DOCSLIB.ORG

Il Cavalier D'arpino Nella Critica Del Novecento

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Il Cavalier D'arpino Nella Critica Del Novecento Il Cavalier d’Arpino nella critica del Novecento Autoritratto con l’ordine di Saint- Michel, post. 1630. Roma, Accademia di S. Luca. Adolfo Venturi «[Il cavalier d’Arpino] diffondeva per Roma, festeggiato, acclamato, salutato maestro, la depravazione del gusto, il regno del falso pittorico» (Storia dell’Arte italiana, IX, 5. Milano, 1932). Arnold Hauser «Il miglior esempio dell’insipidezza alla quale finì con il condurre l’incesto manieristico delle forme è offerto dal famigerato Cavalier d’Arpino» (Der Manierismus, 1964) Hermann Voss «Sebbene all’inizio si sia accompagnato a quei pittori orientati all’effetto e alla rapidità d’esecuzione che decorarono sotto Gregorio XIII le Logge Vaticane con le loro storiette eseguite in fretta, si distingue da tutta questa corrente professionale grazie a una sensibilità, diventata rara, per la nobile tranquillità e grandezza» (H. Voss, La pittura del tardo Rinascimento a Roma e a Firenze, 1920.) Giovanni de Vecchi, S Francesco riceve le stimmate. Roma, chiesa di S Pietro in Montorio, Cappella delle Stimmate, fine sec. XVI. Francesco Vanni: un confronto «Nacque Francesco Vanni in Siena, nobilissima città della Toscana: fu figliuolo di cittadino onorato: ebbe i principi della pittura da Arcangelo Salinbene suo Padregno, uomo di buonissimo giudicio; perché era già stato a Roma, e con Federigo Zucchero, pittore eccellente, ebbe famigliarità. Sene venne a quella città Francesco di sedici anni, ed andava disegnando le belle opere di Raffaello da Urbino, e altre esquisite pitture, e sculture sì antiche, come moderne di Roma. Vi fece buon profitto, ed accomodossi con Giovanni de’ Vecchi dal Borgo, e vi stette alcuni anni, imitando la sua maniera. Ultimamente rivolse l’animo a seguire l’altra di Federigo Barocci da Urbino, ed in questa si fermò, portandosi assai bene. Riconossene indi a Siena, e alcune opere vi fece sì in pubblico, come in privato, ed acquistossi buon credito con quella sua maniera vaga Baroccesca, fatta con amore, e con diligenza, la quale a tutti dava buon gusto, e a lui degna fama» (Baglione, Vite, 1642). Francesco Vanni (1580 ca.-1610), Caduta di Simon Mago, 1603. Città del Vaticano, Reverenda Fabbrica di S. Pietro. Ventura Salimbeni: un confronto Ventura Salimbeni, Madonna con Bambino, 1600 ca. Roma, Galleria Borghese. Ventura Salimbeni, Abramo e i tre angeli, 1588. Roma, chiesa del Gesù, Cappella della Trinità. Andrea Lilio: Un confronto Andrea Lilio, La pietà e santi, 1596. Bagnacavallo, Pinacoteca Civica. Francesco Morelli e Giovanni Baglione: un confronto D’Arpino e la maniera «Dai veri manieristi lo distingue la tendenza alla semplificazione e alla chiarificazione della struttura del quadro, la presenza relativamente rara di motivi di movimento più difficili e di scorci più forti. Lo si potrebbe paragonare a Cristoforo Roncalli, per la serietà misurata di molte sue opere. Nello stile di entrambi si avverte infatti una certa reazione alle artificiosità del manierismo…» (Voss). Federico e Taddeo Zuccari: un confronto «In contrasto con le linee spezzate della scuola degli Zuccari, egli ama la linea lunga che corre ininterrotta, con un certo ductus distintamente melanconico. In sintonia con questa impostazione, in lui il modellato dei corpi e del panneggio non mostra più, come nei suoio predecessori, quella tensione assuoluta a una forte pienezza plastica, ma invece un qualcosa di consapevolmente superficiale» (Voss) Taddeo Zuccari, Donazione di Carlo Magno, 1564. Città del Vaticano, Sala Regia. Cavalier d’Arpino, Battaglia tra Orazi e Curiazi, 1612. Roma, Palazzo dei Conservatori. Cav. D’Arpino, Crocifissione, Taddeo Zuccari, Crocifissione, 1553-56. 