The Last Judgment Maso Di Banco
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The Collaboration of Niccolò Tegliacci and Luca Di Tommè
The Collaboration of Niccolô Tegliacci and Lúea di Tomme This page intentionally left blank J. PAUL GETTY MUSEUM Publication No. 5 THE COLLABORATION OF NICCOLÔ TEGLIACCI AND LUCA DI TOMMÈ BY SHERWOOD A. FEHM, JR. !973 Printed by Anderson, Ritchie & Simon Los Angeles, California THE COLLABORATION OF NICCOLO TEGLIACCI AND LUCA DI TOMMÈ The economic and religious revivals which occurred in various parts of Italy during the late Middle Ages brought with them a surge of .church building and decoration. Unlike the typically collective and frequently anonymous productions of the chan- tiers and ateliers north of the Alps which were often passed over by contemporary chroniclers of the period, artistic creativity in Italy during the thirteenth and fourteenth centuries documents the emergence of distinct "schools" and personalities. Nowhere is this phenomenon more apparent than in Tuscany where indi- vidual artists achieved sufficient notoriety to appear in the writ- ings of their contemporaries. For example, Dante refers to the fame of the Florentine artist Giotto, and Petrarch speaks warmly of his Sienese painter friend Simone Martini. Information regarding specific artists is, however, often l^ck- ing or fragmentary. Our principal source for this period, The Lives of the Painters, Sculptors and Architects by Giorgio Vasari, was written more than two hundred years after Giotto's death. It provides something of what is now regarded as established fact often interspersed with folk tales and rumor. In spite of the enormous losses over the centuries, a large num- ber of paintings survived from the Dugento and Trecento. Many of these are from Central Italy, and a relatively small number ac- tually bear the signature of the artist who painted them. -
Contents More Information
Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Table of Contents More information CONTENTS S List of Illustrations page xi List of Contributors xxi Acknowledgments xxiii introduction 1 Francis Ames-Lewis 1 florence, 1300–1600 7 Francis W. Kent 2 florence before the black death 35 Janet Robson 3 the arts in florence after the black death 79 Louise Bourdua 4 republican florence, 1400–1434 119 Adrian W. B. Randolph 5 the florence of cosimo “il vecchio” de’ medici: within and beyond the walls 167 Roger J. Crum 6 art and cultural identity in lorenzo de’ medici’s florence 208 Caroline Elam 7 republican florence and the arts, 1494–1513 252 Jill Burke ix © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Table of Contents More information x CONTENTS 8 florence under the medici pontificates, 1513–1537 290 William E. Wallace 9 cosimoiandthearts 330 Elizabeth Pilliod Bibliography 375 Index 413 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Table of Contents More information ILLUSTRATIONS S Color Plates XI Andrea di Cione (Orcagna), Tabernacle, Color plates follow pages xxiv, 120, and 208. Orsanmichele, Florence I Giotto, Crucifix, Santa Maria Novella, XII Anonymous, Episodes from the Lives of Florence Diana and Actaeon (obverse side of II Giotto, Trial by Fire, Bardi Chapel, Santa wooden tray). -
"Things Not Seen" in the Frescoes of Giotto
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2017 "Things Not Seen" in the Frescoes of Giotto: An Analysis of Illusory and Spiritual Depth Aaron Hubbell Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Hubbell, Aaron, ""Things Not Seen" in the Frescoes of Giotto: An Analysis of Illusory and Spiritual Depth" (2017). LSU Master's Theses. 4408. https://digitalcommons.lsu.edu/gradschool_theses/4408 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. "THINGS NOT SEEN" IN THE FRESCOES OF GIOTTO: AN ANALYSIS OF ILLUSORY AND SPIRITUAL DEPTH A Thesis Submitted to the Graduate Faculty of Louisiana State University and the School of Art in partial fulfillment of the requirements for the degree of Master of Arts in Art History in The School of Art by Aaron T. Hubbell B.F.A., Nicholls State University, 2011 May 2017 ACKNOWLEDGEMENTS I would like to thank my thesis advisor, Dr. Elena Sifford, of the College of Art and Design for her continuous support and encouragement throughout my research and writing on this project. My gratitude also extends to Dr. Darius Spieth and Dr. Maribel Dietz as the additional readers of my thesis and for their valuable comments and input. -
