6 X 10 Long.P65

Total Page:16

File Type:pdf, Size:1020Kb

6 X 10 Long.P65 Cambridge University Press 978-0-521-66296-3 - The Cambridge Companion to Giovanni Bellini Edited by Peter Humfrey Index More information Index Adorno, Anselmo (Anselme Adornes), (?) Man with a Compass (London, 72, 84–5 National Gallery), 38 Aleotti, Ulisse, 33 Miracle at San Lio (drawing) Alberti, Leon Battista, 50–1, 70, 165, 190 (Florence, Uffizi), 18 Alfonso, Duke of Ferrara. See Este Portrait of Queen Caterina Cornaro Altichiero, 133 (Svepmüv´ eszeti´ Muzeum,´ Anichino, Francesco, 85 Budapest), 30 Antonello da Messina, 9, 23, 73, 92, 103–4, Procession in the Piazza San Marco 135, 152, 192, 210 (Venice, Accademia), 254 St Jerome in his Study (London, Rescue of the Relic of the Cross at San National Gallery), 76 Lorenzo (Venice, Accademia), 30 Ariosto, Lodovico, 1, 99 St Mark preaching in Alexandria (Milan, Brera), 99, 146, 164, 254 Barbari, Jacopo de’, 90 Bellini, Giovanni: Birthdate and question Barbarigo, Doge Agostino, 151. See also of legitimacy, 5–6, 25, 52–3, 101; Bellini, Giovanni: Votive Picture of homes at San Lio and Santa Marina, Doge Barbarigo. 15–19; relations with guild of Barbarigo, Marco, 86 painters, 19–21, 42; membership of Bartolomeo Veneto, 266, 268 scuole, 21–5; financial situation, Baroso, Geronimo, 22 25–8; circle of friends, 28–32; Basaiti, Marco, 269–70 association with humanists and Bastiani, Lazzaro, 16, 68 poets, 32–41; death and burial, 42–5. Bastiani family, 23 Beazano, Agostino, 42 PAINTINGS Beer, Jan de, 76 Agony in the Garden (London, Bellini, Alvise, 14, 21, 26 National Gallery), 6, 48, 69, 77, 113, Bellini, Gentile, 4–6, 13–14, 21–4, 29–30, 196–7, 226, 230, 232, 238, Figs. 12, 60, 33, 37–8, 40, 42–3, 52, 123, 145, 151, 61, 62 165, 243–4, 253–4, 256 Annunciation (Venice, Accademia), 16, Blessed Lorenzo Giustinian (Venice, 91, 157–60, Fig. 50 Accademia), 68, 199 Assumption of the Virgin with Saints Organ shutters (Venice, San Marco), (Murano, San Pietro Martire), 218, 68 246 347 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-66296-3 - The Cambridge Companion to Giovanni Bellini Edited by Peter Humfrey Index More information 348 Index Bellini, Giovanni (cont.) National Gallery of Art), 30, 99, 107, Baptism of Christ (Vicenza, Santa 121, 123, 138–42, 206, 220, 249, 253, Corona), 5, 16, 112, 190 Fig. 46 Birth of the Virgin (Turin, Galleria Feast of the Gods (Washington DC, Sabauda), 77 National Gallery of Art), 5, 28, Blood of the Redeemer (London, 99–100, 105, 121, 139, 220–5, National Gallery), 60, 62, 64, 66, 77, Plate XVI, Fig. 69 91, 196–7, 209, Fig 14 Falsehood/ Envy (Venice, Accademia), Carita` triptychs, 4, 67–8, 80, 199, 236, 216 251 Fra Teodoro da Urbino (London, Christ Blessing (Paris, Louvre), 60 National Gallery), 42 Christ carrying the Cross (Toledo, Frari triptych (Venice, Frari), 2, 60, 109, Museum of Art), 96–7, 109–10, 155–7, 215, Fig. 49 Fig. 26 Infant Bacchus (Washington DC, Circumcision (London, National National Gallery of Art), 34, 121 Gallery), 266 Jörg Fugger (Pasadena, Norton Simon Cornbury Park altarpiece Foundation), 15, 80, 203 (Birmingham, City Art Gallery), 123 Madonna degli Alberetti (Venice, Coronation