VRV Fall2015
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Annual Report 1973
Annual Report 1973 National Gallery of Art 1973 ANNUAL REPORT National Gallery of Art Library of Congress Catalog Card Number 70-173826. All rights reserved. No part of this publication may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565. Cover photograph by Barbara Leckie; photographs on pages 14, 68, 69, 82, 88, inside back cover by Edward Lehmann; photograph on 87 by Stewart Bros; all other photographs by the photographic staff of the National Gallery of Art, Henry B. Seville, Chief. Nude Woman, Pablo Picasso, Ailsa Mellon Bruce Fund Woman Ironing, Edgar Degas, Gift of Mr. and Mrs. Paul Mellon CONTENTS 9 ORGANIZATION 11 DIRECTOR'S REVIEW OF THE YEAR 25 APPROPRIATIONS 26 CURATORIAL ACTIVITIES 26 Acquisitions and Gifts of Works of Art 50 Lenders 52 Reports of Professional Departments 7 5 ADVANCED STUDY AND RESEARCH 77 NATIONAL PROGRAMS 79 REPORT OF THE ADMINISTRATOR 79 Employees of the National Gallery of Art 82 Attendance 82 Building Maintenance and Security 83 MUSIC AT THE GALLERY 87 THE EAST BUILDING THE BOARD OF TRUSTEES OF THE NATIONAL GALLERY OF ART The Chief Justice, The Secretary of State, The Secretary of the Warren E. Burger William P. Rogers Treasury, George P. Shultz The Secretary of the Paul Mellon, President John Hay Whitney. Smithsonian Institution, Vice-President S. Dillon Ripley Lessing J. Rosenwald Franklin D. Murphy ORGANIZATION The 36th annual report of the National Gallery of Art reflects another year of continuing growth and change. Although technically established by Congress as a bureau of the Smithsonian Institution, the National Gallery is an autonomous and separately administered organization and is governed by its own Board of Trustees. -
WRAP THESIS Shilliam 1986.Pdf
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/34806 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. FOREIGN INFLUENCES ON AND INNOVATION IN ENGLISH TOMB SCULPTURE IN THE FIRST HALF OF THE SIXTEENTH CENTURY by Nicola Jane Shilliam B.A. (Warwick) Ph.D. dissertation Warwick University History of Art September 1986 SUMMARY This study is an investigation of stylistic and iconographic innovation in English tomb sculpture from the accession of King Henry VIII through the first half of the sixteenth century, a period during which Tudor society and Tudor art were in transition as a result of greater interaction with continental Europe. The form of the tomb was moulded by contemporary cultural, temporal and spiritual innovations, as well as by the force of artistic personalities and the directives of patrons. Conversely, tomb sculpture is an inherently conservative art, and old traditions and practices were resistant to innovation. The early chapters examine different means of change as illustrated by a particular group of tombs. The most direct innovations were introduced by the royal tombs by Pietro Torrigiano in Westminster Abbey. The function of Italian merchants in England as intermediaries between Italian artists and English patrons is considered. Italian artists also introduced terracotta to England. -
Terracotta Tableau Sculpture in Italy, 1450-1530
PALPABLE POLITICS AND EMBODIED PASSIONS: TERRACOTTA TABLEAU SCULPTURE IN ITALY, 1450-1530 by Betsy Bennett Purvis A thesis submitted in conformity with the requirements for the degree of Doctorate of Philosophy Department of Art University of Toronto ©Copyright by Betsy Bennett Purvis 2012 Palpable Politics and Embodied Passions: Terracotta Tableau Sculpture in Italy, 1450-1530 Doctorate of Philosophy 2012 Betsy Bennett Purvis Department of Art University of Toronto ABSTRACT Polychrome terracotta tableau sculpture is one of the most unique genres of 15th- century Italian Renaissance sculpture. In particular, Lamentation tableaux by Niccolò dell’Arca and Guido Mazzoni, with their intense sense of realism and expressive pathos, are among the most potent representatives of the Renaissance fascination with life-like imagery and its use as a powerful means of conveying psychologically and emotionally moving narratives. This dissertation examines the versatility of terracotta within the artistic economy of Italian Renaissance sculpture as well as its distinct mimetic qualities and expressive capacities. It casts new light on the historical conditions surrounding the development of the Lamentation tableau and repositions this particular genre of sculpture as a significant form of figurative sculpture, rather than simply an artifact of popular culture. In terms of historical context, this dissertation explores overlooked links between the theme of the Lamentation, the Holy Sepulcher in Jerusalem, codes of chivalric honor and piety, and resurgent crusade rhetoric spurred by the fall of Constantinople in 1453. Reconnected to its religious and political history rooted in medieval forms of Sepulchre devotion, the terracotta Lamentation tableau emerges as a key monument that both ii reflected and directed the cultural and political tensions surrounding East-West relations in later 15th-century Italy. -
