The Renaissance
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Moma's Folk Art Museum and DS+R Scandal 14
017 Index MoMA's Folk Art Museum and DS+R 01 Editor´s Note Scandal 14 A Brief History of 02 Gabriela Salazar’s!In Advance Artwork Commission 22 of a Storm!Art Book Top Commissioned Promotion 26 Art Pieces by Top Commissioners of All Time 08 27 Contact Editor´s note Who were the first patrons in the history of art to commissioning artwork and what was their purpose? How has commissioning changed for the artist and for the entity requesting the art piece? What can be predicted as the future of the commissioning world? Our May issue explores the many and different ramifications of art commission in the past and in the present. Historical facts and recent scandals can make a quirky encapsulation of what is like to be commissioned to do art; to be commissioned an art piece for an individual, business, or government can sometimes be compared to making an agreement with the devil. “Commissioned artwork can be anything: a portrait, a wedding gift, artwork for a hotel, etc. Unfortunately, there are no universal rules for art commissions. Consequently, many clients take advantage of artists,” says Clara Lieu, an art critic for the Division of Experimental and Foundation studies and a professor at the Rhode Island School of Design. This issues aims to track down the history of ancient civilizations and the Renaissance in its relation to commissioned work, and its present manifestations in within political quarrels of 01 respectable art institutions. A Brief History of Artwork Commission: Ancient Rome and the Italian Renaissance An artwork commission is the act of soliciting the creation of an original piece, often on behalf of another. -
De Divino Errore ‘De Divina Proportione’ Was Written by Luca Pacioli and Illustrated by Leonardo Da Vinci
De Divino Errore ‘De Divina Proportione’ was written by Luca Pacioli and illustrated by Leonardo da Vinci. It was one of the most widely read mathematical books. Unfortunately, a strongly emphasized statement in the book claims six summits of pyramids of the stellated icosidodecahedron lay in one plane. This is not so, and yet even extensively annotated editions of this book never noticed this error. Dutchmen Jos Janssens and Rinus Roelofs did so, 500 years later. Fig. 1: About this illustration of Leonardo da Vinci for the Milanese version of the ‘De Divina Proportione’, Pacioli erroneously wrote that the red and green dots lay in a plane. The book ‘De Divina Proportione’, or ‘On the Divine Ratio’, was written by the Franciscan Fra Luca Bartolomeo de Pacioli (1445-1517). His name is sometimes written Paciolo or Paccioli because Italian was not a uniform language in his days, when, moreover, Italy was not a country yet. Labeling Pacioli as a Tuscan, because of his birthplace of Borgo San Sepolcro, may be more correct, but he also studied in Venice and Rome, and spent much of his life in Perugia and Milan. In service of Duke and patron Ludovico Sforza, he would write his masterpiece, in 1497 (although it is more correct to say the work was written between 1496 and 1498, because it contains several parts). It was not his first opus, because in 1494 his ‘Summa de arithmetic, geometrica, proportioni et proportionalita’ had appeared; the ‘Summa’ and ‘Divina’ were not his only books, but surely the most famous ones. For hundreds of years the books were among the most widely read mathematical bestsellers, their fame being only surpassed by the ‘Elements’ of Euclid. -
TS Botticelli FRE 4C.Qxp 3/10/2009 1:41 PM Page 2
