DOCSLIB.ORG

Un Olor a Italia. Conexiones E Influencias En El Arte Aragonés

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Un Olor a Italia. Conexiones E Influencias En El Arte Aragonés En este volumen se reúnen las lecciones impartidas en el último curso de la Cá- «Un olor a Italia» tedra «Goya» celebrado en noviembre del año 2018. Conexiones e Con el título «Un olor a Italia», toma- influencias en el do de una descripción de la ciudad de Zaragoza de Guzmán de Alfarache, novela arte aragonés picaresca escrita por Mateo Alemán y pu- (siglos XIV-XVIII) blicada en dos partes: la primera en Ma- drid en 1599, y la segunda en Lisboa en M.ª del Carmen Lacarra (coord.) 1604, se programó este año un nuevo curso dedicado a las conexiones e influencias italianas en el arte aragonés de los si- glos XIV a XVIII, con el estudio de obras pertenecientes al mundo de la escultura, de la pintura mural y sobre tabla, a la imprenta y al grabado, y al trabajo de las piedras fingidas llevado a cabo por un artífice de origen veneciano, Ambrosio Mariesque, en el interior de las iglesias aragonesas durante la época barroca. Destacados estudiosos de la Historia del Arte, pertenecientes a las Universidades de Barcelona, Valencia y Zaragoza parti- ciparon en esta ocasión que quiso ser, Imagen de cubierta: como otras veces, una actualización de las investigaciones dedicadas a la His- Retratos de doña Marquesa toria del Arte aragonés. Gil de Rada y Martín de Alpartir. Detalle del «Un olor a Italia» Conexiones e influencias en el arte aragonés (siglos XIV-XVIII) Retablo de la Resurrección de Cristo, Jaume Serra, 1381-1382, Museo de Zaragoza. Procede del Monasterio del Santo Sepulcro de Zaragoza. Imagen de cubierta: Retratos de doña Marquesa Gil de Rada y Martín de Alpartir. Detalle del Retablo de la Resurrección de Cristo, Jaume Serra, 1381-1382, Museo de Zaragoza. Procede del Monasterio del Santo Sepulcro de Zaragoza. La versión original y completa de esta obra debe consultarse en: https://ifc.dpz.es/publicaciones/ebooks/id/3800 Esta obra está sujeta a la licencia CC BY-NC-ND 4.0 Internacional de Creative Commons que determina lo siguiente: • BY (Reconocimiento): Debe reconocer adecuadamente la autoría, proporcionar un enlace a la licencia e indicar si se han realizado cambios. Puede hacerlo de cualquier manera razonable, pero no de una manera que sugiera que tiene el apoyo del licenciador o lo recibe por el uso que hace. • NC (No comercial): La explotación de la obra queda limitada a usos no comerciales. • ND (Sin obras derivadas): La autorización para explotar la obra no incluye la transformación para crear una obra derivada. Para ver una copia de esta licencia, visite https://creativecommons.org/licenses/by- nc-nd/4.0/deed.es. «Un olor a Italia» Conexiones e influencias en el arte aragonés (siglos XIV-XVIII) M.ª del Carmen Lacarra (coord.) colección actas «Un olor a Italia» Conexiones e influencias en el arte aragonés (siglos XIV-XVIII) M.ª del Carmen Lacarra (coordinadora) INSTITUCIÓN FERNANDO EL CATÓLICO Excma. Diputación de Zaragoza ZARAGOZA, 2019 Publicación número 3724 de la Institución Fernando el Católico Organismo autónomo de la Excma. Diputación de Zaragoza Plaza de España, 2 · 50071 Zaragoza (España) Tels. [34] 976 28 88 78/79 [email protected] https://ifc.dpz.es © Los autores © De la presente edición, Institución Fernando el Católico ISBN: 978-84-9911-574-0 DEPÓSITO LEGAL: Z 1811-2019 PREIMPRESIÓN: Lettera IMPRESIÓN: Huella Digital, S.L. IMPRESO EN ESPAÑA. UNIÓN EUROPEA Presentación. M.ª DEL CARMEN LACARRA DUCAY............................ «Un olor a Italia» Conexiones e influencias en el arte aragonés (siglos XIV-XVIII) . El italianismo en la pintura gótica aragonesa. Maestros y talleres. M.