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and Anja Grebe. Of particular importance is the study of the impact of Bolognese art Raw : ‘The Butcher’s Shop’ in France, where the birth of classicism is by . By C.D. Dickerson closely connected to such key figures as III. 93 pp. incl. 59 col. + 2 b. & w. ills. Sebastiano Serlio and Francesco Primaticcio, (Kimbell Art Museum, Fort Worth, and well documented in essays by Sabine From- Yale University Press, New Haven mel, Dominique Cordellier and Sara Benzi. and London, 2010), $16.95. Sabine Frommel highlights Serlio’s extraor- ISBN 978–0–300–16640–8. dinary ability to invent a new artistic mode, an amalgam of the grand style of the artist’s Reviewed by XAVIER F. SALOMON home town and his thorough knowledge of classical culture, probably learned in the OVER THE PAST five years, the Kimbell Art humanistic and antiquary circles of . Museum in Fort Worth, has published a In Serlio’s sixth book he demonstrates series of illuminating and beautifully pro- his ability to use both French and Italian duced small books focusing on masterpieces 58. The butcher’s shop, by Annibale Carracci. c.1582. architectural languages, as did Primaticcio, from the Museum’s permanent collection. Canvas, 59.7 by 71 cm. (Kimbell Art Museum, Fort whose pictorial and architectural styles The volumes so far have ranged in topics Worth). were inspired by the decorations in Giulio from a fifteenth-century German silver Romano’s Palazzo Te at Mantua, as is of the Virgin and Child, to a panel familiar context. Rightly dismissing the idea evident from the Grotte des Pins or the from a predella by Fra Angelico, and Fred- of a family portrait, Dickerson discusses Hercules’ Fountain at Fontainebleau. Of eric Leighton’s portrait of the young May Annibale’s family background and the fact particular significance is the discovery that Sartoris.1 In size, content, quantity and qual- that his uncle Vincenzo was indeed a butch- Primaticcio’s of The Annunciation in ity of illustrations, these books should serve er, and that his cousin Ludovico trained as Châalis Abbey was modelled on the intarsia as a model to other institutions on how to one before becoming a painter. Visually the of the Baptism of St Dominic in the choirstalls present significant new research and material two canvases are indebted to Northern exam- of S. Domenico, Bologna. on individual objects from permanent col- ples and to of similar subjects by Part three is an analysis of Bolognese lections. The fourth, and latest, volume in Vincenzo Campi and Bartolomeo Passarotti. architecture and engineering as it was the series is dedicated to Annibale Carracci’s Agostino and Ludovico – and maybe even exported by emigrant Bolognese artists, and Butcher’s shop. Annibale – trained in Passarotti’s workshop their capacity to invent hybrid languages. Like the book, the small size of the paint- before dramatically falling out with their They included Aristotele Fioravanti, who ing should not diminish its importance. master. Surely this is Annibale’s commentary promoted styles in ; Surrounded by carcasses and steaks, two on Passarotti’s art. Even though this was not Alessandro Pasqualini in Germany and the butchers are at work in their shop, their red a new type of painting it was a new way of Netherlands (in essays by Adriano Ghisetti shirts and white aprons echoing the blood treating the specific theme, investing a genre Giavarina, Dmitry O. Shvidkovsky and and fat of the meat that takes centre stage in scene with the grand language of history Christoph L. Frommel) and ’s assis- the picture (Fig.58). The Kimbell canvas is painting, albeit veined with irony. In the tant Tommaso Vincidor, who transmitted very closely related to another – much larger compositions Carracci paid a noteworthy his master’s style to the decoration of the – painting by Carracci of the same subject, visual debt to and Raphael, as castle of Henry III of Nassau-Breda at Breda now at Christ Church, Oxford, and the two first noticed by Martin. in the 1530s (Krista De Jonge and Nicole should be analysed together. When writing Dickerson, writing about the Oxford Dacos). about the Oxford painting in the 1850s, Gus- painting, states that ‘it must have been a The fourth chapter focuses on the pan- tav Waagen found it ‘painted in a masterly commissioned work, and the person who European character of Bolognese culture, manner’, but could not help observe that commissioned it must have been fairly analysing the library of S. Gerolamo in the the subject ‘offended me by the vulgarity of wealthy’. This must, indeed, be the case and Certosa (Maria Gioia Tavoni), the impact of the idea’.2 Described by John Rupert Martin the author explores the possibility, proposed Achille Bocchi’s Symbolicae Questiones (Ilaria as ‘surely one of the most problematical by Zapperi in 1989, that Carracci’s patrons Bianchi), Pellegrino Tibaldi’s work at the works to issue from the studio of the Car - may have been a wealthy family of Bolognese Escorial (Fernando Marías), and the links racci’, the painting at Christ Church and butchers, the Canobbi. Dickerson’s chapter between Flemish art and Bolognese artists, the version in Texas have been the centre of on the ‘Butchers of Bologna’ is fascinating, for example the impact of Northern natu - wildly diverse theories around the inter- the key section of the book, presenting ralism on Passerotti (Angela Ghirardi), while pretation of their subject-matter.3 Martin