Botticelli and the Search for the Divine: Florentine Painting Between the Medici and the Bonfires of the Vanities to Open Feb
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Gold Leafs in 14Th Century Florentine Painting Feuilles D’Or Dans La Peinture Florentine Du Xive Siècle
ArcheoSciences Revue d'archéométrie 33 | 2009 Authentication and analysis of goldwork Gold leafs in 14th century Florentine painting Feuilles d’or dans la peinture florentine du XIVe siècle Giovanni Buccolieri, Alessandro Buccolieri, Susanna Bracci, Federica Carnevale, Franca Falletti, Gianfranco Palam, Roberto Cesareo and Alfredo Castellano Electronic version URL: http://journals.openedition.org/archeosciences/2532 DOI: 10.4000/archeosciences.2532 ISBN: 978-2-7535-1598-7 ISSN: 2104-3728 Publisher Presses universitaires de Rennes Printed version Date of publication: 31 December 2009 Number of pages: 409-415 ISBN: 978-2-7535-1181-1 ISSN: 1960-1360 Electronic reference Giovanni Buccolieri, Alessandro Buccolieri, Susanna Bracci, Federica Carnevale, Franca Falletti, Gianfranco Palam, Roberto Cesareo and Alfredo Castellano, « Gold leafs in 14th century Florentine painting », ArcheoSciences [Online], 33 | 2009, Online since 10 December 2012, connection on 19 April 2019. URL : http://journals.openedition.org/archeosciences/2532 ; DOI : 10.4000/ archeosciences.2532 Article L.111-1 du Code de la propriété intellectuelle. Gold leafs in 14th century Florentine painting Feuilles d’or dans la peinture florentine du XIVe siècle Giovanni Buccolieri*, Alessandro Buccolieri*, Susanna Bracci**, Federica Carnevale*, Franca Falletti**, Gianfranco Palamà*, Roberto Cesareo*** and Alfredo Castellano* Abstract: Gold leafs are typically present in paintings and frescoes of the Italian Renaissance in the 13th and 14th centuries. he chemical com- position and thickness of gold leafs provide important information toward a better understanding of the technology of that epoch. he present paper discusses the results of non-destructive analysis carried out with a portable energy dispersive X-ray luorescence (ED-XRF) equipment on the 14th century panel Annunciation with Saints Catherine of Alexandria, Anthony Abbot, Proculus and Francis by the painter Lorenzo Monaco. -
Leonardo in Verrocchio's Workshop
National Gallery Technical Bulletin volume 32 Leonardo da Vinci: Pupil, Painter and Master National Gallery Company London Distributed by Yale University Press TB32 prelims exLP 10.8.indd 1 12/08/2011 14:40 This edition of the Technical Bulletin has been funded by the American Friends of the National Gallery, London with a generous donation from Mrs Charles Wrightsman Series editor: Ashok Roy Photographic credits © National Gallery Company Limited 2011 All photographs reproduced in this Bulletin are © The National Gallery, London unless credited otherwise below. All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including BRISTOL photocopy, recording, or any storage and retrieval system, without © Photo The National Gallery, London / By Permission of Bristol City prior permission in writing from the publisher. Museum & Art Gallery: fig. 1, p. 79. Articles published online on the National Gallery website FLORENCE may be downloaded for private study only. Galleria degli Uffizi, Florence © Galleria deg li Uffizi, Florence / The Bridgeman Art Library: fig. 29, First published in Great Britain in 2011 by p. 100; fig. 32, p. 102. © Soprintendenza Speciale per il Polo Museale National Gallery Company Limited Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività St Vincent House, 30 Orange Street Culturali: fig. 1, p. 5; fig. 10, p. 11; fig. 13, p. 12; fig. 19, p. 14. © London WC2H 7HH Soprintendenza Speciale per il Polo Museale Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività Culturali / Photo Scala, www.nationalgallery. org.uk Florence: fig. 7, p. -
The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14Th-16Th Centuries
The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries: Images of Intergeneration Relationships By Welleda Muller The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries: Images of Intergeneration Relationships By Welleda Muller This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Welleda Muller All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9049-9 ISBN (13): 978-1-4438-9049-6 This book is dedicated to all of my colleagues and friends from MaxNetAging: Inês Campos-Rodrigues, Kristen Cyffka, Xuefei Gao, Isabel García-García, Heike Gruber, Julia Hoffman, Nicole Hudl, Göran Köber, Jana Kynast, Nora Mehl, and Ambaye Ogato. TABLE OF CONTENTS List of Illustrations ..................................................................................... ix Acknowledgments .................................................................................... xiii Introduction ................................................................................................ -
The Political Function of the Esther Tapestries: on the Image Strategy of Charles the Bold, Duke of Burgundy, for His Marriage Ceremony in 1468*