1592-1593. Napoli, Certosa San Martino Roma, S Maria della Consolazione, Cappella Mattei. Pulzone, Crocifissione, 1583-1586. Cav. D’Arpino, Crocifissione, 1592-1593. Roma, S. Maria in Vallicella Napoli, Certosa San Martino Federico Barocci: un confronto «Anche nel chiaroscuro, peraltro trattato con molta cura, non mira come accadeva per esempio nella scuola del Barocci, a un sorprendente effetto a macchie, bensì affianca l’una all’altra superfici più grandi dai toni ben sfumati. Grazie e queste qualità, le opere del Cavalier d’Arpino hanno un tocco aristocratico. Inoltre sono in genere contraddistinte da una scala cromatica molto chiara, i cui toni delicati però sono talvolta accostati l’uno all’altro in modo troppo debole» (Voss) Cavalier d’Arpino, Madonna del Rosario, 1601 (commissione 1589) Cesena, chiesa di S. Domenico / F. Barocci, Madonna del Rosario, 1592 ca. Senigallia, Pinacoteca Diocesana. Cavalier d’Arpino, Madonna del Rosario, 1601 (commissione 1589) Cesena, chiesa di S. Domenico / Raffaello, Trasfigurazione, 1520 ca. Pinacoteca Vaticana. .
Load more

Recommended publications
  • La Chiesa E Il Quartiere Di San Francesco a Pisa
    Edizioni dell’Assemblea 206 Ricerche Franco Mariani - Nicola Nuti La chiesa e il quartiere di San Francesco a Pisa Giugno 2020 CIP (Cataloguing in Publication) a cura della Biblioteca della Toscana Pietro Leopoldo La chiesa e il quartiere di San Francesco a Pisa / Franco Mariani, Nicola Nuti ; [presentazioni di Eugenio Giani, Michele Conti, Fra Giuliano Budau]. - [Firenze] : Consiglio regionale della Toscana, 2020 1. Mariani, Franco 2. Nuti, Nicola 3. Giani, Eugenio 4. Conti, Michele 5. Budau, Giuliano 726.50945551 Chiesa di San Francesco <Pisa> Volume in distribuzione gratuita In copertina: facciata della chiesa di San Francesco a Pisa del Sec. XIII, Monumento Nazionale e di proprietà dello Stato. Foto di Franco Mariani. Consiglio regionale della Toscana Settore “Rappresentanza e relazioni istituzionali ed esterne. Comunicazione, URP e Tipografia” Progetto grafico e impaginazione: Patrizio Suppa Pubblicazione realizzata dal Consiglio regionale della Toscana quale contributo ai sensi della l.r. 4/2009 Giugno 2020 ISBN 978-88-85617-66-7 Sommario Presentazioni Eugenio Giani, Presidente del Consiglio regionale della Toscana 11 Michele Conti, Sindaco di Pisa 13 Fra Giuliano Budau, Padre Guardiano, Convento di San Francesco a Pisa 15 Prologo 17 Capitolo I Il quartiere di San Francesco a Pisa 19 Capitolo II Viaggio all’interno del quartiere 29 Capitolo III L’arrivo dei Francescani a Pisa 33 Capitolo IV I Frati Minori Conventuali 45 Capitolo V L’Inquisizione 53 Capitolo VI La chiesa di San Francesco 57 Capitolo VII La chiesa nelle guide turistiche
    [Show full text]
  • Alberto Aringhieri and the Chapel of Saint John the Baptist: Patronage, Politics, and the Cult of Relics in Renaissance Siena Timothy B
