Siena Study Center: Art History

Total Page:16

File Type:pdf, Size:1020Kb

Siena Study Center: Art History UNIVERSITY OF MASSACHUSETTS – SIENA PROGRAM HISTORY OF MEDIEVAL AND RENAISSANCE SIENESE ART INSTRUCTOR: FEDERICA FISCALETTI [email protected] CELL. +39 347 37 51 800 COURSE DESCRIPTION This course will trace the development of Sienese art through visual, historical, and critical analyses. Siena has a history steeped in art, religion and politics that makes it a fascinating place to study (and in which to live). Sienese artists were pivotal in shaping medieval and Renaissance Italian painting, sculpture and architecture. From the mid-13th century until the fall of the Sienese Republic to Florence in 1555, Siena experienced its own ‘renaissance’. Particular emphasis will be given to the ‘golden age’ of the Sienese Gothic (Duccio, Simone Martini, etc.) and to the special relationship that the city held (and still holds) with the Virgin Mary and its myriad of saints and blesseds (Saint Catherine of Siena, San Bernardino, the Blessed Agostino Novello, to name but a few). The course will also explore 15th and 16th century Florentine art, focusing on some of the most important paintings and sculptures …..carried out by great Renaissance artists such as Masaccio, Botticelli, Donatello, Leonardo, Michelangelo, Lectures will be accompanied by PowerPoint presentations; on-site lectures and discussions will take place throughout the term. OVERALL GOALS OF THE COURSE Together with learning about developments in Sienese art from the 13th to 16th centuries, students will gain experience in visual analysis (style, iconography, etc.) and develop critical thinking through group discussions and presentations. GRADE BREAKDOWN 20% Attendance and Participation 25% Midterm Exam (in-class exam with slides identifications and multiple choice test) 25% Final Exam (in-class exam with slides identifications, multiple choice test, short essays) 30% Final Oral presentation (on-site presentation, each student will be asked to discuss a work of art in terms of style, iconography, historical context, comparative analysis). --------------------------------------------------------------- 100% Grade 1 REQUIRED READINGS - Course Reader - Handouts CLASS HOURS CLASS TOPICS Presentation of the program, syllabus and course reader distributed. Siena and its origins. The Etruscans, Roman Saena Julia, western and eastern Roman Empire, barbarian invasions in Italy, Lombards in Siena and the via Francigena (growth of the city). Mediums and techniques in art: architecture, sculpture, paintings. Initial considerations about ancient forms of art in Italy: Byzantine icons and the influence of byzantine style in Siena. Romanesque and Gothic style. Sienese and Florentine painters, Duccio, Cimabue, Giotto (13th – 14th c..). Sculptors in Siena, Nicola and Giovanni Pisano (13th – 14th c.) VISIT: Crypt and Cathedral Museum The Nine Rulers of Siena (1287 – 1355). 14th century Sienese painters working for the Commune: Simone Martini and Ambrogio Lorenzetti. Space, depth, landscapes. The new Gothic style in paintings, sacred and profane subjects, frescoe cycles. Memmo di Filippuccio in San Gimignano. Visit: San Gimignano Visit: Palazzo Pubblico 1348: the Black Death. Artists at work in Siena in the second half of the 14th century. Introduction to the Renaissance period: Florence and the new Humanistic culture. The early quattrocento masters, Brunelleschi, Donatello, Masaccio, perspective and observation of nature…. 15th-16th century works of art in the Cathedral of Siena: marble decorated floor, Piccolomini Altar and Library, Donatello and Michelangelo. 