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March 27, 2018 RESTORATION of CAPPONI CHAPEL in CHURCH of SANTA FELICITA in FLORENCE, ITALY, COMPLETED THANKS to SUPPORT FROM
Media Contact: For additional information, Libby Mark or Heather Meltzer at Bow Bridge Communications, LLC, New York City; +1 347-460-5566; [email protected]. March 27, 2018 RESTORATION OF CAPPONI CHAPEL IN CHURCH OF SANTA FELICITA IN FLORENCE, ITALY, COMPLETED THANKS TO SUPPORT FROM FRIENDS OF FLORENCE Yearlong project celebrated with the reopening of the Renaissance architectural masterpiece on March 28, 2018: press conference 10:30 am and public event 6:00 pm Washington, DC....Friends of Florence celebrates the completion of a comprehensive restoration of the Capponi Chapel in the 16th-century church Santa Felicita on March 28, 2018. The restoration project, initiated in March 2017, included all the artworks and decorative elements in the Chapel, including Jacopo Pontormo's majestic altarpiece, a large-scale painting depicting the Deposition from the Cross (1525‒28). Enabled by a major donation to Friends of Florence from Kathe and John Dyson of New York, the project was approved by the Soprintendenza Archeologia Belle Arti e Paesaggio di Firenze, Pistoia, e Prato, entrusted to the restorer Daniele Rossi, and monitored by Daniele Rapino, the Pontormo’s Deposition after restoration. Soprintendenza officer responsible for the Santo Spirito neighborhood. The Capponi Chapel was designed by Filippo Brunelleschi for the Barbadori family around 1422. Lodovico di Gino Capponi, a nobleman and wealthy banker, purchased the chapel in 1525 to serve as his family’s mausoleum. In 1526, Capponi commissioned Capponi Chapel, Church of St. Felicita Pontormo to decorate it. Pontormo is considered one of the most before restoration. innovative and original figures of the first half of the 16th century and the Chapel one of his greatest masterpieces. -
Florence Next Time Contents & Introduction
TABLE OF CONTENTS Introduction Conventional names for traditional religious subjects in Renaissance art The Cathedral of Florence (Duomo) The Baptistery Museo dell’Opera del Duomo The other Basilicas of Florence Introduction Santissima Annunciata Santa Croce and Museum San Lorenzo and Medici Chapels San Marco and Museum Santa Maria del Carmine and Brancacci Chapel Santa Maria Novella and Museum San Miniato al Monte Santo Spirito and Museum Santa Trinita Florence’s other churches Ognissanti Orsanmichele and Museum Santi Apostoli Sant’Ambrogio San Frediano in Cestello San Felice in Piazza San Filippo Neri San Remigio Last Suppers Sant’Apollonia Ognissanti Foligno San Salvi San Marco Santa Croce Santa Maria Novella and Santo Spirito Tours of Major Galleries Tour One – Uffizi Tour Two – Bargello Tour Three – Accademia Tour Four – Palatine Gallery Museum Tours Palazzo Vecchio Museo Stefano Bardini Museo Bandini at Fiesole Other Museums - Pitti, La Specola, Horne, Galileo Ten Lesser-known Treasures Chiostro dello Scalzo Santa Maria Maggiore – the Coppovaldo Loggia del Bigallo San Michele Visdomini – Pontormo’s Madonna with Child and Saints The Chimera of Arezzo Perugino’s Crucifixion at Santa Maria dei Pazzi The Badia Fiorentina and Chiostro degli Aranci The Madonna of the Stairs and Battle of the Centaurs by Michelangelo The Cappella dei Magi, Palazzo Medici-Riccardi The Capponi Chapel at Santa Felicita Biographies of the Artists Glossary of Terms Bibliography SimplifiedTime-line diagram Index INTRODUCTION There can’t be many people who love art who won’t at some time in their lives find themselves in Florence, expecting to see and appreciate the incredibly beautiful paintings and sculptures collected in that little city. -
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. -
Notes on a Florence Visit
Notes on A Florence Visit For Great Views of Florence without the Steps Frescoes of the Last Supper in Florence Roof of the Rinascente Department store Roof of the Ospedele degli Innocenti Upper floor of the Orsanmichele Church Recectory at San Marco Piazzale Michelangelo – take the #12 or #13 bus Refectory at St. Maria del Carmine Roof of the Oblate Library – 2 blocks from Duomo Refectory of Ognissante Church Take the bus from San Marco up to Fisole Refectory at Santa Maria Novella -painted by a nun- Sister Trattoria Le Mossacce Nelli Refectory at Santa Croce Videos to View Refectory of San Salvi Refectory at Sant’Apollonia Cenacolo of Fuligno The Medicis – on Netflick Rick Ruggiero on Road Scholar’s Virtual Lecture Medici: Godfathers of the Renaissance -PBS YouTube – 3 hour walking tour of Florence Room With a View Secrets of Florence (on Hoopla) Books To Read Brunelleschi’s Dome – Ross King The Lives of the Artists – Vasari The Stones of Florence – McCarthy Birth of Venus – Dunant Looking at Painting in Florence – Paterson The Light in the Piazza - Spencer Places Not to Miss Mercato Centrale –Market, Food Court, Cooking School Grom Gelato Badia Fiorentina - for Night Vespers Duomo – inside without line – side entrance for English Mass on Sat. PM or Sun. Amici Card at the Uffizi for immediate entry Officina Profumo-Farmaceutica di Santa Maria Novella Ognissante Church – tomb of Botticello Giotto Crucifix Pazzi Chapel next to Santa Croce Leather School and Factory behind Santa Croce Vasari Corridor – expected to be opened this year Galileo Museum San Miniato Church Santissima Annunziata Church – painting of Mary completed by an angel Museum of Precious Stones Riccardo- Medici Palace – Chapel of the Magi San Maria dell Carmine Church -Brabcacci Chapel Santo Spirito Church – Michelangelo’s Crucifix . -
1 Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the Universi
Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Art History and Visual Culture In March 2017. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature)…………………………………………………………………………….. 1 Abstract The church of Santo Spirito in Florence is universally accepted as one of the architectural works of Filippo Brunelleschi (1377-1446). It is nevertheless surprising that contrary to such buildings as San Lorenzo or the Old Sacristy, the church has received relatively little scholarly attention. Most scholarship continues to rely upon the testimony of Brunelleschi’s earliest biographer, Antonio di Tuccio Manetti, to establish an administrative and artistic initiation date for the project in the middle of Brunelleschi’s career, around 1428. Through an exhaustive analysis of the biographer’s account, and subsequent comparison to the extant documentary evidence from the period, I have been able to establish that construction actually began at a considerably later date, around 1440. It is specifically during the two and half decades after Brunelleschi’s death in 1446 that very little is known about the proceedings of the project. A largely unpublished archival source which records the machinations of the Opera (works committee) of Santo Spirito from 1446-1461, sheds considerable light on the progress of construction during this period, as well as on the role of the Opera in the realization of the church. -
The Epistemology of the ABC Method Learning to Draw in Early Modern Italy
The Epistemology of the ABC Method Learning to Draw in Early Modern Italy Nino Nanobashvili Even if some northern European drawing books in the tradition of Albrecht Durer started with a dot, a line and geometrical figures (» Fig. 1), the so-called ABC meth- od was the most popular approach in the European manuals between the sixteenth and nineteenth centuries. Thus, these drawing books began by initially presenting the parts of the body in the same order: eyes, noses, mouth, ears, heads, hands, feet and so on, and continued by constructing the whole body. This method was named “ABC“ because of its basic character and because of parallelizing the drawing process of face members with letters.1 Most manuals for beginners from other fields were similarly named in general ABCs.2 Artists had been using the ABC method in their workshops at least since the mid-fifteenth century in Italy, much before the first drawing books were printed. Around 1600 it became so self-evident that a pupil should begin their drawing education with this method that one can recognize the youngest apprentices in programmatic images just by studying eyes and noses.3 Even on the ceiling of Sala del Disegno in the Roman Palazzo Zuccari the youngest student at the left of Pittura presents a piece of paper with a drafted eye, ear and mouth (» Fig. 2).4 What is the reason that the ABC method became so common at least in these three centuries? How could drawing body parts be useful at the beginning of artistic 1 In 1683, Giuseppe Mitelli arranged body parts together with letters in his drawing book Il Alfabeto del Sogno to emphasize this parallel. -
Gender Dynamics in Renaissance Florence Mary D
Early Modern Women: An Interdisciplinary Journal Vol. 11, No. 1 • Fall 2016 The Cloister and the Square: Gender Dynamics in Renaissance Florence Mary D. Garrard eminist scholars have effectively unmasked the misogynist messages of the Fstatues that occupy and patrol the main public square of Florence — most conspicuously, Benvenuto Cellini’s Perseus Slaying Medusa and Giovanni da Bologna’s Rape of a Sabine Woman (Figs. 1, 20). In groundbreaking essays on those statues, Yael Even and Margaret Carroll brought to light the absolutist patriarchal control that was expressed through images of sexual violence.1 The purpose of art, in this way of thinking, was to bolster power by demonstrating its effect. Discussing Cellini’s brutal representation of the decapitated Medusa, Even connected the artist’s