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)
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2019
Il catalogo della mostra Giulio Romano. Arte e desiderio analizza attraverso i saggi dei curatori – Barbara Furlotti, Guido Rebecchini e Linda Wolk-Simon – il rapporto tra la produzione artistica di Giulio Romano, dai Modi alle grandi sale affrescate di Palazzo Te, e il mondo classico: dai riferimenti letterari a quelli iconografici che l’allievo prediletto di Raffaello ha utilizzato a Mantova per la costruzione del suo linguaggio pittorico. Affiancano i testi dei curatori i saggi di approfondimento di Sergej Androsov, Aleksej Nikol’skij e Andrej Cvetkov, sulle ultime novità documentali e sui risultati del recente restauro dell’opera Due Amanti; un testo di Maurizio Bettini che indaga il mondo della mitologia classica, fra sanzione, comicità ed erotismo e gli approfondimenti di Madeleine C. Viljoen, James Grantham Turner e Antonio Geremicca. Concludono il catalogo le schede storico-critiche delle opere in mostra. The catalogue of the exhibition Giulio Romano. Art and Desire, through the essays by the curators – Barbara Furlotti, Guido Rebecchini and Linda Wolk-Simon – analyses the relations between Giulio Romano’s artistic output and the classical world, from the Modi to the large frescoed interiors of Palazzo Te, from literary allusions to the iconographic references that Raphael’s favourite pupil used in Mantua for the construction of his pictorial language. The curators’ texts are accompanied by in-depth essays by Sergei Androsov, Alexei Nikol’sky and Andrei Cvetkov, the latest documentary innovations and the results of recent restoration of Due Amanti (The Lovers). A text by Maurizio Bettini explores the world of classical mythology, between sanction, comedy and eroticism and the insights of Madeleine C. Viljoen, James Grantham Turner and Antonio Geremicca. Historical-critical entries on the individual works on display complete the catalogue.
a Preliminary invesTigaTion* helen deborah Walberg T he career of the patrician cleric giovanni Tiepolo has retained a low profile among scholars of venetian culture and history. only two notable studiosi, gaetano cozzi and antonio niero, have studied and published aspects of the life and the political and ecclesiastical career of Tiepolo, who was a lifelong exponent of venetian nationalism in the religious sphere. a third, oliver logan, examined several of Tiepolo's publications within the larger context of counter reformation pastoral writings and theology. 1 To date, cozzi's desire for a thorough investigation of the life of this prolific cleric has remained unrealized. 2 This is unfortunate, for Tiepolo's career, his publications, and his art and architectural patronage are intimately related to one of the more fascinating periods in venice's early modern history -the three decades after the Papal interdict of 1605-1607. * i am grateful to dr. matteo casini for his support and observations during the writing of this article. The archival research was funded in part by two generous grants from the gladys Krieble delmas foundation. The following abbreviations will be used : asv : archivio di stato di venezia ; bnm : Biblioteca nazionale marciana ; bmc : Biblioteca del museo correr. 1 g. cozzi, Giuspatronato del doge e prerogative del primicerio sulla capella ducale di San Marco (secoli xvi-xviii) : Controversie con i Procuratori di San Marco de supra e i patriarchi di Venezia, « atti dell'istituto veneto di science lettere ed arti », cli, 1992-1993, pp. 1-69 ; idem, Note su Giovanni Tiepolo, Primicerio di S. Marco e Patriarca di Venezia : L'unità ideale della chiesa veneziana, in Chiesa società e stato a Venezia. Miscellanea di studi in onore di Silvio Tramontin, a cura di B. Bertolli, venezia, 1994, pp. 121-150 ; idem, Il giuspatronato del doge su San Marco : diritto originario o concessione pontificia ?, in San Marco : aspetti storici e agiografici, atti del convegno internazionale di studi, venezia 26-29 aprile 1994, a cura di a. niero, venezia, 1996, pp. 727-742 ; a. niero, Tiepolo, Jean, in Dictionnaire de spiritualité ascétique et mystique. Paris, 1991, vol. xv, cols. 935-946 ; idem, Il corpus tiepolesco dei santi e beati veneziani in l. moretti, a. niero, P. rossi, La Chiesa del Tintoretto. Madonna dell'
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.