2 VISIT: Siena Cathedral MIDTERM FLORENCE, walking tour Sienese 15th century works of art: frescoes in the Baptistery, Pellegrinaio’s cycle of paintings, Fonte Gaia, Logge del Papa and della Mercanzia, Piccolomini Palace. Florentine High Renaissance masters: Leonardo, Michelangelo, Raphael. Prep lesson for Florence walking tour. Visit: Baptistery and Santa Maria della Scala. Mannerism, early 16th century reaction to High Renaissance perfection. Florentine and Sienese artists: Rosso Fiorentino, Pontormo, Domenico di Pace il Beccafumi, Giovanni Antonio Bazzi il Sodoma. Fall of the Sienese Republic, Siena becomes part of the Grand Duchy of Tuscany (1555). Prep lesson for Uffizi Gallery. Visit: Uffizi Gallery, Florence. Visit: Siena Painting Gallery Recap and group discussion for the final exam, FINAL WRITTEN AND ORAL EXAM RESOURCES Students are encouraged to use the local libraries. The Biblioteca Comunale degli Intronati (Via della Sapienza 3, http://www.bibliotecasiena.it/) holds many sources in English. The following volumes are in the Biblioteca Comunale. ADDITIONAL BIBLIOGRAPHY 3 ** Christiansen, Keith, Laurence B. Kanter and Carl Brandon Strehlke, Painting in Renaissance Siena 1420-1500 (New York: Harry N. Abrams; The Metropolitan Museum of Art, 1988) { SA A 0095; 7 A 01680; 7 A 02015} ** Maginnis, H. J. B., The World of the Early Sienese Painter (University Park, PA: Pennsylvania State Press, 2001) { SA A 0478} ** Meiss, Millard, Painting in Florence and Siena after the Black Death (Princeton: Princeton University ress, 1951) { SA B 0879; 7 B 00217; SA A 0260} ** Norman, Diana, Siena and the Virgin: Art and Politics in a Late Medieval City State )New Haven: Yale University Press, 1999) { SA A 0455; 7 A 02839; APT 0290} ** Os, H. W. van, Sienese Altarpieces, 1215-1460: Form, Content, Function, trans. by Michael Hoyle, 2 vols (Groningen: Egbert Forsten, 1988) { 7 B 02680; SA B 0261; SA B 0262; 7 B 02681} ** Panofsky, Erwin, Studies in Iconology: Humanistic Themes in the Art of the Renaissance (New York: Harper Torchbooks, 1962) {7 B 00174} 4 .
Recommended publications
  • The Master of the Unruly Children and His Artistic and Creative Identities
    The Master of the Unruly Children and his Artistic and Creative Identities Hannah R. Higham A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham May 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines a group of terracotta sculptures attributed to an artist known as the Master of the Unruly Children. The name of this artist was coined by Wilhelm von Bode, on the occasion of his first grouping seven works featuring animated infants in Berlin and London in 1890. Due to the distinctive characteristics of his work, this personality has become a mainstay of scholarship in Renaissance sculpture which has focused on identifying the anonymous artist, despite the physical evidence which suggests the involvement of several hands. Chapter One will examine the historiography in connoisseurship from the late nineteenth century to the present and will explore the idea of the scholarly “construction” of artistic identity and issues of value and innovation that are bound up with the attribution of these works.
    [Show full text]
  • The Presentation of the Virgin in the Temple
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Paolo di Giovanni Fei Sienese, c. 1335/1345 - 1411 The Presentation of the Virgin in the Temple 1398-1399 tempera on wood transferred to hardboard painted surface: 146.1 × 140.3 cm (57 1/2 × 55 1/4 in.) overall: 147.2 × 140.3 cm (57 15/16 × 55 1/4 in.) Samuel H. Kress Collection 1961.9.4 ENTRY The legend of the childhood of Mary, mother of Jesus, had been formed at a very early date, as shown by the apocryphal Gospel of James, or Protoevangelium of James (second–third century), which for the first time recounted events in the life of Mary before the Annunciation. The iconography of the presentation of the Virgin that spread in Byzantine art was based on this source. In the West, the episodes of the birth and childhood of the Virgin were known instead through another, later apocryphal source of the eighth–ninth century, attributed to the Evangelist Matthew. [1] According to this account of her childhood, Mary, on reaching the age of three, was taken by her parents, together with offerings, to the Temple of Jerusalem, so that she could be educated there. The child ascended the flight of fifteen steps of the temple to enter the sacred building, where she would continue to live, fed by an angel, until she reached the age of fourteen. [2] The legend linked the child’s ascent to the temple and the flight of fifteen steps in front of it with the number of Gradual Psalms.
