Caroline Karpinski - Academia.edu (original) (raw)
Papers by Caroline Karpinski
Renaissance Quarterly, 2021
Ugo Panico da Carpi, whose ancestor, the Earl of Panic, figures in the Canterbury Tales, dissembl... more Ugo Panico da Carpi, whose ancestor, the Earl of Panic, figures in the Canterbury Tales, dissembled when petitioning the Venetian Senate in 1516 for the right to print chiaroscuro woodcuts. Privilege granted, he directly departed for Rome where, earlier, he had entered the antiquarian circle. Thereby he may have had access to the estate of the recently deceased Giovanni Battista Palumba, and his chiaroscuro woodcut, Saint Sebastian (unicum, Berlin). Alleging the technique to be unknown in Italy was a minor infraction by Ugo. By 1516, German chiaroscuro had entered the Veneto, including Lovers Surprised by Death by Hans Burgkmair and Jost de Neglker, his cutter. Ugo perceived at once the print's innovations in space, light, shade, and color. His creative imagination piqued, he executed the Death of Ananias (cat. nos. 15-16) in 1518 in color tones based on Raphael's scheme in the tapestry cartoons. As Shearman described, the color forms are of equal intensity of value across the picture plane. More happened in the Death of Ananias than the doffing of line and the donning of painterly brushwork. A new graphic genre originated. The trope of the primacy of drawings as axiomatically informing printed chiaroscuro is the premise of the exhibition's organizer, Naoko Takahatake, and of Jonathan Bober, one of three essayists ("The Chiaroscuro Woodcut and Drawing in Sixteenth-Century Italy," 42-51). This vantage obscures ten other methods of printed tonal definition, including the color-values program just mentioned. Indeed, Christ at the House of Simon (cat. no. 80) is an unparalleled imitation of a drawing. Its woodcutter, Alexandro Gandini, possessed a Parmigianino sheet of somber hue with gold or silver highlights. When the woodblock's surface was inked dark, Gandini's burin engraved lines were preserved in the white of the paper. An optimal S1 impression is at the Albertina in Vienna. A block's surface can carry meaning apart from aesthetic. In the Miraculous Draught of Fishes (cat. no. 41), surface also conveys mist and mystical aura. One of Ugo's most beautiful prints, it is entirely characteristic of his style. Raphael, when painting the Transfiguration in 1519, was deeply stimulated by Leonardo's tonal experiments. The figure of Archimedes, discarded from the School of Athens, was rebooted in sfumato for Saint Andrew, as Konrad Oberhuber observed. Ugo retained a drawing of Archimedes, and a decade later rendered the figure as a body in optically modulated light. In prints of Parmigianino's design, Antonio da Trento rendered sfumato as light-dappled darkness in Martyrdom of Saint Peter and Saint Paul (cat. nos. 15-17), and Ugo as a cloche of animated shadows in Diogenes (cat. nos. 22-25). Raphael's documented relief sculpture is analogous to Massacre of the Innocents (cat. no. 21), rendered by Ugo in metallic hues, grays, or olive greens, RENAISSANCE QUARTERLY 244 VOLUME LXXIV, NO. 1
Artibus Et Historiae an Art Anthology, 2010
The present article discusses a Raphael drawing in the form of a chiaroscuro woodcut depicting Ar... more The present article discusses a Raphael drawing in the form of a chiaroscuro woodcut depicting Archimedes Contemplating an Icosahexahedron and offers a rare insight into Raphael's visual planning for one of his canonical works, the School of Athens. Preliminary ideas are known for two other frescoes in the Stanza della Segnatura: a drawing for the Disputa, and Marcantonio's engraving for the Parnassus. The present author submits a preliminary disegno for a figure in the third fresco, which suggests an earlier and other meaning for the School of Athens. Raphael, clearly the image's designer, always drew for work underway. The article asks several questions on a subject of an image of an ancient philosopher contemplating an icosahexahedron with faces mis-shapen from the square. Part A What was the subject's destination? Given the c. 1510 date of the drawing, it must have been prepared for the School of Athens of the Stanza della Segnatura. — How did Raphael know that Archimedes had invented the icosahexahedron? And from where did Raphael get the polyhedron's form? Answering the question involves examining Luca Pacioli's method