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Cambridge University Press 978-1-107-00119-0 - Classical Myths in Italian Renaissance Painting Luba Freedman Index More information t INDEX Achilles, shield by Hephaistos, 61, 223n23 two versions, Italian and Latin, 223n15 Achilles Tatius on verisimilitude, 94, 98 on grouping of paintings, 172, 242n53 De re aedificatoria on painting depicting the myth of Philomela, on fabulae, 38 188. See also Europa on historiae, 38 translated by Dolce, 172 on paintings in villas, 38 Acrisius, legendary King of Argos, 151 humanistic painting program of, 38, 59 ad fontes, 101 Aldrovandi, Ulisse, Adhemar,´ Jean, 19, 227n90 All the Ancient Statues ...,12 Adonis on antique statues of Adonis and Venus, 114 Death of Adonis by Piombo, 215n4. See also description of Danae,¨ 127, 128 Venus and Adonis description of Europa, 91 Adriani, Giovanni Battista, 152–153, 169, 170, description of Marsyas, 135–136 174 description of Proserpina, 106 Adrian VI (pope from 9 January 1522 to 14 description of statues compared with Lucius’s, September 1523), 44 114 dispenses with antiquities from Rome, 44 on gardens, 153 tutor of Charles V, 246n6 identification of mythological subjects by, 12 Aesop, 197, 200 Alexander the Great, 42 Agostini, Niccolodegli,` 65 armor of, 138 Alamanni, Luigi, Favola di Narcisso and Favola di and Roxana. See Sodoma (Giovanni Antonio Fetonte, 211, 248n48 Bazzi) Alberti, Leon Battista alla franceze. See Warburg, Aby De pictura, 4 all’antica on art practices, 56 accumulated interest in antiquity required for, on brevitas, 190 2, 131 on historia, 58–59 classical education required for, 23–24, 58 on a Meleager relief, 56 comparison of historical and classical on movement, 95 mythology episodes, 132–143 mentions mythological characters, 60 demands attention to artifacts, 6 on purpose of art, 144 differentiation in depictions of secular subjects, on sacred and profane painting, 132 131–132 on Timanthes’ Immolation of Iphigenia, 59–60 dual purpose of, 143 271 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00119-0 - Classical Myths in Italian Renaissance Painting Luba Freedman Index More information INDEX all’antica (cont.) by Tintoretto, 178 imitative of classical style, 1, 3 on sarcophagi, 117–119 imitative of Greco-Roman, 1, 124–125 Apollo and Marsyas with Olympus matching Ovid’s style, 98, 143 on ancient gem, 41 meaning of, 7 by Peruzzi, 42, 120 not always adapted by artists, 2 Apollo and Muses, 30 particular manner of, 4, 86 Apollo Belvedere, 51 relates to painting of myth as objects, 2 in collection of Giuliano della Rovere, 41, relates to style of paintings, 3 233n78 texts as sources for, 89, 92 Apuleius, 114 with use of modern intermediaries, 7, 48. See The Golden Ass, commentary on, 100 also Michiel, Marcantonio Fabula of Cupid and Psyche, 42, 165, 246n16 allegory, mythological, 1, 212, 215n4 Lucius’s description of the statue, 114 Allori, Alessandro, Rape of Proserpina, 164, Arachne, tapestry woven by, 61–62, 69, 74, 86, 240n18 93, 96, 188 allusion, 62, 63 mentioned in Michelangelo’s poetry, 32 altarpieces, 161, 162, 163 Arch of Titus, 178 predelle, 163 Ariadne. See Bacchus and Ariadne Altoviti, Bindo Ariosto, Ludovico collection of antiquities, 127 Orlando furioso, 