BOTTICELLIBOTTICELLI Émile Gebhart & Victoria Charles TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 2 Text: Émile Gebhart and Victoria Charles Layout: BASELINE CO LTD 61A-63A Vo Van Tan Street 4th Floor District 3, Ho Chi Minh City Vietnam © Parkstone Press International, New York, USA © Confidential Concepts, Worldwide, USA All modification and reproduction rights reserved internationally. Unless otherwise stated, copyright for all artwork reproductions rests with the photographers who created them. Despite our research efforts, it was impossible to identify authorship rights in some cases. Please address any copyright claims to the publisher. ISBN: 978-1-78042-995-3 TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 3 ÉMILE GEBHART Sandro Botticelli TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 4 TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 5 Contents Botticelli’s Youth and Education 7 Botticelli’s First Works 37 The Medici and Botticelli’s Pagan Initiation 67 Pagan, Mystical, and Oriental Visions 113 Botticelli’s Waning Days 179 Bibliography 252 List of Illustrations 253 TS Botticelli 4C ok.qxp 11/13/2009 10:22 AM Page 6 TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 7 Botticelli’s Youth and Education TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 8 TS Botticelli 4C.qxp 11/12/2009 5:17 PM Page 9 — Botticelli’s Youth and Education — lessandro di Mariano Filipepi, also known as “di Botticello” in homage to his first master, and A Sandro Botticelli to those who knew him, was born in Florence in 1445. -
The Esotericism in Sandro Botticelli's La Primavera
THE ESOTERICISM IN SANDRO BOTTICELLI’S LA PRIMAVERA © Esperanza Parra López. Registered in the Spanish Register of Intellectual Property. Register Number: 08/2011/549. ABSTRACT: This article proposes an iconographic and especially iconological interpretation about the picture La Primavera (Allegory of Spring) by Sandro Botticelli. This fresh interpretation has a strong esoteric component, characteristic of the period when it was created, which has remained largely unnoticed. But the author of this research maintains that in order to fully understand this picture, it is needed to penetrate the Italian Renaissance Mentality. KEYWORDS: Marsilio Ficino – Lorenzo of Pierfrancesco of Medici – Lorenzo The Magnificent – Simonetta Vespucci – Semiramide Appiani. RESUMEN: Se propone aquí, en el presente artículo, una interpretación iconográfica y sobre todo iconológica totalmente nueva y definitiva sobre el cuadro La Primavera de Sandro Botticelli. Esta novedosa interpretación tiene un fuerte componente esotérico, propio de la época en la cual se realizó esta obra de arte, que, muchas veces, ha pasado totalmente desapercibido. Pero la autora de esta investigación, insiste, en que hay que penetrar en la mentalidad del Renacimiento Italiano y sus escritos para comprender la totalidad de dicho cuadro. THE ESOTERICISM IN SANDRO BOTTICELLI’S LA PRIMAVERA © Esperanza Parra López. Registered in the Spanish Register of Intellectual Property. Register Number: 08/2011/549. [email protected] Botticelli: La Primavera. Florence, ©Uffizi. (fig. 1) PREFACE: This essay begins with a short review of what has been written until now about Botticelli’s La Primavera. Later, the main part of the essay is presented. The purpose of this research is not to compile what has been said before, but to bring new information 2 that can help to envisage the iconographic, and above all, iconological interpretation of this artwork. -
Simple Rules for Incorporating Design Art Into Penrose and Fractal Tiles
Bridges 2012: Mathematics, Music, Art, Architecture, Culture Simple Rules for Incorporating Design Art into Penrose and Fractal Tiles San Le SLFFEA.com [email protected] Abstract Incorporating designs into the tiles that form tessellations presents an interesting challenge for artists. Creating a viable M.C. Escher-like image that works esthetically as well as functionally requires resolving incongruencies at a tile’s edge while constrained by its shape. Escher was the most well known practitioner in this style of mathematical visualization, but there are significant mathematical objects to which he never applied his artistry including Penrose Tilings and fractals. In this paper, we show that the rules of creating a traditional tile extend to these objects as well. To illustrate the versatility of tiling art, images were created with multiple figures and negative space leading to patterns distinct from the work of others. 