Borghese Gallery's Stories a Little Handbook
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Name of Object: Apollo and Daphne Location: Rome, Italy Holding
Name of Object: Apollo and Daphne Location: Rome, Latium, Italy Holding Museum: Borghese Gallery Date of Object: 1622–1625 Artist(s) / Craftsperson(s): Gian Lorenzo Bernini (1598, Naples-1680, Rome) Museum Inventory Number: CV Material(s) / Technique(s): Marble Dimensions: h: 243 cm Provenance: Borghese Collection Type of object: Sculpture Description: This sculpture is considered one of the masterpieces in the history of art. Bernini began sculpting it in 1622 after he finished The Rape of Proserpina. He stopped working on it from 1623 to 1624 to sculpt David, before completing it in 1625. With notable technical accuracy, the natural agility of this work shows the astonishing moment when the nymph turns into a laurel tree. The artist uses his exceptional technical skill to turn the marble into roots, leaves and windswept hair. Psychological research, combined with typically Baroque expressiveness, renders the emotion of Daphnes terror, caught by the god in her desperate journey, still ignorant of her ongoing transformation. Apollo, thinking he has achieved his objective, is caught in the moment he becomes aware of the metamorphosis, before he is able to react, watching astonished as his victim turns into a laurel tree. For Apollos head, Bernini looked to Apollo Belvedere, which was in the Vatican at the time. The base includes two scrolls, the first containing the lines of the distich by Maffeo Barberini, a friend of Cardinal Scipione Borghese and future Pope Urban VIII. It explores the theme of vanitas in beauty and pleasure, rendered as a Christian moralisation of a profane theme. The second scroll was added in the mid-1700s. -
Der Raub Der Proserpina Studien Zur Ikonographie Und Ikonologie Eines
Kunstgeschichte Der Raub der Proserpina Studien zur Ikonographie und Ikonologie eines Ovidmythos von der Antike bis zur frühen Neuzeit Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophischen Fakultät der Westfälischen Wilhelms-Universität zu Münster (Westf.) vorgelegt von Christiane Brehm aus Unna 1996 Tag der mündlichen Prüfung: 12.07.1996 Dekan: Prof. Dr. K. Hortschansky Referent: Prof. Dr. H.-J. Raupp Korreferent: Prof. Dr. H. Wiegartz Meinen Eltern INHALTSVERZEICHNIS VORWORT 1 EINLEITUNG 2 1. Vorbemerkungen zum Thema der Arbeit 2 2. Problemstellung und Zielsetzung unter besonderer Berücksichtigung des gegenwärtigen Forschungsstandes 3 3. Methodik und Aufbau der Arbeit 6 I. LITERARISCHE ÜBERLIEFERUNG 9 1. Antike 9 1.1. Die Sage vom Raub der Proserpina in den Metamorphosen Ovids 9 1.2. Die attische Tradition 11 1.3. Die sizilische Tradition 12 2. Mittelalter 15 2.1. Zur Rezeption antiker Mythologie im Mittelalter 15 2.2. Pluto und die Unterwelt 16 2.2.1. Mythographische Literatur 17 2.2.1.1. Fabius Planciades Fulgentius, "Mitologiae" 17 2.2.1.2. Mythographus vaticanus III 18 2.2.1.3. John Ridewall, "Fulgentius Metaforalis" 18 2.2.1.4. Dante Alighieri, "Commedia divina" 19 2.2.1.5. Francesco Petrarca, "Africa" 20 2.2.1.6. Francesco Petrarca, "Trionfo d'amore" 21 2.2.1.7. Poetarius, "De deorum imaginibus libellus" 22 2.3. Der Raub der Proserpina 23 2.3.1. Apologetische Schriften 23 2.3.1.1. Iulius Firmicus Maternus, "De errore profanorum religionum" 23 2.3.1.2. Gregorios von Nazianz, "Oratio de sancta lumina" 24 2.3.2. Scholien 25 2.3.2.1. -
Titian and Veronese Two Venetian Painters
Titian and Veronese Two Venetian Painters Titian Veronese Garry Law Sack of Rome 1527 – end of the Renaissance in Rome Timeline and Contemporaries / Predecessors Titian - ~1488-1576 • Born Tiziano Vecellio in Pieve di Cadrone – Small fortified town dating back to the Iron Age. • Father a soldier / local councilor / supplier of timber to Venice • Named after a local saint Titianus • Went to Venice aged 9, apprenticed to Zuccato then Gentile Bellini then Giovani Bellini • Partnership with Giorgione – shared workshop – ended with G’s early death • Together redefined Venetian painting • Their work so similar have long been disputes over authorship of some paintings They did undertake some joint works – frescoes Titian was asked to complete some unfinished works after Giorgione’s death – only one such is known for sure – otherwise we don’t know if he did finish others. The Pastoral Concert - Once considered Giorgione – now considered Titian – though some have considered as by both (Louvre). • Portraits - Royal and Papal commissions late in career • Cabinet Pictures • Religious art • Allegorical / Classical Isabella d’Este “La Bella” • Lead the movement to having large pictures for architectural locations on canvas rather than Fresco – which lasted poorly in Venice’s damp climate • Sought to displace his teacher Bellini as official state painter – declined, but achieved on B’s death. • Married housekeeper by whom he already has two children • Wife dies young in childbirth – a daughter modelled for him for his group pictures • Does not remarry – described as flirting with women but not interested in relationships • Ran a large studio – El Greco was one pupil • Of his most successful pictures many copies were made in the studio Penitent Mary Madelene Two of many versions Christ Carrying the Cross. -