ª DEL CARMEN LACARRA DUCAY........................................... . El italianismo en la pintura gótica catalana. De la renovación giottesca a su disolución. ROSA ALCOY PEDRÓS ...................................... . Un renacimiento de imprenta. Libros, tratados y grabados italianos en las artes plásticas del siglo XVI en Aragón. JESÚS CRIADO MAINAR .................. . El influjo italiano en la pintura valenciana de los siglos XV y XVI. ISIDRO PUIG SANCHÍS ......................................................... . Conexiones italianas en el arte barroco aragonés del siglo XVII. JUAN CARLOS LOZANO LÓPEZ ................................................... . «Ambrosius Mariesque venetianus», un maestro de las piedras fingidas en Aragón. REBECA CARRETERO CALVO................................... PRESENTACIÓN Desta manera caminé por aquella tierra toda hasta venir a dar a Zaragoza con mi persona. Que no me dio pequeño contento aportar en aquella ciudad tan principal y generosa. Como la mocedad instimulaba y el dinero sobraba y las damas della incitaban, me fui deteniendo allí algunos días. Que todos y muchos mas fueran muy pocos para considerar y gozar de su grandeza. Tan hermosos y fuertes edificios, tan buen gobierno, tanta provisión, tan de buen precio todo, que casi daba de sí un olor a Italia. Mateo Alemán, Guzmán de Alfarache (Libro tercero. Capítulo 1, Lisboa, 1604) EN ESTE VOLUMEN SE REÚNEN las lecciones impartidas en el último curso de la Cátedra «Goya» celebrado en noviembre del año 2018. Con el título «Un olor a Italia», tomado de una descripción de la ciudad de Zaragoza de Guzmán de Alfarache, novela picaresca escrita por Mateo Alemán y publicada en dos partes: la primera en Madrid en 1599, y la segunda en Lisboa en 1604, se programó este año un nuevo curso dedicado a las conexiones e influen- cias italianas en el arte aragonés de los siglos XIV a XVIII, con el estudio de obras pertenecientes al mundo de la escultura, de la pintura mural y sobre tabla, a la imprenta y al grabado, y al trabajo de las piedras fingidas llevado a cabo por un artífice de origen veneciano, Ambrosio Mariesque, en el interior de las iglesias aragonesas durante la época barroca. Destacados estudiosos de la Historia del Arte, pertenecientes a las Universida- des de Barcelona, Valencia y Zaragoza, participaron en esta ocasión que quiso ser, como otras veces, una actualización de las investigaciones dedicadas a la Historia del Arte aragonés. Y, como en otras jornadas, se analizaron ejemplos localizados «Un olor a Italia» Conexiones e influencias en el arte aragonés (siglos XIV-XVIII) en las comunidades de Cataluña y Valencia, para que sirvieran de comparación con lo que en Aragón se realiza contemporáneamente. El curso se inició el 7 de noviembre, miércoles, a las 18:30 horas, en el aula de la Institución Fernando el Católico, con la presencia de los directores del curso, doña María del Carmen Lacarra Ducay y don Juan Carlos Lozano López, quie- nes hicieron la presentación de los profesores invitados. Y finalizó el viernes, 9 de noviembre, con unas conclusiones y una despedida por parte de los profesores que habían intervenido en el curso. El sábado, 10 de noviembre, se llevó a cabo una excursión en la que se visitaron las hermosas ciudades de Tarazona y Borja, para conocer directamente el patrimonio histórico-artístico que allí se conserva con destacados y muy interesantes ejemplos de lo tratado en las sesiones del curso. En la ciudad de Tarazona se contó para el recorrido por la catedral con la generosa colaboración de don José M.