Giudizio Di Paride
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Letters by Antoine Morillon (Around 1520–1556). and Stephanus Pighius (1520– 1604) to Antoine Perrenot De Granvelle in Madrid
THE ORIGINS OF A LIBRARY AND AN ART COLLECTION: LETTERS BY ANTOINE MORILLON (AROUND 1520–1556). AND STEPHANUS PIGHIUS (1520– 1604) TO ANTOINE PERRENOT DE GRANVELLE IN MADRID (Wrede, Henning) Altogether the correspondence of Antoine Perrenot, bishop of Arras, Cardinal de Granvelle, minister of Charles V and Philipp II, viceroy of Naples and Sicily is extensive. A large part of it is still kept in Madrid. Here we will focus on just 19 letters written to Perrenot by Antoine Morillon (17) and Stephanus Pighius (2). They are located in the manuscripts II/2253, II/2297, II/2298 of the Real Biblioteca and in 20212 of the Biblioteca Nacional. They provide a sense of Perrenot as a rather young bishop prior to establishing his later well-known library and art collection. In the 16th century Stephanus Pighius was a particularly famous antiquarian scholar of Roman history. His native city Kampen in the Netherlands still celebrates him among its outstanding sons. By contrast his Belgian contemporary, Morillon, born in Leuven, was initially held in high esteem as an archaeologist and classic philologist but fell into obscurity due to his early death and thus absence of publications. He is now only remembered for calling attention to the Codex Argenteus, the Gothic translation of the Gospels by Ulfilas, which he discovered in Werden (today a part of Essen) though it is now kept in Uppsala. Apart from that achievement, he is remembered for several medals, engraved by himself, and by specialists of Greek and Roman epigraphy. Little is known about his life save the 17 letters in his own hand now archived in Madrid. -
Catalogue of the Eleventh Annual Exhibition of Engravings, Etchings, Woodcuts of the Xv and Xvi Centuries
CATALOGUE OF THE ELEVENTH ANNUAL EXHIBITION OF ENGRAVINGS, ETCHINGS, WOODCUTS OF THE XV AND XVI CENTURIES MARCH 3RD TO MARCH 2IST, 1936 M. KNOEDLER & COMPANY, INC. 14 EAST FIFTY-SEVENTH STREET NEW YORK ILLUSTRATED BOOKS AND NEWSPAPERS Discourse was deemed Man's noblest attribute, And written words the glory of his hand; Then followed Printing with enlarged command For thought — dominion vast and absolute For spreading truth, and making love expand. Now prose and verse sun\ into disrepute Must lacquey a dumb Art that best can suit The taste of this once-intellectual hand. A backward movement surely have we here, From manhood — bac\ to childhood; for the age — Bac\ towards caverned life's first rude career. U Avaunt this vile abuse of pictured page. Must eyes be all in all, the tongue and ear Nothing? Heaven keep us from a lower stage. WILLIAM WORDSWORTH ARTISTS REPRESENTED IN THIS EXHIBITION GERMANY ANONYMOUS (1425-1450) DOTTED PRINT 5 MASTER E. S 6 MARTIN SCHONGAUER 7 ANONYMOUS NORTH GERMAN (About 1480) 9 MASTER B. G 10 SCHOOL OF MARTIN SCHONGAUER 10 ISRAHEL VAN MECKENEM 10 MASTER M Z 13 AUGUSTIN HIRSCHVOGEL 14 HANS SEBALD LAUTENSACK 14 HANS BURGKMAIR 15 JOHANN ULRICH WECHTLIN (Pilgrim) 15 LUCAS CRANACH r6 NETHERLANDS MASTER F VB (F. van Brugge?) j$ LUCAS VAN LEYDEN Xo DIRICK JACOBSZOON VELLERT 21 ITALY NIELLO PRINT (Attributed to Francesco Francia) ....... 22 ANONYMOUS FLORENTINE: THE SIBYLS 22 CRISTOFANO ROBETTA 2, ANONYMOUS NORTH ITALIAN: "THE TAROCCHI CARDS" 24 DOMENICO BECCAFUMI (Master H-E) 2K ANONYMOUS XVI CENTURY: ROMAN SCHOOL 25 ANDREA MANTEGNA . _- -*5 SCHOOL OF ANDREA MANTEGNA 26 BARTOLOMEO DA BRESCIA 27 NICOLETTO ROSEX DA MODENA 28 JACOPO DE' BARBARI ... -
Following the Early Modern Engraver, 1480-1650 September 18, 2009-January 3, 2010