in arriving independently at that polyhedron, pictured in Divina proportione. — Why was the polyhedron mis-shapen when the Divina's plate shows congruent planes? The mis-shapen form put Archimedes in dialogue with Bramante/Euclid by encoding the crossing of St Peter's. Pacioli was unaware of Archimedes's prior discovery. The article traces the geometric means by which he arrived at the body anew, in order to account for its textual position. The non-corresponding position of the plate is, instead, linked to another body that Pacioli, who was architecturally therefore spatially aware, could have adjusted to its true form. — Why was Archimedes expunged? He vitiated the power of Euclid, the historical personification of geometry. In Aristotle's realm, it was Euclid, of these two geometers, who fulfilled the prescription of higher purpose, that of theoretical wisdom. Raphael then transferred the encoded tribute to Bramante from the icosahexahedron to a diagram on the Bramante/Euclid tablet that indicates Bramante's design of the painted space of the School of Athens. Raphael's preliminary thoughts, preserved in drawings for the Stanza della Segnatura, are very rare. The present article is the first to identify the early purpose of this design, and to recognize the figure's later manifestation as St. Andrew in the Transfiguration. Part B Of the chiaroscuro woodcut itself, only two impressions are known. Of the genre, it is the sole example in which Leonardo's dark manner is engaged. Because of the print's technical importance, the present author has traced the evolution of Ugo Panico da Carpi's graphic skill in the context of Leonardo's influential painterly mode in the Transfiguration and in Parmigianino's Vision of St. Jerome.
Apollo the International Magazine of Arts, 2001
[
Zeitschrift für Kunstgeschichte, 2003
Zeitschrift für Kunstgeschichte, 1976
... xxi, as by an anonymous cutter after Titian; Dreyer, Tizian, 1972, 5, Titian as designer reje... more ... xxi, as by an anonymous cutter after Titian; Dreyer, Tizian, 1972, 5, Titian as designer rejected, no cutter pro-posed. I6 M. Muraro, Review of E. Panofsky, Problems in Titian Mostly Iconographic, in Art Bulletin, LIV, 3, 1972, 353. ... Conversion of Saul. Passavant VI, p. 231, no. 43 ...
The Metropolitan Museum of Art Bulletin, 1961
The Metropolitan Museum of Art Bulletin, 1960
The study of alchemy followed the same terrestrial course from country to country as did the iden... more The study of alchemy followed the same terrestrial course from country to country as did the identification of Jupiter, Mars, Luna, Sol, Saturn, Venus, and Mercury with seven metals. The worship of the planets and their association with metals was originally Babylonian. The Greeks substituted for the Babylonian deity officiating over each planet a Greek god who resembled him. Further, they adopted the correspondence with metals. This identification was accomplished in the fifth century before Christ, and was probably the work of the Pythagoreans. The metals were said by Aristotle to originate from the four elements-earth, air, fire, and water-which were endowed with properties of dampness, dryness, heat, and cold. When these elements were transmuted in the earth they produced a damp "exhalation," as it was called, which formed into metals. An elaboration of the Aristotelian theory was the idea of a primordial matter from which all bodies were created and into which they might again be resolved. The Egyptians had long made artificial gems and observed the color changes of metals undergoing alloying. When the Greeks settled in Alexandria in the fourth century B.C. they furnished the Egyptians with a philosophy for these changes: they assumed they had transmuted matter. And in the early centuries of the Christian era, there arose the concept of an agent capable of transmuting one kind of material into another, which came to be known as the Great Work of Alchemy, or the philosophers' stone. Geber, a Mohammedan alchemist of the eighth or ninth century, introduced a refinement of Aristotle's theory by postulating sulphur and mercury instead of Aristotle's four elements as the elemental substances of metals. According to this theory impure sulphur and mercury when
The Metropolitan Museum of Art Bulletin, 1966
The Metropolitan Museum of Art Bulletin, 1964
The Metropolitan Museum of Art Bulletin, 1964
The Metropolitan Museum of Art Bulletin, 1963
