DOCSLIB.ORG

The Trompe-L'oeil Fly in the Renaissance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Trompe-L'oeil Fly in the Renaissance Painted Paradoxes: The Trompe-L’Oeil Fly in the Renaissance Kandice Rawlings The fourteenth-century Florentine Giotto has long been ian paintings from the period of about 1450 to the 1510s, regarded as the genius who revived naturalism in European apparently meant to trick their audiences, just as Giotto had painting, liberating the art, as later commentators like Vasari deceived his teacher. would have it, from its medieval rut. Apparently Giotto was Although earlier scholars have cited Filarete’s story and also something of a practical jokester. Filarete, in his treatise its precedents in ancient literature as possible sources for on architecture written in the 1460s, recounts one of Giotto’s paintings depicting flies, no one has evaluated their connec- jokes in a discussion of the illusionistic merits of painting tion with two satirical essays, one classical and one from the versus sculpture: fifteenth century, that give exaggerated praise to the lowly We also read that Giotto, while young, creature.4 These essays, like the paintings, are self-referential painted flies that fooled his master Ci- and paradoxical: both demonstrate the creator’s great intel- mabue. He thought they were alive and lect and skill in praising a lowly, common insect, while at tried to shoo them off with a cloth. These the same time exposing the rhetorician’s and the painter’s marvelous things, derived from the knowl- ability to deceive by truthful representation—their tricks of edge of the force of color and how to locate the trade, so to speak. In painting the trompe-l’oeil fly, the it, are not seen in sculpture.1 artist showed off his wit and his manual skill and created Filarete’s wording allows us to assume that the Giotto modern, self-aware images. story, a version of an ancient literary topos in which people The use of trompe l’oeil is in some ways antithetical or animals are deceived by the work of a virtuoso artist, to our understanding of Renaissance artistic theory. Early dates back at least to the middle of the fifteenth century.2 modern painting is traditionally conceived as a “window,” The tremendous fame of Giotto and his legendary sense of as prescribed in Alberti’s treatise On Painting of 1436. In this humor recorded in numerous other tales give credence to highly influential work, Alberti describes the painting as an the speculation that such anecdotes, whether genuine or opening through which we view a scene that recedes away apocryphal, were likely circulated in literature or through from us.5 According to this model, the picture plane can be oral tradition.3 The theme of the trompe-l’oeil fly appears in thought of either as a barrier between the viewer and the over twenty extant Netherlandish, German, and north Ital- image or as a permeable, fluid boundary that sets up the im- This paper has benefited tremendously from the patient and insightful in Italian Renaissance Art (Columbia and London: U of Missouri P, help of Sarah Blake McHam; to Wendy Bellion I owe my scholarly 1978); and Edgar Wind, Bellini’s Feast of the Gods (Cambridge, MA: interest in trompe l’oeil. I also thank the editorial staff of Athanor, Harvard UP, 1948). the organizers and participants of the Florida State Graduate Student Symposium, and the faculty and students of that program for the op- 4 Several explanations have been proposed for the motif, attesting portunity to present my research. to its multi-layered meanings, but not acknowledging the potential importance of literary sources besides Giotto’s so-called “burla della 1 See Book XXIII of Filarete’s Treatise on Architecture (New Haven: Yale mosca.” The most complete evaluation of the motif is A. Chastel, “A UP,1965). The story is later repeated by Vasari in slightly different form. Fly in the Pigment” FMR 19 (1986): 61-75, in which Chastel men- See note 33, below. tions very briefly Alberti’s encomium. See also A. Pigler, “La mouche peinte: un talisman,” Bulletin du Musée Hongrois des Beaux-Arts 24 2 E. T. Falaschi, “Giotto: The Literary Legend” Italian Studies 27 (1972): (1964): 47-64, which argues that the fly had an apotropaic function, 19, states that “Filarete does not reveal his source but the idea of a a concept derived from ancient sources and surviving in medieval painted insect deceiving the spectator is traceable to a practice in superstition. While this is a valid proposal, it fails to take into account fifteenth-century workshops.” Unfortunately, Falaschi does not state other traditions as well as contemporary pictorial innovations. what this practice might be or cite where there is any documentation of it. 5 See Alberti, On Painting, trans. John Spencer (New