Leonardo Da Vinci (1452 - 1519)
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Wliery Lt News Release Fourth Street at Constitution Avenue Nw Washington Dc 20565 • 737-4215/842-6353
TI ATE WLIERY LT NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215/842-6353 PRESS PREVIEW AUGUST 9, 1984 10:00 A.M. - 1:00 P.M. FOR IMMEDIATE RELEASE RENAISSANCE DRAWINGS FROM THE AMBROSIANA AT NATIONAL GALLERY OF ART WASHINGTON, D.C. JULY 27, 1984. The Biblioteca Ambrosiana in Milan, one of Europe's most prestigious research libraries, houses an impressive collection of manuscripts, printed books, and drawings. From the approximately 12,000 drawings in the Ambrosiana collection, eighty-seven sheets from the late fourteenth to early seventeenth centuries will go on view in the National Gallery of Art's West Building beginning August 12, 1984 and running through October 7, 1984. The Ambrosiana collection contains some of the finest works of North Italian draftsmanship. Until recently, these drawings (with the exception of those of the Venetian School) have received little attention from scholars outside Italy. This exhibition brings to the United States for the first time works from the Biblioteca Ambrosiana by prominent artists of the North Italian Schools as well as by major artists of the Renaissance in Italy and Northern Europe. The show includes works by Pisanello, Leonardo, Giulio Romano, Vasari, Durer, Barocci, Bans Holbein the Elder and Pieter Bruegel the Elder. Some of the earliest drawings in the exhibition are by the masters of the International Gothic Style. Several drawings by the prolific (MORE) RENAISSANCE DRAWINGS FRCM THE AMBROSIANA -2. draftsman, Pisanello, appear in the shew. Figures in elegant and fashionable costumes are depicted in his Eleven Men in Contemporary Dress. -
Logo/Barra Comune Di Milano / Palazzo Reale
BERNARDINO LUINI E I SUOI FIGLI Palazzo Reale, 9 aprile | 13 luglio 2014 Dal 9 aprile 2014 l‟arte del Rinascimento torna nelle sale di Palazzo Reale con una grande mostra dedicata a Bernardino Luini, curata da Giovanni Agosti e Jacopo Stoppa. Bernardino Luini e i suoi figli è un progetto promosso dal Comune di Milano-Cultura, organizzato da Palazzo Reale insieme alla Soprintendenza per i Beni Storici, Artistici ed Etnoantropologici di Milano e al Dipartimento di Beni Culturali e Ambientali dell‟Università degli Studi di Milano e prodotto insieme a Gruppo 24Ore Cultura, con il sostegno di Cosmit, Ford, e in collaborazione con l‟architetto Piero Lissoni, che ha curato allestimento e illuminazione anche grazie al supporto di Flos. La mostra, ospitata nelle sale del piano nobile di Palazzo Reale e nella sala delle Cariatidi, racconta l‟intero percorso dell’artista, dalle ricerche giovanili ai quadri della maturità, con un occhio costante, da un lato, al lavoro dei suoi contemporanei (Bramantino, Lorenzo Lotto, Andrea Solario, Giovanni Francesco Caroto, Cesare da Sesto e molti altri); dall‟altro, alla traiettoria artistica dei figli di Luini, e in particolare del più piccolo Aurelio. Un intero secolo di arte lombarda va dunque in scena a Palazzo Reale, attraverso tele, tavole, disegni, affreschi staccati, arazzi, sculture in legno e in marmo, codici miniati, volumi a stampa. Il percorso espositivo presenta una selezione di circa duecento opere provenienti soprattutto dalle raccolte milanesi (dalla Madonna del roseto della Pinacoteca di Brera al Gesù Bambino dell‟Ambrosiana, dal Sant’Antonio del Poldi Pezzoli all‟Ercole e Atlante del Castello Sforzesco), ma integrate da significativi prestiti europei (per esempio dal Louvre e dallo Jacquemart-André di Parigi, dall‟Albertina di Vienna, dal Szépművészeti Múzeum di Budapest) e americani (dai musei di Houston e di Washington). -
BERNARDINO LUINI Catalogo Generale Delle Opere
