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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. -
The Architecture of the Italian Renaissance
•••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'. -
Two Parallels to Ancient Egyptian Scenes Montefalco, Florence, San Gimignano, and Pisa
BULLETIN OF THE MUSEUM OF FINE ARTS VOLUME XXXV BOSTON, AUGUST, 1937 NUMBER 210 The Presentation of the Virgin Attributed to Fra Carnevale, active 1450- 1484 Charles Potter Kling Fund PUBLISHED BIMONTHLY SUBSCRIPTION ONE DOLLAR XXXV, 50 BULLETIN OF THE MUSEUM OF FINE ARTS worked in Urbino, was influenced strongly by Piero della Francesca, and was familiar with Umbrian architecture. We can suppose also that the artist knew the painting of the Marches, and was ac- quainted with the style of the Florentine painters Paolo Uccello, Domenico Veneziano, and Benozzo Gozzoli. As has been said before, the artist must have been trained as an architect as well as a painter. Whether the author of the paintings was Fra Carnevale or some other painter is impossible to say unless further information is brought to light. For want of a better name, therefore (and the use of a name at least evokes discussion), the attribu- tion to Fra Carnevale may as well be continued for the present. What is important, however, is the superb quality of the picture itself and its high position in the field of Renaissance painting. When one considers the fine draughtsmanshipof the architecture, the rhythmic flow of figures in the composition, thedignity and feel- ing for form, especially in the foreground figures, and finally the modernity of the whole conception, one finds that the painting stands on its own merits without the accompaniment of a great name to enhance its prestige. C. C. CUNNINGHAM. Fig. 5 (detail). Head of the Virgin's Mother Two Parallels to Ancient Egyptian Scenes Montefalco, Florence, San Gimignano, and Pisa. -
Center 5 Research Reports and Record of Activities
National Gallery of Art Center 5 Research Reports and Record of Activities ~ .~ I1{, ~ -1~, dr \ --"-x r-i>- : ........ :i ' i 1 ~,1": "~ .-~ National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Center 5 Research Reports and Record of Activities June 1984---May 1985 Washington, 1985 National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Washington, D.C. 20565 Telephone: (202) 842-6480 All rights reserved. No part of this book may be reproduced without thc written permission of the National Gallery of Art, Washington, D.C. 20565. Copyright © 1985 Trustees of the National Gallery of Art, Washington. This publication was produced by the Editors Office, National Gallery of Art, Washington. Frontispiece: Gavarni, "Les Artistes," no. 2 (printed by Aubert et Cie.), published in Le Charivari, 24 May 1838. "Vois-tu camarade. Voil~ comme tu trouveras toujours les vrais Artistes... se partageant tout." CONTENTS General Information Fields of Inquiry 9 Fellowship Program 10 Facilities 13 Program of Meetings 13 Publication Program 13 Research Programs 14 Board of Advisors and Selection Committee 14 Report on the Academic Year 1984-1985 (June 1984-May 1985) Board of Advisors 16 Staff 16 Architectural Drawings Advisory Group 16 Members 16 Meetings 21 Members' Research Reports Reports 32 i !~t IJ ii~ . ~ ~ ~ i.~,~ ~ - ~'~,i'~,~ ii~ ~,i~i!~-i~ ~'~'S~.~~. ,~," ~'~ i , \ HE CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS was founded T in 1979, as part of the National Gallery of Art, to promote the study of history, theory, and criticism of art, architecture, and urbanism through the formation of a community of scholars. -
Leon Battista Alberti