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2002 Alberto Aringhieri and the Chapel of Saint John the Baptist: Patronage, Politics, and the Cult of Relics in Renaissance Siena Timothy B. Smith Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE ALBERTO ARINGHIERI AND THE CHAPEL OF SAINT JOHN THE BAPTIST: PATRONAGE, POLITICS, AND THE CULT OF RELICS IN RENAISSANCE SIENA By TIMOTHY BRYAN SMITH A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2002 Copyright © 2002 Timothy Bryan Smith All Rights Reserved The members of the Committee approve the dissertation of Timothy Bryan Smith defended on November 1 2002. Jack Freiberg Professor Directing Dissertation Mark Pietralunga Outside Committee Member Nancy de Grummond Committee Member Robert Neuman Committee Member Approved: Paula Gerson, Chair, Department of Art History Sally McRorie, Dean, School of Visual Arts and Dance The Office of Graduate Studies has verified and approved the abovenamed committee members. ACKNOWLEDGEMENTS First I must thank the faculty and staff of the Department of Art History, Florida State University, for unfailing support from my first day in the doctoral program. In particular, two departmental chairs, Patricia Rose and Paula Gerson, always came to my aid when needed and helped facilitate the completion of the degree. I am especially indebted to those who have served on the dissertation committee: Nancy de Grummond, Robert Neuman, and Mark Pietralunga.
    [Show full text]
  • IMAGES of the MADONNA and CHILD by THREE TUSCAN ARTISTS of the EARLY SEICENTO: VANNI, RONCALLI, and MANETTI Digitized by Tine Internet Arcliive
    r.^/'v/\/ f^jf ,:\J^<^^ 'Jftf IMAGES OF THE MADONNA AND CHILD BY THREE TUSCAN ARTISTS OF THE EARLY SEICENTO: VANNI, RONCALLI, AND MANETTI Digitized by tine Internet Arcliive in 2015 https://archive.org/details/innagesofmadonnacOObowd OCCASIONAL PAPERS III Images of the Madonna and Child by Three Tuscan Artists of the Early Seicento: Vanni, Roncalli, and Manetti SUSAN E. WEGNER BOWDOIN COLLEGE MUSEUM OF ART BRUNSWICK, MAINE Library of Congress Catalogue Card Number 86-070511 ISBN 0-91660(>-10-4 Copyright © 1986 by the President and Trustees of Bowdoin College All rights reserved Designed by Stephen Harvard Printed by Meriden-Stinehour Press Meriden, Connecticut, and Lunenburg, Vermont , Foreword The Occasional Papers of the Bowdoin College Museum of Art began in 1972 as the reincarnation of the Bulletin, a quarterly published between 1960 and 1963 which in- cluded articles about objects in the museum's collections. The first issue ofthe Occasional Papers was "The Walker Art Building Murals" by Richard V. West, then director of the museum. A second issue, "The Bowdoin Sculpture of St. John Nepomuk" by Zdenka Volavka, appeared in 1975. In this issue, Susan E. Wegner, assistant professor of art history at Bowdoin, discusses three drawings from the museum's permanent collection, all by seventeenth- century Tuscan artists. Her analysis of the style, history, and content of these three sheets adds enormously to our understanding of their origins and their interconnec- tions. Professor Wegner has given very generously of her time and knowledge in the research, writing, and editing of this article. Special recognition must also go to Susan L.
