DOCSLIB.ORG

PDF Hosted at the Radboud Repository of the Radboud University Nijmegen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PDF Hosted at the Radboud Repository of the Radboud University Nijmegen PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/61104 Please be advised that this information was generated on 2021-09-26 and may be subject to change. Sassetta's Madonna della neve: An Image of Patronage by Machtelt Israëls Review by: Bram de Klerck Simiolus: Netherlands Quarterly for the History of Art, Vol. 31, No. 1/2 (2004 - 2005), pp. 108-110 Published by: Stichting voor Nederlandse Kunsthistorische Publicaties Stable URL: http://www.jstor.org/stable/4150580 . Accessed: 05/03/2012 08:32 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Stichting voor Nederlandse Kunsthistorische Publicaties is collaborating with JSTOR to digitize, preserve and extend access to Simiolus: Netherlands Quarterly for the History of Art. http://www.jstor.org io8 Book reviews quiredby the FlorentineCount Contini Bonacossi,who had it restored. The main panel of the altarpieceis in a gilt wooden frame Machtelt Israils, Sassetta's Madonna della neve: an im- with a tripartite,somewhat protruding baldachin of two point- age of patronage (Istituto UniversitarioOlandese di Storia ed archesflanking a round one in the center below an unchar- dell'Arte,vol. 15), Leiden (PrimaveraPers) 2003 acteristichorizontal top, which gives the work as a whole the form of an almost perfect square. This panel depicts a sacra One of the most important works by the fifteenth-century conversazionewith the Madonna and Child enthroned, sur- Sienese painter,Stefano di Giovanni,better knownas Sassetta rounded by angels and Sts Peter, Paul, John the Baptist and (1394-1450), is the Ecstasy ofSt Francis, now in Villa I Tatti in Francis. The coats of arms of the patrons' families are dis- Settignanonear Florence. It was bought by BernardBerenson played unusuallyprominently on the front of Mary'sthrone. around 1900, and legend has it that his brother-in-law,Logan To do justice to the intriguingname, Madonna of theSnow, by PearsallSmith, discoveredthe panel "on a cart,being takento which the altarpieceis known, the angel to the left of Mary be made into a tabletop."'This in a way charmingyet rather carriesa platter filled with snow, while his companionon the horrifyingstory reflectsthe neglect into which many worksby right is kneading a ball from the snow in a second dish that early RenaissanceItalian artists outside that triumphantfif- rests on the thronebeside the Virgin. teenth-century canon of, say, Donatello, Fra Angelico and The depictionof snow in this altarpiecenot only servesas a Botticelli, had fallen by the beginningof the twentieth centu- referenceto the Virgin'spurity, but also to the popularlegend ry.2 Sassetta'sreputation had been suffering for a long time. of the foundationof the church of Santa Maria Maggiorein Berenson himself devoted no more than a few lines to him in Rome. The events of this legend are depicted in seven narra- his Central Italian painters of the Renaissance (1897) but six tive scenes that make up the predella, some of which are so yearslater, as if to makeup for this, the Americanconnoisseur badly damagedas to be barelylegible. Thirteenth-centurypa- was to play an importantpart in the beginningof a reappraisal pal bulls recount that, one hot summer'sday in August of the by publishing a pair of essays on Sassetta in The Burlington year 352, snow fell on the Esquiline hill in the shape of the Magazine.3 groundplan of a church.The previousnight, the VirginMary However, after publicationson Sassetta and his oeuvre by had revealed this event in visions experiencedby both Pope such illustrious scholarsas Pope-Hennessy (1939), and Carli Liberiusand a Romanpatrician by the nameofJohn. The out- (I957),4 there was no modern, comprehensivemonograph on lines of the miraculoussnowfall were to become the ground the artist. As she herself acknowledgesin the forewordto her plan of a church dedicatedto the Virgin herself:Santa Maria book, Machtelt Israelshas taken up the challenge.It is telling Maggiore.By financingthe building of the church,the child- of both the wealth of materialrelating to the Sienese master less patricianand his wife found a pious way of disposing of waiting to be studied, and Israels's meticulous scholarly ap- their fortune. proachthat, afterhaving published three importantarticles on The enchanting, poetic legend of the Madonna of the individualpaintings by Sassetta,5she chose to devote her en- Snow, its appearancein the visual arts, and especiallyits rela- tire doctoral dissertationto just one: the so-called Madonna tion to the city of Siena, have been studied thoroughlyby van dellaneve altarpiece. The