DOCSLIB.ORG

Art in the Modern World

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art in the Modern World Art in the Modern World A U G U S T I N E C O L L E G E GREEK 470 BC Athena, Herakles, and Atlas | 5th C BC Delphic Charioteer 470 BC Giovanni Pietro Bellori, The Lives of Modern Painters, Sculptors, & Architects (1672) “The IDEA ” Holy Family 1555-60 Agnolo BRONZINO Athena, Herakles, and Atlas | 5th C BC The Holy Family 1460s MICHELANGELO 1570 Paolo VERONESE The Epiphany 1510 Hieronymus BOSCH Let every good and true Christian understand that where T R U T H may be found, it belongs to his Master. Belvedere Madonna (Madonna del Prato) 1506 | RAPHAEL Alba Madonna 1511 | RAPHAEL The Annunciation 1528 | Andre del SARTO Charity 1518 Andrea del SARTO Holy Family 1555-60 Agnolo BRONZINO Holy Family 1540 Agnolo BRONZINO Madonna of the Long Neck 1534 | PARMIGIANINO Conversion of St. Paul 1527-28 PARMIGIANINO The Deposition 1534 | PONTORMO The Deposition detail 1534 | PONTORMO Dead Christ with Angels 1525-26 Rosso FIORENTINO The Resurrection of Christ before 1590 Germain PILON The Resurrection of Christ before 1590 Germain PILON The Crucifixion The Virgin & Child 1287 CIMABUE 1339 FRENCH The Baptism of Christ 1602 | Abraham BLOEMAERT Moses defends the Daughters of Jethro 1523 Rosso FIORENTINO Moses defends the Daughters of Jethro 1523 Rosso FIORENTINO The Witches’ Procession, or, The Carcass 1520 | Marcantonio R A I M O N D I Venus, Cupid, & Time 1540-45 Agnolo BRONZINO Odysseus & Penelope 1545 PRIMATICCIO The Creation of Adam & Eve 1425–52 | Baptistery of San Giovanni, Florence | Lorenzo GHIBERTI Perseus and Andromeda 1611 Joachim WTEWAEL The Temptation of Adam & Eve 1515 Giovanni della ROBBIA Study for the Libyan Sibyl detail 1510-11 MICHELANGELO The Expulsion from Paradise Brancacci Chapel, Florence MASACCIO | 1425 Study of Adam for the Sistine Chapel MICHELANGELO Christ Healing the Woman with an Issue of Blood VERONESE 1548 The Penitent St. Jerome Jacopo BASSANO 1556 The Temptation of St. Anthony Albrecht DURER 1521 Roman copy of a Greek original 2nd century AD The Temptation of Adam & Eve 1515 Giovanni della ROBBIA Judith & Holofernes GIORGIONE 1504 GIORGIONE 1477-1510 The Tempest GIORGIONE 1505 The Tempest detail GIORGIONE 1505 The Tempest detail GIORGIONE 1505 The Tempest detail GIORGIONE 1505 The Tempest detail GIORGIONE 1505 TITIAN Tiziano Vecellio 1490-1576 Concert champêtre | 1508-09 | TITIAN or GIORGIONE | Louvre Sacred & Profane Love Earthly & Celestial Love as Two Phases of Human Love TITIAN | 1514 Sacred & Profane Love Earthly & Celestial Love as Two Phases of Human Love TITIAN | 1514 HORAPOLLO, Hieroglyphica (1551) An opening Venus and Mars Bound by Love 1570 Paolo VERONESE Charity 1518 Andrea del SARTO Canons and Decrees The Council of Trent 1564 • • • • The Council of Trent ongoing from 1545 to 1563 The Council of Trent 1588 Pasquale CATI Susanna and the Elders 1561 Alessandro ALLORI Canons and Decrees The Council of Trent 1564 Canons and Decrees The Council of Trent 1564 Mary Magdalen in Penitence 1580/85 EL GRECO Saint Agatha Attended by Saint Peter and an Angel in Prison 1640 | Alessandro TURCHI St. Peter Weeping before the Virgin Mary 1647 | GUERCINO Susanna and the Elders 1610 Artemisia GENTILESCHII Vicencio Carducho, Dialogues on Painting, Its Justification, Origin, Essence, Definition, Classes and Distinction 1633 Collegio di Propaganda Fide BORROMINI Colonnade, St. Peter’s Gianlorenzo BERNINI Hall of Mirrors, Versailles | 1679 | Jules HARDOUIN- MANSART Lion Hunt 1621 | Pieter Paul RUBENS Raising of the Cross 1621 | Pieter Paul RUBENS David 1623-24 Gianlorenzo BERNINI Assumption of the Virgin 1590 | Annibale CARRACCI Apotheosis of St. Ignatius 1688-90 | Andrea POZZO Versailles 1678-1710 Henry VIII after 1537 Hans HOLBEIN the Younger Unnamed Emperor bowing before Christ Pantocrator St. Sophia, Constantinople | late 9th-early 10th C Leviathan frontispiece | 1651 | Thomas HOBBES Conference of the Royal Academy of Painting and Sculpture for the year 1667 Paris, 1669.
