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Falda's Map As a Work Of
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Falda’s Map as a Work of Art Sarah McPhee To cite this article: Sarah McPhee (2019) Falda’s Map as a Work of Art, The Art Bulletin, 101:2, 7-28, DOI: 10.1080/00043079.2019.1527632 To link to this article: https://doi.org/10.1080/00043079.2019.1527632 Published online: 20 May 2019. Submit your article to this journal Article views: 79 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Falda’s Map as a Work of Art sarah mcphee In The Anatomy of Melancholy, first published in the 1620s, the Oxford don Robert Burton remarks on the pleasure of maps: Methinks it would please any man to look upon a geographical map, . to behold, as it were, all the remote provinces, towns, cities of the world, and never to go forth of the limits of his study, to measure by the scale and compass their extent, distance, examine their site. .1 In the seventeenth century large and elaborate ornamental maps adorned the walls of country houses, princely galleries, and scholars’ studies. Burton’s words invoke the gallery of maps Pope Alexander VII assembled in Castel Gandolfo outside Rome in 1665 and animate Sutton Nicholls’s ink-and-wash drawing of Samuel Pepys’s library in London in 1693 (Fig. 1).2 There, in a room lined with bookcases and portraits, a map stands out, mounted on canvas and sus- pended from two cords; it is Giovanni Battista Falda’s view of Rome, published in 1676. -
Paper Palaces: the Topham Collection As a Source for British Neo-Classicism
Paper Palaces: the Topham Collection as a source for British Neo-Classicism Adriano Aymonino with Lucy Gwynn and Mirco Modolo Front cover image: Francesco Bartoli, Drawing of decorative mosaics in the vaulting of S. Costanza, c. 1720-25 (see cat. no. 25) Inside cover image: Francesco Bartoli, Drawing of an ancient ceiling from the Palatine, 1721 (see cat. no. 15) Paper Palaces: the Topham Collection as a source for British Neo-Classicism The Verey Gallery, Eton College May - November 2013 Curated by Lucy Gwynn & Adriano Aymonino Accompanied by the Conference: A Window on Antiquity: the Topham Collection at Eton College, 17th May 2013 Catalogue written by Adriano Aymonino with Lucy Gwynn and Mirco Modolo This catalogue is dedicated to the memory of Louisa M. Connor Bulman Contents Many people have given their support to the production of both the exhibition Foreword 4 Section 2 16 and this catalogue, and we would like in particular to thank: Lord Waldegrave of North Hill Robert Adam and his antiquarian sources The Tavolozza Foundation The Humanities Research Institute, the University of Buckingham Introduction 5 Section 3 22 the rationale for the exhibition Robert Adam, the Topham Collection and Country Life Magazine Francesco Bartoli Sir Francis Dashwood Richard Topham & Eton 6 by Lucy Gwynn The National Trust Section 4 40 The Topham Collection’s broader influence: Savills (UK) Limited Catalogue Charles Cameron and other Neo-Classical architects and decorators The authors would also like to thank Frances Sands for the fruitful discussion on the different hands in the Adam drawings; Jeremy Howard and Eleanor Davey for their Cataloguing Notes 8 help and support; Charlotte Villiers and Dennis Wallis for their patience and exquisite Notes 47 contribution in photography and design, Charlotte Villiers for the coordination of the exhibition, Pat McNeaney for his inexhaustible enthusiasm and skill, the Eton College Section 1 10 Buildings Department and Vario Press. -
Antoinette Bouzonnet Stella's Entrance of the Emperor Sigismund