panel was commissionedby one Lu- Os, who publishedhis findingsin 1968.6 Depictionsof the leg- dovica Bertini of Siena in 1430, and was placed over the altar end of the Madonna of the Snow have been known in Italy of a chapel in Siena Cathedralthree years later. The work from about 1300 onwards,reaching a peakin the Quattrocen- made its appearancein art-historicalliterature in 1862, when it to, in worksby, amongothers, the Florentinepainters Masoli- was rediscovered in the church of San Martino in Tuscan no and Masaccio, and the VenetianJacopo Bellini. In Siena, Chiusdino-almost typicallyit was in a deplorablestate of re- the iconographybecame particularlypopular during the fif- pair because of exposure to humidity and rain coming in teenth and early sixteenth centuries, in manuscriptillumina- through leakingroofs. In the mid-193os the painting was ac- tions in liturgicalbooks, as well as in narrativesequences on I See K. Clark,"The workof BernardBerenson," in idem, Momentsoflvision 4 J. Pope-Hennessy, Sassetta, London 1939; E. Carli, Sassetta e il Maestro other New York Milan &5 essays, 1981, pp. I Io-i I. dell'Osservanza, i957. 2 A second, perhaps even more astonishing example is the rediscovery in 5 M. Israels, "New documents for Sassetta and Sano di Pietro at the Porta 1909 of a polychromedwooden statue of a man on horsebackattributed to an- Romana, Siena," The Burlington Magazine 140 (1998), pp. 436-44; idem, "Sas- other Sienese artist,Jacopo della Quercia.The group had been tucked awaybe- setta's Arte della lanaaltar-piece and the cult of CorpusDomini in Siena," The hind a pile of firewoodin the cellarof an oratoryin San Cassianodi Contronein Burlington Magazine 143 (200oo), pp. 532-43; idem, "Sassetta, Fra Angelico and the province of Lucca. See G. Rosario(ed.), II cavalieredi San Cassiano,Flo- their patrons at S. Domenico, Cortona," The Burlington Magazine 145 (2003), rence 1995. PP. 760-76. 3 B. Berenson,"A Sienese painterof the Franciscanlegend," TheBurlington 6 H.W. van Os, "Schnee in Siena," Nederlands Kunsthistorisch 7aarboek 19 Magazine 3 (1903), pp. 2-35, This text has been republished and trans- (1968), pp. 1-50o. lated severaltimes. 171-84- Io9 the of Matteo di Giovanni the of the more than predellas altarpieces by (i477), iconography altarpiece, being just a Gerolamo di Benvenuto (1508), and, the earliest and most demonstration of Ludovica Bertini's efforts to honor her hus- elaborate of all, Sassetta. Van Os stressed the fact that it would band's memory, should be interpreted in the light of Turino's seem appropriate to find so many depictions of the Madonna own involvement with the painting. The extent to which it is della neve in the city which had considered itself to be no less legitimate to consider the highly personal involvement of pri- than civitas Virginisever since it had been dedicated to Mary to vate individuals in a decoration in Siena Cathedral is convinc- implore victory over a Florentine army in 1260. Whereas van ingly illustrated by a lengthy discussion of other private com- Os did not seem to bother much about the precise identity of missions in that church. the patrons of Sassetta's altarpiece, merely referring to them In the case of Sassetta's altarpiece, St Francis, who figures as "cives Virginis,"7this is a crucial issue in Israels's study. prominently in both the panel and the contract of commission In nine nicely rounded short chapters, each of which is con- (being the only saint to be given a laudatory qualification: veniently headed by a summarizing introduction, the author "seraphic"), should be seen in relation not only to Ludovica, investigates virtually every aspect of the altarpiece's physical who became a secular member of the Order of Franciscan appearance, style, iconography, commission, and original set- Tertiaries after her husband's death, but also to Turino, who ting in order to present an account of the way in which the himself had belonged the confraternity of San Francesco. And work's "genesis and patronage" have together determined its the choice of the Madonna of the Snow as the subject, which appearance. This question is typical of many studies of the re- was particularly dear to Franciscan spirituality, proves to be lationship between form, patronage and function of Renais- more appropriate to both husband and wife than to the widow sance altarpieces that have been undertaken in the past few alone. Had not the Virgin Mary appeared to a childless Roman decades. Only too often this kind of research is hampered by a patrician to suggest that he use his wealth to finance a church? lack of documentary evidence, and it is precisely in this re- Just like the legendary fourth-century Roman couple, Turino spect that Israels's book is a fortunate exception.
