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Cambridge University Press 978-0-521-72855-3 - The Cambridge Companion to Giovanni Bellini Edited by Peter Humfrey Frontmatter More information the cambridge companion to giovanni bellini Giovanni Bellini was the dominant painter of Early Renaissance Venice and is today recognized as one of the greatest of all Italian Renaissance artists. Although he has been the subject of numerous scholarly studies, his art continues to pose intriguing problems. This volume brings together com- missioned essays that focus on important topics and themes in Bellini’s ca- reer. They include a consideration of Bellini’s position in the social and professional life of early modern Venice; reassessments of his artistic rela- tionships with his brother-in-law Mantegna, with Flemish painting, and with the “modern style’’ that emerged in Italy around 1500; and explorations of Bellini’s approaches to sculpture and architecture, and to landscape and color, elements that have always been recognized as central to his pictorial genius. The volume concludes with analyses of Bellini’s constantly evolving pictorial technique and the procedures of his busy workshop. Peter Humfrey is Professor of Art History at the University of St Andrews. He is the author of several books on painting in Renaissance Venice and the Veneto, including Cima da Conegliano, The Altarpiece in Renaissance Venice, and Lorenzo Lotto; and is coauthor of the catalogues for two major loan exhibitions, Lorenzo Lotto: Rediscovered Master of the Renaissance and Dosso Dossi: Court Painter of Renaissance -
Kingston Lacy Illustrated List of Pictures K Introduction the Restoration
Kingston Lacy Illustrated list of pictures Introduction ingston Lacy has the distinction of being the however, is a set of portraits by Lely, painted at K gentry collection with the earliest recorded still the apogee of his ability, that is without surviving surviving nucleus – something that few collections rival anywhere outside the Royal Collection. Chiefly of any kind in the United Kingdom can boast. When of members of his own family, but also including Ralph – later Sir Ralph – Bankes (?1631–1677) first relations (No.16; Charles Brune of Athelhampton jotted down in his commonplace book, between (1630/1–?1703)), friends (No.2, Edmund Stafford May 1656 and the end of 1658, a note of ‘Pictures in of Buckinghamshire), and beauties of equivocal my Chamber att Grayes Inne’, consisting of a mere reputation (No.4, Elizabeth Trentham, Viscountess 15 of them, he can have had little idea that they Cullen (1640–1713)), they induced Sir Joshua would swell to the roughly 200 paintings that are Reynolds to declare, when he visited Kingston Hall at Kingston Lacy today. in 1762, that: ‘I never had fully appreciated Sir Peter That they have done so is due, above all, to two Lely till I had seen these portraits’. later collectors, Henry Bankes II, MP (1757–1834), Although Sir Ralph evidently collected other – and his son William John Bankes, MP (1786–1855), but largely minor pictures – as did his successors, and to the piety of successive members of the it was not until Henry Bankes II (1757–1834), who Bankes family in preserving these collections made the Grand Tour in 1778–80, and paid a further virtually intact, and ultimately leaving them, in the visit to Rome in 1782, that the family produced astonishingly munificent bequest by (Henry John) another true collector. -
Rethinking Savoldo's Magdalenes
Rethinking Savoldo’s Magdalenes: A “Muddle of the Maries”?1 Charlotte Nichols The luminously veiled women in Giovanni Gerolamo Savoldo’s four Magdalene paintings—one of which resides at the Getty Museum—have consistently been identified by scholars as Mary Magdalene near Christ’s tomb on Easter morning. Yet these physically and emotionally self- contained figures are atypical representations of her in the early Cinquecento, when she is most often seen either as an exuberant observer of the Resurrection in scenes of the Noli me tangere or as a worldly penitent in half-length. A reconsideration of the pictures in connection with myriad early Christian, Byzantine, and Italian accounts of the Passion and devotional imagery suggests that