    [Show full text]
  • The Best of Renaissance Florence April 28 – May 6, 2019
    Alumni Travel Study From Galleries to Gardens The Best of Renaissance Florence April 28 – May 6, 2019 Featuring Study Leader Molly Bourne ’87, Professor of Art History and Coordinator of the Master’s Program in Renaissance Art at Syracuse University Florence Immerse yourself in the tranquil, elegant beauty of Italy’s grandest gardens and noble estates. Discover the beauty, drama, and creativity of the Italian Renaissance by spending a week in Florence—the “Cradle of the Renaissance”—with fellow Williams College alumni. In addition to a dazzling array of special openings, invitations into private homes, and splendid feasts of Tuscan cuisine, this tour offers the academic leadership of Molly Bourne (Williams Class of ’87), art history professor at Syracuse University Florence. From the early innovations of Giotto, Brunelleschi, and Masaccio to the grand accomplishments of Michelangelo, our itinerary will uncover the very best of Florence’s Renaissance treasury. Outside of Florence, excursions to delightful Siena and along the Piero della Francesca trail will provide perspectives on the rise of the Renaissance in Tuscany. But the program is not merely an art seminar—interactions with local food and wine experts, lunches inside beautiful private homes, meanders through stunning private gardens, and meetings with traditional artisans will complement this unforgettable journey. Study Leader MOLLY BOURNE (BA Williams ’87; PhD Harvard ’98) has taught art history at Syracuse University Florence since 1999, where she is also Coordinator of their Master’s Program in Renaissance Art History. A member of the Accademia Nazionale Virgiliana, she has also served as project researcher for the Medici Archive Project and held a fellowship at Villa I Tatti, the Harvard Center for Renaissance Studies.
    [Show full text]
  • Trek Urbano-Giovani Espl-ING
    notepad useful numbers WHAT TO EAT AND DRINK TOURIST INFORMATION APT SIENA Tel. 0577.280551 Urban Trekking Panforte, Ricciarelli, local TOUR GUIDE ASSOCIATION OF THE CITY AND PROVINCE OF SIENA Tel. 0577.43273 Urban cinta pork salami, pecorino TAXI - ACTIVE 24 HOURS A DAY - Tel. 0577.49222 Trekking for cheese EMERGENCY ROOM POLICLINICO LE SCOTTE Tel. 0577.585807-0577.585809 trekking WHAT TO BUY in Siena young explorers Wooden balls and tin air check horses with the colors of the Air check is an “environmental traffic light” contradas, toy carts and bells Y Urban trekking is a sport that measures the level of air quality. ou are the star of this adventure. We shall WHAT TO SEE for all. Following an The polluting agents monitored by it are carbon dioxide, explore the secret parts of Siena and you can Accademia dei Fisiocritici, Church of San itinerary on foot through hilly city streets does not Clemente in Santa Maria dei Servi, Church of San ozone, and noise. The green light means excellent air tell your friends that you discovered a Domenico, Church of San Francesco, Church of Santa Maria quality, yellow indicates fair quality, and red indicates a fantastic city among the museums, parks, require any special training. It is a perfect way of in Provenzano, Baptistry of San Giovanni, Saint Catherine heavily polluted atmosphere. fountains, games, shows, and ghosts. Ready toning up the mind and body for everyone who is of Siena’s house and sanctuary, Cathedral, Church of forced to live in cramped spaces and feels the need Sant’Agostino, Church of Santa Lucia, Santa Maria della to start? One, two, three: GO!!! IN COOPERATION WITH Scala museum complex, Children’s Art Museum, Cathedral AUTOMOBILE CLUB D'ITALIA to liberate pent-up energies.
    [Show full text]
  • Maestà (Madonna and Child with Four Angels) C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Master of Città di Castello Italian, active c. 1290 - 1320 Maestà (Madonna and Child with Four Angels) c. 1290 tempera on panel painted surface: 230 × 141.5 cm (90 9/16 × 55 11/16 in.) overall: 240 × 150 × 2.4 cm (94 1/2 × 59 1/16 × 15/16 in.) framed: 252.4 x 159.4 x 13.3 cm (99 3/8 x 62 3/4 x 5 1/4 in.) Samuel H. Kress Collection 1961.9.77 ENTRY This panel, of large dimensions, bears the image of the Maestà represented according to the iconographic tradition of the Hodegetria. [1] This type of Madonna and Child was very popular among lay confraternities in central Italy; perhaps it was one of them that commissioned the painting. [2] The image is distinguished among the paintings of its time by the very peculiar construction of the marble throne, which seems to be formed of a semicircular external structure into which a circular seat is inserted. Similar thrones are sometimes found in Sienese paintings between the last decades of the thirteenth and the first two of the fourteenth century. [3] Much the same dating is suggested by the delicate chrysography of the mantles of the Madonna and Child. [4] Recorded for the first time by the Soprintendenza in Siena c. 1930 as “tavola preduccesca,” [5] the work was examined by Richard Offner in 1937. In his expertise, he classified it as “school of Duccio” and compared it with some roughly contemporary panels of the same stylistic circle.