View metadata, citation and similar papers at core.ac.uk brought to you by CORE (163) The Political Function of the Esther Tapestries: On the Image Strategy of Charles the Bold, Duke of Burgundy, for his Marriage Ceremony in 1468* Sumiko IMAI 1. The Esther Tapestries and the Duke of Burgundy The Duchy of Burgundy, ruled first by Philip the Bold from a branch of the French Valois family, which reigned from 1363 to 1404, was known for its magnificent court cul- ture.(1) The palaces built everywhere within the Duchy were gorgeously adorned and hosted a great number of magnificent jousts, joyous entries, processions, and feasts. They not only provided aesthetic enjoyment for viewers but also impressed them with the great power of the Dukes of Burgundy.(2) Among numerous ornaments displayed at the palaces, large tap- estries woven with gold and silver threads were particularly striking, powerfully conveying their owners’ wealth and authority. One typical example was the set of Alexander Tapes- tries, depicting the life of the ancient ruler Alexander the Great (356 BC-323 BC).(3) Although the set of Alexander Tapestries is no longer complete, it is believed to have con- sisted of six large tapestries, measuring more than eight meters in width. They were fre- quently on display during meetings and feasts held by the third Duke of Burgundy, Philip the Good, who reigned from 1419 to 1467 (see Fig. 8)(4) and his son Charles the Bold, who became the fourth Duke of Burgundy, reigning from 1467 to 1477 (Fig. 9).(5) They won par- ticularly high praise when exhibited at the palace of the Duke of Burgundy in Paris. -
Sandro Botticelli
4(r A SANDRO BOTTICELLI BY E. SCHAEFFER TRANSLATED BY FRANCIS F. COX New York : FREDERICK A. STOKES COMPANY Printed in Great Britain. All rights reserved. — — — CONTENTS troductory— Botticelli's Place in Florentine Art—His Early History—Filippo Lippi, the Pollajuoli, Verrocchio Fortitude—Judith and Holofernes—S. Sebastian—Botticelli, Landscape Artist—Painter of Madonnas— Influence of Dante—The Magnificat —Madonna of the Palms— Adoration of the Magi— The Medici at Florence S. Augustine— Botticelli Summoned to Rome—The Frescoes of the Sistine Chapel—The Louvre Frescoes—Leone Battista Alberti Pallas Subduing a Centaur— Spring — TSirth of Venus—Mars and Venus— Calumny of Apelles—Savonarola—The Nativity—The Divina Commedia—Poverty and Neglect—The End—List of Works. ILLUSTRATIONS Mars and Venus. London, National Gallery (Photo- gravure) Frontispiece Facing page Fortitude. Florence, Uffizi 6 S. Sebastian. Berlin, Royal Gallery . .10 Head of the Madonna. Florence, Uffizi (From the " Mag- nificat ") . 20 The Daughters of Jethro. Rome, Sistine Chapel (Detail from the History of Moses) 36 Spring. Florence, Accademia 4.4. The Birth of Venus. Florence, (Photogravure) Uffizi . 46 Salome. Florence, Accademia ...... 50 The Calumny of Apelles. Florence, Uffizi . .52 The Nativity, London, National Gallerv .... 60 SANDRO BOTTICELLI I a chapel of the church of S. Maria Maggiore INat Florence there was preserved during long centuries a painting of the Assumption of the Virgin, the creation of Sandro Botticelli. The Holy Inquisition had detected in this apparently- pious work the taint of an abominable heresy, and shrouded it by means of a curtain from the gaze of true believers. For Botticelli in his conception of the angels had adhered to a damnable doctrine of Origen, who maintained that the souls of those angels who remained neutral at the time of Lucifer's rebellion were doomed by the Deity to work out their salvation by undergoing a period of probation in the bodies of men. -
Spring 2020 Course Title
Lecture Course Santa Reparata International School of Art Course Syllabus Semester: Spring 2020 Course Title: Art History: The Italian Renaissance SRISA Course Number: ARTH 3101 Maryville Course Number: ARTH 370 Credits: 3, Contact Hours: 45 Meeting times: Wednesday – 9.10 to 12.05 pm Location: Main Indipendenza Campus Room 207 Instructor: Dott.ssa Tiziana Landra Email: [email protected] Phone: + 39 338 4552905 Office hours: Please email me to schedule an appointment 1. COURSE DESCRIPTION This lecture course introduces students to Florentine Renaissance art from the early 15th century to the end of the High Renaissance in 1527. Students will study key practitioners of this period and their contributions to art history such as mathematical perspective, the rediscovery of the classical elements found in architecture and sculpture as well as the relentless search by certain artists for the perfection of balance and harmony. Renaissance artists such as Masaccio, Sandro Botticelli, Lorenzo Ghiberti, Donatello and Filippo Brunelleschi along with artists working in the High Renaissance style of the late 15th and early 16th centuries like Leonardo da Vinci, Michelangelo Buonarroti and Raphael of Urbino will be studied. In addition to the aesthetic and stylistic qualities of the works, students will study the historical, political, and religious context in which the artists made their work as a means to allow for a greater understanding of the works themselves. 2. CONTENT INTRODUCTION This art history course gives students the chance to study Renaissance art in the city where it was born, Florence. The course will explore the artistic revolution that took place in painting, sculpture and architecture in Florence from the beginning of the 15th century to the first decades of the 16th century. -