Savoldo responded in an inventive way to a millennium-old discussion about the roles of the Virgin Mary and Mary Magdalene as the first witnesses of the risen Christ. The design, color, and positioning of the veil, which dominates the painted surface of the respective Magdalenes, encode layers of meaning explicated by textual and visual comparison; taken together they allow an alternate Marian interpretation of the presumed Magdalene figure’s biblical identity. At the expense of iconic clarity, the painter whom Giorgio Vasari described as “capriccioso e sofistico” appears to have created a multivalent image precisely in order to communicate the conflicting accounts in sacred and hagiographic texts, as well as the intellectual appeal of deliberately ambiguous, at times aporetic subject matter to northern Italian patrons in the sixteenth century.2 The Magdalenes: description, provenance, and subject The format of Savoldo’s Magdalenes is arresting, dominated by a silken waterfall of fabric that communicates both protective enclosure and luxuriant tactility (Figs. -
HAA 151 Venice List
Venice HAA 151v Spring 2016 J. Connors 27 March 2016 Summary list of art and architecture studied in site visit March 10-20, 2016 San Marco Façade spolia, Hercules reliefs, St. Mark cycle up to the Porta di S. Alippio. Tetrarchs, Pilastri acritani (St. Polyeuktos in Constantinople). Carmagnola head. Interior: early mosaics in chapels of St. Peter and St. Clement. Pala d’oro. Sansovino bronze door to the sacristy (veiled head of the grieving Virgin). Sea floor of Greek marble slabs. Porta saracenesca (double curves and mosaic) to the Treasury, where everyone chose a favorite object, often of glass remounted in Byzantine enamel. Baptistery (entered a pilgrims during the Exceptional Holy Year of 2016): Sansovino font, late Byzantine-style mosaics, altar as giant slab of stone. Glimpses from the Baptistery and from the portico into the Cappella Zen with bronze altar statues and bronze statue of the gisant Cardinal Zen. Portico mosaics: Days of Creation with Adam and Eve, Noah and the Flood, Joseph and his Brothers. Museum: 4 horses, mosaic fragments, Paolo Veneziano’s pala feriale used to cover the Pala d’Oro on non feast days with scenes of the cycle of St. Mark. Palazzo Ducale Exterior South façade with central window by the Delle Massegne 1400 West façade on Piazzetta with Porta della Carta and Justice Roundel. Three corners: Grape, Fig, Justice, with archangels above: Raphael, Michael, Gabriel. Justice Roundel. Porta della Carta with Doge Francesco Foscari and lion in high relief, and Justice enthroned on high. Virtues: Prudence, Fortitude, Temperance, Charity. Palazzo Ducale Courtyard Scala dei Giganti, with Hypnerotomachia-like emblematic decorations, small prison underneath. -
Mantegna's Lamentation Over the Dead Christ
DESCRIVEDENDO THE MASTERPAINTINGS OF BRERA The Lamentation over the Dead Christ by Andrea Mantegna Pinacoteca di Brera, Room 6 Formal Description Christ Dead in the Tomb with Three Mourners is the official title of this picture painted by Andrea ManteGna, probably around 1483. It is a work in tempera on canvas painted in a realistic manner and is quite complex to describe. The painting is rectangular in shape, its horizontal side slightly longer than its vertical side. It is 81 centimetres wide and 68 centimetres high. The scene depicted takes place in the tomb, where Jesus Christ's lifeless body has been laid on a slab of marble to be cleaned and oiled with perfumed ointment before burial. Besides Jesus, on one side of the canvas, we see the Grieving faces of a man and two women. The physical presence of Jesus's body dominates the painting, filling most of the available space. Jesus is shown as thouGh we were observinG him from a sliGhtly hiGher viewpoint, not by his side but facinG him from the feet up. His body is thus painted entirely alonG the canvas's vertical axis and so we see the soles of his feet in the foreGround close to the lower edGe, while if we lift our Gaze we move up his body as far as his head in the distance, close to the upper edGe. It is as thouGh Jesus's whole body were compressed between the upper and lower edGes of the canvas: the painter depicts his anatomy realistically, but in a distorted manner in which he has sliGhtly changed the dimensions of the body's individual parts so as to make the perspective he adopts believable. -
