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SOURCE-NOTES IN THE HISTORY OF ART最新文献

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Olimpia Maidalchini Pamphilj as Patron of Pietro da Cortona’s Galleria Frescoes in Palazzo Pamphilj
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-06-01 DOI: 10.1086/722323
Kimberly L. Dennis
{"title":"Olimpia Maidalchini Pamphilj as Patron of Pietro da Cortona’s Galleria Frescoes in Palazzo Pamphilj","authors":"Kimberly L. Dennis","doi":"10.1086/722323","DOIUrl":"https://doi.org/10.1086/722323","url":null,"abstract":"An entry in the Libro Mastro of Donna Olimpia Maidalchini Pamphilj reads: “1654 Expenses for the Paintings for the Galleria of the Palazzo of Piazza Navona must be paid on 24 April, 3000 scudi paid in coin to Pietro Berrettini for the paintings and other ornamentation executed by him in said Galleria” (fig. 1). This payment identifies Donna Olimpia, sister-in-law of Pope Innocent X (Giovanni Battista Pamphilj, r. 1644–55), as the patron of the magnificent fresco by Pietro Berrettini","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":"79748614","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: Thank You, Dan Brown, for Improving the Stereotype 编者注:谢谢你，丹·布朗，改善了刻板印象
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-06-01 DOI: 10.1086/722319
John Cunnally
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引用次数: 0
“A Noise that Decorum Does Not Allow”: A New Interpretation of a Work by Suzanne Duchamp “礼仪不允许的噪音”:杜尚作品的新解读
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-06-01 DOI: 10.1086/722324
Francis M. Naumann
{"title":"“A Noise that Decorum Does Not Allow”: A New Interpretation of a Work by Suzanne Duchamp","authors":"Francis M. Naumann","doi":"10.1086/722324","DOIUrl":"https://doi.org/10.1086/722324","url":null,"abstract":"As an artist, Suzanne Duchamp (1889–1963)—the sister of Marcel Duchamp—is today overshadowed by the fame of her slightly older brother, but she was an accomplished painter in her own right. She made a notable contribution to the history of twentieth-century art when she and her husband, Jean Crotti (1878–1958), formed a movement they called Tabu, an offshoot of Dada that was intended to be comparatively more life-affirming and spiritually uplifting. Crotti described Tabu as “a","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":"89143193","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
Visual Documentation for Barnett Newman’s Curatorial Projects, 1944–1946: Part II: Commentary and Assessment 巴尼特·纽曼策展项目的视觉记录，1944-1946:第二部分:评论和评估
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-06-01 DOI: 10.1086/722325
Michael Schreyach
{"title":"Visual Documentation for Barnett Newman’s Curatorial Projects, 1944–1946: Part II: Commentary and Assessment","authors":"Michael Schreyach","doi":"10.1086/722325","DOIUrl":"https://doi.org/10.1086/722325","url":null,"abstract":"Part I of this","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":"74902693","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: 2
“Unjustly Tormented by Love”: Eros as a Source of Artistic Inspiration in an Epigram for Gian Giorgio Lascaris, Alias Pyrgoteles “被爱不公地折磨”:吉安·乔治·拉斯卡里斯警句中的爱欲作为艺术灵感的源泉
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-03-01 DOI: 10.1086/720927
Diletta Gamberini
{"title":"“Unjustly Tormented by Love”: Eros as a Source of Artistic Inspiration in an Epigram for Gian Giorgio Lascaris, Alias Pyrgoteles","authors":"Diletta Gamberini","doi":"10.1086/720927","DOIUrl":"https://doi.org/10.1086/720927","url":null,"abstract":"An artist steeped in the tradition of the classically inspired sculpture that flourished in the Po Valley and the Veneto from the latefifteenth century to the mid-sixteenth century, Gian Giorgio Lascaris (ca. 1458–1531) is now less well known to scholars than Pietro, Antonio, and Tullio Lombardo, Antonio Minello, and Giovan Maria Mosca, the other main exponents of the same artistic current. While Lascaris’s relative obscurity results","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90345012","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: The Persistence of Wallpaper 编者按:壁纸的持久性
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-03-01 DOI: 10.1086/720924
John Cunnally