Load more

Recommended publications
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) Sassetta's Madonna della Neve. An Image of Patronage Israëls, M. Publication date 2003 Link to publication Citation for published version (APA): Israëls, M. (2003). Sassetta's Madonna della Neve. An Image of Patronage. Primavera Pers. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:03 Oct 2021 Index Note Page references in bold indicate Avignonese period of the papacy, 108, Bernardino, Saint, 26, 82n, 105 illustrations. 11 in Bertini (family), 3on, 222 - Andrea di Francesco, 19, 21, 30 Abbadia Isola Baccellieri, Baldassare, 15011 - Ascanio, 222 - Abbey of Santi Salvatore e Cirino, Badia Bcrardcnga, 36n - Beatrice di Ascanio, 222, 223
    [Show full text]
  • Painting in Renaissance Siena
    Figure r6 . Vecchietta. The Resurrection. Figure I7. Donatello. The Blood of the Redeemer. Spedale Maestri, Torrita The Frick Collection, New York the Redeemer (fig. I?), in the Spedale Maestri in Torrita, southeast of Siena, was, in fact, the common source for Vecchietta and Francesco di Giorgio. The work is generally dated to the 1430s and has been associated, conjecturally, with Donatello's tabernacle for Saint Peter's in Rome. 16 However, it was first mentioned in the nirieteenth century, when it adorned the fa<;ade of the church of the Madonna della Neve in Torrita, and it is difficult not to believe that the relief was deposited in that provincial outpost of Sienese territory following modifications in the cathedral of Siena in the seventeenth or eighteenth century. A date for the relief in the late I4 5os is not impossible. There is, in any event, a curious similarity between Donatello's inclusion of two youthful angels standing on the edge of the lunette to frame the composition and Vecchietta's introduction of two adoring angels on rocky mounds in his Resurrection. It may be said with little exaggeration that in Siena Donatello provided the seeds and Pius II the eli­ mate for the dominating style in the last four decades of the century. The altarpieces commissioned for Pienza Cathedral(see fig. IS, I8) are the first to utilize standard, Renaissance frames-obviously in con­ formity with the wishes of Pius and his Florentine architect-although only two of the "illustrious Si­ enese artists," 17 Vecchietta and Matteo di Giovanni, succeeded in rising to the occasion, while Sano di Pietro and Giovanni di Paolo attempted, unsuccessfully, to adapt their flat, Gothic figures to an uncon­ genial format.
    [Show full text]
  • Construction As Depicted in Western Art Construction As Depicted in Western Art
    Tutton Construction Michael Tutton as Depicted in Western Art Construction as Depicted in Western Art Western in Depicted as Construction From Antiquity to the Photograph Construction as Depicted in Western Art Construction as Depicted in Western Art From Antiquity to the Photograph Michael Tutton Amsterdam University Press Cover illustration: 1587, German, unknown master, The Tower of Babel, oil or tempera on panel. Z 2249, Germanisches Nationalmuseum, Nuremberg. Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6298 255 0 e-isbn 978 90 4853 259 9 doi 10.5117/9789462982550 nur 684 © M. Tutton / Amsterdam University Press B.V., Amsterdam 2021 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. For Catherine, Emma and Samuel Acknowledgements I wish to acknowledge the following for help and support in producing this book: Catherine Tutton, Emma Tutton, Nicole Blondin, James W P Campbell, David Davidson, Monica Knight, Eleonora Scianna, Catherine Yvard, and my editors at AUP. Table of Contents Acknowledgements 7 List of Figures 11 Introduction 31 Scope 31 Current Literature and Sources 32 Definitions 33 Layout of the Book 33 1.
