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From Artist to Audience Would Not Have Been Possible This Elegant and Professional Publication FromITALIAN Artist DRAWINGS to AND Audience PRINTS from the 15th through 18th Centuries FromITALIAN Artist DRAWINGS to AND Audience PRINTS from the 15th through 18th Centuries Works from the Darlene K. Morris Collection March 4 – April 16, 2016 Curated by: C. Madeline Fritz Paris Humphrey Samantha Mendoza-Ferguson Sara Pattiz Rebecca Race Isabel Richards Samuel Richards THE TROUT GALLERY • Dickinson College • Carlisle, Pennsylvania This publication was produced in part through the generous support of the Helen Trout Memorial Fund and the Ruth Trout Endowment at Dickinson College. Published by The Trout Gallery, Dickinson College, Carlisle, Pennsylvania 17013. Copyright © 2016 The Trout Gallery. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission from The Trout Gallery. All photographs Andrew Bale, unless otherwise noted. Design: Amanda DeLorenzo, Dickinson College Office of Design Services Printing: Pemcor, Inc., Lancaster, Pennsylvania ISBN 978-0-9861263-0-7 Cover: Carlo Urbino (attributed), Study sheet with Two Standing Men, ca. 1560. Drawing. Courtesy Darlene K. Morris Collection (cat. 14). Back cover: Diana Mantuana (Ghisi, Scultori), Farnese Bull (The Punishment of Dirce), 1581. Engraving. Courtesy Darlene K. Morris Collection (cat. 16). Title page: Gaetano Gandolfi,Saint Anthony the Great, ca. 1770. Etching. Courtesy Darlene K. Morris Collection (cat. 33). Acknowledgements Dickinson College’s senior Art History Seminar is unique for transporting the works himself to the College during the among undergraduate programs in art history in both process summer of 2015. He was also of great assistance in procuring and outcome. It offers students the opportunity to become additional images for the students’ essays from Art Resource, curators for a semester wherein they formulate, research, New York, and several other museums and collections as write a professional catalogue for, and organize a public noted in the photo captions. We are also indebted to James exhibition in The Trout Gallery. In the short three-and-one- Bowman, Gallery Registrar and Exhibition Preparator, who half months of the fall semester, this process is demanding made the works available for study by the seminar and on an and always seems a difficult challenge at the start. This year, individual basis for each student when needed. James also the images around which the seminar was organized were matted and framed every image, and shared his informed particularly challenging: Italian drawings and prints from the advice and supervision in all aspects of design and installation fifteenth through eighteenth centuries. Many of these works process, which formed an important part of the students’ had never been published or exhibited, and they represented experience in the seminar. The professional quality of the both media and artists that required specialized expertise the installation is a tribute to James’ expertise and skill. Josefine students did not previously have. The students, however, Smith, Art & Art History Library Liaison at the Waidner- enthusiastically rose to the occasion and devoted enormous Boyd Lee Spahr Library, shared her knowledge of databases, time, energy, and excitement not only to the course material resources, and imaginative thinking with the class, and was for the seminar, but also to the advanced research and writing always available for individual challenges the students of the essays for this catalogue. The thematic approach, encountered in their work. Our thanks to Professor Andrew installation design, and idea for organizing the catalogue are Bale, Adjunct Professor in Art & Art History and the result of their collaborative endeavor, and the outcome is Photographer for The Trout Gallery, for making high quality something they can collectively be proud of. Their diligence, images available for reference during the semester and for all industry, and good humor throughout the semester made this of the images in the exhibition reproduced in this catalogue. seminar the most memorable I have taught in my twenty-five We were most fortunate to have the professional design years at Dickinson, and I extend here my congratulations to expertise of Amanda DeLorenzo, Director of Design Services, them on a job well done. with whom the seminar met twice as part of the crafting of From Artist to Audience would not have been possible this elegant and professional publication. We also wish to without the continuing generosity and support of Mrs. thank warmly Heather Flaherty, Curator of Education for the Darlene K. Morris who has shared her exceptional collection Gallery’s Educational Outreach