International Journal for Digital Art History, Issue #2
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Discovering Florence in the Footsteps of Dante Alighieri: “Must-Sees”
1 JUNE 2021 MICHELLE 324 DISCOVERING FLORENCE IN THE FOOTSTEPS OF DANTE ALIGHIERI: “MUST-SEES” In 1265, one of the greatest poets of all time was born in Florence, Italy. Dante Alighieri has an incomparable legacy… After Dante, no other poet has ever reached the same level of respect, recognition, and fame. Not only did he transform the Italian language, but he also forever altered European literature. Among his works, “Divine Comedy,” is the most famous epic poem, continuing to inspire readers and writers to this day. So, how did Dante Alighieri become the father of the Italian language? Well, Dante’s writing was different from other prose at the time. Dante used “common” vernacular in his poetry, making it more simple for common people to understand. Moreover, Dante was deeply in love. When he was only nine years old, Dante experienced love at first sight, when he saw a young woman named “Beatrice.” His passion, devotion, and search for Beatrice formed a language understood by all - love. For centuries, Dante’s romanticism has not only lasted, but also grown. For those interested in discovering more about the mysteries of Dante Alighieri and his life in Florence , there are a handful of places you can visit. As you walk through the same streets Dante once walked, imagine the emotion he felt in his everlasting search of Beatrice. Put yourself in his shoes, as you explore the life of Dante in Florence, Italy. Consider visiting the following places: Casa di Dante Where it all began… Dante’s childhood home. Located right in the center of Florence, you can find the location of Dante’s birth and where he spent many years growing up. -
Spot the Giraffe: the Ma- Terial Culture of Animals Found, Lost and Painted
FRÜHE NEUZEIT GLOBAL KUNST VERFLECHTUNG Spot the Giraffe: The Ma- terial Culture of Animals Found, Lost and Painted Giorgio Riello 17.05.2021 The distracted tourist might be forgiven for not paying much attention to what is represented in The Adoration of the Magi, one of more than twenty large-scale frescos decorating the Tornabuoni Chapel in the Church of Santa Maria Novella in Florence. The famous Italian painter Domenico Ghirlandaio and his workshop worked tire- lessly between 1485 and 1490 to complete what is one of the largest renaissance works of art. Ghirlandaio was commissioned for the family chapel of the 55-year old Florentine merchant and banker Giovanni Tornabuoni, one of the richest and most powerful men in town. The passing of five centuries and the elements had harsh ef- fects on the frescos in the Tornabuoni Chapel. Yet, one can still see Giovanni Tornabuoni and many of his rela- tives and acolytes populating the scenes in the frescos. 1 Alas the Adoration is badly damaged having lost much of its central area. Fortunately, it is a detail in the undamaged upper right- hand corner that is of interest to us. In the distance, among Florentine hills and cypress trees one can spot a distinctive animal accompanied by a retinue of kee- pers dressed in oriental costumes and wearing turbans. Walking towards the city of Florence and the Church of Santa Maria Novella is a giraffe. We do not know why Fig. 1: The Adoration of the Ghirlandaio decided to insert it into the scene. Probably Magi by Domenico Ghirlandaio, it might have been considered a fitting addition to the Tornabuoni Chapel, Santa Maria three wise men traditionally deemed to have come from Novella, Florence, 1485–1490. -
A New Chronology of the Construction and Restoration of the Medici Guardaroba in the Palazzo Vecchio, Florence
A NEW CHRONOLOGY OF THE CONSTRUCTION AND RESTORATION OF THE MEDICI GUARDAROBA IN THE PALAZZO VECCHIO, FLORENCE by Mark Rosen One of the most unusual projects overseen by Giorgio Vasari in the Palazzo Vecchio in Flor- ence, the Guardaroba is a trapezoidal room containing a late-sixteenth-century cycle of fi fty-three geographical maps of the earth affi xed in two tiers to the front of a series of wooden cabinets (fi g. 1). Vasari published a detailed program for the Guardaroba project in the second edition of “Le vite de’ piu eccellenti pittori scultori e architettori” in 15681, at a moment when the project, begun in 1563, was still in development. The program defi nes it as a complete cosmography of the known universe, with maps, globes, painted constellations, illustrations of fl ora and fauna, and portraits of great historical leaders. Rarities and artworks placed inside the cabinets would act together with this custom-designed imagery to refl ect back on the name and charismatic persona of Vasari’s patron, Cosimo I de’ Medici (1519–1574). The idea and program behind the Medici Guardaroba had roots in late medieval studioli — small, womb-like study spaces that valorized private contemplation and collecting through complex humanistic decoration. Yet the goal of this new space was to be a public theater for the court’s cosmography and its power to collect and sort the duchy’s fi nest objects. The incomplete status of the room today — which includes only a series of empty cabinets, a terrestrial globe (1564–1568) by the Dominican scientist Egnazio Danti, and a cycle of maps painted by Danti (between 1563 and 1575) and Stefano Buonsignori (from 1576 through c. -