    [Show full text]
  • The Guido Riccio Controversy in Art History Michael Mallory and Gordon Moran
    6 The Guido Riccio controversy in art history Michael Mallory and Gordon Moran Published in Brian Martin (editor), Confronting the Experts (Albany, NY: State University of New York Press, 1996), pp. 131-154 Introduction can be challenged both inside and outside The Guido Riccio is a fresco, or wall painting, academia. in the city of Siena in Italy. Guido Riccio is The lengthy duration of the Guido Riccio short for the full name, Guido Riccio da controversy has given us the time and the Fogliano at the Siege of Montemassi. The opportunity to study other academic contro- standard view has long been that Simone versies of the past and present, and to compare Martini, a famous painter from Siena, painted notes with other scholars who are involved in the entire fresco in 1328-1330, a view adopted ongoing disputes of their own. Such compari- by generations of scholars and repeated in sons have enabled us to detect, even predict, many textbooks, guidebooks, reference books, patterns of behaviour on the part of experts as and classroom lectures. This was also our own they attempt to overcome challenges. These view until 1977, when we proposed that a patterns include: the suppression and censor- portion of the fresco, namely the horse and ship of the challengers’ ideas from scholarly rider, was painted by a close follower of conferences, symposia, and journals; personal Simone Martini in 1352, while still attributing attacks, including insults, retaliation, and the rest of the painting to Simone. ostracism, against the challengers; and On the face of it, it would seem that the secrecy, instead of open discussion and debate.
    [Show full text]
  • THE BERNARD and MARY BERENSON COLLECTION of EUROPEAN PAINTINGS at I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls
    THE BERNARD AND MARY BERENSON COLLECTION OF EUROPEAN PAINTINGS AT I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls GENERAL INDEX by Bonnie J. Blackburn Page numbers in italics indicate Albrighi, Luigi, 14, 34, 79, 143–44 Altichiero, 588 Amsterdam, Rijksmuseum catalogue entries. (Fig. 12.1) Alunno, Niccolò, 34, 59, 87–92, 618 Angelico (Fra), Virgin of Humility Alcanyiç, Miquel, and Starnina altarpiece for San Francesco, Cagli (no. SK-A-3011), 100 A Ascension (New York, (Milan, Brera, no. 504), 87, 91 Bellini, Giovanni, Virgin and Child Abbocatelli, Pentesilea di Guglielmo Metropolitan Museum altarpiece for San Nicolò, Foligno (nos. 3379 and A3287), 118 n. 4 degli, 574 of Art, no. 1876.10; New (Paris, Louvre, no. 53), 87 Bulgarini, Bartolomeo, Virgin of Abbott, Senda, 14, 43 nn. 17 and 41, 44 York, Hispanic Society of Annunciation for Confraternità Humility (no. A 4002), 193, 194 n. 60, 427, 674 n. 6 America, no. A2031), 527 dell’Annunziata, Perugia (Figs. 22.1, 22.2), 195–96 Abercorn, Duke of, 525 n. 3 Alessandro da Caravaggio, 203 (Perugia, Galleria Nazionale Cima da Conegliano (?), Virgin Aberdeen, Art Gallery Alesso di Benozzo and Gherardo dell’Umbria, no. 169), 92 and Child (no. SK–A 1219), Vecchietta, portable triptych del Fora Crucifixion (Claremont, Pomona 208 n. 14 (no. 4571), 607 Annunciation (App. 1), 536, 539 College Museum of Art, Giovanni di Paolo, Crucifixion Abraham, Bishop of Suzdal, 419 n. 2, 735 no. P 61.1.9), 92 n. 11 (no. SK-C-1596), 331 Accarigi family, 244 Alexander VI Borgia, Pope, 509, 576 Crucifixion (Foligno, Palazzo Gossaert, Jan, drawing of Hercules Acciaioli, Lorenzo, Bishop of Arezzo, Alexeivich, Alexei, Grand Duke of Arcivescovile), 90 Kills Eurythion (no.