155, 195, 237n52, 239n90 relief with Danae,¨ 127–129 on a statue by Phidias, 144 ambience trip to Rome, 144 framed by antiquities, 37 Aristides, 227n87 imagined, 12, 125, 217n34 Liber Pater, 170 impact on mythological subject matter, 37–38, Aristotle, 133, 245n113 66 Armenini, Giovanni Battista, 38 Ames-Lewis, Francis, 30 on frescoed fac¸ades, 173–174 Andromeda, 133, 144, 169, 171 on frescoed fac¸ades in Venice, 176 Antico, L’ (Pier Jacopo Alari-Bonacolsi) on friezes, 176 and Federico Gonzaga, 51 on knowledge of mythology, 41 and Isabella d’ Este, 44 on paintings of myths as appropriate for Antipater of Sidon, on Venus Anadyomene by loggias, 41 Apelles, 210 on sacred and profane painting, 132 antiquities, trade in, 41, 51 on storie and poesie, 176 Apelles, 14, 167, 210–211 Armstrong, Lilian, 91, 228n5 The Calumny, recommended by Alberti, 4 artists, education of, 30–31, 34, 35 painting of Venus, 30, 44 Asclepius, as iconic model of mature Christ, 8 and Silvae of Statius, 43 Augustus (Emperor), era of, 38, 42, 130, 137, Venus Anadyomene, 44, 165, 210 142, 153 Vulcan discovering Venus and Mars, 33. See also Boccaccio bacchic sarcophagi. See sarcophagi Apollo, 1 Bacchus (Dionysus), 204–205 myth of, in Giovio’s museum, 29–30 Diodorus Siculus on. See Diodorus Apollo and Marsyas leaping posture by ancient painter, 42 described by Catullus, 82 described by Philostratus the Younger, described by Ovid, 84 117–120 Liber, 170–171 described painting of, 117, 122 Bacchus and Ariadne, 62 illuminations and woodcut illustrations of, 117 in Palazzo del Te, 51 in Ovid, 119 sources of, 81–82, 86–87, 227n80. See also by Raphael. See Raphael (Raffaello Santi) Titian (Tiziano Vecellio) 272 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00119-0 - Classical Myths in Italian Renaissance Painting Luba Freedman Index More information INDEX Ballarin, Alessandro, 200, 221n45 Beroaldo, Filippo, the Younger Bandello, Matteo, on Leonardo’s paintings in a epigram on the Rape of Proserpina, dedicated fine bedroom, 225n44 to Urceo, 211 banquets. See feasts; Vasari, Giorgo Bersuire, Pierre, 235n22 Barasch, Moshe, 222n7 Betussi, Giuseppe, 12 Barbari, Jacopo de’ Bibbiena, Bernardo Dovizi (Cardinal), stufetta, De la ecelentia de pitura, 110, 232n56 180–181 Barkan, Leonard, 16–17, 234n9, 241n40 choice of subjects to be drawn by Raphael, Barolsky, Paul, 219n27, 240n16, 243n85 180, 243n80 Bartolomeo di Giovanni, master of spalliere, 136, Biondo, Flavio, 100, 126, 136 164, 236n37 Bober, Phylis Pray, 16, 17, 42, 90, 167 baths, thermal, 180–182 Boccaccio, Giovanni in ancient Rome (laconicum), 180, De mulieribus claris 243–244n86 on Io, 149 Stufetta of Cardinal Bibbiena, 158 Genealogie deorum gentilium libri, 12, 41 Baths of Titus, 242n76 on myths as poetic creations, 194, 226n77 Baxandall, Michael, 232n58 on the subject of “Venus in the embrace of Bazzi, Giovanni Antonio. See Sodoma Mars” as painted by Apelles, 248n56 Beatrizet,´ Nicolas imitation of prose style by Lorenzo de’ print of Michelangelo‘s Leda, 184 Medici, 41 Becchi, Gentile (tutor of Lorenzo de’ Medici), Little Treatise in Praise of Dante, 194 26 Ninfale in workshop of Lippi, 31 beds Bodard, Diane H., 186 importance in Renaissance domestic Bonsignori, Giovanni environment, 238n69 on Europa, 