baptist in Renaissance art. The phenomenon of John’s juvenescence has been noted but insufficiently explored by previous scholarship. -
The Un Vers Ty Pr
THE UNVERS TY PR NTS 19 IS S UE NO V. 1 . 10 S UP E R S E D I N G A L L P RE VI O US C ATALOGUE S BU R E A U O F UNI VE R S I T ' Y T R AVE L I N B M C H U E T TR ITY P LAC E O STO N. ASSA S T S P oints to be noted in ordering The University P rints P LEASE READ C AREFULLY T his cat al ogue contains a complete list of all the reproductions we T he price of the p rints is one c ent each or eighty cents per hundred. i t ith t he acc an in hand Complete set s of 5 00 pr n s w omp y g book, ' S cial disc nt ofiered sch s or H andbooks separately, pe ou to ool it cl ubs ordering in qu ant y. E ach rie is ish d in nd f r sam st as O lin s and se s publ e bou o m, e yle ut e H and for li rar use. P ric er l the sa as for book, b y e p vo ume, me i unbound ser es. No order for less t han t wenty-five prints will be sent u nless with other goods. A n rd r l an is ncl d it h er a u o e b k e ose w ev y catal ogue . -
Titian: Venus Anadyomene (Venus Emerging from the Sea), C 1525
Art Appreciation Lecture Series 2015 Meet the Masters: Highlights from the Scottish National Gallery Titian: Venus Anadyomene (Venus emerging from the sea), c 1525 Louise Marshall 18/19 February 2015 Lecture summary: “In 1524 Federico Gonzaga, Duke of Mantua, commissioning a work from Sebastiano del Piombo, wrote that he did not want ‘saint’s stuff [cose di sancti]’ but ‘some pictures which are attractive and beautiful to look at’. He seems to have been part of a trend.” (Peter Burke, The Italian Renaissance: culture and society in Italy,165.) Federico Gonzaga would certainly have approved of Titian’s Venus, which exemplifies the new genre of the poesie, or painted poetry, developed in Venice in the early sixteenth century with the paintings of Giorgione (d. 1510) and Titian (c. 1490?-1576). This lecture discusses the ways in which Renaissance patrons and artists looked back to the classical past for inspiration while at the same time transforming and adapting classical subject matter to suit their own purposes. We will look at the way Titian’s deceptively simple composition engages in the paragone (debate/competition) between ancient and modern art, and between painting and sculpture—since it is a recreation of a lost work by Apelles, the most famous and celebrated of all Greek painters, whose composition was known through Roman sculpted copies. In this sense it can be seen as a kind of manifesto, a triumphant proclamation of Titian’s superiority over all comers, a celebration of the power of his brush and its power to transmute paint into living, palpable flesh. -
Venetian Painting in America; the Fifteenth Century
BOUGHT WITH THE INCOME OF THE • _ „ SAGE ENDOWMENT FUND ; THE GIFT OF HenviS M. Sage 1891 B.3.wyife3 "IaH-o-. DATE DUE hjm^^^ MArfrmfi-Ki^ - t¥iC 9n?i)8g. ,fr 'i- GAYLORD INU.S.A. '"7 , Cornell University Library The original of tiiis book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924008640496 VENETIAN PAINTING IN AMERICA GiovAHKi Bellini: Madomna Collection or the late Mr. Theodore M. Davis VENETIAN PAINTING IN AMERICA THE FIFTEENTH CENTURY BY BERNARD BERENSON NEW YORK FREDERIC FAIRCHILD SHERMAN MCMXVI 5 Copyright, 1916, by Frederic Fairchild Sherman PREFACE "Now that we are on the subject of Venetian Paint- ing," that would be a more exact title for this book. For, in fact, I have made the stray pictures in our col- lections the pretext for saying what I wanted to say about their authors in general. In some ways this form suits me as it suited my master, Giovanni Morelli. Like him, I have a dis- taste for including in my own writing questions that do not vividly interest me at the moment, no matter how important in themselves ; and like him, I prefer to avoid such systematic treatment as entails dealing with ma- terials either at second hand, or out of dimmed and at- tenuated recollection. It goes against the grain to write about anything that does not fascinate and absorb me. For the last few years it has been the painters of Venice, and Giovanni Bellini in particular, that have preoccupied my leisure and occupied my working hours. -
Picture Study Portfolio: Titian Sample
