Stefano Rinaldi | Staatliche Kunstsammlungen Dresden (original) (raw)

Uploads

Papers by Stefano Rinaldi

In July 1715 Augustus the Strong of Saxony-Poland received a splendid present from the Sun King: ... more In July 1715 Augustus the Strong of Saxony-Poland received a splendid present from the Sun King: a team of six Spanish stallions, each equipped with embroidered trappings and a pair of elaborate flintlock holster pistols. Documents published here for the first time help establish the gift’s political context and chronology and provide detailed insight into the payment and the identity of all the craftsmen involved, including embroiderer Nicolas Vincent du Trou and gunmakers Bertrand Piraube and François Laurent, called Languedoc.

Long Live the King! Coronations of Saxon Wettins at Wawel, exh. cat. (Krakow 2024-2025) ed. by M. Golik-Gryglas, R. Ochęduszko, Krakow 2024, pp. 89-124

Nel giardino delle arti e delle scienze. Studi in onore di Lucia Tongiorgi Tomasi, a cura di Alessandro Tosi e Massimiliano Rossi, Pisa, Pisa University Press, 2022, pp. 225-237, 2022

Dresdener Kunstblätter, 2021

in: Alltag als exemplum. Religiöse und profane Deutungsmuster der frühen Genrekunst, hg. von Jürgen Müller und Sandra Braune, Berlin/München, Deutscher Kunstverlag, 2020, pp. 168-205

Dresdener Kunstblätter, 2020

Dresdener Kunstblätter 63/4, 2019

The author presents two little-known drawings by the Florentine architect and stage designer Giul... more The author presents two little-known drawings by the Florentine architect and stage designer Giulio Parigi, connecting them with the ephemeral apparatus displayed during the marriage of Prince Cosimo de’ Medici to Maria Maddalena of Austria in 1608. The first sheet, an unpublished pen and ink drawing in an unknown location, is a scenery sketch for the fourth intermezzo of the pastoral comedy Il giudizio di Paride (The Judgement of Paris) by Michelangelo Buonarroti the Younger, with a representation of L’Arrivo di Amerigo Vespucci nel Nuovo Mondo (The Arrival of Amerigo Vespucci in the New World). The second drawing, housed in a private collection, shows a raft and fluvial allegories; it is proposed here that this was a sketch for the Argonautica, a complex costumed naval spectacle held on the Arno on the same occasion. The two drawings cast new light on the elaborate designs for the stagings of 1608, providing striking examples of Parigi’s graphic versatility.

The article identifies Clemente Paolo Gini, a seventeenth century draughtsman and follower of lan... more The article identifies Clemente Paolo Gini, a seventeenth century draughtsman and follower of landscapist Remigio Cantagallina, as the author of some drawings previously linked to the name of Cristofano Paolo Galli. Extensive archival sources offer some insight into Gini’s biography. As a young man, the artist had to flee his native Bologna, where he was accused of murder. Moreover, he seems to have been in contact with prominent members of his hometown’s cultural élite. Gini was a cultivated dilettante. His reiterated use of models by Cantagallina suggests a possible link to the artistic education offered at the Tuscan court, where Remigio spent most of his carreer giving drawing lessons to young noblemen, with a particular focus on landscape. Finally Gini’s production is analyzed, describing several monogrammed drawings and etchings, and discussing some stylistic attributions.

The paper deals with tuscan landscape draughtsman Remigio Cantagallina and his voyage to Flanders... more The paper deals with tuscan landscape draughtsman Remigio Cantagallina and his voyage to Flanders of 1611-1613. New documents on the artist’s year of birth and on his travel are discussed, and several drawings are linked to his stay in northern Europe, which is reconsidered within the framework of Cantagallina’s stylistic development.

This paper takes as its starting point a famous passage in Vasari’s Life of Marcantonio Raimondi,... more This paper takes as its starting point a famous passage in Vasari’s Life of Marcantonio Raimondi, which describes a dispute between Dürer and the Bolognese engraver over his copies of the Life of the Virgin. According to the biographer, the ruling of the Venetian authorities stated that Marcantonio could continue to sell his prints on the condition that he first removed Dürer’s monogram. From this biographical anecdote the paper will take into consideration the importance attributed by Dürer to his own signature and the theoretical reasons which shaped his point of view, as well as the significance of his monogram in the context of Venetian publishing. Finally, the paper will examine the importance of Marcantonio’s role in the development of reproduction printing as clearly distinct from that of inventor, taking into account the potential importance of the Life of the Virgin in the establishment of this practice.

Book parts by Stefano Rinaldi

Catalogue raisonné of the landscape drawings by Gherardo Cibo (1512-1600)