DOCSLIB.ORG

Leonardo Da Vinci Society Newsletter, Emeritus Professor Francis Ames-Lewis, 52, Prebend Gardens, London W6 0XU; Tel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Leonardo Da Vinci Society Newsletter, Emeritus Professor Francis Ames-Lewis, 52, Prebend Gardens, London W6 0XU; Tel Leonardo da Vinci Society Newsletter editor: Francis Ames-Lewis Issue 30, May 2008 Recent and forthcoming events The Annual General Meeting and Annual Lecture, 2008. The Society’s Annual General Meeting was held The three-dimensional diagrams to show on Friday 9 May 2008 at 5.30 pm, in the Kenneth possible interpretations of the perspective scheme Clark Lecture Theatre at the Courtauld Institute of of the Last Supper (again from the 1989 Art, Somerset House, and was followed by the exhibition) hinted at the usefulness of this kind of Annual Lecture at 6.00 pm. We are as ever very thing for research. At this point Dr Criminisi grateful to the Courtauld Institute for their stepped in to explain his Computer Vision (CV) generous hospitality of this event. This year’s program, which was originally designed to give Annual Lecture was given jointly by Dr Antonio possible three-dimensional interpretations of Criminisi (Microsoft Research Ltd, Cambridge, photographs, but can also be used on works of art. UK) and Professor Martin Kemp (University of The program works by modelling the projective Oxford) on ‘The Appliance of Science: computer relationship between points in the 2-D image and vision and the analysis of space in Italian and those in the 3-D object that is represented in the Netherlandish paintings’. picture. It handles coordinates of points and Dr J.V. Field writes: The speakers took makes no assumptions whatsoever about turns, each discussing the parts in which he was regularities without explicit sanction from the the expert. The result was a lively account of a user. There are none of the built-in assumptions of lively and fruitful cooperation. regularity that vitiate results from Computer We began with Prof Kemp, whose subject Aided Design (CAD) programs. The CV program was wider than is implied by the title, including duly found all the non-conformities to discussion of the uses of computer animations in mathematical exactness that scholars laboriously exhibitions. We started with examples from the working by hand had found in such famous Leonardo da Vinci exhibition held at the Hayward examples of perspective as Piero della Gallery (London) in 1989. The graphics for this, Francesca’s Flagellation of Christ and Masaccio’s designed by Prof Philip Steadman, showed a Trinity fresco. stately ballet of polyhedra, advancing, turning and We then turned to Jan van Eyck’s retreating as they underwent the processes of Arnolfini Double Portrait (1434, National truncation, together with studies of the fall of light Gallery, London) and Robert Campin’s St. John and a series of architectural plans that blossomed the Baptist with a Donor (from the Heinrich von into buildings topped with cupolas. These were Werl triptych, 1438, Museo del Prado, Madrid). In purely illustrative, as were some similar these pictures, the CV program did something that animations of mathematical solids from the could not be done by hand methods: it worked out Leonardo exhibition at the Victoria & Albert what should have been seen in the convex mirrors Museum in 2006, from which we also saw that, in both pictures, show us the scene from animations made from Leonardo’s sets of behind (considering a variety of shapes for the drawings of a running man and a man wielding a mirrors). The results were that the scenes as hammer. In this last case, the vividness of the shown in the mirrors were astonishingly close to animation was testimony to the exactness of what one would have seen had the scene been Leonardo’s observation. real. To calculate such images would have been immensely tedious – and why should the painter have bothered? – so it seems we have evidence the fact that in recent years they have devoted that van Eyck and Campin actually set up the increasing attention to the technical and scientific scenes they were to paint. As Prof Kemp said, this culture of the Renaissance period, resulting in a is no longer a fashionable opinion. So a most number of in-depth studies of prominent figures enjoyable lecture left us with plenty to think like Francesco di Giorgio Martini, Luca Pacioli, about. Benvenuto Cellini and Niccolò Tartaglia. It would be