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Francesco Cavazzoni Pittore E Scrittore
IGURE F 3 - 2017 Francesco Cavazzoni pittore e scrittore Negli anni successivi al Concilio di Trento si assiste nei territori Lo utilizza soprattutto, e con continuità, Prospero Fontana. La dello Stato Pontifi cio e in quelli rimasti cattolici all’elaborazione propensione descrittiva nei suoi quadri è la stessa, simili sono la di un nuovo tipo di pala d’altare. Il modo diverso di intendere la gestualità dei protagonisti e l’intensità espressiva, simile la mate- devozione sollecita nuove forme artistiche e una nuova strategia ria pittorica, simile lo spirito con cui il pittore aderisce ai passi di comunicazione. Le ripercussioni nella cultura fi gurativa sono evangelici. notevoli fi no agli anni venti del Seicento e oltre. A Bologna i Scarse le informazioni biografi che nonostante alcune signifi cative Paleotti, Gabriele (al governo della metropolitana dal 1565 al commissioni per collocazioni sia pubbliche sia private, tuttora non 1591) prima, il cugino Alfonso, suo coadiutore indi successore conosciamo neppure le date di nascita e di morte. Pittore e scrittore (1591-1610), hanno lasciato segni non meno importanti sia nella devoto in stretto e ripetuto collegamento con la famiglia Pepoli, lo pratica liturgica, sia nell’equilibrio dei poteri fra le istituzioni sappiamo attivo nelle botteghe di Bartolomeo Passerotti e di Ora- civili e religiose e la sede pontifi cia romana, sia nel coinvolgimento zio Samachini, sensibile alla maniera di entrambi. Dopo lavori delle arti. Li guida la convinzione che alla sollecitazione dei a Pesaro e a Città di Castello, è impegnato a Bologna soprat- sensi, la vista soprattutto e l’udito per il canto e la musica, fos- tutto nell’ultimo ventennio del Cinquecento. -
Women, Virtue and Visual Imagery During the Counter-Reformation in the Papal States, 1575-1675
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 Maniera Devota/mano Donnesca: Women, Virtue And Visual Imagery During The Counter-Reformation In The Papal States, 1575-1675 Patricia Rocco Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/101 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MANIERA DEVOTA/MANO DONNESCA WOMEN, VIRTUE AND VISUAL IMAGERY DURING THE COUNTER-REFORMATION IN THE PAPAL STATES, 1575-1675 by PATRICIA ROCCO A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy The City University of New York 2014 ©2014 PATRICIA ROCCO All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy Professor James Saslow Date Chair of Executive Committee Professor Claire Bishop Date Executive Officer Professor James Saslow Professor Elinor Richter Professor Barbara Lane Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MANIERA DEVOTA/MANO DONNESCA WOMEN, VIRTUE AND VISUAL IMAGERY DURING THE COUNTER-REFORMATION IN THE PAPAL STATES, 1575-1675 by Patricia Rocco Adviser: Professor James Saslow The history of women’s participation in religious movements during the Early Modern period in Europe has long been less commented upon in modern scholarship than that of their male counterparts. -
ART-SEE Journal of Undergraduate Research in Art History
ART-SEE Journal of Undergraduate Research in Art History Published by undergraduate students of the department of Art History Indiana University of Pennsylvania Volume 2 May 2014 2 ART-SEE Volume 2 Editor in Chief: Nicole Gencarelli Editors: Melissa Crouch, Kelsey B Faculty Advisor: Dr. Irene Kabala ARTSEE is an annual online journal published by the undergraduate students of the Art History department at Indiana University of Pennsylvania. ARTSEE promotes the original research by undergraduate students in the various fields of Art History. Each volume is edited by a dedicated group of students and is overviewed by the Assistant Chair of the Art Department and established art historian Irene Kabala. The papers presented here are selected for their strong contribution to existing scholarship and show the best work of IUP’s undergraduate students. The papers currently published focus in various Western Art fields including Ancient and Medieval Art, Italian and Northern Renaissance, and Baroque. 