Haven: Yale UP, 1966), esp. 56: [describing the process of beginning a drawing] 3 See Kris and Kurz, Legend, Myth, and Magic in the Image of the Artist “I inscribe a quadrangle of right angles, as large as I wish, which is (New Haven: Yale UP, 1979) 102, and Boccaccio, Decameron, Sixth considered to be an open window through which I see what I want Day: Fifth Tale, as well as those in Vasari’s Life of the artist. For Re- to paint.” Later explanations in the treatise describe a similar model, naissance art and humor, see Kris and Kurz, 99-109 ; P. Barolsky, “In instead referring to the picture as an intersection of the visual pyra- Praise of Folly” Source 20 (2001): 8-12; Infinite Jest: Wit and Humor mid. ATHANOR XXVI KANDICE RAWLINGS age as an extension of the real space of the viewer. In either For the illusion to deceive, the subject depicted must be case, the placement of a trompe-l’oeil element subverts this life-size and shown in full view. For example, Carlo Crivelli’s conception of the painted image—the fly belongs in neither standing figure of St. Catherine of Alexandria (c.1491-4, Fig- the receding space of the painting nor in the domain of the ure 1), which measures 37.5 by 18.5 cm, approximately the viewer, nor can it land on and cast a shadow on an intangible size of a legal sheet of paper, depicts the figure of the saint plane. Therefore, in painting the trompe-l’oeil fly, artists well under life-size while representing the fly actual-size. acknowledge two different modes of pictorial mimesis: the The disparity in scale between the two serves to emphasize naturalism generally associated with Renaissance art and its the depiction of the fly and the saint in separate realms,9 revival of antique principles, and deceptive images, meant and resolves the spatial ambiguity potentially created by to fool the eye. Contemporary writers also make this distinc- the parallel surfaces of picture plane and niche wall.10 The tion. In his commentary on Dante’s Inferno in a comparison small detail of the fly reveals the artificiality of the painting of the poet’s and the painter’s abilities, Boccaccio writes, as a whole. “The painter endeavors that the figure painted by him… Petrus Christus deliberately includes such ambiguity in can deceive, either partly or wholly, the eyes of the viewer, his Portrait of a Carthusian (dated 1446, Figure 2), the earliest making him believe to exist that which does not.”6 Painters known example of a panel painting with a trompe-l’oeil fly. of trompe-l’oeil flies used both degrees of deception. In their By placing the fly on the edge of the frame itself, the artist paradoxical works, painting is simultaneously a form of truth, emphasizes the nature of the picture as a window, complete in its role as the mirror of nature, and of deception, in its with a fictive frame inscribed with the artist’s signature. In this ability to trick the viewer.7 picture, the trompe-l’oeil devices of frame and fly occupy a The success of trompe l’oeil depends on several factors, liminal space and connect the realms of the sitter and the besides the obvious criterion that it has to convincingly imi- viewer, although the frame separates them. The fly’s size con- tate its referent.8 For one, the trompe-l’oeil object must be a tributes to the ambiguity, since it seems as though it could be believable component of the physical context of the painting. painted to the sitter’s scale or to our own. A successful trompe Autonomous trompe-l’oeil paintings take advantage of this l’oeil requires both the trick and its discovery; because of the characteristic by representing mundane and ubiquitous ob- fly’s ambiguous size and placement, the viewer can easily jects integrated into the setting where the painting might be oscillate between different modes of viewing—understanding installed, such as Jan van der Vaart’s Violin Suspended from the fly as part of the painted scene and being tricked into a Peg (after 1674, Chatsworth, Devonshire Collection), in thinking it has actually landed on the frame. which the artist has painted a trompe-l’oeil violin on the door The fly in Christus’s painting has been explained as a of an English noble’s sitting room or, in a different century symbol of the “transience of life and the mortality of the sitter and medium, Duane Hanson’s Security Guard (1990, Collec- despite the perfection of his painted image.”11 In addition tion of Mrs. Duane Hanson), which achieves the extremely to using the fly as a symbol of vanitas, as in the Portrait of difficult illusion of a living person. Flies are common and a Carthusian, painters depicted insects in Christian art to might land on anything—this is surely a factor in Filarete’s sanctify nature in all its forms, inspired by the writings of legendary account of Cimabue’s deception.