useful to do something similar for Leonardo, For further information on Computer Vision see: embarking on a systematic investigation of the Antonio Criminisi, ‘Accurate Visual Metrology various components of his language (graphic from Single and Multiple Uncalibrated Images’, signs, phonomorphology, syntax, vocabulary) and Distinguished Dissertation Series, London: making use of the tools offered by an up-to-date Springer-Verlag, 2001. linguistic bibliography, which permit a specific assessment of individual traits from a structural point of view and in relation to registers and A Symposium on ‘Art and Science in the variety of use. Italian Renaissance: The animal world’ Furthermore, it is evident that investigations of this kind can benefit hugely from new The Society’s autumn 2008 symposium will be computer technologies, available both in the field held on Friday 7 November, from 10.00 am to of Leonardo studies and in that of linguistics. Any 6.00 pm, in the Basement Lecture Theatre at 43 examination of Leonardo’s language will of Gordon Square, London WC1 (Birkbeck, course have to include careful consideration of the University of London). It is another in the very particular typology of Leonardo’s texts, occasional series on ‘Art and Science in the which are inextricably bound up with their Italian Renaissance’, this time considering the material form, namely the manuscript, and are animal world. At the time of going to press, the distinguished by a symbiotic relationship between programme is not yet complete; but the text and drawing. Nor can it be ignored that the symposium will be introduced by Vivian Nutton, mass of texts produced by Leonardo and written and will include papers on Leonardo’s drawings in a typical mercantile script cover a vast range of of the horse (Martin Kemp) and on his work on situations, communicative models and degrees of the flight of birds (Juliana Barone), and on formality: besides various forms of notes on research on animals by William Harvey (Andrew technical-scientific matters, there is a gamut of Gregory), by Athanasius Kircher (J.V. Field) and, genres including letters and personal reflections, it is hoped, by Fabricius ab Acquapendente stories and witty remarks, prophecies and fantastic (Maurizio Rippa-Bonati). visions, grammatical exercises and word lists, poetic citations and translated passages, notes of expenses, inventories and so forth. The lines of Leonardesque news enquiry that were briefly explored in the lecture focused on and threw up ideas regarding the use The Lettura Vinciana 2008 of graphic signs, phonomorphological structure, textual-syntactic organization and vocabulary. The forty-eighth Lettura Vinciana was delivered The texts examined were from the Codex at Vinci on Saturday 12 April 2008 by Paola Atlanticus and the Codex Madrid, in other words Manni (University of Florence). Her title was from the corpus of manuscripts that can already ‘Percorso nella lingua di Lenardo: grafie, forme, be consulted on the web via the digital archive e- parole’ (Exploring the language of Leonardo: Leo (www.leonardodigitale.com), which is greatly graphic signs, forms, words). Leonardo’s use of facilitating the work of linguists. language has been studied by generations of scholars in their efforts to interpret or edit his mass of writings, and an invaluable body of notes, observations and comments has been produced. However, not many contributions have been forthcoming from historians of language, despite The Leonardo da Vinci Society Page 2 Registered Charity 1012878 A Conference on ‘Building up Europe: Turin, from September 28 to November 9, 2008. Leonardo da Vinci and Heinrich Schickhardt. The exhibition will bring to the U.S. the On the circulation of technics in premodern unprecedented loan from Turin of eleven Europe’ (‘Europe Bauen: Leonardo da Vinci und drawings and the celebrated Codex on the Flight Heinrich Schickhardt. Zum Transfer technischen of Birds. The drawings have never before Wissens im vormodernen Europa’) travelled as a group outside of Italy. They include the celebrated metalpoint sketch of a young girl, a This conference was held in Stuttgart and preparatory drawing for the angel in the Virgin of Herrenberg on 29-30 May 2008, in conjunction the Rocks; a sheet of figure sketches for the Battle with the exhibition at the Hauptstaatarchiv of Anghiari; a proportion study for the head and Stuttgart entitled Zwischen Vision und eyes; and several