Lorenzo Pericolo | Florida State University (original) (raw)
Papers by Lorenzo Pericolo
“Francesco Francia’s Raleigh Madonna and Child with Two Angels and the Del Bono Chapel in San Giovanni Evangelista, Parma,” in Dario Donetti, Hana Gründler, and Mandy Richter, eds, Viaggio nel Nord Italia: Studi di cultura visiva in onore di Alessandro Nova (Florence: Centro Di, 2022):247–53. , 2022
“Novità: Guido Reni and Modernity,” in David García Cueto, Guido Reni, exh. cat. (Madrid: Museo del Prado, 2023):31–45., 2023
Leonardo da Vinci’s definition of the first brain ventricle as the imprensiva was highly unorthod... more Leonardo da Vinci’s definition of the first brain ventricle as the imprensiva was highly unorthodox in light of the late medieval and Renaissance philosophical and medical tradition. The term itself, imprensiva, seems to be a neologism forged by Leonardo, and he never clearly defined its functions in his surviving annotations. This study offers a global assessment of Leonardo’s ideas on knowledge by exploring the varied ways in which he interpreted the imprensiva in the course of his long career. Essential to understanding Leonardo’s reliance on the eye not only as a conveyor, but also as a ‘processor’ of knowledge is Alhazen’s concept of intuitio: a verification procedure through which the eye validates, corrects, and construes the data channeled through vision almost in no time. Relying on both a detailed scrutiny of Leonardo’s anatomical drawings in connection with the brain and a careful analysis of Leonardo’s philosophical and medical sources, this essay demonstrates not only t...
Malvasia’s life of Marcantonio Raimondi includes Malvasia’s critical catalogue of prints by or af... more Malvasia’s life of Marcantonio Raimondi includes Malvasia’s critical catalogue of prints by or after Bolognese artists, from Giulio Bonasone to Giovan Battista Pasqualini. A great connoisseur and avid collector of prints, Malvasia recognizes the intelligence and novelty inherent in Giorgio Vasari’s life of Marcantonio with its list of prints produced by the Bolognese engraver. In republishing Vasari’s life, Malvasia not only adds valuable new information, but also completes Vasari’s list by cataloguing all the prints unnoticed by his Florentine predecessor. Aware of the interest of amateurs and collectors in identifying old and new prints, establishing their states, and building up an exhaustive collection, Malvasia undertakes the groundbreaking task of describing, one by one or by coherent series, the whole corpus of prints executed by or after Bolognese masters as far as he could determine. He describes the subjects of these works accurately, transcribes their inscriptions, specif...
Art History, 2015
Although it first appears in the seventeenth century, the term "statuino" relates to an... more Although it first appears in the seventeenth century, the term "statuino" relates to an artistic concept and debate that originated in Vasari's "Vite". In describing and examining works of art by Mantegna and Battista Franco, Vasari laments their persistent 'hardness' and 'sharpness', which he attributes to these artists' excessive adherence to the principles of ancient statuary. Moreover, Vasari strictly associates these flaws with a specific phase in the evolution of the arts: the 'seconda maniera'. Subsequently, artists such as Annibale Carracci and dilettanti such as Vicenzo Giustiniani picked up on Vasari's contradictions with regarad to the importance of imitating antiquity by questioning the validaty of his historical outlook and the supremacy that he proposed of Michelangelo's art. By targeting the 'hardness' and 'sharpness' of the Tusco-Roman pictorical tradition, Carlo Ridolfi and Carlo Cesare Malvasia not only underscored the limits of antiquity as a paradigm of artistic perfection, but also sought to build an alternative canon of perfection, epitomized, on the one hand, by Tintoretto and, on the other, by the Bolognese production of the Carracci and their disciples, in particular Guido Reni. This esay reconstructs this complex history and reveals the contradictory nature of the notion of ancient perfection in the Baroque era.
Choice Reviews Online, 2015
Contents: Introduction: the Caravaggio conundrum, Lorenzo Pericolo and David M. Stone Caravaggio ... more Contents: Introduction: the Caravaggio conundrum, Lorenzo Pericolo and David M. Stone Caravaggio betrayals: the lost painter and the a "great swindlea (TM), David M. Stone Caravaggioa (TM)s painting technique: a brief survey based on paintings in the National Gallery, London, Larry Keith Caravaggioa (TM)s Portrait of Maffeo Barberini in the Palazzo Corsini, Florence, Keith Christiansen Touching is believing: Caravaggioa (TM)s Doubting Thomas in counter-reformatory Rome, Erin E. Benay Caravaggioa (TM)s Death of the Virgin, Giulio Mancini, and the Madonna Blasphemed, Frances Gage Talking pictures: sound in Caravaggioa (TM)s art, Catherine Puglisi Caravaggioa (TM)s angels, Steven F. Ostrow Caravaggio and the a "truth in pointinga (TM), Jonathan Unglaub Caravaggio the barbarian, Philip Sohm The bottom line of painting Caravaggesque, Richard E. Spear Galileo Galilei and Artemesia Gentileschi: between the history of ideas and microhistory, Elizabeth Cropper Perfectly true, perfectly false: cardsharps and fortune-tellers by Caravaggio and La Tour, Gail Feigenbaum Rembrandt and Caravaggio: emulation without imitation, H. Perry Chapman Interpreting Caravaggio in the second half of the twentieth century: between Galileo and Heidegger, Giordano Bruno and Laplanche, Lorenzo Pericolo Bibliography Index.
