DOCSLIB.ORG

Treasures from Nickels and Dimes Gifts of Italian Painting from the Samuel H

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Treasures from Nickels and Dimes Gifts of Italian Painting from the Samuel H Treasures from Nickels and Dimes Gifts of Italian Painting from the Samuel H. Kress Foundation In 1953, the Mead’s first director, Charles H. Morgan, wrote to the Kress Foundation’s art director, Guy Emerson, requesting a “Kress Study Collection” of Italian Renaissance and Baroque art for Amherst College. Morgan explained that Amherst could preserve and use such a gift: in 1951, the College’s Fine Arts Department had taken up residence in the new, fireproof, Mead Art Building which—in its various capacities as an art gallery, auditorium, slide library, artists’ studio space, faculty offices, and classroom building— attracted 1,000 undergraduate students each week and some 20,000 outside visitors a year. Crucially, the department’s program of instruction considered first-hand association with original art objects to be its cornerstone. At the time Morgan wrote, the Kress Foundation was ideally positioned to assist Amherst. Founded by Samuel H. Kress in 1929 to “promote the moral, physical and mental welfare and progress of the human race,” the foundation had two mandates: to convey Mr. Kress’ art collection to the public, and to support medical research. Kress (1863-1955) had made a fortune by revolutionizing the five-and-dime variety store. By stocking fewer types of items and buying in bulk directly from manufacturers, Kress’s stores offered comparatively high quality merchandise at relatively low prices. The stores’ window displays were equally innovative—one celebrated example contained nothing but pots and pans priced at a nickel. Kress became interested in art in 1921, when, on a visit to Italy, he met the art dealer Count Alessandro Contini- Bonacossi. The American merchant quickly amassed a large collection, focused initially on Italian Renaissance paintings but soon expanding to include other European art of the fourteenth through nineteenth centuries. Kress envisioned his collection as a gift to the nation. Rather than donating all Samuel H. Kress (1863-1955) of his collection to a single museum, or building his own (as his present day counterpart, Wal-Mart heiress Alice Walton, has done) Kress initiated the disbursal of his collection throughout the United States. Between 1939 and 1965, in a project described in 1994 by Newhouse News Service’s Byron Belt as the “largest philanthropic sharing in the history of art here or abroad,” the Kress Foundation donated 3,000 works of art to ninety-six museums, universities, and other institutions ranging geographically from Atlanta, Georgia to Honolulu, Hawaii. The National Gallery of Art in Washington D.C. received 376 paintings, ninety-four sculptures, 1,307 bronzes, thirty-eight drawings and prints, and 108 frames. Eighteen regional museums received an additional 785 objects, and twenty-three college and university museums received the remaining 285 objects for use in the teaching and study of art history. Amherst’s Mead Art Museum ranked among the latter group. The decision had been an easy one for Guy Emerson, Charles Morgan’s summer neighbor on Martha’s Vineyard, and a long-time friend of former Amherst President Stanley King. Upon receiving Morgan’s letter in 1953, Emerson replied, “Dear Charley, your letter was no surprise to me . I shall see that it is kept in the active file and not buried.” Despite Emerson’s assurance, the complex schedule of the foundation’s donation program delayed attention to Amherst for seven years. Finally, in May 1960, only eighteen months before the planned completion of the donation program, Morgan made his first trip to the Kress storage facilities in Huckleberry Hill, PA. Upon his return to campus, Morgan and the other members of the Fine Arts Department used photographs of the paintings that had attracted his interest to develop an annotated “wish list” of paintings, organized in nine categories, each containing two or three artworks. For example, the first category, tempera and gold leaf paintings, named Sano di Pietro’s Adoration of the Child with Saints Bernard and Bernardino (displayed nearby) as Amherst’s first choice, citing its importance as a demonstration of the transition between the middle ages and the early Renaissance, and as an example of the Sienese style. In December 1960, Morgan returned to Huckleberry Hill. The Mead’s first choice in its list of romantic landscapes had gone to Bucknell University, and a Napoleonic portrait to Rutgers, but paintings recently returned from Kansas City and Honolulu made compelling additions to Amherst’s wish list. By January 1961, the Kress and the Mead had agreed to twelve paintings spanning 300 years and valued at over $100,000, making the foundation’s gift among the most notable donations of artwork received by Amherst College at that time. The Mead celebrated the Kress gift, which arrived in April, with an