3 ART-SEE Volume 2 Articles Brunelleschi: Exploring the Influence and Innovation behind Brunelleschi’s Pazzi Chapel Hannah E. Vought George de La Tour’s Mary Magdalene as Melancholy Nicole Gencarelli Lavinia Fontana: The Woman who Conquered the Patriarchy of the Italian Renaissance Lindsay Woodbury Politics, Prejudice and Pastel: The Allegories of Rosalba Carriera Kelsey Bryner Symbols of Power at the Villa Farnese in Viterbo, Italy Melissa Crouch 4 Brunelleschi: Exploring the Influence and Innovation behind Brunelleschi’s Pazzi Chapel Hannah E. Vought Nestled within the first cloister of Santa Croce in Florence, Italy, the Pazzi Chapel is simple and restrained, with the subtle sophistication that defines Italian Renaissance architecture. -
Abbott Thesis.Pdf
LEGENDARY LADIES FEMALE ARTISTS OF THE ITALIAN RENAISSANCE IN SEARCH OF FAME A Thesis Presented to the faculty of the Department of Art California State University, Sacramento Submitted in partial satisfaction of The requirements for the degree of MASTER OF ARTS in Museum Studies with an Art Historical Emphasis by Sabrina Abbott FALL 2013 2013 Sabrina Jayne Abbott ALL RIGHTS RESERVED ii LEGENDARY LADIES FEMALE ARTISTS OF THE ITALIAN RENAISSANCE IN SEARCH OF FAME A Thesis by Sabrina Jayne Abbott Approved by: __________________________________, Committee Chair Catherine Turrill __________________________________, Second Reader Patrick Ettinger _____________________________ Date iii Student: Sabrina Jayne Abbott I certify that this student has met the requirements for format contained in the University format manual, and that this thesis is suitable for shelving in the Library and credit is to be awarded for the thesis. _________________________________, Dean __________________ Chevelle Newsome, Ph.D. Date Office of Graduate Studies iv Abstract of LEGENDARY LADIES FEMALE ARTISTS OF THE ITALIAN RENAISSANCE IN SEARCH OF FAME by Sabrina Jayne Abbott During the Italian Renaissance female artists were able to emerge from the confines of the convent and develop their skills in the outside world due to changing attitudes towards women and the heightened status of art. The intelligent and artistically talented woman was seen as a miraculous person and often compared more closely to a man. Due to their extraordinary status, it can be argued that these women behaved similarly to their male counterparts in their search for special consideration and legendary status. This paper will contribute to the scholarly studies surrounding women in the visual arts in Renaissance Italy by analyzing writings, lifestyle, and the method of creation and content of the art, particularly the self-portrait paintings, of these women. -
Felsina Pittrice LIVES of the BOLOGNESE PAINTERS
CARLO CESARE MALVASIA’S Felsina pittrice LIVES OF THE BOLOGNESE PAINTERS Published for the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington Harvey Miller Publishers An Imprint of Brepols Publishers THE FELSINA PITTRICE Count Carlo Cesare Malvasia’s Felsina pittrice, or Lives of the Bolognese Painters, first published in two volumes in Bologna in 1678, is one of the most important sources for the history and criticism of painting in Italy. Conceived in part as a response to Giorgio Vasari’s Le vite de’ più eccellenti pittori, scultori e architettori (1550/1568), the Felsina pittrice combines close observation with documentary history, and careful analysis with polemical debate. It offers the fullest account of Bolognese artists from Simone dei Crocefissi to Prospero and Lavinia Fontana, from Guercino to Elisabetta Sirani. The Carracci are treated as a family of artists, and their school (including Guido Reni, Domenichino, and Francesco Albani, among others) is documented by Malvasia in far greater detail than by any other biographer. The great art historian Luigi Lanzi (1732- 1810) said that no other school in Italy had been described by a more capable pen, and he considered the two volumes of the Felsina pittrice to be “a treasure of the most beautiful knowledge gathered from the pupils of the Carracci, whom Malvasia knew, and who helped him in this work, which was, however, accused of sometimes burning with an excessively patriotic zeal.” 2. THE CRITICAL EDITION Accusations of excessive passion for his local school, combined with unjustified charges of forgery and unreliability, have for centuries clouded the reception and understanding of Malvasia’s extraordinarily important text, which was last edited and published in 1841-44. -