THE HARVARD UNIVERSITY CENTER FOR ITALIAN RENAISSANCE STUDIES VILLA I TATTI Via di Vincigliata 26, 50135 Florence, Italy VOLUME 25 E-mail: [email protected] / Web: http://www.itatti.ita a a Tel: +39 055 603 251 / Fax: +39 055 603 383 AUTUMN 2005 From Joseph Connors: Letter from Florence From Katharine Park: he verve of every new Fellow who he last time I spent a full semester at walked into my office in September, I Tatti was in the spring of 2001. It T This year we have two T the abundant vendemmia, the large was as a Visiting Professor, and my Letters from Florence. number of families and children: all these husband Martin Brody and I spent a Director Joseph Connors was on were good omens. And indeed it has been splendid six months in the Villa Papiniana sabbatical for the second semester a year of extraordinary sparkle. The bonds composing a piano trio (in his case) and during which time Katharine Park, among Fellows were reinforced at the finishing up the research on a book on Zemurray Stone Radcliffe Professor outset by several trips, first to Orvieto, the medieval and Renaissance origins of of the History of Science and of the where we were guided by the great human dissection (in mine). Like so Studies of Women, Gender, and expert on the cathedral, Lucio Riccetti many who have worked at I Tatti, we Sexuality came to Florence from (VIT’91); and another to Milan, where were overwhelmed by the beauty of the Harvard as Acting Director. Matteo Ceriana guided us place, impressed by its through the exhibition on Fra scholarly resources, and Carnevale, which he had helped stimulated by the company to organize along with Keith and conversation. -
Donato Bramante 1 Donato Bramante
Donato Bramante 1 Donato Bramante Donato Bramante Donato Bramante Birth name Donato di Pascuccio d'Antonio Born 1444Fermignano, Italy Died 11 April 1514 (Aged about 70)Rome Nationality Italian Field Architecture, Painting Movement High Renaissance Works San Pietro in Montorio Christ at the column Donato Bramante (1444 – 11 March 1514) was an Italian architect, who introduced the Early Renaissance style to Milan and the High Renaissance style to Rome, where his most famous design was St. Peter's Basilica. Urbino and Milan Bramante was born in Monte Asdrualdo (now Fermignano), under name Donato di Pascuccio d'Antonio, near Urbino: here, in 1467 Luciano Laurana was adding to the Palazzo Ducale an arcaded courtyard and other features that seemed to have the true ring of a reborn antiquity to Federico da Montefeltro's ducal palace. Bramante's architecture has eclipsed his painting skills: he knew the painters Melozzo da Forlì and Piero della Francesca well, who were interested in the rules of perspective and illusionistic features in Mantegna's painting. Around 1474, Bramante moved to Milan, a city with a deep Gothic architectural tradition, and built several churches in the new Antique style. The Duke, Ludovico Sforza, made him virtually his court architect, beginning in 1476, with commissions that culminated in the famous trompe-l'oeil choir of the church of Santa Maria presso San Satiro (1482–1486). Space was limited, and Bramante made a theatrical apse in bas-relief, combining the painterly arts of perspective with Roman details. There is an octagonal sacristy, surmounted by a dome. In Milan, Bramante also built the tribune of Santa Maria delle Grazie (1492–99); other early works include the cloisters of Sant'Ambrogio, Milan (1497–1498), and some other constructions in Pavia and possibly Legnano. -
The Thin White Line: Palladio, White Cities and the Adriatic Imagination
Chapter � The Thin White Line: Palladio, White Cities and the Adriatic Imagination Alina Payne Over the course of centuries, artists and architects have employed a variety of means to capture resonant archaeological sites in images, and those images have operated in various ways. Whether recording views, monuments, inscrip- tions, or measurements so as to pore over them when they came home and to share them with others, these draftsmen filled loose sheets, albums, sketch- books, and heavily illustrated treatises and disseminated visual information far and wide, from Europe to the margins of the known world, as far as Mexico and Goa. Not all the images they produced were factual and aimed at design and construction. Rather, they ranged from reportage (recording what there is) through nostalgic and even fantastic representations to analytical records that sought to look through the fragmentary appearance of ruined vestiges to the “essence” of the remains and reconstruct a plausible original form. Although this is a long and varied tradition and has not lacked attention at the hands of generations of scholars,1 it raises an issue fundamental