    [Show full text]
  • A Sheet of Studies of a Young Child Red and Black Chalk
    Francesco VANNI (Siena 1563 - Siena 1610) A Sheet of Studies of a Young Child Red and black chalk. Inscribed Franc.o Vanni at the lower left. 179 x 254 mm. (7 x 10 in.) ACQUIRED BY THE YALE UNIVERSITY ART GALLERY, NEW HAVEN, CT. The present sheet of studies may be related to two altarpieces by Francesco Vanni of the late 1590’s. Both the sketch in black chalk of a child’s legs and lower torso at the lower left and the study in red chalk of an arm and shoulder at the right centre of the sheet are studies for the pose of the Christ Child in Vanni’s altarpiece of The Virgin and Child with Saints Bernardino of Siena, Francis and Leonard in the small Capuchin church on the outskirts of the towns of Arcidosso and Castel del Piano, south of Siena. One of Vanni’s finest altarpieces, the painting is fully signed and dated, and was completed in 1593, around the same time the convent church was built. In the painting, the Christ Child holds an orb, and his legs are partly covered with drapery. The remaining studies on this sheet are related to the figure of the Christ Child in The Madonna and Child with Saints Cecilia and Agnes in the Sienese church of Sant’Agnese a Vignano, datable to between 1595 and 1600. The study of a reclining child in red chalk at the bottom centre of the sheet is very close to the pose of the child in the painting, although in reverse.
    [Show full text]
  • Barocci's Immacolata Within 'Franciscan' Umbria
    IAN VERSTEGEN Barocci’s Immacolata within ‘Franciscan’ Umbria Abstract This article addresses the iconography of Federico Barocci's Immaculate Conception by inves- tigating local customs. Seeing Urbino and greater Umbria as a region of semiofficial Franciscan belief makes it is possible to understand how Barocci was able to reflect in a precocious way on this venerable subject. Because the belief in Mary's immaculacy was taken for granted, it was possible for an audience to work with a more abbreviated iconography, which became a model for seventeenth century art. The model of sectarian belief is useful for understanding the uni- versality of counterreformation belief and its enforcement in post-Tridentine Italy. Fig. 1: Federico Barocci, Immaculate Conception, c. 1577, Oil on canvas, Galleria Nazionale delle Marche, Urbino 1. Introduction <1> Rome and province, center-periphery, Catholic rite and local custom, have been at the center of definitions of Catholic reform.1 After exchanging the monolithic “counter-reformation” for a more flexible concept of Catholic reform, historians have sought to define how and when canonical teachings and edicts of the pope were actually observed in Italy. One way to discern regularity without demanding the full uniformity of a classic counter-reformation definition of Catholicism is to study the sectarian beliefs that were allowed to be practiced within those same sects. For example, the powerful Franciscans held to aggressive beliefs about Mary that were contrary to accepted church doctrine yet were allowed to use their own breviary, even after Pius V’s reform of the liturgy. <2> This article examines such a case of regional belief that was allowed to seep even into the met- ropolitan structure of a city – Urbino – where the dogma of the Immaculate Conception was celebrated in the conventual church of San Francesco via Federico Barocci’s precocious paint- ing (Fig.
    [Show full text]
  • Selected Works Selected Works Works Selected
    Celebrating Twenty-five Years in the Snite Museum of Art: 1980–2005 SELECTED WORKS SELECTED WORKS S Snite Museum of Art nite University of Notre Dame M useum of Art SELECTED WORKS SELECTED WORKS Celebrating Twenty-five Years in the Snite Museum of Art: 1980–2005 S nite M useum of Art Snite Museum of Art University of Notre Dame SELECTED WORKS Snite Museum of Art University of Notre Dame Published in commemoration of the 25th anniversary of the opening of the Snite Museum of Art building. Dedicated to Rev. Anthony J. Lauck, C.S.C., and Dean A. Porter Second Edition Copyright © 2005 University of Notre Dame ISBN 978-0-9753984-1-8 CONTENTS 5 Foreword 8 Benefactors 11 Authors 12 Pre-Columbian and Spanish Colonial Art 68 Native North American Art 86 African Art 100 Western Arts 264 Photography FOREWORD From its earliest years, the University of Notre Dame has understood the importance of the visual arts to the academy. In 1874 Notre Dame’s founder, Rev. Edward Sorin, C.S.C., brought Vatican artist Luigi Gregori to campus. For the next seventeen years, Gregori beautified the school’s interiors––painting scenes on the interior of the Golden Dome and the Columbus murals within the Main Building, as well as creating murals and the Stations of the Cross for the Basilica of the Sacred Heart. In 1875 the Bishops Gallery and the Museum of Indian Antiquities opened in the Main Building. The Bishops Gallery featured sixty portraits of bishops painted by Gregori. In 1899 Rev. Edward W. J.