ª Cerralbo Benedí, deán del Cabildo, que nos dejó para reunirse con Dios el día 13 de septiembre del presente año, y para la visita al Palacio Episcopal y a la fachada del Ayuntamiento con la de don Jesús Criado Mainar, de origen turiasonense, profesor de Historia del Arte en la Universidad de Zaragoza, y ponente en el curso de la Cátedra Goya. En la ciudad de Borja se contó para la visita a la colegiata de Santa María su museo y al museo del convento de Santa Clara con la presencia y acogida de don Manuel Gracia Rivas, presidente del Centro de Estudios Borjanos y Académico Corres- pondiente de la Real Academia de la Historia, y con la de don Alberto Aguilera Hernández, historiador borjano y gran conocedor de su patrimonio monumental. Los trabajos que aquí se reúnen han sido redactados por sus autores, conferen- ciantes en el curso, y se acompañan con ilustraciones seleccionadas por ellos como enriquecimiento del texto y recuerdo de las lecciones impartidas. Deseo agradecer, una vez más, a todos aquellos que participaron en el curso, pro- fesores y alumnos, y al personal de la Institución Fernando el Católico su colabo- ración que hace posible el buen funcionamiento de las actividades programadas. M.ª DEL CARMEN LACARRA DUCAY Directora de la Cátedra Goya UN OLOR A ITALIA CONEXIONES E INFLUENCIAS EN EL ARTE ARAGONÉS SIGLOS XIVXVIII & PONENCIAS EL ITALIANISMO EN LA PINTURA GÓTICA ARAGONESA. MAESTROS Y TALLERES M.ª DEL CARMEN LACARRA DUCAY El italianismo en la pintura gótica del antiguo Reino de Aragón, recibido a tra- vés de Cataluña, Valencia y Mallorca, coincide históricamente con los reinados de Alfonso I el Benigno (1327-1336), de Pedro IV el Ceremonioso (1336-1387), de Juan I el Cazador (1387-1396) y de Martín I el Humano (1396-1410). A la muerte de este último sin heredero, se pone fin a la dinastía de los Ramírez y después del Compromiso de Caspe (1412) se inicia el reinado de Fernando I de Antequera (1412-1416), y con él la instauración de la dinastía de la Casa de Tras- támara en el trono aragonés. Los primeros pintores documentados que llegan a tierras aragonesas represen- tan la influencia toscana de los talleres de Florencia y de Siena, importada a través de la ciudad francesa de Aviñón que sería sede pontificia desde 1309 hasta 14041. En la ciudad pontificia trabajaron en tiempos de Benedicto XII (1334-1342) muchos artistas italianos, entre ellos el pintor sienés Simone Martini, su hermano Donato y su cuñado Lippo Lemmi, en obras de pintura mural, sobre tabla y sobre pergamino, que confirman la versatilidad de su taller. Sin olvidar a Matteo Giovan- netti, natural de Viterbo, y su destacado trabajo como pintor muralista de temática religiosa profana en el Palacio Pontificio al servicio de Clemente VI (1342-1352)2.
Load more

Recommended publications
  • The History of Painting in Italy, Vol. V
    The History Of Painting In Italy, Vol. V By Luigi Antonio Lanzi HISTORY OF PAINTING IN UPPER ITALY. BOOK III. BOLOGNESE SCHOOL. During the progress of the present work, it has been observed that the fame of the art, in common with that of letters and of arms, has been transferred from place to place; and that wherever it fixed its seat, its influence tended to the perfection of some branch of painting, which by preceding artists had been less studied, or less understood. Towards the close of the sixteenth century, indeed, there seemed not to be left in nature, any kind of beauty, in its outward forms or aspect, that had not been admired and represented by some great master; insomuch that the artist, however ambitious, was compelled, as an imitator of nature, to become, likewise, an imitator of the best masters; while the discovery of new styles depended upon a more or less skilful combination of the old. Thus the sole career that remained open for the display of human genius was that of imitation; as it appeared impossible to design figures more masterly than those of Bonarruoti or Da Vinci, to express them with more grace than Raffaello, with more animated colours than those of Titian, with more lively motions than those of Tintoretto, or to give them a richer drapery and ornaments than Paul Veronese; to present them to the eye at every degree of distance, and in perspective, with more art, more fulness, and more enchanting power than fell to the genius of Coreggio. Accordingly the path of imitation was at that time pursued by every school, though with very little method.