original research on the trade in the city, from Simone Twiehaus and Michele Danieli identified the painting, following eight - livestock markets, to slaughtering facilities focus on Denys Calvaert’s activity as an eenth-century English accounts, as a satirical and market stalls. The butchers’ guild – engraver. portrait of the Carracci family; Barry Wind the Arte dei Beccai – was one of the most This multidisciplinary approach to the arts saw it as part of a wider comic artistic and prestigious in Bologna and one of only two of Bologna provides a complex analysis sim ilar literary tradition and perceived erotic over- with a prominent chapel in S. Petronio. The to a great mosaic, in which the tesserae are tones in its meaning; for Francesca Rossi, brothers Giuseppe and Girolamo Canobbi numerous stimulating suggestions. One of instead, Carracci’s was a direct attack on the were leading members of the guild and later the book’s merits is its capacity to go beyond religious control over butchers exercised by commissioned Annibale’s Baptism of Christ for disciplinary and geographical barriers and to Cardinal Gabriele Paleotti in connection to the family chapel in SS. Gregorio e Sisto. demonstrate how Bologna, far from being a fasting during Lent.4 Roberto Zapperi has Dickerson has studied precisely what butcher ‘minor’ centre, made a subtle but important been the first to try and firmly place the stalls in Bologna looked like and describes contribution to the European Renaissance, two paintings by Annibale within a rigorous these facilities (some of which were effective- acting as a crucible of a variety of personalities, documentary historical background.5 C.D. ly run by the Canobbi family), in particular styles and traditions. It provides the indispen- Dickerson has followed Zapperi’s general the so-called vaso grande and vaso piccolo. A sable tools for future research on the theme, approach and the result is a valuable contri- rare photograph is provided, showing via including a more synthetic approach which bution to Carracci studies. Caprarie around 1912–16, and the entrance is already planned by the organisers of the Painted around 1582–83 in Bologna, when to the vaso grande, since destroyed. project of which the present volume is the first Annibale was in his early twenties, the The Kimbell Butcher’s shop is most prob - tangible result. butcher scenes are undoubtedly steeped in a ably an initial study for the larger Christ

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Church painting. Annibale’s technique is emies with his wit and learning. They brought powerful, and the possibilities of Cortona’s astounding, the brushstrokes bringing to life new life to a city struggling under the weight new language were rejected. But Rosa, fêted the texture and weight of meat. Malvasia of a illustrious past, and the 1640s mark a by poets and men of letters, was at the centre recounted how Annibale had teased his turning point in Florentine culture. These of every world, admired and befriended even cook and cat with painted pieces of meat. essays, which open with a description of the by the most famous of Galileo’s pupils, and Dickerson describes Carracci’s technique melancholy last days of Galileo, and of the end playing a key role in new kinds of drawing and appropriately compares it to Venetian of the brief period of enlightenment that ‘il and theatre. In an ambitious essay on Rosa’s painting, and in particular to fitting examples divino vecchio’ had so gloriously brought to self-portraits Victoria von Flemming analyses by and Tintoretto. Carracci’s style , are distinguished by their variety of how Rosa himself dramatised his many roles and art, however, underwent a profound viewpoints and methodologies. They bring through self-portraiture. But so many prob- transformation, which resulted fifteen years together the and architecture, lems remain over the dating, attribution and later in the Galleria Farnese in . The literary history and the history of science, status as self-portraits of the works which she study of antiquity and the Roman artistic music and theatre, and as the essays unfold discusses that this essay does not convince. It milieu took him far away from his youthful the intricate connections between varied seems unlikely that the Self-portrait as a warrior butchers. In a postscript, Dickerson con- spheres of activity and interest groups, and the (Banca Monte dei Paschi di Siena) is by Rosa cludes his study of Annibale’s painting by discussion of the same figures in different roles and, in the present writer’s view, Philosophy looking at it with modern eyes; the legacy of and seen from different viewpoints, emerge (National Gallery, London) is not a self-por- Carracci’s fundamental contribution to the with fresh life. In the introduction Mas si - trait. Von Flemming’s elaborate reading of history of manifests itself in miliano Rossi stresses that the aim of the this work as Rosa, demanding silence from the work of artists – among many – such as convenors was not to reach an overriding his chattering wife, Lucrezia, shown in the Jean-Siméon Chardin, Gustave Courbet and view of the period, but to open up new areas pendant (Wadsworth Atheneum, Hartford) Chäim Soutine. of discourse and debate, and in this it is as the personification of a degraded modern brilliantly successful. poetry, is an over-elaborate construction 1 J.C. Smith: The Art of the Goldsmith in Late Fifteenth- A central theme is