    [Show full text]
  • Federicobaroccilookinside.Pdf
    Habent sua fata libelli Early Modern Studies Series General Editor Michael Wolfe St. John’s University Editorial Board of Early Modern Studies Elaine Beilin Framingham State College Christopher Celenza Johns Hopkins University Barbara B. Diefendorf Boston University Paula Findlen Stanford University Scott H. Hendrix Princeton Theological Seminary Jane Campbell Hutchison University of Wisconsin– Madison Mary B. McKinley University of Virginia Raymond A. Mentzer University of Iowa Robert V. Schnucker Truman State University, Emeritus Nicholas Terpstra University of Toronto Margo Todd University of Pennsylvania James Tracy University of Minnesota Merry Wiesner- Hanks University of Wisconsin– Milwaukee Verstegen-Barocci.indb 2 5/21/15 3:57 PM Early Modern Studies 14 Truman State University Press Kirksville, Missouri Verstegen-Barocci.indb 3 5/21/15 3:57 PM Copyright © 2015 Truman State University Press, Kirksville, Missouri, 63501 All rights reserved tsup.truman.edu Cover art: Federico Barocci, Head of an Old Woman Looking to Lower Right, 1584–86, brush and oil paint on paper (Harry G. Sperling Fund, 1976, Metropolitan Museum of Art, New York) Cover design: Teresa Wheeler Library of Congress Cataloging-in-Publication Data Verstegen, Ian. Federico Barocci and the Oratorians : corporate patronage and style in the Counter-Reformation / Ian F. Verstegen. pages cm. — (Early modern studies ; 14) Includes bibliographical references and index. ISBN 978-1-61248-132-6 (library binding : alk. paper) — ISBN 978-1-61248-133-3 (e-book) 1. Barocci, Fed- erigo, 1528–1612—Criticism and interpretation. 2. Oratorians—Art patronage. 3. Santa Maria in Vallicella (Church : Rome, Italy) 4. Christian art and symbolism—Italy—Rome—Modern period, 1500– 5.
    [Show full text]
  • Die Malerei Der Spätrenaissance in Rom Und Florenz
    HANDBOUND AT THE UNIVERSITY OF TORONTO PRESS ^9 76 HERMANN VOSS DIE MALEREI DER SPÄTRENAISSANCE IN ROM UND FLORENZ l'L HERMANN VOSS DIE MALEREI DER SPÄTRENAISSANCE IN ROM UND FLORENZ I\IIT 247 ABBILDUNGEN fe^'^^T- ZWEITER BAND BERLIN AICMXX G. GROTE'SCHE VERLAGSBUCHHANDLUNG Alk- Kfclite . nuinentlich das der Übersetzung in andere Sprai-lien, vorbehalten. llriuk VI PH Fisclier & Wittig in Leipzig ^^A^"^. l^ DRITTES BUCH AUSBREITUNG UND ÜBERWINDUNG DES MANIERISMUS IN FLORENZ Kapitel I Wesen und Entwicklung des Manierismus in Florenz Mit Salviati und namentlich Vasari ist die enge Verbindung zwischen den römischen und florentinischen Bestrebungen Tat- sache geworden. Ganz Mittelitalien erscheint einige Jahrzehnte hin- durch von einem nahezu einheitlichen Stil beherrscht, dessen Haupt- faktoren toskanischer Herkunft sind: Perino del Vaga und seine Schüler auf der einen, Michelangelo und sein Nachahmerkreis auf der anderen Seite. Für Florenz und seine fernere selbständige Ent- wicklung bedeuten jene Jahrzehnte trotz äusserlichen Glanzes eine furchtbare Krise. Die besten Kräfte streben auseinander, verlieren sich in dem Getriebe anderer Schulen , und w-ährenddessen be- mächtigt sich der fürstliche Absolutismus der noch vorhandenen Kräfte , um sie in den Dienst seiner persönlichen Interessen zu stellen. Cosimos organisatorisches Geschick ist nicht zu leugnen, aber ebensowenig lässt sich das Künstliche , Emporkömmlingshafte in seinem Verhältnis zur bildenden Kunst übersehen. Selber auto- kratisch veranlagt, begünstigt er in den umfangreichen Aufgaben, die er seinen Künstlern stellt, das schrankenlose Vorherrschen eines einzigen Willens. Daher das ungesunde Überwiegen des persön- lichen Einflusses eines Künstlers wie Vasari, der mit seiner eklek- tischen Manier nicht nur den Stil, sondern auch die Aufgaben der Florentiner Malerei auf lange hinaus monopolisiert hat.