Representations, 2009
Antonello da Messina's Palermo Annunciate (c. 1475) is usually construed as the equivalent of... more Antonello da Messina's Palermo Annunciate (c. 1475) is usually construed as the equivalent of an icon. Relying on the iconography of the fifteenth-century Flemish Annunciation, Lorenzo Pericolo demonstrates that Antonello's panel must rather be interpreted as a "truncated" narrative in the form of an icon. From this premise, Pericolo also unveils the experimental charge of some pictorial devices used by Antonello, such as close-up, cut-in, and off-scene.
Renaissance Quarterly, 1999
Renaissance Quarterly, 2008
“Francesco Francia’s Raleigh Madonna and Child with Two Angels and the Del Bono Chapel in San Giovanni Evangelista, Parma,” in Dario Donetti, Hana Gründler, and Mandy Richter, eds, Viaggio nel Nord Italia: Studi di cultura visiva in onore di Alessandro Nova (Florence: Centro Di, 2022):247–53. , 2022
“Novità: Guido Reni and Modernity,” in David García Cueto, Guido Reni, exh. cat. (Madrid: Museo del Prado, 2023):31–45., 2023
Leonardo da Vinci’s definition of the first brain ventricle as the imprensiva was highly unorthod... more Leonardo da Vinci’s definition of the first brain ventricle as the imprensiva was highly unorthodox in light of the late medieval and Renaissance philosophical and medical tradition. The term itself, imprensiva, seems to be a neologism forged by Leonardo, and he never clearly defined its functions in his surviving annotations. This study offers a global assessment of Leonardo’s ideas on knowledge by exploring the varied ways in which he interpreted the imprensiva in the course of his long career. Essential to understanding Leonardo’s reliance on the eye not only as a conveyor, but also as a ‘processor’ of knowledge is Alhazen’s concept of intuitio: a verification procedure through which the eye validates, corrects, and construes the data channeled through vision almost in no time. Relying on both a detailed scrutiny of Leonardo’s anatomical drawings in connection with the brain and a careful analysis of Leonardo’s philosophical and medical sources, this essay demonstrates not only t...
Malvasia’s life of Marcantonio Raimondi includes Malvasia’s critical catalogue of prints by or af... more Malvasia’s life of Marcantonio Raimondi includes Malvasia’s critical catalogue of prints by or after Bolognese artists, from Giulio Bonasone to Giovan Battista Pasqualini. A great connoisseur and avid collector of prints, Malvasia recognizes the intelligence and novelty inherent in Giorgio Vasari’s life of Marcantonio with its list of prints produced by the Bolognese engraver. In republishing Vasari’s life, Malvasia not only adds valuable new information, but also completes Vasari’s list by cataloguing all the prints unnoticed by his Florentine predecessor. Aware of the interest of amateurs and collectors in identifying old and new prints, establishing their states, and building up an exhaustive collection, Malvasia undertakes the groundbreaking task of describing, one by one or by coherent series, the whole corpus of prints executed by or after Bolognese masters as far as he could determine. He describes the subjects of these works accurately, transcribes their inscriptions, specif...
Art History, 2015
Although it first appears in the seventeenth century, the term "statuino" relates to an... more Although it first appears in the seventeenth century, the term "statuino" relates to an artistic concept and debate that originated in Vasari's "Vite". In describing and examining works of art by Mantegna and Battista Franco, Vasari laments their persistent 'hardness' and 'sharpness', which he attributes to these artists' excessive adherence to the principles of ancient statuary. Moreover, Vasari strictly associates these flaws with a specific phase in the evolution of the arts: the 'seconda maniera'. Subsequently, artists such as Annibale Carracci and dilettanti such as Vicenzo Giustiniani picked up on Vasari's contradictions with regarad to the importance of imitating antiquity by questioning the validaty of his historical outlook and the supremacy that he proposed of Michelangelo's art. By targeting the 'hardness' and 'sharpness' of the Tusco-Roman pictorical tradition, Carlo Ridolfi and Carlo Cesare Malvasia not only underscored the limits of antiquity as a paradigm of artistic perfection, but also sought to build an alternative canon of perfection, epitomized, on the one hand, by Tintoretto and, on the other, by the Bolognese production of the Carracci and their disciples, in particular Guido Reni. This esay reconstructs this complex history and reveals the contradictory nature of the notion of ancient perfection in the Baroque era.