Load more

Recommended publications
  • In Praise of Folly: a Cursory Review and Appreciation Five Centuries Later
    Page 1 of 7 Original Research In Praise of Folly: A cursory review and appreciation five centuries later Author: Desiderius Erasmus was a humanist reformer concerned with reforming the civil and 1 Raymond Potgieter ecclesiastical structures of his society. In reformed circles, much attention is paid to his role in Affiliation: the Lutheran controversy. Despite this, his powerful influence continues to this day. Erasmus’ 1Faculty of Theology, particular fool’s literature, Moriae Encomium (1509), revealed his humanist concerns for civil North-West University, and ecclesial society as a whole. He employed folly as a rhetorical instrument in satirical Potchefstroom Campus, South Africa manner, evoking readers’ amusement from numerous charges against the perceived multi- layered social reality of the day. Five hundred years later the person of Folly may still perform Correspondence to: this same task in Christian society. That was Erasmus’ point – the church is not to be seen as Raymond Potgieter an island, it shares in the structures of society and is therefore still subject to its share of critical Email: comments. [email protected] Postal address: PO Box 19491, Noordbrug ‘Lof der Zotheid’: ‘n oorsig en evaluering vyf eeue later. Desiderius Erasmus was ’n humanis 2522, South Africa wat gepoog het om hom te beywer vir die hervorming van die burgerlike en kerklike strukture Dates: van sy tyd. In gereformeerde kringe word sy rol in die Lutherse twisgeskil beklemtoon. Received: 30 Mar. 2015 Sy verreikende invloed word steeds vandag gevoel. Erasmus se gekke-literatuur, Moriae Accepted: 23 July 2015 Encomium (1509), het sy besorgdheid rakende die burgerlike en ekklesiastiese samelewing Published: 29 Sept.
    [Show full text]
  • Beyond the Bosphorus: the Holy Land in English Reformation Literature, 1516-1596
    BEYOND THE BOSPHORUS: THE HOLY LAND IN ENGLISH REFORMATION LITERATURE, 1516-1596 Jerrod Nathan Rosenbaum A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2019 Approved by: Jessica Wolfe Patrick O’Neill Mary Floyd-Wilson Reid Barbour Megan Matchinske ©2019 Jerrod Nathan Rosenbaum ALL RIGHTS RESERVED ii ABSTRACT Jerrod Rosenbaum: Beyond the Bosphorus: The Holy Land in English Reformation Literature, 1516-1596 (Under the direction of Jessica Wolfe) This dissertation examines the concept of the Holy Land, for purposes of Reformation polemics and apologetics, in sixteenth-century English Literature. The dissertation focuses on two central texts that are indicative of two distinct historical moments of the Protestant Reformation in England. Thomas More's Utopia was first published in Latin at Louvain in 1516, roughly one year before the publication of Martin Luther's Ninety-Five Theses signaled the commencement of the Reformation on the Continent and roughly a decade before the Henrician Reformation in England. As a humanist text, Utopia contains themes pertinent to internal Church reform, while simultaneously warning polemicists and ecclesiastics to leave off their paltry squabbles over non-essential religious matters, lest the unity of the Church catholic be imperiled. More's engagement with the Holy Land is influenced by contemporary researches into the languages of that region, most notably the search for the original and perfect language spoken before the episode at Babel. As the confusion of tongues at Babel functions etiologically to account for the origin of all ideological conflict, it was thought that the rediscovery of the prima lingua might resolve all conflict.