    [Show full text]
  • Encyklopédia Kresťanského Umenia Cár - Pozri Jurodiví/Blázni V Kristu; Rusko
    Marie Žúborová - Němcová: Encyklopédia kresťanského umenia cár - pozri jurodiví/blázni v Kristu; Rusko Georges Becker: Korunovácia cára Alexandra III. a cisárovnej Márie Fjodorovny Heslo CAR – CARI Strana 1 z 39 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia N. Nevrev: Roman Veľký prijíma veľvyslanca pápeža Innocenta III (1875) Cár kolokol - Expres: zvon z počiatku 17.st. odliaty na príkaz cára Borisa Godunova (1552-1605); mal 36 ton; bol zavesený v štvormetrovej výške a rozhojdávalo ho 12 ľudí; počas jedného z požiarov spadol a rozbil sa; roku 1654 z jeho ostatkov odlial ruský majster Danilo Danilov ešte väčší zvon; o rok neskoršie zvon praskol úderom srdca; ďalší nasledovník Cára kolokola bol odliaty v Kremli; 24 rokov videl na provizórnej konštrukcii; napokon sa našiel majster, ktorému trvalo deväť mesiacov, kým ho zdvihol na Uspenský chrám; tam zotrval do požiaru roku 1701, keď spadol a rozbil sa; dnešný Cár kolokol bol formovaný v roku 1734, ale odliaty až o rok neskoršie; plnenie formy kovom trvalo hodinu a štvrť a tavba trvala 36 hodín; keď roku 1737 vypukol v Moskve požiar, praskol zvon pri nerovnomernom ochladzovaní studenou vodou; trhliny sa rozšírili po mnohých miestach a jedna časť sa dokonca oddelila; iba tento úlomok váži 11,5 tony; celý zvon váži viac ako 200 ton a má výšku 6m 14cm; priemer v najširšej časti je 6,6m; v jeho materiáli sa okrem klasickej zvonoviny našli aj podiely zlata a striebra; viac ako 100 rokov ostal zvon v jame, v ktorej ho odliali; pred rokom 2000 poverili monumentalistu Zuraba Cereteliho odliatím nového Cára kolokola, ktorý mal odbiť vstup do nového milénia; myšlienka však nebola doteraz zrealizovaná Caracallove kúpele - pozri Rím http://referaty.atlas.sk/vseobecne-humanitne/kultura-a-umenie/48731/caracallove-kupele Heslo CAR – CARI Strana 2 z 39 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia G.
    [Show full text]
  • LOCATING El GRECO in LATE SIXTEENTH-CENTURY
    View metadata, citation and similarbroughtCORE papers to you at by core.ac.uk provided by Online Repository of Birkbeck Institutional Theses LOCATING El GRECO IN LATE SIXTEENTH‐CENTURY ROME: ART and LEARNING, RIVALRY and PATRONAGE Ioanna Goniotaki Department of History of Art, School of Arts Birkbeck College, University of London Submitted for the degree of Doctor of Philosophy, July 2017 -1- Signed declaration I declare that the work presented in the thesis is my own Ioanna Goniotaki -2- ABSTRACT Much has been written about the artistic output of Domenicos Theotocopoulos during his time in Spain, but few scholars have examined his works in Venice and even fewer have looked at the years he spent in Rome. This may be in part attributed to the lack of firm documentary evidence regarding his activities there and to the small corpus of works that survive from his Italian period, many of which are furthermore controversial. The present study focuses on Domenicos’ Roman years and questions the traditional notion that he was a spiritual painter who served the principles of the Counter Reformation. To support such a view I have looked critically at the Counter Reformation, which I consider more as an amalgam of diverse and competitive institutions and less as an austere movement that strangled the freedom of artistic expression. I contend, moreover, that Domenicos’ acquaintance with Cardinal Alessandro Farnese’s librarian, Fulvio Orsini, was seminal for the artist, not only because it brought him into closer contact with Rome’s most refined circles, but principally because it helped Domenicos to assume the persona of ‘pictor doctus’, the learned artist, following the example of another of Fulvio’s friends, Pirro Ligorio.
