DOCSLIB.ORG

Alte Pinakothek Press Information Florentine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Alte Pinakothek Press Information Florentine ALTE PINAKOTHEK PRESS INFORMATION FLORENTINE PAINTING. WORKS FROM THE 14TH TO THE 16TH CENTURIES BOTTICELLI’S COLOURS HAVE RETURNED! ALTE PINAKOTHEK FLORENTINE PAINTING. WORKS FROM THE 14th TO THE 16TH CENTURIES BOOK PRESENTATION The catalogue of Florentine paintings in the Alte Pinakothek covers one of the internationally most important collections of paintings at the centre of the Renaissance. Some 80 works, including panels by Giotto, Fra Angelico, Domenico Ghirlandaio, Filippo Lippi, Sandro Botticelli, Leonardo da Vinci and Andrea del Sarto, have been thoroughly examined, art historically and technologically, for the first time. The written contributions present new findings on the attribution, provenance, iconography and the history of the genre and function. Analyses of materials and painting techniques explore the artists’ working methods and enable a better understanding of correlations that led to a change of technique and style. Four introductory essays focus on the specific characteristics of Florentine painting seen in the light of current research on the art of the early modern era in Italy. The opulent inventory catalogue presents the results of an interdisciplinary research project at the Bayerische Staatsgemäldesammlungen and the Doerner Institut that was generously sponsored by the German Research Foundation (DFG) and the Ernst von Siemens Art Foundation. Florentiner Malerei – Alte Pinakothek. Die Gemälde des 14. bis 16. Jahrhunderts (Florentine Painting – Alte Pinakothek. The Paintings of the 14th to the 16th Centuries) Edited by Andreas Schumacher with Annette Kranz and Annette Hojer 744 pages with more than 1000 mostly colour illustrations, 22.5 x 28.5 cm, hardcover Deutscher Kunstverlag; ISBN: 978-3-422-07413-2; 78.00 EUR ALTE PINAKOTHEK PRESS INFORMATION BOTTICELLI’S COLOURS HAVE RETURNED! PRESENTATION OF SANDRO BOTTICELLI’S RESTORED AND REFRAMED ‘LAMENTATION OF CHRIST’ ‘The Lamentation of Christ’ (c. 1490/95) created by Sandro Botticelli for the high altar in San Paolino in Florence was, in the past, not shown as the artist had originally intended. Technological analyses of the painting and cleaning tests revealed that this moving depiction had been greatly impaired not only by yellowed layers of varnish but – primarily – also by the interventions of a restorer in the 19th century. To cover up layers of paint that were missing or had been plastered over, a Florentine restorer overpainted large areas of the scene in 1812. This resulted in the extreme dulling of its powerful colouring. Previous efforts at retouching, overpainting and layers of varnish were removed during the restoration that has now been completed by the Doerner Institut and was financed by the Rudolf-August Oetker-Foundation. Despite the usual aging process the painting’s appearance is now very close to that originally intended. For the first time in centuries the viewer now has the possibility of experiencing the cool yet glowing colouration that is rich in contrast, without any dulling. A new gallery frame that has been carved, gilded and painted based on an original Italian frame from the Renaissance, enhances the large altarpiece’s return to the gallery. ACCOMPANYING PROGRAMME The painting will be presented to visitors on 15 October, 2017, in Room XIII in the Alte Pinakothek, with guided tours and musical accompaniment. Guided tours in dialogue with the curator and restorers will be available from 11.00–13.00 and 15.00–17.00. -------------------------------------------------------------------------------- PRESS DEPARTMENT AT THE PINAKOTHEKEN Tine Nehler M.A. Head of Press Department Bayerische Staatsgemäldesammlungen Pinakotheken | Pinakothek der Moderne Barer Strasse 29 | 80799 Munich T +49 (0)89 23805-122 [email protected] http://www.pinakothek.de/presse .
