Siena: City Ofthe Virgin
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Madonna and Child with Donor
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Lippo Memmi Sienese, active 1317/1347 Madonna and Child with Donor 1325/1330 tempera on panel painted surface: 50.8 × 23.5 cm (20 × 9 1/4 in.) overall: 51.5 × 24.2 × 0.5 cm (20 1/4 × 9 1/2 × 3/16 in.) framed: 70 x 36.2 x 5.1 cm (27 9/16 x 14 1/4 x 2 in.) Andrew W. Mellon Collection 1937.1.11 ENTRY The painting’s iconography is based on the type of the Hodegetria Virgin. [1] It presents, however, a modernized version of this formula, in keeping with the “humanized” faith and sensibility of the time; instead of presenting her son to the observer as in the Byzantine model, Mary’s right hand touches his breast, thus indicating him as the predestined sacrificial lamb. As if to confirm this destiny, the child draws his mother’s hand towards him with his left hand. The gesture of his other hand, outstretched and grasping the Madonna’s veil, can be interpreted as a further reference to his Passion and death. [2] The painting probably was originally the left wing of a diptych. The half-length Madonna and Child frequently was combined with a representation of the Crucifixion, with or without the kneeling donor. In our panel, the donor, an unidentified prelate, is seen kneeling to the left of the Madonna; his position on the far left of the composition itself suggests that the panel was intended as a pendant to a matching panel to the right. -
The Collaboration of Niccolò Tegliacci and Luca Di Tommè
The Collaboration of Niccolô Tegliacci and Lúea di Tomme This page intentionally left blank J. PAUL GETTY MUSEUM Publication No. 5 THE COLLABORATION OF NICCOLÔ TEGLIACCI AND LUCA DI TOMMÈ BY SHERWOOD A. FEHM, JR. !973 Printed by Anderson, Ritchie & Simon Los Angeles, California THE COLLABORATION OF NICCOLO TEGLIACCI AND LUCA DI TOMMÈ The economic and religious revivals which occurred in various parts of Italy during the late Middle Ages brought with them a surge of .church building and decoration. Unlike the typically collective and frequently anonymous productions of the chan- tiers and ateliers north of the Alps which were often passed over by contemporary chroniclers of the period, artistic creativity in Italy during the thirteenth and fourteenth centuries documents the emergence of distinct "schools" and personalities. Nowhere is this phenomenon more apparent than in Tuscany where indi- vidual artists achieved sufficient notoriety to appear in the writ- ings of their contemporaries. For example, Dante refers to the fame of the Florentine artist Giotto, and Petrarch speaks warmly of his Sienese painter friend Simone Martini. Information regarding specific artists is, however, often l^ck- ing or fragmentary. Our principal source for this period, The Lives of the Painters, Sculptors and Architects by Giorgio Vasari, was written more than two hundred years after Giotto's death. It provides something of what is now regarded as established fact often interspersed with folk tales and rumor. In spite of the enormous losses over the centuries, a large num- ber of paintings survived from the Dugento and Trecento. Many of these are from Central Italy, and a relatively small number ac- tually bear the signature of the artist who painted them. -
The Presentation of the Virgin in the Temple
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Paolo di Giovanni Fei Sienese, c. 1335/1345 - 1411 The Presentation of the Virgin in the Temple 1398-1399 tempera on wood transferred to hardboard painted surface: 146.1 × 140.3 cm (57 1/2 × 55 1/4 in.) overall: 147.2 × 140.3 cm (57 15/16 × 55 1/4 in.) Samuel H. Kress Collection 1961.9.4 ENTRY The legend of the childhood of Mary, mother of Jesus, had been formed at a very early date, as shown by the apocryphal Gospel of James, or Protoevangelium of James (second–third century), which for the first time recounted events in the life of Mary before the Annunciation. The iconography of the presentation of the Virgin that spread in Byzantine art was based on this source. In the West, the episodes of