Mystical and Evangelical Reform in Tintoretto's Sala
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
THE LATE RENAISSANCE and MANNERISM in SIXTEENTH-CENTURY ITALY 591 17 CH17 P590-623.Qxp 4/12/09 15:24 Page 592
17_CH17_P590-623.qxp 12/10/09 09:24 Page 590 17_CH17_P590-623.qxp 12/10/09 09:25 Page 591 CHAPTER 17 CHAPTER The Late Renaissance and Mannerism in Sixteenth- Century Italy ROMTHEMOMENTTHATMARTINLUTHERPOSTEDHISCHALLENGE to the Roman Catholic Church in Wittenberg in 1517, the political and cultural landscape of Europe began to change. Europe s ostensible religious F unity was fractured as entire regions left the Catholic fold. The great powers of France, Spain, and Germany warred with each other on the Italian peninsula, even as the Turkish expansion into Europe threatened Habsburgs; three years later, Charles V was crowned Holy all. The spiritual challenge of the Reformation and the rise of Roman emperor in Bologna. His presence in Italy had important powerful courts affected Italian artists in this period by changing repercussions: In 1530, he overthrew the reestablished Republic the climate in which they worked and the nature of their patron- of Florence and restored the Medici to power. Cosimo I de age. No single style dominated the sixteenth century in Italy, Medici became duke of Florence in 1537 and grand duke of though all the artists working in what is conventionally called the Tuscany in 1569. Charles also promoted the rule of the Gonzaga Late Renaissance were profoundly affected by the achievements of Mantua and awarded a knighthood to Titian. He and his suc- of the High Renaissance. cessors became avid patrons of Titian, spreading the influence and The authority of the generation of the High Renaissance prestige of Italian Renaissance style throughout Europe. would both challenge and nourish later generations of artists. -
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 -
The Italian High Renaissance (Florence and Rome, 1495-1520)
The Italian High Renaissance (Florence and Rome, 1495-1520) The Artist as Universal Man and Individual Genius By Susan Behrends Frank, Ph.D. Associate Curator for Research The Phillips Collection What are the new ideas behind the Italian High Renaissance? • Commitment to monumental interpretation of form with the human figure at center stage • Integration of form and space; figures actually occupy space • New medium of oil allows for new concept of luminosity as light and shadow (chiaroscuro) in a manner that allows form to be constructed in space in a new way • Physiological aspect of man developed • Psychological aspect of man explored • Forms in action • Dynamic interrelationship of the parts to the whole • New conception of the artist as the universal man and individual genius who is creative in multiple disciplines Michelangelo The Artists of the Italian High Renaissance Considered Universal Men and Individual Geniuses Raphael- Self-Portrait Leonardo da Vinci- Self-Portrait Michelangelo- Pietà- 1498-1500 St. Peter’s, Rome Leonardo da Vinci- Mona Lisa (Lisa Gherardinidi Franceso del Giacondo) Raphael- Sistine Madonna- 1513 begun c. 1503 Gemäldegalerie, Dresden Louvre, Paris Leonardo’s Notebooks Sketches of Plants Sketches of Cats Leonardo’s Notebooks Bird’s Eye View of Chiana Valley, showing Arezzo, Cortona, Perugia, and Siena- c. 1502-1503 Storm Breaking Over a Valley- c. 1500 Sketch over the Arno Valley (Landscape with River/Paesaggio con fiume)- 1473 Leonardo’s Notebooks Studies of Water Drawing of a Man’s Head Deluge- c. 1511-12 Leonardo’s Notebooks Detail of Tank Sketches of Tanks and Chariots Leonardo’s Notebooks Flying Machine/Helicopter Miscellaneous studies of different gears and mechanisms Bat wing with proportions Leonardo’s Notebooks Vitruvian Man- c. -