Mciver-Fontana.Pdf
Woman's Art Inc. Lavinia Fontana's "Self-Portrait Making Music" Author(s): Katherine A. McIver Reviewed work(s): Source: Woman's Art Journal, Vol. 19, No. 1 (Spring - Summer, 1998), pp. 3-8 Published by: Woman's Art Inc. Stable URL: http://www.jstor.org/stable/1358647 . Accessed: 09/02/2012 12:24 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]. Woman's Art Inc. is collaborating with JSTOR to digitize, preserve and extend access to Woman's Art Journal. http://www.jstor.org LAVINIAFONTANA' S SELF-PORTRAITMAKINGMUSIC By Katherine A. Mclver Something changed during the Renaissance, in women's sense of As Prospero's only child, Lavinia was solely responsible for themselves, even if very little changed for the better in their social the familyworkshop and became heir to the familybusiness. She condition. That change did have its roots in the spiritual experi- supported not only her aging parents but her husband and their ence of women, and it culminates in the consciousness put into eleven children, three of whom she taught to paint. An excep- words by the first feminists of the Renaissance...the intelligent tional woman, Lavinia Fontana was at once daughter, wife, seekers of a new way.1 mother, and professional painter-a rare achievement at any time. -
160649022.Pdf
3 Giulia Daniele Prospero Fontana tra Genova e Bologna (1528-1539). Proposte e documenti per la sua prima attività Ben poco ci è noto circa l’avvio della longe- bile che anche nel caso di Prospero il padre, va e fortunata carriera di Prospero Fontana, Silvio, si sia astenuto dal farlo; non si può indubbiamente tra i più significativi rappre- però non considerare che proprio negli anni sentanti della pittura manierista emiliana, a cavallo tra il primo e il secondo decennio pittore pontificio nella Roma di Giulio III e del secolo Bologna attraversava un periodo figura ancora poco indagata sebbene tutt’al- di forte crisi civile ed era scossa dalle guerre tro che marginale nel panorama italiano del per la supremazia politica che portarono, pieno Cinquecento1. nel 1506, alla prima sconfitta della signoria Le prime incertezze avvolgono già la sua da- dei Bentivoglio per mano di papa Giulio II, ta di nascita, che la critica ha fatto sempre con strascichi e riacutizzazioni di conflitti risalire al 1512 sulla base di quanto affer- che proseguirono ancora per diversi anni. mato da Raffaello Borghini, che nel Riposo Di conseguenza non è neppure da escludere edito a Firenze nel 1584, a conclusione del- che la famiglia del pittore, sulla quale pur- la breve biografia del bolognese, annota- troppo non abbiamo notizie, si fosse mo- va: “Ritrovasi oggi il Fontana in età di 72 mentaneamente spostata nei dintorni della anni”2. Non vi è tuttavia alcuna certezza, città per sfuggire ai tumulti e che Fontana in quanto i registri battesimali della catte- sia quindi nato in una qualche diocesi bo- drale di San Pietro Metropolitana (unica lognese, non potendo dunque comparire, sede di battistero per i nati nel capoluogo se davvero così fosse, nei registri della cat- felsineo), più volte scandagliati da chi scri- tedrale. -
The Adoration of the Shepherds. 1549 Oil on Canvas 157.0 X 105.0 Cm Collection: Galleria Borghese, Rome
