DOCSLIB.ORG

© in This Web Service Cambridge University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
© in This Web Service Cambridge University Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Index More information INDEX S N.B.: Churches are indexed according to the name of their dedication, irrespective of their prefix (San, Santa, Santissima, etc.). Architects and artists are indexed according to how they are commonly known: those who have surnames (Brunelleschi, Bandinelli, etc.) are usually indexed by surname (but not Michelangelo, for example); those without surnames are usually indexed by given name (Maso di Banco, Leonardo da Vinci, etc.), although there are exceptions (Pollaiuolo, Antonio del; Pontormo, Jacopo da, etc.). Figures are indexed by page number, shown in boldface italics. Accademia del Disegno, 30, 358, 359 Alfonso V, king of Naples, 192–93 Andrea di Bonaiuto, 96, 110 Accademia Fiorentina (Accademia degli Humidi), Allori, Alessandro, 357, 362, 364 frescoes in chapterhouse, Santa Maria 336–37, 340–41, 346 Christ among the Doctors (Santissima Novella, 95–97, 95, 101 discussions on Etruscan civilisation, 339–40 Annunziata, Montauto Chapel), 362, The Way to Salvation, 96, 96, pl. VIII Acciaiuoli, Agnolo, 7, 14, 21 363 Andrea di Cione, see Orcagna Acciaiuoli family, 22 Original Sin (Santissima Annunziata, Andrea di Cresci, 17 Acciaiuoli, Donato, 279 Montauto Chapel), 363, 364 Angelico, Fra, 9, 162 Acciaiuoli, Margherita, 311–12 Altichiero, 115 Bosco ai Frati Altarpiece (Museo di San Acciaiuoli, Niccolo,` 7 Altoviti, Bindo, 14, 31 Marco), 189–90 Accolti, Benedetto, 191 Ambrogio di Baldese, 109 Deposition (Museo di San Marco), 148 Adrian VI, pope, 319 amicizia (friendship), 29 frescoes and panel pictures at San Marco, 167 Adriani, Marcello Virgilio, 264, 279 Ammannati, Bartolommeo, 320–21, 327, 334 San Marco Altarpiece (Museo di San Marco), Agosti, Giovanni, 228, 247 Ammirato, Scipione, 31 181, 199, 200, 205 Agostino di Duccio, 270 Andrea del Castagno, 25 works in Rome, 192 Alamanni family, 98 Sant’Apollonia, refectory, decoration, 185, Angeni, Ambrogio, 27 Albert the Great, commentary on Aristotle’s 187 Anghiari, Battle of, 185, 188–89, 280–81 Politics, 74 defaming portrait of Rinaldo degli Albizzi Sant’Anna, 91 Alberti, Benedetto, 97, 99 (lost), 185 Santissima Annunziata, 23 Alberti, Bernardo, 97 mosaic designs for San Marco, Venice, 192 Annunciation fresco, 133, 142, 202 Alberti, Catelana degli, 112 Niccolo` da Tolentino (Duomo), 201–02 tabernacle for (Michelozzo), 181, 183, 185, Alberti family, 14, 98, 103, 115 Andrea della Robbia, 299 187–88, 202–04 Alberti, Iacopo di Caroccio, 98 Andrea del Sarto, 300–01, 310, 354 Annunciation play, 140 Alberti, Leon Battista, 10, 27, 143, 159, 162, as “pittore senza errori” (Vasari), 303, 309 atrium (Chiostrino dei Voti), fresco 209, 233 death of, 324 decoration of, 303–06 De pictura/Della Pittura, 153, 167, 168, 174, Disputation on the Trinity (Palazzo Pitti), 309, Chapel of the Artists, 358, 359 186, 205 309 Montauto Chapel, 362 De re aedificatoria, 242–43 frescoes of life of Beato Filippo Benizzi Christ among the Doctors (Allori), 362, 363 dimostrazioni of, 153 (Santissima Annunziata), 303 Original Sin (Allori), 363, 364 Holy Sepulchre monument (San Pancrazio), frescoes of life of Saint John the Baptist Oratory of Saint Sebastian, 