1 1 Introduction M.C. Escher was the most prominent artist working with tessellations and space filling. Forty years after his death, his creations are still foremost in people’s minds in the field of tiling art. One of the reasons Escher continues to hold such a monopoly in this specialty are the unique challenges that come with creating Escher type designs inside a tessellation[15]. When an image is drawn into a tile and extends to the tile’s edge, it introduces incongruencies which are resolved by continuously aligning and refining the image. This is particularly true when the image consists of the lizards, fish, angels, etc. which populated Escher’s tilings because they do not have the 4-fold rotational symmetry that would make it possible to arbitrarily rotate the image ± 90, 180 degrees and have all the pieces fit[9]. -
The Renaissance
This presentation was created by Joe Lanni This is an introduction to Italian Art - The Renaissance I am Mr. Lanni, Art Teacher at Columbia Middle School. I will lead you through this presentation which highlights a few artists from this period. You will notice that several of the artists are referred to by only one name. I used the name that the artists were most known by. Each slide contains a link for more information. This presentation was created by Joe Lanni I t a l i a n Renaissance The Renaissance is divided into two parts • Early Renaissance began in the 1400s This sculpture is called Laocoon. It is an ancient Greek sculpture • High Renaissance began in the 1500s that was copied by the Romans. It became a great inspiration for Renaissance sculptors Renaissance means rebirth • A discovery of ancient art in Italy led to an interest in classical Greek and Roman Art • Renaissance artists believed that art from Ancient Greece and Rome was perfect • Renaissance artists wanted to copy this perfect art http://www.idcrome.org/laocoon.htm This presentation was created by Joe Lanni E a r l y Renaissance • Ghiberti is most known for winning an art contest Lorenzo Ghiberti held by the city of Florence, Italy in 1401 • The winner was paid to sculpt a set of golden doors for the Baptistery building in the center of the city •These doors are about 16 feet tall This is the Baptistery. If you look closely you can see the doors. •They took over I’m pointing to it with my brush. -
Leonardo Universal
Leonardo Universal DE DIVINA PROPORTIONE Pacioli, legendary mathematician, introduced the linear perspective and the mixture of colors, representing the human body and its proportions and extrapolating this knowledge to architecture. Luca Pacioli demonstrating one of Euclid’s theorems (Jacobo de’Barbari, 1495) D e Divina Proportione is a holy expression commonly outstanding work and icon of the Italian Renaissance. used in the past to refer to what we nowadays call Leonardo, who was deeply interested in nature and art the golden section, which is the mathematic module mathematics, worked with Pacioli, the author of the through which any amount can be divided in two text, and was a determined spreader of perspectives uneven parts, so that the ratio between the smallest and proportions, including Phi in many of his works, part and the largest one is the same as that between such as The Last Supper, created at the same time as the largest and the full amount. It is divine for its the illustrations of the present manuscript, the Mona being unique, and triune, as it links three elements. Lisa, whose face hides a perfect golden rectangle and The fusion of art and science, and the completion of the Uomo Vitruviano, a deep study on the human 60 full-page illustrations by the preeminent genius figure where da Vinci proves that all the main body of the time, Leonardo da Vinci, make it the most parts were related to the golden ratio. Luca Pacioli credits that Leonardo da Vinci made the illustrations of the geometric bodies with quill, ink and watercolor. -
Neoplatonism and the Visual Arts at the Time of Marsiuo Ficino