Simply Charlotte Mason presents Simply Charlotte Mason presents Breathe a sigh of relief—you, the teacher, don't have to know about art in order to teach picture study! Michelangelo With Picture Study Portfolios you have everything you need to help your family enjoy and appreciate beautiful art. Just 15 minutes once a week and the simple guidance in this book will inuence and enrich your children more than you can imagine. In this book you will nd • A living biography to help your child form a relation with the artist • Step-by-step instructions for doing picture study with the pictures in this portfolio • Helpful Leading Thoughts that will add to your understanding of each picture • Extra recommended books for learning more about the artist "We cannot measure the inuence that one or another artist has upon the child's sense of beauty, upon his power of seeing, as in a picture, the common sight of life; he is enriched more than we know in having really looked at even a single picture."—Charlotte Mason Simply Charlotte Maso.comn Picture St udy Portfolios Titian (1488–1576) by Emily Kiser To be used with the Picture Study Portfolio: Titian published by Simply Charlotte Mason Titian © 2013 by Emily Kiser All rights reserved. No part of this work may be reproduced or distributed in any form by any means— graphic, electronic, or mechanical, including photocopying, recording, taping, or storing in information storage and retrieval systems—without written permission from the publisher. Published and printed by Simply Charlotte Mason 930 New Hope Road #11-892 Lawrenceville, Georgia 30045 ISBN 978-1-61634-211-1 printed ISBN 978-1-61634-212-8 electronic download Cover Design: John Shafer SimplyCharlotteMason.com Contents Picture Study ...................................................5 How to use a Picture Study Portfolio .................................9 Titian The Story of Titian . -
Sacra Conversazione in Venice*
A New Palma Vecchio in the Chapter Hall Museum, Birgu - Some Observations on the Domestic Sacra Conversazione in Venice* Philip Cottrell A painting attributed to the sixteenth-century Venetian school was recently pub lished in Birgu - A Maltese Maritime City.! The work in question. The Virgin and Child with St. Peter and a Donor (PI. 1), is owned by the Chapter Hall Museum, Birgu. 2 It can now be considered as a new addition to the oeuvre of Jacopo Negretti, called Palma il Vecchio (c.1485-1528V The composition of the painting duplicates that of a picture by this artist in the Galleria Colonna, Rome (PI. 2), even down to the portrait of the donor being 'presented' to the Virgin and Child by St. Peter.4 These variants represent a type that has become specifically associated with Palma: the Sacra Conversazione. Although this is a much abused term, often used to describe any picture portraying the Virgin and Child accompanied by attendant figures, it is most often applied to a particular generic type produced by artists working in and * I would like to express my sincere thanks to John Gash of the University of Aberdeen and Peter Humfrey from the University of SI. Andrews for their help in the preparation of this article. I. See M. Buhagiar. "The Artistic Heritage", Bir/!,u -A Maltese Maritime City, Malta University Serv ice Ltd. 1993, 516: "The painting is by an unknown sixteenth century Venetian master of consider able artistic sophistication. There are echoes of Giorgione ... and the young Titian .. .in the masterly handling of oil paint, in the sensuous response to the textures of fine clothes, and in the evocative peace of the distant landscape". -
Pietà Rovaiweber Design, Firenze
MITTEILUNGEN DES KUNSTHISTORISCHEN INSTITUTES LVII. BAND — 2015 IN FLORENZ HEFT 3 LVII. BAND — 2015 MITTEILUNGEN DES KUNSTHISTORISCHEN HEFT 3 INSTITUTES IN FLORENZ Inhalt | Contenuto Redaktionskomitee | Comitato di redazione Aufsätze Saggi Alessandro Nova, Gerhard Wolf, Samuel Vitali _ _ Redakteur | Redattore Samuel Vitali _ 255 _ Dorothy F. Glass Editing und Herstellung | Editing e impaginazione The Sculpture of the Baptistery of Parma: Context and Meaning Ortensia Martinez Fucini Kunsthistorisches Institut in Florenz Max-Planck-Institut Via G. Giusti 44, I-50121 Firenze _ 293 _ Cyril Gerbron Tel. 055.2491147, Fax 055.2491155 The Story of Fra Angelico: Reflections in Mirrors [email protected] – [email