    [Show full text]
  • Angels and the Order of Heaven in Medieval and Renaissance Italy Meredith J
    Cambridge University Press 978-1-107-02795-4 - Angels and the Order of Heaven in Medieval and Renaissance Italy Meredith J. Gill Frontmatter More information ANGELS AND THE ORDER OF HEAVEN IN MEDIEVAL AND RENAISSANCE ITALY From earliest times, angels have been seen as instruments of salvation and retribution, agents of revelation, and harbingers of hope. In effect, angels are situated at the intersections of diverse belief structures and philosophical systems. In this book, Meredith J. Gill examines the role of angels in medieval and Renaissance conceptions of heaven. She considers the charac- ter of Renaissance angelology as distinct from the medieval theological traditions that informed it and from which it emerged. Tracing the iconog- raphy of angels in text and in visual form, she also uncovers the philosoph- ical underpinnings of medieval and Renaissance definitions of angels and their nature. From Dante through Pico della Mirandola, from the images of angels depicted by Fra Angelico to those painted by Raphael and his fol- lowers, angels, Gill argues, are the touchstones and markers of the era’s intellectual self-understanding, and its classical revival, theological doc- trines, and artistic imagination. Meredith J. Gill is Professor of Italian Renaissance Art in the Department of Art History and Archaeology at the University of Maryland, College Park. She is the author of Augustine in the Italian Renaissance: Art and Philosophy from Petrarch to Michelangelo (Cambridge University Press, 2005) and coeditor, with Karla Pollmann, of Augustine Beyond the Book: Intermediality, Transmediality and Reception. Among her other publications are articles in Renaissance Quarterly, Storia dell’Arte,andZeitschrift für Kunstgeschichte and essays in Rethinking the High Renaissance: The Culture of the Visual Arts in Early Sixteenth-Century Rome; The Possessions of a Cardinal: Politics, Piety, and Art, 1450–1700; The Renaissance World; and Rome (Cambridge University Press, 2005).
    [Show full text]
  • Digitalisierter Bestand Der Graphischen Sammlung Stift Göttweig the Digitized Assets of the Graphic Collection of the Göttweig Abbey
    Titelblatt BW_DUK H 09.12_: 24.09.12 15:30 Seite 1 Digitalisierter Bestand der Graphischen Sammlung Stift Göttweig The Digitized Assets of the Graphic Collection of the Göttweig Abbey Graphisches Kabinett, Inventor & Stecher: Kleiner, Salomon (1700-1761), 1744 – bezeichnet: „Musaei Contignatio superior“ Katalog zur Erschließung und Indexierung der Graphischen Sammlung Stift Göttweig Digitalisierung, Dokumentation und Archivierung Catalog of details on the development and indexing of the Graphic Print Collection of the Göttweig Abbey’s digitization, documentation and archiving Donau-Universität Krems | Zentrum für Bildwissenschaften Danube University Krems | Center for Image Science www.gssg.at (c)2012 Lehrstuhl für Bildwissenschaften / Chair Professor for Image Science & Zentrum für Bildwissenschaften / Center for Image Science Department für Kunst- und Bildwissenschaften / Department for Arts- and Image Science Donau-Universität Krems / Danube University Krems Editors: Prof. Dr. Oliver Grau, Wendy Coones M.Ed. PDF: 206 pages permanent web identifier: URI http://hdl.handle.net/10002/592 Seiten / Pages i.-vi.: I. –Impressum / About: Digitale Bilddaten und Veröffentlichungsrechte: / Digital Files and Permission for Publication: Sammlung / Collection: Mitarbeit / Team: ii. II. Inventarisierte Digitale Graphische Sammlung Göttweig: / Inventory Digital Graphic Collection Göttweig: iii. III. Online Datenbank: www.GSSG.at / Online Database: www.GSSG.at iii. IV. Projektdaten Digitalisierung: / Digitization Project Data: iv. V. Metadaten: / Metadata: v. VI. – Metadaten Abkürzung: / Metadata Abbreviations: v. VII. Inventar der Digitalisate: / Inventory of the Digitized Assets: 1-199 [i] I. IMPRESSUM / ABOUT: DIGITALE BILDDATEN UND VERÖFFENTLICHUNGSRECHTE / DIGITAL FILES AND PERMISSION FOR PUBLICATION: Donau-Universität Krems / Danube University Krems Department für Kunst- und Bildwissenschaften / Dept. for Arts- and Image Science Zentrum für Bildwissenschaften / Center for Image Science Dr.
