Bernini's Biographies
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Antikenrezeption Im Hochbarock
Antikenrezeption im Hochbarock Herausgegeben van Herbert Beck und Sabine Schulze GEBR. MANN VERLAG· BERLIN lRVTNG LAVIN Bernini and Antiquity - The Baroque Paradox A Poetical View* My chief purpose in this paper is to bring together and consider under one heading two papers by earlier scholars on apparently quite different subjects that are fundamcntnl to some of our current views on the relationship of Baroque art to antiquity. In a brief note entitled ··Rhetoric and Baroque Art". published in 1955 . Giulio Carlo Argan for the first time offered what has since become perhaps the prevalent interpretation of Ba roque art. base d on the classical tradition of rhetoric'. The primary source book on the subject. Arist0tle's treatise on rhetoric. became available in Italian translation in 1570. The wide influence of Argan ·s essay was very salubrious. suggesting as it did that Baroque style. often regarded as a decadent superabundance of ornament and conceit. could better be under stood positively as a deliberate and sophisticated technique of persuasion. T he second paper. published by RudolfWiukower in 1963, compared the use ofanciem models by Poussin. the arch classicist of France. and Bernini, the outstanding representative of Italian Baroque 2 exuberance . With great perspicuity Wittkower showed from preparatory studies how classical sources functioned in diametrically opposite ways in the development of their works. Poussin would typicall y start with a dynamic. ··Baroque" design. into which ancient models would then intervene to produce a restrained. classicizing final version: Bernini. on the other hand. would often start with a classical prototype. which he would then transform into a free and volatile ·'Baroque'· solution. -
Incisori Itineranti Nell'area Veneta Nel Seicento. Dizionario Bio-Bibliografico
UNIVERSITÀ DEGLI STUDI DI VERONA Incisori itineranti nell’area veneta nel Seicento. Dizionario bio-bibliografico di Luca Trevisan e Giulio Zavatta VERONA · MMXIII UNIVERSITÀ DEGLI STUDI DI VERONA Incisori itineranti nell’area veneta nel Seicento. Dizionario bio-bibliografico di Luca Trevisan e Giulio Zavatta VERONA · MMXIII Volume pubblicato con il contributo dell’Università di Verona nell’ambito del Prin 2008 Mobilità dei mestieri del libro in Italia tra il Quattrocento e il Seicento, Unità di Verona (responsabile: prof. Giancarlo Volpato) Le voci bio-bibliografiche sono state redatte da Luca Trevisan (M - Z) e Giulio Zavatta (A - L). Crediti fotografici: Biblioteca Panizzi (Reggio Emilia), figg. 1, 4, 5, 12 Luca Trevisan, figg. 8, 9, 11, 13, 14, 16 Giulio Zavatta, figg. 2, 3, 6, 7, 10, 15 Proprietà riservata © Copyright 2013, Università di Verona Impaginazione e stampa: Tipolitografia « La Grafica », Vago di Lavagno (Verona) ISBN 978-88-98513-25-3 Sommario 7 Giancarlo Volpato Una bella giornata con un pomeriggio felice 13 Giulio Zavatta Annotazioni sull’itineranza degli incisori del Seicento in area veneta 21 Luca Trevisan Appunti per l’incisione a Venezia nel XVII secolo: note di contesto 29 Dizionario bio-bibliografico 125 Iconografia 143 Bibliografia generale 151 Indice dei nomi Una bella giornata con un pomeriggio felice di Giancarlo Volpato Se Subiaco era stata l’aurora, Venezia fu l’alba dei libri a stampa: un’alba ra- diosa, splendente, ricca di straordinarie novità e che illuminò l’universo della cultura sino ad un mezzogiorno di grande fulgore, con un pomeriggio che s’avviò – lentamente e in un tempo piuttosto lungo – sino ad un tramonto con poca luce. -
The Role of Prints in the Bernini's Anima Beata and Anima Damnata