220–21 204, 205 (Chiostro dello Scalzo), 307–08 Antal, Frederick, 9, 25, 121 Palazzo Rucellai, 16, 25, 179, 179, 183, 184, Preaching of the Baptist, 307, 308, Antella, Santa Caterina, frescoes by Spinello 226, 228 313 Aretino, 103, 105 Santa Maria Novella, fac¸ade, 10, 183 frescoes of life of the Virgin (Santissima Antoninus, Saint, 28, 29 works in Rimini and Mantua, 192 Annunziata), 303–04 Antonio di Banco, capomaestro of Opera del Albertinelli, Mariotto, 260, 262, 303, 306 Birth of the Virgin, 304–05, 304 Duomo, 141 Albertini, Francesco, guidebook to Florence, Madonna of the Harpies (Uffizi), 308–09, 309 Antonio di Lunigiana, 27 283–84 Saint John the Baptist (Palazzo Pitti), 313, 313 Apelles, 335 Albizzi-Medici controversy, the, 184 Tribute to Caesar (gran salone, Poggio a Caiano), Apollo Belvedere, 271 Alexander the Great, 333 311, 347, Pl. XXXVIII Apollonio di Giovanni, 29, 230 413 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Index More information 414 INDEX Aquinas, Saint Thomas, 44, 95, 96 south doors (Andrea Pisano), 66–69, 72, 68 Billi, Salvatore di Bartolomeo di Antonio, Arditi, Andrea, bust reliquary of Saint Zenobius, vault mosaics, 35, 67–69, 69 301–03 70, 70 Judas hanged by demons in Hell, 35, 37 Biondo, Flavio, 159 Aretino, Pietro, 346 Bardi family, 14, 52 Decadi, 280 Arezzo, 186, 198 Bardi, Ridolfo de’, 52, 53, 55 Black Death, the, see Plague in Florence San Francesco, frescoes by Piero della Bargello (Palazzo del Podesta),` 14, 16, 40, 86 Boboli Gardens, 326 Francesca, 191, 191 Baron, Hans, 9, 23, 25, 121 design of (Tribolo), 341 Aristotile da Sangallo, 334 Bartolomeo di Giovanni, 229–30, 257 Boccaccio, Giovanni, 12, 89 copy after Michelangelo’s Battle of Cascina Bartolommeo, Fra, 300 Caccia di Diana, 114 cartoon, 278, 281 altarpiece for Sala di Gran Consiglio, 274, Decameron, 111 Arnolfo di Cambio, 23, 37–38, 71, 127 276, 300, Pl. XXXVI Bocchi, Francesco, The Beauties of the City of Virgin and Child Enthroned, 37–38, 38, 73 death of, 303 Florence, 8 Arte della Lana (Wool Guild), see Guilds drawings of skulls, 261 Bonaventure, Saint, 44, 99 Artist, status of the, 75, 358 Holy Family with Saint John (Rome), 266, 266 Legenda maior, 52 Artistic “crisis” in late Quattrocento, 253–54 Last Judgment (Museo di San Marco), 260, 262 TheMind’sRoadtoGod, 315 Assisi, Basilica di San Francesco Portrait of Girolamo Savonarola (Museo di San Boniface VIII, pope, 37–38, 204 Giotto workshop frescoes in lower church of, Marco), 253 Borgherini, Pierfrancesco, 298, 311–13 38 Saint Mark (San Marco), 300–01, 301 bedroom furnishings of (Baccio d’Agnolo), Passion cycle (lower church; attrib. Pietro Saint Sebastian (lost), 300 311, 312 Lorenzetti), 49 Salvator Mundi (for Santissima Annunziata, Borghini, Don Vincenzo, 359, 362–63, 368 Saint Francis cycle (upper church), 52 now Palazzo Pitti), 301–03, 302 design for Michelangelo in the Elysian Fields, Athens, duke of, see Walter of Brienne Bartoluccio (stepfather to Ghiberti), 124 362 Auerbach, Erich, 155 Bastari family, 35 program for Duomo cupola frescoes, 367 Augustus Caesar, 333, 335, 339 Battista d’Antonio, 143 Bosco ai Frati, convent of San Francesco, Baxandall, Michael, 1, 159 189–90, 189 Baccio d’Agnolo, 297–98, 327 Painting and Experience in Fifteenth Century Observant General Chapter held at, 190 ballatoio for Duomo cupola, 138, 294–95, 297 