    [Show full text]
  • Excavating the Page: Virtuosity and Illusionism in Italian Book Illumination, 1460–1520 Nicholas Herman Available Online: 02 Aug 2011
    This article was downloaded by: [Metropolitan Museum of Art] On: 08 August 2011, At: 08:06 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Word & Image Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/twim20 Excavating the page: virtuosity and illusionism in Italian book illumination, 1460–1520 Nicholas Herman Available online: 02 Aug 2011 To cite this article: Nicholas Herman (2011): Excavating the page: virtuosity and illusionism in Italian book illumination, 1460–1520, Word & Image, 27:2, 190-211 To link to this article: http://dx.doi.org/10.1080/02666286.2010.526289 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/terms-and-conditions This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan, sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Excavating the page: virtuosity and illusionism in Italian book illumination, – NICHOLAS HERMAN So we must advance from the concrete whole to the several These pictorial layers, their distance relative to the viewer, constituents which it embraces; for it is the concrete whole and their progression from literal presence (the clusters of jew- that is the more readily recognizable by the senses.
    [Show full text]
  • Readings from the Protestant and Counter Reformations Erasmus
    Readings from the Protestant and Counter Reformations In Praise of Folly Two Interpretations of the Reformation MARTIN LUTHER Justification by Faith Tetzel on Indulgences The 95 Theses Luther’s Letter to Pope Leo A Reformation Debate Peasant’s Revolt The Council of Trent Women in the Reformation Errors in the Roman Church Ignatius of Loyola Erasmus: In Praise of Folly The Praise of Folly is one of the most famous pieces of literature of the sixteenth century. Written in a short period of time during a visit to the home of Thomas More, Erasmus considered it a "little diversion" from his "serious work." Yet both contemporaries and later generations have appreciated "this laughing parody of every form and rank of human life." In this selection, Erasmus belittles one of his favorite objects of scorn-the monks. Erasmus, The Praise of Folly Those who are the closest to these [the theologians] in happiness are generally called "the religious" or "monks," both of which are deceiving names, since for the most part they stay as far away from religion as possible and frequent every sort of place. I cannot, however, see how ally life could be more gloomy than the life of these monks if I [Folly] did not assist them in many ways. Though most people detest these men so much that accidentally meeting one is considered to be bad luck, the monks themselves believe that they are magnificent creatures. One of their chief beliefs is that to be illiterate is to be of a high state of sanctity, and so they make sure that they are not able to read.
    [Show full text]
  • Annual Magazine 2018 Annual Magazine 2018 Contents
    Annual Magazine 2018 Annual Magazine 2018 Contents 3 Editorial 5 65 Years European Cultural Foundation 26 Can Foundations Contribute to Social Cohesion in Europe? 46 Breaking Up is Never Easy Rien van Gendt Isabelle Schwarz 14 Looking for Europe’s Next Erasmus 30 Philantropy Needs Imagination 49 Who is We? André Wilkens Vivian Paulissen An exchange with Bas Mesters by Friso Wiersum 6 Courageous Citizens 18 The End is a Real Beginning: Ivan Krastev A Letter for Tandem Vasilena Radeva 52 Acknowledgements 8 Culture Means Solidarity 52 Image Credits Interview with Krzysztof Czyżewski 20 From London to Marseille 53 Colophon in Six Steps 11 Space is an Optical Device Fié Neo 33 Culture Meets Interview with Eyal Weizman Europe’s Challenges 23 Opening the Door to Filip Zieliński European Collaborations Interview with Sjoerd Bootsma 36 New Municipalism, New Culture, New Democracy Igor Stokfiszewski 40 Humanising Stories: Migrants and the Media Nesrine Malik 44 Migrant Voices on Radio Študent Ljubljana Interview with Mirna Berberović 2 Annual Magazine 2018 Editorial What can culture do? Culture can connect and divide. Culture can create communities and divide them. Culture creates public spheres. Culture can create European experi- ence. And European experience creates European identity. Culture can also provide resistance against neo-nationalist cultural ideologists who put national identity and national culture first. Culture is essential now for the survival of European unity. Culture is much more than a ‘nice thing to have’ or an accessory. These are challenging times. This is not the time for business as usual. We need to take a hard look at ourselves: What went right and what went wrong? The current challenges create space and urgency for new thinking, André Wilkens readiness for experimentation and risks.
