I Tatti Studies最新文献

Editor’s Note Editor’s音符

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I Tatti Studies Pub Date : 2023-03-01 DOI: 10.1086/725417

A. Nagel

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Cellini’s Dog Cellini’s狗

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I Tatti Studies Pub Date : 2023-03-01 DOI: 10.1086/724250

Sefy Hendler

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Front Matter 前页

I Tatti Studies Pub Date : 2023-03-01 DOI: 10.1086/726249

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Parchment, Gilding, and God: Gold Leaf and Divine Connection in a Camaldolese Choir Book 羊皮纸、镀金和上帝:卡马多雷斯唱诗班书中的金箔和神圣的联系

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I Tatti Studies Pub Date : 2023-03-01 DOI: 10.1086/724251

Stephanie Azzarello

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On the Gaze and “gl’idoli altrui”: Vision and Loss in Tasso’s Gerusalemme liberata 凝视与“利他”:塔索《自由的Gerusalemme liberata》中的视觉与失落

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I Tatti Studies Pub Date : 2023-03-01 DOI: 10.1086/724226

A. Hicks-Bartlett

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Caravaggio, Alberti, and Narcissan Disegno 卡拉瓦乔，阿尔贝蒂和纳西森

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I Tatti Studies Pub Date : 2023-03-01 DOI: 10.1086/724227

Estelle Lingo

{"title":"Caravaggio, Alberti, and Narcissan Disegno","authors":"Estelle Lingo","doi":"10.1086/724227","DOIUrl":"https://doi.org/10.1086/724227","url":null,"abstract":"IN HIS REVOLUTIONARY TREATISE ON PAINTING , Alberti called upon painters not merely to pursue a generic ideal of naturalism—one already conventional by the time he wrote—but to ground their techniques of image making more rigorously in the optics of visual perception. The novelty of this aim surely accounts for the novelty of Alberti’s installation of the ambivalent figure of Narcissus as the inventor of painting, for which no precedent has been found in ancient or medieval sources. In the opening pages of the second book of the treatise, Alberti wrote, “I used to say among my friends that the inventor of painting was Narcissus, who according to the opinion of poets was turned into a flower. Because painting is the flower of all the arts, all of the tale of Narcissus is relevant to this subject. What else would you call the act of painting but a similar embracing of the surface of the pool by the means of art?” Much has been written about this slippery passage. In Ovid’s telling, the beautiful youth Narcissus rejected relations with admirers of both sexes; in the retribution enacted by the goddess Nemesis, when Narcissus sought isolation and rest in a cool grove, he became inflamed with love for his own reflection, which he saw for the first time in an","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"49 1","pages":"35 - 62"},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73809586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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The Whisperers: Invidious Perspectives in Trecento Painting 耳语者:特伦托绘画中令人反感的视角

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I Tatti Studies Pub Date : 2023-03-01 DOI: 10.1086/724249

Christopher S. Wood

{"title":"The Whisperers: Invidious Perspectives in Trecento Painting","authors":"Christopher S. Wood","doi":"10.1086/724249","DOIUrl":"https://doi.org/10.1086/724249","url":null,"abstract":"THE IMAGE PLACED ON AN ALTAR was typically frontal, symmetrical, and self-evident. Giotto himself did not violate this rule. Seeing as such was not problematized by altarpieces involving standing or enthroned figures facing forward. Off the altar, and especially in narrative scenes on the walls of church naves or chapels, Giotto and his followers edged beholders intomore dynamic ways of looking. In the cycles at Assisi and Padua, or in the narrow chapels of Santa Croce, one is always shifting about to get the best angles on the scenes. The Presentation of Mary in the Temple by Taddeo Gaddi in the Baroncelli Chapel in Santa Croce (1328–38; fig. 1) as well as the updated version by Giovanni daMilano in the Rinuccini Chapel in the same church (ca. 1370; seefig. 5 below) are both in the lower register of scenes. To see the scenes in the upper registers, however, one has to crane one’s neck. Seeing better is a narrative theme in many of these scenes. Observing, witnessing, and contemplating, and point of view and viewing angle, are concerns shared by figures in the fictive scenes and the spectator in reality looking at the paintings. Perspective itself correlates virtual and real beholding, so intensifying the thematization of seeing in the paintings. A perspectival construction posits a viewer who serves as the basis for the calculation of the foreshortenings. A real viewer of the painting, aware that the composition has been determined by this imaginary viewer, sees a picture of viewing itself. Perspectives in fourteenth-century pictures were not mathematically generated but only estimated. Cennino Cennini at the end of that century described a simple way to create the illusion that depicted buildings and interior spaces possessed depth, involving the angling of architectural elements upward, downward, or sideways","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"109 1","pages":"3 - 33"},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88055976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Islands in Flux: Migration and Ecological Change in Early Modern Isolari (Books of Islands) 流动中的岛屿:近代早期伊索里岛的迁徙与生态变迁(岛屿志)