of the Virgin altarpiece Accademia), 4, 54, 189, 205, 216, 259, (Pesaro, Museo Civico), 5, 35, 66, 69, 267,Fig.93 109–10, 114–16, 118–19, 130–5, 148–51, Madonna of the Meadow (London, 158, 162, 185–8, 191, 204, 207–12, 216, National Gallery), 2–4, 10, 34, 99, 238, 268, Plate V, Figs. 33, 58 146, 177–9, 190, 216, 219–21, 245, 259, Crucifixion (Paris, Louvre), 92 270, Plate XII, Fig. 68 Crucifixion (Prato, Cassa di Madonna of the Pear (Bergamo, Risparmio), 12, 83, 215 Accademia Carrara), 186, 216 Crucifixion (Venice, Museo Correr), Madonna of the Red Cherubim 48, 54, 57, 77, 198–9, Fig. 10 (Venice, Accademia), 184–5, Fig. 57 Dead Christ (Milan, Museo Poldi Nativity (lost), 49 Pezzoli), 60, 77 Perseverence (Venice, Accademia), 216 Dead Christ (Stockholm, Pieta` (Florence, Uffizi), 120, 206, 245, Nationalmuseum), 108, 121 254, Plate IX Dead Christ (Venice, Scuola di San Pieta` (Venice, Accademia), 15, 32, 146, Rocco), 121 219 Death of St Peter Martyr (London, Pieta` with four Angels (Rimini, Musei National Gallery, and Courtauld Comunali), 7, 74, 91, 183, Fig. 56 Institute Gallery), 107, 218, 222 Pieta` with the Virgin and St John Descent into Limbo (Bristol Art (Bergamo, Accademia Carrara), 58, Gallery), 48, 54, 57, 77, 198–9 60, 182 Doge Leonardo Loredan (London, Pieta` with the Virgin and St John National Gallery), 105, 216–17, 253, (Berlin, Staatliche Museen), 245 Plate XI, Fig. 67 Pieta` with the Virgin and St John Drunkenness of Noah (Besanc¸on, (Milan, Brera), 6, 40, 69–71, 74, 77, Musee),´ 104 113, 118, 232, 245, Plate III Episode from the Life of Publius Pieta` with the Virgin and St John, with Cornelius Scipio (Washington DC, Sts Mark and Nicholas (Venice, © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-66296-3 - The Cambridge Companion to Giovanni Bellini Edited by Peter Humfrey Index More information Index 349 Doge’s Palace), 54, 71–2, 213, 232, 259, St Catherine of Siena altarpiece Fig. 16 (formerly Venice, SS. Giovanni e Pieta` with two Angels (Berlin, Paolo), 7, 60, 77, 126–30, 143, 152, 207, Staatliche Museen), 74, 113 Plate IV Pieta` with two Angels (London, St Francis in the Desert (New York, National Gallery), 74, 207, Figs. 63, 64 Frick Collection), 7, 10, 12, 23, 59, 72, Pieta` with two Angels (Venice, Museo 83, 168, 172–3, 215, Plate VIII Correr), 61–2, 74, 198, 200–01, 209, St Jerome altarpiece (lost), 17, 157 Fig. 13 St Jerome in the Desert (Birmingham, Portrait of a Boy (Birmingham, Barber Barber Institute of Fine Arts), 6, 57, Institute of Fine Art), 7, 203 167–8, 196–7, Plate I Portrait of a Man (Hampton Court, St Jerome in the Desert (Florence, Royal Collection), 192, Fig. 59 Uffizi), 83, 170–3, Fig. 53 Portrait of a Young Man in Red St Jerome in the Desert (London, (Washington DC, National Gallery National Gallery), 168–70, of Art), 253 Fig. 52 Portrait of Cassandra Fedele (lost), 36 St Jerome in the Desert (Washington Portrait of Leonico Tomeo (lost), 33–4 DC, National Gallery of Art), 104 Portrait of Maria Savorgnan (lost), 31, St Jerome with Saints Christopher and 36 Louis of Toulouse (Diletti altarpiece) Presentation in the Temple (Venice, (Venice, San Giovanni Crisostomo, Pinacoteca Querini Stampalia), 48, 23, 