illustrated catalogue and a festive opening attended by Emerson in May 1961. Even after this celebration, however, the opportunity to receive a few more gifts from the Kress Foundation remained. In November 1961, Morgan traveled to New York City to review the remaining options. Three Italian paintings, from the sixteenth and the eighteenth centuries, each corresponding in some meaningful way to American and Flemish artworks already in the Mead’s collection, would arrive in January 1962, together with a personal gift from Guy Emerson of Giovanni Santi’s Madonna and Child. Finally, six antique picture frames arrived in May 1962. Three dozen letters, four trips, and innumerable telephone conversations had yielded a total gift of fifteen paintings and six frames—making the Kress Foundation’s gift to Amherst College not only the largest made to any institution in the state Charles H. Morgan (1902-1984) of Massachusetts, but also the largest made to any liberal arts college, a tribute to the diplomacy and vision of the Mead’s extraordinary first director. Four paintings from the Kress Foundation gift to Amherst College hang in this room. In Mariotto di Nardo’s Crucifixion (ca.1400), a sculptural Christ hangs from the cross while Mary Magdalene, in red, kneels at the base. John the Baptist, to the right, admonishes a soldier while the Virgin Mary, in a dark blue mantle, swoons at the left. A pelican perched atop the cross pecks her own breast, drawing blood with which to nourish her young. Like the nearby angels who catch Christ’s blood in vessels, the pelicans would have struck early viewers as a reference to Christ’s sacrifice and the Eucharist. The painting’s slender figures, rich colors, and flowing lines characterize a style popularized in the middle ages that would, in the years immediately following this work, loose favor to the volumetric figures, symmetrical compositions, and classical forms that distinguish the art of the Florentine Renaissance. In Sano di Pietro’s late Madonna and Child with Saints Bernard and Bernardino (ca.1480), an angel raises the Christ Child, using a cloth as a priest would lift the Eucharist bread during Catholic Mass, before the adoring Virgin. The composition—in which an angel, rather than the Virgin, lifts the Child—is unusual for the artist, and for altarpieces of this era. Beneath a host of angels and slate-blue cherubim two saints kneel: Bernard (behind the Virgin) and Bernardino (behind the angel), a saint canonized within Sano’s lifetime and a favorite subject of the artist. The painting’s exquisite details repay close looking. Painted flower garlands crown the angels, whose wings resemble peacock eyes. Punchwork patterns stamped into the gold leaf form stars in the angels’ wings; different brocades in Mary’s dress, the angel’s robes, and the golden background; and leaves bordering the halos. Text is inscribed into the Virgin’s and Child’s halos. (Hers, from Luke 1:28, reads “ave Maria gratia plena” or “Hail Mary full of grace”; his, from John 8:12, reads “ego sum,” or “I am.”) Even among Sienese art of this period, celebrated for its abundance of rich detail, Sano’s painting ranks as a masterpiece of its kind. Guidoccio Cozzarelli’s Madonna and Child with Angels (ca. 1485) presents a simple composition focused on a few figures rendered with the seeming individuality of portraits. Lightly grasped in the Virgin’s long, slender fingers, the Child tilts his head in an inquisitive gesture; his features seem childlike, but his eyes suggest deep wisdom. While the halos of the Virgin (which reads “ave Maria gratia plena”) and Child (decorated with ornate punchwork) appear conventional, the angels’ halos present less measured lines whose expressive appearance may represent an attempt to render effects of perspective. Are they a bold experiment by the master? An assistant’s rougher workmanship? An addition by a later hand? Further research may yield an answer. Girolamo da Santacroce’s Madonna and Child with Saint Ambrose (ca. 1549) shows the fourth- century Roman bishop (one of the four Latin Doctors of the Church) holding a scroll which reads, “mo(n)stra te esse matrem,” or “show thyself a mother”—words from the hymn Ave Maris Stella (Hail Star of the Sea), recited at Marian feasts from the eighth century onward. While the Virgin Mary gazes into the distance, the Child lifts his hand in the sign of benediction. Girolamo may have included the soldiers and travelers in the landscape only to create a realistic background. The presence of nuns, however, suggests that the setting of this scene, and perhaps the patron of this work, may have been a convent. The different colors of the nuns’ robes probably function as indicators of status within their community. Their animated conversation may refer to actual discussions within the convent, perhaps concerning the life and writings of St. Ambrose, who was influential in the theological study of Mary, writing three books on the significance of virginity, dedicated to his sister, the nun Marcellina.