Curriculum Simona Pasquinucci
CURRICULUM DOTT.SSA SIMONA PASQUINUCCI Simona Pasquinucci è nata a Empoli (Fi) il 6 aprile 1965. Titoli di studio: Maturità Classica presso il Liceo Ginnasio “Niccolò Forteguerri” di Pistoia nel 1983 con la votazione di 60/60; Laurea in Lettere presso l’Università degli Studi di Firenze relatore Prof. Mina Gregori nel 1991 con una tesi dal titolo “Giovanni Bonsi nella pittura Fiorentina della metà del Trecento” con la votazione di 110 /110 e lode; Diploma in Archivistica, Paleografia e Diplomatica presso l’Archivio di Stato di Firenze nel 1993 con la votazione di 63/70. Specializzazione in Beni Artistici conseguita presso la Scuola di Studi Umanistici e della Formazione di Firenze il 18 aprile 2019 con il massimo dei voti e menzione della lode. Esperienza professionale: Dal 27 luglio 1997 in servizio presso l’Amministrazione dei Beni Culturali (prima presso la Soprintendenza Beni Artistici e Storici per le Province di Firenze Pistoia e Prato, fino alla riforma del 2014 presso il Polo Museale Fiorentino; Polo Museale Regionale della Toscana fino al 30 giugno 2016); Dal primo luglio 2016 assegnata alle Gallerie degli Uffizi, con la qualifica di Assistente Amministrativo; Dal 14 luglio 2019 nomina a Storico dell’Arte. Capodivisione Curatoriale delle Gallerie degli Uffizi dal 2019 ad oggi. Attività scientifica: Fa parte del Consiglio direttivo dell’Associazione Corpus della Pittura Fiorentina. Ha iniziato nel 1991 la sua collaborazione con il Corpus della Pittura Fiorentina, sotto la guida del Prof. Miklos Boskovits, lavorando al volume, uscito nel 2000, “Tradition and Innovation in florentine Trecento Painting Giovanni Bonsi and Tommaso del Mazza” nel quale sono confluite le ricerche condotte per la tesi di laurea. -
Entire Triptych
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Agnolo Gaddi Florentine, c. 1350 - 1396 Madonna and Child with Saints Andrew, Benedict, Bernard, and Catherine of Alexandria with Angels [entire triptych] shortly before 1387 tempera on poplar panel left panel (overall): 197 × 80 cm (77 9/16 × 31 1/2 in.) middle panel (overall): 204 × 80 cm (80 5/16 × 31 1/2 in.) right panel (overall): 194.6 × 80 cm (76 5/8 × 31 1/2 in.) Inscription: left panel, across the bottom below the saints: S. ANDREAS AP[OSTO]L[U]S; S. BENEDICTUS ABBAS; left panel, on the book held by St. Benedict: AUSCU / LTA.O/ FILI.PR / ECEPTA / .MAGIS / [T]RI.ET.IN / CLINA.AUREM / CORDIS.T / UI[ET]A[D]MONITIONE / M.PII.PA / TRIS.LI / BENTE / R.EXCIP / E.ET.EF[FICACITER COMPLE] (Harken, O son, to the precepts of the master and incline the ear of your heart and willingly receive the admonition of the pious father and efficiently);[1] middle panel, across the bottom: AVE MARIA GRATIA PLENA DOMINUS [TECUM] (Hail, Mary, full of grace, the Lord is with thee; from Luke 1:28); middle panel, on the book held by the Redeemer in the gable: EGO SUM / A[ET] O PRINCI / PIU[M] [ET] FINIS / EGO SUM VI / A. VERITAS / [ET] VITA (I am Alpha and Omega, the beginning and the end, I am the way, the truth, and the life; from John 14:6; Revelations 22:13); right panel, across the bottom under the saints: S. -
Vasari: a Translation from Die Kunstliteratur (1924)
