DOCSLIB.ORG

ABSTRACT Catholic-Reformation Painters of the Baroque: a Study On

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ABSTRACT Catholic-Reformation Painters of the Baroque: A Study on Why Women in Bologna Mikaila B. Schmidt Director: Dr. Heidi J. Hornik This thesis examines the unprecedented rise in female artists in Bologna during the Baroque period. It argues that women in Bologna found success during the 17th century primarily due to their revival of the maniera devota style. After the decisions made at the Council of Trent in 1565, religious art was required to reflect the newly unified Catholic Church as well as inspire a deeper sense of religious devotion and connection to faith. Artists such as Caravaggio and Artemisia Gentileschi solidified the emotional intensity of this period through dramatic contrast and religious symbolism. Influenced by Archbishop Paleotti, painters Guido Reni and the Carracci painters, Lavinia Fontana, and Elisabetta Sirani combine naturalism and science in a way that inspires devotion and introspection. While many factors contributed to female prosperity, the religious intensity and emotional connections they establish with the viewer allowed for their popularity in Bologna and across Italy to grow, paving the way for future success by later female painters. APPROVED BY DIRECTOR OF HONORS THESIS: __________________________________________Found Heidi f Dr. Heidi J. Hornik, Professor of Art History APPROVED BY THE HONORS PROGRAM: __________________________________________ Dr. Andrew Wisely, Interim Director DATE: ___April______________________26,202L CATHOLIC-REFORMATION PAINTERS OF THE BAROQUE: A STUDY ON WHY WOMEN IN BOLOGNA A Thesis Submitted to the Faculty of Baylor University In Partial Fulfillment of the Requirements for the Honors Program By Mikaila B. Schmidt Waco, Texas May 2021 TABLE OF CONTENTS Acknowledgements . iii Dedication. iv List of Illustrations . v Introduction . 1 Chapter One . 4 Chapter Two . 20 Chapter Three . 42 Bibliography . 65 ii ACKNOWLEDGEMENTS Anyone who knows the challenge that has confronted me knows that you cannot do it by yourself. There are many people for me to thank in the completion of my Honor’s Thesis. I would first like to thank my advisor, Dr. Heidi J. Hornik, Professor and Chair of the Department of Art and Art History. The door to Dr. Hornik’s office was always open whenever I ran into a trouble spot or had questions about my research or writing. She has served as a model for female leadership and success. Her dedication to recording the history of art is an inspiration. Dr. Hornik consistently allowed this project to be my own work but steered me in the right direction whenever she thought I needed it. I would also like to acknowledge Dr. Katie Larson of the Department of Art and Art History as the second reader of this thesis and Dr. Marcie Moehnke of the Biology Department as the third reader of this thesis. I am gratefully indebted to them both for their very valuable comments on this project. In addition to those mentioned above, I would like to show my appreciation to the Department of Art and Art History for the classes and opportunities it has provided me in my time at Baylor University. From multiple courses to the chance to speak at the Midwest Art History Society Conference, I am thankful for the support and encouragement of the department. I would especially like to express my gratitude for being named the Outstanding Student in Art History in 2021. My time at Baylor would not have been the same without the Hooper-Schaffer building and the people in it. To my University Scholars advisor, Charmaine Dull, thank you for your continued belief in my ability to succeed. In every up and down you remained constant in your support. Thank you for pushing me to pursue both science and art, to follow my passions, and for being a source of confidence. Finally, I must express my very profound gratitude to my family for providing me with unfailing support and continuous encouragement throughout my years of study and through the process of researching and writing this thesis. This accomplishment would not have been possible without them. To my parents and my sisters – it would be an understatement to say that we have experienced some highs and lows in the past two years, yet every time I was ready to quit, you did not let me, and I am forever grateful. Specifically, to my mom and dad – thank you for the support and encouragement you have provided me for many years and for everything you did to make my time at Baylor possible. This thesis stands as a testament to your unconditional love and encouragement. Thank you. Mikaila Schmidt iii To the curious little girl at the art museum. iv LIST OF ILLUSTRATIONS Figure 1.1: Rosso Fiorentino, Madonna and Child with the Infant Saint John the Baptist, 1515, Mixed technique on poplar wood, 101.2 x 77.5 cm, Städel Museum, Frankfurt, Germany. (Used with permission from