gratuitous inclusion of the dismembered body with his psychosexual concerns, and the display of Medusa’s gory head with a terrifying female archetype that is now seen to be under masculine control. Indeed, Cellini’s need to restage the patriarchal execution might be said to express a subconscious response to threat from the female, which he met through psychological reversal, by converting the dangerous female chimera into a feminine victim.2 1 Yael Even, “The Loggia dei Lanzi: A Showcase of Female Subjugation,” and Margaret D. Carroll, “The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence,” The Expanding Discourse: Feminism and Art History, ed. Norma Broude and Mary D. Garrard (New York: HarperCollins, 1992), 127–37, 139–59; and Geraldine A. Johnson, “Idol or Ideal? The Power and Potency of Female Public Sculpture,” Picturing Women in Renaissance and Baroque Italy, ed. -
Repositioning Plautilla Nelli's Lamentation
Conversations: An Online Journal of the Center for the Study of Material and Visual Cultures of Religion (mavcor.yale.edu) Repositioning Plautilla Nelli’s Lamentation Mary D. Garrard Fig. 1 Plautilla Nelli, Lamentation, 1550 My favorite underrated work of art is the Lamentation by Suor Plautilla Nelli (1523- 1588), the first woman artist in Renaissance Florence with an oeuvre to go with her name. This large altar painting (Fig. 1) was created for the Dominican convent of Saint Catherine of Siena, where it stood, nearly ten feet high, on a prominent altar in the convent’s public church. Located in Piazza San Marco, Santa Caterina was founded by a female disciple of Savonarola and became a major center of his spiritual legacy. Today the painting is in the museum of San Marco, the adjacent monastery from which the reformist friar preached.1 At age fourteen, Pulsinella Nelli took the veil as Plautilla and entered the convent she would serve three times as prioress. She was trained in drawing and painting, probably Conversations: An Online Journal of the Center for the Study of Material and Visual Cultures of Religion (mavcor.yale.edu) by nuns. By age thirty-five, she had created several large paintings for Santa Caterina, and was receiving income from paintings sold “outside,” perhaps to the Florentine noblemen and women who, Vasari said, owned many of her works.2 Suor Plautilla did not have access to studio training available to male artists, but since Santa Caterina was not cloistered until 1575, she was free to learn from the exceptional wealth of art visible in Florence. -
La Santissima Annunziata Di Firenze-Storia
LA SS. ANNUNZIATA LA STORIA DEL SANTUARIO MARIANO DI FIRENZE di p. Eugenio M. Casalini, osm LE ORIGINI, LE VICENDE, I MONUMENTI ATTRAVERSO I SECOLI. 1. Il Convento e le sue origini. Del convento della SS. Annunziata oggi è visibile, dalla piazza omonima e guardando a sinistra del loggiato della basilica, solo qual tanto del suo insieme che si affaccia, con i sesti acuti di sei bifore tamponate, sopra un caseggiato seicentesco, dove attualmente si apre la monumentale entrata disegnata e costruita da un frate, figlio dello stesso convento, il pittore fra Arsenio Mascagni, nel 1636. Questo è tutto quello che è possibile vedere dell’area occupata nel Cafaggio del Vescovo fin dal secolo XIII dai frati Servi di Maria, l’Ordine fondato secondo la tradizione nel 1233, da sette mercanti fiorentini in onore della Madre di Dio. Frammenti di storia e di archeologia ci assicurano che l’area era già attraversata dal Mugnone, il torrente che, secondo il Villani, scendendo dai poggi di Fiesole, avvolto per Cafaggio, giungeva con le sue anse verso le mura cittadine e le seguiva ad ovest per raggiungere l’Arno (1). In questa zona si dice che si accampasse inutilmente nell’assedio alla città Arrigo IV nel 1082, ed è probabile che in seguito, a memoria della battaglia vinta dai fiorentini proprio nell’angolo in cui sorgerà il convento dei Servi, fosse edificato un oratorio (2). É certo però che alcuni appartenenti alla Societas laica dei Servi di Maria avevano case, corti, poderi in questa zona, e che l’Ordine regolare dei Servi di Maria, nel febbraio del 1250, scendendo dal Monte Senario pose la prima pietra del convento e della chiesa in questa parte della campagna presso le mura cittadine in fundo proprio come ci attestano i documenti (3). -
Santo Spirito Neighborhood Crawl