Load more

Recommended publications
  • Venetian Painting in America; the Fifteenth Century
    BOUGHT WITH THE INCOME OF THE • _ „ SAGE ENDOWMENT FUND ; THE GIFT OF HenviS M. Sage 1891 B.3.wyife3 "IaH-o-. DATE DUE hjm^^^ MArfrmfi-Ki^ - t¥iC 9n?i)8g. ,fr 'i- GAYLORD INU.S.A. '"7 , Cornell University Library The original of tiiis book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924008640496 VENETIAN PAINTING IN AMERICA GiovAHKi Bellini: Madomna Collection or the late Mr. Theodore M. Davis VENETIAN PAINTING IN AMERICA THE FIFTEENTH CENTURY BY BERNARD BERENSON NEW YORK FREDERIC FAIRCHILD SHERMAN MCMXVI 5 Copyright, 1916, by Frederic Fairchild Sherman PREFACE "Now that we are on the subject of Venetian Paint- ing," that would be a more exact title for this book. For, in fact, I have made the stray pictures in our col- lections the pretext for saying what I wanted to say about their authors in general. In some ways this form suits me as it suited my master, Giovanni Morelli. Like him, I have a dis- taste for including in my own writing questions that do not vividly interest me at the moment, no matter how important in themselves ; and like him, I prefer to avoid such systematic treatment as entails dealing with ma- terials either at second hand, or out of dimmed and at- tenuated recollection. It goes against the grain to write about anything that does not fascinate and absorb me. For the last few years it has been the painters of Venice, and Giovanni Bellini in particular, that have preoccupied my leisure and occupied my working hours.
    [Show full text]
  • Palazzo Querini Stampalia Portego
    Palazzo Querini Stampalia Museum Portego entrance Giovanni Mythology Bellini room room The earliest documents concerning the construction of the palace are from 1513-14 and point to Nicolò Querini as commissioner of the works. Grandson Francesco continued the works of enlargement and restoration in various stages throughout the first half of the century. From this period archival documents note nothing of importance until the acquisitions of the following century: in 1614 the building which is now the east wing of the palace and in 1653 part of the house between the canal and the church in Campo Santa Maria Formosa. The last radical transformation of Ca’ Querini was between 1789 and 1797 for the occasion of the marriage in 1790 between Alvise, son of Zuanne, and Maria Teresa Lippomano. In addition to the elevation of the third floor, completed after 1795, there was a large scale restructuring of the interiors with the reduction of the length of the portego and the evolution of the decorative scheme on which worked Jacopo Guarana, Davide Rossi, ornamentalist Giuseppe Bernardino Bison, gilder Domenico Sartori and brothers and stucco workers Giuseppe and Pietro Castelli. The museum is presented in such a way as to recall a patrician residence of the eighteenth century with the display of all of the collections of the family: furnishings, porcelain, sculpture, fabrics, chandeliers, globes, as well as paintings, in order to bring to life the spaces once truly inhabited by the Querini. A rich theatre where every detail plays an important role, from the fabrics in some rooms woven according to original patterns, to the curtains and the pelmets which adorn the windows to the original chandeliers.
    [Show full text]
  • Structural Conservation of Panel Paintings: Proceedings
    PART THREE History of the Structural Conservation of Panel Paintings 188 Critical History of Panel Painting Restoration in Italy Andrea Rothe panel conservation techniques are directly related to a long history of panel construction that dates to Mantiquity and flourished from the Middle Ages to the Renaissance (see Uzielli, “Historical Overview,” herein). The ingenuity and intuition of the woodworkers of the past compensated for their lack of scientific understanding of this complex and widely diverse material. Central Italy, in particular, produced a large quantity of paintings on panel. Many of them—such as the Cimabue Crucifix in the Church of Santa Croce in Florence—were constructed to the highest standards of craftsmanship. The early woodworkers often used techniques or methods similar to those applied by modern-day restorers in treating panels—techniques such as movable crossbars (Figs. 1, 2) and coats of gesso, paint, or red lead to seal the backs of panels (Fig. 3). These sealants were probably applied as humidity barriers and protection against wood-boring insects, and panels treated in this manner have often survived better than untreated panels. The large number of panel paintings in Italian churches and muse- ums created the need for appropriate conservation work, particularly in modern times. The state-run centers of Florence and Rome have become the largest and most advanced in Italy and have generated a group of highly qualified experts in this field. The volume of panel work that has been executed in Florence far surpasses that of any other conservation center in the world. Figure 1, right Fra Angelico, Annunciation, ca.