The Brilliant Line: Following the Early Modern Engraver, 1480-1650 September 18, 2009-January 3, 2010 When the first engravings appeared in southern Germany around 1430, the incision of metal was still the domain of goldsmiths and other metalworkers who used burins and punches to incise armor, liturgical objects, and jewelry with designs. As paper became widely available in Europe, some of these craftsmen recorded their designs by printing them with ink onto paper. Thus the art of engraving was born. An engraver drives a burin, a metal tool with a lozenge-shaped tip, into a prepared copperplate, creating recessed grooves that will capture ink. After the plate is inked and its flat surfaces wiped clean, the copperplate is forced through a press against dampened paper. The ink, pulled from inside the lines, transfers onto the paper, printing the incised image in reverse. Engraving has a wholly linear visual language. Its lines are distinguished by their precision, clarity, and completeness, qualities which, when printed, result in vigorous and distinctly brilliant patterns of marks. Because lines once incised are very difficult to remove, engraving promotes both a systematic approach to the copperplate and the repetition of proven formulas for creating tone, volume, texture, and light. The history of the medium is therefore defined by the rapid development of a shared technical knowledge passed among artists dispersed across Renaissance and Baroque (Early Modern) Europe—from the Rhine region of Germany to Florence, Nuremberg, Venice, Rome, Antwerp, and Paris. While engravers relied on systems of line passed down through generations, their craft was not mechanical. -
Che Si Conoscono Al Suo Già Detto Segno Vasari's Connoisseurship In
Che si conoscono al suo già detto segno Vasari’s connoisseurship in the field of engravings Stefano Pierguidi The esteem in which Giorgio Vasari held prints and engravers has been hotly debated in recent criticism. In 1990, Evelina Borea suggested that the author of the Lives was basically interested in prints only with regard to the authors of the inventions and not to their material execution,1 and this theory has been embraced both by David Landau2 and Robert Getscher.3 More recently, Sharon Gregory has attempted to tone down this highly critical stance, arguing that in the life of Marcantonio Raimondi 'and other engravers of prints' inserted ex novo into the edition of 1568, which offers a genuine history of the art from Maso Finiguerra to Maarten van Heemskerck, Vasari focused on the artist who made the engravings and not on the inventor of those prints, acknowledging the status of the various Agostino Veneziano, Jacopo Caraglio and Enea Vico (among many others) as individual artists with a specific and recognizable style.4 In at least one case, that of the Martyrdom of St. Lawrence engraved by Raimondi after a drawing by Baccio Bandinelli, Vasari goes so far as to heap greater praise on the engraver, clearly distinguishing the technical skills of the former from those of the inventor: [...] So when Marcantonio, having heard the whole story, finished the plate he went before Baccio could find out about it to the Pope, who took infinite 1 Evelina Borea, 'Vasari e le stampe', Prospettiva, 57–60, 1990, 35. 2 David Landau, 'Artistic Experiment and the Collector’s Print – Italy', in David Landau and Peter Parshall, The Renaissance Print 1470 - 1550, New Haven and London: Yale University Press, 1994, 284. -
A N T I C H I T À
A N T I C H I T À ALBERTO DI CASTRO Late-Mannerist European sculptor Second half 16th century The Three Graces High relief in terracotta, 57.5 x 45.5 x 13.5 cm (22 5/8 x 17 7/8 x 5 3/8 in.) The artistic popularity of the Graces can be traced back to the Charities, minor Ancient Greek goddesses who centuries later in Ancient Rome became known as the Three Graces. Tasked with spreading goodwill, pleasure and mirth, Aglaea, “beauty, splendour or glory”, Euphrosyne, “good cheer or mirth”, and Thalia, “rich banquet or festivity”, were the immortal daughters of Zeus and the sea-nymph Eurynome; they attended banquets and, together with the Muses, danced for the gods. Their principal attributes, an apple, a rose and a sprig of myrtle. Although only Roman copies are to be found today, the earliest portrayals of the three Graces belong to the Hellenistic period. Antichità Alberto Di Castro S.r.l. Socio Unico Piazza di Spagna, 5 – 00187 Roma T. +39 06 6792269 – Fax +39 06 6787410 [email protected] – www.dicastro.com A N T I C H I T À ALBERTO DI CASTRO Fig. 1: The Three Graces: portrayal and sculpture, Roman age The enormous success enjoyed by the Three Graces throughout the years of the Roman Empire (fig. 1) presented itself anew with the advent of the Renaissance thanks to the production of numerous 16th century engravings by Marco Dente (?–1527), Enea Vico (1523–1567), Étienne Delaune (1518/19– 1583) (fig. 2) and other anonymous artists. -
