DOCSLIB.ORG

Cumulative Indexes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

CUMULATIVE INDEXES by Anna Voris These indexes cover the two preceding volumes as well as the present one. See the Introductory Note to this volume. INDEX OF CHANGES OF ATTRIBUTION (Not included are those changes of attribution which do not involve changes of name) Old Attribution Kress NUII/ber New Attribution Allegrini KI7SS Parmese School, c. 1600, m, p. 28, Fig. S3 Allori, Alessandro KI24 Attributed to Santi di Tito, m, p. 21, Fig. 43 Amadeo da Pistoia KI024 'Alunno di Benozzo: J, p. 117, Fig. 320 Amadeo da Pistoia KI02S 'Alunno di Benozzo: I, p. 118, Fig. 319 Andrea da Firenze K263 Master of the Fabriano Altarpiece, I, p. 29, Fig. 68 Andrea di Giusto K269 Attributed to Vecchietta, I, p. lSI, Fig. 409 Andrea del Sarto KI619 Pontormo, m, p. 10, Fig. 19 Andrea del Sarto, School of KI618 Pontormo, m, p. 10, Fig. 18 Angeli, Giuseppe KIS87 Attributed to Domenico Maggiotto, III, p. 140, Fig. 273 Antoniazzo Romano, Follower of KI03 1 Florentine School, Second Half of XV Century, II, p. 8, Fig. 8; m, p. 388 Baldovinetti K402 Pier Francesco Fiorentino, I, p. 114, Fig. 312 Balduccio, Matteo K222 Girolamo di Benvenuto, I, p. 162, Fig. 448 Baronzio KI312 Master of the Life of St. John the Baptist, I, p. 68, Fig. 182 Baronzio K264 Master of the Life of St. John the Baptist, I, p. 69, Fig. 184 Baronzio KI084 Master of the Blessed Clare, I, p. 70, Fig. 187 Bartolo di Fredi K204S Paolo di Giovanni Fei, I, p. 62, Fig. IS9 Bartolommco di Giovanni K77 Master of the 'ApoIlini Sacrum,' J, p. 128, Fig. 34S Bartolommeo di Giovanni K79 Master of the 'Apollini Sacrum: I, p. 128, Fig. 346 Bartolommeo di Giovanni KI721A, B Master of the Apollo and Daphne Legend, I, p. 129, Figs. 347, 349 Baschenis, Northwest Italian Follower of KI94 Cristoforo Monari, III, p. lOS, Fig. 194 Bassano, Leandro KIS79 Attributed to Giambattista Bassano, III, p. 48, Fig. 88 BeIlini, Giovanni K3S7 Attributed to Palma Vecchio, II, p. 174, Fig. 41S Bellini, Giovanni K370 Attributed to Mansueti, II, p. 47, Fig. 101 Bellini, Giovanni K389 Attributed to Buonconsiglio, II, p. S8, Fig. 139 Bellini, Giovanni KS94 Venetian School, Early XVI Century, II, p. 47, Fig. 93 Bellini, Giovanni KI080 Alvise Vivarini, II, p. 49, Fig. 117 Bellini, J acopo (?) Ku88 Attributed to Butinone, II, p. 16, Fig. 32 Bembo KI8 Circle of Nicolo da VaraIlo, II, p. IS, Fig. 34 Boccaccino, Boccaccio KIS33 FoIlower of Giorgione, II, p. IS2, Fig. 372 Boccati KS3 6 Attributed to Girolamo di Giovanni da Camerino, II, p. 6, Fig. 6 Bonifazio Veronese KIOS2 Circle of Titian, c. ISIO, II, p. 188, Fig. 421 Borgognone, Bernardino KS78 FoIlower of Ambrogio Borgognone, II, p. 22, Fig. 49 Bragadin, Donato KIIOI Donato de'Bardi, II, p. 29, Fig. 69; III, p. 389 Candido KI22 Italian School, Mid-XVI Century, III, p. 23, Fig. 46 Caselli, Cristoforo K338 FoIlower of Bartolomeo Vivarini, II, p. 61, Fig. ISO; m, p. 390 Castiglione, Giovanni Benedetto KI70S Attributed to Francesco Castiglione, III, p. 92, Fig. 16S Catena K3S7 Attributed to Palma