Load more

Recommended publications
  • Pietro Da Cortona in Nineteenth-Century Children's
    The Painter and the Scullery Boy: Pietro da Cortona in Nineteenth-Century Children’s Literature* Lindsey Schneider Pietro Berrettini (1597-1669), called Pietro da Cortona, was one of the most influential artists in seventeenth-century Italy and was celebrated as the premier decorative painter of his generation, most notably for his ceiling in the Barberini Palace in Rome (1633-39). His reputation began to suffer soon after his death, however, due in large part to changing standards of taste that no longer tolerated the extravagances of the High Baroque style that he helped to develop and with which he is indelibly linked.1 In 1692 the director of the French Academy in Rome, Matthieu de La Teulière, reported back to Paris that, ‘Pietro da Cortona and his school have spread such great debauchery here, operating under the guise of virtuosity, *<+ giving everything over to the whims of their imaginations,’2 and made similar statements the following year, in which he charged Cortona, Bernini and Borromini with ruining the fine arts with their excess.3 This view endured over the ensuing centuries and the trope of the Baroque as a diseased and cancerous style – with Cortona as one of its prime vectors of transmission – became commonplace in art-theoretical literature. Nearly a century after La Teulière, Francesco Milizia vilified the same trio of artists, saying that Cortona, along with Borromini and Bernini, ‘represent a diseased taste – one that has infected a great number of artists’.4 In London around the same time, James Barry singled Cortona
    [Show full text]
  • Giovanni Pietro Bellori: Excerpts from the Idea of the Painter, Sculptor, and Architect
    1 GIOVANNI PIETRO BELLORI: EXCERPTS FROM THE IDEA OF THE PAINTER, SCULPTOR, AND ARCHITECT The highest and eternal intellect, author of nature, in fashioning his marvelous works looked deeply into himself and constituted the first forms, called Ideas, in such a way that each species was expressed by that original Idea, giving form to the marvelous context of things created. But the celestial bodies above the moon, not subject to change, remained forever beautiful and well-ordered, so that we come to know them from their measured spheres and from the splendor of their aspects as being eternally most just and most beautiful. Sublunar bodies on the contrary are subject to change and deformity; and although nature always intends to produce excellent effects, nevertheless, because of the inequality of matter the forms change, and human beauty is especially disarranged, as we see from the infinite deformities and disproportions that are in us. For this reason the noble Painters and Sculptors imitating that first maker, also form in their minds an example of superior beauty, and in beholding it they emend nature with faultless color or line. This Idea, or truly the Goddess of Painting and Sculpture when the sacred curtains of tine lofty genius of a Daedalus or an Apelles are parted, is revealed to us and enters the marble and the canvases. Born from nature it overcomes its origin and becomes the model of art; measured with the compass of the intellect it becomes die measure of the hand; and animated by fantasy it gives life to the image.