    [Show full text]
  • Felsina Pittrice LIVES of the BOLOGNESE PAINTERS
    CARLO CESARE MALVASIA’S Felsina pittrice LIVES OF THE BOLOGNESE PAINTERS Published for the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington Harvey Miller Publishers An Imprint of Brepols Publishers THE FELSINA PITTRICE Count Carlo Cesare Malvasia’s Felsina pittrice, or Lives of the Bolognese Painters, first published in two volumes in Bologna in 1678, is one of the most important sources for the history and criticism of painting in Italy. Conceived in part as a response to Giorgio Vasari’s Le vite de’ più eccellenti pittori, scultori e architettori (1550/1568), the Felsina pittrice combines close observation with documentary history, and careful analysis with polemical debate. It offers the fullest account of Bolognese artists from Simone dei Crocefissi to Prospero and Lavinia Fontana, from Guercino to Elisabetta Sirani. The Carracci are treated as a family of artists, and their school (including Guido Reni, Domenichino, and Francesco Albani, among others) is documented by Malvasia in far greater detail than by any other biographer. The great art historian Luigi Lanzi (1732- 1810) said that no other school in Italy had been described by a more capable pen, and he considered the two volumes of the Felsina pittrice to be “a treasure of the most beautiful knowledge gathered from the pupils of the Carracci, whom Malvasia knew, and who helped him in this work, which was, however, accused of sometimes burning with an excessively patriotic zeal.” 2. THE CRITICAL EDITION Accusations of excessive passion for his local school, combined with unjustified charges of forgery and unreliability, have for centuries clouded the reception and understanding of Malvasia’s extraordinarily important text, which was last edited and published in 1841-44.
    [Show full text]
  • Elenco Definitivo Delle Associazioni Sportive Dilettantistiche Riconosciute Dal CONI 2013 CODICE DENOMINAZIONE FISCALE INDIRIZZO COMUNE CAP PR - P.G.S
    Elenco definitivo delle Associazioni sportive dilettantistiche riconosciute dal CONI 2013 CODICE DENOMINAZIONE FISCALE INDIRIZZO COMUNE CAP PR - P.G.S. SAN CARLO - ASSOCIAZIONE SPORTIVA 1 DILETTANTISTICA 95037690120 VIA GIANNONE N 6 VARESE 21100 VA 2 ' TENNIS CLUB TRANI A.S.D.' 92066830727 VIA G. DI VITTORIO N. 74 TRANI 76125 BT ' U.S. CASTELLO ' ASSOCIAZIONE SPORTIVA 3 DILETTANTISTICA 02471790242 VIA POZZETTI 3 ARZIGNANO 36071 VI " CIRCOLO TENNIS GORIZIA - ALDO ZACCARELLI - ASSOCIAZIONE SPORTIVA DILET 4 TANTISTICA " 80003400316 VIALE XX SETTEMBRE 3 GORIZIA 34170 GO " GIOCOSPORT " ASSOCIAZIONE SPORTIVA VIA PRIVATA BATTISTA DE 5 DILETTANTISTICA 97447840154 ROLANDI 7 MILANO 20156 MI VIA SALITA S BIAGIO C/O CASA 6 " POLISPORTIVA OTTATI " 91041400655 COMUNA OTTATI 84020 SA " POOLIFE ASSOCIAZIONE SPORTIVA 7 DILETTANTISTICA " 96032350785 VIA FIUME OLIVA SN AMANTEA 87032 CS 8 "4J S.S.D. S.R.L." 01450670094 VIA VALLE 113 BORGIO VEREZZI 17022 SV 9 "A.S.D. "REAL SAN LUCIDO 96025030782 VIA F GILUIANI SN SAN LUCIDO 87038 CS 10 "A.S.D. BAIANO RUNNERS" 92072170647 VIA NICOLA LITTO BAIANO 83022 AV 11 "A.S.D. LA CULLA DELLA TROTA" 90069530583 VIA PIASTRARELLE 36 LANUVIO 00040 RM 12 "A.S.D.CALCIO GIOVANILE S.PIETRO" 92024520790 VIA GIOVANI NICOTERA 103 SAN PIETRO A MAIDA 88025 CZ "ANGELI SULLE PUNTE" ASSOCIAZIONE 13 SPORTIVA DILETTANTISTICA 93034090154 VIA DAMIANO CHIESA 42 DAIRAGO 20020 MI 14 "ASAL STUDENT" 93106270759 VIA GIROLAMO BALDUINI 5 LECCE 73100 LE "ASD CANTERA NAPOLI ASSOCIAZIONE 15 SPORTIVA DILETTANTISTICA" 95153680632 VIA DUOMO 255 NAPOLI
    [Show full text]