Vecchio, II, p. 174, Fig. 41S Cavalieri d' Arpino KI786 Attributed to Paolo de Matteis, III, p. 99, Fig. 182 Central Italian School, XV Century KI229A, B Bertucci, II, p. 104, Figs. 2S1-2S2 Cimabue, Contemporary of KII89 Tuscan School, Late XIII Century, I, p. 6, Fig. 8 Civerchio KIllS Zenale, II, p. 17, Fig. 30 Coello K94 Attributed to Alessandro Allori, III, p. 18, Fig. 32 Cossa, Francesco del K387 Ferrarese School, Late XV Century, I, p. 86, Fig. 236 Cristiani, Follower of KIo8 Lorenzo di Niccolo, I, p. 40, Fig. 102; III, p. 383 Daddi KI97 Master of San Martino alIa Palma, I, p. 30, Fig. 71 Daddi, Follower of K263 Master of the Fabriano Altarpiece, I, p. 29, Fig. 68 Domenico di Michelino KS40 PeseIlino and Studio, J, p. 110, Fig. 302 Domenico di Michelino KS41 Pesellino and Studio, I, p. 110, Fig. 303 Domenico Veneziano (?) KII87 FoIlower ofPesellino, I, p. III, Fig. 307 Duccio, Follower of K309 Master of San Torpe, J, p. 18, Fig. 38 Duccio, Follower of KS92 Master of the Goodhart Madonna, I, p. 18, Fig. 40 Emilian School, c. 1370 KS27 FoIlower of Barnaba da Modena, I, p. 12, Fig. 17 397 INDEX OF CHANGES OF ATTRIBUTION Old Attributioll Kress Number New Attributioll Emilian Painter, c. 1500 K1748 Ferrarese School, c. 1500, II, p. 66, Fig. 166 Emilian Master, XV Century KI82S Attributed to Agnolo degli Erri, u, p. 9, Fig. 16 Ferraresc-Bolognese School, Early XVI Century K78 Master of the Glasgow Adoration, n, p. 70, Fig. 168 j UI, p. 390 Ferrari, Gaudenzio K I II 5 Zenale, II, p. 17, Fig. 30 Ferrari, Gaudenzio K221 Attributed to Girolamo Giovenone, n, p. 147, Fig. 364 Ferrari, Gaudenzio K1210, 1211 Lanino, n, p. 148, Figs. 361, 363 Flemish School, First Quarter XVI Century K442 Follower of Correggio, II, p. 84, Fig. 203 Florentine School, c. 1350 KI925 Follower ofDaddi, I, p. 28, Fig. 63 Florentine School, c. 1370/80 K64 Follower of Orcagna, I, p. 32, Fig. 72 Florentine School, Last Third of XIV Century K66,67 Giovanni del Biondo, I, p. 36, Figs. 83, 84 Florentine School, Second Half of XIV Century KM-2, M-3 Master of the Orcagnesque Misericordia, I, p. 38, Figs. 89-90 Florentine School, c. 1400 K 1190 Follower ofBicci di Lorenzo, I, p. 47, Fig. 1I9 Florentine School, First Half of XV Century K275 Circle of the Master of the Griggs CrucifIxion, I, p. 100, Fig. 269 Florentine School, c. 1440 K320 Follower ofUcceIIo, I, p. 102, Fig. 275 Florentine SellOol, c. 1470 K 1722 Follower ofVerrocchio, r, p. 1I9, Fig. 324 Florentine School, c. 1475 K369 Biagio d'Antonio da Firenze, I, p. 119, Fig. 328j III, p. 386 Florentine School, End of XV Century K1I52A, B Master of the Apollo and Daphne Legend, I, p. 130, Figs. 348, 350 Florentine School, c. 1500 K1616, 1617 Master of the Apollo and Daphne Legend, I p. 130, Figs. 353-354 Florentine School, c. 1520 KX-3 Attributed to Bugiardini, n, p. 123, Fig. 297 Florentine Painter, Pupil of Domenico Ghirlandaio KI083 Master of Santo Spirito, n, p. lIS, Fig. 277 Florentine School, c. 1530 K21S4 Circle of Giorgio Vasari, III, p. 21, Fig. 44 Florentine School, c. 1540 KI057 Sienese School, Early XVI Century, IIJ, p. 