equine sketches, among others. Verwirklichung. Leonardo da Vinci, Heinrich To accompany the exhibition, the Birmingham Schickhardt und die Technik ihrer Zeit (27 March Museum of Art will publish a fully illustrated to 4 July 2008). Papers included: ‘Drawing mills, catalogue. In addition to entries on each work, the pumps and other machines from Di Giorgio and catalogue will include essays by leading scholars, Leonardo to Heinrich Schickhardt. Some case Martin Kemp, Carmen Bambach, and the studies’ (Dr Romano Nanni, Vinci), ‘The ornithologist Richard Prum. Birmingham will also “database machine drawings” as a new possibility host a mini-symposium on Saturday 27 September to analyse and contextualize Heinrich 2008 entitled Leonardo: Imagination, Inspiration, Schickhardt’s technical drawings’ (Dr Marcus and Invention. Speakers will be David Alan Popplow, Berlin), ‘Leonardo da Vinci and shared Brown, Curator of Italian
Load more

Recommended publications
  • Catalogo Leonardo
    LEONARDO DA VINCI OIL PAINTING REPRODUCTION ARTI FIORENTINE FIRENZE ITALY There is no artist more legendary than Leonardo. In the whole History of Art, no other name has created more discussions, debates and studies than the genius born in Vinci in 1452. Self-Portrait, 1515 Red Chalk on paper 33.3 x 21.6 cm. Biblioteca Reale Torino As far as we know, this extraordinary dra- wing is the only surviving self-portrait by the master. The Annunciation, 1474 tempera on panel 98 X 217 cm. Galleria degli Uffizi THE BATTLE OF ANGHIARI The Battle of Anghiari is a lost painting by Leonardo da Vinci. This is the finest known copy of Leonardo’s lost Battle of Anghiari fresco. It was made in the mid-16th century and then extended at the edges in the early 17th century by Rubens. The Benois Madonna, 1478 Oil on canvas 49.5x33 cm Hermitage Museum Originally painted on wood, It was transferred to canvas when It entered the Hermitage, during which time it was severely demaged GOLD LEAF FRAME DETAIL Woman Head, 1470-76 La Scapigliata, 1508 Paper 28 x 20 cm Oil on canvas 24.7 x 21 cm Galleria degli Uffizi Firenze Parma Galleria Nazionale Lady with an ermine, 1489-90 Oil on wood panel 54 x 39 cm Czartoryski Museum The subject of the portrait is identified as Cecilia Gallerani and was probably painted at a time when she was the mi- stress of Lodovico Sforza, Duke of Milan, and Leonardo was in the service of the Duke. Carved gold frame Ritratto di una sforza, 1495 Uomo vitruviano, 1490 Gesso e inchistro su pergamena Matita e inchiostro su carta 34x24 cm.
    [Show full text]
  • 3 LEONARDO Di Strinati Tancredi ING.Key
    THE WORKS OF ART IN THE AGE OF DIGITAL REPRODUCTION THE THEORETICAL BACKGROUND The Impossible Exhibitions project derives from an instance of cultural democracy that has its precursors in Paul Valéry, Walter Benjamin and André Malraux. The project is also born of the awareness that in the age of the digital reproducibility of the work of art, the concepts of safeguarding and (cultural and economic) evaluation of the artistic patrimony inevitably enter not only the work as itself, but also its reproduction: “For a hundred years here, as soon as the history of art has escaped specialists, it has been the history of what can be photographed” (André Malraux). When one artist's work is spread over various museums, churches and private collections in different continents, it becomes almost impossible to mount monograph exhibitions that give a significant overall vision of the great past artist's work. It is even harder to create great exhibitions due to the museum directors’ growing – and understandable – unwillingness to loan the works, as well as the exorbitant costs of insurance and special security measures, which are inevitable for works of incalculable value. Impossible Exhibitions start from these premises. Chicago, Loyola University Museum of Art, 2005 Naples, San Domenico Maggiore, 2013/2014 THE WORKS OF ART IN THE AGE OF DIGITAL REPRODUCTION THE PROJECT In a single exhibition space, Impossible Exhibitions present a painter's entire oeuvre in the form of very high definition reproductions, making use of digital technology permitting reproductions that fully correspond to the original works. Utmost detail resolution, the rigorously 1:1 format (Leonardo's Last Supper reproduction occupies around 45 square meters!), the correct print tone – certified by a renowned art scholar – make these reproductions extraordinarily close to the originals.