    [Show full text]
  • Summary of the Periodic Report on the State of Conservation, 2006
    State of Conservation of World Heritage Properties in Europe SECTION II - Criterion (I). Artistically unique because of its spatial design, the Campo dei Miracoli contains four ITALY absolute architectural masterpieces: the Cathedral, the baptistery, the campanile and the Campo Piazza del Duomo, Pisa Santo. Within these monuments are such world- renowned art treasures as the bronze and mosaic doors of the cathedral, the pulpits in the baptistery Brief description and cathedral, the frescoes of the Campo Santo, Standing in a large green expanse, Piazza del and many others. Duomo houses a group of monuments known the - Criterion (II). The monuments of the Campo del world over. These four masterpieces of medieval Miracoli considerably influenced the development of architecture – the cathedral, the baptistery, the architecture and monumental arts at two different campanile (the 'Leaning Tower') and the cemetery times in history. – had a great influence on monumental art in Italy from the 11th to the 14th century. 1) First, from the 11th century up to 1284, during the epitome of Pisa's prosperity, a new type of church characterized by the refinement of 1. Introduction polychrome architecture and the use of loggias was established. The Pisan style that first appeared with Year(s) of Inscription 1987 the Cathedral can be found elsewhere in Tuscany Agency responsible for site management (notably at Lucques and Pistoia), but also within the Pisan maritime territory, as shown in more humble • Opera Primaziale Pisana form by the "pieve" in Sardegna and Corsica. Piazza Duomo 17 56100 Piza 2) Later, during the 14th century, architecture In Tuscany, Italy Tuscany was dominated by the monumental style E-mail: [email protected] of Giovanni Pisano (who sculpted the pulpit of the Website: www.opapiza.it Cathedral between 1302 and 1311), a new era of pictorial art -the Trecento- was ushered in after the epidemic of the black death (Triumph of Death, a 2.
    [Show full text]
  • PALAZZO PUBBLICO a SIENA…E DINTORNI I Palazzi Pubblici Nel Medioevo
    PALAZZO PUBBLICO A SIENA…E DINTORNI I Palazzi pubblici nel Medioevo •I Palazzi Pubblici si diffusero dal XIII secolo, a partire dall’Italia settentrionale. Prima della loro realizzazione, fino al Duecento, le rappresentanze delle magistrature civili erano costrette ad essere itineranti o a riunirsi nelle chiese. I nuovi palazzi erano posti in diretto rapporto con lo spazio urbano, generalmente una piazza, separata da quella della chiesa principale. Il Palazzo pubblico era generalmente separato dalla cattedrale, a testimonianza di una palese contrapposizione politica tra i due sistemi di potere. Nell’Italia settentrionale, generalmente, il palazzo presentava portici al piano terra, dove si svolgevano il mercato o assemblee pubbliche; al piano superiore era un ampio e luminoso salone per le riunioni del consiglio, con un balcone prospettante sulla piazza. Vedi Palazzo pubblico a Bologna Nell’Italia centrale, i palazzi civici fungevano spesso anche da residenza dei magistrati e degli amministratori, per cui viene eliminata la loggia, luogo pubblico per eccellenza. Ne sono esempio il Palazzo della Signoria a Firenze e il Palazzo Pubblico di Siena. PIAZZA DEL CAMPO •1169, è questo l’anno in cui viene diffuso un primo documento che parla di questa piazza. E’ l’anno in cui la comunità di Siena acquista questo terreno fragile e fangoso su cui convergevano le piccole strade dell’antica città. Verso la fine del 1100 il grande spazio viene diviso, probabilmente, da un ampio muro divisorio contribuendo a creare la caratteristica forma a conchiglia. •Piazza del Campo è un unicum tra le piazze realizzate in epoca medievale, notoriamente legate da una planimetria convenzionale.