Originalveröffentlichung in: Print quarterly, 33 (2016), Nr. 2, S. 135-146 The Role of Prints in the Artistic Genealogy of Bernini’s Anima beata and Anima damnata Eckhard Leuschner The two marble busts by Gianlorenzo Bernini resentations of the Quattuor Novissima from the late fif (1598-1680) known as the Blessed Soul (Anima Beata or teenth century including, among others, works by Salvata) and the Damned Soul (Anima Damnata) are today Hieronymus Bosch, Maerten van Heemskerck and in the Spanish Embassy to the Holy See in Rome (figs. Hendrick Goltzius.5 102 and 103). They feature prominendy in all mono Most art historians identify the patron of Bernini’s graphs on the artist.' In addition, they are discussed in Blessed Soul and Damned Soul as the Spanish cleric Pedro books and articles dealing with images related to the de Foix Montoya (1556-1630), in whose possession, ac so-called Quattuor Novissima (Four Last Things).2 cording to Irving Lavin, the two works might have been The genre of written meditations on the Quattuor No as early as 1619 when ‘dos medios cuerpos de piedra de vissima- Death, the Last Judgment, Hell, Heaven/Par- statuas’ (two half-length [!] bodies of stone, sculptures) adise or, in a later grouping, Death, Purgatory, Hell, were listed among his belongings.6 In 1632 the busts Heaven/Paradise - was inaugurated in the early fif were placed in the sacristy of S. Giacomo degli Spagnoli teenth century by Gerard van Vliederhoven’s Cor diale and have belonged to Spanish institutions in Rome ever quattuor novissimis, although Purgatory was still miss- since. -
Women and Masks: the Economics of Painting and Meaning in the Mezza Figura Allegories by Lippi, Dandini and Martinelli
Originalveröffentlichung in: Fumagalli, Elena (Hrsg.): Firenze milleseicentoquaranta : arti, lettere, musica, scienza, Venezia 2010, 311-323 u. Abb. (Studi e ricerche / Kunsthistorisches Institut in Florenz, Max-Planck- Institut ; 6) ECKHARD LEUSCHNER WOMEN AND MASKS: THE ECONOMICS OF PAINTING AND MEANING IN THE MEZZA FIGURA ALLEGORIES BY LIPPI, DANDINI AND MARTINELLI A considerable number of paintings produced in Florence and usually dated to the late 1630s, the 1640s and early 1650s represents half-length figures of young women before a dark background. Among the attributes of these women, masks of similar shapes, probably made of leather and equipped with rather expressionless faces, appear regularly. Art history has not yet analysed these half-length figures as a group with related charac teristics, neither in terms of style and picture size nor in terms of allegori cal meaning. Most scholars, as a matter of fact, have limited themselves to discussing just one example, the socalled Simulazione by Lorenzo Lippi (fig. 1) in the museum of Angers which has acquired a certain prominence after having been chosen to decorate the cover of the Seicento exhibition in Paris in 1988.' In Lippi's painting, a woman with a serious expression on her face confronts the spectator with two objects in her hands, a mask and a pomegranate. Several art historians have interpreted one or both attributes as references to Simulatione in Cesare Ripa's Iconologia thus describing Lippi's woman as a personification of Simulation or of a simi lar allegorical quality, Dissimulation.1 Chiara d'Afflitto went one step fur 1 See Seicento, exhibition catalogue, Paris 1988; the entry for the picture by A. -
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. -
Dell' Accademia Di Palermo
DELL’ ACCADEMIA DI PALERMO DI PALERMO ACCADEMIA DELL’ DELL’ ACCADEMIA DI PALERMO CONOSCENZA, CONSERVAZIONE E DIVULGAZIONE SCIENTIFICA Musei e siti delle opere originali National Gallery of Art - Washington (D.C.) Museo dell'Hermitage di S. Pietroburgo British Museum, Londra Royal Academy, Londra Musée del Louvre di Parigi Grande Museo del Duomo - Milano Gipsoteca di Possagno Galleria degli Uffizi - Firenze Galleria dell’Accademia - Firenze Museo Nazionale del Bargello - Firenze Battistero di San Giovanni – Firenze Museo dell’Opera del Duomo - Firenze Musei Vaticani – Città del Vaticano Museo Gregoriano profano - Città del Vaticano Musei Capitolini – Roma Museo dell’Ara Pacis -Roma Museo Nazionale Romano di Palazzo Altemps, Roma Museo Nazionale Romano di Palazzo Massimo - Roma Galleria Borghese - Roma Museo Archeologico di Napoli Duomo - Monreale Galleria Interdisciplinare Regionale della Sicilia di Palazzo Abatellis - Palermo Galleria d'Arte Moderna (GAM) - Palermo Palazzo dei Normanni - Palermo Palazzo Ajutamicristo - Palermo Chiesa e Oratorio di S. Cita - Palermo Oratorio