    [Show full text]
  • The Structural Conservation of Panel Paintings
    PROCEEDINGS The Getty Conservation Institute PR Proceedings of Los Angeles OCEEDINGS a Symposium at the J. Paul The Structural Getty Museum, April 1995 Conservation of Panel Paintings The Str uctur al Conser va tion of P anel Paintings The Getty Conservation Institute The Structural Conservation of Panel Paintings Proceedings of a symposium at the J. Paul Getty Museum 24–28 April 1995 Edited by Kathleen Dardes and Andrea Rothe T G C I L A Front cover: Alessandro Allori, The Abduction of Proserpine, 1570. Detail. Oil on panel, 228.5 ϫ 348 cm. The J. Paul Getty Museum (73.PB.73), Los Angeles. Back cover and page 305: Girolamo di Benvenuto, Nativity, ca. 1500, reverse. Tempera on panel, 204 ϫ 161 cm. The J. Paul Getty Museum (54.PB.10), Los Angeles. The panel bears witness to the his- tory of its conservation: This light, modern cradle was installed in 1987, after the removal of heavy, traditional crossbars (see page 187), traces of which are still evident. Strips of aged poplar, inserted to repair cracks caused by earlier restorations, can also be seen. Page 1: Transverse surfaces of chestnut (Castanea sp.) (left) and poplar (Populus sp.) (right), showing pore structures. Page 109: Illustration showing sawyers producing veneers; from J. A. Roubo, L’art du menuisier (Paris: Académie Royale des Sciences, 1769). Page 187: Girolamo di Benvenuto, Nativity, reverse. A cumbersome, traditional cradle, installed around 1900 and removed in 1987, is shown. Tevvy Ball, Managing Editor Sylvia Tidwell, Copy Editor Anita Keys, Production Coordinator Jeffrey Cohen, Series Designer Hespenheide Design, Book Designer Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 © 1998 The J.
    [Show full text]
  • Bernardino Licinio: Portraiture, Kinship and Community in Renaissance Venice
    Bernardino Licinio: Portraiture, Kinship and Community in Renaissance Venice by Karine Tsoumis A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Karine Tsoumis 2013 Bernardino Licinio: Portraiture, Kinship and Community in Renaissance Venice Karine Tsoumis Doctor of Philosophy Department of Art University of Toronto 2013 Abstract Bernardino Licinio was a painter of Bergamasque origin active in Venice from c. 1510 to c. 1550. Licinio was a prolific painter of portraits, concert scenes and religious images for the home and headed a prosperous family workshop. Yet the artist is largely denied importance within the current art historical narrative, being conceived as “minor,” “provincial” or “second- rate.” My dissertation questions the “constructedness” of historical identities and presents the first nuanced understanding of Licinio’s place within Venetian culture. I argue that his status as “minor” is a modern construct rather than a reflection of his contemporaries’ perception. My dissertation inscribes itself within endeavours to “de-centre” the Renaissance conceptually, and is especially indebted to recent studies of material culture that challenge art historical hierarchies and aesthetic biases. The dissertation provides a multilayered reading of Bernardino Licinio’s artistic identity through frameworks that stem from what I consider unique aspects of his practice, while others arise from problems posed by his historiographical reception. The artist’s position between Venice and Bergamo provides the line of enquiry for chapter one, where I engage with the Bergamasque ii community conceived, on the one hand, as a form of historiographical framing, and on the other, as a social reality.