    [Show full text]
  • Domenichino's Scenes from the Life
    DOMENICHINO’S SCENES FROM THE LIFE OF ST. CECILIA: ARTISTIC INTERPRETATION AND THE COUNTER-REFORMATION by Emily Freeman Bachelor of Arts, 2005 The University of Texas at Austin Austin, Texas Submitted to the Faculty Graduate Division of the College of Fine Arts Texas Christian University in partial fulfillment of requirements for the degree of MASTER OF ARTS May 2008 DOMENICHINO’S SCENES FROM THE LIFE OF ST. CECILIA: ARTISTIC INTERPRETATION AND THE COUNTER-REFORMATION Thesis approved: Major Professor, Dr. Babette Bohn Dr. Mark Thistlethwaite Dr. Nadia Lahutsky Graduate Studies Representative For the College of Fine Arts ii Copyright © 2008 by Emily Freeman All Rights Reserved iii TABLE OF CONTENTS List of Illustrations.................................................................................................. v Introduction............................................................................................................. 1 St. Cecilia and the Revival of Her Cult................................................................... 4 St. Cecilia in Art and Literature............................................................................ 13 Early Life and the Carracci Academy................................................................... 22 Conclusion ............................................................................................................ 43 Images................................................................................................................... 45 Bibliography ........................................................................................................
    [Show full text]
  • Les Vite De Giovanni Pietro Bellori (1672) : Entre Valorisation Et Dispersion Du Patrimoine Vasarien
    LES VITE DE GIOVANNI PIETRO BELLORI (1672) : ENTRE VALORISATION ET DISPERSION DU PATRIMOINE VASARIEN Ismène COTENSIN Dans la conclusion de 1568 des Vite, Giorgio Vasari s’adresse à ses confrères artistes et laisse entendre que des successeurs éventuels pourraient écrire la suite de son ouvrage : « chi scriverà il rimanente di questa istoria potrà farlo con più grandezza e maestà »1. Cette phrase révèle l’optimisme final qui anime la seconde édition des Vite : la confiance en un avenir glorieux pour les arts. Giovanni Pietro Bellori est l’un de ceux qui exauce le vœu de Giorgio Vasari. Figure centrale de la Rome artistique du XVIIe siècle, réputé pour son érudition et ses nombreuses publications sur les monnaies et les médailles antiques, Bellori a exercé plusieurs charges prestigieuses, dont celles de conservateur des Antiquités pour la cour papale, premier recteur de l’Académie de Saint-Luc, et antiquaire et gardien de la collection de médailles de la reine Christine de Suède. Bellori nous intéresse particulièrement parce qu’il est l’auteur du recueil de Vies d’artistes intitulé, Le Vite de’ pittori, scultori ed architetti moderni, publié à Rome en 1672, soit un siècle après l’édition Giuntina. Bellori entretient un rapport ambigu avec Vasari : dans l’Avis au lecteur, il affirme vouloir prendre ses distances avec Vasari et, dit-il, tous ceux qui ont fait un éloge exagéré des Florentins et des Toscans. En ne sélectionnant que douze artistes pour composer son recueil, Bellori rompt également avec la dimension presque encyclopédique des Vite de Vasari. Néanmoins, l’ouvrage de cet auteur romain reste empreint du paradigme établi un siècle plus tôt.
    [Show full text]
  • Flesh As Relic: Painting Early Christian Female Martyrs Within
    FLESH AS RELIC: PAINTING EARLY CHRISTIAN FEMALE MARTYRS WITHIN BAROQUE SACRED SPACES by Stormy Lee DuBois A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art in Art History MONTANA STATE UNIVERSITY Bozeman, Montana November 2019 ©COPYRIGHT by Stormy Lee DuBois 2019 All Rights Reserved ii ACKNOWLEDGEMENTS I would like to offer my sincerest gratitude to my committee, Dr. Todd Larkin, Dr. Regina Gee, and Dr. Melissa Ragain, for supporting me throughout my coursework at Montana State University and facilitating both graduate research and pedagogical inspiration during the study abroad program in Italy. I would also like to thank School of Art Director, Vaughan Judge for his continued support of art historical research and for the opportunities the program has afforded me. My thanks also go my husband, Josh Lever for his love and support. Thanks are also in order to Dani Huvaere for reading every draft and considering every possibility. iii TABLE OF CONTENTS 1. INTRODUCTION ....................................................................................................... 1 2. BAROQUE PAINTING CONVENTIONS: STYLISTIC INTERPRETATIONS OF TRIDENTINE REQUIREMENTS FOR RELIGIOUS ART ............................................................................................... 4 Baroque Classicism and Naturalism ............................................................................. 4 Burial of Saint Lucy..................................................................................................