Italy, 1, 3, 120–21 Bostichi family, 18 capomaestro at Palazzo della Signoria, 297 Belcari, Feo, 28 Botero, Giovanni, 25 choir stalls in Tornabuoni Chapel, Santa Bellini, Giovanni, 300 Botticelli, Sandro, 9, 216, 233 Maria Novella, 224–25 Bembo, Bernardo, 238 Bardi altarpiece (Berlin), 222 design for fac¸ade of San Lorenzo, 296–97 Bembo, Pietro, medal of (Cellini), 346 Birth of Venus (Uffizi), 233, 235, 334–35, 341 frame for Sala di Gran Consiglio altarpiece, Benci di Cione, 90–91 designs for embroideries for Giovanni 276 Benedetto da Maiano, 217 Tornabuoni, 224 Palazzo Bartolini-Salimbeni, 298, 298 marble doorways in Palazzo della Signoria, domestic decorative paintings by, 229 Servite loggia on Piazza Santissima 217–18, 217 Nastagio degli Onesti panels, 230 Annunziata, 298 monument to Giotto (Duomo), 216 Fortitude (Uffizi), 231 workshop of, 265 portraiture of, 236 frescoes for Tornabuoni villa (Villa Lemmi; Baccio da Montelupo, 284 Bust of Filippo Strozzi, 226, 237, 237 Paris), 235, 236 Saint John the Evangelist (Orsanmichele), 299 Benedetto da Rovezzano, 299 illustrations to Dante’s Paradiso, 259 Baccio della Porta, see Fra Bartolommeo Benedict IX, pope, 56 Lamentation (Munich, 259, 261 Badia Fiorentina, 35, 168 Benintendi, Giovanni, 313 Mystic Nativity (London), 258, 259, Pl. XXXI Judas hanging himself (attrib. Nardo di Cione), Bernardino, Saint, 157 inscription on, 252 35, 36 Bernardone, Pietro, 54 Pallas and the Centaur (Uffizi), 231 Baldovinetti, Alesso, 27 Bertoldo di Giovanni, 214 Pieta` (Milan), 259 Annunciation (San Miniato, Cardinal of assistant to Donatello, 245 portraiture of, 236 Portugal’s Chapel), 204 Battle (Bargello), 214, 245 Young Man Holding a Medallion of Cosimo “il Nativity (Santissima Annunziata), 186, curator of antiquities in garden at San Marco, Vecchio” de’ Medici, 237, 237 Pl. XXI 244–45 Primavera (Uffizi), 231, 232–33, 334–35, Bandinelli, Baccio, 327–28, 343, 344, 350 design of frieze at Poggio a Caiano, 244 Pl. XXIX Choir of Duomo, 352, 353, 367 as Lorenzo de’Medici’s house sculptor, 238, problems of meaning in, 232 Adam and Eve, 352, 367 244 Bracali, Jacopo, 264 Dead Christ (Santa Croce), 352, 355 medal to commemorate Pazzi conspiracy, 214, Bracciolini, Poggio, 181 Hercules and Cacus (Piazza della Signoria), 272, 215 De varietate fortunae, 159 327–28, 327 Orpheus (Bargello), 245 De vera nobilitate, 159 Bandini, Francesco, 7 reliefs in Palazzo Scala courtyard, 227, 245, Brancacci, Felice, 132 Baptistery, 150, 204 228 Brandini, Jacopo, 102 Crucifix (polychromed wood; by Giovanni di Bettini, Bartolomeo, 325 Bronzino, Agnolo, 9, 31, 327, 354 Balduccio), 70, 71 Biagio d’Antonio, 218, 229–30 contributions to Joseph tapestries (Palazzo della embroideries for vestments, 215 Bibbiena, Santa Maria del Sasso, 27 Signoria, Sala dei Duecento), 348, 357 Gates of Paradise (east doors; Ghiberti), 167, Bicci di Lorenzo, 28 decoration of Chapel of Eleonora da Toledo 169, 170–72, 171–2 fresco on fac¸ade of Sant’Egidio, 145–46, 145 (Palazzo della Signoria), 341–43, Pl. north doors (Ghiberti), 124, 126 Bigallo, Oratorio of the, 65 XLIV porphyry columns of, 198 fac¸ade fresco (Niccolo` di Pietro Gerini and first Lamentation altarpiece for (Besanc¸on), relic of Saint John the Baptist, 69–70 Ambrogio di Baldese), 109, 110 342, 343 silver altar frontal, 215 triptych (Bernardo Daddi), 65, Pl.