    [Show full text]
  • MONTEPULCIANO's PALAZZO COMUNALE, 1440 – C.1465: RETHINKING CASTELLATED CIVIC PALACES in FLORENTINE ARCHITECTURAL and POLITI
    MONTEPULCIANO’S PALAZZO COMUNALE, 1440 – c.1465: RETHINKING CASTELLATED CIVIC PALACES IN FLORENTINE ARCHITECTURAL AND POLITICAL CONTEXTS Two Volumes Volume I Koching Chao Ph.D. University of York History of Art September 2019 ABSTRACT This thesis argues for the significance of castellated civic palaces in shaping and consolidating Florence’s territorial hegemony during the fifteenth century. Although fortress-like civic palaces were a predominant architectural type in Tuscan communes from the twelfth century onwards, it is an understudied field. In the literature of Italian Renaissance civic and military architecture, the castellated motifs of civic palaces have either been marginalised as an outdated and anti-classical form opposing Quattrocento all’antica taste, or have been oversimplified as a redundant object lacking defensive functionality. By analysing Michelozzo’s Palazzo Comunale in Montepulciano, a fifteenth-century castellated palace resembling Florence’s thirteenth-century Palazzo dei Priori, this thesis seeks to address the ways in which castellated forms substantially legitimised Florence’s political, military and cultural supremacy. Chapter One examines textual and pictorial representations of Florence’s castellation civic palaces and fortifications in order to capture Florentine perceptions of castellation. This investigation offers a conceptual framework, interpreting the profile of castellated civic palaces as an effective architectural affirmation of the contemporary idea of a powerful city-republic rather than being a symbol of despotism as it has been previously understood. Chapters Two and Three examine Montepulciano’s renovation project for the Palazzo Comunale within local and central administrative, socio-political, and military contexts during the first half of the fifteenth century, highlighting the Florentine features of Montepulciano’s town hall despite the town’s peripheral location within the Florentine dominion.
    [Show full text]
  • Images-Within-Images in Italian Painting (1250-1350)
    Images-within-Images in Italian Painting (1250-1350) Reality and Reflexivity Peter Bokody Plymouth University, UK ASHGATE Contents List of Illustrations vii Acknowledgments xiii Introduction 1 1 Essential Images-within-Images 11 2 Illusionism 37 3 Reality Effect 59 4 Nleta-Images 89 5 Meanings 113 6 Embedded Narrative 141 7 Image and Devotion 171 Conclusion 187 Bibliography 195 Index 221 List of Illustrations Color Plates 1 Model of the Stefaneschi polyptych. 8 Pietro Lorenzetti, St. John the Giotto di Bondone, Stefaneschi polyptych Evangelist Altar, before 1319, fresco. (back), between 1300-1330, tempera on Lower Church, San Francesco, Assisi. wood. Pinacoteca, Vatican. 2014 © Photo © Stefan Diller. Scala, Florence. 9 Reliefs. Expulsion of the Devils from 2 Giotto di Bondone, Envy and Infidelity, Arez20, between 1288-1297, fresco. Upper between 1303-1305, fresco. Arena Chapel, Church, San Francesco, Assisi. © Stefan Padua. Courtesy of Comune di Padua - Diller. Department of Culture. 10 Frieze. Liberation of the Repentant of Francis. St. Francis and 3 Image St. Heretic, between 1288-1297, fresco. Upper stories his between 1260-1280, of life, Church, San Francesco, Assisi. © Stefan on wood. Chiesa di San tempera Diller. Silvestro Museo Diocesano d'Arte Sacra, Orte. 2014 © Photo DeAgostini Picture 11 Verification of the Stigmata, between Library/Scala, Florence. 1288-1297, fresco. Upper Church, San Francesco, Assisi. © Stefan Diller. 4 Painted cross. St. Francis before the Cross in San between Damiano, 12 Crucifixion. Giotto di Bondone, 1288-1297, fresco. Church, San Upper Allegory of Obedience, 1310s, fresco. Lower Francesco, Assisi. © Stefan Diller. Church, San Francesco, Assisi. © Stefan Diller. 5 Twisted column.