Julius von Schlosser on Vasari: a translation from Die Kunstliteratur (1924) Karl Johns - Julius Schlosser and the location of Vasari When Thomas Mann was composing Doktor Faustus and decided to have the devil make an appearance at the precise center of the manuscript, he was applying his literary irony to a phenomenon in which he had himself participated, which affected his life directly, and threatened those of his wife and children.1 When Julius Schlosser made Giorgio Vasari the isolated subject of Book Five of his Kunstliteratur, he was also describing a certain development in idiosyncratic literary terms and placing a figure at the center who could not ultimately be applauded according to the terms of his ‘Kunstliteratur’. Unlike the world of Adrian Leverkühn, Schlosser, who was felicitously described in a 1939 obituary as ‘an anachronism in the very best sense of the term’, had developed his concept of the literature of art ‘Kunstliteratur’ independently of the trends of the time. Indeed, his most ambitious essays had included a systematic refutation of the flawed premises of various types of scholarly writings about earlier art then flourishing. Formalism and undue abstraction were then exciting popular interest and drawing unusual numbers of auditors into academic lecture halls. The burgeoning literature of dissertations was being roundly criticized. In this period of emotional nationalism and rising fascism, his development of the concept of ‘Kunstliteratur’ served to stress the importance of objectivity in historical scholarship independently of anything one might feel. To create such a footing it would be necessary in his ‘classic’ book to clarify the entire emergence of the academic discipline of the history of art. -
Bulgarini, Saint Francis, and the Beginnings of a Tradition
BULGARINI, SAINT FRANCIS, AND THE BEGINNING OF A TRADITION A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Laura Dobrynin June 2006 This thesis entitled BULGARINI, SAINT FRANCIS, AND THE BEGINNING OF A TRADITION by LAURA DOBRYNIN has been approved for the School of Art and the College of Fine Arts by Marilyn Bradshaw Associate Professor of Art History Charles McWeeney Dean, College of Fine Arts DOBRYNIN, LAURA, M.A., June 2006, Art History BULGARINI, SAINT FRANCIS, AND THE BEGINNING OF A TRADITION (110 pp.) Director of Thesis: Marilyn Bradshaw This thesis examines the influence of the fourteenth-century Sienese painter Bartolommeo Bulgarini through his depiction of Saint Francis of Assisi exposing his side wound. By tracing the development of this motif from its inception to its dispersal in selected Tuscan panel paintings of the late-1300’s, this paper seeks to prove that Bartolommeo Bulgarini was significant to its formation. In addition this paper will examine the use of punch mark decorations in the works of artists associated with Bulgarini in order to demonstrate that the painter was influential in the dissemination of the motif and the subsequent tradition of its depiction. This research is instrumental in recovering the importance of Bartolommeo Bulgarini in Sienese art history, as well as in establishing further proof of the existence of the hypothesized Sienese “Post-1350” Compagnia, a group of Sienese artists who are thought to have banded together after the bubonic plague of c.1348-50. -
This Book Offers an Analysis of Giotto's Painted Architecture, Focusing On
Cambridge University Press 978-1-107-01632-3 - The Architecture in Giotto’s Paintings Francesco Benelli Frontmatter More information THE ARCHITECTURE IN GIOTTO’S PAINTINGS This book offers an analysis of Giotto’s painted architecture, focusing on issues of structural logic, clarity of composition, and its role within the narrative of the painting. Giotto was the first artist since antiquity to feature highly detailed architecture in a primary role in his paintings. Francesco Benelli demonstrates how architecture was used to create pictorial space, one of Giotto’s key inventions. He argues that Giotto’s innovation