Load more

Recommended publications
  • March 27, 2018 RESTORATION of CAPPONI CHAPEL in CHURCH of SANTA FELICITA in FLORENCE, ITALY, COMPLETED THANKS to SUPPORT FROM
    Media Contact: For additional information, Libby Mark or Heather Meltzer at Bow Bridge Communications, LLC, New York City; +1 347-460-5566; [email protected]. March 27, 2018 RESTORATION OF CAPPONI CHAPEL IN CHURCH OF SANTA FELICITA IN FLORENCE, ITALY, COMPLETED THANKS TO SUPPORT FROM FRIENDS OF FLORENCE Yearlong project celebrated with the reopening of the Renaissance architectural masterpiece on March 28, 2018: press conference 10:30 am and public event 6:00 pm Washington, DC....Friends of Florence celebrates the completion of a comprehensive restoration of the Capponi Chapel in the 16th-century church Santa Felicita on March 28, 2018. The restoration project, initiated in March 2017, included all the artworks and decorative elements in the Chapel, including Jacopo Pontormo's majestic altarpiece, a large-scale painting depicting the Deposition from the Cross (1525‒28). Enabled by a major donation to Friends of Florence from Kathe and John Dyson of New York, the project was approved by the Soprintendenza Archeologia Belle Arti e Paesaggio di Firenze, Pistoia, e Prato, entrusted to the restorer Daniele Rossi, and monitored by Daniele Rapino, the Pontormo’s Deposition after restoration. Soprintendenza officer responsible for the Santo Spirito neighborhood. The Capponi Chapel was designed by Filippo Brunelleschi for the Barbadori family around 1422. Lodovico di Gino Capponi, a nobleman and wealthy banker, purchased the chapel in 1525 to serve as his family’s mausoleum. In 1526, Capponi commissioned Capponi Chapel, Church of St. Felicita Pontormo to decorate it. Pontormo is considered one of the most before restoration. innovative and original figures of the first half of the 16th century and the Chapel one of his greatest masterpieces.
    [Show full text]
  • The Strange Art of 16Th –Century Italy
    The Strange Art of 16th –century Italy Some thoughts before we start. This course is going to use a seminar format. Each of you will be responsible for an artist. You will be giving reports on- site as we progress, in as close to chronological order as logistics permit. At the end of the course each of you will do a Power Point presentation which will cover the works you treated on-site by fitting them into the rest of the artist’s oeuvre and the historical context.. The readings: You will take home a Frederick Hartt textbook, History of Italian Renaissance Art. For the first part of the course this will be your main background source. For sculpture you will have photocopies of some chapters from Roberta Olsen’s book on Italian Renaissance sculpture. I had you buy Walter Friedlaender’s Mannerism and Anti-Mannerism in Italian Painting, first published in 1925. While recent scholarship does not agree with his whole thesis, many of his observations are still valid about the main changes at the beginning and the end of the 16th century. In addition there will be some articles copied from art history periodicals and a few provided in digital format which you can read on the computer. Each of you will be doing other reading on your individual artists. A major goal of the course will be to see how sixteenth-century art depends on Raphael and Michelangelo, and to a lesser extent on Leonardo. Art seems to develop in cycles. What happens after a moment of great innovations? Vasari, in his Lives of the Artists, seems to ask “where do we go from here?” If Leonardo, Raphael and Michelangelo were perfect, how does one carry on? The same thing occurred after Giotto and Duccio in the early Trecento.
