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THE LATE RENAISSANCE and MANNERISM in SIXTEENTH-CENTURY ITALY 591 17 CH17 P590-623.Qxp 4/12/09 15:24 Page 592
17_CH17_P590-623.qxp 12/10/09 09:24 Page 590 17_CH17_P590-623.qxp 12/10/09 09:25 Page 591 CHAPTER 17 CHAPTER The Late Renaissance and Mannerism in Sixteenth- Century Italy ROMTHEMOMENTTHATMARTINLUTHERPOSTEDHISCHALLENGE to the Roman Catholic Church in Wittenberg in 1517, the political and cultural landscape of Europe began to change. Europe s ostensible religious F unity was fractured as entire regions left the Catholic fold. The great powers of France, Spain, and Germany warred with each other on the Italian peninsula, even as the Turkish expansion into Europe threatened Habsburgs; three years later, Charles V was crowned Holy all. The spiritual challenge of the Reformation and the rise of Roman emperor in Bologna. His presence in Italy had important powerful courts affected Italian artists in this period by changing repercussions: In 1530, he overthrew the reestablished Republic the climate in which they worked and the nature of their patron- of Florence and restored the Medici to power. Cosimo I de age. No single style dominated the sixteenth century in Italy, Medici became duke of Florence in 1537 and grand duke of though all the artists working in what is conventionally called the Tuscany in 1569. Charles also promoted the rule of the Gonzaga Late Renaissance were profoundly affected by the achievements of Mantua and awarded a knighthood to Titian. He and his suc- of the High Renaissance. cessors became avid patrons of Titian, spreading the influence and The authority of the generation of the High Renaissance prestige of Italian Renaissance style throughout Europe. would both challenge and nourish later generations of artists. -
Observing Protest from a Place
VISUAL AND MATERIAL CULTURE, 1300-1700 Knox Giles Knox Sense Knowledge and the Challenge of Italian Renaissance Art El Greco, Velázquez, Rembrandt of Italian Renaissance Art Challenge the Knowledge Sense and FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Sense Knowledge and the Challenge of Italian Renaissance Art FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Visual and Material Culture, 1300–1700 A forum for innovative research on the role of images and objects in the late medieval and early modern periods, Visual and Material Culture, 1300–1700 publishes monographs and essay collections that combine rigorous investigation with critical inquiry to present new narratives on a wide range of topics, from traditional arts to seemingly ordinary things. Recognizing the fluidity of images, objects, and ideas, this series fosters cross-cultural as well as multi-disciplinary exploration. We consider proposals from across the spectrum of analytic approaches and methodologies. Series Editor Dr. Allison Levy, an art historian, has written and/or edited three scholarly books, and she has been the recipient of numerous grants and awards, from the Nation- al Endowment for the Humanities, the American Association of University Wom- en, the Getty Research Institute, the Dumbarton Oaks Research Library of Harvard University, the Whiting Foundation and the Bogliasco Foundation, among others. www.allisonlevy.com. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Sense Knowledge and the Challenge of Italian Renaissance Art El Greco, Velázquez, Rembrandt Giles Knox Amsterdam University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS This book was published with support from the Office of the Vice Provost for Research, Indiana University, and the Department of Art History, Indiana University. -
The Masterpieces of Titian; Sixty Reproductions of Photographs From