museum website) Figure 1.2: Rosso Fiorentino, Virgin and Child with Saints, 1518, Oil on panel, 172 x 141 cm, Galleria degli Uffizi, Florence, Italy. (Used with permission from museum website) Figure 1.3: Rosso Fiorentino, Pietà, c. 1524-27, Oil on canvas, 133.4 x 104.1 cm, Museum of Fine Arts, Boston, Massachusetts, United States of America. (Used with permission from museum website) Figure 1.4: Caravaggio, The Incredulity of Saint Thomas, c. 1601-1602, Oil on canvas, 42 x 57 ½. inches, Neues Palast, Potsdam, Germany. (Used with permission from Artstor) Figure 1.5: Francesco Salviati, Doubting Thomas, c. 1547, Oil on canvas, 275 x 234 cm, Musée du Louvre, Paris, France. (Used with permission from Artstor) Figure 2.1: Caravaggio, The Sacrifice of Isaac, 1603, Oil on canvas, 104 x 135 cm, Galleria degli Uffizi, Florence, Italy. (Used with permission from museum website) Figure 2.2: Caravaggio, The Conversion of Saint Paul, 1600-1601, Oil on canvas, 230 x 175 cm, Cerasi Chapel, Santa Maria del Popolo, Rome, Italy. (Used with permission from Artstor) Figure 2.3: Annibale Carracci, Madonna Enthroned with Saint Matthew, 1588, Oil on canvas, 384 x 255 cm, Staatliche Kunstsammlungen, Dresden, Germany. (Used with permission from museum website) Figure 2.4: Lodovico Carracci, Saint Sebastian Thrown into the Cloaca Maxima, 1612, Oil on canvas, 163.5 x 232.4 cm, The J. Paul Getty Museum, Los Angeles, United States of America. (Used with permission from museum website) Figure 2.5: Guido Reni, Christ with the Crown of Thorns, Oil on poplar wood, 49 x 37 cm, Staatliche Kunstsammlungen, Dresden, Germany. (Used with permission from museum website) Figure 2.6: Guercino, The Return of the Prodigal Son, 1654-55, Oil on canvas, 155.6 x 146.1 cm, Timken Museum of Art, San Diego, California, United States of America. (Used with permission from museum website) Figure 2.7: Guercino, Return of the Prodigal, 1627-1629, Oil on canvas, 125 x 163 cm, Galleria Borghese, Rome, Italy. (Used with permission from Artstor) v Figure 2.8: Artemisia Gentileschi, Esther Before Ahasuerus, 1628-1630, Oil on canvas, 208.3 x 273.7 cm, The Metropolitan Museum of Art, New York City, New York, United States of America. (Used with permission from museum website) Figure 2.9: Artemisia Gentileschi, Judith and Her Maidservant with the Head of Holofernes, c.1623-1625, Oil on canvas, 187.2 x 142 cm, Detroit Institute of Art, Detroit, Michigan, United States of America. (Used with permission from museum website) Figure 3.1: Caterina Vigri, St. Ursula and Her Maidens, c. 1456, Oil on panel. (Used with permission from Artstor) Figure 3.2: Properzia de’ Rossi, Joseph and Potiphar’s Wife, 1520s, Marble, Museo de San Pietro, Bologna, Italy. (Used with permission from Web Gallery of Art) Figure 3.3: Lavinia Fontana, Portrait of Costanza Alidosi, ca. 1595, Oil on canvas, 62 x 47 3/8 in., The National Museum of Women in the Arts, Washington, DC, United States of American. (Used with permission from museum website) Figure 3.4: Lavinia Fontana, Portrait of Ginevra Aldrovandi Hercolani, 1595, Oil on canvas, 114.62 x 94.62 cm, Walter’s Art Museum, Baltimore, Maryland, United States of America. (Used with permission from museum website) Figure 3.5: Lavinia Fontana, Portrait of Antonietta Gonzalez, 1595, Oil on canvas, Château de Blois, France. (Used with permission from WikiArt) Figure 3.6: Lavinia Fontana, St. Francis Adoring the Crucifix, 1580, Oil on canvas, 50 x 37 cm, Private Collection. (Used from Marlene Misiuk, La Donna e La Maniera Devota: Lavinia Fontana, Sacred Imagery and the Natural Sciences in Sixteenth-Century Bologna, 105.) Figure 3.7: Lavinia Fontana, Stigmatization of St. Francis, 1579, Oil on canvas, 63 x 75 cm, Seminary of Bologna, Bologna, Italy. (Used with permission from Artstor) Figure 3.8: Elisabetta Sirani, Virgin Addolorata with the Symbols of the Passion, 1657, Oil on copper, Regional Museum Complex of Emilia Romagna- National Art Gallery of Bologna, Bologna, Italy. (Used with permission from museum website) Figure 3.9: Elisabetta Sirani, Judith Showing the Head of Holofernes to the Israelites, 1658, Oil on canvas, 236.5 x 183 cm, Burghley House Gallery, Stamford, England. (Used with permission from museum website) Figure 3.10: Lavinia Fontana, Judith and Holofernes, 1600, Oil on canvas, 130 x 110 cm, Museo Davia Bargellini, Bologna, Italy. (Used with permission from Web Gallery of Art) vi Figure 3.11: Elisabetta Sirani, Baptism of Christ, 1658, Oil on canvas, 400 x 500 cm, San Girolamo della Certosa, Bologna, Italy. (Used from J. Rubinski, Elisabetta Sirani’s: Judith with the Head of Holofernes, 57.) vii INTRODUCTION Beginning with Martin Luther in 1517, the Protestant Reformation brought to light concerns within the Catholic Church. Forced to unify the Catholic faith and make changes in response to accusations from Protestants, the Church called the Council of Trent in 1545.
Recommended publications
  • Renaissance and Baroque Art