5, Fig. 6 Florentine School, Mid-XVI Century KI620 Tommaso di Stefano, IIJ, p. 9, Fig. 16 Francesco di Giorgio K439 Neroccio de'Landi, I, p. 154, Fig. 417 Furini, Francesco KI37J Cecco Bravo, IIJ, p. 86, Fig. 153 Gaddi, Agnolo KI56 Studio of Orcagna, I, p. 32, Fig. 77 Gaddi, Agnolo K261 Master of the St. Verdiana Panel, r, p. 41, Fig. 104 Ghirlandaio, Ridolfo KX-3 Attributed to Bugiardini, n, p. 123, Fig. 297 Giacomo del Pisano K 1053 Studio of Giovanni di Paolo, I, p. 150, Fig. 407 Giorgione and Titian K475 Titian, II, p. 178, Fig. 426 Giorgione, School of KI69s Attributed to Licinio, II, p. 170, Fig. 407 Giotto, School of KI430 Tuscan School, XIV Century, I, p. 31, Fig. 65 Giovanni del Biondo KII61 Circle ofCenni di Francesco, I, p. 36, Fig. 91j III, p. 382 Giovanni del Biondo K 1121 Florentine School, Late XIV Century, I, p. 38, Fig. 88 Girolamo di Benvenuto KI744A, B Benvenuto di Giovanni, I, p. 161, Figs. 441-446j IIJ, p. 387 Granacci KIOl2A, B, C Master of the Kress Landscapes, II, p. 124, Figs. 300-302 Greco, EI KI797 Veneto-Cretan School, Late XVI Century, n, p. 191, Fig. 440 Guardi, Francesco K329 Gian Antonio Guardi, IIJ, p. 170, Fig. 333 Italian School (Central), XIII Century KI301 Modern Imitation of XIII Century Italian School [not catalogued] Italian School, c. 1300 K3 61,324 Venetian School, c. 1300, I, p. 6, Figs, 1I-12j IIJ, p. 381 Italian School, First Half of XVIII Century KI951 Venetian School, c. 1750, III, p. 159, Fig. 307 Jacopo di Paolo da Bologna KI02 Cecco di Pietro, I, p. 73, Fig. 198 Leonardo da Vinci, School of KII83 Follower of Boltraffio, n, p. 133, Fig. 316 Lippi, Fra Filippo KSI6 Modern Copy after Fra Filippo Lippi [not catalogued] Lippi, Fra Filippo and Assistants K44IA, B, C, D Fra Diamante, I, p. log, Figs. 293-296 Lippi, Lorenzo KI740 Lupicini, III, p. 85, Fig. 151 Lombard School, Beginning of XVI Century KI207 Cremonese School, Early XVI Century, II, p. 86, Fig. 207 Lorenzetti, Pietro KI302 Master of the Ovile Madonna ('Ugolino Lorenzetti'), r, p. 54, Fig. 145 Lotto KI050 Attributed to Parmigianino, III, p. 25, Fig. 47 Luca di Tomme KI08S Tegliacci, I, p. 58, Fig. 150 Mainardi K267 Follower of Domenico Ghirlandaio, I, p. 127, Fig. 339 Maratta, Carlo KI783 Giovanni Domenico Cerrini, III, p. 70, Fig. 128 Mariotto di Nardo K333 Lorenzo di Niccolo, I, p. 44, Fig. II7 Maso K74 Attributed to Jacopo di Cione, I, p. 33, Fig. 82 Master of the Archinto Portrait KI56S Francesco Napoletano, n, p. 135, Fig. 318 Master 'BA. F. 1496' KlI9 Follower of Ambrogio Borgognone, n, p. 22, Fig. 53 Master of the Czartoryski Tondo K99 Follower of Lorenzo di Credi, n, p. lIS, Fig. 278 Master of the Jarves Cassoni K251 Apollonio di Giovanni, I, p. 98, Fig. 267 INDEX OF CHANGES OF ATTRIBUTION 399 Old Attributioll Kress Number New Attributioll Master of the Jarves Cassoni K491 Apollonio di Giovanni, I, p. 98, Figs. 263, 26S Master of the Jarves Cassoni KS28 Follower ofPesellino, I, p. III, Fig. 306 Master of the Marches, c.
Recommended publications
  • The Paintings and Sculpture Given to the Nation by Mr. Kress and Mr