    [Show full text]
  • Destructive Pigment Characterization
    Looking for common fingerprints in Leonardo’s pupils through non- destructive pigment characterization LETIZIA BONIZZONI 1*, MARCO GARGANO 1, NICOLA LUDWIG 1, MARCO MARTINI 2, ANNA GALLI 2, 3 1 Dipartimento di Fisica, Università degli Studi di Milano, , via Celoria 16, 20133 Milano (Italy) 2 Dipartimento di Scienza dei Materiali, Università degli Studi di Milano-Bicocca, via R. Cozzi 55, 20125 Milano (Italy) and INFN, Sezione Milano-Bicocca. 3 CNR-IFN,piazza L. da Vinci, 20132 Milano (Italy). *Corresponding author: [email protected] Abstract Non-invasive, portable analytical techniques are becoming increasingly widespread for the study and conservation in the field of cultural heritage, proving that a good data handling, supported by a deep knowledge of the techniques themselves, and the right synergy can give surprisingly substantial results when using portable but reliable instrumentation. In this work, pigment characterization was carried out on twenty-one Leonardesque paintings applying in situ XRF and FORS analyses. In-depth data evaluation allowed to get information on the colour palette and the painting technique of the different authors and workshops. Particular attention was paid to green pigments (for which a deeper study of possible pigments and alterations was performed with FORS analyses), flesh tones (for which a comparison with available data from cross sections was made) and ground preparation. Keywords pXRF, FORS, pigments, Leonardo’s workshop, Italian Renaissance INTRODUCTION “Tristo è quel discepolo che non ava[n]za il suo maestro” - Poor is the pupil who does not surpass his master - Leonardo da Vinci, Libro di Pittura, about 1493 1. 1 The influence of Leonardo on his peers during his activity in Milan (1482-1499 and 1506/8-1512/3) has been deep and a multitude of painters is grouped under the name of leonardeschi , but it is necessary to distinguish between his direct pupils and those who adopted his manner, fascinated by his works even outside his circle.
    [Show full text]
  • Wliery Lt News Release Fourth Street at Constitution Avenue Nw Washington Dc 20565 • 737-4215/842-6353
    TI ATE WLIERY LT NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215/842-6353 PRESS PREVIEW AUGUST 9, 1984 10:00 A.M. - 1:00 P.M. FOR IMMEDIATE RELEASE RENAISSANCE DRAWINGS FROM THE AMBROSIANA AT NATIONAL GALLERY OF ART WASHINGTON, D.C. JULY 27, 1984. The Biblioteca Ambrosiana in Milan, one of Europe's most prestigious research libraries, houses an impressive collection of manuscripts, printed books, and drawings. From the approximately 12,000 drawings in the Ambrosiana collection, eighty-seven sheets from the late fourteenth to early seventeenth centuries will go on view in the National Gallery of Art's West Building beginning August 12, 1984 and running through October 7, 1984. The Ambrosiana collection contains some of the finest works of North Italian draftsmanship. Until recently, these drawings (with the exception of those of the Venetian School) have received little attention from scholars outside Italy. This exhibition brings to the United States for the first time works from the Biblioteca Ambrosiana by prominent artists of the North Italian Schools as well as by major artists of the Renaissance in Italy and Northern Europe. The show includes works by Pisanello, Leonardo, Giulio Romano, Vasari, Durer, Barocci, Bans Holbein the Elder and Pieter Bruegel the Elder. Some of the earliest drawings in the exhibition are by the masters of the International Gothic Style. Several drawings by the prolific (MORE) RENAISSANCE DRAWINGS FRCM THE AMBROSIANA -2. draftsman, Pisanello, appear in the shew. Figures in elegant and fashionable costumes are depicted in his Eleven Men in Contemporary Dress.
    [Show full text]
  • LEONARDO Da Vinci Originated in Milan, and May Both Have Belonged Vinci 15.IV.1452 – Amboise 2.V.1519 to the Arconati Family
    Neil Jeffares, Dictionary of pastellists before 1800 Online edition LEONARDO da Vinci originated in Milan, and may both have belonged Vinci 15.IV.1452 – Amboise 2.V.1519 to the Arconati family. One group, of which six One of the many tantalising puzzles about cartoons are in Strasbourg, passed through the Leonardo is the early, if not earliest, use of pastel collections of the marchese Casnedi and with which he is widely, if erroneously, credited. procuratore Zaccaria Sagredo, from whom He notes in the Ligny memorandum (Codex Robert Udny bought them in Venice in 1778. It Atlanticus, fol. 669r), around 1495 (or perhaps is now known that the drawings in the other c.1500), his intention to get the way to draw with group were in the Ambrosiana before being dry colour from Jehan de Paris (Jean Perréal, q.v.) acquired by Sir Thomas Baring c.1800; they [“piglia da gian di paris il modo de colorire a remained together in the collections successively seccho”]. This he may have done during of Sir Thomas Lawrence (there were 10 sheets in Perréal’s trip to the Milanese court with Louis the group at this stage, as is evident from an XII in 1499. A possibly earlier document anonymous 1830 print showing the artist’s (c.1493–97), the Codex Madrid I, fol. 191r, private sitting room); Samuel Woodburn, the mentions “pastelli” explicitly (apparently the first dealer who bought Lawrence’s much of use of the word in this sense), and described a collection (but only 7 of these heads); Willem II mould for making pastel sticks.