Terracotta Tableau Sculpture in Italy, 1450-1530
PALPABLE POLITICS AND EMBODIED PASSIONS: TERRACOTTA TABLEAU SCULPTURE IN ITALY, 1450-1530 by Betsy Bennett Purvis A thesis submitted in conformity with the requirements for the degree of Doctorate of Philosophy Department of Art University of Toronto ©Copyright by Betsy Bennett Purvis 2012 Palpable Politics and Embodied Passions: Terracotta Tableau Sculpture in Italy, 1450-1530 Doctorate of Philosophy 2012 Betsy Bennett Purvis Department of Art University of Toronto ABSTRACT Polychrome terracotta tableau sculpture is one of the most unique genres of 15th- century Italian Renaissance sculpture. In particular, Lamentation tableaux by Niccolò dell’Arca and Guido Mazzoni, with their intense sense of realism and expressive pathos, are among the most potent representatives of the Renaissance fascination with life-like imagery and its use as a powerful means of conveying psychologically and emotionally moving narratives. This dissertation examines the versatility of terracotta within the artistic economy of Italian Renaissance sculpture as well as its distinct mimetic qualities and expressive capacities. It casts new light on the historical conditions surrounding the development of the Lamentation tableau and repositions this particular genre of sculpture as a significant form of figurative sculpture, rather than simply an artifact of popular culture. In terms of historical context, this dissertation explores overlooked links between the theme of the Lamentation, the Holy Sepulcher in Jerusalem, codes of chivalric honor and piety, and resurgent crusade rhetoric spurred by the fall of Constantinople in 1453. Reconnected to its religious and political history rooted in medieval forms of Sepulchre devotion, the terracotta Lamentation tableau emerges as a key monument that both ii reflected and directed the cultural and political tensions surrounding East-West relations in later 15th-century Italy. -
Antonello Da Messina's Dead Christ Supported by Angels in the Prado
1 David Freedberg The Necessity of Emotion: Antonello da Messina’s Dead Christ supported by Angels in the Prado* To look at Antonello da Messina’s painting of the Virgin in Palermo (fig. 1) is to ask three questions (at least): Is this the Virgin Annunciate, the Immaculate Mother of God about to receive the message that she will bear the Son of God? Or is it a portrait, perhaps even of someone we know or might know? Does it matter? No. What matters is that we respond to her as if she were human, not divine or transcendental—someone we might know, even in the best of our dreams. What matters is that she almost instantly engages our attention, that her hand seems to stop us in our passage, that we are drawn to her beautiful and mysterious face, that we recognize her as someone whose feelings we feel we might understand, someone whose emotional state is accessible to us. Immediately, upon first sight of her, we are involved in her; swiftly we notice the shadow across her left forehead and eye, and across the right half of her face, the slight turn of the mouth, sensual yet quizzical at the same time.1 What does all this portend? She has been reading; her hand is shown in the very act of being raised, as if she were asking for a pause, reflecting, no doubt on what she has just seen. There is no question about the degree of art invested in this holy image; but even before we think about the art in the picture, what matters is that we are involved in it, by * Originally given as a lecture sponsored by the Fondación Amigos Museo del Prado at the Museo del Prado on January 10, 2017, and published as “Necesidad de la emoción: El Cristo muerto sostenido por un ángel de Antonello de Messina,” in Los tesoros ocultos del Museo del Prado, Madrid: Fundación Amigos del Museo del Prado; Crítica/Círculo de Lectores, 2017, 123-150. -
Sacred Image, Civic Spectacle, and Ritual Space: Tivoli’S Inchinata Procession and Icons in Urban Liturgical Theater in Late Medieval Italy