    [Show full text]
  • “Baroque”: a Term Used in the Literature of the Arts with Both Historical and Critical Meanings and As Both an Adjective and a Noun
    003_Baroque.doc READINGS: BAROQUE Background: “Baroque”: A term used in the literature of the arts with both historical and critical meanings and as both an adjective and a noun. The word has a long, complex and controversial history (it possibly derived from a Portuguese word for a misshapen pearl, and until the late 19th century it was used mainly as a synonym for `absurd' or `grotesque'), but in English it is now current with three principal meanings. Primarily, it designates the dominant style of European art between Mannerism and Rococo. This style originated in Rome and is associated with the Catholic Counter-Reformation, its salient characteristics--overt rhetoric and dynamic movement--being well suited to expressing the self- confidence and proselytizing spirit of the reinvigorated Catholic Church. It is by no means exclusively associated with religious art, however, and aspects of the Baroque can be seen even in works that have nothing to do with emotional display--for example in the dynamic lines of certain Dutch still-life paintings. Secondly, it is used as a general label for the period when this style flourished, broadly speaking, the 17th century and in certain areas much of the 18th century. Hence thus phrases as `the age of Baroque', `Baroque politics', `Baroque science', and so on. Thirdly, the term `Baroque' (often written without the initial capital) is applied to art of any time or place that shows the qualities of vigorous movement and emotional intensity associated with Baroque art in its primary meaning. Much Hellenistic sculpture could therefore be described as `baroque'. The older meaning of the word, as a synonym for `capricious', `overwrought' or `florid', still has some currency, but not in serious criticism.
    [Show full text]
  • Diploma Lecture Series 2012 Absolutism to Enlightenment: European Art and Culture 1665-1765
    Diploma Lecture Series 2012 Absolutism to enlightenment: European art and culture 1665-1765 Art in Rome after 1650 Christopher Allen 8 / 9 February 2012 Lecture summary: We are much more familiar with art in Rome in the first half of the seventeenth century than in the second: everyone knows the work of Caravaggio, Annibale Carracci and Bernini, and to a lesser extent that of Guido Reni, Domenichino and Pietro da Cortona. The two great French artists who dominate the field of painting in Rome around the mid-century, Nicolas Poussin and Claude Lorrain, have never ceased to be celebrated. But the painters of the later decades remain shadowy figures – whether the academic Carlo Maratta or the Baroque decorators Baciccio and Andrea Pozzo. This obscurity reflects among other things the rise of France, enjoying a golden age of literature, art and philosophy under the reign of Louis XIV and imposing itself as the new cultural centre of Europe. The result, in Rome itself, is a polarization between artists who emulate the French model to a certain extent, and those who pursue an unbridled form of Baroque in the service of religious expression. After the death of Louis XIV and with the decline of French power, Rome would regain its position as pre-eminent capital of European art in the mid-eighteenth century, although increasingly as a centre of postgraduate study rather than of contemporary practice. Slide list: 1. Andrea Sacchi, La Divina Sapienza, 1629-33, Ceiling fresco; Rome, Palazzo Barberini. 2. Pietro da Cortona, The Triumph of Divine Providence, 1633-39, Fresco; Rome, Palazzo Barberini 3.