    The Paintings and Sculpture Given to the Nation by Mr. Kress and Mr

    e. FOR IMMEDIATE RELEASE THE COLLECTIONS OF THE NATIONAL GALLERY OF ART \YASHINGTON The National Gallery will open to the public on March 18, 1941. For the first time, the Mellon Collection, deeded to the Nation in 1937, and the Kress Collection, given in 1939, will be shown. Both collections are devoted exclusively to painting and sculpture. The Mellon Collection covers the principal European schools from about the year 1200 to the early XIX Century, and includes also a number of early American portraits. The Kress Collection exhibits only Italian painting and sculpture and illustrates the complete development of the Italian schools from the early XIII Century in Florence, Siena, and Rome to the last creative moment in Venice at the end of the XVIII Century. V.'hile these two great collections will occupy a large number of galleries, ample space has been left for future development. Mr. Joseph E. Videner has recently announced that the Videner Collection is destined for the National Gallery and it is expected that other gifts will soon be added to the National Collection. Even at the present time, the collections in scope and quality will make the National Gallery one of the richest treasure houses of art in the wor 1 d. The paintings and sculpture given to the Nation by Mr. Kress and Mr. Mellon have been acquired from some of -2- the most famous private collections abroad; the Dreyfus Collection in Paris, the Barberini Collection in Rome, the Benson Collection in London, the Giovanelli Collection in Venice, to mention only a few.
  • Western Painting Renaissance I Eastern Europe / Western Europe

    Western Painting Renaissance I Eastern Europe / Western Europe

    Introduction to Art Historical Research: Western Painting Renaissance I NTNU Graduate Institute of Art History September 23th 2009 ©2009 Dr Valentin Nussbaum, Associate Professor Eastern Europe / Western Europe •! Cult of images (icons) •! Culte of relics •! During the Middle Ages, images in Western Europe have a didactical purpose. They are pedagogical tools Conques, Abbatiale Sainte-Foy, Portail occidental, deuxième quart du 12ème s. 1 San Gimignano, view of the towers erected during the struggles between Ghelphs and Ghibellines factions (supporting respectively the Pope and the Holy Roman Emperor, ca. 1300 Bologne, The Asinelli and Garisenda Towers (height 98 metres) , 13th C. 2 Escorial. Codex T.I.1, fol. 50, Cantigas of Alfonso I, 13th C. Siena, Piazza del Campo with the Public Palace 3 Siena, (the Duomo (Cathedral and the Piazza del Campo with the Public Palace) Duccio di Buoninsegna, Polyptich No. 28, c. 1300-05, Tempera on wood 128 x 234 cm, Pinacoteca Nazionale, Siena 4 Ambrogio Lorenzetti, Altarpiece of St Proculus, 1332, 167 x 56 cm central panel and 145 x 43 cm each side panels, Galleria degli Uffizi, Florence Ambrogio Lorenzetti, Madonna and Child with Mary Magdalene and St Dorothea, c. 1325, (90 x 53 cm central panel 88 x 39 cm each side panels), Pinacoteca Nazionae, Siena 5 Duccio di Buoninsegna, Polyptich No. 28, c. 1300-05, Tempera on wood 128 x 234 cm, Pinacoteca Nazionae, Siena Ambrogio Lorenzetti, Madonna and Child with Mary Magdalene and St Dorothea, c. 1325, (90 x 53 cm central panel 88 x 39 cm each side panels),
  • III. RAPHAEL (1483-1520) Biographical and Background Information 1. Raffaello Santi Born in Urbino, Then a Small but Important C

    III. RAPHAEL (1483-1520) Biographical and Background Information 1. Raffaello Santi Born in Urbino, Then a Small but Important C