The Marian Philatelist, Whole No. 46
University of Dayton eCommons The Marian Philatelist Marian Library Special Collections 1-1-1970 The Marian Philatelist, Whole No. 46 A. S. Horn W. J. Hoffman Follow this and additional works at: https://ecommons.udayton.edu/imri_marian_philatelist Recommended Citation Horn, A. S. and Hoffman, W. J., "The Marian Philatelist, Whole No. 46" (1970). The Marian Philatelist. 46. https://ecommons.udayton.edu/imri_marian_philatelist/46 This Book is brought to you for free and open access by the Marian Library Special Collections at eCommons. It has been accepted for inclusion in The Marian Philatelist by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. &fie Marian Philatelist PUBLISHED BY THE MARIAN PHILATELIC STUDY GROUP Business Address: Rev. A. S. Horn Chairman 424 West Crystal View Avenue W^J. Hoffman Editor Orange, California 92667, U.S.A. Vol. 8 No. 1 Whole No. 46 JANUARY 1, 1970 New Year's Greetings to all our members. Thanks to the assistance of one of our members we are able, at least temporarily, to continue the publication of THE MARIAN PHILATELIST. In the name of all our members I wish to thank Mr. Hoffman for his con stant devotion to the study of the Blessed Virgin on stamps. His unselfish contribu tion in time and effort has made the continuation of our paper possible. May God bless you. Father Horn NEW ISSUES ANGUILLA: The philatelic press indicated that a 4-stamp Christmas set would be issu ed, and gave designs and values as listed on page 65 of the November 1969 issue. -
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. -
Summary for University of Arizona
KRESS COLLECTION DIGITAL ARCHIVE University of Arizona Museum of Art, Tucson, Arizona IDENTIFIER NAM1190 INSTITUTION TYPE Kress Regional Collection STATUS Current Owner WEB ADDRESS http://artmuseum.arizona.edu/ LOCATION Tucson, Arizona EXTERNAL LINKS VIRTUAL INTERNATIONAL AUTHORITY FILE RECORD http://viaf.org/viaf/158809623 LIBRARY OF CONGRESS NAME AUTHORITY FILE RECORD http://id.loc.gov/authorities/names/n80033987 2 DISTRIBUTIONS Gift to University of Arizona Museum of Art, December 09, 1961 Gift to University of Arizona Museum of Art, April 02, 1962 64 RELATED ART OBJECTS K1035 Horace Vernet Portrait of the Marchesa Cunegonda Misciattelli with Her Infant Son and His Nurse K1085 Niccolò di Ser Sozzo Tegliacci Madonna and Child with Angels NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 1 KRESS COLLECTION DIGITAL ARCHIVE K1155 Follower of Sano di Pietro Saint Dominic K1156 Follower of Sano di Pietro Saint Thomas Aquinas K1164 Francesco Morone Two Olivetan Monks K1173 Guidoccio Cozzarelli The Crucifixion K123 Michele Giambono Madonna and Child NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 2 KRESS COLLECTION DIGITAL ARCHIVE K1263 Francesco Zaganelli Pietà K1266 Giuseppe Bazzani The Incredulity of Saint Thomas K1292 Taddeo di Bartolo The Coronation of the Virgin K1364 Studio of Bartolomeo Bulgarini Madonna and Child K1404 Giuseppe Maria Crespi The Visitation NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 3 KRESS COLLECTION DIGITAL ARCHIVE K1548 Giovanni Battista Moroni Portrait of a Magistrate -
Europa E Italia. Studi in Onore Di Giorgio Chittolini