    [Show full text]
  • Painting and the Pale of History: the Passing of the Pure
    ■ ■ ■ ■ ■CHAPTER SIX Painting and the Pale of History: The Passing of the Pure THERE ARE few better exercises for those who seek to think philosophically about history-who seek, as I am attempt­ ing to do, for objective narrative structures in the way human events unfold- - than to attempt to see the way the past saw the future, and hence the way those who saw the future as they did had to see their present as they did. Construing the future in terms of possible chains of events which would intimately depend upon the actions they took or failed to take, the agents sought to organize their present so as to gener­ ate chain of events favorable to their perceived interests. And of course it does sometimes happen that the future really; so far as we can tell, happens the way it happens because of what we do or fail to do in the present, and those who successfully give shape to the course of events can congratulate themselves with what philosophers call contrary-to-fact conditionals. They can say, "Had we not done such and such, then so and so would never have happened." But we actually act in the light of condi­ tionals we believe true, and it is probably a presupposition of rational action that our actions have reasonably predictable outcomes and that within limits we are able to guide our actions in the light of those antici­ pated outcomes. On the other hand, there is a great deal to which we are blind, and one value of seeing the past's way of seeing the future is that, knowing how their future looks from our own vantage point in history, we can see how it differs from how the agents of the past construed it.
    [Show full text]
  • E:\Documents and Settings\Todd W. White\My Documents\Wpdocs
    SOUTH HEIGHTS BAPTIST’S WEEKLY NURSERY MINISTRY WORKERS FOR THIS WEEK WHAT IT MEANS TO BE SAVED 10:50 a.m. Service ---------- Cradle Roll 1: Shirley White 1. Admit that you are a sinner. Cradle Roll 2: Volunteer Needed! Sun. Eve. Service ----------- Cradle Roll 1: Piper Quinnelly 2. Admit that God says all sins must be Cradle Roll 2: Ryan Quinnelly paid for. Wed. Eve. Service ---------- Cradle Roll 1: Charity Crawford 3. Accept the fact that Christ took upon Cradle Roll 2: Volunteer Needed! Himself the suffering necessary to pay for all your sins. Volume XX October 4, 2015 Number 38 4. You must change your mind about sin and AND THE PEOPLE CAME... sinning (God calls this repentance). WWHHHHIIIICCCCHHHH BBBIBIIIBBBBLLLLEEEE IIISISSS PPPRPRRREEEESSSSEEEERRRRVVVVEEEEDDDD OOOFOFFF GGGOGOOODDDD???? Week of September 27, 2015 5. By an act of your will, accept by faith Sunday School -------------------------------------------------- 24 by the late Dr. David Otis Fuller Sunday Morning Service ------------------------------------- 36 the Lord Jesus Christ, who can save you from (Continued from last week) Sunday Evening Service -------------------------------------- 67 the penalty of sin. Then, tell God about this in a Now let me say here before I go any further, I have never claimed to be a scholar. I do not claim to be one Wed. Eve. Service, 09/30/15 --------------------------------- 12 simple prayer. Believe that God keeps His now, and I never expect to claim to be one. But there are two very definite claims that I make without promise to save you, and thank Him for His hesitation, or trepidation, or reservation. One is I claim to have studied under some of the greatest scholars this salvation.
