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In Praise of a Fly 赞美一只苍蝇
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-09-01 DOI: 10.1086/724210
Michael Gaudio
{"title":"In Praise of a Fly","authors":"Michael Gaudio","doi":"10.1086/724210","DOIUrl":"https://doi.org/10.1086/724210","url":null,"abstract":"Suetonius tells us that the emperor Domitian, at the beginning of his reign, would “spend hours in seclusion every day, doing nothing but catch flies and stab them with a keenly-sharpened stylus.” When the emperor’s advisor was asked whether anyone was inside the room with Caesar, he wittily replied, “Not even a fly.” The anecdote offers insight into Domitian’s character: the young tyrant’s ruthless acts of insecticide anticipate the many subsequent cruelties he inflicted on men. The fly has always been an emblem of human helplessness before the Fates. “As flies to wanton boys are we to th’ gods,” laments the blind Gloucester in King Lear, “They kill us for their sport.”","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83382682","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
Destined to Rule: The Symbolism of the Jade-Colored Throne in the Yongle Emperor’s Portrait 注定要统治:永乐皇帝画像中玉色宝座的象征意义
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-09-01 DOI: 10.1086/724207
Quincy Ngan
{"title":"Destined to Rule: The Symbolism of the Jade-Colored Throne in the Yongle Emperor’s Portrait","authors":"Quincy Ngan","doi":"10.1086/724207","DOIUrl":"https://doi.org/10.1086/724207","url":null,"abstract":"The Yongle emperor (Zhu Di, 1360–1424; r. 1402–24) was the third emperor of the Ming dynasty (1368–1644). He is most well-known for his sponsorship of treasure voyages to India, Arabia, and East Africa and for moving the capital from Nanjing to Beijing following his coup against the second Ming ruler, the Jianwen emperor (Zhu Yunwen, 1377– 1402; r. 1398–1402), whowas also Yongle’s nephew. Scholars are familiar with the image of Yongle from the painting Portrait of Emperor Yongle","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79466176","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
Editorial Note: Transformations 编者按:转型
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-09-01 DOI: 10.1086/724213
John Cunnally
{"title":"Editorial Note: Transformations","authors":"John Cunnally","doi":"10.1086/724213","DOIUrl":"https://doi.org/10.1086/724213","url":null,"abstract":"In choosing the essays for this issue of Source, I aimed for our usual variety of medium, period, and methodology, without being conscious of an overall theme. But I notice that many of the articles in this issue revolve around the power of art to transform or provoke a metamorphosis, such as changing a novice to a knight, converting a solid building to a visionary fantasy, or promoting a usurper into a legitimate ruler. This transformative power, of course, also has its effect on the viewer, for whom a work of art, in whatever medium, may provoke a spiritual or emotional makeover. In the Broadway musical Billy Elliot, the provincial dance teacher, Mrs. Wilkinson, tells her clumsy pupils (all of them","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81336999","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
A Spanish Painter in the White House: Joaquín Sorolla’s Portrait of President William Howard Taft (1909) 白宫里的西班牙画家:Joaquín索罗拉为威廉·霍华德·塔夫脱总统画的肖像(1909年)
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-09-01 DOI: 10.1086/724211
Fátima Bethencourt Pérez
{"title":"A Spanish Painter in the White House: Joaquín Sorolla’s Portrait of President William Howard Taft (1909)","authors":"Fátima Bethencourt Pérez","doi":"10.1086/724211","DOIUrl":"https://doi.org/10.1086/724211","url":null,"abstract":"In April 1909 William Howard Taft posed at the White House for the only Spanish artist who has ever portrayed a president of the United States of America: Joaquín Sorolla y Bastida (1863–1923). The commission was a direct consequence of the overwhelming success that the painter had achieved in his first exhibition in the United States, inaugurated the previous February at the Hispanic Society of America in New York under Spanish royal patronage.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77992182","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
Chastity’s Knight: Allegory and Chivalry in Assisi 贞操骑士:阿西西的寓言与骑士精神
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-09-01 DOI: 10.1086/724206
J. Renner