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. -
Domenico Ghirlandaio 1 Domenico Ghirlandaio
Domenico Ghirlandaio 1 Domenico Ghirlandaio Domenico Ghirlandaio Supposed self-portrait, from Adoration of the Magi, 1488 Birth name Domenico di Tommaso Curradi di Doffo Bigordi Born 11 January 1449Florence, Italy Died 11 January 1494 (aged 45)Florence, Italy (buried in the church of Santa Maria Novella) Nationality Italian Field Painter Movement Italian Renaissance Works Paintings in: Church of Ognissanti, Palazzo Vecchio, Santa Trinita, Tornabuoni Chapel in Florence and Sistine Chapel, Rome Domenico Ghirlandaio (1449 – 11 January 1494) was an Italian Renaissance painter from Florence. Among his many apprentices was Michelangelo. Biography Early years Ghirlandaio's full name is given as Domenico di Tommaso di Currado di Doffo Bigordi. The occupation of his father Tommaso Bigordi and his uncle Antonio in 1451 was given as "'setaiuolo a minuto,' that is, dealers of silks and related objects in small quantities." He was the eldest of six children born to Tommaso Bigordi by his first wife Mona Antonia; of these, only Domenico and his brothers and collaborators Davide and Benedetto survived childhood. Tommaso had two more children by his second wife, also named Antonia, whom he married in 1464. Domenico's half-sister Alessandra (b. 1475) married the painter Bastiano Mainardi in 1494.[1] Domenico was at first apprenticed to a jeweller or a goldsmith, most likely his own father. The nickname "Il Ghirlandaio" (garland-maker) came to Domenico from his father, a goldsmith who was famed for creating the metallic garland-like necklaces worn by Florentine women. In his father's shop, Domenico is said to have made portraits of the passers-by, and he was eventually apprenticed to Alessio Baldovinetti to study painting and mosaic. -
Gender Dynamics in Renaissance Florence Mary D
Early Modern Women: An Interdisciplinary Journal Vol. 11, No. 1 • Fall 2016 The Cloister and the Square: Gender Dynamics in Renaissance Florence Mary D. Garrard eminist scholars have effectively unmasked the misogynist messages of the Fstatues that occupy and patrol the main public square of Florence — most conspicuously, Benvenuto Cellini’s Perseus Slaying Medusa and Giovanni da Bologna’s Rape of a Sabine Woman (Figs. 1, 20). In groundbreaking essays on those statues, Yael Even and Margaret Carroll brought to light the absolutist patriarchal control that was expressed through images of sexual violence.1 The purpose of art, in this way of thinking, was to bolster power by demonstrating its effect. Discussing Cellini’s brutal representation of the decapitated Medusa, Even connected the artist’s gratuitous inclusion of the dismembered body with his psychosexual concerns, and the display of Medusa’s gory head with a terrifying female archetype that is now seen to be under masculine control. Indeed, Cellini’s need to restage the patriarchal execution might be said to express a subconscious response to threat from the female, which he met through psychological reversal, by converting the dangerous female chimera into a feminine victim.2 1 Yael Even, “The Loggia dei Lanzi: A Showcase of Female Subjugation,” and Margaret D. Carroll, “The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence,” The Expanding Discourse: Feminism and Art History, ed. Norma Broude and Mary D. Garrard (New York: HarperCollins, 1992), 127–37, 139–59; and Geraldine A. Johnson, “Idol or Ideal? The Power and Potency of Female Public Sculpture,” Picturing Women in Renaissance and Baroque Italy, ed. -
Insider's Florence