COWANS S ART BOOKS 6*mT THE MASTERPIECES O T0 LONDON O GLASGOW, GOWANS & QRAY, L m From the Library of Frank Simpson « Telegraphic Address Telephone No. ** GALERADA, 1117, LONDON.” MAYFAIR. CLAUDE & TREVELYAN, THE CARLTON GALLERY, PALL MALL PLACE, LONDON, S,W* PURCHASERS AND SELLERS OF FINE PICTURES BY THE BEST OLD MASTERS. Messrs. CLAUDE & TREVELYAN also invite the attention of anyone desiring Portraits painted in Pastel, to the works of Mr. E. F. Wells, the clever painter of Portraits in Pastel. Attention is also directed to the work of Mr. Hubert Coop and Mr. Gregory Robinson, exceptionally clevet painters of Marine and Landscape Pictures in Oil and Water Colour, and to the exceedingly fine Portraits of Horses by Mr. Lynwood Palmer. Pictures and Engravings Cleaned and Restored. Valuations made for Probate or otherwise. Collections Classified and Arranged, CREAT CONTINENTAL SUCCESSES No. 1 KARL . HEINRICH The Original of the Play OLD HEIDELBERG Which has been acted with such very great success by Mr. George Alexander. By W. MEYER-FORSTER. WITH 12 ILLUSTRATIONS. THE ONLY TRANSLATION. Cloth, 3/6 Net. GOWANS & GRAY, Ltd., London and Glasgow. m Is Its* mmt ksfamssSteg Sites is lU^ws&shsr® t® *M mfe» ®»fe to Bwy ©r S^J Q0IUIKE ANTIQUES. FREE TO CONNOISSEURS «y hxssiRATEfi Catalogue Goods Purchased mmen Returnable if Disapproved* Sm&M Items seal oe appro, to satisfactory applicants. S©S Ev®r-clsaftg1f!g Pieees of ©Id gteina, &sd P&ttmy siwaye an feanS, The , . Connoisseur tre&fM ®n elf euBl«efs (ntensfing fo Coffttefor® mb persont #f culture. HE articles are written fey T acknowledged experts, and are illustrated fey unique photographs mtd drawings of ha* portaat examples a»d collections fro® every part of the world. -
Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
Estudios De Platería. San Eloy 2011
ESTUDIOS DE PLATERÍA. SAN ELOY 2011 Jesús Rivas Carmona (Coord.) ESTUDIOS DE PLATERÍA. SAN ELOY 2011 UNIVERSIDAD DE MURCIA 2011 Estudios de platería, San Eloy 2011 / Jesús Rivas Carmona (Coord.).– Murcia: Universidad de Murcia, Servicio de Publicaciones, 2011 568 p. ISBN: 978-84-8371-214-6 1. Platería – Estudios y conferencias. 2. Orfebrería – Estudios y conferencias. I. Rivas Carmona, Jesús.– II. Universidad de Murcia. Servicio de Publicaciones. III. Título 739.1 (082.2) 1ª Edición, 2011 Reservados todos los derechos. De acuerdo con la legislación vigente, y bajo las sanciones en ella previstas, queda totalmente prohibida la reproducción y/o transmisión parcial o total de este libro, por procedimientos mecánicos o electrónicos, incluyendo fotocopia, grabación magnética, óptica o cualesquiera otros procedimientos que la técnica permita o pueda permitir en el futuro, sin la expresa autorización por escrito de los propietarios del copyright. © Universidad de Murcia, Servicio de Publicaciones, 2011 ISBN: 978-84-8371-214-6 Depósito Legal MU-1.286-2011 Impreso en España −Printed in Spain Imprime: F.G. Graf, S.L. [email protected] A la ciudad de Lorca, centro y obrador de platería Índice PRÓLOGO........................................................................................................... 17 María Concepción García Gainza Fiel Contraste de Honor San Eloy 2010 ESTUDIOS Plateros de Guatemala. Don Juan de Barreneche y Aguirre y el legado de Lesaca ..................................................................................................................... 23 Javier Abad Viela Arquitecto Orefi ceria siciliana nei musei madrileni ............................................................. 43 Lucia Ajello Università degli Studi di Palermo La partición de la plata y las joyas de Isabel de Valois: la herencia de la infanta Catalina Micaela....................................................................................... 53 María Albaladejo Martínez Universidad de Murcia La joyería femenina del siglo XVIII en la Nueva España a través del retrato.. -
1 '“Individualism” – a Word Unknown to Our Ancestors'