{"title":"Chastity’s Knight: Allegory and Chivalry in Assisi","authors":"J. Renner","doi":"10.1086/724206","DOIUrl":"https://doi.org/10.1086/724206","url":null,"abstract":"The densely populated frescoes by Giotto and his workshop in the crossing vaults of the Lower Church of San Francesco at Assisi, generally dated to the second decade of the fourteenth century, still resist iconographical exegesis. The three allegories of the Franciscan vows of poverty, chastity, and obedience are particularly challenging: their imagery is unique and complex, presenting enigmatic tableaux acted out by historical and symbolic figures amid throngs of angels. This article offers a new interpretation of a central incident in one of the vele (sails), as the frescoes are","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72665834","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
Oscar White Muscarella (1931–2022)
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-09-01 DOI: 10.1086/724212
Elizabeth Simpson
{"title":"Oscar White Muscarella (1931–2022)","authors":"Elizabeth Simpson","doi":"10.1086/724212","DOIUrl":"https://doi.org/10.1086/724212","url":null,"abstract":"","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86097960","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 Architectural Photography of Annette and Rudi Rada: Modernity and Tradition in Miami and Havana 安妮特和鲁迪·拉达的建筑摄影:迈阿密和哈瓦那的现代与传统
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-06-01 DOI: 10.1086/722326
Victor Deupi
{"title":"The Architectural Photography of Annette and Rudi Rada: Modernity and Tradition in Miami and Havana","authors":"Victor Deupi","doi":"10.1086/722326","DOIUrl":"https://doi.org/10.1086/722326","url":null,"abstract":"The architectural photography of Annette and Rudi Rada documented the cities, buildings, landscapes, and people of South Florida and the Caribbean from approximately 1946 to 1975, at a time when publications such as the Miami Herald, House & Garden, the American Home, and others were promoting travel to a region that was still largely perceived as an untouched paradise. Both self-taught, the couple produced work for nearly thirty years that explored the local cultures of","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87475714","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
A Childbirth Tray with the Trial of Moses 一个分娩托盘与摩西的审判
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-06-01 DOI: 10.1086/722320
J. Musacchio
{"title":"A Childbirth Tray with the Trial of Moses","authors":"J. Musacchio","doi":"10.1086/722320","DOIUrl":"https://doi.org/10.1086/722320","url":null,"abstract":"During the Italian Renaissance, primarily in Florence but also more broadly in Tuscany and elsewhere, painted wooden trays (deschi da parto), as well as painted wooden bowls (tafferie da parto), were used to encourage, celebrate, and commemorate childbirth. Less than a hundred are known today, some intact and others fragmentary. However, during the height of their popularity, it is very likely that thousands of these trays and bowls were made for families across the economic spectrum. Like the painted marriage chests with which they are frequently associated, they were handed down from parent to child or sold on the","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84112825","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
Talking Colors: Ercole Sarti and the Verses That Gave Voice to His Paintings 会说话的颜色:埃尔科尔·萨蒂和赋予他绘画声音的诗句
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-06-01 DOI: 10.1086/722322
A. L. Conte
{"title":"Talking Colors: Ercole Sarti and the Verses That Gave Voice to His Paintings","authors":"A. L. Conte","doi":"10.1086/722322","DOIUrl":"https://doi.org/10.1086/722322","url":null,"abstract":"","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87748402","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: 1
The Last Judgment of Savonarola 萨沃纳罗拉的最后审判
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-06-01 DOI: 10.1086/722321
Rob Millard
{"title":"The Last Judgment of Savonarola","authors":"Rob Millard","doi":"10.1086/722321","DOIUrl":"https://doi.org/10.1086/722321","url":null,"abstract":"Of the nearly four hundred figures in Michelangelo’s Sistine Chapel Last Judgment fresco (1536–41), fewer than one hundred have been identified as recognizable individuals (fig. 1). Most of these are canonical: many are biblical (Christ, the Virgin, John the Baptist); others are saints, distinguishable by the attributes of martyrdom (Sebastian, Bartholomew, Lawrence); and some are characters of a mythological cast (Minos, Charon). Fewer still are apparent portraits of Michelangelo’s contemporaries in the guises of particular saints or sinners. One of the few perceptible personalities to appear, not in an allegorical mien but","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80179171","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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