From survey to pictorial drawing, the fantastical antiquities of Giuliano da Sangallo, in Beguiling Structures, Architecture in European painting 1300-1550, 19th september 2014, The national Gallery (original) (raw)
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The Triumph of Marriage: Painted Cassoni of the Renaissance
2008
Cassoni is the Italian word for the chests, painted with scenes from myth and literature, central to upper-class weddings of the 15th century. Little known today, cassoni deserve recognition as masterworks of the Renaissance. Botticelli, Pesellino and other superlative artists painted them, and they are precious early examples of the mythopoetic subjects that would form the core of European art until the 20th century. The essays in this book shed new light on the meaning of cassoni through informative discussions of Renaissance wedding rituals, male-female relations and daily domestic life. A catalogue section on cassoni in the exhibition that this book accompanies provides a unique guide to the stories of love, marriage and politics depicted on these sumptuous objects.
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.
‘Paintings in Palaces: Descriptions and Inscriptions’, in: Palazzi del Cinquecento a Roma, a cura di Claudia Conforti e Giovanna Sapori (volume speciale del Bollettino d’Arte), 2016 [2018] (Serie VII), “Palazzi del Cinquecento a Roma”), pp. 101-110 This paper explores the relationship between the accessibility of Roman palazzi and the visibility of their painted decorations on the one hand, and the subject matter of these painted decorations on the other. It is observed that sites such as the Palazzo dei Conservatori (or parts thereof) and the Vatican Palace, with a markedly public function and of relatively easy access, were in both cases decorated with paintings of a propagandistic nature in order to communicate a message as directly as possible. These paintings are accompanied by inscriptions intended to guide the beholders understanding of the depicted subjects in a very specific way, namely in accordance with the propagandistic intentions of the patron(s). Private palaces, on the contrary, accessible only to relatives and other persons from the owner’s inner circle, present a set of painted decorations that, though sometimes with uncanonical subjects, did not necessarily require explanatory inscriptions. Visitors to the palace were likely to have been familiar with the owner’s history and interests, and were therefore able to identify and understand the iconography. Otherwise the visitor’s puzzlement would have provided the palace owner with the opportunity to explain the painted subjects and impress the visitor with his knowledge. Dipinti nei palazzi: descrizioni e iscrizioni L’articolo indaga la relazione tra accessibilità dei palazzi romani e visibilità delle loro decorazioni dipinte, da un lato, e l'oggetto delle relative decorazioni dipinte, dall'altra. Se ne desume che palazzi come quello dei Conservatori (parte di esso) e del Palazzo Vaticano, con spiccata funzione pubblica e relativamente facilmente accessibili, sono stati decorati con dipinti di natura propagandistica. Per rendere chiaro il messaggio propagandistico, inoltre, le decorazioni dipinte sono accompagnate da iscrizioni con funzione di guida per gli osservatori a capire i soggetti raffigurati in modo molto specifico, in particolare in base alle intenzioni propagandistiche del committente. I palazzi privati, al contrario, accessibili solo ai parenti e a persone provenienti dalla cerchia familiare, presentano, invece, un apparato decorativo dipinto, che, se anche difficile da identificare, non sembra necessitare delle iscrizioni esplicative, in quanto i visitatori del palazzo, grazie alla familiarità con la storia e gli interessi del proprietario, possono facilmente identificare e comprendere i soggetti raffigurati. Se ciò non fosse, invece, si creerebbe una buona opportunità per il proprietario del palazzo di spiegare i soggetti dipinti, impressionando i visitatori con la sua personale cultura.
THE ICONOGRAPHY OF THE CORONATION OF THE VIRGIN IN LATE MEDIEVAL ITALIAN PAINTING. A CASE STUDY
Eikón Imago, 3 (2013 / 1), ISSN-e 2254-8718, 2013
This paper aims to highlight the artistic and conceptual relevance acquired by the iconographic theme of The Coronation of the Virgin in Italy during the Late Middle Ages. To achieve this goal we analyzed twenty-seven Trecento and Quattrocento paintings, with the purpose of discovering in them the more or less innovative compositional formulas proposed by these artists, as well as the possible literary sources that inspired them. From the formal perspective we have discovered three different iconographic types, which complement themselves mutually, as progressively complex variations of a similar basic structure. From the conceptual perspective we could also specify that these three different iconographic types of The Coronation of the Virgin in Italy are inspired directly in specific comments by some Church Fathers and medieval theologians.
A wall painting from the domus of Palazzo Govone Caratti at Alba Pompeia (Italy).
CeROArt (online), 2016
The fragmentary wall painting originally decorated a refined hall of the so-called Palazzo Govone-Caratti domus at Alba Pompeia (Cuneo, Northern Italy), perhaps corresponding to the triclinium. Despite the difficulties in reading the fragments, due to the poor state of their preservation, the importance of the artefact was clear from the beginning thanks to its original location, in a room where the floor was decorated with a precious chess-board mosaic. During the archaeological excavation, the plasters were found in fragments: the position of each piece was accurately documented by photographs and surveyed. The thesis project started with the hope, but without the assurance, of identifying the entire decoration, although the quality of the excavation documents and the amount of fragments gave us hope for a positive result. During the inventory and cleaning of the fragments, the daily discovering of fine decorations confirmed the expectations, stimulating and gratifying the research. The paintings, belonging to a transitional phase between the third and fourth Pompeian style, can be paralleled with other wall paintings found in Alba Pompeia, now preserved in the Museo Civico F. Eusebio, and with other specimens from Northern Italy and other sites in the peninsula as well. The restoration project, followed by practical interventions, provided the opportunity to give back readability to the artefact and to assure its conservation; at the same time, it constituted an important chance of handwork study and analysis. We’ve the expectation that the cognitive analysis performed on the materials during the thesis will provide a basis for future studies. Proposing a virtual hypothesis about the entire south wall decoration represented a source of real gratification for us: we’re now waiting for new studies that could confirm (or deny) the reconstruction, on the occasion of the overall restoration. The restoration of the first panel, conducted in the master thesis, will provide the guidelines for the intervention on the entire wall paintings of the room.
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