27, 99, 162–4, 180–1, 60, 73, 114, 72, 98, 201–2, 205, 207 118, 129–30, 134–7, 143, 192–4, 217, Presentation in the Temple (Verona, Plate XV Castelvecchio), 269 St John the Baptist triptych (formerly Presentation in the Temple (Vienna, Berlin, Kaiser-Friedrich Museum), Kunsthistorisches Museum), 269 262–3, Fig. 96 Priuli triptych (Düsseldorf, Stiftung St John the Evangelist altarpiece (lost), Museum Kunst Palast), 27, 259–60, 80 Fig. 95 St Justina (Milan, Palazzo Bagatti Raising of Drusiana (Munich, Valsecchi), 207 Wittelsbach collection), 43 St Sebastian triptych (Venice, Resurrected Christ (Fort Worth, Accademia), 199, 236 Kimbell Art Museum), 82, Fig. 21 St Vincent Ferrer polyptych (Venice, Resurrection (Berlin, Staatliche SS. Giovanni e Paolo), 6–7, 47, 67–9, Museen), 32, 83, 209 77, 113, 146–7, 236, Fig. 48 Resurrection (lost), 27 Supper at Emmaus (lost), 23, 116 Sacred Allegory (Florence, Uffizi), 50, Transfiguration (Naples, Galleria di 62, 82, 172–6, Fig. 54 Capodimonte), 7, 59, 77, 83, 191, San Giobbe altarpiece (Venice, Plate VII Accademia), 38, 42, 151–6, 160–2, 164, Transfiguration (Venice, Museo 210–13, Plate VI, Fig. 42 Correr), 48, 66–7, 198, 200–01, 226 San Zaccaria altarpiece (Venice, San Vanity (or Truth) (Venice, Accademia), Zaccaria), 99, 137, 143, 160–2, 217–18, 88, Fig. 24 224, 262, 264, 269, Plate XIII, 2, Virgin and Child (Amsterdam, Fig. 43 Rijksmuseum), 77 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-66296-3 - The Cambridge Companion to Giovanni Bellini Edited by Peter Humfrey Index More information 350 Index Bellini, Giovanni (cont.) Virgin and Child with Sts Peter, Paul Virgin and Child (Berlin, Staatliche and three Procurators (Baltimore, Museen), 77 Walters Art Gallery), 260 Virgin and Child (London, National Votive Picture of Doge Agostino Gallery), Figs. 65, 66 Barbarigo (Murano, San Pietro Virgin and Child (Milan, Brera), 99, Martire), 104, 115, 150, 183–4, 213–15, 178–80, 189–90, 260, Plate XIV 221–2, 259, Plate X Virgin and Child (“Madonna Greca”) Woman with a Mirror (Vienna, (Milan, Brera), 206–7 Kunsthistorisches Museum), 100, Virgin and Child (“Davis Madonna”) 121, 194, Fig. 28 (New York, Metropolitan Museum of Art), 2–3, 6, 52, 57, 66–8, 77, 124, DRAWINGS 126, 236, Plate II Apostle (Bayonne, Musee´ Bonnat), 231, Virgin and Child (New York, 238, Fig. 80 Metropolitan Museum of Art, Five Studies of a Child (London, Lehman collection), 66, 77 British Museum), 232, 236, Fig. 77 Virgin and Child (Pavia, Galleria Fortitude (Los Angeles, J. Paul Getty Malaspina), 52, 57 Museum), 23–2, 238, Fig. 74 Virgin and Child (“Johnson Head of a Man (London, British Madonna”) (Philadelphia Museum Museum), 238, Fig. 79 of Art), 52, 57, 124–6), Fig. 34 Head of a Turbaned Man (Florence, Virgin and Child (“Contarini Uffizi), 254, 269 Madonna”) (Venice, Accademia), 203 Infant Christ (Oxford, Ashmolean Virgin and Child (“Frizzoni Museum), 254 Madonna”) (Venice, Accademia), 68 Nativity (London, Courtauld Institute Virgin and Child with Saints and Galleries), 238, 242, 244, Fig. 82 Donor (Pourtales` Sacra Pieta` (London, British Museum), 231–2, Conversazione) (New York, Pierpont 236, 245, Fig. 76 Morgan Library), 266, 268–9, Fig.