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I Tatti Studies Pub Date : 2023-03-01 DOI: 10.1086/724248

James K. Coleman

{"title":"Islands in Flux: Migration and Ecological Change in Early Modern Isolari (Books of Islands)","authors":"James K. Coleman","doi":"10.1086/724248","DOIUrl":"https://doi.org/10.1086/724248","url":null,"abstract":"THE GENRE OF BOOKS known as isolari (books of islands) enjoyed remarkable popularity among European and Mediterranean readers between the ﬁ fteenth and seventeenth centuries. The genre, born circa 1420 with Cristoforo Buondelmonti ’ s account of the Aegean archipelago entitled Liber insularum archipelagi , examines individual islands in turn via heterogeneous assemblages of text and image. The period when the genre took shape was an important one for geographical thought and cartography: techniques for map projection and the plotting of locations via an abstract coordinate grid were being newly elaborated and applied, thanks to the rediscovery of Ptolemy ’ s Geography by Italian humanists around the turn of the ﬁ fteenth century. Yet the isolari largely eschew these quantitative and technical approaches, instead presenting their subject matter through miscellaneous collec-tions of maps and navigational aids, travel narratives and advice for wayfarers, ar-chaeology and epigraphy, poetry and mythology, ancient history and current events, natural history and ethnography. The success of the isolari thus poses a challenge to teleological narratives suggesting that the rediscovery of Ptolemy ’ s Geography swiftly ushered in a broad and decisive shift toward quantitative approaches to mapping; for much of the early modern period the hybrid isolario","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"52 1","pages":"91 - 108"},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80413796","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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“Ricco di tanto ardire”: A Contextual Study of Agnolo Bronzino’s Portrait of Lodovico Capponi “非常大胆”:对不可多得的布朗齐诺的肖像研究

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I Tatti Studies Pub Date : 2022-09-01 DOI: 10.1086/721692

Sanne Wellen

{"title":"“Ricco di tanto ardire”: A Contextual Study of Agnolo Bronzino’s Portrait of Lodovico Capponi","authors":"Sanne Wellen","doi":"10.1086/721692","DOIUrl":"https://doi.org/10.1086/721692","url":null,"abstract":"AGNOLO BRONZINO ’S (1503–72) Portrait of Lodovico Capponi (1534–1614) in the Frick Collection in New York is one of the few portraits by the master in which the sitter has been securely identified (fig.1). Yet, like Bronzino’s other works, in the literature the painting is considered enigmatic and its dating varies considerably, ranging from 1548 to 1559, while mostly given a generic customary dating of 1550–55. Actually, the smooth and sophisticated brush and the reusing of details that characterize Bronzino’s oeuvre throughout make it difficult to establish an objective chronology and distinguish a neat stylistic development. Likewise, the overt idealization of his sitters’ traits makes it hard to grasp their age. Thus, in the critical literature the estimate of Lodovico Capponi’s age, as well as that of other sitters, diverges considerably. Lodovico is represented almost life size in three-quarter length, as a proud, selfassured young aristocrat, luxuriously dressed in the colors of the Capponi coat of arms. He wears a black taffeta jerkin adorned with velvet stripes on top and white satin braghe alla sivigliana below, and he stands in front of a radiant green hanging. In his left hand he holds a pair of gloves, and in his right hand is either a cameo or miniature portrait of a woman discretely blocked off from the beholder’s view by his index finger, while on its frame is written sorte (fate, fortune).","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"43 1","pages":"339 - 367"},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73998512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Mercanti come tramite degli scambi culturali nella Firenze del primo Rinascimento: Il caso del Regno d’Ungheria 第一次文艺复兴时期佛罗伦萨的文化交流:匈牙利王国的情况

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I Tatti Studies Pub Date : 2022-09-01 DOI: 10.1086/721729

Katalin Prajda

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