    [Show full text]
  • Revealing the African Presence in Renaissance Europe Revealing the African Presence in Renaissance Europe
    12.1mm 203mm revealing the african presence in renaissance europe presencerevealing the african in renaissance the walters art museum art the walters revealing the african presence in renaissance europe revealing the african presence in renaissance europe Revealing The Presence African Renaissance Europe edited by Joaneath Spicer contributions by Natalie Zemon Davis Kate Lowe Joaneath Spicer RevealingBen Vinson III revealing the african presence The Presencein renaissanceAfrican europe Renaissance the Europewalters art museum This publication has been generously supported by the Robert H. and Clarice Smith Publication Fund Published by the Walters Art Museum, Baltimore All rights reserved. © 2012 Trustees of the Walters Art Gallery No part of the contents of this book may be reproduced, Third printing, 2013 stored in a retrieval system, or transmitted in any form or by any means, including photocopy, recording, or other information and retrieval systems without the written permission of the Trustees of the Walters Art Gallery. This publication accompanies the exhibition Revealing All dimensions are in centimeters; height precedes width the African Presence in Renaissance Europe, held at the precedes depth unless otherwise indicated. Walters Art Museum from October 14, 2012, to January 21, The Walters Art Museum 2013, and at the Princeton University Art Museum from 600 North Charles Street February 16 to June 9, 2013. Baltimore, Maryland 21201 This exhibition is supported by a grant from the National thewalters.org Endowment for the Humanities and by an indemnity Produced by Marquand Books, Seattle from the Federal Council on the Arts and Humanities. marquand.com Library of Congress Cataloging-in-Publication Data Designed and typeset by Susan E.
    [Show full text]
  • A in 1927 Director Hans Posse (1879–1942) Estimated This Painting and Other Two Others (Gall
    ANNEX: ATTRIBUTION CHART Nr. Marx, 2005 Hübner, 1876 Morelli, 1880 Woermann, 1887 Morelli, 1891 Woermann, 1908 1 Fra Angelico (school of), Fra Angelico (school of), cat. Benozzo Gozzoli [p. 244] Fra Angelico (school of) Benozzo Gozzoli [p. 337] Fra Angelico (school of) Annunciation, gall. no. 7 no. 17 2 Sandro Botticelli, Virgin and Child Sandro Botticelli, cat. no. 2409 Sandro Botticelli [p. 234] Sandro Botticelli Sandro Botticelli [p. 336] Sandro Botticelli with the Infant Saint John the Baptist, gall. no. 8 3 Sandro Botticelli, From the Life and Sandro Botticelli, cat. no. 26 A Sandro Botticelli [p. 233–234] Sandro Botticelli Sandro Botticelli [p. 336] Sandro Botticelli Work of St. Zenobius, gall. no. 9 4 Sandro Botticelli (school of), Virgin Sandro Botticelli ?, cat. no. 27 Sandro Botticelli (school of) [p. Sandro Botticelli (school of) Sandro Botticelli (school of) [p. Sandro Botticelli (school of) and Child with Angels, gall. no. 10 235] 336] 5 — [Location unknown, Saint John the Sandro Botticelli, cat. no. 25 Sandro Botticelli (school of) [p. Sandro Botticelli (school of) Sandro Botticelli (school of) [p. Sandro Botticelli (school of) Evangelist, formerly gall. no. 11]a 233] 336] 6 — [Location unknown, Saint John the Sandro Botticelli, cat. no. 26 Sandro Botticelli (school of) [p. Sandro Botticelli (school of) Sandro Botticelli (school of) Sandro Botticelli (school of) Baptist, formerly gall. no. 12]b 233] [p. 336] 7 Lorenzo di Credi, Virgin and Child Leonardo da Vinci, Lorenzo di Credi (Dutch copy) Lorenzo di Credi Nordic painter [p. 341 ff.] Lorenzo di Credi with Saint John the Baptist, cat. no. 30 [p.