    [Show full text]
  • RAR, Volume 16, 1996
    The RUTGERS ART REVIEW Published by the Graduate Students of the Department of Art History at Rutgers, The State University of New jersey Volume 16,1996 Copyright © 1997 by Rutgers, The State University of New Jersey All rights reserved Manufactured in the United States of America ISSN 0194-049X Typeset by Gabrielle Rose and Kelly Winquist Benefactors The Graduate Student Association, Rutgers, The State University of New Jersey Johnson & Johnson Family of Companies Contributors Robert Bergman Walter Liedtke Friends Joe Giuffre Sara Harrington Stephanie Leone Judith Totaro The editorial board of the Rutgers Art Review, volume 16, gratefully acknowledges the advice and expertise of the faculty of the department of Art History, Rutgers Univer­ sity, and, in particular, faculty advisor Matthew Baigell. We would also like to thank Mariet Westermann, without whose invaluable assistance the interview would not have been possible. Finally the board is very grateful to all of the professional readers of papers submitted for this issue. The editors extend special thanks to Anand Commissiong, office director of the Catharine R. Stimpson Graduate Publications Office of Rutgers University, without whom this issue could not have been published. The Rutgers Art Review extends its appreciation to Nikola Stojsin and Kyle Haidet, members of the Graduate Student Association/Graduate Publications Committee, Rutgers University. Their continued professional support has been crucial to the success of the RAR. Rutgers Art Review Volume 16 Co-Editors Gabrielle Rose Kelly Winquist Editorial Board Julia Alderson Alexis Boylan Rachel Buffington Craig Eliason Ron MacNeil Mary Kate O'Hare Faculty Advisor Matthew Baigell CONTENTS Volume 16 1996 Articles A Reexamination of Nicola Pisano's Pulpits for the Pisa Baptistery and Siena Cathedral Lisa Marie Rafanelli 1 Revisioning Queer Identity: AIDS Discourse and the Impenetrable Subject in Phone Sex Advertising Randall R.
    [Show full text]
  • Siena Is a Famous Medieval City, Located in the Heart of Tuscany. It Is One of the Most Popular and Visited Cities in Tuscany As
    SIENA Siena is a famous Medieval city, located in the heart of Tuscany. It is one of the most popular and visited cities in Tuscany as it is extremely rich in history and art and with strong local traditions such as the famous Palio di Siena, the biggest annual event taking place in the city twice a year in summer. 1 FOCUS ON HISTORY The legend says that Siena was founded by Senius and Ascanius, sons of Remus, of the famous twins Romulus and Remus, who founded Rome. Statues of the wolf feeding the twins are spotted throughout Siena. In 30 A.D. the Romans established a military outpost called Siena, which developed into a busy little trading post in the following years. The Lombards arrived in the 6th century A.D. , and the Franks also governed the city. Great works were carried out, the most important was the famous Via Francigena, the road which linked Rome to France , used by pilgrims and travellers; this greatly increased Siena’s importance. The Church was actively involved in governing the city, especially between the 9th and 11th centuries, but later the Sienese people claimed their right to govern and administer the city. Siena’s economic and military power grew enormously and inevitably friction grew between Siena and Florence, as both cities tried to enlarge their territory. There were many battles between the two cities between the 13th and 15th centuries. Eventually Siena was incorporated into the Florentine territory and administration. Despite both external disputes with neighbours and internal disputes over government, in the years from 1150 to 1300, great artists were discovered and the city was adorned with beautiful monuments such as the Cathedral, “Palazzo Pubblico” and “Torre del Mangia”.
    [Show full text]
  • 170.2016.57.1.7.Pdf
    BOOK REVIEWS BOKODY, Péter: Images-within-Images in Italian Painting (1250–1350). Reality and Reflexivity, Ashgate, Farnham – Burlington, 2015. xiv+229 pages, 20 pages of plates A picture within another picture begins appear- ing from the second half of the thirteenth cen- tury, when a powerful turn can be discerned in Italian painting. Earlier, painters tried to per- suade viewers of the “real presence” of sacred things; from this moment up to about the turn of the nineteenth and twentieth centuries they tried to represent these things, to render them visible. Representations became truer to reality towards the end of the duecento, with an aim of mirroring small details, too. The spatial correla- tion of persons and objects was pondered about, the goal being to grasp real space, to make the third dimension visible. The growing interest in representing reality, in rendering the plasticity and spatial placement of figures gave rise to the possibility of depicting separate pictures within a picture: images-within-images. Though connoisseurs and researchers of painting have been aware of this phenomenon for ages, it was a lecture by André Chastel in 1964 that first analyzed it thoroughly after some occa- sional mentions,1 after which research began to inquire into it as a self-contained phenomenon. Chastel retraced the device to the Eyckian turn Cover illustration: Crucifixion. Giotto di Bondone: in the early fifteenth century and pointed out Allegory of Obedience, 1310s, fresco. Lower Church, some major milestones from then up to the mid- San Francesco, Assisi. (© Stefan Diller) Acta Historiae Artium, Tomus 57, 2016 0001-5830/2012/$20.00 © Akadémiai Kiadó, Budapest 188 BOOK REVIEWS twentieth century, but with two or three excep- than once about a sculpture (!) within the picture tions, he was only concerned with panel and or a relief in a building or on a sarcophagus (!) canvas paintings.
    [Show full text]