CRISTINA QUATTRINI BERNARDINO LUINI Catalogo generale delle opere ALLEMANDI Sommario Abbreviazioni 7 1. Fortune e sfortune di Bernardino Luini 27 2. La questione degli esordi ALPE Archivio dei Luoghi Pii Elemosinieri, Milano, Azienda di Servizi alla Persona «Golgi-Redaelli» e del soggiorno in Veneto AOMMi Archivio dell’Ospedale Maggiore di Milano 35 3. Milano nel secondo decennio APOFMTo Archivio della Curia Provinciale OFM di Torino del Cinquecento ASAB Archivio Storico dell’Accademia di Brera di Milano ASBo Archivio di Stato di Bobbio 61 4. Le grandi commissioni ASCAMi Archivio Storico della Curia Arcivescovile di Milano degli anni 1519-1525 ASCMi Archivio Storico Civico di Milano 77 5. 1525-1532. Gli ultimi anni ASCo Archivio di Stato di Como ASDCo Archivio Storico Diocesano di Como ASMi Archivio di Stato di Milano 89 Tavole ASMLe Archivio di San Magno a Legnano, Milano ASS Archivio Storico del Santuario di Saronno, Varese Le opere ASTi Archivio di Stato del Cantone Ticino, Lugano 125 Dipinti IAMA Istituto di Assistenza Minori e Anziani di Milano Sopr. BSAE Mi Ex Soprintendenza per i Beni storici artistici ed etnoantropologici per le province 413 Dipinti dubbi, irreperibili o espunti di Milano, Bergamo, Como, Lecco, Lodi, Monza e Brianza, Pavia, Sondrio e Varese, 421 Alcune copie da originali perduti ora Soprintendenza Archeologia, belle arti e paesaggio per la città metropolitana di Milano e Soprintendenza Archeologia, belle arti e paesaggio per le province di Como, Lecco, e derivazioni da Bernardino Luini Monza-Brianza, Pavia, Monza e Varese. 429 Disegni 465 Opere perdute f. foglio rip. riprodotto 471 Regesto di Bernardino Luini s.d. -
Mona Lisa: a Comparative Evaluation of the Different Versions S
ONA LISA: A COMPARATIVE EVALUATION OF THE MDIFFERENT VERSIONS AND THEIR COPIES Salvatore Lorusso* Dipartimento di Beni Culturali Alma Mater Studiorum Università di Bologna, Ravenna, Italy Andrea Natali Dipartimento di Beni Culturali Alma Mater Studiorum Università di Bologna, Ravenna, Italy Keywords: “Mona Lisa”, versions, copies 1. Introduction In a previous study [1], which included stylistic and diagnostic analyses, it was found that the oil painting on canvas “Mona Lisa with columns”, part of a private collection in a museum in St. Petersburg (Figure 1), is a copy of the “Mona Lisa” by Leonardo (Figure 2) dating to a period between 1590 and 1660. Noteworthy features include the good quality, readability and expressiveness emanating from the work, which presum- ably is of Nordic influence, specifically German-Flemish. Figure 1. Photograph in the visible of the painting “Mona Lisa with Columns”, St. Petersburg (oil on canvas 63.2 x 85.2 cm ) CONSERVATION SCIENCE IN CULTURAL HERITAGE * Corresponding author: [email protected] 57 Figure 2. The Louvre “Mona Lisa” More specifically, given the importance of the subject, which includes Leonardo’s well-known masterpiece, the conclusion that was reached in defining the above paint- ing a copy of the original, involved examining, from a methodological point of view, investigations carried out in 2004 on the Louvre “Mona Lisa” by the “Center for Re- search and Restoration of the Museums of France”, and published in “Au coeur de La Joconde – Léonard de Vinci Décodé”. This sequence of investigations – which were certainly not aimed at authentication – were examined together with those of the Na- tional Gallery in London, thus enabling comparisons to be made with other works by Leonardo [2-3]. -
Salome: the Image of a Woman Who Never Was
Salome: The Image of a Woman Who Never Was Salome: The Image of a Woman Who Never Was; Salome: Nymph, Seducer, Destroyer By Rosina Neginsky Salome: The Image of a Woman Who Never Was; Salome: Nymph, Seducer, Destroyer, By Rosina Neginsky This book first published 2013 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2013 by Rosina Neginsky 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): 1-4438-4621-X, ISBN (13): 978-1-4438-4621-9 To those who crave love but are unable to love. TABLE OF CONTENTS List of Illustrations ..................................................................................... ix Epigraph: Poem “Salome” by Rosina Neginsky ........................................ xv Preface ...................................................................................................... xxi Introduction ................................................................................................. 1 Part I: Creation of the Salome Myth Chapter One ................................................................................................. 8 History and Myth in the Biblical Story Chapter Two ............................................................................................. -