    [Show full text]
  • The Adoration of the Shepherds by El Greco
    The Adoration of the Shepherds by El Greco David McTavish To Alfred Bader on his 90th birthday The Adoration of the Shepherds by El Greco The Adoration of the Shepherds by El Greco: New Findings on His Early Work David McTavish AGNES ETHERINGTON ART CENTRE, KINGSTON, CANADA 2014 This publication is generously supported by Alfred and Isabel Bader Author: David McTavish, with foreword by David de Witt Project Management: Shannon Anderson Editor: Louise Gauthier, Québec Design: Rodolfo Borello, Associés libres, Montréal Printing: J. B. Deschamps inc. Library and Archives Canada Cataloguing in Publication McTavish, David, author The Adoration of the Shepherds by El Greco / David McTavish. Includes bibliographical references. ISBN 978-1-55339-404-4 (pbk.) 1. Greco, 1541-1614 The Adoration of the Shepherds. 2. Greco, 1541-1614--Criticism and interpretation. 3. Shepherds in art. 4. Agnes Etherington Art Centre. I. Agnes Etherington Art Centre II. Title. III. Title: The Adoration of the Shepherds. ND813.T4A36 2014 759.6 C2014-901464-3 Distribution: ABC Art Books Canada / ABC Livres d’art Canada www.abcartbookscanada.com Agnes Etherington Art Centre 36 University Avenue Queen’s University Kingston, Ontario, Canada K7L 3N6 www.aeac.ca Cover: El Greco, The Adoration of the Shepherds Inside covers: El Greco, The Adoration of the Shepherds, detail © Agnes Etherington Art Centre, David McTavish, 2014 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval process, without permission in writing from the publisher.
    [Show full text]
  • Depictions of King David in Renaissance and Baroque Art
    A Figure Study: Depictions of King David in Renaissance and Baroque Art Ashley Rothbart Honors Thesis AH 100: Art History Dr. Claire Lindgren Spring 2013 A Figure Study: Depictions of King David in Renaissance and Baroque Art Ashley Rothbart Beyond the pages of the Bible, King David remains alive in the imagination of readers and works of art. As shepherd, victor, and king, the character of David is multifaceted and complex as are his artistic depictions through the ages. In the Renaissance and Baroque periods, King David became a prominent subject in works of art and an Figure 1: Zanobi Strozzi, Initial B with King David in Prayer. allegory for contemporaneous history and culture. The life ca. 1450. Tempera, gold, and ink on parchment. 5 5/8 in. x 5 3/8 in. The Metropolitan Museum of Art, of King David was revived by artists that explored his New York. character with an analytical lens and delineated stories that span the scope of developing styles and modes of expression. Although David can previously be found in Medieval art such as manuscript illuminations and stained glass windows, beginning in the Renaissance this significant character of the Bible gained breadth and fervor. A forefather of Judaism and Christianity, King David is an Old Testament figure whose life experiences are richly described within the Bible. The story of King David appears in I Samuel 16 onward, the whole of II Samuel, and I Kings 1-2.* Traditionally attributed as the author of the Psalms, at least seventy-three psalms are indicated to be “Of David” (Clifford 773).
    [Show full text]
  • Djela Radionice Santa Croce Na Istočnoj Obali Jadrana
    SVEUČILIŠTE U ZAGREBU FILOZOFSKI FAKULTET ODSJEK ZA POVIJEST UMJETNOSTI Ivana Lučića 3 Ivana Čapeta Rakić DJELA RADIONICE SANTA CROCE NA ISTOČNOJ OBALI JADRANA DOKTORSKI RAD Zagreb, 2011. - 1 - UNIVERSITY OF ZAGREB FACULTY OF PHILOSOPHY DEPARTMENT OF ART HISTORY Ivana Lučića 3 Ivana Čapeta Rakić WORKS OF THE SANTA CROCE WORKSHOP ON THE EASTERN ADRIATIC COAST DOCTORAL THESIS Zagreb, 2011. - 1 - - 2 - SVEUČILIŠTE U ZAGREBU FILOZOFSKI FAKULTET ODSJEK ZA POVIJEST UMJETNOSTI Ivana Lučića 3 Ivana Čapeta Rakić DJELA RADIONICE SANTA CROCE NA ISTOČNOJ OBALI JADRANA DOKTORSKI RAD Mentor: Dr. sc. Ivana Prijatelj Pavičić Zagreb, 2011. - 2 - - 3 - SAŽETAK Tema ovoga rada vezana je većinom uz djelatnost jedne grane venecijanske slikarske obitelji Santa Croce i to one Girolama, Francesca i Pietra Paola da Santa Croce. Druga slikarska obitelj istoga prezimena zastupljena je na istočnoj obali Jadrana sa samo dva djela Francesca Rizza da Santa Croce. Naslovom rada sugerira se geografsko područje obuhvaćeno istraživanjem. Određeno je lokalitetima na kojima se nalaze djela radionice Santa Croce; od Kopra na sjeveru do Boke kotorske na jugu istočnojadranske obale. Opus obitelji Santa Croce na istočnoj obali Jadrana do sada nije bio obuhvaćen cjelovitim, iscrpnim pregledom koji bi sadržavao povijesnoumjetnička, ikonografska i konzervatorsko-restauratorska istraživanja, a nedovoljna pozornost bila je posvećena i drvorezbarenim okvirima njihovih slikanih djela. Razmatraju se pitanja o tipologiji i oblikovnim značajkama tih okvira te o ishodištima njihovih stilskih rješenja. Hipoteza o slikarima Santa Croce kao autorima cjelovitih oltarnih cjelina počiva primarno na proučavanju njihovih slikarskih djela i crteža na kojima vidimo prikazanu arhitekturu. Iz njih je razvidno da su dobro poznavali arhitekturu svoga vremena pa su mogli biti idejni autori cjelovitih projekata.