    [Show full text]
  • Madonna and Child with the Blessing Christ, and Saints Peter, James Major, Anthony Abbott, and a Deacon Saint [Entire Triptych] C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Martino di Bartolomeo Sienese, active 1393/1434 Madonna and Child with the Blessing Christ, and Saints Peter, James Major, Anthony Abbott, and a Deacon Saint [entire triptych] c. 1415/1420 tempera on panel Inscription: middle panel, on Christ's book: Ego S / um lu / x m / undi / [et] via / veritas / et vita / quise / gui ... (I am the light of the world and the way, the truth and the life; a conflation of John 8:12 and 14:6) [1] Gift of Samuel L. Fuller 1950.11.1.a-c ENTRY This triptych's image of the Madonna and Child recalls the type of the Glykophilousa Virgin, the “affectionate Madonna.” She rests her cheek against that of the child, who embraces her. The motif of the child’s hand grasping the hem of the neckline of the Virgin’s dress seems, on the other hand, to allude to the theme of suckling. [1] The saints portrayed are easily identifiable by their attributes: Peter by the keys, as well as by his particular facial type; James Major, by his pilgrim’s staff; Anthony Abbot, by his hospitaller habit and T-shaped staff. [2] But the identity of the deacon martyr saint remains uncertain; he is usually identified as Saint Stephen, though without good reason, as he lacks that saint’s usual attributes. Perhaps the artist did not characterize him with a specific attribute because the triptych was destined for a church dedicated to him.
    [Show full text]
  • Povera E Regale Allo Stesso Tempo
    Quotidiano Data 30-03-2013 L’OSSERVATORE ROMANO Pagina 5 Foglio 1 / 2 Il senso iconografico della Madonna dell’umiltà Povera e regale allo stesso tempo Sassetta, «Madonna dell’umiltà» (1435, Musei Vaticani) mentre fa le coccole al piccolo Gesù. Così Masaccio in un di ANTONIO PAOLUCCI celebre piccolo dipinto che sta agli Uffizi, così gli ortodossi nella iconografia della glicofilusa . Ma la Madonna è anche Mater misericordiae , protettrice Papa Francesco nella sua visita a Castel Gandolfo al dai mali del mondo e i pittori hanno voluto darle immagine suo predecessore Benedetto, gli ha portato in regalo un mentre spalanca il mantello a coprire come un’abside di piccolo dipinto raffigurante la Madonna dell’umiltà . chiesa il popolo dei suoi fedeli. Piero della Francesca, al Sono sicuro che molti si sono chiesti qual è il soggetto centro del polittico che si conserva nel Museo civico di iconografico che porta questo titolo. Che cos’è, che cosa Borgo San Sepolcro, ce ne ha consegnato una interpretazione rappresenta la Madonna dell’umiltà ? Per capirlo bisogna tanto celebre quanto insuperata. Anche la Madonna inc inta andare indietro nei secoli e porre mente alle innumerevoli (ancora Piero a Monterchi), la Madonna che ospita nel suo varianti che l’immaginar io popolare, nelle varie epoche e grembo il Corpus Christi e lo presenta all’adorazione del nelle diverse culture, ha voluto dare all’immagine della popolo come la particola consacrata nel ciborio, può essere Madre di Dio. La storia dell’arte ci offre un campionario rappresentata. praticamente infinito di situazioni e quindi di iconografie. I cristiani hanno sempre saputo che la Vergine è Regina E infatti come si può rappresentare la Madonna ? Se lo del Cielo e quindi come una sovrana nella gloria del trono e sono chiesto, generazione dopo generazione, i cristiani e nell’omaggio degli angeli e dei santi deve essere se lo sono chiesto gli artisti che le attese, le idee e i rappresentata.
    [Show full text]
  • Ministero Per I Beni E Le Attività Culturali Progetto Di Diagnostica Per La Mostra DA JACOPO DELLA QUERCIA a DONATELLO IL PR
    Ministero per i Beni e le Attività Culturali Opificio delle Pietre Dure e Laboratori di Restauro di Firenze Viale degli Alfani, 78 50100 Firenze Progetto di diagnostica per la mostra DA JACOPO DELLA QUERCIA A DONATELLO IL PRIMO RINASCIMENTO A SIENA La collaborazione da parte dell’Opificio alla mostra “Da Jacopo della Quercia a Donatello ‐ Primo Rinascimento a Siena” si inserisce in modo più che perfetto nell’ambito delle ricerche sulle tecniche artistiche, che da tempo affiancano l’attività più propriamente operativa dell’Istituto. Sono state effettuate indagini non invasive su un campione di opere che andranno in mostra (principalmente della Pinacoteca Nazionale di Siena), campione estremamente vasto e significativo sia dal punto di vista cronologico che da quello dell’autografia. Si tratta di tecniche di indagine tra le più diffuse nel campo del restauro e della conoscenza dei Beni Culturali, ma che si qualificano, in questo caso, per l’altissima definizione dei risultati (in particolare la Radiografia a lastra unica dell’OPD e la riflettografia InfraRossa ad alta risoluzione dello scanner di OPD e Istituto Nazionale di Ottica CNR di Firenze). Il Settore Dipinti Mobili dell’Opificio delle Pietre Dure ha lavorato a questo progetto con passione e grande interesse. Marco Ciatti e Cecilia Frosinini (direttore e vice‐direttore) grazie alle comprovate esperienze nel campo della storia delle tecniche artistiche di Roberto Bellucci e Ciro Castelli, hanno lavorato di stretta intesa con la Pinacoteca di Siena (Annamaria Guiducci ed Elena Pinzauti) alle indagini a più di 30 opere (segue elenco), venendo così a costituire un catalogo parallelo a quello della mostra, dedicato alla tecnica di esecuzione delle botteghe senesi di primo Quattrocento.