Gender Dynamics in Renaissance Florence Mary D
Early Modern Women: An Interdisciplinary Journal Vol. 11, No. 1 • Fall 2016 The Cloister and the Square: Gender Dynamics in Renaissance Florence Mary D. Garrard eminist scholars have effectively unmasked the misogynist messages of the Fstatues that occupy and patrol the main public square of Florence — most conspicuously, Benvenuto Cellini’s Perseus Slaying Medusa and Giovanni da Bologna’s Rape of a Sabine Woman (Figs. 1, 20). In groundbreaking essays on those statues, Yael Even and Margaret Carroll brought to light the absolutist patriarchal control that was expressed through images of sexual violence.1 The purpose of art, in this way of thinking, was to bolster power by demonstrating its effect. Discussing Cellini’s brutal representation of the decapitated Medusa, Even connected the artist’s gratuitous inclusion of the dismembered body with his psychosexual concerns, and the display of Medusa’s gory head with a terrifying female archetype that is now seen to be under masculine control. Indeed, Cellini’s need to restage the patriarchal execution might be said to express a subconscious response to threat from the female, which he met through psychological reversal, by converting the dangerous female chimera into a feminine victim.2 1 Yael Even, “The Loggia dei Lanzi: A Showcase of Female Subjugation,” and Margaret D. Carroll, “The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence,” The Expanding Discourse: Feminism and Art History, ed. Norma Broude and Mary D. Garrard (New York: HarperCollins, 1992), 127–37, 139–59; and Geraldine A. Johnson, “Idol or Ideal? The Power and Potency of Female Public Sculpture,” Picturing Women in Renaissance and Baroque Italy, ed. -
Repositioning Plautilla Nelli's Lamentation
Conversations: An Online Journal of the Center for the Study of Material and Visual Cultures of Religion (mavcor.yale.edu) Repositioning Plautilla Nelli’s Lamentation Mary D. Garrard Fig. 1 Plautilla Nelli, Lamentation, 1550 My favorite underrated work of art is the Lamentation by Suor Plautilla Nelli (1523- 1588), the first woman artist in Renaissance Florence with an oeuvre to go with her name. This large altar painting (Fig. 1) was created for the Dominican convent of Saint Catherine of Siena, where it stood, nearly ten feet high, on a prominent altar in the convent’s public church. Located in Piazza San Marco, Santa Caterina was founded by a female disciple of Savonarola and became a major center of his spiritual legacy. Today the painting is in the museum of San Marco, the adjacent monastery from which the reformist friar preached.1 At age fourteen, Pulsinella Nelli took the veil as Plautilla and entered the convent she would serve three times as prioress. She was trained in drawing and painting, probably Conversations: An Online Journal of the Center for the Study of Material and Visual Cultures of Religion (mavcor.yale.edu) by nuns. By age thirty-five, she had created several large paintings for Santa Caterina, and was receiving income from paintings sold “outside,” perhaps to the Florentine noblemen and women who, Vasari said, owned many of her works.2 Suor Plautilla did not have access to studio training available to male artists, but since Santa Caterina was not cloistered until 1575, she was free to learn from the exceptional wealth of art visible in Florence. -
Dante and Giovanni Del Virgilio : Including a Critical Edition of the Text
Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/dantegiovannidelOOdantuoft DANTE AND GIOVANNI DEL VIEGILIO. W^ Dante and Giovanni del Virgilio Including a Critical Edition of the text of Dante's " Eclogae Latinae " and of the poetic remains of Giovanni del Virgilio By Philip H. Wicksteed, M.A. and Edmund G. Gardner, M.A. Solatur maesti nunc mea fata senis Westminster Archibald Constable & Company, Ltd. 1902 GLASGOW: PRINTED AT THE UNIVERSITY PRESS BV ROBERT MACLEHOSB AND CO. TO FRANCIS HENRY JONES AND FRANCIS URQUHART. PREFACE. Our original intention was merely to furnish a critical edition, with a translation and commentary, of the poetical correspondence between Dante and Del Virgilio. But a close study of Del Virgilio's poem addressed