NEOPLATONISM AND THE VISUAL ARTS AT THE TIME OF MARSIUO FICINO Francis Ames-Lewis Over the past fifty years or so, debate on the issue of the significance of Florentine Neoplatonic philosophy, and of Ficino's philosophical ideas in particular, for the visual arts in his time has primarily revolved around paintings produced for members of the Medici family, and most particularly two of Botticelli's great panel-paintings in the Uffizi, the Pallas and the Centaur and the Primavera. This debate reached its height around 1960 when Edgar Wind and Erwin Panofsky proposed variations on the classic Neoplatonic reading, Ernst Gom brich's celebrated article of 1945.1 Gombrich understood the Primavera in the light of a letter from Marsilio Ficino to Lorenzo di Pierfrancesco de' Medici, second cousin to Lorenzo the Magnificent, in which Venus is equated with the concept of humanitas. However, this does not really help to elucidate the meaning of the Venus who stands at the centre of the Primavera. Moreover, Gombrich's hypothesis was further compromised by his unsatisfactory attempt to identify the figures and their interrelationships in the light of the Golden Ass of Apuleius, which in its somewhat coarse character does not well match the lyrical, pastoral quality of Botticelli's pictorial treatment. In 1958 Edgar Wind suggested, citing Ficino at frequent inter vals, that the two groups on either side of Venus may represent two consecutive phases of one consistent Platonic theory of love. 2 Since Vasari had seen the Primavera and the Birth of Venus hanging in the villa of Castello, which then belonged to the heirs of Lorenzo di Pierfrancesco de' Medici, Erwin Panofsky proposed in 1960 that they were pendants (despite the fact that one is on panel and the other on canvas), both painted for Lorenzo di Pierfrancesco, the first 1 E. -
Leonardo Da Vinci's Study of Light and Optics: a Synthesis of Fields in The
Bitler Leonardo da Vinci’s Study of Light and Optics Leonardo da Vinci’s Study of Light and Optics: A Synthesis of Fields in The Last Supper Nicole Bitler Stanford University Leonardo da Vinci’s Milanese observations of optics and astronomy complicated his understanding of light. Though these complications forced him to reject “tidy” interpretations of light and optics, they ultimately allowed him to excel in the portrayal of reflection, shadow, and luminescence (Kemp, 2006). Leonardo da Vinci’s The Last Supper demonstrates this careful study of light and the relation of light to perspective. In the work, da Vinci delved into the complications of optics and reflections, and its renown guided the artistic study of light by subsequent masters. From da Vinci’s personal manuscripts, accounts from his contemporaries, and present-day art historians, the iterative relationship between Leonardo da Vinci’s study of light and study of optics becomes apparent, as well as how his study of the two fields manifested in his paintings. Upon commencement of courtly service in Milan, da Vinci immersed himself in a range of scholarly pursuits. Da Vinci’s artistic and mathematical interest in perspective led him to the study of optics. Initially, da Vinci “accepted the ancient (and specifically Platonic) idea that the eye functioned by emitting a special type of visual ray” (Kemp, 2006, p. 114). In his early musings on the topic, da Vinci reiterated this notion, stating in his notebooks that, “the eye transmits through the atmosphere its own image to all the objects that are in front of it and receives them into itself” (Suh, 2005, p. -
FOR IMMEDIATE RELEASE August 18, 2015
FOR IMMEDIATE RELEASE August 18, 2015 MEDIA CONTACT Emily Kowalski | (919) 664-6795 | [email protected] North Carolina Museum of Art Presents M. C. Escher, Leonardo da Vinci Exhibitions and Related Events Raleigh, N.C.—The North Carolina Museum of Art (NCMA) presents two exhibitions opening in October 2015: The Worlds of M. C. Escher: Nature, Science, and Imagination and Leonardo da Vinci’s Codex Leicester and the Creative Mind. The Worlds of M. C. Escher features over 130 works (some never before exhibited) and will be the most comprehensive Escher exhibition ever presented in the United States. The Codex Leicester is a 500-year-old notebook handwritten and illustrated by inventor, scientist, and artist Leonardo da Vinci—the only manuscript by Leonardo in North America—that offers a glimpse into one of the greatest minds in history. “This is going to be an exciting fall at the Museum—an incredibly rare opportunity for our