Recommended publications
  • Front Matter
    Cambridge University Press 978-0-521-72855-3 - The Cambridge Companion to Giovanni Bellini Edited by Peter Humfrey Frontmatter More information the cambridge companion to giovanni bellini Giovanni Bellini was the dominant painter of Early Renaissance Venice and is today recognized as one of the greatest of all Italian Renaissance artists. Although he has been the subject of numerous scholarly studies, his art continues to pose intriguing problems. This volume brings together com- missioned essays that focus on important topics and themes in Bellini’s ca- reer. They include a consideration of Bellini’s position in the social and professional life of early modern Venice; reassessments of his artistic rela- tionships with his brother-in-law Mantegna, with Flemish painting, and with the “modern style’’ that emerged in Italy around 1500; and explorations of Bellini’s approaches to sculpture and architecture, and to landscape and color, elements that have always been recognized as central to his pictorial genius. The volume concludes with analyses of Bellini’s constantly evolving pictorial technique and the procedures of his busy workshop. Peter Humfrey is Professor of Art History at the University of St Andrews. He is the author of several books on painting in Renaissance Venice and the Veneto, including Cima da Conegliano, The Altarpiece in Renaissance Venice, and Lorenzo Lotto; and is coauthor of the catalogues for two major loan exhibitions, Lorenzo Lotto: Rediscovered Master of the Renaissance and Dosso Dossi: Court Painter of Renaissance
    [Show full text]
  • Kingston Lacy Illustrated List of Pictures K Introduction the Restoration
    Kingston Lacy Illustrated list of pictures Introduction ingston Lacy has the distinction of being the however, is a set of portraits by Lely, painted at K gentry collection with the earliest recorded still the apogee of his ability, that is without surviving surviving nucleus – something that few collections rival anywhere outside the Royal Collection. Chiefly of any kind in the United Kingdom can boast. When of members of his own family, but also including Ralph – later Sir Ralph – Bankes (?1631–1677) first relations (No.16; Charles Brune of Athelhampton jotted down in his commonplace book, between (1630/1–?1703)), friends (No.2, Edmund Stafford May 1656 and the end of 1658, a note of ‘Pictures in of Buckinghamshire), and beauties of equivocal my Chamber att Grayes Inne’, consisting of a mere reputation (No.4, Elizabeth Trentham, Viscountess 15 of them, he can have had little idea that they Cullen (1640–1713)), they induced Sir Joshua would swell to the roughly 200 paintings that are Reynolds to declare, when he visited Kingston Hall at Kingston Lacy today. in 1762, that: ‘I never had fully appreciated Sir Peter That they have done so is due, above all, to two Lely till I had seen these portraits’. later collectors, Henry Bankes II, MP (1757–1834), Although Sir Ralph evidently collected other – and his son William John Bankes, MP (1786–1855), but largely minor pictures – as did his successors, and to the piety of successive members of the it was not until Henry Bankes II (1757–1834), who Bankes family in preserving these collections made the Grand Tour in 1778–80, and paid a further virtually intact, and ultimately leaving them, in the visit to Rome in 1782, that the family produced astonishingly munificent bequest by (Henry John) another true collector.
