Stefano Conti. Politica artistica di un "cardinal nepote", in Tracce e proiezioni del pontificato di Innocenzo III nell'arte, nella storia della Chiesa, nella terra dei Conti (Segni, Palazzo Conti 18 giugno 2016), Celebrazioni innocenziane 1216-2016 (original) (raw)
Memoirs of the American Academy in Rome, 2024
Based mainly on unpublished documents, in particular, payment records and letters from the Barberini Archives now in the Biblioteca Apostolica Vaticana, this study investigates the role of Carlo Maratti (1625–1713) as court painter of Cardinal Antonio Barberini’s household from 1661 to 1671. Maratti, at the time a highly successful painter in demand from the most important and influential patrons in Rome, Italy, and Europe, served Cardinal Barberini, managing the cardinal’s artistic a"airs: he executed paintings, supervised the making of works by other artists, and oversaw decorative projects and restorations. Maratti’s notable accomplishments include designing a silent night clock, much praised by Gian Lorenzo Bernini, that Cardinal Barberini presented to Louis XIV, King of France, as a diplomatic gift. The historical contextualization of the primary sources used for this study o"ers an original snapshot of the Maratti’s secondary activity, with implications for both his professional status and social visibility.
2021
Dieci maestri dell’arte contemporanea sono i protagonisti della mostra senzamargine. Passaggi nell’arte italiana a cavallo del millennio, un’originale panoramica della geografia artistica tra XX e XXI secolo, posta sotto il segno della pluralità e della differenza. Attraverso i saggi di critici e studiosi internazionali questo volume offre un’approfondita introduzione all’opera dei dieci artisti, proponendo nuove letture e spunti di riflessione utili a una riscrittura del canone dell’arte degli ultimi decenni. Sullo sfondo la necessità di una nuova narrazione dell’esperienza italiana, anche al di là della sua continuità territoriale, capace di mettere in luce al suo interno la coesistenza di tradizioni, linee e vettori individuali non riducibili a una comune matrice o “identità”. Un tratto pluralistico che costituisce non solo uno degli elementi più rilevanti della produzione artistica italiana ma anche il contributo vitale che essa può fornire allo scenario deterritorializzato della cultura contemporanea, considerata nella sua iperbolica simultaneità globale. senzamargine. Passages in Italian Art at the Turn of the Millennium offers an original panorama of Italy’s artistic geography between the 20th and 21st century, and one that sets out to reflect its multiplicity and differences. Through the essays of an international group of critics and scholars, this volume offers an exhaustive introduction to the work of the ten artists, offering new interpretations and points for reflection on which to base a rewriting of the canon of the art of the last few decades. Against the background of the need for a new account of the Italian experience, one that also looks beyond the nation’s borders and is able to draw attention to the coexistence within it of individual traditions, lines, and vectors that cannot be traced back to a common root or “identity.” A pluralistic trait that constitutes not just one of the most significant aspects of Italian artistic production but also the vital contribution that it is able to make to the deterritorialized scenario of contemporary culture, considered in all its hyperbolic global simultaneity.
Andrea del Sarto: the Renaissance Workshop in Action
Renaissance Studies, 2016
For Giorgio Vasari, there was nothing more galling than talent squandered. In his Lives of the Artists, he reproaches Andrea del Sarto, his former teacher, as a man who was given great gifts but, in the face of competition, lacked the courage to develop them fully: And now we come to Andrea del Sarto, in whom nature and art revealed all that painting can accomplish in a single person through draughtsmanship, colour, and invention, so much so that if Andrea had been a man of a slightly more courageous and daring spirit (for he was profound in his talent and judgment), he would undoubtedly have had no equals. But a certain timidity of spirit and a certain retiring simplicity of his nature never allowed him to develop a certain lively ardour, or that confidence which, added to all his other gifts, would have made him truly divine as a painter. For this reason he lacked the elaboration, grandeur, and versatility of style that can be seen in others. 1 'Andrea del Sarto: The Renaissance Workshop in Action,' an exhibition at the Getty Center in Los Angeles, offered a scholarly and well-considered survey of Andrea's creative process, allowing visitors to assess del Sarto's spirit and tenacity for themselves. On view were fifty-two objects, including quick sketches, modelli, drapery, figure and portrait studies, and anatomical and compositional drawings as well as finished and unfinished paintings. The selection showcased Andrea's unfailing commitment to naturalism in the early decades of the sixteenth century, remarkable for its contrast with the styles of contemporary Florentines such as Rosso Fiorentino and Jacopo Pontormo, who were 1 Vasari/Bull, Lives of the Artists (London: Penguin Books, Ltd, 1987) 2: at 129; 'Eccoci, dopo le Vite di molti artefici, stati eccellenti chi per colorito, chi per disegno, e chi per invenzione, pervenuti all'eccellentissimo Andrea del Sarto; nel quale uno mostrarono la natura e l'arte tutto quello che pu o far la pittura mediante il disegno, il colorire, e l'invenzione: in tanto che, se fusse stato Andrea d'animo alquanto pi u fiero ed ardito, s ı come era d'ingegno e giudizio profondissimo in questa arte, sarebbe stato, senza dubitazione alcuna, senza pari. Ma una certa timidit a d'animo, ed una sua certa natura dimessa e semplice, non lasxi o mai vedere in lui un certo vivace ardore, nè quella fierezza che, aggiunta all'altre sue parti, l'arebbe fatto essere nella pittura veramente divino; perciocche egli mancciocche di molti artefici, stati eccellenti chi per coloritoit a di maniere, che in molti altri pittori si sono vedute.' Giorgio Vasari, Le vite de'pi u eccellenti pittori scultori ed architettori scritte da Giorgio Vasari.. .Con nuovo annotazioni e commenti di Gaetano Milanesi, 9 vols.