the birth and childhood of the Virgin were known instead through another, later apocryphal source of the eighth–ninth century, attributed to the Evangelist Matthew. [1] According to this account of her childhood, Mary, on reaching the age of three, was taken by her parents, together with offerings, to the Temple of Jerusalem, so that she could be educated there. The child ascended the flight of fifteen steps of the temple to enter the sacred building, where she would continue to live, fed by an angel, until she reached the age of fourteen. [2] The legend linked the child’s ascent to the temple and the flight of fifteen steps in front of it with the number of Gradual Psalms. -
The Best of Renaissance Florence April 28 – May 6, 2019
Alumni Travel Study From Galleries to Gardens The Best of Renaissance Florence April 28 – May 6, 2019 Featuring Study Leader Molly Bourne ’87, Professor of Art History and Coordinator of the Master’s Program in Renaissance Art at Syracuse University Florence Immerse yourself in the tranquil, elegant beauty of Italy’s grandest gardens and noble estates. Discover the beauty, drama, and creativity of the Italian Renaissance by spending a week in Florence—the “Cradle of the Renaissance”—with fellow Williams College alumni. In addition to a dazzling array of special openings, invitations into private homes, and splendid feasts of Tuscan cuisine, this tour offers the academic leadership of Molly Bourne (Williams Class of ’87), art history professor at Syracuse University Florence. From the early innovations of Giotto, Brunelleschi, and Masaccio to the grand accomplishments of Michelangelo, our itinerary will uncover the very best of Florence’s Renaissance treasury. Outside of Florence, excursions to delightful Siena and along the Piero della Francesca trail will provide perspectives on the rise of the Renaissance in Tuscany. But the program is not merely an art seminar—interactions with local food and wine experts, lunches inside beautiful private homes, meanders through stunning private gardens, and meetings with traditional artisans will complement this unforgettable journey. Study Leader MOLLY BOURNE (BA Williams ’87; PhD Harvard ’98) has taught art history at Syracuse University Florence since 1999, where she is also Coordinator of their Master’s Program in Renaissance Art History. A member of the Accademia Nazionale Virgiliana, she has also served as project researcher for the Medici Archive Project and held a fellowship at Villa I Tatti, the Harvard Center for Renaissance Studies. -
Trek Urbano-Giovani Espl-ING
notepad useful numbers WHAT TO EAT AND DRINK TOURIST INFORMATION APT SIENA Tel. 0577.280551 Urban Trekking Panforte, Ricciarelli, local TOUR GUIDE ASSOCIATION OF THE CITY AND PROVINCE OF SIENA Tel. 0577.43273 Urban cinta pork salami, pecorino TAXI - ACTIVE 24 HOURS A DAY - Tel. 0577.49222 Trekking for cheese EMERGENCY ROOM POLICLINICO LE SCOTTE Tel. 0577.585807-0577.585809 trekking WHAT TO BUY in Siena young explorers Wooden balls and tin air check horses with the colors of the Air check is an “environmental traffic light” contradas, toy carts and bells Y Urban trekking is a sport that measures the level of air quality. ou are the star of this adventure. We shall WHAT TO SEE for all. Following an The polluting agents monitored by it are carbon dioxide, explore the secret parts of Siena and you can Accademia dei Fisiocritici, Church of San itinerary on foot through hilly city streets does not Clemente in Santa Maria dei Servi, Church of San ozone, and noise. The green light means excellent air tell your friends that you discovered a Domenico, Church of San Francesco, Church of Santa Maria quality, yellow indicates fair quality, and red indicates a fantastic city among the museums, parks, require any special training. It is a perfect way of in Provenzano, Baptistry of San Giovanni, Saint Catherine heavily polluted atmosphere. fountains, games, shows, and ghosts. Ready toning up the mind and body for everyone who is of Siena’s house and sanctuary, Cathedral, Church of forced to live in cramped spaces and feels the need Sant’Agostino, Church of Santa Lucia, Santa Maria della to start? One, two, three: GO!!! IN COOPERATION WITH Scala museum complex, Children’s Art Museum, Cathedral AUTOMOBILE CLUB D'ITALIA to liberate pent-up energies. -