for the larger questions that are posed in this essay: Were we to look at these images as images rather than architectural or topographical information, might they emerge as more than representations of buildings, details and sites, measured and dissected on the page? Might they also record something else, something more ineffable, such as the physical encounters with and aesthetic experience of these places, elliptical yet powerful for being less overt than the bits of carved stone painstakingly delineated? Furthermore, might in some cases the very material support of these images participate in translating this aesthetic 1 For Italian material the list is long. -
Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494
ABSTRACT Title of Dissertation: KING OF THE RENAISSANCE: ART AND POLITICS AT THE NEAPOLITAN COURT OF FERRANTE I, 1458-1494 Nicole Riesenberger, Doctor of Philosophy, 2016 Dissertation directed by: Professor Meredith J. Gill, Department of Art History and Archaeology In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture. -
Vitruvian Echo Through the Renaissance
Tatjana FILIPOVSKA Vitruvian Echo through the Renaissance uDK 94: [72.032:7.034 Ss Cyril and Methodius University, Skopje tatj [email protected] Abstract: MarCus Vitruvius Pollio, 1st Century BC author o f the only arChiteCtural treatise to survive from antiquity, profoundly influenCed RenaissanCe architecture, despite the notorious obsCurities o f his unillustrated manusCripts. The “De arChiteCtura ” was known throughout the Middle Ages in Italy (copies were owned by PetrarCh and BoCCaCCio), but the superior manusCript found by BraCCiolini CoinCided with inCreased 15th Century interest in the prinCiples o f anCient architecture. Vitruvius saw arChiteCture as an imitation o f nature, whiCh must therefore follow rational prinCiples - an idea taken up by Alberti and Palladio. As “Utility, strength, and beauty” were for Vitruvius the three divisions o f architecture, thus his importanCe for the RenaissanCe arChiteCtural theory and arChiteCture in praCtiCe laid upon three main points: proportions, orders and the ConCept o f the Ideal City. Vitruvius's idea o f beauty as derived from symmetry and the modular relationship of the parts to the whole appealed to the RenaissanCe both for its mathematiCal basis, and for its reCourse to anthropomorphiC proportions. The Early RenaissanCe did not define proportions strictly, but the arChiteCts Vignola, and espeCially Palladio did. Palladio made proportional systems that lead to a superior and universal aesthetic, whiCh will beCame timeless and popular all over the world, making Vitruvius relevant until today. Above all, RenaissanCe responses to the Vitruvian orders reveal Changing attitudes to his authority. Alberti understood the orders (Doric, JoniC and Corinthian), and added the ornate Composite. -
MICHELE DI GIOVANNI DA FIESOLE and the ORIGINS of the FLORENTINE PLAQUETTE by Michael Riddick Fig
MICHELE DI GIOVANNI DA FIESOLE AND THE ORIGINS OF THE FLORENTINE PLAQUETTE by Michael Riddick Fig. 01: Virgin and Child within an Arch here attributed to Michele di Giovanni da Fiesole, bronze, ca. 1445-54, Florence, Italy (Wallace Collection, UK) Michele di Giovanni da Fiesole Michael Riddick - RenBronze.com and the origins of the Florentine plaquette 2 Michele di Giovanni da Fiesole and the origins of the Florentine plaquette A large rectangular relief of the Virgin and Child Italian Renaissance. As suggested by their subject within an Arch (Fig. 01) and a smaller arched relief and scale, both reliefs were intended for private of the Virgin and Child within a Niche (Fig. 02) devotional use. The larger relief could stand-alone are recognized as two of the earliest sculptural or may have served as the central panel for a house productions of what is today considered the genre altar.1 In one instance, it was appropriated as a of plaquettes, being the reproductive casting of tabernacle door.2 The smaller relief is unanimously small reliefs in metal with an origin in the early recognized as intended for use on paxes, to be set into a frame and used during the liturgy. Both reliefs show a distinct awareness of Donatello’s