Women and Masks: the Economics of Painting and Meaning in the Mezza Figura Allegories by Lippi, Dandini and Martinelli
Originalveröffentlichung in: Fumagalli, Elena (Hrsg.): Firenze milleseicentoquaranta : arti, lettere, musica, scienza, Venezia 2010, 311-323 u. Abb. (Studi e ricerche / Kunsthistorisches Institut in Florenz, Max-Planck- Institut ; 6) ECKHARD LEUSCHNER WOMEN AND MASKS: THE ECONOMICS OF PAINTING AND MEANING IN THE MEZZA FIGURA ALLEGORIES BY LIPPI, DANDINI AND MARTINELLI A considerable number of paintings produced in Florence and usually dated to the late 1630s, the 1640s and early 1650s represents half-length figures of young women before a dark background. Among the attributes of these women, masks of similar shapes, probably made of leather and equipped with rather expressionless faces, appear regularly. Art history has not yet analysed these half-length figures as a group with related charac teristics, neither in terms of style and picture size nor in terms of allegori cal meaning. Most scholars, as a matter of fact, have limited themselves to discussing just one example, the socalled Simulazione by Lorenzo Lippi (fig. 1) in the museum of Angers which has acquired a certain prominence after having been chosen to decorate the cover of the Seicento exhibition in Paris in 1988.' In Lippi's painting, a woman with a serious expression on her face confronts the spectator with two objects in her hands, a mask and a pomegranate. Several art historians have interpreted one or both attributes as references to Simulatione in Cesare Ripa's Iconologia thus describing Lippi's woman as a personification of Simulation or of a simi lar allegorical quality, Dissimulation.1 Chiara d'Afflitto went one step fur 1 See Seicento, exhibition catalogue, Paris 1988; the entry for the picture by A. -
Painting in Renaissance Florence 1500-1550 New Haven and London, Yale University Press 2001
Rezensionen figer. Sie konnen den ungewohnlichen Wert ungemein anregendes Buch, eine auch unter- dieses Beitrags nicht mindern, der gerade recht haltsame Lektiire uberdies. Die Diskussion ist kommt zu Albertis 6oostem Geburtstag. Ein eroffnet. Hans-Karl Lucke David Franklin Painting in Renaissance Florence 1500-1550 New Haven and London, Yale University Press 2001. 273 pp., III. ISBN 0-300-08399-8 The period which David Franklin has set out ignore much of the art of the second and third to examine in his new book is the one which generations of the Cinquecento, and it was not Giorgio Vasari in his Lives termed the modern until the beginning of the 20th century that a epoch. In this first history of western art, group of Central European art historians led issued in Florence in 1550, and in a revised by scholars like Max Dvorak, Lili Frohlich- edition in 1568, Vasari divided art into three Bum and Walter Friedlander noticed a differ periods, comparable to childhood, youth and ence in style between the first and second maturity in life. An age of juvenile experi generation. Holding up the art of the past as a ments had started with Giotto; it was followed mirror for the expressionist art of their own by an improved age, youthful but greatly time they felt that after c. 1520 art expressed advanced in which “the truth of nature was a spiritual roothlessness and a crisis similar to exactly imitated”. And finally there had come what they experienced themselves in the wake the modern, mature age, Vasari’s own: at once of the Great War. -
Masaccio (1401-1428) St Peter Distributing Alms to the Poor (Ca 1425)
COVER ART Masaccio (1401-1428) St Peter Distributing Alms to the Poor (ca 1425) OR ALMOST 6 centuries, visitors to the Bran- banking and textiles had made some families wealthy, cacci Chapel in Florence, Italy, have been but many others were left behind. Hundreds of children charmed by the toddler shown here cling- were abandoned each year by poor parents who could ing to his mother, his little rounded rump not afford to raise them. Aid for these foundlings came dangling over her arm. from private charity and from the silk industry, whose FThe frescoes that cover the chapel walls show scenes guild had agreed in 1294 to become the official protec- from the life of St Peter, one of Christ’s 12 disciples. In tor of the city’s abandoned children. While Masaccio was this panel, Peter has traveled to a town in Palestine to working on the Brancacci Chapel, across town the Os- spread the gospel and to do good works following Christ’s pedale degli Innocenti (Foundling Hospital) was being resurrection. A community of believers have sold their built by the silk guild. (The “bambino” insignia of the personal property and pooled their funds, to be distrib- American Academy of Pediatrics was later drawn from a uted according to need. Peter is shown putting money roundel on the hospital’s facade.1) into the hand of the child’s indigent mother. At their feet What motivated this voluntary transfer of wealth to lies a man named Ananias, who secretly withheld part aid poor children? Genuine altruism certainly played a of the proceeds from selling his property and who fell role: rich men had children of their own, and the Re- dead when his deception was exposed. -