Maestà (Madonna and Child with Four Angels) C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Master of Città di Castello Italian, active c. 1290 - 1320 Maestà (Madonna and Child with Four Angels) c. 1290 tempera on panel painted surface: 230 × 141.5 cm (90 9/16 × 55 11/16 in.) overall: 240 × 150 × 2.4 cm (94 1/2 × 59 1/16 × 15/16 in.) framed: 252.4 x 159.4 x 13.3 cm (99 3/8 x 62 3/4 x 5 1/4 in.) Samuel H. Kress Collection 1961.9.77 ENTRY This panel, of large dimensions, bears the image of the Maestà represented according to the iconographic tradition of the Hodegetria. [1] This type of Madonna and Child was very popular among lay confraternities in central Italy; perhaps it was one of them that commissioned the painting. [2] The image is distinguished among the paintings of its time by the very peculiar construction of the marble throne, which seems to be formed of a semicircular external structure into which a circular seat is inserted. Similar thrones are sometimes found in Sienese paintings between the last decades of the thirteenth and the first two of the fourteenth century. [3] Much the same dating is suggested by the delicate chrysography of the mantles of the Madonna and Child. [4] Recorded for the first time by the Soprintendenza in Siena c. 1930 as “tavola preduccesca,” [5] the work was examined by Richard Offner in 1937. In his expertise, he classified it as “school of Duccio” and compared it with some roughly contemporary panels of the same stylistic circle. -
Duomo (The Cathedral)
Guide to Siena and the Senese: www.siena-guide.com DUOMO (THE CATHEDRAL) Although the Duomo is in full use as Siena’s cathedral, it is also treated as a tourist attraction and entry is by ticket, which can be purchased from the ticket office by the Museum of the OPA. Separate tickets are needed for the Baptistery and Crypt, even though they are part of the Duomo. A three-day combined ticket that allows you entry to the Baptistery, Crypt, OPA museum and Oratorio San Bernardino (the latter not always open) is very good value. Within the Duomo there are wooden barriers herding tourists around in a circuit and away from the famous pavements. Duomo, Crypt and Baptistery are usually open from 10.30, but entry to the Duomo depends on what religious services are taking place. Go early to avoid the masses. This is one of Italy's great cathedrals, but as a building curiously unsatisfactory; indeed to many hideously ugly. Ruskin, in the 1880s, described it as "every way absurd - over-cut, overstriped, over- crocketed, over-gabled, a piece of costly confectionary, and faithless vanity". William Beckford, in the 18th century, wrote of his visit to Siena: "Here my duty of course was to see the cathedral, and I got up much earlier than I wished in order to perform it. I wonder that our holy ancestors did not choose a mountain at once, scrape it into tabernacles, and chisel it into scripture stories. It would have cost them almost as little trouble as the building in question, which may certainly be esteemed a masterpiece of ridiculous taste and elaborate absurdity. -
Bulletin of Rhode Island School of Design
Bulletin of the Rhode Island School of Design Issued Quarterly Vol. IX OCTOBER, 1921 No. 4 MADONNA AND CHILD Attributed to Andrea di Giovanni Anonymous Gift, 1920 Entered as second-class matter January 16, 1913, at the post office at Providence, Rhode Island, under the Act of August 24, 1912. Copyright, 1921, by Rhode Island School of Design. All rights reserved. IX, 34 Bulletin of the Rhode Island School of Design MADONNA AND CHILD, he painted in collaboration in 1372, and ATTRIBUTED TO he not infrequently repeated that master’s ANDREA DI GIOVANNI forms, though in a somewhat coarse manner. Pietro da Puccio executed in HE Rhode Island School of Design 1390 the mediocre frescoes of scenes from at Providence has acquired an ex- Genesis on the north wall of the Campo- T santo of ceptionally