the unusual closeness of entirely lacking evidence. The Self-portrait Century Germany: The Kimbell Virgin and her Bishop, Fort the arts in Florence, where many painters also (Metropolitan Museum of Art, New York) Worth, New Haven and London 2006; L. Kanter: wrote poetry, and several participated in the should have stood at the centre of this essay; Reconstructing the Renaissance: Saint James Freeing world of the theatre. Rodolfo Maffeis defines many scholars have dated it to the 1650s, but Hermogenes by Fra Angelico, Fort Worth, New Haven and London 2008; and M. Warner: Friendship and Loss the idea of the in Florence, as recent research has placed it securely in the in the Victorian Portrait: May Sartoris by Frederic Leighton, revealed in such darkly erotic paintings as 1640s, and it is redolent of Rosa’s Florentine Fort Worth, New Haven and London 2009. ’s Penitent Magdalene (Kunst - enthusiasms. 2 G.F. Waagen: Treasures of Art in Great Britain, historisches Museum, Vienna; c.1642), or The volume is, however, underpinned London 1854–57, III, p.47. Cesare Dandini’s Lucrezia (private collection, by a wealth of empirical research, of new 3 J.R. Martin: ‘The Butcher’s Shop of the Carracci’, Florence; 1645–50), so far removed from the documents, paintings and literary sources. The Art Bulletin 45 (1963), pp.263–66. radiance of , as a ‘barocco in Outstanding is Riccardo Spinelli’s study of 4 B. Wind: ‘Annibale Carracci’s “Scherzo”: The negativo’; such paintings share the aesthetic of documents related to the patronage of the Christ Church “Butcher Shop”’, The Art Bulletin 58 many gloomy lyrics by Marinisti poets, Niccolini, which describe the National (1976), pp.93–96; and F. Rossi: ‘La “Macelleria” di Annibale Carracci e il bando per la quaresima del Car- crowded with images of death and of skele- Gallery’s painting as ‘un Filosofo’ and establish dinale Gabriele Paleotti’, Paragone 565 (1997), pp.19–35. tons, full of tension and unease. Around this the date as 1641. The volume concludes with 5 R. Zapperi: Annibale Carracci. Ritratto di artista da theoretical essay cluster a number of more a useful summary by Elena Fumagalli of recent giovane, Turin 1989, esp. pp.45–69: ‘L’epocea dei empirical studies of the sister arts. Two out- documentary research, which enrich the macellai’. standing contributions are those of Paola picture she has already sketched out in her Besuti and Maria Cristina Cabani, the first on exhibition catalogue Napoli a Firenze nel Rosa and music, the second on Lorenzo Seicento (2007). Lippi’s long and difficult poem Il Malmantile Racquistato. Besuti illumines, for the first time, how intelligent and informed a commentator Firenze Milleseicentoquaranta: arti, on music Rosa was, setting his satire La Musica lettere, musica, scienza. Edited by in the context of contemporary writings; she Elena Fumagalli, Alessandro Nova and links poetry and painting, contrasting Rosa’s Jules Hardouin-Mansart, 1646–1708. Massimiliano Rossi. 432 pp. incl. 100 b. & w. unusually erotic Arion (private collection), Edited by Alexandre Gady. 622 pp. incl. 413 ills. (Marsilio Editori S.P.A., Venice, 2010), associated with the licentious world of the col. + 94 b. & w. ills. (Editions de la Maison €40. ISBN 978–88–317–08241. castrati which Rosa condemned so vigorously, des sciences de l’homme, Paris, 2010), €96. with the sweet simplicity of his Music (Palazzo ISBN 978–2–7351–1187–9. Reviewed by HELEN LANGDON Barberini, Rome), a personification of pop - ular music far removed from the corruption Reviewed by GORDON HIGGOTT THIS VOLUME BRINGS together a series of of the court. Cabani’s is a clear exposition of essays devoted to the arts and sciences in the many facets of the Malmantile, at once ‘ARCHITECT’ IS TOO limiting a term for the Florence in the 1640s that were first delivered mock heroic, burlesque and playful, with an professional domain of Jules Hardouin- as conference papers at the Kunsthistorisches emphasis on word play and etymology, on Mansart, for, as this splendid new study Institut in Florence in 2008. This period Florentine folklore and popular culture, on demonstrates, his artistic range was even remains relatively little studied, and the initia- the world of children and games. Lippi wider than previously supposed, and his grip tive was welcome. presents a closed world of private jokes and on the process of design and construction The 1640s were marked, above all, by the passions, and his friends, among them Rosa, more secure than his later detractors would presence in Florence of two very different appear as actors in his narrative. have had us believe. Co-ordinated by one artists, Pietro da Cortona and Salvator Rosa, And it is Rosa, far more than Cortona, of its principal authors, Alexandre Gady, this the first who glorified the ambitious Medici who dominates this volume. In a sense book is a worthy successor to Bertrand Jestaz’s dynasty with all the new splendour of the Cortona remained, in the 1640s, curiously two-volume monograph, published in the Roman Baroque, while the latter, painter- isolated, and Volterrano did not become a tercentenary year, 2008.1 Involving fifty-five poet and actor, intrigued with his extravagant follower until the 1650s; in architecture the contributors, it brings together papers from a napoletaneità and charmed the literary acad - pull of tradition remained overwhelmingly conference in that year, general essays on the

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