to Mussato, with a view to the discovery of matter illustrative of his correspondence with Dante, convinced us that Dante students would be glad to be able to read it in its entirety. And when we found ourselves thus including the greater part of Del Virgilio's extant work in our book, the pious act of collecting the rest of his poetic remains naturally sug- gested itself; and so our project took the shape of an edition of Dante's Latin Eclogues and of the poetic remains of Del Virgilio, The inclusion in our work of the Epistle to Mussato made some introductory account of the Paduan poet necessary ; and his striking personality, together with the many resemblances and contrasts between his lot and that of Dante, encouraged us to think that such an account would be acceptable to our readers. -
How a Female-Led Art Restoration Movement in Florence Is Reshaping the Canon
AiA Art News-service How a Female-Led Art Restoration Movement in Florence Is Reshaping the Canon The organization Advancing Women Artists is at the fore of finding forgotten female Masters like Plautilla Nelli. Kate Brown, July 12, 2018 Nicoletta Fontani and Elizabeth Wicks restore masterwork by Violante Siries. Courtesy Advancing Women Artists. Sometimes, all it takes is for someone to ask the right question. That is exactly what Jane Fortune did on a visit to Florence 12 years ago. While touring the Renaissance city’s exquisite museums and fresco -covered churches, the American philanthropist began to wonder, “Where are the women?” Her search for an answer set Fortune on a passionate quest to restore the lost legacies and artworks of Florence’s forgotten female artists, digging into museums’ archives and dusty deposits with her organization, Advancing Women Artists (AWA). One exemplary Renaissance work that AWA has revived is The Crucifixion, which is getting its final touches over the summer before the restored painting will finally be unveiled at Italy’s San Salvi Museum this October. It’s one of many works by Sister Plautilla Nelli, a 15th-century self-taught artist and nun who was hugely famous in her time, but whom art history has forgotten. “And if they don’t know [Nelli], how many other female painters do they not know?” Fortune asks. Since the foundation launched more than 10 years ago, AWA has restored some 53 artworks. By September, that number will jump to 58. The nonprofit has become the go-to for Florentine curators who want to research their own collections, which house many works by women (AWA has inventoried 2,000 so far) that have been unseen for centuries. -
1 Plautilla Nelli & Lavinia Fontana
Plautilla Nelli & Lavinia Fontana: hidden gems of the Italian Renaissance Item Type Honor's Project Authors Vrachopoulos, Katherine Rights Attribution-NonCommercial-NoDerivatives 4.0 International Download date 30/09/2021 13:30:29 Item License http://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/20.500.12648/1915 1 Plautilla Nelli & Lavinia Fontana: Hidden Gems of the Italian Renaissance Katherine Vrachopoulos Professor Konowitz and Professor Heuer Honors Thesis May 25, 2021 2 Abstract Women of the Italian Renaissance faced extreme adversity and oppression from the structural sexism that limited their space to the domestic sphere. The female role was limited in the arts to menial tasks such as grinding paints, painting backgrounds and preparing canvases. Religion became the main pathway into the arts for women, which can be seen in the labor and accomplishments of Dominican Sister Plautilla Nelli. Not only did she teach herself how to paint, but she likely also taught her religious sisters. This act was critical to her success as she was able to form a workshop through which the nuns had a high output, and increased the convent’s revenue. Nelli completely removed men from the equation of art production, using them as conduits to ship works to their patrons. She innovated the field through her extreme organization, and her financial and entrepreneurial skills. Nelli paved the way for more female artists to rise to prominence through her independence and intellect. Lavinia Fontana’s success provides an alternative way for cinquecento women to rise to greatness. Through the assistance of her father, Fontana became a skilled artist whose work would be internationally known. -
Portrait of Italian Jewish Life (1800S – 1930S) Edited by Tullia Catalan, Cristiana Facchini Issue N