Choice Reviews Online, 2015
Contents: Introduction: the Caravaggio conundrum, Lorenzo Pericolo and David M. Stone Caravaggio ... more Contents: Introduction: the Caravaggio conundrum, Lorenzo Pericolo and David M. Stone Caravaggio betrayals: the lost painter and the a "great swindlea (TM), David M. Stone Caravaggioa (TM)s painting technique: a brief survey based on paintings in the National Gallery, London, Larry Keith Caravaggioa (TM)s Portrait of Maffeo Barberini in the Palazzo Corsini, Florence, Keith Christiansen Touching is believing: Caravaggioa (TM)s Doubting Thomas in counter-reformatory Rome, Erin E. Benay Caravaggioa (TM)s Death of the Virgin, Giulio Mancini, and the Madonna Blasphemed, Frances Gage Talking pictures: sound in Caravaggioa (TM)s art, Catherine Puglisi Caravaggioa (TM)s angels, Steven F. Ostrow Caravaggio and the a "truth in pointinga (TM), Jonathan Unglaub Caravaggio the barbarian, Philip Sohm The bottom line of painting Caravaggesque, Richard E. Spear Galileo Galilei and Artemesia Gentileschi: between the history of ideas and microhistory, Elizabeth Cropper Perfectly true, perfectly false: cardsharps and fortune-tellers by Caravaggio and La Tour, Gail Feigenbaum Rembrandt and Caravaggio: emulation without imitation, H. Perry Chapman Interpreting Caravaggio in the second half of the twentieth century: between Galileo and Heidegger, Giordano Bruno and Laplanche, Lorenzo Pericolo Bibliography Index.
Representations, 2009
Antonello da Messina's Palermo Annunciate (c. 1475) is usually construed as the equivalent of... more Antonello da Messina's Palermo Annunciate (c. 1475) is usually construed as the equivalent of an icon. Relying on the iconography of the fifteenth-century Flemish Annunciation, Lorenzo Pericolo demonstrates that Antonello's panel must rather be interpreted as a "truncated" narrative in the form of an icon. From this premise, Pericolo also unveils the experimental charge of some pictorial devices used by Antonello, such as close-up, cut-in, and off-scene.
Renaissance Quarterly, 1999
Renaissance Quarterly, 2008
“Le roi et le favori. Essai d’interprétation des Reines de Perse par Charles Le Brun,” , 2001
Getty Research Institute Journal, 2009
Le siècle de Marie de Médicis, 2001
A study of Salomon de Brosse's design for the Luxembourg Palace, Paris, commissioned by Marie de'... more A study of Salomon de Brosse's design for the Luxembourg Palace, Paris, commissioned by Marie de' Medici.
Critica d’arte 12 , 2001
A study of Giovan Battista Marino's collection of drawing, his relationship with Nicolas Poussin,... more A study of Giovan Battista Marino's collection of drawing, his relationship with Nicolas Poussin, and Poussin's interactions with Peter Paul Rubens
Artes 6 , 1998
A study of Rubens' reconstruction of ancient armor in light of antiquarianism
Artes 5 , 1997
A research of important sources for Warburg's art theories, from August Schmarsow to Eugène Müntz... more A research of important sources for Warburg's art theories, from August Schmarsow to Eugène Müntz, Jacob Burckhardt, Wilhelm von Bode.
Die Leber, das Herz und das Gehirn: Francesco Scannelli und der Körper der Malerei, 2021
in Lorenzo Pericolo and Elisabeth Oy-Marra, eds., Perfection: The Essence of Art and Architecture in Early Modern Europe (Turnhout: Brepols, 2019):155–209., 2019
in Lorenzo Pericolo and Elisabeth Oy-Marra, eds., Perfection: The Essence of Art and Architecture in Early Modern Europe (Turnhout: Brepols, 2019):4–32. , 2019
RES: Anthropology and Aesthetics, 71/72, 178–91 , 2019
Lorenzo Pericolo and David M. Stone, eds., Caravaggio: Reflections and Refractions (Aldershote: Ashgate, 2014): 301–20. , 2015
Proceedings of the 34th International Congress of Art History, Beijing 2016 (Beijing: Commercial Press, 2019):1:490–501., 2019