    [Show full text]
  • Vezzosi A. Sabato A. the New Genealogical Tree of the Da Vinci
    HUMAN EVOLUTION Vol. 36 - n. 1-2 (1-90) - 2021 Vezzosi A. The New Genealogical Tree of the Da Vinci Leonardo scholar, art historian Family for Leonardo’s DNA. Founder of Museo Ideale Leonardo Da Vinci Ancestors and descendants in direct male Via IV Novembre 2 line down to the present XXI generation* 50059 Vinci (FI), Italy This research demonstrates in a documented manner the con- E-mail: [email protected] tinuity in the direct male line, from father to son, of the Da Vinci family starting with Michele (XIV century) to fourteen Sabato A. living descendants through twenty-one generations and four Historian, writer different branches, which from the XV generation (Tommaso), President of Associazione in turn generate other line branches. Such results are eagerly Leonardo Da Vinci Heritage awaited from an historical viewpoint, with the correction of the E-mail: leonardodavinciheritage@ previous Da Vinci trees (especially Uzielli, 1872, and Smiraglia gmail.com Scognamiglio, 1900) which reached down to and hinted at the XVI generation (with several errors and omissions), and an up- DOI: 10.14673/HE2021121077 date on the living. Like the surname, male heredity connects the history of regis- try records with biological history along separate lineages. Be- KEY WORDS: Leonardo Da Vinci, cause of this, the present genealogy, which spans almost seven Da Vinci new genealogy, ancestors, hundred years, can be used to verify, by means of the most living descendants, XXI generations, innovative technologies of molecular biology, the unbroken Domenico di ser Piero, Y chromosome, transmission of the Y chromosome (through the living descend- Florence, Bottinaccio (Montespertoli), ants and ancient tombs, even if with some small variations due burials, Da Vinci family tomb in Vinci, to time) with a view to confirming the recovery of Leonardo’s Santa Croce church in Vinci, Ground Y marker.
    [Show full text]
  • LEONARDO, POLITICS and ALLEGORIES Marco Versiero
    LEONARDO, POLITICS AND ALLEGORIES Marco Versiero To cite this version: Marco Versiero. LEONARDO, POLITICS AND ALLEGORIES. De Agostini. 2010, Codex Atlanticus, 978-88-418-6391-6. halshs-01385250 HAL Id: halshs-01385250 https://halshs.archives-ouvertes.fr/halshs-01385250 Submitted on 21 Oct 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Catalogo_Leonardo_04B@1000-1003 24-05-2010 11:45 Pagina 1 04 L’esposizione dei fogli del Codice Atlantico, The exhibition of folios from the Codex LEONARDO, LA POLITICA E LE ALLEGORIE l’incredibile raccolta di disegni Atlanticus, Leonardo da Vinci’s amazing LEONARDO, LA POLITICA di Leonardo da Vinci, vuole mettere collection of drawings, offers the public a disposizione del pubblico uno spaccato an authentic insight into the genius 04 E LE ALLEGORIE del genio del Maestro che, meglio of the great master. It was he, more than any DISEGNI DI LEONARDO DAL CODICE ATLANTICO di ogni altro, seppe intuire la connessione other, who perceived the interconnections fra le forze della natura e i benefici between the forces of nature and the benefits LEONARDO, POLITICS AND ALLEGORIES che l’umanità avrebbe potuto trarne.