SYMBOLIC HISTORY Through Sight and Sound
SYMBOLIC HISTORY Through Sight and Sound 16. Giants in the Earth (16th Century) CHARLES G. BELL ST. JOHN'S COLLEGE SANTA FE, NEW MEXICO or 1260 CANYON ROAD SANTA FE, NEW MEXICO 87501 September 1995 Last Revised January ‘96 1 Charles Greenleaf Bell, 1260 Canyon Rd., Santa Fe, NM 87501 SYMBOLIC HISTORY Through Sight and Sound 16. Giants in the Earth (16th Century) 1) Giulio Romano, 1530-32, Fall of the Giants, frescoed room, corner and two walls, Palazzo del Te, Mantua (CGB '86) 1a) Same, detail, stream and Giant under rocks, (CGB '86); video brings in another detail from the last slide of the show, 80+1. Music: Ant .de Cabezon, c. 1540, Tiento de Primer Tono, Videro on HMV DA 5207 In The Winter's Tale, the living Hermione is presented as a statue "by that rare Italian master Julio Romano, who, had he himself eternity, and could put breath into his work, would beguile Nature of her custom, so perfectly is he her ape." In this 1530 Mantuan vault, his heaven-storming giants fall under the rocks of Pelion and Ossa. (music) In the tientos of Cabezon, we feel what turned the loves and thought of that century toward Prometheus, Icarus, Phaeton and Faust. 2) Titian, 1543-44, David and Goliath, Santa Maria della Salute, Venice; + V detail) (music continued) There were giants in the earth in those days...when the sons of God came in unto the daughters of men. And when the spiritual force stored in medieval creed-condensers struck through the physical, it stirred Gargantuan prodigies: the arts of space and mass, Hermetic and Lucretian science, Reformation, Utopias, world conquest, Platonic love, the Age of Gold. -
Body, Identity, and Narrative in Titian's Paintings
Winter i WITTENBERG UNIVERSITY BODY, IDENTITY, AND NARRATIVE IN TITIAN’S PAINTINGS AN UNDERGRADUATE THESIS SUBMITTED TO DR. ALEJANDRA GIMENEZ-BERGER BY LESLIE J. WINTER IN PARTIAL FULFILLMENT OF THE DEGREE BACHELOR OF ARTS WITH HONORS IN ART HISTORY APRIL 2013 Winter ii Table of Contents Pages Abstract iii. 1. Introduction 1. 2. The Painted Parts of the Whole Individual 4. 3. Istoria and The Power of the Figure in Renaissance Art 16. 4. Titian’s Religious Paintings 29. 5. Titian’s Classicizing Paintings 38. 6. Conclusion 48. Endnotes 49. Figure List 55. Figures 57. Bibliography 70. Winter iii Abstract: In the Renaissance, the bodies of individuals were understood as guides to their internal identities, which influenced the public understanding of the figure represented in art—be it in terms of politics, personal life, or legacy. The classicizing and religious paintings by Titian (c. 1488/90-1576) show the subject’s state of being, at a particular moment in a story, through the use of body language. The body is a vehicle for narrative that demonstrates the sitter’s identity, relating the intricacies of the body to both the mind and the story. By exploring the humanist combination of philosophical theories regarding the relationship between the soul and the body, it is clear that Titian used these concepts to elevate the human figures in his narrative paintings. Formal analysis and Renaissance artistic theories by Alberti and others suggest that Renaissance artists operated under the assumption that how their sitters appeared was tantamount to representing their identities. Current scholarship has not yet considered this particular relationship in Titian’s works. -
THE EARLIER WORK of TITIAN by CLAUDE
THE EARLIER WORK OF TITIAN By CLAUDE PHILLIPS Keeper of the Wallace Collection 1897 [Illustration: _Flora_] [Illustration: The Portfolio Artistic Monographs With many Illustrations] LIST OF ILLUSTRATIONS PLATES PAGE page 1 / 110 Flora. Uffizi Gallery, Florence ....................... Frontispiece Sacred and Profane Love. Borghese Gallery, Rome..................... 36 Virgin and Child, with Saints. Louvre............................... 54 Le Jeune Homme au Gant. Louvre...................................... 62 ILLUSTRATIONS PRINTED IN COLOUR Design for a Holy Family. Chatsworth................................ 86 Sketch for the Madonna di Casa Pesaro. Albertina.................... 96 ILLUSTRATIONS IN THE TEXT The Man of Sorrows. In the Scuola di S. Rocco, Venice............... 23 Virgin and Child, known as "La Zingarella." Imperial Gallery, Vienna 25 The Baptism of Christ. Gallery of the Capitol, Rome................. 29 page 2 / 110 The Three Ages. Bridgewater Gallery ................................ 