Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
624
result(s) for
"Gregory, Sharon"
Sort by:
Francesco Salviati and the Horses of San Marco
In 1539, Florence’s newly elected Duke Cosimo I de’ Medici began to turn the Palazzo della Signoria into his ducal residence. The first major artistic work he commissioned for the palazzo was a cycle of frescoes by Francesco Salviati (1543–48), with scenes from the life of Marcus Furius Camillus. Salviati’s Triumph of Furius Camillus fresco is discussed in light of a preparatory drawing, which shows a chariot drawn by an animated group of horses very like the famous horses of San Marco in Venice (where Salviati had worked from 1539 until 1541), and very unlike the regimented group that draws the chariot in the final fresco. In the wake of Savonarolan reforms to the Florentine government after the expulsion of the Medici, the Venetian quadriga cannot have been politically acceptable to Duke Cosimo. Salviati presumably altered his design to better accord with Cosimo’s self-association with imperial Rome.
En 1539, le duc Côme Ier de Médicis, nouvellement élu à Florence, commence à transformer le Palazzo della Signorina en sa résidence ducale. La première œuvre artistique majeure qu’il commande pour le palais est un cycle de fresques de Francesco Salviati (1543–48) montrant des scènes de la vie de Marcus Furius Camillus. Dans cet article, la fresque de Salviati représentant le Triomphe de Furius Camillus est examinée à la lumière d’un dessin préparatoire, qui montre un char tiré par un groupe de chevaux fougueux, fort semblables aux célèbres chevaux de San Marco à Venise (où Salviati avait travaillé de 1539 à 1541), et très différents de l’attelage maîtrisé qui tire le char dans la fresque finale. Au lendemain des réformes savonaroliennes du gouvernement florentin après l’expulsion des Médicis, le quadrige vénitien ne pouvait être politiquement acceptable aux yeux du duc. Salviati a vraisemblablement modifié son projet pour qu’il corresponde mieux à la volonté de Côme de s’associer à la Rome impériale.
Journal Article
Michelangelo, St Bartholomew, and northern Italy
Since 1925, it has been widely accepted that Michelangelo painted his own self‐portrait into the flayed skin of St Bartholomew in the fresco of the Last Judgement. Interpretations of what this can have been intended to mean differ widely, from representing Michelangelo's desire to be freed from the constraints of the flesh, to the artist's recognition of his own Marsyas‐like audacity. It seems prudent to inquire into the origins of this motif before speculating on its meaning in the context of this fresco. Perhaps thanks to historical assertions of Michelangelo's originality and inherent genius, it is infrequently noted that Michelangelo owed a significant debt to earlier depictions of the Last Judgement. This paper aims to show that St Bartholomew is often depicted by Northern Italian artists as holding or wearing his flayed skin. Michelangelo may have become aware of these images during his northern sojourns, which included two visits to Venice.
Journal Article
Caravaggio and Vasari's \Lives\
Caravaggio's early biographers presented him as an artist who had no theory, who painted exactly what he saw without regard for the idealizing tradition of the High Renaissance. Bellori went so far as to state that Caravaggio \"lacked invenzione, decorum, disegno, or any knowledge of the science of painting\". As late as the early twentieth century, he was considered to be an artist whose chief aim was to defy tradition and authority. Not until 1955, with Friedländer's Caravaggio Studies, did a scholar systematically argue that Caravaggio both respected and responded to the work of many exemplary artists, including Michelangelo and Dürer. By the 1980s, Caravaggio had ceased to be seen as an unlettered artist. Instead, scholars began to consider his familiarity with texts by contemporary theologians and writers of the ancient world. I propose another literary source for Caravaggio: Vasari's Lives of the Artists. Vasari applied to visual artists the familiar ancient formula of biography - the lives of famous men as examples to be imitated by the reader. Interspersed throughout his book are comments on works of art and issues related to contemporary art theory. In short, the Lives was for artists a sort of textbook on fame and how to achieve it. When Caravaggio arrived in Rome in 1592, he was virtually penniless and without a patron. His early paintings, made for the open market, were for the most part still-life arrangements and genre scenes. I propose that Caravaggio was, instead, competing on his own terms with artists whose fame was assured; to this end, he responded to passages in Vasari's Lives. In several instances, Caravaggio's early works reflect Vasari's descriptions of paintings by artists as illustrious as Leonardo and Raphael - sometimes more closely than they reflect the paintings themselves.
Journal Article
The unsympathetic exemplar in Vasari's Life of Pontormo
In his biography of Jacopo Pontormo, Vasari was highly critical of two contrasting stylistic phases in the painter's career. Recent scholarship, concentrating on the (destroyed) frescoes in the choir of San Lorenzo, has concluded that Vasari was acting out of professional jealousy, or that he was attempting to obscure the frescoes' heretical content. This article compares his criticism of the San Lorenzo frescoes with that of Pontormo's earlier Passion cycle at the Certosa del Galluzzo, showing that these parallel passages must be understood in light of contemporary debates about literary and artistic imitation and ideal exemplars – debates whose themes pervade the 1568 edition of Vasari's Lives. Vasari's purpose in Pontormo's biography is to present an object lesson in the danger of an artist's slavish imitation of other artists whose style is not sympathetic with his own.
Journal Article
The Archaeology of Anatolia
This volume brings together the latest reports on archaeological projects, including excavation and survey, from all periods and every region of Anatolia. It is a forum in which scholars present their most recent data to a global audience, allowing for productive engagement with others working in and near Anatolia regarding discoveries and interpretations. The series offers a venue where recently concluded projects may provide an overview of results, often years ahead of the final publication of complete site reports. Published every two years, The Archaeology of Anatolia: Recent Discoveries series is an invaluable vehicle through which working archaeologists may carry out their most critical task: the presentation of their fieldwork and laboratory research in a timely fashion.
eBook
Review of books : \The early modern painter-etcher,\ edited by Michael Cole; \The simple art : printed images in an age of magnificence,\ by Patricia Emison
The following exhibition catalogs are reviewed : (1) \"The early modern painter-etcher,\" essays on printing and etching edited by Michael Cole (Pennsylvania State University Press, 2006); and (2) \"The simple art : printed images in an age of magnificence,\" a study of 16th-century Italian prints by Patricia Emison (University of New Hampshire, 2006).
Journal Article
The Archaeology of Anatolia, Volume III
This third volume in the Archaeology of Anatolia series offers reports on the most recent discoveries from across the Anatolian peninsula. Periods covered here span the Epipalaeolithic to the Medieval, and sites and regions range from the western Anatolian coast to Van, as well as the southeast. The contributors offer nearly real-time updates on their ongoing excavations and surveys across the Anatolian landscape. A new section in this third volume, \"The State of the Field,\" presents the latest findings in critical areas of Anatolian archaeology. The Archaeology of Anatolia series represents a forum for scholars to report their most recent data to a global audience, allowing for productive engagement with others working in and near Anatolia. Published every two years, it is an invaluable vehicle through which working archaeologists may carry out their most critical task: the presentation of their fieldwork and laboratory research in a timely fashion.
eBook