To Rome and Back: Individualism and Authority in Art, 1500–1800
To Rome and Back: Individualism and Authority in Art, 1500–1800 These companion tours offer three different perspectives of the exhibition To Rome and Back: Individualism and Authority in Art, 1500–1800. The first tour, Imagine, provides a close look at how Rome was perceived and portrayed in Italy and beyond. The second, Journey, centers on interpretations of Rome by outsiders who were drawn to the city for its monuments and artistic opportunities. The third tour, Collect, highlights how the city was depicted, on works of art and souvenirs, as a place to be remembered and preserved. Choose your way to Rome! Tour 1 Imagine Even for those who have never set foot in Rome, the city can evoke powerful images and associations. It is the setting of magnificent structures from Western antiquity, including the Colosseum and the Pantheon, as well as works of ancient Roman literature and philosophy, and continues to shape how we perceive our relations to one another and to the wider world. For Catholics, Rome is the seat of the papacy, a place of pilgrimage, and a gateway to the divine. For lovers of art and culture, Rome’s magnificent palaces, churches, and monuments inspire awe and generate wonder. During the three centuries represented in this exhibition, Rome’s power waxed and waned. As the artworks in these galleries demonstrate, however, the idea of Rome, with its potent hold on the cultural imagination, was remarkably persistent and assumed many forms. For some artists, Rome materialized in classical forms and ideals, in the beauty and harmony preserved in ancient Roman objects and espoused in classical texts. -
The Sack of Rome (1527): the Triumph of Mannerism in Europe
Migration and artistic identities The Sack of Rome (1527): the Triumph of Mannerism in Europe Anne LEPOITTEVIN ABSTRACT The political accident that was the sack of Rome is a major landmark in the artistic history of Europe. Contemporaries insisted on its Protestant iconoclasm, which notably jeopardized the relics and sacred images of the Holy City, home of the Holy See and destination of pilgrimages. The sack dispersed the successors to Raphael along with the other actors of the first generation of Mannerists, thereby bringing about the immediate diffusion of the first Roman—as well as Florentine—manner, initially towards the main courts of Italy (1527 and 1528) and later to those of France (Fontainebleau) and ultimately Europe. Benvenuto Cellini, Christ supporting Saint Peter above the waves, inscription “Quare dubitasti?” (“Why did you doubt?”), 1530-1532, silver double carlin of Clement VII. The year 1527 is as important a date for early modern Italy as Saint Bartholomew’s Day (1572) is for France. 1527 is also an important date for Europe, as the sack of Rome has been seen for nearly 500 years as an essential break in the continent’s political, religious and artistic history. The sack made the Council of Trent necessary. In art, first Luigi Lanzi and later André Chastel in particular showed how a political event precipitated the diffusion of Mannerism, the first style to rapidly enjoy European success. The facts are well known. France and the Holy Roman Empire were competing for domination over Europe, and especially over Italy. Shortly after the Battle of Pavia (1525), Pope Clement VII Medicis agreed to rally the League of Cognac, which had been gathered by Francis I of France against Charles V. -