    [Show full text]
  • Girolamo Muziano, Scipione Pulzone, and the First Generation of Jesuit Art
    journal of jesuit studies 6 (2019) 196-212 brill.com/jjs Girolamo Muziano, Scipione Pulzone, and the First Generation of Jesuit Art John Marciari The Morgan Library & Museum, New York [email protected] Abstract While Bernini and other artists of his generation would be responsible for much of the decoration at the Chiesa del Gesù and other Jesuit churches, there was more than half a century of art commissioned by the Jesuits before Bernini came to the attention of the order. Many of the early works painted in the 1580s and 90s are no longer in the church, and some do not even survive; even a major monument like Girolamo Muzia- no’s Circumcision, the original high altarpiece, is neglected in scholarship on Jesuit art. This paper turns to the early altarpieces painted for the Gesù by Muziano and Scipione Pulzone, to discuss the pictorial and intellectual concerns that seem to have guided the painters, and also to some extent to speculate on why their works are no longer at the Gesù, and why these artists are so unfamiliar today. Keywords Jesuit art – Il Gesù – Girolamo Muziano – Scipione Pulzone – Federico Zuccaro – Counter-Reformation – Gianlorenzo Bernini Visitors to the Chiesa del Gesù in Rome, or to the recent exhibition of Jesuit art at Fairfield University,1 might naturally be led to conclude that Gianlorenzo 1 Linda Wolk-Simon, ed., The Holy Name: Art of the Gesù; Bernini and His Age, Exh. cat., Fair- field University Art Museum, Early Modern Catholicism and the Visual Arts 17 (Philadelphia: Saint Joseph’s University Press, 2018).
    [Show full text]
  • NUN 30 Ribouillault Proofs 1.REV.Pdf (1.888Mb)
    2014224 [NUN-2015-30.1] 006-Ribouillault-proof-01 [date 1412151024 : version 1412031345] page 124 Nuncius 30 (2015) 124–160 brill.com/nun Atlas and Hercules in the Garden Scientific Culture and Literary Imagination at the Villa Aldobrandini at Frascati Denis Ribouillault University of Montréal, Canada [email protected] Abstract This essay explores the interplay in early modern Roman gardens between the iconog- raphy of instruments and fountains and scientific culture, especially astronomy. Exam- ining the sundials that adorned the garden at the Villa Aldobrandini at Frascati, it suggests a new reading of the garden and its iconographic programme, centred on the iconography of Atlas and Hercules holding the celestial sphere. It stresses the impor- tance of scientific culture for both the conception and the subsequent reception of the programme. Several themes are developed: the relevance of wonder and curiosity in the process of understanding nature, the multiple links between nature and artefacts in the space of the garden, and the scientific interests of the patron, Cardinal Pietro Aldobrandini, and his main adviser, the letterato Giovanni Battista Agucchi. Keywords gardens – Giovanni Battista Agucchi – sundials … For Volker Remmert ∵ In Galileo as a Critic of the Arts (1954), Erwin Panofsky famously advanced the contention that it was Galileo’s aesthetic taste that explained his refusal to con- © koninklijke brill nv, leiden, 2015 | doi: 10.1163/18253911-03001006 2014224 [NUN-2015-30.1] 006-Ribouillault-proof-01 [date 1412151024 : version 1412031345] page 125 atlas and hercules in the garden 125 sider Kepler’s discovery of the elliptical orbit. The ellipse, he argued, was too foreign to the idea of perfection represented by the circle.
    [Show full text]
  • Bernini As the Seicento Michelangelo: Imitation and Identity in Art, Architecture and Biography
    Bernini as the Seicento Michelangelo: Imitation and Identity in Art, Architecture and Biography by Carolina Mangone A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Art University of Toronto © Copyright by Carolina Mangone 2012 Bernini as the Seicento Michelangelo: Imitation and Identity in Art, Architecture and Biography Carolina Mangone Doctor of Philosophy, History of Art Department of Art University of Toronto 2012 Abstract This dissertation examines how Gianlorenzo Bernini (1598-1680), acclaimed the “Michelangelo of his age,” constructed his identity by imitating the art, practices and persona of Michelangelo Buonarroti (1475-1564). Buonarroti’s “inimitability,” a disputed sixteenth-century notion that became ever more contentious as newly critical seventeenth-century perspectives of his work and practice questioned his worth as a model for imitation, furnishes the point of departure for investigating how Bernini became Bernini through and against his predecessor. By analysing Gianlorenzo’s formal, stylistic, theoretical and conceptual references to Buonarroti in his early narrative sculpture (ch.1), his sculpted self-portraits (ch.2), his work at St. Peter’s (ch.3), his architectural ornament (ch.4) as well as the intertextual strategies attending the literary uses of the association between the two artists (ch.5), I shed light on various imitative modes –ranging from emulation, allusion and paraphrase, to repetition, quotation and bricolage – that Bernini and his biographers employed to shape the artist into Michelangelo’s worthy “son” rather than his burdened epigone. In positing a filial model as a flexible framework for understanding Bernini’s life-long relationship to Michelangelo, I take a cue from early modern art writers who suggested that the way to ii overcome Buonarroti’s inimitability was to resemble him faintly, the way a son resembles a father.