    [Show full text]
  • The Hegemony of Reason and the Assimilation of Comic Folly
    In Praise of Folly: The Hegemony of Reason and the Assimilation of Comic Folly James Mark Shields ©1990 (revised 2007) ABSTRACT According to Michel Foucault, one aspect of discourse control is the principle of “exclusion,” which may take the form of what Foucault calls “division and rejection”—where discourses are categorized so as to reduce the significance of some categories. As an example, Foucault produces the opposition of reason and folly, a division investigated in greater detail in his Madness and Civilization. In this latter work, however, Foucault speaks primarily of the Fool as a socially categorized individual; one who, through the course of history and changing discursive habits, has become the Madman. The Fool/Madman character and the issue of insanity are not by any means exhaustive of the broad and often convoluted concept of folly. To take a strict denotative approach, folly has various meanings, all of which focus to some degree on “unreason” or “anti-reason.” Cultural limits have been established, and these limits can be investigated through an analysis of one particular form of folly, that which I will call comic folly—that side of folly dealing with mirth, humor, laughter, and the joke. In this essay, the following matters are explored: the concept of folly, its various facets and history; comic folly as a branch of unreason; the hegemony, power, and limits of reason in modern Western culture; the comic folly of the so-called rational/sane person; and the strengths and limits of comic folly within our Rational Western world. Must unreason, as Webster’s seems to suggest, always end in disaster? I am uneasy to think I approve of one object, and disapprove The danger lurks precisely because there are limits to of another; call one thing beautiful, and another deform’d; folly, and these limits have been systematically engrained decide concerning truth and falsehood, reason and folly, within modern “rational discourse.” The hegemony of Reason without knowing upon which principles I proceed.
    [Show full text]
  • Pictorial Space Throughout Art History: Cézanne and Hofmann
    ARAS Connections Issue 2, 2012 Venus of Véstonice . Baked clay, Czechoslovakia. 29,000-25,000 BC. Photograph: J Jelinek, 'The Evolution of Man' Pictorial Space throughout Art History: Cézanne and Hofmann How it models Winnicott's interior space and Jung's individuation Maxson J. McDowell Copyright: McDowell, 2006 The images in this paper are strictly for educational use and are protected by United States copyright laws. 1 Unauthorized use will result in criminal and civil penalties. ARAS Connections Issue 2, 2012 Introduction Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality . Such works now sell for tens of millions of dollars. A paleolithic Venus and a still life by Cézanne both share this monumentality. Michelangelo likened monumentality to sculptural relief: Painting should be considered excellent in proportion as it approaches the effect of relief |1|. Braque called monumentality space : You see, the whole Renaissance tradition is antipathetic to me. The hard and fast rules of perspective which it imposes on art were a ghastly mistake which it has taken four centuries to redress: Cézanne and, after him, Picasso and myself can take a lot of the credit for this. Scientific perspective is nothing but eye-fooling illusionism; it is simply a trick - a bad trick - which makes it impossible for an artist to convey a full experience of space, since it forces the objects in a picture to disappear away from the beholder instead of bringing them within his reach, as a painting should. That's why I have such a liking for primitive art: for very early Greek art, Etruscan art, Negro art.
    [Show full text]
  • "Realism," Embodied Subjects, Projection of Empathy
    READING ART KRZYSZTOF PIJARSKI " r EALISM," EMBODIED SUBjECTS, PROjECTION O f EMPATHY 147 Krzysztof Pijarski "Realism," Embodied Subjects, Projection of Empathy DOI:10.18318/td.2015.en.2.10 Krzysztof Pijarski is a lecturer o f PWSTFiTv in Łódź, “The ultimate stakes of serious art - to attach an artist who works us to reality.” Michael Fried, Four Honest Outlaws' in the photographic medium, a translator. A Fullbright scholarship The Question of Modernity holder a t Johns Hopkins University A question that is worth a moment of reflection: why in Baltim ore (2009­ does raising the issue of realism as a central problem 2010), a scholarship in art (or literature) invariably require a certain gesture holder o f NCN and of withdrawal, for us to place it in brackets, or quotes? As o f the M inister o f if we were uncertain what we had in mind when writ- Culture and National Heritage. Author o f ing this word, as if we did not know what it meant, or numerous articles were opposing its standard, common-sense meaning. published in scholarly Therefore, when Hilde van Gelder and Jan Baetens open periodicals and their 2006 anthology of texts devoted to CriticalRealism in joint publications. Contemporary Art with the words “20th-Century art [...] The translator of an anthology of texts by is at odds with realism, at least with the term,” it is this Allan Sekula entitled final phrase that seems key. The authors' thesis is that "Społeczne użycia after the adventures of modernism, the avant-garde and fotografii" (2011). postmodernism, realism returned in contemporary ar- Editor o f the volum e tistic practices.