attractive panel picture Pisa. Of Cola da Petruccioli, of the Madonna and Child, which ap- Mr. Berenson has recently written, iden- pears at first sight to be a product of tifying this modest and not always attrac- 1 the Sienese school of the latter part of tive artist as a follower of Fei. the 14th century. No one will deny the A number of documents exist which en- Sienese character of the picture, although able us to follow the career of Andrea di closer study may suggest its attribution to Giovanni from 1370 to 1417. At the for- Andrea di Giovanni, a painter of Orvieto. mer date he was working with Cola da I recently had occasion to call attention Petruccioli and other painters, under the to the fact that even as late as the begin- direction of Ugolino da Prete Ilario, on the ing of the 15th century painting at Orvieto tribune of the Cathedral of Orvieto; but was dominated by the artistic tradition it is impossible to distinguish in these 1 of Simone Martini. -
Nevola Siena Companion Volume Essay 201216
Pre-print text, not for circulation. Fabrizio Nevola (University of Exeter) ‘“per queste cose ognuno sta in santa pace et in concordia”: Understanding urban space in Renaissance Siena’, in Santa Casciani ed., A Companion to Late Medieval and Early Modern Siena (Leiden and Boston: Brill 2018). Abstract: This chapter offers a longue durée history of Siena’s urban development from the fourteenth century through to the early years of Medici domination (c. 1300-1600). As is well known, Siena offers a precocious example of urban design legislation around the piazza del Campo, which included paving, zoning rules, and rulings on the aesthetics of buildings facing onto the piazza. Such planning rules spread to encompass much of the city fabric through the fifteenth century, so that when the Medici took over the city, there is evidence of their surprise at the way urban improvement was enshrined as a core civic duty. While a focus of the chapter will look at urban planning legislation and its effects on the evolving built fabric over nearly three centuries, it will also consider how public urban space was used. Here too, there are continuities in the ritual practices that activated and inscribed meaning on the squares and streets as well as religious and secular buildings and monuments. It will be shown then that, as Bernardino da Siena’s commentary on Lorenzetti’s famous frescoes show, the built city is integral to the social interactions of its citizens. Illustrations: 1. Ambrogio Lorenzetti (1338-40), Sala della Pace, Palazzo Pubblico, Siena 2. Piazza del Campo with Palazzo Sansedoni and Fonte Gaia, showing market stalls in place in a photo by Paolo Lombardi, c. -
PALAZZO PUBBLICO a SIENA…E DINTORNI I Palazzi Pubblici Nel Medioevo
PALAZZO PUBBLICO A SIENA…E DINTORNI I Palazzi pubblici nel Medioevo •I Palazzi Pubblici si diffusero dal XIII secolo, a partire dall’Italia settentrionale. Prima della loro realizzazione, fino al Duecento, le rappresentanze delle magistrature civili erano costrette ad essere itineranti o a riunirsi nelle chiese. I nuovi palazzi erano posti in diretto rapporto con lo spazio urbano, generalmente una piazza, separata da quella della chiesa principale. Il Palazzo pubblico era generalmente separato dalla cattedrale, a testimonianza di una palese contrapposizione politica tra i due sistemi di potere. Nell’Italia settentrionale, generalmente, il palazzo presentava portici al piano terra, dove si svolgevano il mercato o assemblee pubbliche; al piano superiore era un ampio e luminoso salone per le riunioni del consiglio, con un balcone prospettante sulla piazza. Vedi Palazzo pubblico a Bologna Nell’Italia centrale, i palazzi civici fungevano spesso anche da residenza dei magistrati e degli amministratori, per cui viene eliminata la loggia, luogo pubblico per eccellenza. Ne sono esempio il Palazzo della Signoria a Firenze e il Palazzo Pubblico di Siena. PIAZZA DEL CAMPO •1169, è questo l’anno in cui viene diffuso un primo documento che parla di questa piazza. E’ l’anno in cui la comunità di Siena acquista questo terreno fragile e fangoso su cui convergevano le piccole strade dell’antica città. Verso la fine del 1100 il grande spazio viene diviso, probabilmente, da un ampio muro divisorio contribuendo a creare la caratteristica forma a conchiglia. •Piazza del Campo è un unicum tra le piazze realizzate in epoca medievale, notoriamente legate da una planimetria convenzionale. -