95 nuptial, 42, 149–151 on Leda, 74 placement of painting on, 68, 76, 82 Ovidio metamorphoseos vulgare, 10, 95 bedsteads in library of Leonardo, 74 of Federico da Montelfetro, 150 books, collecting of, 28, 31 in Rucellai’s Oreste, 68, 76 Borghini, Raffaello, 164 in Sodoma’s fresco, 150 Borgia, Girolamo, encomium on Villa Farnesina, bella maniera, 5–6, 44, 129 43 study of antiquities as the source of, 48 Boschloo, A. W. A., 216n27, 242n63 study of Michelangelo and Raphael as the Botticelli, Sandro (Alessandro Filipepi), 1–2 source of, 48 Bacchus, 39 Bellincioni, Bernardo, reads Ovid for pleasure, Birth of Venus, 11–12, 30, 40, 44 215n7 compared with Apelles’ Venus Anadyomene, Bellini, Giovanni, 199 164, 165, 210 The Feast of the Gods, reworked by Dossi and influence of, 233n71 Titian, 47, 221n51 influence on, 210, 229n24 Belluzzi, Amedeo, 51, 182 location of, 40, 220n13 Belvedere statue court, 44, 113, 144, 232nn60, movement in, 99 61 recreates intaglio of Vulcan, 11–12 Bembo, Pietro size of, 164–165 codices of Virgil and Terence, 6 Calumny, 224n41 library with ancient codices of Virgil and commissioned by Lorenzo de’ Medici, 41 Te re n c e, 6 compared with Apelles, 30, 247n41 sought to obtain statue of Venus, 180 drawings to Dante’s Comedy, 30 statuette collection, 6 education of, 30–31 Berenson, Bernard, 56–57 familiarity with antique statue of Venus, 31 Beroaldo, Filippo, the Elder, 100 frescoes for hunting lodge at Spedaletto, 41 273 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00119-0 - Classical Myths in Italian Renaissance Painting Luba Freedman Index More information INDEX Botticelli, Sandro (Alessandro Filipepi) (cont.) Greek studies, 115, 128, 232n63 modeling of Venus on Mary Magdalene, 31 on Raphael’s Galatea, 115 nude figure in works of, 39 Catullus, 82, 84, 86 Primavera as mythological allegory, 1, 164, on bedcover with Bacchus and Ariadne, 82, 186 240n14. See also Burckhardt commentary to, by Antonio Partenio, 82, 86 Bredekamp, Horst, 154 compares Ariadne to a maenad in a statue, 144 brevitas centaurs, and Battle of Lapiths, 166 in painting, 190–191 ceremonial objects, veracity of, 138 in rhetoric, 190 Ceres, in a print by Cristofano Robetta, 72 Brilliant, Richard, 215n5, 231n52 Cesariano, Cesare di Lorenzo, 112 Bronzino, Agnolo chariot Allegory of Love, 1 of Apollo, 102 as painter-poet, mention of Paris and of of Bacchus, 148–149 Orpheus, 32 of Ceres, 108 Brown, Clifford M., 28, 34 of Pluto, 108, 109 Brown Fortini, Patricia, 216–217n27, 230n29, Charles V (Holy Roman Emperor) 238n69 association with Jove, 49, 244n95 Brusantino, Vincenzo, Angelica inamorata, 93 education of, 195, 246n6 Bull, Malcolm, 17, 18, 216n26 and Federico Gonzaga, 30, 185–186 Bulst, Wolger A., 126 praise of rooms in Palazzo del Te, 50–51 Buonarroti, Michelangelo. See Michelangelo recipient of Correggio’s mythologies, 30 Burckhardt, Jacob, 15 and Sack of Rome, 33 on Botticelli’s Primavera, 164 visits to Villa of Fassolo and Palazzo del Te, 49, on paucity of paintings of myths in 178 15th-century Italy, 166, 241n30 chiaroscuro monocromato, 174 Burke, Peter, 230n29, 241n43 Chigi, Agostino, 4–5, 35 Byzantine art, mythological imagery in, 20 antiquities collection of, 42 Byzantine scholars hunting expedition and banquet of, 26.