Exhibition Reviews 269 Pomp & Power: Antoinette Bouzonnet Stella’s Entrance of the Emperor Sigismund into Mantua, National Museum of Women in the Arts, Washington, DC, February 5–August 22, 2010. The exhibit, “Pomp and Power: Antoinette Bouzonnet Stella’s Entrance of the Emperor Sigismund into Mantua,” after Giulio Romano’s design for the Sala degli Stucchi in the Palazzo del Te in Mantua, presents an accom- plished set of twenty-five numbered engravings, first published in 1675 for Jean-Baptiste Colbert (minister and chief counselor to Louis XIV).1 Although Antoinette Bouzonnet Stella (1641–1676)2 was among the small group of women engravers Ann Sutherland Harris identified as deserving further serious study in the catalogue for the Harris-Nochlin 1976 Los Angeles County Museum exhibit,3 she remained, until this exhibition, vir- tually unknown outside the archives.4 The youngest daughter of Etienne Bouzonnet and Madeleine Stella, sister of the painter Jacques Stella (1596– 1657), Antoinette is recognized primarily for three sets of engravings, of which the one represented in this exhibition is the most widely cited. While notice of her work is slowly beginning to appear in the literature,5 more than thirty years after Harris-Nochlin, the NMWA exhibit is the first to present a substantial body of work by this remarkably accomplished French artist, and is itself, therefore, a most welcome adventus. While those familiar with Diana Scultori’s Roman engravings may find themselves on familiar turf, some visitors to the museum might think the martial subject matter of the engravings an odd choice for a woman art- ist, since exhibitions of works by early modern women artists more often focus on portraits, genre studies, floral arrangements, and still lifes, with the occasional devotional, religious study, or pastoral.6 It is, then, not alto- gether unexpected that details related to the conventions of ancient Roman campaigns and triumphs, rather than to the accomplishments of the art- ist, become the focus of the exhibition captions. -
Exegesis and Dissimulation in Visual Treatises
Political Art of the Papacy: Visual Representations of the Donation of Constantine in the Early Modern Period by Silvia Tita A dissertation submitted in partial fulfillment on the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2013 Doctoral Committee: Professor Megan L. Holmes, Co-Chair Lecturer Thomas C. Willette, Co-Chair Professor Celeste A. Brusati Professor Louise K. Stein Associate Professor Achim Timmermann © Silvia Tita 2013 Acknowledgments The research period of this project brought me great intellectual joy. This would not have happened without the assistance of many professionals to whom I am much indebted. My deep gratitude to the staffs of the Biblioteca Apostolica Vaticana (with special thanks to Dott. Paolo Vian), the Archivio Segreto Vaticano, the Archivio di Stato Roma, the Biblioteca Angelica, the Biblioteca Casanatense, the Biblioteca Centrale di Roma, the Bibliotheca Hertziana, the Biblioteca di Storia dell'Arte et Archeologia, the Istituto Nazionale per la Grafica in Rome, the Biblioteca Marucelliana in Florence, Bibliothèque Nationale de France in Paris, the Departement des Arts Graphique and the Departement des Objets d'Art of the Louvre. I would also like to thank to the curators of the Kunstkammer Department of the Kunsthistorisches Museum in Vienna, especially to Dr. Konrad Schlegel who generously informed me on the file of the Constantine Cabinet. The project was born and completed as it is in Michigan. I would like to thank all members of my committee. Tom Willette deeply believed in the project and my ideas from the very beginning and offered great advice during our long conversations. -
The Landscapes of Gaspard Dughet: Artistic Identity and Intellectual Formation in Seventeenth-Century Rome