Filippino Lippi and Music
Filippino Lippi and Music Timothy J. McGee Trent University Un examen attentif des illustrations musicales dans deux tableaux de Filippino Lippi nous fait mieux comprendre les intentions du peintre. Dans le « Portrait d’un musicien », l’instrument tenu entre les mains du personnage, tout comme ceux représentés dans l’arrière-plan, renseigne au sujet du type de musique à être interprétée, et contribue ainsi à expliquer la présence de la citation de Pétrarque dans le tableau. Dans la « Madone et l’enfant avec les anges », la découverte d’une citation musicale sur le rouleau tenu par les anges musiciens suggère le propos du tableau. n addition to their value as art, paintings can also be an excellent source of in- Iformation about people, events, and customs of the past. They can supply clear details about matters that are known only vaguely from written accounts, or in some cases, otherwise not known at all. For the field of music history, paintings can be informative about a number of social practices surrounding the performance of music, such as where performances took place, who attended, who performed, and what were the usual combinations of voices and instruments—the kind of detail that is important for an understanding of the place of music in a society, but that is rarely mentioned in the written accounts. Paintings are a valuable source of information concerning details such as shape, exact number of strings, performing posture, and the like, especially when the painter was knowledgeable about instruments and performance practices, -
Lives of the Most Eminent Painters Sculptors and Architects
Lives of the Most Eminent Painters Sculptors and Architects Giorgio Vasari Lives of the Most Eminent Painters Sculptors and Architects Table of Contents Lives of the Most Eminent Painters Sculptors and Architects.......................................................................1 Giorgio Vasari..........................................................................................................................................2 LIFE OF FILIPPO LIPPI, CALLED FILIPPINO...................................................................................9 BERNARDINO PINTURICCHIO........................................................................................................13 LIFE OF BERNARDINO PINTURICCHIO.........................................................................................14 FRANCESCO FRANCIA.....................................................................................................................17 LIFE OF FRANCESCO FRANCIA......................................................................................................18 PIETRO PERUGINO............................................................................................................................22 LIFE OF PIETRO PERUGINO.............................................................................................................23 VITTORE SCARPACCIA (CARPACCIO), AND OTHER VENETIAN AND LOMBARD PAINTERS...........................................................................................................................................31 -
Leonardo's Colour and Chiaroscuro Author(S): John Shearman Source: Zeitschrift Für Kunstgeschichte, 25
Leonardo's Colour and Chiaroscuro Author(s): John Shearman Source: Zeitschrift für Kunstgeschichte, 25. Bd., H. 1 (1962), pp. 13-47 Published by: Deutscher Kunstverlag GmbH Munchen Berlin Stable URL: http://www.jstor.org/stable/1481484 . Accessed: 27/02/2014 13:46 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Deutscher Kunstverlag GmbH Munchen Berlin is collaborating with JSTOR to digitize, preserve and extend access to Zeitschrift für Kunstgeschichte. http://www.jstor.org This content downloaded from 128.111.215.12 on Thu, 27 Feb 2014 13:46:34 PM All use subject to JSTOR Terms and Conditions LEONARDO'S COLOUR AND CHIAROSCURO By JohnShearman It is unfortunatelythe case that the analysis and interpretationof colour in paintings lags far behind other aspects of formal historical criticism.The subject seems to be in some degree of dis- repute,or at the best open to suspicion,and not without reason. It is rare that observationsin this field descend fromthe general to the particular1, or fromfrank subjectivity(even quasi-mysticism) to the admittedlymore tedious but ultimatelymore rewardingobjectivity that is, for example, nor- mally regarded as indispensablein modern studies of perspective.The following study was under- taken in the belief that colour (and its dependents,light and chiaroscuro)can just as well be sub- 2 mittedto argumentand historicalcriticism The analogy between perspectiveand colour is not casual.