inventions. Douglas Lewis notes their rilievo schiacciato, a sophisticated technique of low-relief sculpture invented and popularized by Donatello.3 The larger relief reflects Donatello’s anatomical typology for the child Christ4 while the disappearance of the child’s arm behind the Virgin recalls an early relief portraying the Virgin and Child Christ within a Mantle attributed to a young Donatello or sometimes credited to Lorenzo Ghiberti.5 The architectural motif of the Virgin and Child within an Arch is frequently noted for its reflection of Donatello’s use of antique architecture to add perspectival depth to the scene, as noted and compared against his bronze relief of the Feast of Herod for the Baptistery Font Fig. -
Pittura Di Luce a Brera
Pittura di luce a Brera La definizione “pittura di luce” è stata coniata dalla critica in anni recenti per descrivere una breve ma significativa stagione dell'arte centro italiana di metà Quattrocento, legata in particolare a Domenico Veneziano. In essa il rigore prospettico si unisce allo studio dei percorsi luminosi, i toni cromatici si schiariscono e le forme, rese attraverso volumi sintetici, misurano con la loro concreta presenza il contesto spaziale in cui sono inserite. La fucina di queste esperienze è Firenze, dove giungono artisti da ogni parte della Penisola, attratti dalle possibilità di lavoro accanto a maestri come Beato Angelico, Domenico Veneziano, Filippo Lippi. Anche Giovanni di Francesco del Cervelliera (il “Maestro di Pratovecchio”) si forma sui loro esempi, e la Madonna col Bambino appena acquistata dalla Pinacoteca di Brera ne è testimonianza. Questo percorso si svolge dunque fra dipinti braidensi che, come la tavola del Maestro di Pratovecchio, hanno (sia pure in modo e misura diversi) comuni riferimenti alla stagione fiorentina della “pittura di luce”. I documenti ci informano della presenza a Firenze, dal 1443, del pittore camerinese Giovanni Angelo d’Antonio. Nel suo polittico (7° decennio XV sec., Sala XXI) le figure umane, costruite attraverso volumi geometrizzanti, sono investite da una luce forte e diffusa. Sebbene le figure appaiano come compresse nello spazio limitato delle edicole, l’impostazione prospettica è studiata, in particolare nel trono scorciato della Vergine o, ad esempio, nel galero di San Gerolamo (estrema destra nel registro superiore): i due fiocchi scarlatti che pendono al di qua della mensola proiettano la propria ombra sul davanzale, misurando così la profondità dello spazio. -
The Santissima Annunziata of Florence, Medici Portraits, and the Counter Reformation in Italy
THE SANTISSIMA ANNUNZIATA OF FLORENCE, MEDICI PORTRAITS, AND THE COUNTER REFORMATION IN ITALY by Bernice Ida Maria Iarocci A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Bernice Iarocci 2015 THE SANTISSIMA ANNUNZIATA OF FLORENCE, MEDICI PORTRAITS, AND THE COUNTER REFORMATION IN ITALY Bernice Ida Maria Iarocci Doctor of Philosophy Department of Art University of Toronto 2015 A defining feature of the Counter-Reformation period is the new impetus given to the material expression of devotion to sacred images and relics. There are nonetheless few scholarly studies that look deeply into the shrines of venerated images, as they were renovated or decorated anew during this period. This dissertation investigates an image cult that experienced a particularly rich elaboration during the Counter-Reformation – that of the miracle-working fresco called the Nunziata, located in the Servite church of the Santissima Annunziata in Florence. By the end of the fifteenth century, the Nunziata had become the primary sacred image in the city of Florence and one of the most venerated Marian cults in Italy. My investigation spans around 1580 to 1650, and includes texts related to the sacred fresco, copies made after it, votives, and other additions made within and around its shrine. I address various components of the cult that carry meanings of civic importance; nonetheless, one of its crucial characteristics is that it partook of general agendas belonging to the Counter- Reformation movement. That is, it would be myopic to remain within a strictly local scope when considering this period.