The Laocoon Tableau in Virgil's Aeneid
The Laocoon Tableau in Virgil’s Aeneid The Laocoon Tableau in Virgil’s Aeneid is draped over his back, once struck by lightning. A great crowd of servants stands JOHN R.C. MARTYN (1934-2019) around him, and an extra ordinary number of Trojans are emigrating with him, keen on This is the text of the lecture given at Schools’ the new settlement.’ Night at the University of Melbourne on 22 From Sophocles’ surviving plays, we can September, 1983; it was then published in the 1984 guess that the tragedy was as follows: volume of Iris. At the time, JRC Martyn was Senior Lecturer in Classical Studies at the University of Act I: Trojans rejoice at war’s end; tour of the Melbourne. He retired in 2000 with the rank of Greek Camp-site. Associate Professor, and remained an Honorary Principal Fellow of Classics & Archaeology for Act II: Debate over the Wooden Horse: well over a decade. Cassandra and Laocoon warn of danger. Act III: Laocoon insults the horse; sacrifices n the 8th Century BC Greek epic to Poseidon (Aeneas present). by Arctinus, called the Iliupersis or ‘Destruction of Troy’, Laocoon only Act IV: Messenger speech, describing I Laocoon’s death and Aeneas’ emigration. had one son, and was blinded, but escaped death.1 Sophocles’ play Laocoon was more significant; unfortunately only fourteen lines Since Laocoon and Anchises were brothers, or so survive today, but it must have been the death of Laocoon and his son or sons would the major treatment of the story in Greek have triggered the departure of Anchises literature, and of great interest to Virgil. -
Case 1 Antonio Lafreri and the Speculum Romanae Magnificentiae 1
SPECULUM ROMANAE MAGNIFICENTIAE 1966 CASE 1 ANTONIO LAFRERI AND THE SPECULUM ROMANAE MAGNIFICENTIAE 1. Title page of the Speculum Romanae Magnificentiae. Etching with engraving, 1574-77. Etienne Dupérac (1525-1604)?, engraver. Antonio Lafreri, publisher. Chicago Speculum Number: A1. 2. The Capitoline Wolf. Engraving, 1552. Antonio Lafreri, publisher. Chicago Speculum Number: B347. 3. Castel Sant’Angelo. Engraving, 1575-1586. Antonio Lafreri or Claudio Duchetti, publisher. Chicago Speculum Number: B182. 4. Francesco Albertini (fl.1493-1510). Opvscvlvm de mirabilibus nouae & ueteris Vrbis Romae. Rome: Giacomo Mazzocchi, 1510. Rare Book Collection, Gift of John Fleming. 5. Bartolomeo Marliani (d.1560). Topographia antiquae Romae. Lyon: Sébastien Gryphius, 1534. Helen and Ruth Regenstein Collection of Rare Books. 6. Lucio Fauno (fl.16th century). Compendio di Roma antica. Venice: Michele Tramezzino, 1552. Rare Book Collection. CASE 2 LAFRERI’S ENTERPRISE 1. & 2. The Septizonium. Engraving, 1546. Antonio Lafreri, publisher. Chicago Speculum Number: A11. The Septizonium. Etching with engraving, 1582. Ambrogio Brambilla (ca.1579-1599), etcher. Claudio Duchetti, publisher. Chicago Speculum Number: A34. 3. Title page. Engraving in: Juan Valverde de Amusco (ca.1525-ca.1588). Historia De la composision del cuerpo humano. Rome: Antonio Salamanca and Antonio Lafreri, 1556. John Crerar Collection of Rare Books in the History of Science and Medicine, gift of Dr. Bayard Holmes. 4. Etienne Dupérac (1525-1604), designer and engraver, Arch of Septimius Severus and the Church of S. Adriano. Engraving in: Dupérac. I Vestigi dell' antichità di Roma, raccolti et ritratti in perspettiva con ogni diligentia. Rome: Lorenzo della Vaccheria, 1575. Rare Book Collection. CASE 3 MAPS OF THE ANCIENT CITY 1 1. -
Fashioning Florence: Portraiture and Civic Identity in the Mid-Sixteenth Century Stephanie Ariela Kaplan Washington University in St