Originalveröffentlichung in: Jaffé, David (Hrsg.): Esso presents Rubens at the Italian Renaissance : [exhibition dates: Australian National Gallery, Canberra, 28 March - 8 June 1992 ; National Gallery of Victoria, Melbourne, 20 June - 30 August 1992], Canberra 1992, S. 50-55 Pellegrino Tibaldi 1527-1596 cat. no. 8 The Adoration of the Shepherds. 1549 oil on canvas 157.0 x 105.0 cm Collection: Galleria Borghese, Rome Born in Lombardy, Pellegrino Tibaldi was raised in Bologna, where his father, the ‘architect ’ Tibaldo, was active. The Adoration of the Shepherds is the earliest independent and undisputed work by Tibaldi known to us, as well as the only signed and dated painting in the artist’s entire oeuvre. It is therefore a crucial document in any attempt to reconstruct his early years and formative experiences, about which little is known and which are still a matter of debate among seholars. Unfortunately, the interpretation of the inscription on the dais in the painting — an inscription that in the view of the present writer is not autograph, although reliable in its content — has stirred up controversy over the date of the work. Even before the 1979 cleaning of the Adoration, scholars were divided into two camps: those who favoured the date 1548 and those who preferred to date the work to 1549. The controversy has not been settled by the results of conservation. Although the signature now reads ‘peregrinus Tibaldi Bonon Faciebat/Anno Etatis sue XXIJ° M D XLVIII’ (Pellegrino Tibaldi Made This/In the 22nd Year of His Life 1548), the most recent studies date the painting to 1549, since the last letter of the inscription is followed by a stroke, which might indicate that originally the date read as ‘M D XLVIIIJ ’ (1549). -
Lavinia Fontana's Galatea
Journal of Literature and Art Studies, January 2020, Vol. 10, No. 1, 42-59 doi: 10.17265/2159-5836/2020.01.006 D DAVID PUBLISHING Lavinia Fontana’s Galatea: Personification of Fortune and Venus Liana De Girolami Cheney SIELAE, Universidad de Coruña, Spain Lavinia Fontana’s (1552-1614) Galatea and Cherubs riding the Stormy Waves on a Sea Monster (aka Galatea) of 1590 is an intriguing mythological painting. Being painted on copper, it is a fine example of Lavinia’s exploration of new artistic techniques and materials as well as testimony to her bold artistic interpretations. Lavinia’s Galatea was part of a private collection in Bologna (Diletta Badeschi). This work fascinates the viewer with its erotic audacity and complex iconographical conceits. Recent scholarship by Daniele Benati, Fausto Gozzi, and Enrico Maria Dal Pozzolo assist in unraveling the meaning of this painting. In this essay there are additional interpretative suggestions. Keywords: mannerism, emblems, engravings, mythology, sea monsters, symbolism, Lavinia Fontana, Marcantonio Raimondi, Achille Bocchi, Andrea Alciato, Vincenzo Cartari, Galatea, Fortune, Venus Lavinia Fontana’s Galatea Lavinia Fontana’s (1552-1614) Galatea and Cherubs riding the Stormy Waves on a Sea Monster (aka Galatea) of 1590 (Figure 1) is an intriguing mythological painting. Being painted on copper, it is a fine example of Lavinia’s exploration of new artistic techniques and materials as well as testimony to her bold artistic interpretations.1 Lavinia as an artist not only studied the depiction of new subject matters in secular paintings but also experimented with artistic techniques and materials such as painting on copper (rame).2 Some of her small secular paintings such as Galatea and Venus Receiving a Tribute from Amorini of 1610 (private collection in Bologna) are done in copper, which provided them with new visual quality and durability. -
The Feminine Renaissance: Examining the Implications of Disegno
Lindenwood University Digital Commons@Lindenwood University Theses Theses & Dissertations Spring 5-2020 The Feminine Renaissance: Examining the Implications of Disegno Kim Pokorny Lindenwood University Follow this and additional works at: https://digitalcommons.lindenwood.edu/theses Part of the Classical Archaeology and Art History Commons Recommended Citation Pokorny, Kim, "The Feminine Renaissance: Examining the Implications of Disegno" (2020). Theses. 