Load more

Recommended publications
  • Gold Leafs in 14Th Century Florentine Painting Feuilles D’Or Dans La Peinture Florentine Du Xive Siècle
    ArcheoSciences Revue d'archéométrie 33 | 2009 Authentication and analysis of goldwork Gold leafs in 14th century Florentine painting Feuilles d’or dans la peinture florentine du XIVe siècle Giovanni Buccolieri, Alessandro Buccolieri, Susanna Bracci, Federica Carnevale, Franca Falletti, Gianfranco Palam, Roberto Cesareo and Alfredo Castellano Electronic version URL: http://journals.openedition.org/archeosciences/2532 DOI: 10.4000/archeosciences.2532 ISBN: 978-2-7535-1598-7 ISSN: 2104-3728 Publisher Presses universitaires de Rennes Printed version Date of publication: 31 December 2009 Number of pages: 409-415 ISBN: 978-2-7535-1181-1 ISSN: 1960-1360 Electronic reference Giovanni Buccolieri, Alessandro Buccolieri, Susanna Bracci, Federica Carnevale, Franca Falletti, Gianfranco Palam, Roberto Cesareo and Alfredo Castellano, « Gold leafs in 14th century Florentine painting », ArcheoSciences [Online], 33 | 2009, Online since 10 December 2012, connection on 19 April 2019. URL : http://journals.openedition.org/archeosciences/2532 ; DOI : 10.4000/ archeosciences.2532 Article L.111-1 du Code de la propriété intellectuelle. Gold leafs in 14th century Florentine painting Feuilles d’or dans la peinture florentine du XIVe siècle Giovanni Buccolieri*, Alessandro Buccolieri*, Susanna Bracci**, Federica Carnevale*, Franca Falletti**, Gianfranco Palamà*, Roberto Cesareo*** and Alfredo Castellano* Abstract: Gold leafs are typically present in paintings and frescoes of the Italian Renaissance in the 13th and 14th centuries. he chemical com- position and thickness of gold leafs provide important information toward a better understanding of the technology of that epoch. he present paper discusses the results of non-destructive analysis carried out with a portable energy dispersive X-ray luorescence (ED-XRF) equipment on the 14th century panel Annunciation with Saints Catherine of Alexandria, Anthony Abbot, Proculus and Francis by the painter Lorenzo Monaco.
    [Show full text]
  • Leonardo in Verrocchio's Workshop
    National Gallery Technical Bulletin volume 32 Leonardo da Vinci: Pupil, Painter and Master National Gallery Company London Distributed by Yale University Press TB32 prelims exLP 10.8.indd 1 12/08/2011 14:40 This edition of the Technical Bulletin has been funded by the American Friends of the National Gallery, London with a generous donation from Mrs Charles Wrightsman Series editor: Ashok Roy Photographic credits © National Gallery Company Limited 2011 All photographs reproduced in this Bulletin are © The National Gallery, London unless credited otherwise below. All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including BRISTOL photocopy, recording, or any storage and retrieval system, without © Photo The National Gallery, London / By Permission of Bristol City prior permission in writing from the publisher. Museum & Art Gallery: fig. 1, p. 79. Articles published online on the National Gallery website FLORENCE may be downloaded for private study only. Galleria degli Uffizi, Florence © Galleria deg li Uffizi, Florence / The Bridgeman Art Library: fig. 29, First published in Great Britain in 2011 by p. 100; fig. 32, p. 102. © Soprintendenza Speciale per il Polo Museale National Gallery Company Limited Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività St Vincent House, 30 Orange Street Culturali: fig. 1, p. 5; fig. 10, p. 11; fig. 13, p. 12; fig. 19, p. 14. © London WC2H 7HH Soprintendenza Speciale per il Polo Museale Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività Culturali / Photo Scala, www.nationalgallery. org.uk Florence: fig. 7, p.