    [Show full text]
  • Caterina Corner in Venetian History and Iconography Holly Hurlburt
    Early Modern Women: An Interdisciplinary Journal 2009, vol. 4 Body of Empire: Caterina Corner in Venetian History and Iconography Holly Hurlburt n 1578, a committee of government officials and monk and historian IGirolamo Bardi planned a program of redecoration for the Sala del Maggior Consiglio (Great Council Hall) and the adjoining Scrutinio, among the largest and most important rooms in the Venetian Doge’s Palace. Completed, the schema would recount Venetian history in terms of its international stature, its victories, and particularly its conquests; by the sixteenth century Venice had created a sizable maritime empire that stretched across the eastern Mediterranean, to which it added considerable holdings on the Italian mainland.1 Yet what many Venetians regarded as the jewel of its empire, the island of Cyprus, was calamitously lost to the Ottoman Turks in 1571, three years before the first of two fires that would necessitate the redecoration of these civic spaces.2 Anxiety about such a loss, fear of future threats, concern for Venice’s place in evolving geopolitics, and nostalgia for the past prompted the creation of this triumphant pro- gram, which featured thirty-five historical scenes on the walls surmounted by a chronological series of ducal portraits. Complementing these were twenty-one large narratives on the ceiling, flanked by smaller depictions of the city’s feats spanning the previous seven hundred years. The program culminated in the Maggior Consiglio, with Tintoretto’s massive Paradise on one wall and, on the ceiling, three depictions of allegorical Venice in triumph by Tintoretto, Veronese, and Palma il Giovane. These rooms, a center of republican authority, became a showcase for the skills of these and other artists, whose history paintings in particular underscore the deeds of men: clothed, in armor, partially nude, frontal and foreshortened, 61 62 EMWJ 2009, vol.
    [Show full text]
  • Rethinking Savoldo's Magdalenes
    Rethinking Savoldo’s Magdalenes: A “Muddle of the Maries”?1 Charlotte Nichols The luminously veiled women in Giovanni Gerolamo Savoldo’s four Magdalene paintings—one of which resides at the Getty Museum—have consistently been identified by scholars as Mary Magdalene near Christ’s tomb on Easter morning. Yet these physically and emotionally self- contained figures are atypical representations of her in the early Cinquecento, when she is most often seen either as an exuberant observer of the Resurrection in scenes of the Noli me tangere or as a worldly penitent in half-length. A reconsideration of the pictures in connection with myriad early Christian, Byzantine, and Italian accounts of the Passion and devotional imagery suggests that Savoldo responded in an inventive way to a millennium-old discussion about the roles of the Virgin Mary and Mary Magdalene as the first witnesses of the risen Christ. The design, color, and positioning of the veil, which dominates the painted surface of the respective Magdalenes, encode layers of meaning explicated by textual and visual comparison; taken together they allow an alternate Marian interpretation of the presumed Magdalene figure’s biblical identity. At the expense of iconic clarity, the painter whom Giorgio Vasari described as “capriccioso e sofistico” appears to have created a multivalent image precisely in order to communicate the conflicting accounts in sacred and hagiographic texts, as well as the intellectual appeal of deliberately ambiguous, at times aporetic subject matter to northern Italian patrons in the sixteenth century.2 The Magdalenes: description, provenance, and subject The format of Savoldo’s Magdalenes is arresting, dominated by a silken waterfall of fabric that communicates both protective enclosure and luxuriant tactility (Figs.
    [Show full text]
  • HAA 151 Venice List
    Venice HAA 151v Spring 2016 J. Connors 27 March 2016 Summary list of art and architecture studied in site visit March 10-20, 2016 San Marco Façade spolia, Hercules reliefs, St. Mark cycle up to the Porta di S. Alippio. Tetrarchs, Pilastri acritani (St. Polyeuktos in Constantinople). Carmagnola head. Interior: early mosaics in chapels of St. Peter and St. Clement. Pala d’oro. Sansovino bronze door to the sacristy (veiled head of the grieving Virgin). Sea floor of Greek marble slabs. Porta saracenesca (double curves and mosaic) to the Treasury, where everyone chose a favorite object, often of glass remounted in Byzantine enamel. Baptistery (entered a pilgrims during the Exceptional Holy Year of 2016): Sansovino font, late Byzantine-style mosaics, altar as giant slab of stone. Glimpses from the Baptistery and from the portico into the Cappella Zen with bronze altar statues and bronze statue of the gisant Cardinal Zen. Portico mosaics: Days of Creation with Adam and Eve, Noah and the Flood, Joseph and his Brothers. Museum: 4 horses, mosaic fragments, Paolo Veneziano’s pala feriale used to cover the Pala d’Oro on non feast days with scenes of the cycle of St. Mark. Palazzo Ducale Exterior South façade with central window by the Delle Massegne 1400 West façade on Piazzetta with Porta della Carta and Justice Roundel. Three corners: Grape, Fig, Justice, with archangels above: Raphael, Michael, Gabriel. Justice Roundel. Porta della Carta with Doge Francesco Foscari and lion in high relief, and Justice enthroned on high. Virtues: Prudence, Fortitude, Temperance, Charity. Palazzo Ducale Courtyard Scala dei Giganti, with Hypnerotomachia-like emblematic decorations, small prison underneath.