    [Show full text]
  • Rete Museale Della Provincia Difermo
    RETE MUSEALE DELLA PROVINCIA DI FERMO RETE MUSEALE DELLA PROVINCIA DI FERMO WWW.MUSEICOMUNI.IT Costo da tel. fisso Telecom Italia 10 cent. al min. IVA incl. senza scatti alla risposta tutti i giorni 24/24 h. Altro operatore contattare servizio clienti. attivo dal lunedì al venerdì from monday to friday 09.00 -15.00 (escluso i festivi / week days only) [email protected] Ente promotore in collaborazione con Provincia di Fermo Anita Pagani Assessorato alla Cultura Funzionario del Servizio Cultura e Pubblica Istruzione della Provincia di Fermo Comune capofila Giampiera Mentili Comune di Fermo Funzionario del Servizio Cultura e Pubblica Assessorato alla Cultura Istruzione della Provincia di Fermo Progetto grafico Direzione Monica Simoni Giovanni Della Casa Visual designer socio TPP Dirigente del Servizio Cultura e Pubblica Istruzione Referenze fotografiche della Provincia di Fermo Archivi fotografici degli enti aderenti Manilio Grandoni Giancarlo Postacchini (Palazzo dei Priori) Dirigente Settore Beni Roberto Dell’Orso e Attività Culturali (Pinacoteca Civica di Fermo) Sport e Turismo Daniele Maiani del Comune di Fermo (Sala del Mappamondo e Mostra Archeologica permanente di Fermo) Coordinamento Domenico Oddi e redazione (Museo Diocesano di Fermo) Servizio Musei Mirco Moretti del Comune di Fermo (Museo dei Fossili di Sant’Elpidio a Mare) Alessandro Tossici Società Cooperativa (Musei dei Fossili di Smerillo) Sistema Museo La Provincia e il Comune di Fermo sono Contenuti a disposizione degli aventi diritto per le A cura del gruppo di lavoro fonti iconografiche non identificate. composto da: Giuseppe Buondonno Si ringraziano tutti i proprietari e gestori Assessore alla Cultura dei musei per la gentile collaborazione. Provincia di Fermo I dati pubblicati sono stati forniti dai Francesco Trasatti singoli enti aderenti.
    [Show full text]
  • There's a UFO in My Painting!
    NOTES ON A STRANGE WORIP MASSIMO POLIDORO There's a UFO in My Painting! Gospels have it, a radiant cloud. ^ * "T" "TTOs are not a recent Another example of this kind is in I invention, they were the Nativity of Lorenzo Monaco." ^^*S seen by our ances- The litde man on die right of tors as well!" This is one of the typ- the painting that shields his eyes ical claims [hat can be found in looking at the sky is another typi- books by Erich Von Daniken, Peter cal element of such paintings. Kolosimo, and similar authors. The However, that man does not proof for it? A variety of strange appear to look at the radiant cloud, objects depicted in paintings by but at the Nativity Star and three some of rhe world's greatest artists. other small stars (or flames) to the far left, a symbol of the "trifold vir- ginity" of the Madonna (before, during, and after the virgin birth). Crivelli's UFOs In Carlo Crivelli's Annunciazione (Annunciation), a i486 painting now on display at the National Gallery in London, some believe The Madonna's Spaceship diat a UFO is in the sky and diat A typical example is the Madonna from it a ray of light comes down to con Bambino e San Giovannino touch the head of die Virgin Mary. (Madonna and Child with the Carlo Crivelli's Annunciazione (Annunciation). All mystery mongering prints of diis Infant Saint John) attributed to painting show poor-quality repro- Sebastiano Mainardi or Jacopo del In order to understand what this and ductions of the details.
    [Show full text]