    [Show full text]
  • Botticelli and the Search for the Divine: Florentine Painting Between the Medici and the Bonfires of the Vanities to Open Feb
    For Immediate Release NEWS RELEASE Media Contact: Betsy Moss | 804.355.1557 | [email protected] Images may be downloaded here: www.muscarelle.org/pressimages/ Botticelli and the Search for the Divine: Florentine Painting between the Medici and the Bonfires of the Vanities to Open Feb. 11 at the Muscarelle Museum of Art at William & Mary Botticelli Venus Painting on View for First Time in United States Williamsburg, Va. (Jan. 16, 2016) -- One of only two of Botticelli’s paintings of an isolated Venus will be on view for the first time in the United States in Botticelli and the Search for the Divine: Florentine Painting Between the Medici and the Bonfires of the Vanities, a major international loan exhibition organized by the Muscarelle Museum of Art in Williamsburg, Va., in partnership with the Museum of Fine Art in Boston, and Italy’s Associazione Culturale Metamorfosi. The restless, prolific and original genius of Sandro Botticelli (1445-1510) will be explored in depth in this historic exhibition, which features sixteen of his paintings, most with life- size figures, from major museums and churches in six Italian cities, including Florence, Milan and Venice. Every phase of the artist’s long, tumultuous career is represented in the selection, by far the largest and most important Botticelli exhibition ever staged in the United States. Botticelli and the Search for the Divine will also feature six rare paintings by Botticelli’s great master Filippo Lippi, the only pupil of Masaccio. The cultural milieu of Renaissance Florence will be represented by paintings by Filippo’s son, Filippino Lippi, Botticelli’s most important student and a leading master in his own right, as well as Antonio Pollaiuolo, and portraits of Lorenzo the Magnificent and his nemesis, Fra Girolamo Savonarola.
    [Show full text]
  • Sandro Botticelli
    4(r A SANDRO BOTTICELLI BY E. SCHAEFFER TRANSLATED BY FRANCIS F. COX New York : FREDERICK A. STOKES COMPANY Printed in Great Britain. All rights reserved. — — — CONTENTS troductory— Botticelli's Place in Florentine Art—His Early History—Filippo Lippi, the Pollajuoli, Verrocchio Fortitude—Judith and Holofernes—S. Sebastian—Botticelli, Landscape Artist—Painter of Madonnas— Influence of Dante—The Magnificat —Madonna of the Palms— Adoration of the Magi— The Medici at Florence S. Augustine— Botticelli Summoned to Rome—The Frescoes of the Sistine Chapel—The Louvre Frescoes—Leone Battista Alberti Pallas Subduing a Centaur— Spring — TSirth of Venus—Mars and Venus— Calumny of Apelles—Savonarola—The Nativity—The Divina Commedia—Poverty and Neglect—The End—List of Works. ILLUSTRATIONS Mars and Venus. London, National Gallery (Photo- gravure) Frontispiece Facing page Fortitude. Florence, Uffizi 6 S. Sebastian. Berlin, Royal Gallery . .10 Head of the Madonna. Florence, Uffizi (From the " Mag- nificat ") . 20 The Daughters of Jethro. Rome, Sistine Chapel (Detail from the History of Moses) 36 Spring. Florence, Accademia 4.4. The Birth of Venus. Florence, (Photogravure) Uffizi . 46 Salome. Florence, Accademia ...... 50 The Calumny of Apelles. Florence, Uffizi . .52 The Nativity, London, National Gallerv .... 60 SANDRO BOTTICELLI I a chapel of the church of S. Maria Maggiore INat Florence there was preserved during long centuries a painting of the Assumption of the Virgin, the creation of Sandro Botticelli. The Holy Inquisition had detected in this apparently- pious work the taint of an abominable heresy, and shrouded it by means of a curtain from the gaze of true believers. For Botticelli in his conception of the angels had adhered to a damnable doctrine of Origen, who maintained that the souls of those angels who remained neutral at the time of Lucifer's rebellion were doomed by the Deity to work out their salvation by undergoing a period of probation in the bodies of men.