    Renaissance and Baroque Art

    Brooks Education (901)544.6215 Explore. Engage. Experience. Renaissance and Baroque Art Memphis Brooks Museum of Art Permanent Collection Tours German, Saint Michael, ca. 1450-1480, limewood, polychromed and gilded , Memphis Brooks Museum of Art Purchase with funds provided by Mr. and Mrs. Ben B. Carrick, Dr. and Mrs. Marcus W. Orr, Fr. And Mrs. William F. Outlan, Mr. and Mrs. Downing Pryor, Mr. and Mrs. Richard O. Wilson, Brooks League in memory of Margaret A. Tate 84.3 1 Brooks Education (901)544.6215 Explore. Engage. Experience. Dear Teachers, On this tour we will examine and explore the world of Renaissance and Baroque art. The French word renaissance is translated as “rebirth” and is described by many as one of the most significant intellectual movements of our history. Whereas the Baroque period is described by many as a time of intense drama, tension, exuberance, and grandeur in art. By comparing and contrasting the works made in this period students gain a greater sense of the history of European art and the great minds behind it. Many notable artists, musicians, scientists, and writers emerged from this period that are still relished and discussed today. Artists and great thinkers such as Leonardo Da Vinci, Michaelangelo Meisi da Caravaggio, Gian Lorenzo Bernini, Michelangelo di Lodovico Buonarroti Simoni, Dante Alighieri, Johann Sebastian Bach, and Galileo Galilei were working in their respective fields creating beautiful and innovative works. Many of these permanent collection works were created in the traditional fashion of egg tempera and oil painting which the students will get an opportunity to try in our studio.
  • Elisabetta Sirani Dipinti Devozionali E “Quadretti Da Letto” Di Una Virtuosa Del Pennello

    Elisabetta Sirani Dipinti Devozionali E “Quadretti Da Letto” Di Una Virtuosa Del Pennello

    Temporary exhibition from the storage. LISABETTA E IRANI DipintiS devozionali e “quadretti da letto” di una virtuosa del pennello Palazzo Pepoli Campogrande 18 september - 25 november 2018 Elisabetta Sirani Dipinti devozionali e “quadretti da letto” di una virtuosa del pennello The concept of the exhibition is linked to an important recovery realized by the Nucleo Carabinieri Tutela Patrimonio Culturale of Bologna: the finding on the antique market, thanks to the advisory of the Pinacoteca, of a small painting with a Virgin praying attributed to the well-known Bolognese painter Elisabetta Sirani (Bologna 1638-1665), whose disappearance has been denounced by Enrico Mauceri in 1930. The restitution of the work to the Pinacoteca and its presentation to the public is accompanied by an exposition of some paintings of Elisabetta, usually kept into the museum storage, with the others normally showed in the gallery (Saint Anthony of Padua adoring Christ Child) and in Palazzo Pepoli Elisabetta Sirani, Virgin praying, Campogrande (Saint Mary Magdalene and Saint Jerome). canvas, cm 46x36, Inv. 625 The aim of this intimate exhibition is to ce- lebrate Elisabetta Sirani as one of the most representative personalities of the Bolognese School in the XVII century, who followed the artistic lesson of the divine Guido Reni. Actually, Elisabetta was not directly a student of Reni, who died when she was four years old. First of four kids, she learnt from her father Giovanni Andrea Sirani, who was direct student of Guido. We can imagine how much the collection of Reni’s drawings kept by Giovanni inspired our young painter, who started to practise in a short while.
  • The Crusade of Andrew II, King of Hungary, 1217-1218