    [Show full text]
  • Antonello Da Messina's Dead Christ Supported by Angels in the Prado
    1 David Freedberg The Necessity of Emotion: Antonello da Messina’s Dead Christ supported by Angels in the Prado* To look at Antonello da Messina’s painting of the Virgin in Palermo (fig. 1) is to ask three questions (at least): Is this the Virgin Annunciate, the Immaculate Mother of God about to receive the message that she will bear the Son of God? Or is it a portrait, perhaps even of someone we know or might know? Does it matter? No. What matters is that we respond to her as if she were human, not divine or transcendental—someone we might know, even in the best of our dreams. What matters is that she almost instantly engages our attention, that her hand seems to stop us in our passage, that we are drawn to her beautiful and mysterious face, that we recognize her as someone whose feelings we feel we might understand, someone whose emotional state is accessible to us. Immediately, upon first sight of her, we are involved in her; swiftly we notice the shadow across her left forehead and eye, and across the right half of her face, the slight turn of the mouth, sensual yet quizzical at the same time.1 What does all this portend? She has been reading; her hand is shown in the very act of being raised, as if she were asking for a pause, reflecting, no doubt on what she has just seen. There is no question about the degree of art invested in this holy image; but even before we think about the art in the picture, what matters is that we are involved in it, by * Originally given as a lecture sponsored by the Fondación Amigos Museo del Prado at the Museo del Prado on January 10, 2017, and published as “Necesidad de la emoción: El Cristo muerto sostenido por un ángel de Antonello de Messina,” in Los tesoros ocultos del Museo del Prado, Madrid: Fundación Amigos del Museo del Prado; Crítica/Círculo de Lectores, 2017, 123-150.
    [Show full text]
  • VENICE Grant Allen's Historical Guides
    GR KS ^.At ENICE W VENICE Grant Allen's Historical Guides // is proposed to issue the Guides of this Series in the following order :— Paris, Florence, Cities of Belgium, Venice, Munich, Cities of North Italy (Milan, Verona, Padua, Bologna, Ravenna), Dresden (with Nuremberg, etc.), Rome (Pagan and Christian), Cities of Northern France (Rouen, Amiens, Blois, Tours, Orleans). The following arc now ready:— PARIS. FLORENCE. CITIES OF BELGIUM. VENICE. Fcap. 8vo, price 3s. 6d. each net. Bound in Green Cloth with rounded corners to slip into the pocket. THE TIMES.—" Good work in the way of showing students the right manner of approaching the history of a great city. These useful little volumes." THE SCOTSMAN "Those who travel for the sake of culture will be well catered for in Mr. Grant Allen's new series of historical guides. There are few more satisfactory books for a student who wishes to dig out the Paris of the past from the im- mense superincumbent mass of coffee-houses, kiosks, fashionable hotels, and other temples of civilisation, beneath which it is now submerged. Florence is more easily dug up, as you have only to go into the picture galleries, or into the churches or museums, whither Mr. Allen's^ guide accordingly conducts you, and tells you what to look at if you want to understand the art treasures of the city. The books, in a word, explain rather than describe. Such books are wanted nowadays. The more sober- minded among tourists will be grateful to him for the skill with which the new series promises to minister to their needs." GRANT RICHARDS 9 Henrietta St.
