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The Wise and Foolish Virgins of Nicosia Cathedral 尼科西亚大教堂的聪明和愚蠢的处女
3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2023-03-01 DOI: 10.1086/726089
Michalis Olympios
{"title":"The Wise and Foolish Virgins of Nicosia Cathedral","authors":"Michalis Olympios","doi":"10.1086/726089","DOIUrl":"https://doi.org/10.1086/726089","url":null,"abstract":"The unfinishedwest end of the nave of the Latin cathedral of Saint Sophia (present-day Selimiye Mosque) in Nicosia remains one of the most tantalizingly elusive buildings to survive from Lusignan Cyprus (1192–1489). It is now thought to have been begun in the last quarter of the thirteenth century by a master mason trained in the great contemporary chantiers (building sites) of northeast France and to have remained under construction until the mid-fourteenth century, when work ceased abruptly, possibly due to the Black Death. As was customary in late medieval architecture, the protracted construction would have seen the succession","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"101 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Lavinia Fontana’s Birth of the Virgin 拉维尼娅·丰塔娜的《圣母的诞生》
3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2023-03-01 DOI: 10.1086/726093
Emanuele Lugli
{"title":"Lavinia Fontana’s <i>Birth of the Virgin</i>","authors":"Emanuele Lugli","doi":"10.1086/726093","DOIUrl":"https://doi.org/10.1086/726093","url":null,"abstract":"Youmay not be familiar with Lavinia Fontana’s altarpiece Birth of the Virgin, which hangs in the church of Santissima Trinità in Bologna (fig. 1). However, it is truly extraordinary and deserves more recognition. The seventeenth-century Bolognese art critic Cesare Malvasia referred to it as a “bold gamble that succeeded.” This article confirms his assessment by providing some new references for Lavinia’s work and correcting some misunderstandings that have overshadowed its complexity. In the painting, a crowd of women bustles around the newborn. One womanwarms a towel by the fireplace, another unrolls swaddling bands, and a third places a pot of hot stones under a bed cover to keep it warm.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Front Matter 前页
3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2023-03-01 DOI: 10.1086/727857
{"title":"Front Matter","authors":"","doi":"10.1086/727857","DOIUrl":"https://doi.org/10.1086/727857","url":null,"abstract":"Next article FreeFront MatterPDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreDetailsFiguresReferencesCited by Source Volume 42, Number 3Spring 2023 Sponsored by the Bard Graduate Center, New York Article DOIhttps://doi.org/10.1086/727857 © 2023 Bard Graduate Center. All rights reserved.PDF download Crossref reports no articles citing this article.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532659","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Contributors 贡献者
3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2023-03-01 DOI: 10.1086/726096
{"title":"Contributors","authors":"","doi":"10.1086/726096","DOIUrl":"https://doi.org/10.1086/726096","url":null,"abstract":"","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"201 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Christina Robertson’s Children with a Parrot: Identification of the Sitters 克里斯蒂娜·罗伯逊的《孩子和鹦鹉:保姆的身份识别》
3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2023-03-01 DOI: 10.1086/726095
Liya Okroshidze
{"title":"Christina Robertson’s <i>Children with a Parrot</i>: Identification of the Sitters","authors":"Liya Okroshidze","doi":"10.1086/726095","DOIUrl":"https://doi.org/10.1086/726095","url":null,"abstract":"A tender and touching children’s portrait in the Hermitage was created by the Scottish artist Christina Robertson during her stay in Russia and dates to 1850 (fig. 1). Although Robertson’s customers were wealthy nobles—we can identify them by name in many of her signed works—this portrait of children unfortunately still keeps a major secret. The lack of information about the sitters does not detract from the value of the painting, but nevertheless, researchers and art lovers are always interested in knowing who is depicted in the portrait. In this article, I will make an","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Hanging of Judas in Chicago and the End of an Image 犹大在芝加哥的绞刑和一个形象的终结
3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2023-03-01 DOI: 10.1086/726091
Benjamin Zweig
{"title":"<i>The Hanging of Judas</i> in Chicago and the End of an Image","authors":"Benjamin Zweig","doi":"10.1086/726091","DOIUrl":"https://doi.org/10.1086/726091","url":null,"abstract":"A single small late medieval glass panel, measuring 22 by 17 inches, in the collection of the Art Institute of Chicago depicts the grisly final moments of Judas Iscariot (fig. 1). In the central foreground, Judas’s limp body hangs from the lowest branch of a large tree. Bearded and with reddish-brown hair, his head tilts to the left, exposing the noose that coils around his throat. In the lower left, a winged demon gratefully accepts Judas’s soul, symbolized by a naked infant, as it bursts through his stomach and rends his flesh apart. It is as though an inverted birth, where death begets death, the demon acting asmidwife. The terrible event occurs","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Summoned by Bells: The Soundscape of Leonardo da Vinci’s Battle of Anghiari 钟声召唤:达·芬奇的安希亚里战役的音景
3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2023-03-01 DOI: 10.1086/726090
Francesca Borgo
{"title":"Summoned by Bells: The Soundscape of Leonardo da Vinci’s <i>Battle of Anghiari</i>","authors":"Francesca Borgo","doi":"10.1086/726090","DOIUrl":"https://doi.org/10.1086/726090","url":null,"abstract":"","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532652","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Turks of the Passion: The Antagonists of Christ in Passion Scenes of Transylvanian Wooden Churches 受难的土耳其人:特兰西瓦尼亚木制教堂受难场景中的基督对手
3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2023-03-01 DOI: 10.1086/726094
Andreea Andrei
{"title":"Turks of the Passion: The Antagonists of Christ in Passion Scenes of Transylvanian Wooden Churches","authors":"Andreea Andrei","doi":"10.1086/726094","DOIUrl":"https://doi.org/10.1086/726094","url":null,"abstract":"The historical coordinates of Transylvania are those of a territory disputed between foreign powers. As a former component of the medieval kingdom of Hungary, Transylvania became, after the kingdom fell apart under Ottoman attacks, a semi-independent principality under Ottoman suzerainty. Native princes elected by the local elite and confirmed by the sultan ruled over the principality from 1540 to 1690. The Ottomans used military force to intervene in its affairs in order to curb","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Erasmus’s Nose 伊拉斯谟的鼻子
3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2023-03-01 DOI: 10.1086/726092
Alexander Marr
{"title":"Erasmus’s Nose","authors":"Alexander Marr","doi":"10.1086/726092","DOIUrl":"https://doi.org/10.1086/726092","url":null,"abstract":"Desiderius Erasmus waited until he was fifty to have his portrait painted. Thereafter, images of the “prince of scholars” came thick and fast, including Hans Holbein the Younger’s oil portraits of 1523 and the celebrated engraving by Albrecht Dürer of 1526. The first, though, was the diptych portrait of Erasmus and Antwerp’s city clerk, Pieter Gillis, commissioned from Quinten Matsys in 1517 and sent to their mutual friend Thomas More that year (figs. 1 and 2). This much-discussed picture depicts the scholars in a studiolo stacked with books by ancient and modern authors, among themworks by Lucian and Erasmus’s own Praise of Folly. Erasmus is portrayed writing his Paraphrase of St Paul’s Epistle to","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Editor’s Note: Our Current Lineup of Diversity, Equity, and Inclusion 编者注:我们目前的多元化、公平和包容性阵容
3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2023-03-01 DOI: 10.1086/726088
John Cunnally
{"title":"Editor’s Note: Our Current Lineup of Diversity, Equity, and Inclusion","authors":"John Cunnally","doi":"10.1086/726088","DOIUrl":"https://doi.org/10.1086/726088","url":null,"abstract":"","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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