Art Libraries Journal, 1988
Renaissance Quarterly, 2021
Ugo Panico da Carpi, whose ancestor, the Earl of Panic, figures in the Canterbury Tales, dissembl... more Ugo Panico da Carpi, whose ancestor, the Earl of Panic, figures in the Canterbury Tales, dissembled when petitioning the Venetian Senate in 1516 for the right to print chiaroscuro woodcuts. Privilege granted, he directly departed for Rome where, earlier, he had entered the antiquarian circle. Thereby he may have had access to the estate of the recently deceased Giovanni Battista Palumba, and his chiaroscuro woodcut, Saint Sebastian (unicum, Berlin). Alleging the technique to be unknown in Italy was a minor infraction by Ugo. By 1516, German chiaroscuro had entered the Veneto, including Lovers Surprised by Death by Hans Burgkmair and Jost de Neglker, his cutter. Ugo perceived at once the print's innovations in space, light, shade, and color. His creative imagination piqued, he executed the Death of Ananias (cat. nos. 15-16) in 1518 in color tones based on Raphael's scheme in the tapestry cartoons. As Shearman described, the color forms are of equal intensity of value across the picture plane. More happened in the Death of Ananias than the doffing of line and the donning of painterly brushwork. A new graphic genre originated. The trope of the primacy of drawings as axiomatically informing printed chiaroscuro is the premise of the exhibition's organizer, Naoko Takahatake, and of Jonathan Bober, one of three essayists ("The Chiaroscuro Woodcut and Drawing in Sixteenth-Century Italy," 42-51). This vantage obscures ten other methods of printed tonal definition, including the color-values program just mentioned. Indeed, Christ at the House of Simon (cat. no. 80) is an unparalleled imitation of a drawing. Its woodcutter, Alexandro Gandini, possessed a Parmigianino sheet of somber hue with gold or silver highlights. When the woodblock's surface was inked dark, Gandini's burin engraved lines were preserved in the white of the paper. An optimal S1 impression is at the Albertina in Vienna. A block's surface can carry meaning apart from aesthetic. In the Miraculous Draught of Fishes (cat. no. 41), surface also conveys mist and mystical aura. One of Ugo's most beautiful prints, it is entirely characteristic of his style. Raphael, when painting the Transfiguration in 1519, was deeply stimulated by Leonardo's tonal experiments. The figure of Archimedes, discarded from the School of Athens, was rebooted in sfumato for Saint Andrew, as Konrad Oberhuber observed. Ugo retained a drawing of Archimedes, and a decade later rendered the figure as a body in optically modulated light. In prints of Parmigianino's design, Antonio da Trento rendered sfumato as light-dappled darkness in Martyrdom of Saint Peter and Saint Paul (cat. nos. 15-17), and Ugo as a cloche of animated shadows in Diogenes (cat. nos. 22-25). Raphael's documented relief sculpture is analogous to Massacre of the Innocents (cat. no. 21), rendered by Ugo in metallic hues, grays, or olive greens, RENAISSANCE QUARTERLY 244 VOLUME LXXIV, NO. 1
Artibus Et Historiae an Art Anthology, 2010
The present article discusses a Raphael drawing in the form of a chiaroscuro woodcut depicting Ar... more The present article discusses a Raphael drawing in the form of a chiaroscuro woodcut depicting Archimedes Contemplating an Icosahexahedron and offers a rare insight into Raphael's visual planning for one of his canonical works, the School of Athens. Preliminary ideas are known for two other frescoes in the Stanza della Segnatura: a drawing for the Disputa, and Marcantonio's engraving for the Parnassus. The present author submits a preliminary disegno for a figure in the third fresco, which suggests an earlier and other meaning for the School of Athens. Raphael, clearly the image's designer, always drew for work underway. The article asks several questions on a subject of an image of an ancient philosopher contemplating an icosahexahedron with faces mis-shapen from the square. Part A What was the subject's destination? Given the c. 1510 date of the drawing, it must have been prepared for the School of Athens of the Stanza della Segnatura. — How did Raphael know that Archimedes had invented the icosahexahedron? And from where did Raphael get the polyhedron's form? Answering the question involves examining Luca Pacioli's method in arriving independently at that