was driven by a new attention to classical sources, including low reliefs, mosaics, mural paintings, coins, and Roman ruins. The book shows how Giotto’s images of fictive buildings, as well as portraits of well-known monuments, both ancient and contemporary, play an important role in the overall narrative, iconography, and meaning of his works. The conventions established by Giotto remained at the heart of early modern Italian painting until the sixteenth century. Francesco Benelli is Associate Professor of Renaissance Architecture in the Department of Art History and Archaeology at Columbia University. He was the recipient of the Mellon Postdoctoral Fellowship at Columbia University and a Fellow at the Kunsthistorisches Institut in Florence. He has published widely on several aspects of Renaissance architecture, as well as on issues of building material and technique and the history of design and construction. © in this web service -
Italian Cities
LIBRARY UNIVERSITY OF CALIFORNIA SAN DIEGO ITALIAN CITIES VOL. II. BY EDWIN HOWLAND BLASHFIE AND YANGELINE WILBOUR BLASHF VOLUME II PERUGIA THE PORTA AUGUSTA ITALIAN CITIES BY EDWIN HOWLAND BLASHFIELD AND EVANGELINE WILBOUR BLASHFIELD VOLUME II WITH FORTY-EIGHT ILLUSTRATIONS NEW YORK CHARLES SCRIBNER'S SONS 19O2 Copyright, 1900, 1902 BY CHARLES SCRIBNER'S SONS UNIVERSITY PRESS JOHN WILSON AND SON CAMBRIDGE, U. S. A. CONTENTS OF THE SECOND VOLUME PERUGIA PAGE I. PERUSIA AUGUSTA 3 II. PERUGINO 28 III. THE GRIFFIN'S BROOD 43 CORTONA THE DAUGHTERS OF SANTA MARGHERITA 53 SPOLETO 75 ASSISI I. IL POVERELLO 87 II. STOIC AND SAINT 105 III. THE CHURCH OF SAINT FRANCIS . 114 IV. LA POVERA 139 RAPHAEL IN ROME I. RAPHAEL CALLED TO ROME 149 II. THE STANZA DELLA SEGNATURA . 154 v CONTENTS. PAGE III. OTHER FRESCOES IN THE STANZE OF THE VATICAN 177 IV. THE LOGGIE, THE FARNESINA, AND THE SIBYLS 191 V. RAPHAEL'S ENDOWMENT 202 FLORENTINE SKETCHES I. BRUNELLESCHI'S DOME 215 II. GIOTTO'S CAMPANILE 219 III. THE PASSING OF DANTE'S FLORENCE. 222 THE AGE OF PREPARATION 241 MANTUA I. THE DUCAL CITY 257 II. THE REGGIA 261 III. MANTEGNA . 285 vi ILLUSTRATIONS* VOL. II. TO FACE PAOI 1. The Porta Augusta, Perugia. The lower part of this gate is of Etruscan masonry, the upper por- tion is much later. It bears the inscription " " Augusta Perusia Frontispiece 2. Angels playing Musical Instruments. Relief by Agostino di Duccio Florentine set in the fa9ade of the Oratory of San Bernardino, Perugia. The whole fa9ade, unique in its kind, is the work of Agostino 12 3. -
Saint Paul and a Group of Worshippers
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Bernardo Daddi active by 1320, died probably 1348 Saint Paul and a Group of Worshippers 1333 tempera on panel painted surface: 224.8 × 77 cm (88 1/2 × 30 5/16 in.) overall: 233.53 × 88.8 × 5.3 cm (91 15/16 × 34 15/16 × 2 1/16 in.) Inscription: above the saint's halo: S[ANCTUS]; above the saint's shoulders: PAU LUS; on the lower frame below the worshippers: [ANNO DOMI]NI.MCCCXXXIII M...II.ESPLETUM FUIT H[O]C OPUS (In the year of the Lord 1333... this work was finished) [1] Andrew W. Mellon Collection 1937.1.3 ENTRY The panel, with the frontal figure of the standing saint, who is not accompanied to the sides by a series of superimposed narrative scenes of his legend as in so- called biographical icons, belongs to a type of image that began to appear in Florence and in other cities in Italy in the thirteenth century and remained widespread throughout the following century: narrow and elongated in format, these paintings were probably intended to be hung against a pillar in a church. [1] Paintings of this kind, however, were more frequently painted directly onto the pillar or onto the wall of the church with the more economical technique of fresco. [2] Panels with single figures of saints were realized either with a votive intention, as for instance the one by Daddi himself representing Saint Catherine of Alexandria and a kneeling donor, now in the Museo dell’Opera del Duomo in Florence, [3] or as an expression of the cult of a confraternity or a religious lay company that met to pray and sing before the image at particular times. -