Leonardo Da Vinci
LEONARDO DA VINCI 105. Studies for the Christ Child (recto) Slight Diagramatic Sketches (verso) Red chalk, brush and red wash (head at center), small traces of Pedretti and Clark :1983, p. 46, fig. 35, p. 5:1; Marani :1987a, p. 240, white gouache highlights over traces of stylus, on ocher-red pre fig. 16;; Kemp :199:1, p. 37; Martin Clayton in Palazzo Grassi :1992, pared paper (recto); pen and brown ink (verso), 285 x 198 mm pp. 250-5:1, nos. 25-25a; Popham 1994- no. :185; Caroline Lanfranc 1 (n% x 7 :Y16 in.) de Pan thou in Musee Conde :1995, pp. 94-95, no. 23; Tordella 1995, Inscribed in red chalk on recto, in right-to-left script, toward cen p. 4:15; Arasse :1998, pp. 452-55, fig. 3:13; Annalisa Perissa Torrini in ter of upper border: anbroso; in pen and black ink toward lower Nepi Scire and Torrini 1999, pp. 92-95, no. 28. right, by a later hand: di Leonardo; on verso in pen and brown ink, by the artist in right-to-left script, toward bottom of sheet: Se io so co[n] certezza lospatio che e dal [pun to] e fall o[g]chio. g. che his delicately rendered sheet in red chalk on ocher-red qui lometto 1500 miglia I Ia qua{n]tita c d che meincognita p[er] Tprepared paper offers several studies of gradually magnitudine e p{er] distantia m[iglia] 10 Ia misuro tal I quale elle increased scale for the figure of the infant Jesus as he is repre e poi Ia re movo quella medesima unaltro spatio incognito e I I sented in the extant Louvre painting of the Virgin and Child c[i]oe in a b, e lla trovo diminuta e 4l5 della prima qua{n]to giu dichero io ch ella I sia piu remota dallochio che essa p[rima] in with Saint Anne and a Lamb (fig. -
Baco O San Juan Bautista: Lectura De Un Cuadro De Leonardo Da Vinci
EVITERNA, REVISTA DE HUMANIDADES, ARTE Y CULTURA INDEPENDIENTE ISSN: 2530-6014, No 5, (MARZO 2019) Baco o San Juan Bautista: lectura de un cuadro de Leonardo da Vinci María José Echarte Cossío Universidad de Valencia, España ([email protected]) Recibido el 11 de diciembre de 2018; revisado el 20 de febrero de 2019; aceptado el 05 de marzo de 2019; publicado el 22 de marzo de 2019. Resumen Hacemos una lectura del cuadro Baco o San Juan Bautista, desde la aplicación a sus imágenes del myto clásico de Dioniso-Baco. Dividimos su contenido en tres partes: 1. Introducción (objetivo y método; dos nombres para el dios: Διόνυσος Βάκχος Dionysus Bacchus, Dioniso-Baco; relato del myto en Nono de Panópolis) 2. Lectura del cuadro (hipótesis de la representación como San Juan Bautista: algunas opiniones; hipótesis de la representación como Baco: nuestra posición) 3. Conclusión (el Baco de Leonardo: una interpretación de Dioniso-Baco, en cuanto dios neutralizador de los Contrarios). Hacemos puntuales comparaciones con su coetáneo flamenco, El Bosco. Palabras clave: Διόνυσος Βάκχος Bachus Dioniso Baco, San Juan el Bautista, los Contrarios, tirso, cérvidos, huevo-órfico. Abstract We make a reading of the painting Bacchus or St John the Baptist, based on a method that applies to it the classic myth of Dionysus-Bacchus. We divide its content into three parts: 1. Introduction (objective and method; the double name, Dionysus-Bacchus; narration of the myth in Νόννος Πανοπολίτης) 2. Reading of the painting (hipothesis of the representation as St John the Baptist: some opinions; hipothesis of the representation as Bacchus: our opinion) 3. -
Scuola Circle 芬奇与他的艺术群体
31.5 — 25.8.2019 Venezia, Fondazione Ugo e Olga Levi 芬奇与他的艺术群体 E LA SUA GRANDE SCUOLA AND HIS OUTSTANDING CIRCLE 31.5 — 25.8.2019 Venezia, Fondazione Ugo e Olga Levi 芬奇与他的艺术群体 E LA SUA GRANDE SCUOLA AND HIS OUTSTANDING CIRCLE A cura di | Curator | 展览策展人 Nicola Barbatelli 尼古拉·巴尔巴泰利 Nota introduttiva di | Introduced by | 序言 Giovanna Nepi Scirè 乔凡娜·内皮·希雷 LEONARDO LEONARDO E LA SUA GRANDE SCUOLA AND HIS OUTSTANDING CIRCLE Palazzo Giustinian Lolin ospita fino al 25 agosto 2019 un importante tributo al genio Palazzo Giustinian Lolin hosts until 25 August 2019 an important tribute to the genius of di Leonardo Da Vinci, in occasione delle celebrazioni del cinquecentenario dalla Leonardo Da Vinci, on the occasion of the celebrations marking the 500th anniversary of scomparsa: la mostra “Leonardo e la sua grande scuola”, a cura di Nicola Barbatelli. Leonardo da Vinci’s death: the exhibition “Leonardo and His Outstanding Circle”, curated by Con 25 opere esposte – di cui due disegni attribuiti al genio toscano – il progetto pone Nicola Barbatelli. Proposing a collection of 25 works — among which two drawings attributed l’accento non solo sull’opera del grande Maestro, ma soprattutto sulle straordinarie to the Tuscan genius —, this project does not merely focus on the work of the great master, pitture dei suoi seguaci – tra cui Giampietrino, Marco d’Oggiono, Cesare da Sesto, but above all on the extraordinary paintings of his followers — including Giampietrino, Marco Salaì, Bernardino Luini – e il loro dialogo con la poetica artistica di Leonardo. d’Oggiono, Cesare da Sesto, Salaì, Bernardino Luini — and their dialogue with Leonardo’s artistic poetics. -
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The Evolution of Landscape in Venetian Painting, 1475-1525
THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters. -
The French History of Leonardo Da Vinci's Paintings
The French History of Leonardo da Vinci’s Paintings Laure Fagnart A TURSO, dove se dimorò per tucte le nove del mese, do The date is 10 October 1517. In his travel journal, Antonio de Beatis Dpoi pranso se andò ad Amboys distante VII leghe [...]. In uno recorded the meeting between his patron, Cardinal Louis of Ara- de li borghi el signore [Louis of Aragon] con noi altri andò ad gon, and Leonardo da Vinci, who, a few months earlier, had set up videre messer Lunardo Vinci firentino, vecchio de più de LXX anni home in the manor of Cloux. As we well know, this entry is a de- [the painter was 65 years old, actually], pictore in la età nostra excel- cisive one. It helps us to gain a clearer picture of the master’s daily lentissimo, quale mostrò ad sua Signoria Illustrissima tre quatri, uno life in the Loire Valley; it also helps us to deduce that the Italian di certa donna firentina, facto di naturale, ad instantia del quondam had brought part of his artistic and scientific equipment to France. magnifico Iuliano de Medici, l’altro di san Iohanne Baptista giova- The master actually showed his hosts certain paintings – a portrait ne, et uno de la Madonna et del figliolo che stan posti in gremmo of a Florentine lady, a young St. John the Baptist, and a Virgin and de sancta Anna, tucti perfectissimi. Ben vero che da lui per esserli Child with St. Anne – as well as projects involving machines and venuta certa paralesi ne la dextra non se ne può expectare più cosa anatomical studies. -
The Lost Manuscripts of Leonardo Da Vinci
THE LOST MANUSCRIPTS OF LEONARDO DA VINCI A history of Leonardo da Vinci’s manuscripts and a calculation of how many remain lost by RICHARD SHAW POOLER Submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY in the subject of ART HISTORY at the UNIVERSITY OF SOUTH AFRICA Promoter: Prof Bernadette Van Haute -------------------------------------- OCTOBER 2014 DECLARATION I declare that THE LOST MANUSCRIPTS OF LEONARDO DA VINCI is my own work and that all the sources that I have used or quoted have been indicated or acknowledged by means of complete references. ……………………………. Richard Shaw Pooler Date ………………………….. Title: THE LOST MANUSCRIPTS OF LEONARDO DA VINCI A history of Leonardo da Vinci’s manuscripts and a calculation of how many remain lost Summary: This thesis investigates the history of Leonardo da Vinci’s manuscripts, explains the recovery of some of those that were lost, and calculates what proportion of his work remains lost. It does this by researching the following four main topics: the compilation of his manuscripts; the dispersal and loss of his manuscripts; the recovery and reconstruction of some manuscripts; and an estimate of what remains lost. Most of Leonardo’s manuscripts were written in the last thirty years of his life. The first part of this thesis traces which manuscripts were written and when. After his death, his manuscripts dispersed and it is not known how many were lost. The next section details the dispersal. Recovery of some manuscripts took place followed by further dispersal and loss. Part of the recovery was due to key collectors such as Pompeo Leoni.