Insider’s Florence Explore the birthplace of the Renaissance November 8 - 15, 2014 Book Today! SmithsonianJourneys.org • 1.877.338.8687 Insider’s Florence Overview Florence is a wealth of Renaissance treasures, yet many of its riches elude all but the most experienced travelers. During this exclusive tour, Smithsonian Journey’s Resident Expert and popular art historian Elaine Ruffolo takes you behind the scenes to discover the city’s hidden gems. You’ll enjoy special access at some of Florence’s most celebrated sites during private after-hours visits and gain insight from local experts, curators, and museum directors. Learn about restoration issues with a conservator in the Uffizi’s lab, take tea with a principessa after a private viewing of her art collection, and meet with artisans practicing their ages-old art forms. During a special day in the countryside, you’ll also go behind the scenes to explore lovely villas and gardens once owned by members of the Medici family. Plus, enjoy time on your own to explore the city’s remarkable piazzas, restaurants, and other museums. This distinctive journey offers first time and returning visitors a chance to delve deeper into the arts and treasures of Florence. Smithsonian Expert Elaine Ruffolo November 8 - 15, 2014 For popular leader Elaine Ruffolo, Florence offers boundless opportunities to study and share the finest artistic achievements of the Renaissance. Having made her home in this splendid city, she serves as Resident Director for the Smithsonian’s popular Florence programs. She holds a Master’s degree in art history from Syracuse University and serves as a lecturer and field trip coordinator for the Syracuse University’s program in Italy. -
Michelangelo's David-Apollo
Michelangelo’s David-Apollo , – , 106284_Brochure.indd 2 11/30/12 12:51 PM Giorgio Vasari, Michelangelo Michelangelo, David, – Buonarroti, woodcut, from Le vite , marble, h. cm (including de’ più eccellenti pittori, scultori e base). Galleria dell’Accademia, architettori (Florence, ). Florence National Gallery of Art Library, Washington, Gift of E. J. Rousuck The loan of Michelangelo’s David-Apollo () from a sling over his shoulder. The National Gallery of Art the Museo Nazionale del Bargello, Florence, to the owns a fteenth-century marble David, with the head of National Gallery of Art opens the Year of Italian Culture, Goliath at his feet, made for the Martelli family of Flor- . This rare marble statue visited the Gallery once ence (. ). before, more than sixty years ago, to reafrm the friend- In the David-Apollo, the undened form below the ship and cultural ties that link the peoples of Italy and right foot plays a key role in the composition. It raises the United States. Its installation here in coincided the foot, so that the knee bends and the hips and shoul- with Harry Truman’s inaugural reception. ders shift into a twisting movement, with the left arm The ideal of the multitalented Renaissance man reaching across the chest and the face turning in the came to life in Michelangelo Buonarroti ( – ), opposite direction. This graceful spiraling pose, called whose achievements in sculpture, painting, architecture, serpentinata (serpentine), invites viewers to move and poetry are legendary (. ). The subject of this around the gure and admire it from every angle. Such statue, like its form, is unresolved. -
Unearth the Essence of Florence with Our Extraordinary Experiences
UNEARTH THE ESSENCE OF FLORENCE WITH OUR EXTRAORDINARY EXPERIENCES THE ART OF MAKING In this series of experiences and excursions, we invite you to discover Florence as the home of Italian craftsmanship. Explore the wave of designers and makers who preserve time- honoured traditions while fashioning a new type of luxury. You could say they’re the New Renaissance, a movement that blends contemporary design with historic production techniques, resulting in irresistible creations that embody Florentine artistry. Hop in our vintage Fiat 1100 Musone car - electric and artfully customised for Villa San Michele - and head into the centre of Florence to meet local artisans. Accompanied by a passionate lifestyle specialist, you will unlock timeless techniques, step behind the scenes of creative processes and reconnect with the forgotten art of handcrafting. Discover hidden gems in the realms of fashion and lifestyle, including jewellery, hats, eyewear, shoes, handbags, crystalware, silverware, artisanal perfumes, parchment boxes and hand-embroidered garments. Each artisan will reveal a story of unique passion and heritage. The morning ends at the Louis Vuitton boutique for an inspiring Art of Packing experience. Price starting from €350 up to 4 guests (3 hours minimum). Fee for each additional person €70. Includes: lifestyle expert guide. 5 PHOTO © JOEE WONG PHOTOGRAPHY LEONARDO TOUR Discover how and where Leonardo da Vinci left his mark on a fascinating tour through the historic heart of Florence. Unmissable sites include: – Memorial statue near the Uffizi – Palazzo Gondi, where Leonardo lived for a year. The palace was built by his father; today it’s the home of the Gondi marquises (Gerardo and Lapo), who will welcome you – Works by Leonardo in Florence, for example, in the intriguing Church of Orsanmichele – Palazzo Vecchio, site of the unfinished Battle of Anghiari fresco Price starting from €370 per couple (3 hours minimum). -
Celebrating the City: the Image of Florence As Shaped Through the Arts