    [Show full text]
  • Sight and Touch in the Noli Me Tangere
    Chapter 1 Sight and Touch in the Noli me tangere Andrea del Sarto painted his Noli me tangere (Fig. 1) at the age of twenty-four.1 He was young, ambitious, and grappling for the first time with the demands of producing an altarpiece. He had his reputation to consider. He had the spiri- tual function of his picture to think about. And he had his patron’s wishes to address. I begin this chapter by discussing this last category of concern, the complex realities of artistic patronage, as a means of emphasizing the broad- er arguments of my book: the altarpiece commissions that Andrea received were learning opportunities, and his artistic decisions serve as indices of the religious knowledge he acquired in the course of completing his professional endeavors. Throughout this particular endeavor—from his first client consultation to the moment he delivered the Noli me tangere to the Augustinian convent lo- cated just outside the San Gallo gate of Florence—Andrea worked closely with other members of his community. We are able to identify those individuals only in a general sense. Andrea received his commission from the Morelli fam- ily, silk merchants who lived in the Santa Croce quarter of the city and who frequently served in the civic government. They owned the rights to one of the most prestigious chapels in the San Gallo church. It was located close to the chancel, second to the left of the apse.2 This was prime real estate. Renaissance churches were communal structures—always visible, frequently visited. They had a natural hierarchy, dominated by the high altar.
    [Show full text]
  • The Strange Art of 16Th –Century Italy
    The Strange Art of 16th –century Italy Some thoughts before we start. This course is going to use a seminar format. Each of you will be responsible for an artist. You will be giving reports on- site as we progress, in as close to chronological order as logistics permit. At the end of the course each of you will do a Power Point presentation which will cover the works you treated on-site by fitting them into the rest of the artist’s oeuvre and the historical context.. The readings: You will take home a Frederick Hartt textbook, History of Italian Renaissance Art. For the first part of the course this will be your main background source. For sculpture you will have photocopies of some chapters from Roberta Olsen’s book on Italian Renaissance sculpture. I had you buy Walter Friedlaender’s Mannerism and Anti-Mannerism in Italian Painting, first published in 1925. While recent scholarship does not agree with his whole thesis, many of his observations are still valid about the main changes at the beginning and the end of the 16th century. In addition there will be some articles copied from art history periodicals and a few provided in digital format which you can read on the computer. Each of you will be doing other reading on your individual artists. A major goal of the course will be to see how sixteenth-century art depends on Raphael and Michelangelo, and to a lesser extent on Leonardo. Art seems to develop in cycles. What happens after a moment of great innovations? Vasari, in his Lives of the Artists, seems to ask “where do we go from here?” If Leonardo, Raphael and Michelangelo were perfect, how does one carry on? The same thing occurred after Giotto and Duccio in the early Trecento.
    [Show full text]
  • Spring 2020 Course Title
    Lecture Course Santa Reparata International School of Art Course Syllabus Semester: Spring 2020 Course Title: Art History: The Italian Renaissance SRISA Course Number: ARTH 3101 Maryville Course Number: ARTH 370 Credits: 3, Contact Hours: 45 Meeting times: Wednesday – 9.10 to 12.05 pm Location: Main Indipendenza Campus Room 207 Instructor: Dott.ssa Tiziana Landra Email: [email protected] Phone: + 39 338 4552905 Office hours: Please email me to schedule an appointment 1. COURSE DESCRIPTION This lecture course introduces students to Florentine Renaissance art from the early 15th century to the end of the High Renaissance in 1527. Students will study key practitioners of this period and their contributions to art history such as mathematical perspective, the rediscovery of the classical elements found in architecture and sculpture as well as the relentless search by certain artists for the perfection of balance and harmony. Renaissance artists such as Masaccio, Sandro Botticelli, Lorenzo Ghiberti, Donatello and Filippo Brunelleschi along with artists working in the High Renaissance style of the late 15th and early 16th centuries like Leonardo da Vinci, Michelangelo Buonarroti and Raphael of Urbino will be studied. In addition to the aesthetic and stylistic qualities of the works, students will study the historical, political, and religious context in which the artists made their work as a means to allow for a greater understanding of the works themselves. 2. CONTENT INTRODUCTION This art history course gives students the chance to study Renaissance art in the city where it was born, Florence. The course will explore the artistic revolution that took place in painting, sculpture and architecture in Florence from the beginning of the 15th century to the first decades of the 16th century.