    [Show full text]
  • 1 Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the Universi
    Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Art History and Visual Culture In March 2017. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature)…………………………………………………………………………….. 1 Abstract The church of Santo Spirito in Florence is universally accepted as one of the architectural works of Filippo Brunelleschi (1377-1446). It is nevertheless surprising that contrary to such buildings as San Lorenzo or the Old Sacristy, the church has received relatively little scholarly attention. Most scholarship continues to rely upon the testimony of Brunelleschi’s earliest biographer, Antonio di Tuccio Manetti, to establish an administrative and artistic initiation date for the project in the middle of Brunelleschi’s career, around 1428. Through an exhaustive analysis of the biographer’s account, and subsequent comparison to the extant documentary evidence from the period, I have been able to establish that construction actually began at a considerably later date, around 1440. It is specifically during the two and half decades after Brunelleschi’s death in 1446 that very little is known about the proceedings of the project. A largely unpublished archival source which records the machinations of the Opera (works committee) of Santo Spirito from 1446-1461, sheds considerable light on the progress of construction during this period, as well as on the role of the Opera in the realization of the church.
    [Show full text]
  • Santo Spirito Neighborhood Crawl
    florence for free free walks and work-arounds for rich italian adventures neighborhood crawl: santo spirito Distance: 2 km (about 1.2 miles) Time: 25 minute walk in total, plus time (up to a day!) for leisurely exploring Cost: $0 Directions: Start out by crossing the Ponte Vecchio. At the bridge’s end, walk straight ahead, looking for a small piazza on your left with a church tucked in the back corner (Sant Felicita). Venture further down Via de’ Guicciardini, past Palazzo Pitti, onto Via Romana, until you reach Via del Campuccio. Turn right, and then make the next right again at Via Caldaie. Walk up to Santo Spirito, head out at the far right of the piazza and turn left on Via Maggio. Walk down to St. Mark’s Church, cross the street and take that right on Via dei Vellutini down to Piazza della Passera. Take Via dello Sprone back out and follow it until you reach Ponte Santa Trinita. Places to see: • Santa Felicita – One of the oldest worship sites in the city, although the current structure mostly dates back to the 18th century. Head here when open in the early morning and venture in under the Vasari Corridor (the arch-shaped interruption in the church’s facade), which also doubled as a private balcony the Medici could worship from without mingling with ordinary plebs. The inside is certainly inspired by the style of Renaissance heavyweight Brunelleschi – the man who solved the riddle of the cathedral dome. He even designed the chapel immediately to the entrance’s right, today known as the Capponi Chapel, which features two masterpieces by Mannerist favorite Jacopo Pontormo.