  • Collaborative Painting Between Minds and Hands: Art Criticism, Connoisseurship, and Artistic Sodality in Early Modern Italy
    Collaborative Painting Between Minds and Hands: Art Criticism, Connoisseurship, and Artistic Sodality in Early Modern Italy by Colin Alexander Murray A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Colin Murray 2016 Collaborative Painting Between Minds and Hands: Art Criticism, Connoisseurship, and Artistic Sodality in Early Modern Italy Colin Alexander Murray Doctor of Philosophy Department of Art University of Toronto 2016 Abstract The intention of this dissertation is to open up collaborative pictures to meaningful analysis by accessing the perspectives of early modern viewers. The Italian primary sources from the fifteenth to the seventeenth centuries yield a surprising amount of material indicating both common and changing habits of thought when viewers looked at multiple authorial hands working on an artistic project. It will be argued in the course of this dissertation that critics of the seventeenth century were particularly attentive to the practical conditions of collaboration as the embodiment of theory. At the heart of this broad discourse was a trope extolling painters for working with what appeared to be one hand, a figurative and adaptable expression combining the notion of the united corpo and the manifold meanings of the artist’s mano. Hardly insistent on uniformity or anonymity, writers generally believed that collaboration actualized the ideals of a range of social, cultural, theoretical, and cosmological models in which variously formed types of unity were thought to be fostered by the mutual support of the artists’ minds or souls. Further theories arose in response to Giovanni Paolo Lomazzo’s hypothesis in 1590 that the greatest painting would combine the most highly regarded old masters, each contributing their particular talents towards the whole.
    [Show full text]
  • Exegesis and Dissimulation in Visual Treatises
    Political Art of the Papacy: Visual Representations of the Donation of Constantine in the Early Modern Period by Silvia Tita A dissertation submitted in partial fulfillment on the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2013 Doctoral Committee: Professor Megan L. Holmes, Co-Chair Lecturer Thomas C. Willette, Co-Chair Professor Celeste A. Brusati Professor Louise K. Stein Associate Professor Achim Timmermann © Silvia Tita 2013 Acknowledgments The research period of this project brought me great intellectual joy. This would not have happened without the assistance of many professionals to whom I am much indebted. My deep gratitude to the staffs of the Biblioteca Apostolica Vaticana (with special thanks to Dott. Paolo Vian), the Archivio Segreto Vaticano, the Archivio di Stato Roma, the Biblioteca Angelica, the Biblioteca Casanatense, the Biblioteca Centrale di Roma, the Bibliotheca Hertziana, the Biblioteca di Storia dell'Arte et Archeologia, the Istituto Nazionale per la Grafica in Rome, the Biblioteca Marucelliana in Florence, Bibliothèque Nationale de France in Paris, the Departement des Arts Graphique and the Departement des Objets d'Art of the Louvre. I would also like to thank to the curators of the Kunstkammer Department of the Kunsthistorisches Museum in Vienna, especially to Dr. Konrad Schlegel who generously informed me on the file of the Constantine Cabinet. The project was born and completed as it is in Michigan. I would like to thank all members of my committee. Tom Willette deeply believed in the project and my ideas from the very beginning and offered great advice during our long conversations.