    [Show full text]
  • Curzio Sergardi, Siena Ricercata Et Esaminata … 1686
    [1] SIENA . RICERCATA ET ESAMINATA CONFORME SI RITROVA AL PRESENTE CON LA NOTIZIA DELL ’HUOMINI ILLUSTRI E DELLA CASA NOBILE CHE PRESENTEMENTE VIVONO CON IL PRINCIPIO DELLA LORO NOBILTÀ , OPERA DI CURZIO SERGARDI ACCADEMICO INTRONATO . L’anno MDCLXXXVI [2] Curzio Sergardi a’ suoi dilettissimi figlioli Filippo e Lodovico salute. Il signore Pirro Palmieri, che sia in gloria, hebbe la bontà di comandarmi nell’anno 1679 che io lo servisse di fargli una veridica relazione della città di Siena per trasmetterla ad amico fuora, che gl’era ricercata, e a quest’effetto mi diede una notula in mano, acciò mi regolasse con quel metodo nella mia descrizione. Cercai di servirlo quanto s’estendevano le mie debili forze et, essendomi riserbato un esemplare di detta descrizione, questo present’anno trattenendomi in casa per i caldi eccessivi che regnano, datomi alle mani la medesima, m’è caduto in animo di farla di nuovo ricopiare (animato anco per avanti da alcuni amici che non me la disprezzorno). L’ho dunque, conforme il mio poco intendimento terminata et agumentata in tutte le sue parti dal primo esemplare che dal principio io ne formai, quale l’ho estratto da autori disinteressati e da proprii oggetti. Tale quale si sia, io la raccomando alla vostra bontà, acciò che la custodiate [2v] come fattura d’uno ch’ambisce ogni vostro bene e se non n’havete cura voi altri dispero che possi haver vita però che, come disse il Testi, Nessun profeta alla sua patria è caro . Con che vi lascio con la benedizione di Dio. Di casa il primo agosto 1686.
    [Show full text]
  • L'epigrafia Cristiana Nell'età Di Cesare Baronio
    impaginato tosini ultimo:Layout 3 4-09-2009 17:02 Pagina 49 View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Reti Medievali Open Archive L’EPIGRAFIA CRISTIANA NELL’ETÀ DI CESARE BARONIO Mariarita Sgarlata A Roma tra il secondo Cinquecento e gli inizi del Seicento l’interesse per l’epigrafia cristiana segue il diagramma segnato dall’attenzione crescente verso i suoi contenitori, quei cimiteri sotterranei che tanto spazio trove- ranno negli studi del periodo, tutti in qualche modo sollecitati dall’ur- 1 1 FREMIOTTI, 1926, pp. 17-19. genza di una risposta alle spinte riformistiche e tutti saldamente 2 «Lo studio delle antichità cri- ancorati all’obiettivo comune dell’affermazione del primato della Chiesa stiane non tanto ha servito ad 2 alimentare la curiosità degli eru- cattolica . Il clima polemico tocca anche quelle accademie, che sulla diti o il nobile egoismo degli carta avrebbero dovuto promuovere asettici studi di antiquaria, ma che esteti, quanto a promuovere e consolidare le ragioni della Fede» di fatto vennero travolte dalla temperie apologetica e costrette a cedere (CECCHELLI, 1929, p. 3). Cfr. alle lusinghe dell’erudizione sacra, circostanza che non vietò in partico- NEVEU, 1981, che insiste sulla propensione della Chiesa ro- lare a una di loro, la Conferenza dei concili, alcune iniziative destinate a mana ad assicurarsi una visibi- produrre risultati nell’archeologia cristiana da campo già negli ultimi de- lità grazie allo studio dell’anti- 3 chità cristiana, spesso non sup- cenni del
    [Show full text]
  • Irving Lavin Divine Grace and the Remedy of the Imperfect