    [Show full text]
  • Lesson 09: Michelangelo- from High Renaissance to Mannerism
    East Tennessee State University Digital Commons @ East Tennessee State University Art Appreciation Open Educational Resource 2020 Lesson 09: Michelangelo- From High Renaissance to Mannerism Marie Porterfield Barry East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/art-appreciation-oer Part of the Art and Design Commons, and the History of Art, Architecture, and Archaeology Commons Editable versions are available for this document and other Art Appreciation lessons at https://dc.etsu.edu/art-appreciation-oer. Recommended Citation Barry, Marie Porterfield, "Lesson 09: Michelangelo- rF om High Renaissance to Mannerism" (2020). Art Appreciation Open Educational Resource. East Tennessee State University: Johnson City. https://dc.etsu.edu/art-appreciation-oer/10 This Book Contribution is brought to you for free and open access by Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Art Appreciation Open Educational Resource by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. “Michelangelo from High Renaissance to Mannerism” is part of the ART APPRECIATION Open Educational Resource by Marie Porterfield Barry East Tennessee State University, 2020 Introduction This course explores the world’s visual arts, focusing on the development of visual awareness, assessment, and appreciation by examining a variety of styles from various periods and cultures while emphasizing the development of a common visual language. The materials are meant to foster a broader understanding of the role of visual art in human culture and experience from the prehistoric through the contemporary. This is an Open Educational Resource (OER), an openly licensed educational material designed to replace a traditional textbook.
    [Show full text]
  • “Summonses to Awareness:” a Meditation Upon Wisdom and Artful Inquiry
    “Summonses to Awareness:” A Meditation upon Wisdom and Artful Inquiry By Giovanni Antonio Rossini A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Curriculum, Teaching and Learning Ontario Institute for Studies in Education University of Toronto © Copyright by Giovanni Antonio Rossini (2018) “Summonses to Awareness:” A Meditation upon Wisdom and Artful Inquiry Giovanni Antonio Rossini Doctor of Philosophy Department of Curriculum, Teaching and Learning Ontario Institute for Studies in Education University of Toronto 2018 Abstract In his writings Thomas Merton ponders the relation of contemplative experience and the arts within a meditation upon the spiritual life; one whose seminal character is “a life of wisdom” (Merton, 1972, p.141). With Merton as a guide post, my inquiry explores whether the kinship of wisdom and spirituality with the aesthetical, which is offered in his writings, can be extended to reinforce a relation of wisdom and artful inquiry. While the inquiry into the relation of the art and wisdom is informed by the discourse of wisdom studies (Curnow, 2015; Baltas, 2004; Walsh, 2015) it also departs from it by pondering wisdom not in relation to the text, but to the artful. Such different alignment in turn underscored by the question: While we speak of texts that are wise can we, in kindred spirit, speak of art that is wise? The exploring of such question departs from rational and empirical methodologies and instead is nested within a contemplative approach (Hart, 2004; Miller, 2006; Palmer, 1993; Zajonc, 2006); one which immerses inquiry within the life of the researcher and embraces strategies for research which are seeded by an aesthetical presence.
    [Show full text]
  • Pontormo's Capponi Chapel* Leosteinberg
    385 Pontormo's Capponi Chapel* LeoSteinberg Pontormo's work in the Capponi Chapel in Santa Felicita, as "Christ is taken away from His Mother, towards the Florence, began in I525 with the decoration of its hemis- tomb... the Virgin's gesture... becomes one of farewell." pherical dome, a fresco of God the Father surrounded by Meanwhile, on the vault surface directly opposite, the figure four patriarchs. The fresco was followed by four circular of God the Father (known to us from the Uffizi drawings, panels for the pendentives with bust portraits of the evan- Figs. 4-5) extends his right hand in "a gesture of sublime gelists, partly Bronzino's work,1 and by the great altar- compassion and benediction directed across the Chapel to the piece, variously called Descentfrom the Cross (or Deposition), dead Christ." "The fusion by gesture and emotion of dome Pietd, or Entombment (Fig. I).2 The final work, datable in and altarpiece has the effect that the subject-matter of the 1528, was the fresco of the Annunciationon the window wall. parts also becomes one, and that an action takes place across This last, the four tondi, and the altarpiece in its rich the space of the chapel."6 period frame are intact. The cupola decoration was lost In what follows, I will have to quarrel with almost every when the original dome was destroyed to make way for the detail of Shearman's analysis. But my disagreements, in- present shallower vault; nor do we know whether this oc- stead of invalidating, will, I believe, confirm his essential curred in the sixteenth or the eighteenth century.3 In fact, intuition.