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2018 Fashioning Florence: Portraiture and Civic Identity in the Mid-Sixteenth Century Stephanie Ariela Kaplan Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the European Languages and Societies Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Kaplan, Stephanie Ariela, "Fashioning Florence: Portraiture and Civic Identity in the Mid-Sixteenth Century" (2018). Arts & Sciences Electronic Theses and Dissertations. 1545. https://openscholarship.wustl.edu/art_sci_etds/1545 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Art History & Archaeology Dissertation Examination Committee: William E. Wallace, Chair Daniel Bornstein Roger Crum John Klein Nathaniel Jones Fashioning Florence: Portraiture and Civic Identity in the Mid-Sixteenth Century by Stephanie Ariela Kaplan A dissertation presented to The Graduate School of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May -
The Triumph of Perfection Raphael Sixteenth-Century Italian Drawings and Prints from the Museum of Fine Arts, Budapest
THE TRIUMPH OF PERFECTION RAPHAEL SIXTEENTH-CENTURY ITALIAN DRAWINGS AND PRINTS FROM THE MUSEUM OF FINE ARTS, BUDAPEST EXHIBITED WORKS long with Leonardo and Michelangelo, Raphael, the youngest of the Beside the Antique, young artists in Rome diligently copied Raphael’s works, Afamous master triad of the High Renaissance, made an exceptionally and their studies quickly transmitted the master’s vocabulary throughout Italy. deep impression on Italian art. Despite of his short career concentrated Parmigianino was an eminent artist of the new generation and one of the in Rome between 1508 and 1520, there was no artist untouched by his most original inventors of Italian Mannerism, many of whose Roman studies classical style. In his large workshop, many gifted young artists, such as clearly reflect Raphael’s compositions. Raphael was a major source also for Giulio Romano, Perino del Vaga, Polidoro da Caravaggio and Giovanni Giovanni Battista Franco, who played an important role in the dissemination da Udine, worked under Raphael’s supervision as associates and assistants, of Central Italian art in mid-sixteenth-century Venice. participating in the execution of his numerous significant commissions. Raphael was the first sixteenth-century painter who recognised the After Raphael’s premature death, members of his workshop completed their advantages of reproducing his compositions in print. From the early 1510s master’s suddenly interrupted projects and started their own flourishing printmakers working closely with his workshop, above all the most eminent careers. engraver of the period Marcantonio Raimondi, were conducting a very The Collection of Drawings and Prints in Budapest preserves six draw- successful undertaking. -
Raphael: a Sorority of Madonnas
never in an so entirely forgotten, remained art-historical limbo long a of Madonnas - Raphael: sorority as went as a to the original painting unrecognised worked magnet draw still less familiar compositions from still deeper obscurity. by PAUL JOANNIDES, University of Cambridge The Madonna of the pinks, despite features displeasing to some was once a modern viewers, widely admired. Penny supplied list of Raphael's Madonna of the pinks, the jewel-like panel in pristine copies which continues to lengthen. He also reproduced another condition published as the original version by Nicholas Penny in Madonna of the pinks, of similar size, in the collection of the Earl this Magazine in 1992 and now in the National Gallery, London of Pembroke atWilton House, Salisbury: it bears the signature on (Fig. 50), notably advanced our knowledge of the artist.1 The redis 'raphaello urbinas' and the date 'mdviii' the edge of the covered painting reminded us how closely in spirit Raphael could Virgin's bodice (Fig.51).2 Penny left open the question of whether approach a painter such as Gerard David, and how effectively he this painting reflected a composition by Raphael or by a close a in could people quasi-Flemish interior with Italianate forms, pursu follower, but the first is the virtually certain option. As the ? ? a ing in this endeavour and arguably surpassing his immediate National Gallery's picture, the Child reaches for carnation held in two inspiration, Leonardo. It showed how, towards the end of his the Virgin's hand, but otherwise the paintings differ consider Florentine period, probably in late 1507, Raphael was continuing ably.