35 Herodias with the Head of John the Baptist. Doria Gallery, Rome..... 39 Vanitas. Alte Pinakothek, Munich.................................... 41 St. Anthony of Padua causing a new-born Infant to speak. Fresco in the Scuola del Santo, Padua............................................. 43 "Noli me tangere." National Gallery................................. 45 St. Mark enthroned, with four Saints. S. Maria della Salute, Venice. 49 The Madonna with the Cherries. Imperial Gallery, Vienna............. 51 PAGE Madonna and Child, with St. John and -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) The Artful Hermit. Cardinal Odoardo Farnese's religious patronage and the spiritual maening of landsacpe around 1600 Witte, A.A. Publication date 2004 Link to publication Citation for published version (APA): Witte, A. A. (2004). The Artful Hermit. Cardinal Odoardo Farnese's religious patronage and the spiritual maening of landsacpe around 1600. in eigen beheer. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:07 Oct 2021 3.. PATRONAGE, PROTECTORATE AND REGULAR REFORMS Orazionee e Morte Thee name of the brotherhood of Santa Maria dell'Orazione e Morte. from which Farnese rented thee Camerino degli i:remiti in !61 ! alluded to its two aims: orazione indicated the act of prayer, andd morte referred to burying the dead. -
Rome in Bernini's Footsteps
Rome in Bernini’s Footsteps – La Voce di New York 11/25/17, 10:19 AM Roma bike tours - Choose the best guided tour Enjoy with us the squares, the monuments, and the streets of the genuine Rome. leadingroma.com Sections Close DONATE VNY PROUD Arts Commenta per primoShared: 6!"#$%& Rome in Bernini’s Footsteps Afer seeing ”Bernini” at the Villa Borghese, follow this itinerary to visit this exceptional artist's other masterpieces around Rome by Lucy Gordan Elephant and Obelisk by Bernini Nov 20 2017 At the Villa Borghese in Rome several of Bernini's sculptures are on permanent exhibit, but his heritage is to be found in more sites in Rome. An easier but not chronological route, which takes about 2 hours on foot (or by hopping on and off the no. 62 bus) not including visiting time, starts at the church of Santa Maria della Vittoria with his Ecstasy of St. Teresa and ends in St. Peter’s Square. Utilizziamo i cookie per offrirti servizi e informazioni in linea con le tue preferenze. Continuando a scorrere e a navigare ne consenti l'uso. OK Maggiori informazioni http://www.lavocedinewyork.com/en/arts/2017/11/20/rome-in-the-berninis-footsteps/ Page 1 of 10 Rome in Bernini’s Footsteps – La Voce di New York 11/25/17, 10:19 AM Gianlorenzo Bernini Gian Lorenzo Bernini, the most famous and important sculptor in 17th century Europe, but also a recognized architect, painter, events organizer, poet and playwright, was born in Naples on December 7, 1598 to a Mannerist sculptor, Pietro Bernini, originally from near Florence, and Angelica Galante, a Neapolitan, the sixth of their thirteen children. -
Titian: Venus Anadyomene (Venus Emerging from the Sea), C 1525
Art Appreciation Lecture Series 2015 Meet the Masters: Highlights from the Scottish National Gallery Titian: Venus Anadyomene (Venus emerging from the sea), c 1525 Louise Marshall 18/19 February 2015 Lecture summary: “In 1524 Federico Gonzaga, Duke of Mantua, commissioning a work from Sebastiano del Piombo, wrote that he did not want ‘saint’s stuff [cose di sancti]’ but ‘some pictures which are attractive and beautiful to look at’. He seems to have been part of a trend.” (Peter Burke, The Italian Renaissance: culture and society in Italy,165.) Federico Gonzaga would certainly have approved of Titian’s Venus, which exemplifies the new genre of the poesie, or painted poetry, developed in Venice in the early sixteenth century with the paintings of Giorgione (d. 1510) and Titian (c. 1490?-1576). This lecture discusses the ways in which Renaissance patrons and artists looked back to the classical past for inspiration while at the same time transforming and adapting classical subject matter to suit their own purposes. We will look at the way Titian’s deceptively simple composition engages in the paragone (debate/competition) between ancient and modern art, and between painting and sculpture—since it is a recreation of a lost work by Apelles, the most famous and celebrated of all Greek painters, whose composition was known through Roman sculpted copies. In this sense it can be seen as a kind of manifesto, a triumphant proclamation of Titian’s superiority over all comers, a celebration of the power of his brush and its power to transmute paint into living, palpable flesh. -
Rome Tourist Information