del Rosario in San Domenico - Palermo Cattedrale - Palermo Chiesa di S. Agostino - Palermo Chiesa di S. Maria della Catena - Palermo Museo Pepoli di Trapani Chiesa di S. Maria La Nova - Palermo Chiesa di Santa Maria dello Spasimo - Palermo Teatro Massimo - Palermo Palazzo Sottile - Palermo Museo Archeologico, Olimpia Palazzo della Cassa di Risparmio Vittorio Emanuele - Palermo Museo Interdisciplinare Regionale “A.Pepoli” - Trapani Museo Archeologico, Atene Museo Interdisciplinare Regionale “M. Accascina” - Messina LA GIPSOTECA DELL’ ACCADEMIA DI BELLE ARTI DI PALERMO conoscenza, conservazione e divulgazione scientifica a cura di Giuseppe Cipolla 1 fotografco di Palazzo MIUR – Ministero DIRETTORE CATALOGO RINGRAZIAMENTI dell’Istruzione, dell’Università Mario Zito a cura di Giuseppe Cipolla Abatellis, Palermo Il Direttore, i coordinatori del SOMMARIO e della Ricerca N. -
Information to Users
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Powers of Divergence Emphasises Its Potential for the Emergence of the New and for the Problematisation of the Limits of Musical Semiotics
ORPHEUS What does it mean to produce resemblance in the performance of written ORPHEUS music? Starting from how this question is commonly answered by the practice of interpretation in Western notated art music, this book proposes a move beyond commonly accepted codes, conventions, and territories of music performance. Appropriating reflections from post-structural philosophy, visual arts, and semiotics, and crucially based upon an artistic research project with a strong creative and practical component, it proposes a new approach to music performance. This approach is based on divergence, on the difference produced by intensifying Powers of the chasm between the symbolic aspect of music notation and the irreducible materiality of performance. Instead of regarding performance as reiteration, reconstruction, and reproduction of past musical works, Powers of Divergence emphasises its potential for the emergence of the new and for the problematisation of the limits of musical semiotics. Divergence Lucia D’Errico is a musician and artistic researcher. A research fellow at the Orpheus Institute (Ghent, Belgium), she has been part of the research project MusicExperiment21, exploring notions of experimentation in the performance of Western notated art music. An Experimental Approach She holds a PhD from KU Leuven (docARTES programme) and a master’s degree in English literature, and is also active as a guitarist, graphic artist, and video performer. to Music Performance P “‘Woe to those who do not have a problem,’ Gilles Deleuze exhorts his audience owers of Divergence during one of his seminars. And a ‘problem’ in this philosophical sense is not something to dispense with, a difficulty to resolve, an obstacle to eliminate; nor is it something one inherits ready-made. -
Royal Gallery of the Uffizi at Florence Drawings
LEO S. OLSCHKI, PUBLISHER - FLORENCE DRAWINGS IN THE ROYAL GALLERY OF THE UFFIZI AT FLORENCE HIS, the oldest collection of ancient drawings, is also the largest, counting upwards of 45,000 numbers. Not all, it need hardly be said, are the works of masters. These had ever a following, known as " the school anTd if, as we would believe, the merit of the work of art resides in that personal element which defies the imitator, we may conclude that for every master's drawings there were produced a great many others possessing no more than a documentary interest. The Florence collection covers this whole field of art that would be, and that is. Happily the works of the masters are here not lost in those of their schools, their imitators, and their later forgers. The great Italians will, in many instances, be found to be repre- sented in sets of drawings of unrivalled splendour. The collection is also rich in im- portant works of foreign artists. The student was taught, in the Renaissance, to copy the sketches and studies of his masters, as models on which to form his own style and technique. This practice prevailed especially in Florence. It led to the mutilation, often the total destruction, of many drawing in the studios; witness the loss of all Masolino's and Masaccio's, and the great rarity of Fra Angelico's and Fra Filippo's. Florence, which was the intellectual centre of Italy, contained, from the first, writers on art who made it their task to rescue and care for the drawings of the masters. -