polyhedron, pictured in Divina proportione. — Why was the polyhedron mis-shapen when the Divina's plate shows congruent planes? The mis-shapen form put Archimedes in dialogue with Bramante/Euclid by encoding the crossing of St Peter's. Pacioli was unaware of Archimedes's prior discovery. The article traces the geometric means by which he arrived at the body anew, in order to account for its textual position. The non-corresponding position of the plate is, instead, linked to another body that Pacioli, who was architecturally therefore spatially aware, could have adjusted to its true form. — Why was Archimedes expunged? He vitiated the power of Euclid, the historical personification of geometry. In Aristotle's realm, it was Euclid, of these two geometers, who fulfilled the prescription of higher purpose, that of theoretical wisdom. Raphael then transferred the encoded tribute to Bramante from the icosahexahedron to a diagram on the Bramante/Euclid tablet that indicates Bramante's design of the painted space of the School of Athens. Raphael's preliminary thoughts, preserved in drawings for the Stanza della Segnatura, are very rare. The present article is the first to identify the early purpose of this design, and to recognize the figure's later manifestation as St. Andrew in the Transfiguration. Part B Of the chiaroscuro woodcut itself, only two impressions are known. Of the genre, it is the sole example in which Leonardo's dark manner is engaged. Because of the print's technical importance, the present author has traced the evolution of Ugo Panico da Carpi's graphic skill in the context of Leonardo's influential painterly mode in the Transfiguration and in Parmigianino's Vision of St. Jerome.
Apollo the International Magazine of Arts, 2001
[
Zeitschrift für Kunstgeschichte, 2003
Zeitschrift für Kunstgeschichte, 1976
... xxi, as by an anonymous cutter after Titian; Dreyer, Tizian, 1972, 5, Titian as designer reje... more ... xxi, as by an anonymous cutter after Titian; Dreyer, Tizian, 1972, 5, Titian as designer rejected, no cutter pro-posed. I6 M. Muraro, Review of E. Panofsky, Problems in Titian Mostly Iconographic, in Art Bulletin, LIV, 3, 1972, 353. ... Conversion of Saul. Passavant VI, p. 231, no. 43 ...
The Metropolitan Museum of Art Bulletin, 1961
The Metropolitan Museum of Art Bulletin, 1960
The study of alchemy followed the same terrestrial course from country to country as did the iden... more The study of alchemy followed the same terrestrial course from country to country as did the identification of Jupiter, Mars, Luna, Sol, Saturn, Venus, and Mercury with seven metals. The worship of the planets and their association with metals was originally Babylonian. The Greeks substituted for the Babylonian deity officiating over each planet a Greek god who resembled him. Further, they adopted the correspondence with metals. This identification was accomplished in the fifth century before Christ, and was probably the work of the Pythagoreans. The metals were said by Aristotle to originate from the four elements-earth, air, fire, and water-which were endowed with properties of dampness, dryness, heat, and cold. When these elements were transmuted in the earth they produced a damp "exhalation," as it was called, which formed into metals. An elaboration of the Aristotelian theory was the idea of a primordial matter from which all bodies were created and into which they might again be resolved. The Egyptians had long made artificial gems and observed the color changes of metals undergoing alloying. When the Greeks settled in Alexandria in the fourth century B.C. they furnished the Egyptians with a philosophy for these changes: they assumed they had transmuted matter. And in the early centuries of the Christian era, there arose the concept of an agent capable of transmuting one kind of material into another, which came to be known as the Great Work of Alchemy, or the philosophers' stone. Geber, a Mohammedan alchemist of the eighth or ninth century, introduced a refinement of Aristotle's theory by postulating sulphur and mercury instead of Aristotle's four elements as the elemental substances of metals. According to this theory impure sulphur and mercury when
The Metropolitan Museum of Art Bulletin, 1966
The Metropolitan Museum of Art Bulletin, 1964
The Metropolitan Museum of Art Bulletin, 1964
The Metropolitan Museum of Art Bulletin, 1963
Art Libraries Journal, 1988