    III. RAPHAEL (1483-1520) Biographical and background information 1. Raffaello Santi born in Urbino, then a small but important cultural center of the Italian Renaissance; trained by his father, Giovanni Santi. 2. Influenced by Perugino, Leonardo da Vinci, and Michelangelo; worked in Florence 1504-08, in Rome 1508-20, where his chief patrons were Popes Julius II and Leo X. 3. Pictorial structures and concepts: the picture plane, linear and atmospheric perspective, foreshortening, chiaroscuro, contrapposto. 4. Painting media a. Tempera (egg binder and pigment) or oil (usually linseed oil as binder); support: wood panel (prepared with gesso ground) or canvas. b. Fresco (painting on wet plaster); cartoon, pouncing, giornata. Selected works 5. Religious subjects a. Marriage of the Virgin (“Spozalizio”), 1504 (oil on roundheaded panel, 5’7” x 3’10”, Pinacoteca de Brera, Milan) b. Madonna of the Meadow, c. 1505 (oil on panel, 44.5” x 34.6”, Kunsthistorisches Museum, Vienna) c. Madonna del Cardellino (“Madonna of the Goldfinch”), 1506 (oil on panel, 3’5” x 2’5”, Uffizi Gallery, Florence) d. Virgin and Child with St. Sixtus and St. Barbara (“Sistine Madonna”), 1512-13 (oil on canvas, 8’8” x 6’5”, Gemäldegalerie, Dresden) 6. Portraits a. Agnolo Doni, c.1506 (oil on panel, 2’ ¾” x 1’5 ¾”, Pitti Palace, Florence) b. Maddalena Doni, c.1506 (oil on panel, 2’ ¾” x 1’5 ¾”, Pitti Palace, Florence) c. Cardinal Tommaso Inghirami, c. 1510-14 (oil on panel, 2’11 ¼” x 2’, Pitti Palace, Florence) d. Baldassare Castiglione, c. 1514-15 (oil on canvas, 2’8” x 2’2”, Louvre Museum, Paris) e.
  • Illustrations Ij

    Illustrations Ij

    Mack_Ftmat.qxd 1/17/2005 12:23 PM Page xiii Illustrations ij Fig. 1. Expulsion of Adam and Eve from Paradise, ca. 1015, Doors of St. Michael’s, Hildesheim, Germany. Fig. 2. Masaccio, Expulsion of Adam and Eve from Paradise, ca. 1425, Brancacci Chapel, Church of Santa Maria del Carmine, Flo- rence. Fig. 3. Bernardo Rossellino, Facade of the Pienza Cathedral, 1459–63. Fig. 4. Bernardo Rossellino, Interior of the Pienza Cathedral, 1459–63. Fig. 5. Leonardo da Vinci, The Last Supper, 1495–98, Refectory of the Monastery of Santa Maria delle Grazie, Milan. Fig. 6. Anonymous Pisan artist, Pisa Cross #15, late twelfth century, Museo Civico, Pisa. Fig. 7. Anonymous artist, Cross of San Damiano, late twelfth century, Basilica of Santa Chiara, Assisi. Fig. 8. Giotto di Bondone, Cruci‹xion, ca. 1305, Arena (Scrovegni) Chapel, Padua. Fig. 9. Masaccio, Trinity Fresco, ca. 1427, Church of Santa Maria Novella, Florence. Fig. 10. Bonaventura Berlinghieri, Altarpiece of St. Francis, 1235, Church of San Francesco, Pescia. Fig. 11. St. Francis Master, St. Francis Preaching to the Birds, early four- teenth century, Upper Church of San Francesco, Assisi. Fig. 12. Anonymous Florentine artist, Detail of the Misericordia Fresco from the Loggia del Bigallo, 1352, Council Chamber, Misericor- dia Palace, Florence. Fig. 13. Florentine artist (Francesco Rosselli?), “Della Catena” View of Mack_Ftmat.qxd 1/17/2005 12:23 PM Page xiv ILLUSTRATIONS Florence, 1470s, Kupferstichkabinett, Staatliche Museen zu Berlin. Fig. 14. Present-day view of Florence from the Costa San Giorgio. Fig. 15. Nicola Pisano, Nativity Panel, 1260, Baptistery Pulpit, Baptis- tery, Pisa. Fig.
  • Rodolfo Pallucchini