protected] www.khi.fi.it/publikationen/mitteilungen Die Redaktion dankt den Peer Reviewers dieses Heftes _ 321 _ Christopher J. Nygren für ihre Unterstützung | La redazione ringrazia i peer Titian’s Miracles: Artistry and Efficacy Between the San Rocco and reviewers per la loro collaborazione a questo numero. Christ the Accademia Graphik | Progetto grafico Pietà RovaiWeber design, Firenze Produktion | Produzione Miszellen Appunti Centro Di edizioni, Firenze _ _ Die erscheinen jährlich in drei Heften und könnenMitteilungen im Abonnement oder in Einzelheften bezogen _ 351 _ Donatella Fratini werden durch | Le escono con cadenza Due disegni di Giorgio Vasari provenienti dall’eredità del cavalier quadrimestrale e possonoMitteilungen essere ordinate in abbonamento o singolarmente presso: Francesco Maria Vasari per il Salone dei Cinquecento in Palazzo Vecchio Centro Di edizioni, Lungarno Serristori 35 I-50125 Firenze, Tel. 055.2342666, Fax 055.2342667, [email protected]; www.centrodi.it. _ 361 _ Stefano Pierguidi Preis | Prezzo Il Costantino di Bernini in San Pietro. -
How to Show Pictures to Children
NYPL RESEARCH LIBRARIES 3 3433 07099049 8 AA r ^j\f YOTlK U"Bl""B.Irf T\LDtfro&i^ rrgaoMboo {*toi bj Br»ua, Clcm.iit i t'u. JuUa Andrew i Sun, So. THE HOLY NIGHT (DETAIL) Dresden Gallery HOW TO SHOW PICTURES TO CHILDREN ~h BY V ESTELLE M. HTJHLL AUTHOR OF THE RIVERSU)E ABT SERIES BOSTON NEW YORK CHICAGO HOUGHTON MIFFLIN COMPANY cW^. •p R KQNS COPYRIGHT, 1914, BY ESTELLE M. HURLL • • • • • • C • • • • *» • • • • • • ' • • • • • • • - • • • '.:•. CAMBKIUGK . MASSACHUSETTS U . S . A To J. C. H. WHOSE HELP, ENCOURAGEMENT AND CRITICISM HAVE MADE THE IMPOSSIBLE POSSIBLE ,001 *5»J '* i ,>JJ1 ' ») > 1 1 > B » ,' • i J O \» ^1 ) ) > ) 1 ) 1' T 1 , 1 »• ) >»»<>, > . » ^ 1 »>>«»» JJ >j' »' PREFACE The first suggestion for this little book came from Miss Elizabeth MeCracken, editor of Home Progress, whose enthusiasm and sympathy have been a con- stant inspiration. In her wide correspondence with mothers in regard to the training of children, she dis- covered the need of a book giving practical advice about pictures for children. A similar report came from the libraries, where the same need had long been noticed at the consulting-desks. The call from art educators and pubhc school teachers has been equally urgent. As the custom of hanging pictures in the schoolroom has become almost universal, the demand has arisen for helpful information in matters of art. I am especially grateful to Mr. Henry Turner Bailey, editor of the School Arts Magazine, and Mr. James Frederick Hopkins, director of the Massachusetts Normal Art School, for their words of encouragement and counsel. -
Lives of the Most Eminent Painters Sculptors and Architects
Lives of the Most Eminent Painters Sculptors and Architects Giorgio Vasari Lives of the Most Eminent Painters Sculptors and Architects Table of Contents Lives of the Most Eminent Painters Sculptors and Architects.......................................................................1 Giorgio Vasari..........................................................................................................................................2 LIFE OF FILIPPO LIPPI, CALLED FILIPPINO...................................................................................9 BERNARDINO PINTURICCHIO........................................................................................................13 LIFE OF BERNARDINO PINTURICCHIO.........................................................................................14 FRANCESCO FRANCIA.....................................................................................................................17 LIFE OF FRANCESCO FRANCIA......................................................................................................18 PIETRO PERUGINO............................................................................................................................22 LIFE OF PIETRO PERUGINO.............................................................................................................23 VITTORE SCARPACCIA (CARPACCIO), AND OTHER VENETIAN AND LOMBARD PAINTERS...........................................................................................................................................31