    [Show full text]
  • THE CRITICAL PROCESS Thinking Some More About the Chapter Questions
    THE CRITICAL PROCESS Thinking Some More about the Chapter Questions CHAPTER 1 Andy Warhol’s Race Riot, 1963 the god’s chest and stomach muscles, which have been sculpted with Warhol seems most interested in the second traditional role of the great attention to detail, and in the extraordinary horizontality of the artist: to give visible or tangible form to ideas, philosophies, or feelings. outstretched left arm. Lyon presents herself to the viewer in the same He is clearly disturbed by the events in Birmingham. By depicting the terms. Rather than a passive object of display, Lyon is an active ath- attack on Martin Luther King, Jr., in the traditional red, white, and lete. By presenting herself in this way, Lyon asserts the power of the blue colors of the American flag, he suggests that these events are not female and implicitly argues that the female body has been “condi- just a local issue but also a national one. Thus, to a certain degree, he tioned” not so much by physical limitations as by culture. also reveals a hidden truth about the events: All Americans are impli- cated in Bull Connor’s actions. Perhaps he also wants us to see the world CHAPTER 5 Jeffrey Shaw’s The Legible City, 1989–91 in a new way, to imagine a world without racism. The second red panel The idea that reality might in some way be “virtual” suggests that its underscores the violence and anger of the scene. As horrifying as the space is somehow both “real” and not. That is, this space is mechani- events are, it is possible to imagine a viewer offended not by the police cal and electrical, other than human, and “apparent” but not tangible, actions but by Warhol’s depiction of them, his willingness to treat such as if in another dimension.
    [Show full text]
  • Catalogue Listing by Date the Drawings of Bronzino
    The Drawings of Bronzino Catalogue Listing by Date 01 Jacopo da Pontormo (Jacopo Carrucci), Italian, Pontormo 1494 - 1556 Florence (forme Agnolo Bronzino (Agnolo di Cosimo di Mariano Tori), Italian, Monticelli 1503 - 1572 r 02) Florence Reclining Partially Draped Youth Seen to the Knees, ca. 1525 Black chalk on buff paper Overall: 6 3/16 x 10 13/16 in. (15.7 x 27.5 cm) The J. Paul Getty Museum, Los Angeles 90.GA.22 BD90.GA.22 02 Agnolo Bronzino (Agnolo di Cosimo di Mariano Tori), Italian, Monticelli 1503 - 1572 (forme Florence r 01) Head of a Child Looking up to the Left (study for an angel in the Madonna Enthroned with St. Jerome, St. Francis, and Two Angels), ca. 1524 Black chalk on buff (slightly darkened) paper, glued onto secondary paper support sheet: 5 3/8 x 4 1/8 in. (13.6 x 10.4 cm) Gabinetto Disegni e Stampe degli Uffizi, Florence 13847 F BD13847F 03 Agnolo Bronzino (Agnolo di Cosimo di Mariano Tori), Italian, Monticelli 1503 - 1572 Florence Head of a Child Looking up to the Right (study for an angel in the Madonna Enthroned with St. Jerome, St. Francis, and Two Angels), ca. 1524 Black chalk, glued onto secondary paper support mount sheet: 5 1/16 x 3 13/16 in. (12.9 x 9.7 cm) Gabinetto Disegni e Stampe degli Uffizi, Florence 15822 F BD15822F 04 Agnolo Bronzino (Agnolo di Cosimo di Mariano Tori), Italian, Monticelli 1503 - 1572 Florence Jacopo da Pontormo (Jacopo Carrucci), Italian, Pontormo 1494 - 1556 Florence Verso: Head of a Child Looking Slightly to the Left and Right Leg of a Seated Figure from the Knee Down; Recto: Study for a Madonna and Child, ca.