    [Show full text]
  • The Renaissance Workshop in Action
    The Renaissance Workshop in Action Andrea del Sarto (Italian, 1486–1530) ran the most successful and productive workshop in Florence in the 1510s and 1520s. Moving beyond the graceful harmony and elegance of elders and peers such as Leonardo da Vinci, Raphael, and Fra Bartolommeo, he brought unprecedented naturalism and immediacy to his art through the rough and rustic use of red chalk. This exhibition looks behind the scenes and examines the artist’s entire creative process. The latest technology allows us to see beneath the surface of his paintings in order to appreciate the workshop activity involved. The exhibition also demonstrates studio tricks such as the reuse of drawings and motifs, while highlighting Andrea’s constant dazzling inventiveness. All works in the exhibition are by Andrea del Sarto. This exhibition has been co-organized by the J. Paul Getty Museum and the Frick Collection, New York, in association with the Gabinetto Disegni e Stampe, Gallerie degli Uffizi, Florence. We acknowledge the generous support provided by an anonymous donation in memory of Melvin R. Seiden and by the Italian Cultural Institute. The J. Paul Getty Museum © 2014 J. Paul Getty Trust Rendering Reality In this room we focus on Andrea’s much-lauded naturalism and how his powerful drawn studies enabled him to transform everyday people into saints and Madonnas, and smirking children into angels. With the example of The Madonna of the Steps, we see his constant return to life drawing on paper—even after he had started painting—to ensure truth to nature. The J. Paul Getty Museum © 2014 J.
    [Show full text]
  • Giorgio Vasari at 500: an Homage
    Giorgio Vasari at 500: An Homage Liana De Girolami Cheney iorgio Vasari (1511-74), Tuscan painter, architect, art collector and writer, is best known for his Le Vile de' piu eccellenti architetti, Gpittori e scultori italiani, da Cimabue insino a' tempi nostri (Lives if the Most Excellent Architects, Painters and Sculptors if Italy, from Cimabue to the present time).! This first volume published in 1550 was followed in 1568 by an enlarged edition illustrated with woodcuts of artists' portraits. 2 By virtue of this text, Vasari is known as "the first art historian" (Rud 1 and 11)3 since the time of Pliny the Elder's Naturalis Historiae (Natural History, c. 79). It is almost impossible to imagine the history ofItalian art without Vasari, so fundamental is his Lives. It is the first real and autonomous history of art both because of its monumental scope and because of the integration of the individual biographies into a whole. According to his own account, Vasari, as a young man, was an apprentice to Andrea del Sarto, Rosso Fiorentino, and Baccio Bandinelli in Florence. Vasari's career is well documented, the fullest source of information being the autobiography or vita added to the 1568 edition of his Lives (Vasari, Vite, ed. Bettarini and Barocchi 369-413).4 Vasari had an extremely active artistic career, but much of his time was spent as an impresario devising decorations for courtly festivals and similar ephemera. He praised the Medici family for promoting his career from childhood, and much of his work was done for Cosimo I, Duke of Tuscany.
    [Show full text]
  • Painting in Renaissance Florence 1500-1550 New Haven and London, Yale University Press 2001
    Rezensionen figer. Sie konnen den ungewohnlichen Wert ungemein anregendes Buch, eine auch unter- dieses Beitrags nicht mindern, der gerade recht haltsame Lektiire uberdies. Die Diskussion ist kommt zu Albertis 6oostem Geburtstag. Ein eroffnet. Hans-Karl Lucke David Franklin Painting in Renaissance Florence 1500-1550 New Haven and London, Yale University Press 2001. 273 pp., III. ISBN 0-300-08399-8 The period which David Franklin has set out ignore much of the art of the second and third to examine in his new book is the one which generations of the Cinquecento, and it was not Giorgio Vasari in his Lives termed the modern until the beginning of the 20th century that a epoch. In this first history of western art, group of Central European art historians led issued in Florence in 1550, and in a revised by scholars like Max Dvorak, Lili Frohlich- edition in 1568, Vasari divided art into three Bum and Walter Friedlander noticed a differ­ periods, comparable to childhood, youth and ence in style between the first and second maturity in life. An age of juvenile experi­ generation. Holding up the art of the past as a ments had started with Giotto; it was followed mirror for the expressionist art of their own by an improved age, youthful but greatly time they felt that after c. 1520 art expressed advanced in which “the truth of nature was a spiritual roothlessness and a crisis similar to exactly imitated”. And finally there had come what they experienced themselves in the wake the modern, mature age, Vasari’s own: at once of the Great War.