    [Show full text]
  • Antonio Ghini and Andrea Di Francesco Guardi: Two 15Th-Century Tuscan Artists in the Service of Local Governments
    Antonio Ghini and Andrea di Francesco Guardi: Two 15th-century Tuscan Artists in the Service of Local Governments Sandra Cardarelli Although the medieval and renaissance artist dwelled within a rigidly structured society whereby his life and work were strictly related to his affiliation to a guild, a confraternity, a political faction or some other form of corporate association that could grant him identity and protection, his world was far from restricted by the geographical boundaries of his city.1 Maginnis argued that early Sienese painters enjoyed great fame outside their native city thanks to foreign patrons.2 Simone Martini left Siena at the apex of his career as favourite painter of the commune to work for mendicant orders in Pisa, Orvieto and Assisi, and then at the service of the Angevins in Naples before moving to the papal court in Avignon.3 Likewise, the case of the Florentine sculptor Donatello, who worked in the rival city of Siena by request of a petition of the Balia in 1457,4 demonstrates that the wish to commission art This paper draws from material researched for my doctoral thesis: Siena and its contado: Art, Iconography and Patronage in the Diocese of Grosseto from c. 1380 to c. 1480, University of Aberdeen, PhD, 2011. A specific section in the thesis discusses the work of travelling artists in the diocese of Grosseto, and this first approach to the notion of artists and travel was later developed further and resulted in the session ‘Travelling artists in medieval and Renaissance Europe’ at the 38th annual conference of the Association of Art Historians, Milton Keynes, 29-31 March 2012.
    [Show full text]
  • Press Dossier
    Press Dossier National Museum of Ancient Art 19 May - 10 September 2017 Nota de prensa This is the first exhibition resulting from the alliance established by ”la Caixa” Banking Foundation and the BPI to implement social and cultural projects in Portugal Madonna. Portugal Presents Treasures from the Vatican Museums • The MNAA, ”la Caixa” Banking Foundation and the BPI present Madonna. Treasures from the Vatican Museums. The exhibition features a selection of works from the famous collections of the Vatican Museums, particularly the extraordinary art gallery. • The show takes visitors on a chronological journey spanning nearly one thousand years, from late Antiquity to the modern age, taking the iconography of Our Lady as its central theme. • The works on show include paintings by “Primitive” Italian artists (Taddeo di Bartolo, Sano de Pietro, Fra Angelico) and great Renaissance and Baroque masters (Rafael, Pinturicchio, Salviati, Pietro da Cortona, Barocci), as well as outstanding tapestries and manuscripts from the Vatican Apostolic Library. • The exhibition is the first fruit from the cultural sponsorship programme established by ”la Caixa” Banking Foundation and the BPI after the two institutions announced their intention to jointly promote social and cultural projects in Portugal over the coming years. Madonna. Treasures from the Vatican Museums . Dates : 19 May - 10 September 2017. Place : National Museum of Ancient Art (R. das Janelas Verdes). Concept and production : ”la Caixa” Banking Foundation, Vatican Museums, National Museum of Ancient Art and BPI. Curators : Alessandra Rodolfo (Vatican Museums) and José Alberto Seabra Carvalho (MNAA). @FundlaCaixa Nota de prensa Lisbon, 16 May 2017. Antônio Filipe Pimentel, director of the National Museum of Ancient Art; Elisa Durán, assistant general manager of ”la Caixa” Banking Foundation; José Pena Amaral, of the BPI Executive Board; and the curators of the exhibition, Alessandra Rodolfo and José Alberto Seabra Carvalho today presented Madonna.