Program and Amie Bantz, of Old Master and Modern drawings and prints with The Associate Curator of Education, for their enthusiastic support Trout Gallery for two prior exhibitions, and has done so here of this year’s exhibition and for making it available to a wide again with some of her most recent acquisitions. It is unheard audience of students and individuals from the larger regional of for undergraduates to be able to study and work first hand community through a variety of innovative programming. with unpublished drawings from the Italian Renaissance, and Rosalie Lehman, Susan Russell, and Catherine Sacco deserve equally rare for them to be able to work with etchings and our sincere thanks for overseeing all aspects of visitor services. engravings of such high quality. As a scholar of Italian Finally, without the expertise, patience, and collabora- Renaissance art, this is the first time in my own career that I tion of Stephanie Keifer, Senior Administrative Assistant for have been involved in an exhibition of drawings and prints— The Trout Gallery, neither the final and meticulous editing of the educational and aesthetic experience for all of us has been the catalogue, invitations, opening reception, and all issues extraordinary. We can not thank Darlene enough for her related to the exhibition would happen. The professionalism exceptional support of The Trout Gallery through sharing her and clean copy of the catalogue text are largely the result of collection with us, and the unique exhibition that has Stephanie’s hard work, and we owe her our heartfelt thanks. materialized as a result. Many colleagues at Dickinson contributed their time Melinda Schlitt and expertise to the seminar and exhibition. The students Professor of Art History and I owe special thanks to Phillip Earenfight, Director of William W. Edel Professor of Humanities The Trout Gallery and Associate Professor of Art History, for his enthusiastic support along every step of the process and 3 Introduction Melinda Schlitt Exhibitions of drawings and prints from the Italian sweeping distinction as there are drawings that functioned in Renaissance or the broader chronological range represented a more “public” context and prints that were more “private” in From Artist to Audience (15th–18th centuries), are from their inception, this distinction seemed an appropriate relatively rare events most often organized and sponsored by and meaningful way to organize the exhibition. the largest and most prestigious museums and galleries. The Drawings constituted the foundation of artistic practice, works are rare and fragile, installation and environmental ideation, and invention, and were considered the essential requirements are rigorous, and loans or existing collections medium to the successful practice of painting, sculpture, and with a thematic consistency are difficult to come by. From architecture in Italy beginning in the early 1400s. In discuss- 2010 through 2015, for example, significant exhibitions of ing the origins of painting as the origin of all art in book 2 of Italian drawings or prints from the fifteenth through his De Pictura (1435), the Florentine humanist Leon Battista seventeenth centuries were held at the J. Paul Getty Museum Alberti cited the ancient Roman rhetorician, Quintilian, who (drawings, 2010), The British Museum (drawings, 2010), claimed that painting began when the earliest people drew The Art Institute of Chicago (drawings, 2012), The “around shadows made by the sun, and the art eventually Metropolitan Museum of Art (drawings, 2014), the National grew by a process of additions.”1 During the later fifteenth Gallery of Art (prints, 2015), and The Isabella Stewart century until his death in 1519, Leonardo Da Vinci built Gardner Museum (drawings, 2015). The thirty-two Italian upon and departed from Alberti’s treatise, writing at length drawings and prints from the Darlene K. Morris collection about the necessity and purposes of drawing in his own that comprise From Artist to Audience at The Trout Gallery unfinished treatise on painting, a work which was read in constitute a variety and quality of artists, media, and subjects manuscript versions by artists for decades before it was that could rival any of the exhibitions at the prominent formally published: “There are many who have a taste and museums listed above. Spanning from ca. 1490 to ca. 1770, love for drawing, but no talent; and this will be discernible in these works were produced in the principal artistic centers of boys who are not diligent and never finish their drawings Italy, including Naples, Rome, Florence, Siena, Bologna, with shading.”2 Among the many things Leonardo discussed Parma, Ferrara, Venice, and Genoa. Virtually
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