MONTEPULCIANO's PALAZZO COMUNALE, 1440 – C.1465: RETHINKING CASTELLATED CIVIC PALACES in FLORENTINE ARCHITECTURAL and POLITI
MONTEPULCIANO’S PALAZZO COMUNALE, 1440 – c.1465: RETHINKING CASTELLATED CIVIC PALACES IN FLORENTINE ARCHITECTURAL AND POLITICAL CONTEXTS Two Volumes Volume I Koching Chao Ph.D. University of York History of Art September 2019 ABSTRACT This thesis argues for the significance of castellated civic palaces in shaping and consolidating Florence’s territorial hegemony during the fifteenth century. Although fortress-like civic palaces were a predominant architectural type in Tuscan communes from the twelfth century onwards, it is an understudied field. In the literature of Italian Renaissance civic and military architecture, the castellated motifs of civic palaces have either been marginalised as an outdated and anti-classical form opposing Quattrocento all’antica taste, or have been oversimplified as a redundant object lacking defensive functionality. By analysing Michelozzo’s Palazzo Comunale in Montepulciano, a fifteenth-century castellated palace resembling Florence’s thirteenth-century Palazzo dei Priori, this thesis seeks to address the ways in which castellated forms substantially legitimised Florence’s political, military and cultural supremacy. Chapter One examines textual and pictorial representations of Florence’s castellation civic palaces and fortifications in order to capture Florentine perceptions of castellation. This investigation offers a conceptual framework, interpreting the profile of castellated civic palaces as an effective architectural affirmation of the contemporary idea of a powerful city-republic rather than being a symbol of despotism as it has been previously understood. Chapters Two and Three examine Montepulciano’s renovation project for the Palazzo Comunale within local and central administrative, socio-political, and military contexts during the first half of the fifteenth century, highlighting the Florentine features of Montepulciano’s town hall despite the town’s peripheral location within the Florentine dominion. -
Bulgarini, Bartolomeo Also Known As Bulgarino, Bartolomeo Di Italian, C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Thirteenth and Fourteenth Century Paintings Bulgarini, Bartolomeo Also known as Bulgarino, Bartolomeo di Italian, c. 1300 - 1378 BIOGRAPHY Bartolomeo Bulgarini was one of the most renowned Sienese painters in the decades spanning the mid-fourteenth century. According to Giorgio Vasari (Florentine, 1511 - 1574) (though he wrongly transcribed his name), he was a disciple of Pietro Lorenzetti (Sienese, active 1306 - 1345), “who wrought many panels in Siena and other places in Italy.”[1] Documents mentioning Bartolomeo appear no earlier than 1338 when, as in various succeeding years, he received payments for having painted the wooden covers of the account books of the office of the Biccherna, or Treasury, in Siena (so-called tavolette di Biccherna). A Pistoian document of c. 1348–1349 cites him among the best Tuscan painters of the period.[2] Various commissions (pictura unius tovaglie) for the Palazzo Pubblico, seat of communal power in Siena, in 1345, the painting of a Madonna for a city gate, the Porta Camollia, in the same city in 1349, and appointment to official posts (including an advisory role, in 1362, together with two other painters, in supervising the moving of Duccio’s Maestà to another site within the cathedral) confirm the prestige he must have enjoyed in Siena. In 1370, Bartolomeo became an oblate (lay member) of the Ospedale di Santa Maria della Scala, for which he executed and signed an altarpiece in 1373. Another altarpiece, which had remained unfinished at the time of the artist’s death, was delivered to another painter to complete in 1379.