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    RAFFAELLO SANZIO Una Mostra Impossibile «... non fu superato in nulla, e sembra radunare in sé tutte le buone qualità degli antichi». Così si esprime, a proposito di Raffaello Sanzio, G.P. Bellori – tra i più convinti ammiratori dell’artista nel ’600 –, un giudizio indicativo dell’incontrastata preminenza ormai riconosciuta al classicismo raffaellesco. Nato a Urbino (1483) da Giovanni Santi, Raffaello entra nella bottega di Pietro Perugino in anni imprecisati. L’intera produzione d’esordio è all’insegna di quell’incontro: basti osservare i frammenti della Pala di San Nicola da Tolentino (Città di Castello, 1500) o dell’Incoronazione di Maria (Città del Vaticano, Pinacoteca Vaticana, 1503). Due cartoni accreditano, ad avvio del ’500, il coinvolgimento nella decorazione della Libreria Piccolomini (Duomo di Siena). Lo Sposalizio della Vergine (Milano, Pinacoteca di Brera, 1504), per San Francesco a Città di Castello (Milano, Pinacoteca di Brera), segna un decisivo passo di avanzamento verso la definizione dello stile maturo del Sanzio. Il soggiorno a Firenze (1504-08) innesca un’accelerazione a tale processo, favorita dalla conoscenza dei tra- guardi di Leonardo e Michelangelo: lo attestano la serie di Madonne con il Bambino, i ritratti e le pale d’altare. Rimonta al 1508 il trasferimento a Roma, dove Raffaello è ingaggiato da Giulio II per adornarne l’appartamento nei Palazzi Vaticani. Nella prima Stanza (Segnatura) l’urbinate opera in autonomia, mentre nella seconda (Eliodoro) e, ancor più, nella terza (Incendio di Borgo) è affiancato da collaboratori, assoluti responsabili dell’ultima (Costantino). Il linguaggio raffaellesco, inglobando ora sollecitazioni da Michelangelo e dal mondo veneto, assume accenti rilevantissimi, grazie anche allo studio dell’arte antica.
  • Corpus Rubenianum Ludwig Burchard A/C Ÿ S // 4'!

    Corpus Rubenianum Ludwig Burchard A/C Ÿ S // 4'!

    CORPUS RUBENIANUM LUDWIG BURCHARD A/C ÿ S // 4'! PART XXIII COPIES AFTER THE ANTIQUE IN THREE VOLUMES I •TEXT II • CATALOGUE III • PLATES & INDEX CORPUS RUBENIANUM LUDWIG BURCHARD AN ILLUSTRATED CATALOGUE RAISONNÉ OF THE WORK OF PETER PAUL RUBENS BASED ON THE MATERIAL ASSEMBLED BY THE LATE DR LUDWIG BURCHARD IN TWENTY-SEVEN PARTS The Editors and Publishers gratefully acknowledge the support given by the Board of the Franqui-Fonds toioards the préparation of this publication SPONSORED BY THE CITY OF ANTWERP AND EDITED BY THE 'NATIONAAL CENTRUM VOOR DE PLASTISCHE KUNSTEN VAN DE XVIde EN DE XVIIde EEUW' R.-A. D'HULST, P resident ■ F. BAUDOUIN, Secretary ■ A. BALIS, Treasurer DE PAUW-DE VEEN • N. DE POORTER ■ H. DEVISSCHER ■ P. HUVENNE • H. NIEUWDORP M. VANDENVEN • C. VAN DE VELDE ■ H. VLIEGHE RUBENS COPIES AFTER THE ANTIQUE BY MARJON VAN DER MEULEN VOLUME III • PLATES & INDEX E D IT E D B Y ARNOUT BALIS HARVEY MILLER PUBLISHERS HARVEY MILLER PUBLISHERS Knightsbridge House • 197 Knightsbridge, 8th Floor • London SW7 1RB AN IMPRINT OF G + B ARTS INTERNATIONAL © 1995 Nationaal Centrum voor de Plastische Kunsten van de 16de en de 17de Eeuw British Library Cataloguing in Publication Data Meulen, Marjon Van Der Rubens' Copies After the Antique. - Vol. 3: Plates. - (Corpus Rubenianum Ludwig Burchard) I. Title II. Series 759.9493 ISBN 1-872501-66-4 All rights reserved. No part of this publication 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 Harvey Miller Publishers Composition by Jan Keiler, London Printed and bound by BAS Printers Ltd • Over Wallop • StocKbridge • Hampshire Manufactured in Great Britain CONTENTS Sources of Photographs Page 7 Plates 9 Index I: Collections 233 Index II: Subjects 239 Index III: Other Works by Rubens mentioned in the Text 256 Index IV: Antique Objects 262 Index V: Names and Places 278 Index VI: References to the Documents 295 Sources of Photographs Amsterdam, RijKsmuseum: Text ill.