    [Show full text]
  • Case 8 2013/14: Portrait of a Lady Called Barbara Salutati , By
    Case 8 2013/14: Portrait of a Lady called Barbara Salutati, by Domenico Puligo Expert adviser’s statement Reviewing Committee Secretary’s note: Please note that any illustrations referred to have not been reproduced on the Arts Council England website Executive Summary 1. Brief Description of Item Domenico degli Ubaldini, called ‘Il Puligo’ (Florence 1492-1527 Florence) Portrait of a Lady, probably Barbara Rafficani Salutati, half-length, seated at a table, holding an open book of music, with a volume inscribed PETRARCHA Oil on panel, c. 1523-5 100 x 80.5 cms Inscribed in gold on the cornice of the architecture: MELIORA. LATENT Inscribed in gold on the edge of the table: TV.DEA.TV.PRESE[N]S.NOSTRO.SVCCVRRE LABORI A half-length portrait of a woman wearing a red dress with gold trim, and tied with a bow at her waist. Around her neck are a string of pearls and a gold necklace. She wears a black and gold headdress with a brooch at the centre. Seated behind a green table she holds open a book of music. A book at her right hand is closed. The book at her left hand is open; it has text in Italian and on its edge: ‘Petrarcha’. Behind her is greenish-grey classical architecture. The upper left corner of the painting depicts a hilly landscape at sunset. A tower and battlements can be seen behind the tree on which stand tiny figures. Beneath an arch is another small figure. From this arch a bridge spans a stream. 2. Context Provenance Giovanni Battista Deti, Florence, by the second half of 16th century (according to Borghini, Il Ripsoso (1584), if this is the painting first mentioned by Vasari) ; Purchased by George Nassau Cowper, 3rd Earl Cowper (1738-1789) by 1779 for his Florentine palazzo (picture list no.
    [Show full text]
  • UNIT 17 ROBERT BROWNING Alfred, Lord Tennyson
    UNIT 17 ROBERT BROWNING Alfred, Lord Tennyson Structure 17.0 Objectives 17.1 Introduction 17.2 Robert Browning: Life and Works 17.3 Poem: Soliloquy of the Spanish Cloister 17.3.1 Glossary 17.3.2 Discussion 17.3.3 Appreciation 17.4 Poem: Andrea del Sarto 17.4.1 Glossary 17.4.2 Discussion 17.4.3 Appreciation 17.5 Let Us Sum Up 17.6 Suggested Reading 17.7 Answers to Self-Check Exercises 17.0 OBJECTIVES In this unit you will be reading two well-known poems of Robert Browning. These poems will give you an understanding of Browning’s poetry which holds a distinguished place because of its optimistic note. On reading this Unit you will be able to: • appreciate the distinctive qualities of Browning’s poetry and art; • understand dramatic monologue which Browning exploited to portray the tensions within a character’s psyche; • understand the differences between Tennyson and Browning, the poets who were products of the same age. 17.1 INTRODUCTION Robert Browning was only three years younger than Tennyson. And yet the differences between the two poets are so big that they seem to be writing in two different ages. Tennyson, you must have seen, is basically an emotional poet, responding to the beauty and pain of life. His involvement with the polemics of his times was also deep: he was as much concerned with politics of democracy as with scientific researches of his time that had begun to instil doubts into the minds of the people. Robert Browning’s concerns were never so comprehensive.
    [Show full text]