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PhD Dissertation: Gems and the Media of Italian Art, ca. 1450–ca. 1550
2020
Gem making, or glyptic as it is conventionally called, produced artifacts which were highly prized in Italy during the fifteenth and sixteenth centuries. Its esteem among artistic media arose from the inherent value of the materials and their enduring physical properties, and it demanded dexterous execution. Although the products of this work have been well explored as sources to which the expansive field of Renaissance art responded, the making of gems as a process has been scarcely studied by art historians in the same way. Period understandings of two ways that gems were made, by geological formation and refinement in artisan workshops, bring forward renewed insights that may apply more widely across media and across communities of viewers. The subterranean and artistic processes of making gems, one below ground and the other above, had more in common according to Renaissance thought than might be presumed. They were described in the period with a shared set of terms which centered on a particular activity, that of imprinting. A persistent vocabulary in fifteenth- and sixteenth-century usage is composed of the Latin terms imprimere and imprimitur; the Italian terms imprimere, impronta, and impressione; and their lexical and grammatical variants. Such words appear in a range of contexts which reflect understandings from the perspective of natural philosophy, as the geoscience of the time was called, and from the perspectives of medicine and astrology, which treated the origins and uses of gems in great detail. In practice, imprinting was a technical necessity in gem cutting workshops: the extreme hardness of many gem materials required the craftsman to impress them with slurries composed of abrasives, guided by tools and wheels. This dissertation examines the place of imprint in attitudes to gems ca. 1450–ca. 1550 in order to explore how they inform works of art in different media. To clarify layers of Renaissance knowledge about gems and responses to them, an essential groundwork in the sources uncovers the expansive range of meanings associated with the term gemma in Italian and Latin usage. On the basis of a reconsidered spectrum of meanings for gemma, period understandings of imprint as a formative feature of gems are seen in new light as paramount to attitudes about these objects’ origins and uses. At the center of this study’s reference to documentary and literary sources are primary evidence from Renaissance medicine, natural philosophy, workshop activity, letter writing, and antiquarian study, among other disciplines and practices. Reconstructing perceptions of gems’ origins in such ways, the dissertation applies the findings to ways of making sculpture and painting and to types of viewer response to these media. Chapter 1 gives an analysis of the notion of “imprint” in Italian and Latin sources in order to elaborate the heuristic concept unifying the rest of the chapters. Chapters 2–4 are a suite of case studies. The series is selective, prioritizing close analyses over a commitment to cover a field in total. It explores three important works in sculpture and painting by canonical artists: Donatello’s Chellini Madonna, Lorenzo Lotto’s Bernardo de’ Rossi and its associated Allegory, and Andrea Riccio’s Getty Madonna. The case selection is intended to address three themes that bring forward key cultural dimensions of gems’ intrinsic ties to impression. Principal topics in the sources on gems, they treat questions of combining physical materials, sensory relays, and intercultural resonance. This study demonstrates that designs in sculpture and painting could be modeled on the making of gems, a model understood not merely as a motif but as a process, and that such strategies could be perceived by types of viewer engaged with study and observation of mixtures, flows, and energies in different specialized fields of Renaissance knowledge. The approach reveals a particularly important relation between the beholder and the artwork. It explores the means by which perception of imprint in the artwork could engage one’s imagination, emotion, and cognition in ways modeled on contemporary understandings of how gems were made.
Renaissance Wedding and the Antique, Italian Secular Paintings from the Lanckoronski Collection
Miziolek Jerzy Year: 2018 Edizione: L'ERMA di BRETSCHNEIDER ISBN: 978-88-913-1278-5 Binding: Hardcover with dustjacket Pages: 440, 298 ill. B/N, 1 ill. Col. Size: 24 x 28 cm Jerzy Miziolek, Renaissance Weddings and the Antique. Italian secular Paintings from the Lanckoroñski Collection March 2015 The book discusses some thirty Italian Renaissance domestic paintings from the Viennese collection of Count Karol Lanckoroñski (1848-1933), which since 1994 have belonged to the Wawel Royal Castle in Kraków. The majority of them depict mythological subjects and scenes from Greek and Roman history; they once served as decorations on the walls of nuptial chambers (spalliere) or the fronts of painted wedding chests, usually referred to as cassoni. The domestic paintings amassed by Lanckoroñski in the last quarter of the 19th century in an exemplary way