    [Show full text]
  • Journal 08 March 2021 Editorial Committee
    JOURNAL 08 MARCH 2021 EDITORIAL COMMITTEE Stijn Alsteens International Head of Old Master Drawings, Patrick Lenaghan Curator of Prints and Photographs, The Hispanic Society of America, Christie’s. New York. Jaynie Anderson Professor Emeritus in Art History, The Patrice Marandel Former Chief Curator/Department Head of European Painting and JOURNAL 08 University of Melbourne. Sculpture, Los Angeles County Museum of Art. Charles Avery Art Historian specializing in European Jennifer Montagu Art Historian specializing in Italian Baroque. Sculpture, particularly Italian, French and English. Scott Nethersole Senior Lecturer in Italian Renaissance Art, The Courtauld Institute of Art, London. Andrea Bacchi Director, Federico Zeri Foundation, Bologna. Larry Nichols William Hutton Senior Curator, European and American Painting and Colnaghi Studies Journal is produced biannually by the Colnaghi Foundation. Its purpose is to publish texts on significant Colin Bailey Director, Morgan Library and Museum, New York. Sculpture before 1900, Toledo Museum of Art, Ohio. pre-twentieth-century artworks in the European tradition that have recently come to light or about which new research is Piers Baker-Bates Visiting Honorary Associate in Art History, Tom Nickson Senior Lecturer in Medieval Art and Architecture, Courtauld Institute of Art, underway, as well as on the history of their collection. Texts about artworks should place them within the broader context The Open University. London. of the artist’s oeuvre, provide visual analysis and comparative images. Francesca Baldassari Professor, Università degli Studi di Padova. Gianni Papi Art Historian specializing in Caravaggio. Bonaventura Bassegoda Catedràtic, Universitat Autònoma de Edward Payne Assistant Professor in Art History, Aarhus University. Manuscripts may be sent at any time and will be reviewed by members of the journal’s Editorial Committee, composed of Barcelona.
    [Show full text]
  • Pittura Haitiana Non Ha Inizio Prima Del 1945
    H Haagen (Verhagen), Joris van der (Arnhem o Dordrecht 1615 - L’Aja 1669). Attivo princi- palmente all’Aja, dove è iscritto alla ghilda nel 1643, viene citato dal 1650 al 1657 ad Amsterdam, viaggia spes- so in Germania e in Olanda, dipingendo numerosi paesag- gi: Veduta di Arnhem (conservato a Carcassonne; 1649: L’Aja, Mauritshuis), Veduta del villaggio di Ilpendam (Pari- gi, Louvre), Paesaggio (Angers, mba), Paesaggio con ba- gnanti (Amsterdam, Rijksmuseum), Paesaggio con il buon Samaritano (Rotterdam, bvb). Pittori come A. van de Velde e N. Berchem dipinsero le figure dei suoi paesaggi, notevoli per la limpidezza dell’atmosfera e la precisione dei dettagli. (jv). Haarlem Città olandese sulla Spaarne, non lontano dal mare, cen- tro del commercio dei tulipani nel xvii sec.; fu tra i piú notevoli centri di produzione pittorica del paese. XV secolo L’esistenza di una scuola di pittura a H nel xv sec. è attestata da Karel van Mander. I suoi confini resta- no di difficile definizione, poiché le affermazioni di que- sto storiografo non sono confermate da documenti abbon- danti. Che Dirck Bouts sia originario di H sembra certo, ma né le date del suo soggiorno nella città, né le opere che vi dipinse hanno potuto essere identificate. Si sono potuti raggruppare soltanto alcuni dipinti intorno alla Re- surrezione di Lazzaro (Berlino-Dahlem) descritta da Van Mander come opera di Aelbert van Ouwater, altro espo- nente della pittura del Quattrocento a H. Essi attestano Storia dell’arte Einaudi fedeltà alla tradizione di Van Eyck, e in parte l’influenza di Rogier van der Weyden.
    [Show full text]
  • OLD MASTER PAINTINGS Wednesday 6 December 2017
    OLD MASTER PAINTINGS Wednesday 6 December 2017 For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. BONHAMS OLD MASTERS DEPARTMENT Andrew McKenzie Caroline Oliphant Lisa Greaves Director, Head of Department, Group Head of Pictures Department Director London London and Head of Sale London – – – Poppy Harvey-Jones Archie Parker Brian Koetser Junior Specialist Consultant Consultant London London London – – – Bun Boisseau Mark Fisher Madalina Lazen Administrator, Director, European Paintings, Senior Specialist, European Paintings London Los Angeles New York Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors – – – Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Lucinda Bredin, Simon Cottle, Andrew Currie, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Jean Ghika, Charles Graham-Campbell, Veronique Scorer, Robert Smith, James Stratton, +44 (0) 20 7393 3905 fax Jon Baddeley, Rupert Banner, Geoffrey Davies, Matthew Haley, Richard Harvey, Robin Hereford, Ralph Taylor, Charlie Thomas, David Williams,
    [Show full text]