Rome As capital of the Roman Empire, the Papal States and Italy, Rome truly is the "Eternal City". One of the world's most elegant capitals the layers of history and the city's sheer excess of beauty can prove overwhelming to the unsuspecting visitor. This is a city best explored on foot, with every corner offering an overlooked treasure or unforgettable panorama. Roman columns soar up aimlessly next to medieval basilicas, the sound of water splashing in fountains fills the air in front of Renaissance palaces and exuberant Romans jostle through multi-coloured markets and winding cobbled streets. Breathe the air of the Caesars in the Roman forum, stroll through the menacing Colosseum, marvel at the splendours of the Vatican Palace - and you will wonder if this can be the capital of a modern industrial nation or whether you have stepped back into the pages of history. But around these relics of history Rome is still evolving. It's at the cutting edge of fashion and cuisine and is one of the most popular shopping destinations on Earth. So prepare to soak up history and modernity in equal measure in one of Europe's most fascinating cities. Sightseeing Rome is a work of art in itself and you'll never tire of wandering its streets and plazas, discovering new and ever greater architectural gems with every turn. Seeing the many treasures the city contains would take a lifetime, but there are several highlights that remain essential on a trip to the Eternal City. The Roma Archeologia Card costs EUR20 and is valid for 7-days. -
VILLA BORGHESE and BORGHESE GALLERY After Moving to Rome In
VILLA BORGHESE AND BORGHESE GALLERY After moving to Rome in 1541, the Borghese family became very important following the appointment of Camillo Borghese as Pope Paul V in 1605. The park in which their villa was situated was landscaped to include a lake with a small Ionic temple on an island. The Borghese family was patron of many Renaissance artists, in particular Bernini, and the Gallery’s founder, Cardinal Scipione Borghese, accumulated some of the greatest art treasures of all time. The city of Rome obtained the Villa from the Borghese family in 1903 and since then it has been open to the public. The gardens are a lovely place to relax, with cafés and peaceful walks, and there is even a replica of Shakespeare’s Globe Theatre in the grounds. You will find statues of Byron, Goethe and Victor Hugo, and picturesque temples made to look like ruins. Much of the collection is now in the Louvre, after being sold by Pauline, Napoleon Bonaparte’s sister. She married Prince Camillo Borghese in 1807 and posed as Venus for this sculpture by Canova. After it was finished her husband locked it away and did not even allow the sculptor to see it again. Bernini’s two masterpieces Apollo and Daphne and Rape of Proserpina should not be missed. Here you can see the nymph Daphne trying to escape from the god Apollo at the very moment the gods listened to her prayers and decided that turning her into a tree was the best way to rescue her. Her hair and fingers are turning to leaves and her toes are elongating into roots, while a fine bark is beginning to cover her body. -
Motion As Lust in Bernini's Apollo and Daphne
Motion as Lust in Bernini’s Apollo and Daphne BY DANIEL WHITTEN The artists of the Renaissance era faced a very delicate challenge in the interpretation of classical myths, as this required the interpreter to be faithful to both pagan literature and Christian orthodoxy. Specifically, these authors sought to reconcile the seeds of Christian morality within pagan works with both the original context and the truth of revealed religion. Gian Lorenzo Bernini, Italian artist and architect, follows this tradition in his sculptural adaptation of Ovid’s “Apollo and Daphne.”1 Bernini juxtaposes the concepts of motion and stability in the sculpture to convey the unstable nature of lust compared with the solidity of love. From a standpoint steeped in a Christian tradition that associates motion with lust and has a tradition of moralizing interpretations of Ovid, Bernini emphasizes the moralizing aspects of the myth; he implies a Christianized chronology of events both before and after the moment he sculpts. This portrayal aligns well with the ecclesiastical position of his patron, Cardinal Borghese, and earns a moralizing epitaph from the future Pope Urban VIII. The association of lust with motion is deeply rooted in the Christian theological tradition. This theology sees lust as the impetus for unhealthy motion within the soul and body of the sinner. St. Augustine writes, “And this lust not only takes possession of the whole body and outward members, but also makes itself felt within, and moves the whole man with a 1 See appendix, fig. 1, fig. 2. Valley Humanities Review Spring 2014 1 passion in which mental emotion is mingled with bodily appetite.”2 Dante interprets this view vividly in the Inferno, where “the carnal sinners, who subject reason to lust” are punished.