“Nothing more beautiful or wonderful than Florence can be found anywhere in the world.” - Leonardo Bruni, “Panegyric to the City of Florence” (1403) “I was in a sort of ecstasy from the idea of being in Florence.” - Stendahl, Naples and Florence: A Journey from Milan to Reggio (1817) “Historic Florence is an incubus on its present population.” - Mary McCarthy, The Stones of Florence (1956) “It’s hard for other people to realize just how easily we Florentines live with the past in our hearts and minds because it surrounds us in a very real way. To most people, the Renaissance is a few paintings on a gallery wall; to us it is more than an environment - it’s an entire culture, a way of life.” - Franco Zeffirelli Celebrating the City: the image of Florence as shaped through the arts ACM Florence Fall, 2010 Celebrating the City, page 2 Celebrating the City: the image of Florence as shaped through the arts ACM Florence Fall, 2010 The citizens of renaissance Florence proclaimed the power, wealth and piety of their city through the arts, and left a rich cultural heritage that still surrounds Florence with a unique and compelling mystique. This course will examine the circumstances that fostered such a flowering of the arts, the works that were particularly created to promote the status and beauty of the city, and the reaction of past and present Florentines to their extraordinary home. In keeping with the ACM Florence program‟s goal of helping students to “read a city”, we will frequently use site visits as our classroom. -
THE FLORENTINE HOUSE of MEDICI (1389-1743): POLITICS, PATRONAGE, and the USE of CULTURAL HERITAGE in SHAPING the RENAISSANCE by NICHOLAS J
THE FLORENTINE HOUSE OF MEDICI (1389-1743): POLITICS, PATRONAGE, AND THE USE OF CULTURAL HERITAGE IN SHAPING THE RENAISSANCE By NICHOLAS J. CUOZZO, MPP A thesis submitted to the Graduate School—New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Art History written under the direction of Archer St. Clair Harvey, Ph.D. and approved by _________________________ _________________________ _________________________ New Brunswick, New Jersey May, 2015 ABSTRACT OF THE THESIS The Florentine House of Medici (1389-1743): Politics, Patronage, and the Use of Cultural Heritage in Shaping the Renaissance By NICHOLAS J. CUOZZO, MPP Thesis Director: Archer St. Clair Harvey, Ph.D. A great many individuals and families of historical prominence contributed to the development of the Italian and larger European Renaissance through acts of patronage. Among them was the Florentine House of Medici. The Medici were an Italian noble house that served first as the de facto rulers of Florence, and then as Grand Dukes of Tuscany, from the mid-15th century to the mid-18th century. This thesis evaluates the contributions of eight consequential members of the Florentine Medici family, Cosimo di Giovanni, Lorenzo di Giovanni, Giovanni di Lorenzo, Cosimo I, Cosimo II, Cosimo III, Gian Gastone, and Anna Maria Luisa, and their acts of artistic, literary, scientific, and architectural patronage that contributed to the cultural heritage of Florence, Italy. This thesis also explores relevant social, political, economic, and geopolitical conditions over the course of the Medici dynasty, and incorporates primary research derived from a conversation and an interview with specialists in Florence in order to present a more contextual analysis. -
In the Art of Sandro Botticelli And
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE ANTIQUITY AND THE SISTINE SOJOURN (1481-1482) IN THE ART OF SANDRO BOTTICELLI AND DOMENICO GHIRLANDAIO Volume 1 A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Max Calvin Marmor May, 1982 ~ • I The Thesis of Max Calvin Marmor is approved: anne L. Trabold, Ph.D. California State University, Northridge i i This thesis is dedicated to the immortal words of Ibn Abad Sina "Seek not gold in shallow vessels!" (Contra Alchemia, Praefatio) iii ACKNOWLEDGEMENTS Thanks are due my thesis committee for allowing a maverick to go his own way. Without their contributions, this experience would not have been what it has been. More could be said on this score but, to quote the Devil (whose advice I should have followed from the outset): "Mach es kurz! Am Juengsten Tag ist's nur ein F--z!" So I'll "make it short." I owe special thanks to Dr. Birgitta Wohl, who initially persuaded me that higher education is worthwhile; who expressed unfailing interest in my ideas and progress; and who, throughout, has provided a unique living example of wide learning and humanistic scholarship. Finally, this thesis could not have been written without the ever prompt, ever courteous services of the CSUN Library Inter-Library Loan Department. Thanks to Charlotte (in her many roles}, to Misha and their myriad elves, who, for an unconscionably long time, made every day Christmas! iv CONTENTS Page LIST 01'' FIGURES . vii ABSTRACT . ix Chapter INTRODUCTION: CONTEXT AND CRISIS IN THE REVIVAL OF ANTIQUITY.