    Irving Lavin Divine Grace and the Remedy of the Imperfect. Michelangelo’s Signature on the St Peter’s Pietà The Signature It can be said that Michelangelo’s signature on the St Peter’s Pietà (executed 1498–1499/1500) is no less extraordinary and meaningful than the sculpture itself [Figs 1–3].1 The two compo- nents of the work, sculpture and inscription, move from the past to the future pari-passu, and I believe the innovations they bring in both domains are profoundly interrelated. My purpose in this paper is to reconsider Michelangelo’s work in what I believe to be a new light, which may also illuminate what I should call the inner relationship between Michelangelo’s words and image. MICHAEL • A[N]GELUS • BONAROTUS • FLORENT[INUS] • FACIEBA[T] The innovations and peculiarities of Michelangelo’s signa- ture, the only time he inscribed his name on a public work, have often been noted and discussed.2 The text is in Latin and in a for- mula sanctioned by the venerable masters of antiquity, as re- ported by Pliny in the preface to his own work on Natural History: I should like to be accepted on the lines of those founders of paint- ing and sculpture who, as you will fi nd in these volumes, used to inscribe their fi nished works, even the masterpieces which we can never tire of admiring, with a provisional title such as Apelles Irving Lavin 1. Michelangelo, «Pietà» (1498–1499/1500), Vatican City, St Peter’s 278 Divine Grace and the Remedy of the Imperfect.
    [Show full text]
  • From Artist to Audience Would Not Have Been Possible This Elegant and Professional Publication
    FromITALIAN Artist DRAWINGS to AND Audience PRINTS from the 15th through 18th Centuries FromITALIAN Artist DRAWINGS to AND Audience PRINTS from the 15th through 18th Centuries Works from the Darlene K. Morris Collection March 4 – April 16, 2016 Curated by: C. Madeline Fritz Paris Humphrey Samantha Mendoza-Ferguson Sara Pattiz Rebecca Race Isabel Richards Samuel Richards THE TROUT GALLERY • Dickinson College • Carlisle, Pennsylvania This publication was produced in part through the generous support of the Helen Trout Memorial Fund and the Ruth Trout Endowment at Dickinson College. Published by The Trout Gallery, Dickinson College, Carlisle, Pennsylvania 17013. Copyright © 2016 The Trout Gallery. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission from The Trout Gallery. All photographs Andrew Bale, unless otherwise noted. Design: Amanda DeLorenzo, Dickinson College Office of Design Services Printing: Pemcor, Inc., Lancaster, Pennsylvania ISBN 978-0-9861263-0-7 Cover: Carlo Urbino (attributed), Study sheet with Two Standing Men, ca. 1560. Drawing. Courtesy Darlene K. Morris Collection (cat. 14). Back cover: Diana Mantuana (Ghisi, Scultori), Farnese Bull (The Punishment of Dirce), 1581. Engraving. Courtesy Darlene K. Morris Collection (cat. 16). Title page: Gaetano Gandolfi,Saint Anthony the Great, ca. 1770. Etching. Courtesy Darlene K. Morris Collection (cat. 33). Acknowledgements Dickinson College’s senior Art History Seminar is unique for transporting the works himself to the College during the among undergraduate programs in art history in both process summer of 2015. He was also of great assistance in procuring and outcome.
    [Show full text]