Notes 1 ‘“Individualism” – a Word Unknown to our Ancestors’ 1 Canons and Decrees of the Council of Trent: Original Text with English Translation, ed. H. J. Schroeder (St. Louis: B. Herder Book Co., 1941), pp. 214–17 and pp. 483–5. 2 Veronese’s trial is published in Philipp Fehl, ‘Veronese and the Inquisition: A Study of the Subject Matter of the So-Called Feast in the House of Levi’, Gazette des Beaux-Arts, ser. VI, 58 (1961): 348–54; English translation in Venice: A Documentary History, ed. David Chambers and Brian Pullan (Toronto: University of Toronto Press, 2001), pp. 232–6. 3 David Rosand, Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto (Cambridge: Cambridge University Press, rev. edn 1997), p. 120 is correct to ask that we now call this work The Last Supper – a request that, thus far, has gone unheeded. 4 Jacob Burckhardt, The Civilization of the Renaissance in Italy, trans. S. G. C. Middlemore, 2 vols (New York: Harper & Row, 1958); for the original German, I have used Die Kultur der Renaissance in Italien, ed. Horst Günther (Frankfurt am Main: Deutscher Klassiker Verlag, 1989). 5 Jacob Burckhardt, Der Cicerone: eine Anleitung zum Genuss der Kunstwerke Italiens (Leipzig: Alfren Kröner, 1927), pp. 932–5. 6 Burckhardt, Civilization of the Renaissance, vol. 1, p. 143 for both citations. 7 Among the more influential works inviting a rethinking of the history of the self – from antiquity to the twentieth century – see Charles Taylor, Sources of the Self: The Making of Modern Identity (Cambridge, Mass.: Harvard University Press, 1989). 8 Douglas Biow, Doctors, Ambassadors, Secretaries: Humanism and Professions in Renaissance Italy (Chicago: University of Chicago Press, 2002), p. -
The Marian Philatelist, Whole No. 47
University of Dayton eCommons The Marian Philatelist Marian Library Special Collections 3-1-1970 The Marian Philatelist, Whole No. 47 A. S. Horn W. J. Hoffman Follow this and additional works at: https://ecommons.udayton.edu/imri_marian_philatelist Recommended Citation Horn, A. S. and Hoffman, W. J., "The Marian Philatelist, Whole No. 47" (1970). The Marian Philatelist. 47. https://ecommons.udayton.edu/imri_marian_philatelist/47 This Book is brought to you for free and open access by the Marian Library Special Collections at eCommons. It has been accepted for inclusion in The Marian Philatelist by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. &fie Marian Pfiilatelist PUBLISHED BY THE MARIAN PHILATELIC STUDY GROUP Business Address: Rev. A. S. Horn Chairman 424 West Crystal View Avenue W. J. Hoffman Editor Orange, California, 92667, U.S.A. Vol. 8 No. 2 Whole No. 47 MARCH 1, 1970 NEW ISSUES BRAZIL: (Class 1). A 10 centavos stamp iss ued for Christmas on December 8, 1969. De ANGUILLA: (Class 1). A 5-stamp Christmas sign depicts a CROWNED MADONNA AND CHILD set was issued October 27, 1969. We have bearing the title OUR LADY OF JOY. Illustra not been able to obtain the stamps, however tion with special first day cancellations the 40c value depicts a stylized MADONNA with article on page 23. AND CHILD with "Christ mas 19 69" in four lines. Independent Anguilla is not recog A sheet containing a 75 cts stamp also de nized by Scott but is listed by Michel and picts OUR LADY OF JOY; it was issued Decem Yvert. -
Janson. History of Art. Chapter 16: The
16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists. -
Rethinking Savoldo's Magdalenes
Rethinking Savoldo’s Magdalenes: A “Muddle of the Maries”?1 Charlotte Nichols The luminously veiled women in Giovanni Gerolamo Savoldo’s four Magdalene paintings—one of which resides at the Getty Museum—have consistently been identified by scholars as Mary Magdalene near Christ’s tomb on Easter morning. Yet these physically and emotionally self- contained figures are atypical representations of her in the early Cinquecento, when she is most often seen either as an exuberant observer of the Resurrection in scenes of the Noli me tangere or as a worldly penitent in half-length. A reconsideration of the pictures in connection with myriad early Christian, Byzantine, and Italian accounts of the