ABSTRACT Title of Document: THE LANDSCAPES OF GASPARD DUGHET: ARTISTIC IDENTITY AND INTELLECTUAL FORMATION IN SEVENTEENTH-CENTURY ROME Sarah Beth Cantor, Doctor of Philosophy, 2013 Directed By: Professor Anthony Colantuono, Department of Art History and Archaeology The paintings of Gaspard Dughet (1615-1675), an artist whose work evokes the countryside around Rome, profoundly affected the representation of landscape until the early twentieth century. Despite his impact on the development of landscape painting, Dughet is recognized today as the brother-in-law of Nicolas Poussin rather than for his own contribution to the history of art. His paintings are generally classified as decorative works without subjects that embody no higher intellectual pursuits. This dissertation proposes that Dughet did, in fact, represent complex ideals and literary concepts within his paintings, engaging with the pastoral genre, ideas on spirituality expressed through landscape, and the examination of ancient Roman art. My study considers Dughet’s work in the context of seventeenth-century literature and antiquarian culture through a new reading of his paintings. I locate his work within the expanding discourse on the rhetorical nature of seventeenth-century art, exploring questions on the meaning and interpretation of landscape imagery in Rome. For artists and patrons in Italy, landscape painting was tied to notions of cultural identity and history, particularly for elite Roman families. Through a comprehensive examination of Dughet’s paintings and frescoes commissioned by noble families, this dissertation reveals the motivations and intentions of both the artist and his patrons. The dissertation addresses the correlation between Dughet’s paintings and the concept of the pastoral, the literary genre that began in ancient Greece and Rome and which became widely popular in the early seventeenth century. -
1 Xxvi Ciclo Tesi Di Dottorato La Fortuna Della Pittura
DIPARTIMENTO STUDI UMANISTICI SCUOLA DOTTORALE IN CULTURE DELLA TRASFORMAZIONE DELLA CITTA’ E DEL TERRITORIO. SEZ. STORIA E CONSERVAZIONE DELL’OGGETTO D’ARTE E DI ARCHITETTURA XXVI CICLO TESI DI DOTTORATO LA FORTUNA DELLA PITTURA ANTICA TRA SEI E SETTECENTO ATTRAVERSO GLI ACQUARELLI DI PIETRO SANTI E FRANCESCO BARTOLI Dottorando: 1 Mirco Modolo Docente Guida: Prof.ssa Maura Medri Coordinatore: Prof.ssa Liliana Barroero Anno Accademico 2013-2014 2 Mirco MODOLO LA FORTUNA DELLA PITTURA ANTICA TRA SEI E SETTECENTO ATTRAVERSO GLI ACQUARELLI DI PIETRO SANTI E FRANCESCO BARTOLI Introduzione: Ai confini tra archeologia e storia dell’arte: lo studio degli acquarelli di Pietro Santi Bartoli Sezione I - Gli acquarelli di Pietro Santi Bartoli 1.1 - I disegni dei Bartoli attraverso i cataloghi: storia degli studi 1.2 - I disegni di Bartoli nella storia del collezionismo e della committenza 1. 3 - Analisi dei principali casi di studio 1.3.1 - Stanza affrescata dalla vigna del monastero di San Gregorio al Celio 1.3.2 - Affreschi dall’aula trilobata scoperta nella vigna di Stefano Guglielmini al Celio 1.3.3 - Stanza affrescata dall’area di San Lorenzo in Panisperna (1665-1669) 1.3.4 - Affreschi antichi dallo scavo di via Gratiosa (1684) 1.3.5 - I mosaici Massimo e gli scavi nell’orto del Carciofolo (1670) 1.3.6 - Sepolcro necropoli della via Portuense (località Pozzo Pantaleo) 1.3.7 - L’affresco del cd. Coriolano sulla Volta degli Stucchi nella Domus Aurea 1.3.8 - Copie dai disegni cinquecenteschi: l’esempio del Dosio 1.3.9 - La volta affrescata da -
1680, NR. 10 O. 10 Anonymus, REZENSION Von FONTES 27
ZEHN ZEITGENÖSSISCHE REZENSIONEN VON BÜCHERN ÜBER KUNST UND ARCHÄOLOGIE VON GIOVAN PIETRO BELLORI IM GIORNALE DE ’ LETTERATI ,1670- 1680, NR. 10 TEN CONTEMPORARY REVIEWS OF BOOKS ON ART AND ARCHAEOLOGY BY GIOVAN PIETRO BELLORI IN THE GIORNALE DE ’ LETTERATI , 1670-1680, NO. 10 Anonymus, REZENSION von Giovan Pietro Bellori und Pietro Santi Bartoli: Le pitture antiche del sepolcro de Nasonii nella Via Flaminia, disegnate, ed intagliate alla similtudine degli antichi originali da Pietro Santi Bartoli descritte et illustrate da Gio: Pietro Bellori (Rom 1680) in: Giornale de’ letterati , ed. Giovanni Giustino Ciampini, 1680, pp. 97-99 herausgegeben und kommentiert von MARGARET DALY DAVIS mit zwölf Abbildungen und zwei Anhängen FONTES 27 [19. November 2008] Zitierfähige URL: http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2008/650 Anonymus, REZENSION von: LE PITTVRE ANTICHE DEL SEPOLCRO D E N A S O N I I NELLA VIA