Portrait of Italian Jewish Life (1800s – 1930s) edited by Tullia Catalan, Cristiana Facchini Issue n. 8, November 2015 QUEST N. 8 - FOCUS QUEST. Issues in Contemporary Jewish History Journal of Fondazione CDEC Editors Michele Sarfatti (Fondazione CDEC, managing editor), Elissa Bemporad (Queens College of the City University of New York), Tullia Catalan (Università di Trieste), Cristiana Facchini (Università Alma Mater, Bologna; Max Weber Kolleg, Erfurt), Marcella Simoni (Università Ca’ Foscari, Venezia), Guri Schwarz (Università di Pisa), Ulrich Wyrwa (Zentrum für Antisemitismusforschung, Berlin). Editorial Assistant Laura Brazzo (Fondazione CDEC) Book Review Editor Dario Miccoli (Università Cà Foscari, Venezia) Editorial Advisory Board Ruth Ben Ghiat (New York University), Paolo Luca Bernardini (Università dell’Insubria), Dominique Bourel (Université de la Sorbonne, Paris), Michael Brenner (Ludwig-Maximilians Universität München), Enzo Campelli (Università La Sapienza di Roma), Francesco Cassata (Università di Genova), David Cesarani z.l. (Royal Holloway College, London), Roberto Della Rocca (DEC, Roma), Lois Dubin (Smith College, Northampton), Jacques Ehrenfreund (Université de Lausanne), Katherine E. Fleming (New York University), Anna Foa (Università La Sapienza di Roma), François Guesnet (University College London), Alessandro Guetta (INALCO, Paris), Stefano Jesurum (Corriere della Sera, Milano), András Kovács (Central European University, Budapest), Fabio Levi (Università degli Studi di Torino), Simon Levis Sullam (Università Ca’ -
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. -
Academic Catalog 2020-2021
Istituto Lorenzo de’ Medici THE ITALIAN INTERNATIONAL INSTITUTE FLORENCE | TUSCANIA LdM Italy Main Office Florence Via Faenza, 43 50123 Florence, Italy Phone: +39.055.287.360 Phone: +39.055.287.203 Fax: +39.055.239.8920 LdM Academic Relations and Student Services 3600 Bee Caves Road, Suite 205B Austin, TX 78746 US Phone: +1.877.765.4LDM (4536) Phone: +1.512.328.INFO (4636) Fax: +1.512.328.4638 [email protected] www.ldminstitute.com L d M ACADEMIC CATALOG 2020 / 2021 MB 1 L d M ACADEMIC CATALOG 2020 / 2021 Milan Venice Turin FLORENCE Bologna Region: Tuscany TUSCANIA Closest airports: Genoa Peretola Airport, Pisa Airport Region: Lazio Main railway station: Ancona Closest airport: Santa Maria Novella Fiumicino Airport Rome: 232 km / 144 mi Adriatic Sea Closest railway stations: Tuscania: 159.4 km / 99 mi Viterbo, Tarquinia Daily bus connections to: ROME Viterbo, Tarquinia Capital Rome: 77.6 km / 48.2 mi ■ Florence: 159.4 km / 99 mi Napels Tyrrhenian Coast: 30 km / 18.6 mi Sassari Matera Lecce Tyrrhenian Sea Cagliari Palermo Catania I CHOSE TO STUDY AT Ld M BECAUSE OF THE DIVERSITY OF ITS EDUCATIONAL OFFER. EVERY CLASS CHALLENGED ME IN THE BEST WAY. I ALWAYS WANTED TO LEARN MORE, AND THE PROFESSORS ARE OUTSTANDING. I WILL ALWAYS BE GRATEFUL FOR THIS EXPERIENCE, WHICH HELPED ME OVERCOME MY PERSONAL GOALS AND INSPIRED ME TO TRULY BECOME A GLOBAL CITIZEN. - Adriana C, LdM Florence L d M ACADEMIC CATALOG 2020 / 2021 2 3 L d M ACADEMIC CATALOG 2020 / 2021 INDEX 1 GENERAL INFORMATION 4 1.1 Application Deadlines and Academic Calendar 4 1.2 Mission -
Cecilia Calabresi
Intellectuals Displaced from Fascist Italy © Firenze University Press 2019 Cecilia (Marcella) Calabresi Go to personal file Cecilia Calabresi originally wanted to move to the United States, something Link to other connected Lives on the move: her brother and sister managed to do, but was forced by circumstance to stay in Florence, in hiding. Several years after the war had already ended, she Massimo Calabresi Paul Calabresi chose to leave Italy anyway. Renata Calabresi Family history and education Born in Ferrara, on 1st February 1902, the daughter of industrialist Ettore Calabresi (1870-1937) and Olga Minerbi (1876-1964), Cecilia came from a wealthy family. The middle child, she was younger than Renata, but older than their brother Massimo. She attended Liceo Ludovico Ariosto, one of Ferrara’s most prestigious high schools, and completed her studies there in 1917 with flying colours. Although she also took a diploma in education from Scuola Normale Carducci, qualifying her to teach in primary schools, Cecilia applied for a place at the Facoltà di Lettere of the Istituto di studi superiori pratici e di perfezionamento di Firenze on 29th October 1919 and formally enrolled there on 1st January the following year1. Of 94 students on the course that year 54 were women (compared to just 5 women out of 20 students for Philosophy). Cecilia moved to Florence, where she and her sister lodged in a pensione at Piazza Donatello 12. Together they moved in the city’s antifascist intellectual circles and frequented venues such as the Circolo di Cultura (subsequently destroyed by the fascists and closed down by the authorities in 1925) and the Biblioteca Filosofica.