Passion and devotional imagery suggests that Savoldo responded in an inventive way to a millennium-old discussion about the roles of the Virgin Mary and Mary Magdalene as the first witnesses of the risen Christ. The design, color, and positioning of the veil, which dominates the painted surface of the respective Magdalenes, encode layers of meaning explicated by textual and visual comparison; taken together they allow an alternate Marian interpretation of the presumed Magdalene figure’s biblical identity. At the expense of iconic clarity, the painter whom Giorgio Vasari described as “capriccioso e sofistico” appears to have created a multivalent image precisely in order to communicate the conflicting accounts in sacred and hagiographic texts, as well as the intellectual appeal of deliberately ambiguous, at times aporetic subject matter to northern Italian patrons in the sixteenth century.2 The Magdalenes: description, provenance, and subject The format of Savoldo’s Magdalenes is arresting, dominated by a silken waterfall of fabric that communicates both protective enclosure and luxuriant tactility (Figs. -
Map As Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: http://www.tandfonline.com/loi/rcab20 Map as Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid Jesús Escobar To cite this article: Jesús Escobar (2014) Map as Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid, The Art Bulletin, 96:1, 50-69, DOI: 10.1080/00043079.2014.877305 To link to this article: http://dx.doi.org/10.1080/00043079.2014.877305 Published online: 25 Apr 2014. Submit your article to this journal Article views: 189 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Download by: [Northwestern University] Date: 22 September 2016, At: 08:04 Map as Tapestry: Science and Art in Pedro Teixeira’s 1656 Representation of Madrid Jesus Escobar “Mantua of the Carpentana, or Madrid, Royal City” reads the attributed to the overreach of Philip IV’s royal favorite and Latin inscription on the banderole that hovers above Pedro prime minister, Gaspar de Guzman, the count-duke of Teixeira’s monumental map of the Spanish capital, the Topo- Olivares (1587–1645). In 1640, in the midst of the Thirty graphia de la Villa de Madrid (Topography of the town of Years’ War, rebellions arose in Catalonia and Portugal, com- Madrid) (Fig. 1). The text refers to a place from the distant pounding the monarchy’s ongoing financial crises and lead- Roman past, the purported origin of Madrid, as well as the ing to Olivares’s ouster. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
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Byzantina Symmeikta Vol. 29, 2019 Byzantine families in Venetian context: The Gavalas and Ialinas family in Venetian Crete (XIIIth- XIVth centuries) ΓΑΣΠΑΡΗΣ Χαράλαμπος Institute of Historical Research, Athens https://doi.org/10.12681/byzsym.16249 Copyright © 2019 Χαράλαμπος Γάσπαρης To cite this article: ΓΑΣΠΑΡΗΣ, (2019). Byzantine families in Venetian context: The Gavalas and Ialinas family in Venetian Crete (XIIIth- XIVth centuries). Byzantina Symmeikta, 29, 1-132. doi:https://doi.org/10.12681/byzsym.16249 http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | INSTITUTE OF HISTORICAL RESEARCH ΙΝΣΤΙΤΟΥΤΟ ΙΣΤΟΡΙΚΩΝ ΕΡΕΥΝΩΝ SECTION OF BYZANTINE RESEARCH ΤΟΜΕΑΣ ΒΥΖΑΝΤΙΝΩΝ ΕΡΕΥΝΩΝ NATIONAL HELLENIC RESEARCH FOUNDATION ΕΘΝΙΚΟ IΔΡΥΜΑ ΕΡΕΥΝΩΝ CHARALAMBOS GASPARIS EFI RAGIA Byzantine Families in Venetian Context: THE GEOGRAPHY OF THE PROVINCIAL ADMINISTRATION OF THE TheBYZAN GavalasTINE E andMPI REIalinas (CA 600-1200):Families I.1.in T HVenetianE APOTHE CreteKAI OF (XIIIth–XIVthASIA MINOR (7T HCenturies)-8TH C.) ΤΟΜΟΣ 29 VOLUME ΠΑΡΑΡΤΗΜΑ / APPENDIX ΑΘΗΝΑ • 20092019 • ATHENS http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | ΒΥΖΑΝΤΙΝΑ ΣΥΜΜΕΙΚΤΑ 29 ΠΑΡΑΡΤΗΜΑ ΒΥΖΑΝΤΙΝΑ SYMMEIKTA 29 APPENDIX http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | NATIONAL HELLENIC RESEARCH FOUNDATION INSTITUTE OF