21 CORE VENICE AND THE VENETO Metadata, citation and similar papers at core.ac.uk Provided by Reti Medievali Open Archive DURING THE RENAISSANCE THE LEGACY OF BENJAMIN KOHL Edited by Michael Knapton, John E. Law, Alison A. Smith thE LEgAcy of BEnJAMin KohL BEnJAMin of LEgAcy thE rEnAiSSAncE thE during VEnEto thE And VEnicE Smith A. Alison Law, E. John Knapton, Michael by Edited Benjamin G. Kohl (1938-2010) taught at Vassar College from 1966 till his retirement as Andrew W. Mellon Professor of the Humanities in 2001. His doctoral research at The Johns Hopkins University was directed by VEnicE And thE VEnEto Frederic C. Lane, and his principal historical interests focused on northern Italy during the Renaissance, especially on Padua and Venice. during thE rEnAiSSAncE His scholarly production includes the volumes Padua under the Carrara, 1318-1405 (1998), and Culture and Politics in Early Renaissance Padua thE LEgAcy of BEnJAMin KohL (2001), and the online database The Rulers of Venice, 1332-1524 (2009). The database is eloquent testimony of his priority attention to historical sources and to their accessibility, and also of his enthusiasm for collaboration and sharing among scholars. Michael Knapton teaches history at Udine University. Starting from Padua in the fifteenth century, his research interests have expanded towards more general coverage of Venetian history c. 1300-1797, though focusing primarily on the Terraferma state. John E. Law teaches history at Swansea University, and has also long served the Society for Renaissance Studies. Research on fifteenth- century Verona was the first step towards broad scholarly investigation of Renaissance Italy, including its historiography. -
The Last Supper Seen Six Ways by Louis Inturrisi the New York Times, March 23, 1997
1 Andrea del Castagno’s Last Supper, in a former convent refectory that is now a museum. The Last Supper Seen Six Ways By Louis Inturrisi The New York Times, March 23, 1997 When I was 9 years old, I painted the Last Supper. I did it on the dining room table at our home in Connecticut on Saturday afternoon while my mother ironed clothes and hummed along with the Texaco. Metropolitan Operative radio broadcast. It took me three months to paint the Last Supper, but when I finished and hung it on my mother's bedroom wall, she assured me .it looked just like Leonardo da Vinci's painting. It was supposed to. You can't go very wrong with a paint-by-numbers picture, and even though I didn't always stay within the lines and sometimes got the colors wrong, the experience left me with a profound respect for Leonardo's achievement and a lingering attachment to the genre. So last year, when the Florence Tourist Bureau published a list of frescoes of the Last Supper that are open to the public, I was immediately on their track. I had seen several of them, but never in sequence. During the Middle Ages the ultima cena—the final supper Christ shared with His disciples before His arrest and crucifixion—was part of any fresco cycle that told His life story. But in the 15th century the Last Supper began to appear independently, especially in the refectories, or dining halls, of the convents and monasteries of the religious orders founded during the Middle Ages. -
Mars and Venus Surprised by Vulcan
Joachim Wtewael MARS AND VENUS SURPRISED BY VULCAN Joachim Wtewael MARS AND VENUS SURPRISED BY VULCAN Anne W. Lowenthal GETTY MUSEUM STUDIES ON ART Malibu, California Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Joachim Wtewael (Dutch, 1566-1638). Cynthia Newman Bohn, Editor Mars and Venus Surprised by Vulcan, Amy Armstrong, Production Coordinator circa 1606-1610 [detail]. Oil on copper, Jeffrey Cohen, Designer 20.25 x 15.5 cm (8 x 6/8 in.). Malibu, J. Paul Getty Museum (83.PC.274). © 1995 The J. Paul Getty Museum 17985 Pacific Coast Highway Frontispiece: Malibu, California 90265-5799 Joachim Wtewael. Self-Portrait, 1601. Oil on panel, 98 x 74 cm (38^ x 29 in.). Utrecht, Mailing address: Centraal Museum (2264). P.O. Box 2112 Santa Monica, California 90407-2112 All works of art are reproduced (and photographs provided) courtesy of the owners unless otherwise Library of Congress indicated. Cataloging-in-Publication Data Lowenthal, Anne W. Typography by G & S Typesetting, Inc., Joachim Wtewael : Mars and Venus Austin, Texas surprised by Vulcan / Anne W. Lowenthal. Printed by C & C Offset Printing Co., Ltd., p. cm. Hong Kong (Getty Museum studies on art) Includes bibliographical references and index. ISBN 0-89236-304-5 i. Wtewael, Joachim, 1566-1638. Mars and Venus surprised by Vulcan. 