    [Show full text]
  • Palazzo Querini Stampalia the Querini Family of Santa Maria Formosa
    Museum Palazzo Querini Stampalia entrance Portrait The Querini family room of Santa Maria Formosa Wall A Venetian mosaicist (second half of the 19th century) Portrait of Giovanni Querini end of the 19th century Wall B Antonio Stom (Venice, documented 1717-1734) The Departure of the Bucintoro post 1729 Wall D Francesco Bortolozzi Federico Beltz (Florence 1727 - Lisbon 1815) (17th century) 1. Andreas Quirino Senator 7. Map of Asolo Venetus (Portrait of Senator 17th century Andrea Querini) 1794 ca. Michelangelo Mattei, Francesco Alberti (copy from) 2. Letter written 18th century by Giovan Battista Sartori 8. Map of Treviso that accompanied the gift of the sketch by 18th century Antonio Canova, February 22nd, 1867 Nicolò Cassana 3. Maritime Theater, that is (Genoa ? 1659 - London 1713) the Archipelago 9. Portrait of dogaressa Elisabetta Venice, Antonio Zatta and Sons, 1788 Querini Valier French Painter 10. Portrait of doge Silvestro Valier (half of the 19th century) 1694 4. Giovanni and Caterina Querini at the Universal Exhibition of Paris Gabriel Bella in 1855 (Venice 1730 - 1799) 11. The celebrations of the 2nd Luigi Rossi of February in Santa Maria (Vicenza 1809 - Venice 1887) Formosa 5. Sack of the Palazzo Querini post 1779? - ante 1792 9 10 in 1849 3 5 1 7 11 Antonio Dal Zotto 4 6 12 2 8 Marianna Marin (Venice, 1841-1918) (Venice, second half of the 19th century) 12. Bust of Conte Alvise Querini 6. The Querini Polcastro Villa Stampalia in Loreggia 1873-77 1867 Palazzo Querini Stampalia The Querini family of Santa Maria Formosa Furnishings Chandelier Pauly & C.C.V.M.
    [Show full text]
  • Bernardino Licinio: Portraiture, Kinship and Community in Renaissance Venice
    Bernardino Licinio: Portraiture, Kinship and Community in Renaissance Venice by Karine Tsoumis A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Karine Tsoumis 2013 Bernardino Licinio: Portraiture, Kinship and Community in Renaissance Venice Karine Tsoumis Doctor of Philosophy Department of Art University of Toronto 2013 Abstract Bernardino Licinio was a painter of Bergamasque origin active in Venice from c. 1510 to c. 1550. Licinio was a prolific painter of portraits, concert scenes and religious images for the home and headed a prosperous family workshop. Yet the artist is largely denied importance within the current art historical narrative, being conceived as “minor,” “provincial” or “second- rate.” My dissertation questions the “constructedness” of historical identities and presents the first nuanced understanding of Licinio’s place within Venetian culture. I argue that his status as “minor” is a modern construct rather than a reflection of his contemporaries’ perception. My dissertation inscribes itself within endeavours to “de-centre” the Renaissance conceptually, and is especially indebted to recent studies of material culture that challenge art historical hierarchies and aesthetic biases. The dissertation provides a multilayered reading of Bernardino Licinio’s artistic identity through frameworks that stem from what I consider unique aspects of his practice, while others arise from problems posed by his historiographical reception. The artist’s position between Venice and Bergamo provides the line of enquiry for chapter one, where I engage with the Bergamasque ii community conceived, on the one hand, as a form of historiographical framing, and on the other, as a social reality.
    [Show full text]