    The Crusade of Andrew II, King of Hungary, 1217-1218

    IACOBVS REVIST A DE ESTUDIOS JACOBEOS Y MEDIEVALES C@/llOj. ~1)OI I 1 ' I'0 ' cerrcrzo I~n esrrrotos r~i corrnrro n I santiago I ' s a t'1 Cl fJ r1 n 13-14 SAHACiVN (LEON) - 2002 CENTRO DE ESTVDIOS DEL CAMINO DE SANTIACiO The Crusade of Andrew II, King of Hungary, 1217-1218 Laszlo VESZPREMY Instituto Historico Militar de Hungria Resumen: Las relaciones entre los cruzados y el Reino de Hungria en el siglo XIII son tratadas en la presente investigacion desde la perspectiva de los hungaros, Igualmente se analiza la politica del rey cruzado magiar Andres Il en et contexto de los Balcanes y del Imperio de Oriente. Este parece haber pretendido al propio trono bizantino, debido a su matrimonio con la hija del Emperador latino de Constantinopla. Ello fue uno de los moviles de la Quinta Cruzada que dirigio rey Andres con el beneplacito del Papado. El trabajo ofre- ce una vision de conjunto de esta Cruzada y del itinerario del rey Andres, quien volvio desengafiado a su Reino. Summary: The main subject matter of this research is an appro- ach to Hungary, during the reign of Andrew Il, and its participation in the Fifth Crusade. To achieve such a goal a well supported study of king Andrew's ambitions in the Balkan region as in the Bizantine Empire is depicted. His marriage with a daughter of the Latin Emperor of Constantinople seems to indicate the origin of his pre- tensions. It also explains the support of the Roman Catholic Church to this Crusade, as well as it offers a detailed description of king Andrew's itinerary in Holy Land.
  • ELISABETTA SIRANI's JUDITH with the HEAD of HOLOFERNES By

    ELISABETTA SIRANI's JUDITH with the HEAD of HOLOFERNES By

    ELISABETTA SIRANI’S JUDITH WITH THE HEAD OF HOLOFERNES by JESSICA COLE RUBINSKI (Under the Direction of Shelley Zuraw) ABSTRACT This thesis examines the life and artistic career of the female artist, Elisabetta Sirani. The paper focuses on her unparalleled depictions of heroines, especially her Judith with the Head of Holofernes. By tracing the iconography of Judith from masters of the Renaissance into the mid- seventeenth century, it is evident that Elisabetta’s painting from 1658 is unique as it portrays Judith in her ultimate triumph. Furthermore, an emphasis is placed on the relationship between Elisabetta’s Judith and three of Guido Reni’s Judith images in terms of their visual resemblances, as well as their symbolic similarities through the incorporation of a starry sky and crescent moon. INDEX WORDS: Elisabetta Sirani, Judith, Holofernes, heroines, Timoclea, Giovanni Andrea Sirani, Guido Reni, female artists, Italian Baroque, Bologna ELISABETTA SIRANI’S JUDITH WITH THE HEAD OF HOLOFERNES by JESSICA COLE RUBINSKI B.A., Florida State University, 2003 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2008 © 2008 Jessica Cole Rubinski All Rights Reserved ELISABETTA SIRANI’S JUDITH WITH THE HEAD OF HOLOFERNES by JESSICA COLE RUBINSKI Major Professor: Dr. Shelley Zuraw Committee: Dr. Isabelle Wallace Dr. Asen Kirin Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2008 iv To my Family especially To my Mother, Pamela v ACKNOWLEDGEMENTS First, I would like to thank Robert Henson of Carolina Day School for introducing me to the study of Art History, and the professors at Florida State University for continuing to spark my interest and curiosity for the subject.
  • What Was 'The Enlightenment'? We Hear About It All the Time. It Was A