FLAMINIA Disegnate, ed intagliate alla similtudine degli Antichi Originali DA PIETRO SANTI BARTOLI Descrittte, & illustrate DA GIO: PIETRO BELLORI IN ROMA, Per Gio: Battista Bussotti, MDCLXXX _______________________________________ CON LICENZA DE SVPERIORI. FONTES 27 (Bellori 10) 1 FONTES 27 stellt die letzte Lieferung der zehn zeitgenössischen Rezensionen in den Giornale de’ Letterati 1670-1680 von Werken Giovan Pietro Belloris dar. Die Rezensionen sind in den folgenden Nummern von FONTES enthalten: 11, 14, 15, 17, 19, 21, 22, 25, 26, 27. Einige Texte, die mehrmals in diesen Nummern vorkommen, wurden für FONTES 27 leicht überarbeitet. 2 INHALTSVERZEICHNIS EINLEITUNG ZU FONTES , BELLORI , TEILE 1-10 p. 4 VERZEICHNIS DER BELLORI -REZENSIONEN IM GIORNALE DE ’ LETTERATI p. 6 EINLEITUNG ZU FONTES 27 p. -
Commemorating Poussin Reception and Interpretation of the Artist
Commemorating Poussin Reception and Interpretation of the Artist edited by Katie Scott and Genevieve Warwick published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge cb2 1rp, United Kingdom cambridge university press The Edinburgh Building, Cambridge, cb2 2ru, United Kingdom http://www.cup.cam.ac.uk 40 West 20th Street, New York, ny 10011Ð4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Printed in the United Kingdom at the University Press, Cambridge Typeset in Quadraat 10.5/14pt in QuarkXPressª [se] A catalogue record for this book is available from the British Library Library of Congress cataloguing in publication data Commemorating Poussin: reception and interpretation of the artist / edited by Katie Scott and Genevieve Warwick. p. cm. Includes bibliographical references and index. isbn 0 521 64004 0 hardback 1. Poussin, Nicolas, 1594?Ð1665 Ð Criticism and interpretation. I. Scott, Katie, 1958Ð. II. Warwick, Genevieve. nd553.p8c58 1999 759.4Ðdc21 98-29499 cip isbn 0 521 64004 0 hardback Contents List of illustrations [viii] List of contributors [xi] Acknowledgements [xiii] 1 Introduction – ‘pour la gloire des arts et l’honneur de France’: [1] commemorating Poussin -
Bernini's Cornaro Chapel
BERNINI’S CORNARO CHAPEL: VISUALIZING MYSTICISM IN THE AGE OF REFORMATION A thesis submitted to the School of Art of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Adam J. Ladd August 2012 Thesis written by Adam J. Ladd B.A., Kent State University, 2009 M.A., Kent State University, 2012 Approved by __________________________________ , Advisor Gustav Medicus __________________________________ , Director, School of Art Christine Havice __________________________________ , Dean, College of the Arts John R. Crawford ii TABLE OF CONTENTS Page TABLE OF CONTENTS........................................................................................ iii LIST OF FIGURES................................................................................................iv CHAPTER I. INTRODUCTION...................................................................................1 II. THE SAINT: TERESA OF AVILA............................................................3 Early Life..........................................................................................3 Career..............................................................................................7 Mystical Experiences.....................................................................11 The Transverberation.....................................................................12 Mysticism and Femininity in the Post-Tridentine Church...............14 The Inquisition................................................................................19 -
Hystory of Architectural Conservation