Vision, Touch, and the Poetics of Bernini's Apollo and Daphne Author(S): Andrea Bolland Source: the Art Bulletin, Vol
Desiderio and Diletto: Vision, Touch, and the Poetics of Bernini's Apollo and Daphne Author(s): Andrea Bolland Source: The Art Bulletin, Vol. 82, No. 2 (Jun., 2000), pp. 309-330 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3051379 Accessed: 29/10/2009 07:49 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. College Art Association is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin. http://www.jstor.org Desiderio and Diletto: Vision, Touch, and the Poetics of Bernini's Apollo and Daphne AndreaBolland The gods, that mortal beauty chase, Daphne and to the subtleties of Bernini's statue. -
Women, Virtue and Visual Imagery During the Counter-Reformation in the Papal States, 1575-1675
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 Maniera Devota/mano Donnesca: Women, Virtue And Visual Imagery During The Counter-Reformation In The Papal States, 1575-1675 Patricia Rocco Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/101 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MANIERA DEVOTA/MANO DONNESCA WOMEN, VIRTUE AND VISUAL IMAGERY DURING THE COUNTER-REFORMATION IN THE PAPAL STATES, 1575-1675 by PATRICIA ROCCO A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy The City University of New York 2014 ©2014 PATRICIA ROCCO All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy Professor James Saslow Date Chair of Executive Committee Professor Claire Bishop Date Executive Officer Professor James Saslow Professor Elinor Richter Professor Barbara Lane Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MANIERA DEVOTA/MANO DONNESCA WOMEN, VIRTUE AND VISUAL IMAGERY DURING THE COUNTER-REFORMATION IN THE PAPAL STATES, 1575-1675 by Patricia Rocco Adviser: Professor James Saslow The history of women’s participation in religious movements during the Early Modern period in Europe has long been less commented upon in modern scholarship than that of their male counterparts. -
The Fowler Collection of Early Architectural Books from Johns Hopkins University Reel Listing
Works of the Master Architects: The Fowler Collection of Early Architectural Books from Johns Hopkins University Reel Listing Accolti, Pietro (1455-1572). Alberti, Leon Battista (1404-1472). Lo Inganno De Gl'Occhi, Prospettiva Pratica Di [leaf 2 recto] Leonis Baptiste Alberti De Re Pietro Accolti…[2 lines]. Aedificatoria Incipit Lege Feliciter. In Firenze, Appresso Pietro Cecconcelli. 1625 Florentiæ accuratissime impressum opera Magistri Trattato In Acconcio Della Pittvra. [Engraved Nicolai Laurentii Alamani: Anno salutis Millesimo vignette]; Folio. 84 leaves. [i-xii], 1-152 [153-156] p. octuagesimo quinto:quarto Kalendas Ianuarias. 1485 including woodcut diagrams in text. Woodcut head- [Colophon] Lavs Deo Honor Et Gloria. Leonis and tailpieces. 30.3 cm. 11 9/16 in.; Contents: p. [i]: Baptistae Alberti Florentini Viri Clarissimi de re title page; p. [ii]: blank; p. [iii]: dedication to Aedificatoria opus elegãtissi mu et qnãmaxime utile; Cardinal Carlo de Medici; p. [iv]: blank; p. [v-vii]: Folio. 204 leaves. [1-204] leaves. 34 lines to a page. dedicatory verses to Giovambatista Strozzi, 27 cm. 10 5/8 in.; Contents: leaf [1] recto: blank; leaf Alessandro Adimari and Andrea Salvadori; p. [viii- [1] verso: Politian's dedication to Lorenzo de Medici; xii]: table of contents; p. 1-2: preface; p. 3-152: text, leaf [2] recto-leaf [203] verso: Alberti's preface and Part I-III, including woodcut diagrams; p. [153-154]: text of Book I-X, ending with colophon; leaf [204] full-page woodcut illustrations; p. [155]: woodcut recto: Baptista siculus in auctoris psona Ad printer's device above register; p. [156]: blank; Notes: lectorem...; leaf [204] verso: register; Notes: First First edition.