13. https://digitalcommons.lindenwood.edu/theses/13 This Thesis is brought to you for free and open access by the Theses & Dissertations at Digital Commons@Lindenwood University. It has been accepted for inclusion in Theses by an authorized administrator of Digital Commons@Lindenwood University. For more information, please contact [email protected]. The Feminine Renaissance: Examining the Implications of Disegno By Kim Pokorny THE FEMININE RENASSAINCE: EXAMINING THE IMPLICATIONS OF DISEGNO by Kim Pokorny Submitted in Partial Fulfillment of the Requirements for the Degree of Master o Arts in Art History and Visual Culture at Lindenwood University © May 2020, Kimberly Ann Pokorny The author hereby grants Lindenwood University permission to reproduce and to distribute publicly paper and electronic thesis copies of document in whole or in part in any medium now known or hereafter created. Kim Pokorny 5/1/20 Author's Name Date Author's Signature James Hutson 5/1/20 ommittee hair Date Digitally signed by James Hutson James Hutson Date: 2020.05.01 14:33:38 -05'00' ommittee hair Signature -
La Donna E La Maniera Devota: Lavinia Fontana, Sacred Imagery
La Donna e La Maniera Devota: Lavinia Fontana, Sacred Imagery and the Natural Sciences in Sixteenth-Century Bologna Marlene Misiuk A Thesis in The Department of Art History Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Art History) at Concordia University Montréal, Québec, Canada July 2018 © Marlene Misiuk, 2018 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Marlene Misiuk Entitled: La Donna e La Maniera Devota: Lavinia Fontana, Sacred Imagery and the Natural Sciences in Sixteenth-Century Bologna and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Art History) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: Chair Dr. Johanne Sloan Examiner Dr. Kristina Huneault Supervisor Dr. Steven Stowell Approved by Dr. Kristina Huneault, Graduate Program Director 2018 Dr. Rebecca Taylor Duclos, Dean of Faculty of Fine Arts Abstract La Donna e La Maniera Devota: Lavinia Fontana, Sacred Imagery and the Natural Sciences in Sixteenth-Century Bologna Marlene Misiuk Women’s contribution to the program of Counter-Reformation Christian art has often been overshadowed in scholarship by extensive research into genres typically associated with women in the period such as portraiture, landscape and still life. This thesis newly addresses the sacred artwork of the painter Lavinia Fontana (1552–1614) within the unique context of sixteenth-century Bologna, where the colourful social and intellectual network inspired, endorsed, and influenced her practice. Reassessing Fontana’s sacred images through a contextual framework, I focus on two prominent Bolognese figures: the archbishop Gabriel Paleotti (1522-1597), and the natural historian Ulisse Aldrovandi (1522-1605). -
The Mystic Marriage of Saint Catherine
DENYS CALVAERT (ANVERSA? CA. 1540 - BOLOGNA, 1619) Oil on copper, 19 ³/₄ x 14 ¹/₈ in (50 x 36 cm) France, private collection. Unpublished. This impressive and newly-rediscovered painting on copper represents the Mystic Marriage of Saint Catherine. Catherine was the daughter of the King of Alexandria, as indicated by her crown, and her story, told in mediaeval fables, had become widespread by the fifteenth century, even being printed in Caxton’s English edition of Jacopo da Voragine’s Golden Legend. Half-kneeling on the lowest step of the throne on 26 rue Laffitte, 75009 Paris Tel : + 33 1 40 22 61 71 e-mail : [email protected] http://www.canesso.art which the Virgin Mary and infant Jesus are seated, she receives the mystical ring from the latter, while behind her an Angel holds a palm of martyrdom, alluding to her future persecution and death for having converted to Christianity. At lower left, supported by Saint Elizabeth, the young John the Baptist gives further emphasis to the story through his gesture and gaze towards the beholder. Behind the throne, described in half- shadow, Saint Joseph rests in a meditative attitude. The sense of decorum is marked by exoticism: the Alexandrian princess is richly adorned, her crown studded with precious stones, and her robe cloaked in a splendid yellow mantle. Pictorial space is extended by the view onto a distant landscape, while in the immediate foreground the delicate plants and flowers suggest the scene is unfolding partly outdoors. The gold-fringed green drapes add to the magnificent setting for this cameo from the Golden Legend.