Chapter Six: Neoclassicism and the Contents Picturesque—82 Abstract—4 6.1. Archaeological Interests in the Age of Acknowledgements—4 Enlightenment—82 Introduction—6 6.2 Archaeological Discoveries in Italy—83 6.3. J.J. Winckelmann—85 PART ONE: EARLY APPROACH TO 6.4. Publications about Antiquities—91 CONSERVATION—10 D. Le Roy, R. Wood, G. Vasi—93 6.5. English Aesthetic Theories—94 Chapter One: Beginnings in the 6.6 Restoration of Paintings—98 Renaissance —11 6.7. Restoration of Classical Monuments in Italy—100 1.1 Early Approach—11 Notes to Chapter Six: —103 1.2 Filippo Brunelleschi—11 1.3 Humanists—12 Chapter Seven: The French Revolution— 1.4 Poets—12 115 1.5 Painters—13 7.1 Destruction—115 Notes to Chapter One—13 7.2 Orders for Protection—115 Notes to Chapter Seven: —119 Chapter Two: Fifteenth-Century Architectural Treatises—15 PART TWO: FIVE CASE STUDIES —122 2.1 Vitruvius Rediscovered—15 2.2 L.B. Alberti—16 Chapter Eight: Case Study Italy, 2.3 Filarete—18 Restoration in Rome—123 2.4 Francesco di Giorgio Martini—19 8.1 Conservation in the Papal States, 1800-1809—123 2.5 Leonardo da Vinci—20 8.2 The French Period in Rome, 1809-1814—130 Notes to Chapter Two—21 8.3 Conservation in the Papal States after 1814—134 Notes to Chapter Eight:—141 Chapter Three: Early Practice and Protection—24 Chapter Nine: Case Study Greece, 3.1. Protective Measures before the Renaissance—24 Restoration in Athens—149 3.2. Condition of Buildings in Rome at the End of the 9.1 Restoration in the Nineteenth Century—149 Middle Ages—25 9.2 Protection of Ancient Monuments—151 3.3. -
Rare Book List Ii
RARE BOOK LIST II Rare Book List II ERASMUSHAUS HAUS DER BÜCHER AG • BÄUMLEINGASSE 18 • 4001 BASEL • +41 61 228 99 44 • [email protected] • WWW.ERASMUSHAUS.CH 2 3 1 1 BARTOLI, Pietro Santi (1635-1700). Admiranda romanarum antiquitatum ac veteris sculpturae vestigia anaglyphico opere elaborata ex marmoreis exemplaribus quae Romae adhuc extant in Capitolio aedibus hortisque virorum principum ad antiquam elegantiam, a P. S. Bartolo delineata incisa in quibus plurima ac praeclarissima ad romanam historiam ac veteres mores dignoscendos ob oculos ponuntur notis Io. Petri Bellorii illustrata ... Landscape folio (385x495 mm). With 83 (of 84) engraved plates (lacking plate 63 “Nuptiales Choreae”). Early 19th century tree calf gilt by Tessier (with his ticket: relieur doreur rue rue de la Harpe 45, Paris). Smooth back covered with green morocco, divided into 5 panels richly decorated, with a coat of arms in the tail panel. Somewhat rubbed. Roma, auxit Dominicus de Rubeis Chalcographus, [nach] 1693. chf 1800 A reissue of this beautiful suite of engravings which first appeared ca. 1685 and formed an independent part of a series of engravings on Roman antiquities published by Giovanni Giacom de’ Rossi. “As seems to have been his custom with collection of plates, G. G. de’ Rossi omitted the date of publication, possibly to avoid having to remove or change it for later print-runs or new editions ... The 1693 edition includes 33 new plates, replacing the 31 which had been transferred to Veteres arcus. There are thus 83 as opposed to 81 plates in the later edition ... Sometime after Domenico de’ Rossi took over the firm ca. -
Art History in the Age of Bellori
Art History in the Age of Bellori Scholarship and Cultural Politics in Seventeenth-Century Rome Edited by JANIS BELL THOMAS WILLETTE published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru, uk 40 West 20th Street, New York, ny 10011-4211, usa 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typefaces Bembo 11.25/14 pt. and Poetica System LATEX 2ε [TB] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data Bell, Janis Callen. Art history in the age of Bellori : scholarship and cultural politics in seventeenth-century Rome / Janis Bell, Thomas Willette. p. cm. Includes bibliographical references and index. isbn 0-521-78248-1 1. Bellori, Giovanni Pietro, 1613–1696. 2. Art critics – Italy – Rome – Biography. 3. Art – Historiography. 4. Rome (Italy) – Civilization – 17th century. i. Willette, Thomas. ii. Title. n7483.b375 b45 2002 709.2 –dc21 [b] 2001035675 isbn 0 521 78248 1 hardback Contents List of Illustrations vii Acknowledgments xiii List of Contributors xv Introduction 1 Janis Bell BELLORI AND THE REPUBLIC OF LETTERS IN SEVENTEENTH-CENTURY ROME 1.