reflect the Renaissance fascination with classical literature, archaeology, and the classical tradition in the visual arts. Above all the book provides an explorative study of the subject matter of the paintings in the context of weddings, although stylistic analysis is also discussed. JERZY MIZIOLEK is professor of the visual arts and the classical tradition at the University of Warsaw (Institute of Archaeology). He studied art history and classical archaeology at the Jagiellonian University, Kraków and Christian archaeology at the Pontificio Istituto di Archeologia, Rome. He received his Ph.D. in 1987 and habilitation in 1996. He has been awarded a Saxl Fund fellowship at the Warburg Institute (1990), a Getty Grant Program postdoctoral fellowship (1991), a Mellon fellowship at Villa I Tatti (Harvard University Center for Italian Renaissance Studies, 1994), a fellowship at the Kunsthistorisches Institut, Florence (1995), a Paul Mellon fellowship at the Center for Advanced Study in the Visual Arts at the National Gallery of Art, Washington (1996, 1997, 1998, 2001) and a Getty Research Institute fellowship (2006). Since 1992 he has been teaching courses in Italian Renaissance art and the classical tradition in the visual arts of the 18th and 19th centuries. He is the author of more than 150 papers and reviews published, among others, in the Journal of the Warburg Institute, Mitteilungen des Kunsthistorischen Intitutes in Florenz, Arte Cristiana, Prospettiva, Fontes, Renaissance Studies, I Tatti Studies, Fontes, Iconographica, Pegassus and Arte Lombarda. Several of them deal with Italian Renaissance domestic paintings. He has published seven books, including: Sol verus: Studies in the Iconography of Christ in the Art of the First Christian Millennium (1991), Soggetti classici sui cassoni fiorentini alla vigilia del Rinascimento (1996), Falsifications in Polish Collections and Abroad (2001), The Artistic Culture of Warsaw' s University (2003) and Muse, bacchanti e centauri. La pittura pompeiana e la loro fortuna in Polonia (2010). Since 1991 he has delivered more than forty papers and lectures at foreign universities and international symposia concerning Early Christian, Renaissance and neoclassical art.
The privileges, which were given to the Europeans during the reign of Sultan Süleyman (1521-1566), allowed many envoys, merchants and travellers to visit the capital Istanbul from the beginning of XVIIth century. Furthermore, an interest towards diverse geographies which was raised in this period in Europe, caused the production of art objects such as illustrated costume albums and Iznik ceramic dishes commissioned by European visitors. This interest was especially increased in XVIIth century towards purchasing and collecting artistic objects such as İznik ceramics. Concurrently, the production of illustrated costume albums displaying Ottoman and non-Muslim figures were also being commissioned by European patrons to be produced at the painting ateliers out of the court. It is interesting that both Iznik ceramic dishes with human figures and illustrated costume albums with single human figures reveal obvious interaction of collective artistic production in terms of the figures' drawing and painting techniques. The forms and positions of the figures with their gestures and the colours used are perfectly alike, so that this suggests a possible interaction of artistic production between Iznik ceramics and miniature paintings in the costume albums of that time. Although these examples are unaffiliated with the Court Atelier's style, it is thought that they are still significant regarding the possible usage of drawing templates by the painters and ceramic artists. Öz: Sultan Süleyman'ın (1521-1566) saltanatı zamanında Avrupalılara verilen ayrıcalıklar, pek çok elçi, tüccar ve gezginin XVII. yüzyılın başından itibaren başkent İstanbul'a seyahat edebilmelerini sağ-lamıştır. Bununla birlikte, Avrupa'da, farklı coğrafyalara bu dönemde artan ilgi, Avrupalı ziyaretçiler tarafından sipariş edilen resimli kıyafet albümleri ve İznik seramik tabakları gibi sanatsal objelerin üre-timine neden olmuştur. İznik seramiklerinin satın alınması ve toplanması konusundaki bu ilgi özellikle XVII. yüzyılda artmış-tır. Aynı zamanlarda, Osmanlı karakterleri ve gayrimüslim kişilerin betimlendiği resimli kıyafet albüm-leri de Avrupalı sanat hamileri tarafından saray dışındaki atölyelerde üretilmek üzere sipariş edilmiştir. İlginçtir ki, insan figürlerinin yer aldığı İznik seramik tabakları ve resimli kıyafet albümleri, figürlerin çizim ve boyama teknikleri bakımından, kolektif sanat üretimi anlamında açık bir etkileşim olduğunu göstermektedir. El hareketleri (jestleri) ve kullanılan renklerle birlikte figürlerin biçimleri ve duruş po-ziyonları son derece benzerdir; bu nedenle, dönemin İznik seramik tabaklarında ve kıyafet albümlerinde betimlenmiş insan figürleri arasında sanatsal üretim bakımından muhtemel bir etkileşimden söz edilebi-lir. Bu örnekler Nakkaşhane üslubu ile ilişkili olmasa da, çizim şablonlarının ressamlar (nakkaşlar) ve seramik sanatçıları tarafından muhtemel kullanımı bakımından dikkat çekicidir. Anahtar Kelimeler: XVII. Yüzyıl Osmanlı Sanatı, İznik seramikleri, Osmanlı resimli kıyafet albüm-leri.