    Rodolfo Pallucchini

    - ©Ministero dei beni e delle attività culturali e del turismo -Bollettino d'Arte PRECISAZIONI ALLA R. GALLERIA ESTENSE UMEROSE sono le opere che attendono che i restauri e qualche parziale ripassatura N una determinazione critica ed attributiva di colore n~n lo hanno troppo modificato, alla R. Galleria Estense di Modena. Nel Cata­ per cui è legittimo ritenere che i caratteri logo dei dipinti, in preparazione, si darà conto della figura siano ancora quelli originari. per ciascun'opera S'erge il Reden­ delle particolari tore su di un pae­ questioni attribu­ saggio vario, sol­ tive e bibliografi­ cato a destra da che, sorte dopo la un corso d'acqua, magistrale pubbli­ che riflette l'az­ cazione diA. Ven­ zurro del cielo, po­ turi. 1) Qui si pren­ polato da borghi, de in esame un mura, castella, ed gruppo di pitture, a destra rialzato a non colla pretesa falde brune di ter­ di applicar etichet­ reno montuoso. te, ma per tentare Ampia è 1'atmo­ di determinare il sfera dello sfondo, , , linguaggio figura­ lmmersa m una tivo, cioè il valore luce solare pome­ e la qualità della ridiana, per via loro particolare dell'orizzonte te­ forma artistica. 2) nuto così basso; I. Un problema una vastità aerea attributivo, del e cosmica davvero quale si tenta la intesa attraverso risoluzione, è co­ la legge prospet­ stituito dalla tavo­ tica antonelliana, letta con il Cristo organizzatrice, in benedicente (n. 242) senso nnaSClmen­ (fig. 2), entrata in tale, delle aspira­ Galleria nell' ul- FIG. I - GIÀ A VIENNA, RACC. PRIVATA - ATTRIBUITO A B. MONTAGNA zioni pittoriche CRISTO BENEDICENTE timo quarto del dei veneti.
  • Lettera Da San G Iorgio

    Lettera Da San G Iorgio

    Lettera da San Giorgio Lettera da San Year XIX, number 37. Six-monthly publication. September 2017 – February 2018 Spedizione in A.P. Art. 2 Comma 20/c Legge 662/96 DCB VE. Tassa pagata / Taxe perçue PROGRAMMES (SEPTEMBER – FEBRUARY 2017) 12 MAY 2017 – VENICE, ISLAND OF SAN GIORGIO MAGGIORE 30 NOV 2018 Le Stanze del Vetro Installation Qwalala by Pae White 1 SEP – 15 NOV 2017 VENICE, PALAZZO CINI GALLERY AT SAN VIO Exhibition Lyda Borelli: A Leading Lady of the 20th Century 4 SEP VENICE, TEATRO LA FENICE 19, 21, 22 SEP VENICE, LA CASA DEL CINEMA – VIDEOTECA PASINETTI 8 NOV 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Cinema Series Lyda Borelli: Film Diva 9 SEP – 16 DEC 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Lo Squero Auditorium Concert Season 2017 10–17 SEP 2017 VENICE, VARIOUS VENUES The Venice Glass Week 11 SEP 2017 – VENICE, ISLAND OF SAN GIORGIO MAGGIORE 7 JAN 2018 Le Stanze del Vetro Exhibition Vittorio Zecchin: Transparent Glass for Cappellin and Venini 12–15 SEP 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Dialoghi di San Giorgio What’s the Body of the Body Politic? Sovereignty, Identity, Ecology 21–22 SEP 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Thirteenth World Conference on the Future of Science The Lives to Come 4, 10, 18 OCT 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Books at San Giorgio 9–13 OCT 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE The Egida Sartori and Laura Alvini Early Music Seminars Roman de Fauvel. Music and Corruption in the Paris of Philip the Fair.
  • Pittura Di Luce a Brera

    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.
  • Collaborative Painting Between Minds and Hands: Art Criticism, Connoisseurship, and Artistic Sodality in Early Modern Italy

    Collaborative Painting Between Minds and Hands: Art Criticism, Connoisseurship, and Artistic Sodality in Early Modern Italy