SACRED IMAGE, CIVIC SPECTACLE, AND RITUAL SPACE: TIVOLI’S INCHINATA PROCESSION AND ICONS IN URBAN LITURGICAL THEATER IN LATE MEDIEVAL ITALY by Rebekah Perry BA, Brigham Young University, 1996 MA, University of Massachusetts Amherst, 2006 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts & Sciences This dissertation was presented by Rebekah Perry It was defended on October 28, 2011 and approved by Franklin Toker, Professor, History of Art and Architecture Anne Weis, Professor, History of Art and Architecture Bruce Venarde, Professor, History Alison Stones, Professor, History of Art and Architecture ii Copyright © by Rebekah Perry 2011 iii SACRED IMAGE, CIVIC SPECTACLE, AND RITUAL SPACE: TIVOLI’S INCHINATA PROCESSION AND ICONS IN URBAN LITURGICAL THEATER IN LATE MEDIEVAL ITALY Rebekah Perry, PhD University of Pittsburgh, 2011 This dissertation examines the socio-politics of urban performance and ceremonial imagery in the nascent independent communes of late medieval Lazio. It explores the complex manner in which these central Italian cities both emulated and rejected the political and cultural hegemony of Rome through the ideological and performative reinvention of its cult icons. In the twelfth century the powerful urban center of Tivoli adopted Rome’s grandest annual public event, the nocturnal Assumption procession of August 14-15, and transformed it into a potent civic expression that incorporated all sectors of the social fabric. Tivoli’s cult of the Trittico del Salvatore and the Inchinata procession in which the icon of the enthroned Christ was carried at the feast of the Assumption and made to perform in symbolic liturgical ceremonies were both modeled on Roman, papal exemplars. -
8.5 X12.5 Doublelines.P65
Cambridge University Press 0521452457 - Lorenzo de’ Medici: Collector and Antiquarian Laurie Fusco and Gino Corti Index More information ~ Index Relevant documents and/or figures appear in brackets following page listings (refer to appendices to find cited documents). When infor- mation is given about a person or a primary source, the page number or document number is marked with a “*” Acciaiuoli, Donato, 67–68. [Docs. 13*, 213] Antiquities and Post-Classical Objects (considerations about them Aghinetti, Ranieri, 11, 19. [Doc. 16] and the people involved in their acquisition) Agnelli, Ludovico (protonotary and Archbishop) (collector), Artists assisting collectors, 184 187–88, 265 n. 3. [Docs. 28 and n. 3*, 99] Artists assisting Lorenzo, 20–21, 182, 212 Agnelli, Onorato, 187–88 See Bertoldo; Caradosso; Davide Ghirlandaio; Giuliano da Alamanni, Domenico. [Docs. 57, 99 and n. 3*] See also Charles Sangallo; Filippino Lippi; Ludovico da Foligno; VIII, Medici allies Michelangelo; Michelangelo di Viviano; Alari-Bonacolsi, Pier Iacopo. See Antico Baccio Pontelli; Giorgio Vasari (ceramicist) Alberini, Iacopo (collector), 271 n. 81, 278 n. 1 See also Gian Cristoforo Romano, who worked against Alberti, Leon Battista, 67–68, 109. [Doc. 213] Lorenzo Albertini, Francesco, 52, 157 , 193, 232 n. 79. [Docs. 93 n. 1, 105 Artists assisting Lorenzo’s forebears n. 1 (3), 216*] Bernardo Rossellino and Pellegrino d’Antonio, 182 Alberto da Bologna. [Doc. 25 n. 2 (3)] Artists assisting Piero di Lorenzo Altieri, Marco Antonio (collector), 190, 207–08, 269 n. 55*, 271 Michelangelo Tanaglia and Michelangelo, 184, 267 n. 32. n. 1. [Doc. 127 n. 2 (6)] [Doc. 158 n. 1 (2)] See also Michelangelo Altoviti, Rinaldo, 11, 19. -
Core Knowledge Art History Syllabus
Core Knowledge Art History Syllabus This syllabus runs 13 weeks, with 2 sessions per week. The midterm is scheduled for the end of the seventh week. The final exam is slated for last class meeting but might be shifted to an exam period to give the instructor one more class period. Goals: • understanding of the basic terms, facts, and concepts in art history • comprehension of the progress of art as fluid development of a series of styles and trends that overlap and react to each other as well as to historical events • recognition of the basic concepts inherent in each style, and the outstanding exemplars of each Lecture Notes: For each lecture a number of exemplary works of art are listed. In some cases instructors may wish to discuss all of these works; in other cases they may wish to focus