  • Center 5 Research Reports and Record of Activities

    Center 5 Research Reports and Record of Activities

    National Gallery of Art Center 5 Research Reports and Record of Activities ~ .~ I1{, ~ -1~, dr \ --"-x r-i>- : ........ :i ' i 1 ~,1": "~ .-~ National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Center 5 Research Reports and Record of Activities June 1984---May 1985 Washington, 1985 National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Washington, D.C. 20565 Telephone: (202) 842-6480 All rights reserved. No part of this book may be reproduced without thc written permission of the National Gallery of Art, Washington, D.C. 20565. Copyright © 1985 Trustees of the National Gallery of Art, Washington. This publication was produced by the Editors Office, National Gallery of Art, Washington. Frontispiece: Gavarni, "Les Artistes," no. 2 (printed by Aubert et Cie.), published in Le Charivari, 24 May 1838. "Vois-tu camarade. Voil~ comme tu trouveras toujours les vrais Artistes... se partageant tout." CONTENTS General Information Fields of Inquiry 9 Fellowship Program 10 Facilities 13 Program of Meetings 13 Publication Program 13 Research Programs 14 Board of Advisors and Selection Committee 14 Report on the Academic Year 1984-1985 (June 1984-May 1985) Board of Advisors 16 Staff 16 Architectural Drawings Advisory Group 16 Members 16 Meetings 21 Members' Research Reports Reports 32 i !~t IJ ii~ . ~ ~ ~ i.~,~ ~ - ~'~,i'~,~ ii~ ~,i~i!~-i~ ~'~'S~.~~. ,~," ~'~ i , \ HE CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS was founded T in 1979, as part of the National Gallery of Art, to promote the study of history, theory, and criticism of art, architecture, and urbanism through the formation of a community of scholars.
  • MONTEPULCIANO's PALAZZO COMUNALE, 1440 – C.1465: RETHINKING CASTELLATED CIVIC PALACES in FLORENTINE ARCHITECTURAL and POLITI

    MONTEPULCIANO's PALAZZO COMUNALE, 1440 – C.1465: RETHINKING CASTELLATED CIVIC PALACES in FLORENTINE ARCHITECTURAL and POLITI

    MONTEPULCIANO’S PALAZZO COMUNALE, 1440 – c.1465: RETHINKING CASTELLATED CIVIC PALACES IN FLORENTINE ARCHITECTURAL AND POLITICAL CONTEXTS Two Volumes Volume I Koching Chao Ph.D. University of York History of Art September 2019 ABSTRACT This thesis argues for the significance of castellated civic palaces in shaping and consolidating Florence’s territorial hegemony during the fifteenth century. Although fortress-like civic palaces were a predominant architectural type in Tuscan communes from the twelfth century onwards, it is an understudied field. In the literature of Italian Renaissance civic and military architecture, the castellated motifs of civic palaces have either been marginalised as an outdated and anti-classical form opposing Quattrocento all’antica taste, or have been oversimplified as a redundant object lacking defensive functionality. By analysing Michelozzo’s Palazzo Comunale in Montepulciano, a fifteenth-century castellated palace resembling Florence’s thirteenth-century Palazzo dei Priori, this thesis seeks to address the ways in which castellated forms substantially legitimised Florence’s political, military and cultural supremacy. Chapter One examines textual and pictorial representations of Florence’s castellation civic palaces and fortifications in order to capture Florentine perceptions of castellation. This investigation offers a conceptual framework, interpreting the profile of castellated civic palaces as an effective architectural affirmation of the contemporary idea of a powerful city-republic rather than being a symbol of despotism as it has been previously understood. Chapters Two and Three examine Montepulciano’s renovation project for the Palazzo Comunale within local and central administrative, socio-political, and military contexts during the first half of the fifteenth century, highlighting the Florentine features of Montepulciano’s town hall despite the town’s peripheral location within the Florentine dominion.