    [Show full text]
  • Historiography Lesson 2-17Th C. Biographers
    Historiography Lesson #2 Critiquing Primary Sources: 17 th century Art Theorists and Biographers November 27, 2007 Directions: 1. Divide into 4-5 groups. 2. Read through the biographies on this sheet individually. 3. Among your group members, share the seventeenth-century text provided; have each member read aloud a sentence or two. 4. In your groups, consider the following about the text: What kind of information is presented? How is it presented? Are there apparent biases or opinions? Why? How might this text this useful to historians and researchers? How might this text NOT be useful? 5. Report Out. Gian Pietro Bellori (also known as Giovanni Pietro Bellori or Giovan Pietro Bellori , (1613 - 1696) was a prominent biographer of the Italian Baroque artists of the seventeenth century. As an art historian, he was the Baroque equivalent of Giorgio Vasari. Born in Rome, he was considered by his contemporaries as the most authoritative witness of the artistic culture of his own time; modern art historiographers, on their part, claim that Bellori has played a predominant role in determining the character of art literature over a long period of time. In his texts the platonizing theory of art was given its ultimate formulation, thus achieving canonical status – a status that was to retain its currency at least up to the beginning of the 19th century. Bellori also contributed, by promoting the graphical documentation of the excavation objects, to anticipating the 17th century methodology of research, thus setting the example for modern archaeology. Around 1660, he began to write, with an European viewpoint, the seventeenth-century artists biographies, selecting those who, in his opinion, had better served the cause of classicictic tradition.
    [Show full text]
  • UC Riverside UC Riverside Previously Published Works
    UC Riverside UC Riverside Previously Published Works Title Isaac Laughing: Caravaggio, non-traditional imagery and traditional identification Permalink https://escholarship.org/uc/item/34w3r5gb Journal Art History, 24(5) ISSN 0141-6790 Authors Rudolph, C Ostrow, SF Publication Date 2001 DOI 10.1111/1467-8365.00290 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Editor: Dana Arnold, University of SouthamlJton Reviews Editor: Colin Rhodes, Loughborough University Deputy Editor: Adrian Rifkin, Middlesex University Editorial Assistant: Sarah Sears Editorial Board: Malcolm Baker, Victoria and Albert Museum Norman Bryson, Slade School of Fine Art, University College, London Fran Lloyd, Kingston University Robin Osborne, Kings College, University of Cambridge Dorothy Rowe, Universit)1 of Surrey Roehampton Timon Screech, SOASISainsbury Institute for the Study of Japanese Arts and Cultures Nicholas Thomas, Goldsmiths College, University of London Shearer West, Chair, Association of Art Historians Claire Davies, Administrator, Association of Art Historians International Advisory Board: Cao Yiqiang, Hal1gzhou; Hubert Damisch, Paris; Klaus Herding, Frankfurt; Lynn Hunt, Philadelphia; Natalie Kampen, New York; Serafin Moraleio, Cambridge, Mass.; Jessica Rawson, Oxford; Sigrid Schade, Bremen; Pat Simons, Ann Arbor Blackwell Publishers Ltd Oxford, UK and Boston, USA ART HISTORY Journal of the Association of Art Historians Volume 24 Number 5 November 2001 Art History ISSN 0141-6790 Vol. 24 No.5 November 2001 pp. 646-681 Isaac Laughing: Caravaggio, non-traditional imagery and traditional identification Conrad Rudolph and Steven F. Ostrow In the history of Western art, few paintings have engendered more debate about their subject than Caravaggio's canvas representing a nude pre-pubescent boy embracing a ram in the Pinacoteca Capitolina in Rome (plate 17).
    [Show full text]