    What Was 'The Enlightenment'? We Hear About It All the Time. It Was A

    What Was ‘The Enlightenment’? We hear about it all the time. It was a pivotal point in European history, paving the way for centuries of history afterward, but what was ‘The Enlightenment’? Why is it called ‘The Enlightenment’? Why did the period end? The Enlightenment Period is also referred to as the Age of Reason and the “long 18th century”. It stretched from 1685 to 1815. The period is characterized by thinkers and philosophers throughout Europe and the United States that believed that humanity could be changed and improved through science and reason. Thinkers looked back to the Classical period, and forward to the future, to try and create a trajectory for Europe and America during the 18th century. It was a volatile time marked by art, scientific discoveries, reformation, essays, and poetry. It begun with the American War for Independence and ended with a bang when the French Revolution shook the world, causing many to question whether ideas of egalitarianism and pure reason were at all safe or beneficial for society. Opposing schools of thought, new doctrines and scientific theories, and a belief in the good of humankind would eventually give way the Romantic Period in the 19th century. What is Enlightenment? Philosopher Immanuel Kant asked the self-same question in his essay of the same name. In the end, he came to the conclusion: “Dare to know! Have courage to use your own reason!” This was an immensely radical statement for this time period. Previously, ideas like philosophy, reason, and science – these belonged to the higher social classes, to kings and princes and clergymen.
  • Elisabetta Sirani Dipinti Devozionali E “Quadretti Da Letto” Di Una Virtuosa Del Pennello

    Elisabetta Sirani Dipinti Devozionali E “Quadretti Da Letto” Di Una Virtuosa Del Pennello

    Elisabetta Sirani Dipinti devozionali e “quadretti da letto” di una virtuosa del pennello L’idea del percorso tra questi dipinti nasce a seguito di un importante recupero realizzato dal Nucleo Carabinieri Tutela Patrimonio Culturale di Bologna: il ritrovamento sul mercato antiquario, grazie a una segnalazione del Museo, di un piccolo dipinto raffigurante la Vergine orante attribuito alla celebre pittrice bolognese Elisabetta Sirani (Bologna 1638-1665), la cui scomparsa dalla Pinacoteca di Bologna era stata denunciata da Enrico Mauceri nel 1930. L’esposizione del dipinto ritrovato diventa occasione per presentare al pubblico altri lavori dell’artista generalmente conservati nei depositi, spazi da non considerarsi soltanto incubatori di oggetti, ma come una fonte di ricche testimonianze di un passato intangibile, spesso celato e sconosciuto al pubblico per motivi conservativi. Si ha così l’occasione di scoprire la personalità innovativa di una delle principali protagoniste della storia della pittura del Seicento. Elisabetta Sirani nasce a Bologna nel 1638 da Margherita e Giovanni Andrea Sirani, allievo e diretto collaboratore di Guido Reni. Studiò la tradizione classica del divino maestro nella bottega del padre, grazie al quale entrò in contatto con il mercato e la committenza cittadina, a cui affidò le sue opere più importanti. Elisabetta iniziò fin da subito la sua carriera da pittrice, aprendo già all’età di ventiquattro anni una bottega molto frequentata, nella quale spiccava la presenza di numerose donne. Nonostante la sua breve vita – infatti morì a soli ventisette anni – Elisabetta viene ricordata già dallo storico contemporaneo Carlo Cesare Malvasia per le sue doti pittoriche: definita “virtuosa” per la rapidità del segno e la maestria nell’arte della pittura, veniva addirittura ammirata dai passanti che si fermavano davanti la sua bottega.
  • Counter Reformation John Donnelly Marquette University, John.P.Donnelly@Marquette.Edu

    Counter Reformation John Donnelly Marquette University, [email protected]