on only some of them. Textbooks: It should be possible to teach this course using any one of the five texts listed below as a primary textbook. Cole et al., Art of the Western World Gardner, Art Through the Ages Janson, History of Art, 2 vols. Schneider Adams, Laurie, A History of Western Art Stokstad, Art History, 2 vols. Writing Assignments: A short, descriptive paper on a single work of art or topic would be in order. Syllabus created by the Core Knowledge Foundation 1 https://www.coreknowledge.org/ Use of this Syllabus: This syllabus was created by Bruce Cole, Distinguished Professor of Fine Arts, Indiana University, as part of What Elementary Teachers Need to Know, a teacher education initiative developed by the Core Knowledge Foundation. -
Alexander Nagel Some Discoveries of 1492
The Seventeenth Gerson Lecture held in memory of Horst Gerson (1907-1978) in the aula of the University of Groningen on the 14th of November 2013 Alexander Nagel Some discoveries of 1492: Eastern antiquities and Renaissance Europe Groningen The Gerson Lectures Foundation 2013 Some discoveries of 1492: Eastern antiquities and Renaissance Europe Before you is a painting by Andrea Mantegna in an unusual medium, distemper on linen, a technique he used for a few of his smaller devotional paintings (fig. 1). Mantegna mixed ground minerals with animal glue, the kind used to size or seal a canvas, and applied the colors to a piece of fine linen prepared with only a very light coat of gesso. Distemper remains water soluble after drying, which allows the painter greater flexibility in blending new paint into existing paint than is afforded by the egg tempera technique. In lesser hands, such opportunities can produce muddy results, but Mantegna used it to produce passages of extraordinarily fine modeling, for example in the flesh of the Virgin’s face and in the turbans of wound cloth worn by her and two of the Magi. Another advantage of the technique is that it produces luminous colors with a matte finish, making forms legible and brilliant, without glare, even in low light. This work’s surface was left exposed, dirtying it, and in an effort to heighten the colors early restorers applied varnish—a bad idea, since unlike oil and egg tempera distem- per absorbs varnish, leaving the paint stained and darkened.1 Try to imagine it in its original brilliant colors, subtly modeled throughout and enamel smooth, inviting us to 1 Andrea Mantegna approach close, like the Magi. -
Introduction
Cambridge University Press 0521452457 - Lorenzo de’ Medici: Collector and Antiquarian Laurie Fusco and Gino Corti Excerpt More information ~ Introduction his book concentrates on a single collector of antiquities, Lorenzo de’ TMedici, the leader of the Republic of Florence (b. 1449–d. 1492). It is based on the discovery of 173 letters, which can be added to 48 other ones that had been previously published. Letters about collecting in the fifteenth century are extremely rare, and so finding them over the course of a decade was a continual surprise. By combining the letters with Renaissance texts and Medici inventories, we can now count 345 documents, the most substantial material about an Early Renaissance collector to date. In particular, the letters give an intimate picture of Lorenzo gathering objects from the age of sixteen until his death at forty-three. They disclose his sources (Chps. 1 and 2) and vividly describe the intricacies and intrigues of the art market (Chp. 3). They show what he collected (Chp. 4) and provide information about the study of objects, their display, why they were selected, and their monetary worth (Chp. 5). During Lorenzo’s life and after his death, texts praised him for his interest in antiquities, but the letters reveal this commitment more immediately as they witness firsthand his appreciation of those who helped him and his ever- increasing determination to collect (Chp. 6). In 1494, two years after Lorenzo died, the French invaded Florence, and his collection was dispersed. A reassessment of the fate of his objects gives new information about what he collected and how his objects were considered, and it creates a poignant picture of the importance of Lorenzo’s collection as a cultural legacy (Chp.