Renaissance secretaries should be considered together with those administrators who, working closely with the central bureaucracy, carried out orders at a local level. This essay will analyse the last link in the chain of command, which begins with the instruction of the sovereign and ends with its operational execution. The focus will be, in particular, on a group of initiatives aimed at the cultural transformation of a peripheral Tuscan town, Pisa, under Medici rule. Specifically, I will present a case study of the relations between political power and cultural policy in Renaissance Tuscany, namely how culture contributed to create the image of Medici power in Pisa. I will briefly illustrate the interaction between art and politics, looking at some examples of the ambitious allegorical artistic programme concerning Pisa that Duke Cosimo I de' Medici hoped would help him establish control over the city in the 1540s and 1550s.
Routledge, 2022
The book tells the story of the Del Riccio family in Florence in the early modern period, investigating the cultural mediations fostered by the family between Florence, Rome, and Naples, as well as shedding light on the intellectual and social exchanges between different regions of Italy and on the creation of foreign nations within the main Italian cities. These social and cultural dimensions are further explored through the study of the obsessive persistence of the family’s relationship with Michelangelo Buonarroti, exhibited both publicly, in the Florentine and Neapolitan family chapels, and privately in their homes. The aesthetic and stylistic choices in the use of art and art display made by the Del Riccio reveal a deep awareness of the substantial differences in taste and meaning between different cities of the Italian peninsula.
Gustavo Giovannoni e l’architetto integrale convegno internazionale, 2019
in collaborazione con il Centro di Studi per la Storia dell'Architettura con il patrocinio della Università degli Studi di Camerino Cura editoriale e progetto grafico del volume Laura Bertolaccini Revisione testi Carla Trovini Traduzioni saggi introduttivi e conclusioni Julia MacGibbon Le immagini che accompagnano l'inizio di ciascun capitolo sono state gentilmente concesse dal Centro di Studi per la Storia dell'Architettura. Si ringrazia Fabrizio Di Marco per la ricerca iconografica In copertina, elaborazione grafica di Laura Bertolaccini La firma sulla quarta di copertina è la riproduzione di quella che Gustavo Giovannoni appose nel 1911 in calce alla lettera di ringraziamento per l'avvenuta nomina ad Accademico di San Luca La pubblicazione è stata sottoposta alla valutazione di lettori esterni "Atti dell'Accademia Nazionale di San Luca" anvur: classe a area 08 Nessuna parte di questo volume può essere riprodotta o trasmessa in qualsiasi forma o con qualsiasi mezzo, cartaceo o digitale, senza l'autorizzazione dei proprietari dei diritti e dell'editore L'editore rimane a disposizione di eventuali aventi diritto che non è stato possibile contattare Stampato in Italia da Industria Grafica Umbra (Todi) nel mese di settembre 2019
The Young Guido Reni: The Artist in Bologna and Rome, 1575-1605
PhD diss., NYU, 2007
Guido Reni (1575-1642) was one of the most successful artists of seventeenth-century Italy, with such illustrious patrons as Philip IV, Marie de’ Medici, and Urban VIII vying for his works. Despite his historical significance and the tremendous attention he has received from writers and scholars over the past four centuries, his early career remains surprisingly little examined and largely misunderstood. Reni’s eventual fame has obscured the ordinary struggles of his youth and the distinctive character of his early work completed before his dramatic artistic transformation in Rome. This dissertation will investigate the period before his celebrated success. It presents the most comprehensive account of his early career, as a painter, draftsman and printmaker, from his musical beginnings in Bologna to his efforts to establish himself as a prominent painter in Rome. Part I examines Reni’s education and artistic training in Bologna. Part II investigates his early independence and activities in both Bologna and Rome, between which the artist restlessly traveled in these years. A fresh portrait of Guido emerges through a critical examination of his works from this period; the specific details of commissions—formal qualities, physical contexts, patronage, documentation, and reception—are carefully reviewed. In addition, his relationships with members of the Bolognese and Roman artistic milieus are thoroughly explored, with special attention given to his complex, sustained relationship with the Carracci. The Epilogue considers Reni’s activities after settling in Rome but before entering the service of the papal family—the Borghese—in 1608. The appendix presents a documented chronology of Reni’s early career and includes newly discovered documents and a critical examination of old archival material, both of which considerably alter heretofore chronologies. This study dismantles the tidy, carefree version of Guido’s early career that we have inherited, demonstrating that his pursuit of wealth and glory was far messier and less certain than previously thought. Yet this reappraisal only elevates his standing, for his humble start and the deliberate pace of his artistic development underline, rather than undermine, his extraordinary success.