    [Show full text]
  • Renaissance Siena
    Renaissance Siena Habent sua fata libelli SIXTEENTH CENTURY ESSAYS & STUDIES SERIES GENERAL EDITOR Raymond A. Mentzer University of Iowa EDITORIAL BOARD OF SIXTEENTH CENTURY ESSAYS & STUDIES ELAINE BEILIN HELEN NADER Framingham State College University of Arizona MIRIAM U. CHRISMAN CHARLES G. NAUERT University of Massachusetts, Emerita University of Missouri, Emeritus BARBARA B. DIEFENDORF THEODORE K. RABB Boston University Princeton University PAULA FINDLEN MAX REINHART Stanford University University of Georgia SCOTT H. HENDRIX SHERYL E. REISS Princeton Theological Seminary Cornell University JANE CAMPBELL HUTCHISON JOHN D. ROTH University of Wisconsin–Madison Goshen College RALPH KEEN ROBERT V. SCHNUCKER University of Iowa Truman State University, Emeritus ROBERT M. KINGDON NICHOLAS TERPSTRA University of Wisconsin, Emeritus University of Toronto MARY B. MCKINLEY MARGO TODD University of Virginia University of Pennsylvania MERRY WIESNER-HANKS University of Wisconsin–Milwaukee Art in ontext Edited by A. Lawrence Jenkens Sixteenth Century Essays & Studies 71 Truman State University Press Copyright © 2005 Truman State University Press, Kirksville, Missouri USA All rights reserved tsup.truman.edu Cover art: Pinturicchio, Meeting Between Frederick III and Eleanor of Aragon, 1505–8. Fresco, Piccolomini Library, Duomo, Siena. Reproduced by permission from Scala/ Art Resource, NY. Cover design: Shaun Hoffiditz Type: Bembo™, The Monotype Corporation Printed by: McNaughton & Gunn Inc., Saline, Michigan USA Library of Congress Cataloging-in-Publication Data Renaissance Siena : art in context / edited by A. Lawrence Jenkens. p. cm. — (Sixteenth century essays and studies ; v. 71) Includes bibliographical references and index. ISBN 1-931112-42-8 (hardback : alk. paper) — ISBN 1-931112-43-6 (pbk. : alk. paper) 1. Art, Renaissance—Italy—Siena.
    [Show full text]
  • Toscana Itinerari D’Autore
    TOSCANA ITINERARI D’AUTORE Alla scoperta della bellezza attraverso i grandi artisti toscana ITINERARI D’AUTORE Alla scoperta della bellezza attraverso i grandi artisti Per la prima volta raccolti in una guida gli itinerari che accompagnano il visitato- re alla scoperta della storia e delle opere d’arte di grandi artisti che hanno reso unica la Toscana. Architetti, scultori, pittori, disegnatori, inventori e geni assoluti hanno avuto in questa terra i natali, hanno operato al servizio di mecenati prestigiosi e lasciato testimonianze di bellezza assoluta diffusa su tutto il territorio. Questa guida è uno strumento utile sia per chi si accosta per la prima volta a que- sti grandi nomi, scelti tra i maggiori da Cimabue a Modigliani, sia per chi conosce già gli artisti ed è disponibile ad inaspettate scoperte. Un approccio nuovo, un modo diverso di riscoprire l’arte della Toscana attraverso i luoghi di ispirazione e i percorsi che offrono un’originale rilettura dei maestri più insigni che hanno caratterizzato la nostra storia. ALCUNI LUOGHI DEGLI ITINERARI SONO SEGNALATI PER LA LORO RILEVANZA ** DA NON PERDERE * INTERESSANTE INOLTRE, PER OGNI AUTORE SONO PRESENTATE LE SUE ATTIVITÀ PREVALENTI ARCHITETTO CERAMISTA INGEGNERE MATEMATICO PITTORE SCIENZIATO SCRITTORE SCULTORE Buona lettura e buon viaggio! indice degli artisti 4 Leona Battista Alberti 56 Caravaggio 116 Leonardo da Vinci 168 I Pollaiolo 6 Bartolomeo Ammannati 58 Galileo Chini 118 Filippo Lippi 170 Pontormo 8 Andrea del Castagno 62 Cimabue 120 Filippino Lippi 172 Raffaello Sanzio 10
    [Show full text]