    [Show full text]
  • The Pear-Shaped Salvator Mundi Things Have Gone Very Badly Pear-Shaped for the Louvre Abu Dhabi Salvator Mundi
    AiA Art News-service The pear-shaped Salvator Mundi Things have gone very badly pear-shaped for the Louvre Abu Dhabi Salvator Mundi. It took thirteen years to discover from whom and where the now much-restored painting had been bought in 2005. And it has now taken a full year for admission to emerge that the most expensive painting in the world dare not show its face; that this painting has been in hiding since sold at Christie’s, New York, on 15 November 2017 for $450 million. Further, key supporters of the picture are now falling out and moves may be afoot to condemn the restoration in order to protect the controversial Leonardo ascription. Above, Fig. 1: the Salvator Mundi in 2008 when part-restored and about to be taken by one of the dealer-owners, Robert Simon (featured) to the National Gallery, London, for a confidential viewing by a select group of Leonardo experts. Above, Fig. 2: The Salvator Mundi, as it appeared when sold at Christie’s, New York, on 15 November 2017. THE SECOND SALVATOR MUNDI MYSTERY The New York arts blogger Lee Rosenbaum (aka CultureGrrl) has performed great service by “Joining the many reporters who have tried to learn about the painting’s current status”. Rosenbaum lodged a pile of awkwardly direct inquiries; gained a remarkably frank and detailed response from the Salvator Mundi’s restorer, Dianne Dwyer Modestini; and drew a thunderous collection of non-disclosures from everyone else. A full year after the most expensive painting in the world was sold, no one will say where it has been/is or when, if ever, it might next be seen.
    [Show full text]
  • Logo/Barra Comune Di Milano / Palazzo Reale
    BERNARDINO LUINI E I SUOI FIGLI Palazzo Reale, 9 aprile | 13 luglio 2014 Dal 9 aprile 2014 l‟arte del Rinascimento torna nelle sale di Palazzo Reale con una grande mostra dedicata a Bernardino Luini, curata da Giovanni Agosti e Jacopo Stoppa. Bernardino Luini e i suoi figli è un progetto promosso dal Comune di Milano-Cultura, organizzato da Palazzo Reale insieme alla Soprintendenza per i Beni Storici, Artistici ed Etnoantropologici di Milano e al Dipartimento di Beni Culturali e Ambientali dell‟Università degli Studi di Milano e prodotto insieme a Gruppo 24Ore Cultura, con il sostegno di Cosmit, Ford, e in collaborazione con l‟architetto Piero Lissoni, che ha curato allestimento e illuminazione anche grazie al supporto di Flos. La mostra, ospitata nelle sale del piano nobile di Palazzo Reale e nella sala delle Cariatidi, racconta l‟intero percorso dell’artista, dalle ricerche giovanili ai quadri della maturità, con un occhio costante, da un lato, al lavoro dei suoi contemporanei (Bramantino, Lorenzo Lotto, Andrea Solario, Giovanni Francesco Caroto, Cesare da Sesto e molti altri); dall‟altro, alla traiettoria artistica dei figli di Luini, e in particolare del più piccolo Aurelio. Un intero secolo di arte lombarda va dunque in scena a Palazzo Reale, attraverso tele, tavole, disegni, affreschi staccati, arazzi, sculture in legno e in marmo, codici miniati, volumi a stampa. Il percorso espositivo presenta una selezione di circa duecento opere provenienti soprattutto dalle raccolte milanesi (dalla Madonna del roseto della Pinacoteca di Brera al Gesù Bambino dell‟Ambrosiana, dal Sant’Antonio del Poldi Pezzoli all‟Ercole e Atlante del Castello Sforzesco), ma integrate da significativi prestiti europei (per esempio dal Louvre e dallo Jacquemart-André di Parigi, dall‟Albertina di Vienna, dal Szépművészeti Múzeum di Budapest) e americani (dai musei di Houston e di Washington).