    Marquette University e-Publications@Marquette History Faculty Research and Publications History, Department of 1-1-1996 Counter Reformation John Donnelly Marquette University, [email protected] Published version. "Counter Reformation," in The World Book Encyclopedia. Ed. World Book Inc. Chicago: World Book Inc., 1996: 1096-1097. Publisher Link. © 1996 World Book Inc. The publication can be found in Volume 4 of the The orldW Book Encyclopedia 1996 Edition. 1096 Counseling policy. The council aims to develop new approaches to, against Protestantism. The council met in sessio n!> be­ and an understanding of, international relations. It does tween 1545 and 1563 in Trent, Italy. It defined Cat.ho lic not, however, support or oppose any course of action. doctrine on questions disputed by Protestant theolo­ The council encourages the publication of books on gians. The questions included original sin, grace, free foreign affairs. The authors of these books need not be will, the seven sacraments, the Mass, and the r 'Iation council members. However, they receive advice from between Scripture and tradition. The council arrunged study groups made up of experts who are members. for the pope to issue a catechism and books on N urgy Since 1922, the council has published a quarterly maga- (acts of worship), so there would be greater uniformity zine called Foreign Affairs. • , in church teachings. The church also published :.;, li st of The Council on Foreign Relations sponsors about 150 books Catholics were forbidden to read because th e meetings yearly for members. Leading government offi­ books were considered harmful to faith or morais, In cials and experts in foreign affairs address the meetings.
  • Natural Trumpet Music and the Modern Performer A

    Natural Trumpet Music and the Modern Performer A

    NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays.
  • Domenico Ghirlandaio 1 Domenico Ghirlandaio

    Domenico Ghirlandaio 1 Domenico Ghirlandaio

    Domenico Ghirlandaio 1 Domenico Ghirlandaio Domenico Ghirlandaio Supposed self-portrait, from Adoration of the Magi, 1488 Birth name Domenico di Tommaso Curradi di Doffo Bigordi Born 11 January 1449Florence, Italy Died 11 January 1494 (aged 45)Florence, Italy (buried in the church of Santa Maria Novella) Nationality Italian Field Painter Movement Italian Renaissance Works Paintings in: Church of Ognissanti, Palazzo Vecchio, Santa Trinita, Tornabuoni Chapel in Florence and Sistine Chapel, Rome Domenico Ghirlandaio (1449 – 11 January 1494) was an Italian Renaissance painter from Florence. Among his many apprentices was Michelangelo. Biography Early years Ghirlandaio's full name is given as Domenico di Tommaso di Currado di Doffo Bigordi. The occupation of his father Tommaso Bigordi and his uncle Antonio in 1451 was given as "'setaiuolo a minuto,' that is, dealers of silks and related objects in small quantities." He was the eldest of six children born to Tommaso Bigordi by his first wife Mona Antonia; of these, only Domenico and his brothers and collaborators Davide and Benedetto survived childhood. Tommaso had two more children by his second wife, also named Antonia, whom he married in 1464. Domenico's half-sister Alessandra (b. 1475) married the painter Bastiano Mainardi in 1494.[1] Domenico was at first apprenticed to a jeweller or a goldsmith, most likely his own father. The nickname "Il Ghirlandaio" (garland-maker) came to Domenico from his father, a goldsmith who was famed for creating the metallic garland-like necklaces worn by Florentine women. In his father's shop, Domenico is said to have made portraits of the passers-by, and he was eventually apprenticed to Alessio Baldovinetti to study painting and mosaic.
  • Download Download

    Download Download

    Journal of Arts & Humanities Volume 09, Issue 06, 2020: 01-11 Article Received: 26-04-2020 Accepted: 05-06-2020 Available Online: 13-06-2020 ISSN: 2167-9045 (Print), 2167-9053 (Online) DOI: http://dx.doi.org/10.18533/journal.v9i6.1920 Caravaggio and Tenebrism—Beauty of light and shadow in baroque paintings Andy Xu1 ABSTRACT The following paper examines the reasons behind the use of tenebrism by Caravaggio under the special context of Counter-Reformation and its influence on later artists during the Baroque in Northern Europe. As Protestantism expanded throughout the entire Europe, the Catholic Church was seeking artistic methods to reattract believers. Being the precursor of Counter-Reformation art, Caravaggio incorporated tenebrism in his paintings. Art historians mostly correlate the use of tenebrism with religion, but there have also been scholars proposing how tenebrism reflects a unique naturalism that only belongs to Caravaggio. The paper will thus start with the introduction of tenebrism, discuss the two major uses of this artistic technique and will finally discuss Caravaggio’s legacy until today. Keywords: Caravaggio, Tenebrism, Counter-Reformation, Baroque, Painting, Religion. This is an open access article under Creative Commons Attribution 4.0 License. 1. Introduction Most scholars agree that the Baroque range approximately from 1600 to 1750. There are mainly four aspects that led to the Baroque: scientific experimentation, free-market economies in Northern Europe, new philosophical and political ideas, and the division in the Catholic Church due to criticism of its corruption. Despite the fact that Galileo's discovery in astronomy, the Tulip bulb craze in Amsterdam, the diplomatic artworks by Peter Paul Rubens, the music by Johann Sebastian Bach, the Mercantilist economic theories of Colbert, the Absolutism in France are all fascinating, this paper will focus on the sophisticated and dramatic production of Catholic art during the Counter-Reformation ("Baroque Art and Architecture," n.d.).
  • Introduction: the Spirituali and Their Goals