visitors to see not only centuries-old writings and sketches by Leonardo da Vinci, but also the work of M. C. Escher, another observer of nature and a perfect modern counterpart to Leonardo,” says NCMA Director Lawrence J. Wheeler. “These exhibitions will thrill art lovers and science lovers alike, and we hope that all visitors leave with a piqued curiosity, an ignited imagination, and a desire to more closely observe the world around them.” The Worlds of M. C. Escher: Nature, Science, and Imagination October 17, 2015−January 17, 2016 Comprising over 130 woodcuts, lithographs, wood engravings, and mezzotints, as well as numerous drawings, watercolors, wood blocks, and lithographic stones never before exhibited, The Worlds of M. -
Presentazione Standard Di Powerpoint
THE SISTINE CHAPEL PCTO – Itt. Cristoforo Colombo Rome, 25 march 2021 Class IV°A 1 Lisa Julia Adamoli, Valentin Creciun, John Tan INDEX: Where is located? Pag.3 History Pag.4 Michelangelo Buonarroti Pag.5 Sandro Botticelli Pag.6 Domenico Ghirlandaio Pag.7 The North Wall The vocation of the first Apostles Pag.9 The delivery of Keys Pag.10 Trials of Christ Pag.11 The South Wall Jurney of Moses in Egypt Pag.14 Youth of Moses Pag.15 Punishment of thesons of Korah Pag.17 Sources Pag.18 2 WHERE IS LOCATED? The Vatican Museum contain an immense wealth of art. The museums offer a great variety of collections from ancient Greek to Etruscan art and of course Renaissance art. Vatican Museum is located within the Vatican City, in Rome. 3 HISTORY The Sistine Chapel stands on the foundation of an older chapel called the Capella Magna. In 1477, Pope Sixtus IV started a rebuilding of the chapel. The chapel’s exterior is simple and unassuming. In 1503, pope Julius II, decided to change some of the Sistine Chapel's decorations. He commissioned the artist Michelangelo to do it. Pope Clement VII commissioned Michelangelo to paint the giant fresco "The Last Judgment« in 1536. 4 MICHELANGELO BUONARROTI Michelangelo Buonarroti was born in the small village of Caprese in 1475 and died in Rome in 1564. In his life he painted and scolished a lot of important paintings and sculptures. The most important are: • The Pieta • David • The Creation of Adam • The Last Jugdement 5 SANDRO BOTTICELLI Sandro Botticelli was born around 1445 in Florence and died in Florence in 1510. -
Botticelli's Muse
Media Kit for Botticelli’s Muse by Dorah Blume In the villa of his irritating new patron, Renaissance artist Sandro Botticelli feels his creative well run dry—until he accidentally discovers Floriana, a Jewish weaver imprisoned in his sister’s convent. Events threaten to keep his unlikely muse out of reach, and so begins a tale of one of the art world’s most beloved paintings, La Primavera, as Sandro, a confirmed bachelor, and Floriana, a headstrong artist in her own right, enter into a turbulent relationship. Sales, Marketing, and Publicity Contacts: Deborah Bluestein, Publisher Juiceboxartists Press, 617-733-9016 [email protected] P.O. Box 230553, Boston, MA 02123 Juiceboxartists Press Botticelli’s Muse by Dorah Blume About the Book Relegated to an obscure Medici villa and the whims of an annoying patron half his age, Renaissance artist Sandro Botticelli falls into indecision and depression. Once he meets Floriana, a Jewish weaver held prisoner at a near- by convent under the control of Sandro’s estranged older sister, Oslavia, everything changes. Although the Medici hold the purse strings, Floriana— the inspiration behind his painting La Primavera—holds his heart strings. All the while, the religious fanatic Savonarola watches and waits to renounce Sandro’s work and threaten the safety of his muse and her unborn child. A tanner’s son, Sandro lives in a world of nobles, philosophers, and intellectuals, yet never belongs to it. Whether to love and leave his work behind, or love his work and leave Floriana behind—Botticelli’s divided loyalties torment him. How long can he refuse to choose? THe first of a three-volume series that begins in 1477 and culminates with Sensuous and provocative as well as the execution of Girolamo Savonarola in 1498, book one, Botticelli’s Muse, mysterious .