2. Wtewael, Joachim, 1566-1638 — Criticism and inter- pretation. 3. Mars (Roman deity)—Art. 4. Venus (Roman deity)—Art. 5. Vulcan (Roman deity)—Art. I. J. Paul Getty Museum. II. Title. III. Series. ND653. W77A72 1995 759-9492-DC20 94-17632 CIP CONTENTS Telling the Tale i The Historical Niche 26 Variations 47 Vicissitudes 66 Notes 74 Selected Bibliography 81 Acknowledgments 88 TELLING THE TALE The Sun's loves we will relate. -
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. -
Giulio Cesare Procaccini (Bologna 1574 – Milan 1625)
THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com Giulio Cesare Procaccini (Bologna 1574 – Milan 1625) The Adoration of the Magi Signed “G.C.P” (lower right) Oil on canvas 84 ¼ x 56 ¾ in. (214 x 144 cm.) Provenance Commissioned by Pedro de Toledo Osorio, 5th Marquis of Villafranca del Bierzo (Naples, 6 September 1546 – 17 July 1627), and by direct decent until 2017. This present painting by Giulio Cesare Procaccini, one of the most important painters in seventeenth-century Lombardy, is a significant rediscovery and a major addition to his oeuvre. Amidst a sumptuous architectural background, the Virgin sits at the centre of the scene, tenderly holding Jesus in her arms. She offers the Child’s foot to the oldest of the Magi, so that he can kiss it. The kings attributes of power, the crown and sceptre, lay in the foreground on the right, with his entire attention turned to worshiping the baby. Simultaneously, he offers Jesus a precious golden urn. Next to Mary are several figures attending the event. On the right, a dark- skinned king leans towards the centre of the composition holding an urn with incense. On the opposite side, the third king holds a box containing myrrh and looks upwards to the sky. Thos Agnew & Sons Ltd, registered in England No 00267436 at 21 Bunhill Row, London EC1Y 8LP VAT Registration No 911 4479 34 THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. -
CURRICULUM VITAE Nelson Hubert Minnich Born
CURRICULUM VITAE Nelson Hubert Minnich Born: 15 January 1942, Cincinnati, Ohio Addresses: 5713 37th Avenue Program in Church History Hyattsville, Maryland 20782 Catholic University of America Tel. (301) 277-5891 Washington, D.C. 20064 Tel. (202) 319-5702 (office) or 5079 (CHR) Education: 1959-63 Xavier University (Cincinnati, Ohio) -- part time (Humanities) 1963-65 Boston College (Chestnut Hill, Massachusetts) -- AB (Philosophy) 1965-66 Boston College (Chestnut Hill, Massachusetts) -- MA (History) 1968-70 Gregorian University (Roma, Italia) -- STB (Theology) 1970-77 Harvard University (Cambridge, Massachusetts) -- PhD (History) Dissertation: "Episcopal Reform at the Fifth Lateran Council (1512-17)" directed by Myron P. Gilmore Post-Graduate Distinctions: Foundation for Reformation Research: Junior Fellow (1971) for paleographical studies Institute of International Education: Fulbright Grant for Research in Italy (1972-73) full award for dissertation research -- resigned due to impending death in family Harvard University: Tuition plus stipend (1971-72), Staff Tuition Scholarship (1972-73, 1974- 76), Emerton Fellowship (1972-73), Harvard Traveling Fellowship (1973-74) for dissertation research Sixteenth Century Studies Conference: Carl Meyer Prize (1977) National Endowment for the Humanities: Summer Stipend (1978) to work on the "Protestatio" of Alberto Pio Villa I Tatti: The Harvard University Center for Italian Renaissance Studies: Fellowship for the summer (1979) to study Leo X's concern for doctrine prior to Luther American Academy