    [Show full text]
  • V43.9005.001 Zaloga
    NEW YORK UNIVERSITY IN FLORENCE Fall 2010 V43.9005.001 Renaissance Art Instructor: Jane Zaloga ( [email protected] ) Room: British Institute Library Office Hours: Monday after class or by appointment M 9:00-10:30, AND W 9:00-10:30 OR W 10:30-12:00 Description This course will introduce you to Renaissance Art from the period ca. 1280-1700. In this period, a dynamic artistic culture emphasized intense creativity while, paradoxically, remaining deeply rooted in tradition. Guided by an evolving practice and theory, artists transformed their activity from craft into intellectual discipline. Taking advantage of your semester in Florence, we will focus primarily on Italian art and architecture and its relation to that of other European centers. We will use the city of Florence itself as our classroom as we study the development of Renaissance Art in context during this dramatic period. We will study paintings, sculpture, and architecture of this period from a variety of perspectives. We will examine aesthetic and stylistic qualities, explore issues of social, political and economic contexts, as well as investigate the function of art, a concern that was critical to artistic production of the period. As the works we will study are often still in their original physical settings, we will have a unique opportunity to experience the works as their original viewers did and as their creators intended. By looking at the works of art and architecture from such multiple vantage points, you will hopefully come to a richer understanding of the masterpieces of Renaissance Art. Methodology The course will meet twice a week.
    [Show full text]
  • The Cinquecento in Florence at Palazzo Strozzi (Review)
    The Cinquecento in Florence at Palazzo Strozzi (Review) By arttrav on Sep 19, 2017 with 8 Comments • • • • The much awaited exhibit on the Cinquecento in Florence opens on September 21 at Palazzo Strozzi. It’s the third in a line of exhibits dedicated to this period by curators Carlo Falciani and Antonio Natali, starting with Bronzino in 2010 and continuing with Pontormo and Rosso Fiorentino in 2014. As such, it’s been a decade in the making, a conclusion that, after focusing on the most famous names of this period, proposes a thematic overview of the century. This is a scholarly exhibit, with roots in exhibitions dedicated to the 16th century staged at Palazzo Strozzi earlier in the 20th century (1940 and 1956). It intends to debunk “countless clichés [about the period] according to which, after the magnificent era of early 16th-century Florence, the city was destined for a languid and sterile autumn.” And for sure there is nothing autumnal in the vivid colours and range of styles of the many altarpieces (in particular) shown here. For viewers less familiar than the curators with the standard interpretations of this period (a category into which I put myself), there’s an opportunity to compare the styles of the period’s most important artists and their followers, observe how sculpture and painting evolved together, and learn about some of the themes of concern to this public. As with many shows at Palazzo Strozzi, racing through to see what’s inside, I find myself at the end earlier than I expect it.
    [Show full text]
  • Mourning of Oblivion: Describing Jacopo Pontormo and the Gap Between
    Mourning of Oblivion: describing Jacopo Pontormo and the gap between Daniel Mafe PhD Visual Arts – Queensland University Technology Post-graduate Diploma (Painting) – Royal Academy of Arts, London Diploma (Painting) – City and Guild School of Arts, London A thesis submitted for the degree of Master of Philosophy at The University of Queensland in 2017 School of Communication and Arts Abstract There is at the heart of this project an interest in the "gap" between the represented and its representation. This gap is a powerful affecting space, animated by much more than the simple incapacity of one medium to perfectly replicate another. This relates to how the unrepresentable can be seen as a kind of trauma for language but also as something paralleling the reality of trauma's asignification itself. It is also a space that engenders the interpretive indeterminacy that haunts any kind of discourse and at the same time is open to that which animates the raw generative play of desire. And finally, the core of this project can be understood as an exploration of the limits of language and its necessity in the development of poetic expressiveness. I explore these issues in a creative written work and a critical essay. The creative work consists of a group of interrelated poems entitled Broken Perfect. The subject of Broken Perfect is the Italian mannerist painter Jacopo Carucci usually referred to as Pontormo (1494–1557). The poems are in the first person and work to establish, through an act of imaginative invention, the subjectivity of this singular artist. Together they constitute a mosaic of fragments and fragmentations, a palimpsest of sculpted silences around which snatches of description and monologue move.
    [Show full text]