    [Show full text]
  • {DOWNLOAD} Venice, a Maritime Republic Pdf Free Download
    VENICE, A MARITIME REPUBLIC PDF, EPUB, EBOOK Frederic Chapin Lane | 528 pages | 01 Dec 1973 | JOHNS HOPKINS UNIVERSITY PRESS | 9780801814600 | English | Baltimore, MD, United States Republic of Venice | Account Options Sign in. Try the new Google Books. Check out the new look and enjoy easier access to your favorite features. Try it now. No thanks. Get print book. JHU Press Amazon. Shop for Books on Google Play Browse the world's largest eBookstore and start reading today on the web, tablet, phone, or ereader. Venice, A Maritime Republic. Frederic Chapin Lane. JHU Press , - History - pages. The children's version of the 1 New York Times bestselling classic Seriously, Just Go to Sleep is the G-rated, child-friendly version of the book every parent has been talking about. Of course, kids are well aware of how difficult they can be at bedtime. With Mansbach's new child-appropriate narrative, kids will recognize their tactics, giggle at their own mischievousness, and empathize with their parents' struggles--a perspective most children's books don't capture. Most importantly, it provides a common ground for children and their parents to talk about one of their most stressful daily rituals. This is a fixed-format ebook, which preserves the design and layout of the original print book. User Review - Flag as inappropriate Seamen. Selected pages Title Page. Table of Contents. Contents The Beginnings. A Community Center by Canaletto. Venice about woodcut by Vavassore. Victories BeyondtheSea and in Romania. Illuminated Initial from the Maritime Code of Doge Leonardo Loredan by Giovanni Bellini. The Condottiere in front of San Marco.
    [Show full text]
  • The Crucifixion C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Thirteenth and Fourteenth Century Paintings Paolo Veneziano Venetian, active 1333 - 1358 The Crucifixion c. 1340/1345 tempera on panel painted surface: 31 x 38 cm (12 3/16 x 14 15/16 in.) overall: 33.85 x 41.1 cm (13 5/16 x 16 3/16 in.) framed: 37.2 x 45.4 x 5.7 cm (14 5/8 x 17 7/8 x 2 1/4 in.) Inscription: upper center: I.N.R.I. (Jesus of Nazareth, King of the Jews) Samuel H. Kress Collection 1939.1.143 ENTRY The Crucifixion is enacted in front of the crenellated wall of the city of Jerusalem. The cross is flanked above by four fluttering angels, three of whom collect the blood that flows from the wounds in Christ’s hands and side. To the left of the Cross, the Holy Women, a compact group, support the swooning Mary, mother of Jesus. Mary Magdalene kneels at the foot of the Cross, caressing Christ’s feet with her hands. To the right of the Cross stand Saint John the Evangelist, in profile, and a group of soldiers with the centurion in the middle, distinguished by a halo, who recognizes the Son of God in Jesus.[1] The painting’s small size, arched shape, and composition suggest that it originally belonged to a portable altarpiece, of which it formed the central panel’s upper tier [fig. 1].[2] The hypothesis was first advanced by Evelyn Sandberg-Vavalà (originally drafted 1939, published 1969), who based it on stylistic, compositional, and iconographic affinities between a small triptych now in the Galleria Nazionale of Parma [fig.