    Collaborative Painting Between Minds and Hands: Art Criticism, Connoisseurship, and Artistic Sodality in Early Modern Italy by Colin Alexander Murray A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Colin Murray 2016 Collaborative Painting Between Minds and Hands: Art Criticism, Connoisseurship, and Artistic Sodality in Early Modern Italy Colin Alexander Murray Doctor of Philosophy Department of Art University of Toronto 2016 Abstract The intention of this dissertation is to open up collaborative pictures to meaningful analysis by accessing the perspectives of early modern viewers. The Italian primary sources from the fifteenth to the seventeenth centuries yield a surprising amount of material indicating both common and changing habits of thought when viewers looked at multiple authorial hands working on an artistic project. It will be argued in the course of this dissertation that critics of the seventeenth century were particularly attentive to the practical conditions of collaboration as the embodiment of theory. At the heart of this broad discourse was a trope extolling painters for working with what appeared to be one hand, a figurative and adaptable expression combining the notion of the united corpo and the manifold meanings of the artist’s mano. Hardly insistent on uniformity or anonymity, writers generally believed that collaboration actualized the ideals of a range of social, cultural, theoretical, and cosmological models in which variously formed types of unity were thought to be fostered by the mutual support of the artists’ minds or souls. Further theories arose in response to Giovanni Paolo Lomazzo’s hypothesis in 1590 that the greatest painting would combine the most highly regarded old masters, each contributing their particular talents towards the whole.
  • Annual Report 1946

    Annual Report 1946

    REPORT ON THE NATIONAL GALLERY OF ART 1946 SMITHSONIAN INSTITUTION WASHINGTON D. C. m&MsmmmmM REPORT ON THE NATIONAL GALLERY OF ART FOR THE YEAR ENDED JUNE 30, 1946 From the Smithsonian Report for 1946 Pages 35-52 UNITED STATES GOVERNMENT PRINTING OFFICE WASHINGTON : 1947 APPENDIX 2 REPORT ON THE NATIONAL GALLERY OF ART SIR : I have the honor to submit, on behalf of the Board of Trustees of the National Gallery of Art, the ninth annual report of the Board, covering its operations for the fiscal year ended June 30, 1946. This report is made pursuant to the provisions of Section 5 (d) of Public Resolution No. 14, Seventy-fifth Congress, First Session, approved March 24, 1937 ( 50 Stat. 51). ORGANIZATION AND STAFF During the fiscal year ended June 30, 1946, the Board consisted of the Chief Justice of the United States, the Secretary of State, the Secretary of the Treasury, the Secretary of the Smithsonian Institu- tion, ex officio, and five general trustees, Samuel H. Kress, Ferdinand Lammot Belin, Duncan Phillips, Chester Dale, and Paul Mellon. At its annual meeting held on February 11,1946, the Board reelected Samuel H. Kress as President, and Ferdinand Lammot Belin as Vice President, to serve for the ensuing year. The executive officers con- tinuing in office during the year were: Huntington Cairns, Secretary-Treasurer. David E. Finley, Director. Harry A. McBride, Administrator. Huntington Cairns, General Counsel. John Walker, Chief Curator. Macgill James, Assistant Director. Donald D. Shepard continued to serve during the year as Adviser to the Board. During the year Margaret D.
  • Thethird Past-Present-Catalogue.Pdf

    Thethird Past-Present-Catalogue.Pdf

    Past Present: Conversations Across Time Masterpieces from the Kress Collection paired with contemporary work by Alison Hall Creighton Michael Gregory Coates Jonsara Ruth & Lorella Di Cintio Pat Badt & Scott Sherk Pinkney Herbert Sanford Wurmfeld February 22 – May 17, 2015 Allentown Art Museum of the Lehigh Valley Past Present: Conversations Across Time Masterpieces from the Kress Collection paired with contemporary work by Alison Hall Creighton Michael Gregory Coates Jonsara Ruth & Lorella Di Cintio Pat Badt & Scott Sherk Pinkney Herbert Sanford Wurmfeld February 22 – May 17, 2015 Allentown Art Museum of the Lehigh Valley Curator’s Notes Past Present: Conversations Across Time magine a conversation between artists — one a 21st Century world-weary, contemporary artist; and the by Stephen Maine Iother, a Renaissance Master of the 16th Century. What would they have to say to each other? Would this be a dialogue, a lesson, an argument? Past Present establishes conversations between contemporary artists and the Allentown Art Museum’s Samuel H. Kress Collection. Art is always part of a larger conversation between artists and cultures, crossing time and place. The art of the past from all cultures has a direct influence on the creation of art in the present. Regardless of different styles and technologies, art can remain fresh through the ongoing discovery of looking. Nine artists working individually or collectively were invited to study the Kress collection and select a specific painting from it. These contemporary artists have created new works that exist in conversation with their Kress selection. In many cases these contemporary artists use very different tools, techniques and technologies than the Kress masters, but each has identified a common interest that they share with the artists of the past.
  • PDF Document