    [Show full text]
  • Martin Kemp MA, D
    Martin Kemp MA, D. LITT, FBA, FRSE, HRSA, HRIAS, FRSSU Curriculum Vitae: Summary Education Windsor Grammar School 1960-3 Downing College, Cambridge University (Part I, Natural Sciences, Part II History of Art) 1963-5 Academic Diploma in the History of Western Art, Courtauld Institute Appointments and Activities a. Teaching and Research Posts, and Visiting Professorships etc 1965-1966 Lecturer in the History of Fine Art, Dalhousie University, Halifax, N.S., Canada 1966-1981 Lecturer in the History or Fine Art, University of Glasgow 1981-1990 Professor of Fine Arts, University of St. Andrews 1984-1985 Member of Institute for Advanced Study, Princeton 1990-1995 Professor of the History and Theory of Art, St. Andrews 1987-1988 Slade Professor, University of Cambridge 1988 Benjamin Sonenberg Visiting Professor, Institute of Fine Arts, New York University 1993 Dorothy Ford Wiley Visiting Professor in Renaissance Culture, University of North Carolina, Chapel Hill 1993-1998 British Academy Wolfson Research Professor 1995-1997 Professor of the History of Art, Oxford University 2000 Louise Smith Brosse Professor at the University of Chicago 2001 Research Fellow, Getty Institute, Los Angeles 2004 Mellon Senior Research Fellow, Canadian Centre for Architecture, Montreal 2007-2008 Research Professor in the History of Art, Oxford University 2008- Emeritus Professor in the History of Art, Oxford University 2010 Lila Wallace - Reader’s Digest Visiting Professor, I Tatti, Harvard University b. Invited lectures Britain and Ireland (various), America (Ann
    [Show full text]
  • BERNARDINO LUINI Catalogo Generale Delle Opere
    CRISTINA QUATTRINI BERNARDINO LUINI Catalogo generale delle opere ALLEMANDI Sommario Abbreviazioni 7 1. Fortune e sfortune di Bernardino Luini 27 2. La questione degli esordi ALPE Archivio dei Luoghi Pii Elemosinieri, Milano, Azienda di Servizi alla Persona «Golgi-Redaelli» e del soggiorno in Veneto AOMMi Archivio dell’Ospedale Maggiore di Milano 35 3. Milano nel secondo decennio APOFMTo Archivio della Curia Provinciale OFM di Torino del Cinquecento ASAB Archivio Storico dell’Accademia di Brera di Milano ASBo Archivio di Stato di Bobbio 61 4. Le grandi commissioni ASCAMi Archivio Storico della Curia Arcivescovile di Milano degli anni 1519-1525 ASCMi Archivio Storico Civico di Milano 77 5. 1525-1532. Gli ultimi anni ASCo Archivio di Stato di Como ASDCo Archivio Storico Diocesano di Como ASMi Archivio di Stato di Milano 89 Tavole ASMLe Archivio di San Magno a Legnano, Milano ASS Archivio Storico del Santuario di Saronno, Varese Le opere ASTi Archivio di Stato del Cantone Ticino, Lugano 125 Dipinti IAMA Istituto di Assistenza Minori e Anziani di Milano Sopr. BSAE Mi Ex Soprintendenza per i Beni storici artistici ed etnoantropologici per le province 413 Dipinti dubbi, irreperibili o espunti di Milano, Bergamo, Como, Lecco, Lodi, Monza e Brianza, Pavia, Sondrio e Varese, 421 Alcune copie da originali perduti ora Soprintendenza Archeologia, belle arti e paesaggio per la città metropolitana di Milano e Soprintendenza Archeologia, belle arti e paesaggio per le province di Como, Lecco, e derivazioni da Bernardino Luini Monza-Brianza, Pavia, Monza e Varese. 429 Disegni 465 Opere perdute f. foglio rip. riprodotto 471 Regesto di Bernardino Luini s.d.
    [Show full text]
  • Yes, Lisa Del Giocondo Was Da Vinci's "Mona Lisa" 20:59, January 15, 2008
    Yes, Lisa del Giocondo was da Vinci's "Mona Lisa" 20:59, January 15, 2008 German academics citing notes scribbled in the margin of a book by it owner in October 1503 have confirmed Lisa del Giocondo, the wife of a wealthy Florentine merchant, was the model for Leonardo da Vinci's "Mona Lisa." Lisa Gherardini, the wife of Francesco del Giocondo, has long been regarded as the most likely model for the 16th-century painting. But art historians have often wondered whether the smiling woman may actually have been da Vinci's lover, his mother or the artist himself. "All doubts about the identity of the Mona Lisa have been eliminated by a discovery by Dr. Armin Schlechter," a manuscript expert, the Heidelberg University library said in a statement on Monday. Until then, only "scant evidence" from sixteenth-century documents had been available. "This left lots of room for interpretation and there were many different identities put forward," the library said. The notes were made by a Florentine city official Agostino Vespucci, an acquaintance of the artist, in a collection of letters by the Roman orator Cicero. Art experts, who have already dated the painting to this time, say the Heidelberg discovery is a breakthrough and the earliest mention linking the merchant's wife to the portrait. "There is no reason for any lingering doubts that this is another woman," Leipzig University art historian Frank Zoellner told German radio. "One could even say that books written about all this in the past few years were unnecessary, had we known." "Source:Xinhua/Agencies" .
    [Show full text]