Isprs-Archives-XLVI-M-1-2021-141-2021 | © Author(S) 2021
The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Volume XLVI-M-1-2021 28th CIPA Symposium “Great Learning & Digital Emotion”, 28 August–1 September 2021, Beijing, China PHOTOGRAMMETRY AND MEDIEVAL ARCHITECTURE. USING BLACK AND WHITE ANALOGIC PHOTOGRAPHS FOR RECONSTRUCTING THE FOUNDATIONS OF THE LOST ROOD SCREEN AT SANTA CROCE, FLORENCE F. Condorelli 1 *, G. Pescarmona 2, Y. Ricci 3 1 DAD, Department of Architecture and Design, Politecnico di Torino, Italy - [email protected] 2 SAGAS, Department of History, Archaeology, Geography, Art and Performing Arts, University of Florence, Italy - [email protected] 3 DIDA, Department of Architecture, University of Florence, Italy - [email protected] KEY WORDS: History of Medieval Art, Medieval Archaeology, Photogrammetry, Metric Quality Assessment, Digital Model, Virtual Reality ABSTRACT: In this research paper photogrammetric techniques have been successfully applied to historic black and white analogic photographs to convey previously inaccessible architectural and archaeological information. The chosen case study for this paper is the Franciscan Basilica of Santa Croce in Florence, Italy. A photogrammetric algorithm has been implemented over a series of b/w negatives portraying the archaeological excavations carried out in the years 1967 - 1969, after the traumatic flood of the river Arno in 1966 that severely damaged the city centre of Florence and, particularly, the Santa Croce monumental site. The final aim of this operation is to provide solid evidence for the virtual reconstruction of the lost rood screen of the basilica of Santa Croce, the current subject of the PhD research of one of the Authors (Giovanni Pescarmona) at the University of Florence. -
Seeing Renaissance Glass: Art, Optics, and Glass of Early Modern Italy, 1250–1425 / Sarah M
Dillon With the invention of eyeglasses around 1280 near Pisa, the mundane medium of glass transformed early modern optical technology and visuality. It also significantly influenced contemporaneous art, religion, and science. References to glass are Seeing Renaissance Glass found throughout the Bible and in medieval hagiography and poetry. For instance, glass is mentioned in descriptions of Heavenly Jerusalem, the Beatific Vision, and Art, Optics, and Glass of the Incarnation. At the same time, a well-known Islamic scientific treatise, which Early Modern Italy, 1250–1425 likened a portion of the eye’s anatomy to glass, entered the scientific circles of the Latin West. Amidst this complex web of glass-related phenomena early modern Italian artists used glass in some of their most important artworks but, until now, Seeing Renaissance Glass no study has offered a comprehensive consideration of the important role glass played in shaping the art of the Italian Renaissance. Seeing Renaissance Glass explores how artists such as Giotto, Duccio, Nicola Pisano, Simone Martini, and others employed the medium of glass—whether it be depictions of glass or actual glass in the form of stained glass, gilded glass, and transparent glass—to resonate with the period’s complex visuality and achieve their artistic goals. Such an interdisciplinary approach to the visual culture of early modern Italy is particularly well-suited to an introductory humanities course as well as classes on media studies and late medieval and early Renaissance art history. It is also ideal for a general reader interested in art history or issues of materiality. Sarah M. Dillon is Assistant Professor of Art History at Kingsborough Community College, CUNY, specializing in early modern art.