    PDF Document

    (1331) SAINT JOHN IN THE DESERT By r" DOMENICO VENEZIANO Florentine, active 1439-1461 N.B.: This, with the "Martyrdom of St. Lucy" in the Kaiser Friedrich Museum, Berlin, the "Annunciation" in the Fitzwilliam Museum, Cambridge, the "St. Zenobius Raises the Boy" in the Fitzwilliam Museum, Cambridge, the "St. Francis Receiving the Stigmata" in the National Gallery of Art (Kress Collection), formed the predella to the altarpiece of the "Virgin and Child Enthroned with the Saints" by Domenico Veneziano from the Church of St. Lucia de Magnoli, Florence, now in the Uffizi Gallery. COLLECTIONS: Bernhard Berenson, Florence, Italy. Carl W. Hamilton, New Yorx, N. Y. PUBLICATIONS: See separate page of references. EXHIBITIONS: Exhibition of Italian Art, Royal Academy, London, 1930. Rep. No. 112 of Catalogue. "Italian Paintings of the Renaissance," Century Club, New York, March 1935, No. 6 of catalogue. Written Opinions as by DOMENICO VENEZIANO - R. van Marie, G. M. Richter, R. Offner Signed photograph as by DOMENICO VENEZIANO - B. Berenson 7-31-45 1331 - Panel High Wide 4" 12-1/2" Ptg. 11-1 MARTIN Frame 16" 17-5,1" ALFRED R S. Box 20.12" 21-7/8" TROTOGRAPHER OF PAINTI Suanucl H. KreEs Foundation AND ART OBJECTS t Uollection NEW YORK References regarding No. 1331 SAINT JOHN IN THE DEbEhT By DOMENICO VENEZIANO Florentine, active 1439-1461 PUBLICATIONS* ( ) b.Berenson, "Dedalo," 1925, p. 642. (Men.) • "Three Essays in Methods," 1927, p. 25. (Lis.) "Italian Pictures of the Renaissance," 1932, p. 17. (Rep.) *Les Peintres Italiens de la Renaissance," 1935, p. 48. (Lis.) "Pitture Italian* del Rinascimento," 1936, p.
  • ITALIAN RENAISSANCE PAINTING by Keith Roberts

    ITALIAN RENAISSANCE PAINTING by Keith Roberts

    ITALIAN Phaidon RENAISSANCE PAINTIN I •.'-• i^*^ fc F S6-95 ITALIAN RENAISSANCE PAINTING By Keith Roberts With 48 colour plates The Italian Renaissance was a creative epoch of unparalleled brilliance, particularly in the field of painting. It culminated with the works of the three undisputed giants of Italian art, Leonardo da Vinci (1452-1519), Michelangelo 1 475-1 564 and Raphael ( 1 483-1 520). Beginning with the heroic naturalism of Masaccio, who was one of the great Florentine masters of the early fifteenth century, the book surveys the whole of this remarkable era, ending with the glowing, richly coloured canvases of the great Venetian masters, Titian, Tintoretto and Veronese, in the second half of the sixteenth century. A short introduction to the period is followed by notes on the artists and on the works by which they are represented. \V< >t ks by all the major artists - Fra Angelico, Piero della Francesca, Bellini, Leonardo da Vinci, Botticelli, Michelangelo and Raphael are reproduced in this volume, as well as many by artists who are less well known but who also produced works of outstanding quality and beauty. Many of the plates have been juxtaposed so as to show how different artists treat a similar theme, whether it be a Madonna, a portrait or a landscape, and this often makes for fascinating comparisons. The book as a whole, by its judicious choice of illustrations, gives a well rounded and representative picture of a fascinating period in the historv of art. Jacket : The Doge Leonardo Loredan by Giovanni Bellini | London, National Gallery PHAI DON E.