    [Show full text]
  • Gli Orizzonti Mediterranei Della Famiglia Veneziana Loredan, Atti, Vol
    S. BERTO[A, Gli orizzonti mediterranei della famiglia veneziana Loredan, Atti, vol. XLII, 2012, p. 537-569 537 GLI ORIZZONTI MEDITERRANEI DELLA FAMIGLIA VENEZIANA LOREDAN1 SLAVEN BERTO[A CDU: 929.52(450.341+497.5-3Istria)”11/19” Sveu~ili{te Jurja Dobrile u Puli, Sintesi Odjel za humanisti~ke znanosti Settembre 2012 Università Juraj Dobrila di Pola, Dipartimento di Scienze umanistiche Riassunto: Questa antica famiglia nobile veneziana, che ha le proprie origini nell’XI secolo, ha dato nel passato tutta una serie di personaggi celebri. Anche l’Accademia degli Incogniti, istituita nel Seicento, era detta Loredana, dal nome del suo fondatore. In numerose fonti e atti storici si possono trovare svariati dati su questa celebre famiglia, che ha svolto nel passato un ruolo estremamente importante in tutta l’area mediterranea. Abstract: In the past, this ancient noble Venetian family descending from the eleventh century had a series of famous personalities. Even the Accademia degli Incogniti established in the seventeenth century was called Loredana after the name of its founder. Numerous sources and historic acts reveal a plethora of information about this famous family which played an extremely important role in the entire Mediterranean. Parole chiave: Repubblica di Venezia, famiglia Loredan, Mediterraneo, Istria Key words: Republic of Venice, the Loredan family, Mediterranean, Istria 1.1. La famiglia Loredan – origini antiche La famiglia Loredan è di origini molto antiche e prestigiose. Oltre al ramo nobile veneziano (Loredan di Venezia), registrato per la prima volta nel XIII secolo, esisteva pure quello siciliano (Loredano di Sicilia)2.I Loredan veneziani erano originari della località di Bertinoro presso Cese- 1 Questo lavoro è stato realizzato come parte dei progetti scientifici e di ricerca “Istarsko dru{tvo XVI.-XIX.
    [Show full text]
  • The Word Made Visible in the Painted Image
    The Word made Visible in the Painted Image The Word made Visible in the Painted Image: Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller The Word made Visible in the Painted Image: Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Stephen Miller All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8542-8 ISBN (13): 978-1-4438-8542-3 For Paula, Lucy and Eddie CONTENTS List of Illustrations ..................................................................................... ix Acknowledgements .................................................................................... xi Introduction ................................................................................................. 1 Chapter One ................................................................................................. 3 Setting the Scene The Rise of Humanism and the Italian Renaissance Changing Style and Attitudes of Patronage in a Devotional Context The Emergence of the Altarpiece in
    [Show full text]
  • Rodolfo Pallucchini
    - ©Ministero dei beni e delle attività culturali e del turismo -Bollettino d'Arte PRECISAZIONI ALLA R. GALLERIA ESTENSE UMEROSE sono le opere che attendono che i restauri e qualche parziale ripassatura N una determinazione critica ed attributiva di colore n~n lo hanno troppo modificato, alla R. Galleria Estense di Modena. Nel Cata­ per cui è legittimo ritenere che i caratteri logo dei dipinti, in preparazione, si darà conto della figura siano ancora quelli originari. per ciascun'opera S'erge il Reden­ delle particolari tore su di un pae­ questioni attribu­ saggio vario, sol­ tive e bibliografi­ cato a destra da che, sorte dopo la un corso d'acqua, magistrale pubbli­ che riflette l'az­ cazione diA. Ven­ zurro del cielo, po­ turi. 1) Qui si pren­ polato da borghi, de in esame un mura, castella, ed gruppo di pitture, a destra rialzato a non colla pretesa falde brune di ter­ di applicar etichet­ reno montuoso. te, ma per tentare Ampia è 1'atmo­ di determinare il sfera dello sfondo, , , linguaggio figura­ lmmersa m una tivo, cioè il valore luce solare pome­ e la qualità della ridiana, per via loro particolare dell'orizzonte te­ forma artistica. 2) nuto così basso; I. Un problema una vastità aerea attributivo, del e cosmica davvero quale si tenta la intesa attraverso risoluzione, è co­ la legge prospet­ stituito dalla tavo­ tica antonelliana, letta con il Cristo organizzatrice, in benedicente (n. 242) senso nnaSClmen­ (fig. 2), entrata in tale, delle aspira­ Galleria nell' ul- FIG. I - GIÀ A VIENNA, RACC. PRIVATA - ATTRIBUITO A B. MONTAGNA zioni pittoriche CRISTO BENEDICENTE timo quarto del dei veneti.
    [Show full text]