    Introduction: the Spirituali and Their Goals

    NOT BY FAITH ALONE: VITTORIA COLONNA, MICHELANGELO AND REGINALD POLE AND THE EVANGELICAL MOVEMENT IN SIXTEENTH CENTURY ITALY A Thesis Submitted to the Faculty of The School of Continuing Studies and of The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Studies Christopher Allan Dunn, J.D. Georgetown University Washington, D.C. March 19, 2014 NOT BY FAITH ALONE: VITTORIA COLONNA, MICHELANGELO AND REGINALD POLE AND THE EVANGELICAL MOVEMENT IN SIXTEENTH CENTURY ITALY Christopher Allan Dunn, J.D. MALS Mentor: Michael Collins, Ph.D. ABSTRACT Beginning in the 1530’s, groups of scholars, poets, artists and Catholic Church prelates came together in Italy in a series of salons and group meetings to try to move themselves and the Church toward a concept of faith that was centered on the individual’s personal relationship to God and grounded in the gospels rather than upon Church tradition. The most prominent of these groups was known as the spirituali, or spiritual ones, and it included among its members some of the most renowned and celebrated people of the age. And yet, despite the fame, standing and unrivaled access to power of its members, the group failed utterly to achieve any of its goals. By 1560 all of the spirituali were either dead, in exile, or imprisoned by the Roman Inquisition, and their ideas had been completely repudiated by the Church. The question arises: how could such a “conspiracy of geniuses” have failed so abjectly? To answer the question, this paper examines the careers of three of the spirituali’s most prominent members, Vittoria Colonna, Michelangelo and Reginald Pole.
  • Saints and Their Symbols

    Saints and Their Symbols

    Saints and Their Symbols ANCHOR. Sometimes three balls, or three S. Nicholas of Myra, 326. Patron saint of Russia, children in a tub. Bishop's robes. and many seaports; also of children. ANGEL or Man. S. Matthew, Apostle, Evangelist, M. ANGEL holding a book. Benedictine habit. S. Frances of Rome, 1440. ANGEL. Crown of red and white roses. Musical S. Cecilia, V.M., 280. Patron saint of music and instruments. Palm. musicians. ANGEL holding a flame-tipped arrow. Dove. S. Teresa of Avila, 1582. Patron saint of Spain. Carmelite habit. Foundress of the reformed Carmelites. ANGEL with pyx or chalice. Franciscan habit. S. Bonaventure, 1274. Cardinal's hat on a tree or at his feet. ANGEL holding fruit or flowers. Crown. Palm. S. Dorothy of Cappadocia, V.M., 303. ANGEL ploughing in the background. Spade. S. Isidore the Ploughman, 1170. Patron saint of agriculture. ARROW. Banner with a red cross. Crown. S. Ursula, V.M. Patron saint of young girls, and Sometimes surrounded by many virgins. Palm. women engaged in girls’ education. ARROWS, pierced by. Bound to a tree or column. S. Sebastian, M., 288. Patron saint against the plague and pestilence. AXE. S. Matthias, Apostle., M. BAG of money. Book. Pen and inkhorn. S. Matthew, Apostle and Evangelist, M. BALLS, three. Bishop's robes. S. Nicholas of Myra, 326. Patron saint of Russia, and many seaports; also of children. BANNER with black Imperial eagle. Royal robes. S. Wenceslaus of Bohemia, M., 938. Palm. BANNER, with red cross. Arrow. Crown. S. Ursula, V.M. Patron saint of young girls, and Sometimes surrounded by many virgins.