florence for free free walks and work-arounds for rich italian adventures neighborhood crawl: santo spirito Distance: 2 km (about 1.2 miles) Time: 25 minute walk in total, plus time (up to a day!) for leisurely exploring Cost: $0 Directions: Start out by crossing the Ponte Vecchio. At the bridge’s end, walk straight ahead, looking for a small piazza on your left with a church tucked in the back corner (Sant Felicita). Venture further down Via de’ Guicciardini, past Palazzo Pitti, onto Via Romana, until you reach Via del Campuccio. Turn right, and then make the next right again at Via Caldaie. Walk up to Santo Spirito, head out at the far right of the piazza and turn left on Via Maggio. Walk down to St. Mark’s Church, cross the street and take that right on Via dei Vellutini down to Piazza della Passera. Take Via dello Sprone back out and follow it until you reach Ponte Santa Trinita. Places to see: • Santa Felicita – One of the oldest worship sites in the city, although the current structure mostly dates back to the 18th century. Head here when open in the early morning and venture in under the Vasari Corridor (the arch-shaped interruption in the church’s facade), which also doubled as a private balcony the Medici could worship from without mingling with ordinary plebs. The inside is certainly inspired by the style of Renaissance heavyweight Brunelleschi – the man who solved the riddle of the cathedral dome. He even designed the chapel immediately to the entrance’s right, today known as the Capponi Chapel, which features two masterpieces by Mannerist favorite Jacopo Pontormo. -
Exploring the Path of Del Sarto, Pontormo, and Rosso Fiorentino Thursday, June 11Th Through Monday, June 15Th
- SUMMER 2015 FLORENCE PROGRAM Michelangelo and His Revolutionary Legacy: Exploring the Path of Del Sarto, Pontormo, and Rosso Fiorentino Thursday, June 11th through Monday, June 15th PRELIMINARY ITINERARY (as of January 2015) Program Costs: Program Fee: $4,000 per person (not tax deductible) Charitable Contribution: $2,500 per person (100% tax deductible) Historians: William Wallace, Ph.D. - Barbara Murphy Bryant Distinguished Professor of Art History, Washington University in St. Louis William Cook, Ph.D. - Distinguished Teaching Professor of History, SUNY Geneseo (Emeritus) For additional program and cost details, please see the "Reservation Form," "Terms and Conditions," and "Hotel Lungarno Reservation Form" Thursday, June 11th Afternoon Welcome Lecture by historians Bill Wallace and Bill Cook, followed by private visits to the Medici Chapels. Dinner in an historic landmark of the city. Friday, June 12th Special visit to the church of Santa Felicità to view the extraordinary Pontormo masterpieces, then follow the path across Florence of a selection of frescoes from the Last Supper cycle. The morning will end with a viewing of the Last Supper by Andrea del Sarto in San Salvi. Lunch will be enjoyed on the hillsides of Florence. Later-afternoon private visit to the Bargello Museum, followed by cocktails and dinner in a private palace. Saturday, June 13th Morning departure via fast train to Rome. View Michelangelo's Moses and Risen Christ, followed by lunch. Private visit to the magnificent Palazzo Colonna to view their collection of works by Pontormo, Ridolfo da Ghirlandaio, and other artists. Later afternoon private visit to the Vatican to view the unique masterpieces by Michelangelo in both the Pauline Chapel and the Sistine Chapel, kindly arranged by the Papal offices and the Director of the Vatican Museums. -
How a Female-Led Art Restoration Movement in Florence Is Reshaping the Canon
AiA Art News-service How a Female-Led Art Restoration Movement in Florence Is Reshaping the Canon The organization Advancing Women Artists is at the fore of finding forgotten female Masters like Plautilla Nelli. Kate Brown, July 12, 2018 Nicoletta Fontani and Elizabeth Wicks restore masterwork by Violante Siries. Courtesy Advancing Women Artists. Sometimes, all it takes is for someone to ask the right question. That is exactly what Jane Fortune did on a visit to Florence 12 years ago. While touring the Renaissance city’s exquisite museums and fresco -covered churches, the American philanthropist began to wonder, “Where are the women?” Her search for an answer set Fortune on a passionate quest to restore the lost legacies and artworks of Florence’s forgotten female artists, digging into museums’ archives and dusty deposits with her organization, Advancing Women Artists (AWA). One exemplary Renaissance work that AWA has revived is The Crucifixion, which is getting its final touches over the summer before the restored painting will finally be unveiled at Italy’s San Salvi Museum this October. It’s one of many works by Sister Plautilla Nelli, a 15th-century self-taught artist and nun who was hugely famous in her time, but whom art history has forgotten. “And if they don’t know [Nelli], how many other female painters do they not know?” Fortune asks. Since the foundation launched more than 10 years ago, AWA has restored some 53 artworks. By September, that number will jump to 58. The nonprofit has become the go-to for Florentine curators who want to research their own collections, which house many works by women (AWA has inventoried 2,000 so far) that have been unseen for centuries.