{"title":"Editor’s Note: The Persistence of Wallpaper","authors":"John Cunnally","doi":"10.1086/720924","DOIUrl":"https://doi.org/10.1086/720924","url":null,"abstract":"“My wallpaper and I are fighting a duel to the death. One or the other of us has got to go.” These are reported to be the last words of Oscar Wilde, delivered on his deathbed at the Hôtel d’Alsace in Paris. The quote came to mind as I admired the colorful statue of Wilde by Danny Osborne in Merrion Square in Dublin recently, where I traveled to take part in the annual meeting of the Renaissance Society of America. I cannot vouch for the accuracy of the wallpaper story, but as the Italians say, se non è vero, è ben trovato, if it's not true, it’s well founded, and we can guess who the winner was of the duel. Art deserves our attention if only because it will survive us, even in its most pedestrian","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77958567","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
Movement and Interaction at Santa Maria in Binda 运动和互动在圣玛丽亚在宾达
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-03-01 DOI: 10.1086/720925
E. Gertsman, A. Verduci
{"title":"Movement and Interaction at Santa Maria in Binda","authors":"E. Gertsman, A. Verduci","doi":"10.1086/720925","DOIUrl":"https://doi.org/10.1086/720925","url":null,"abstract":"The fresco cycle at the church of Santa Maria in Binda, in Nosate, Italy, is remarkable for several reasons. Executed in the early 1500s by Giovani Maria De Lione della Castellanza, the cycle includes a Dance of Death mural practically unknown to scholars and notable not only for its un-usual iconography but also for being one of the very few painted in medieval Italy. The frescoes also feature an extraordinary set of seven images of the Virgin and Child arranged in a row directly above the Dance of Death. Perhaps most intriguingly, the overall iconographic program","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82679380","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
Memento Mordant: Etching Bubbles and Biting Time 媒染剂纪念品:蚀刻气泡和咬人时间
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-03-01 DOI: 10.1086/720978
R. Ezra
{"title":"Memento Mordant: Etching Bubbles and Biting Time","authors":"R. Ezra","doi":"10.1086/720978","DOIUrl":"https://doi.org/10.1086/720978","url":null,"abstract":"The tercentenary of the 1720 South Sea Bubble saw a fl urry of interest in The Bubblers Medley ( fi g. 1), a satirical trompe-l ’ oeil print published by Thomas Bowles II and sold at his London shop soon after the stock market collapsed. 1 Yet for all the attention paid to the medley ’ s printed items — news clippings, illustrated verse, a playing card — one fi gure got short shrift: the naked boy blowing soap bubbles in the lower right-hand corner. 2","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78465113","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
Race Matters: Black Andromeda in the Renaissance and in Contemporary Whitewashing 种族问题:文艺复兴时期和当代洗白中的黑人仙女座菌株
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-03-01 DOI: 10.1086/720926
P. Simons
{"title":"Race Matters: Black Andromeda in the Renaissance and in Contemporary Whitewashing","authors":"P. Simons","doi":"10.1086/720926","DOIUrl":"https://doi.org/10.1086/720926","url":null,"abstract":"Current debates about erasure and action in relation to race highlight the need for art historians to be vigilant about how we describe and analyze representations of non-Europeans. The Ethiopian princess Andromeda from ancient mythology is a notable example. The textual trail implying that Andromeda was black begins in now-lost Greek plays from the fifth century BCE that unequivocally described the character as Ethiopian, and later texts adduced below continued that","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79344007","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
“Covered with Thick Marble”: Uncovering Yoko Ono’s Marble Works from 1961 to 1966 “厚大理石覆盖”:揭露小野洋子1961 - 1966年的大理石作品
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2022-03-01 DOI: 10.1086/720930
Alexander Kusztyk
{"title":"“Covered with Thick Marble”: Uncovering Yoko Ono’s Marble Works from 1961 to 1966","authors":"Alexander Kusztyk","doi":"10.1086/720930","DOIUrl":"https://doi.org/10.1086/720930","url":null,"abstract":"Marble is among the least discussed metamorphic disappearances in Yoko Ono ’ s artistic production from the 1960s. Not limestone recrys-tallized but a vanishing material notion visualized, Ono ’ s marble hides within a series of conceptual statements, instruction pieces, and unre-alized fi lms awaiting activation through mental and physical perfor-mance. Together her works evoking marble may be seen as pivotal ele-ments within Ono ’ s revolutionary contribution to the dematerialization of the art object. Exploring beyond the limits of medium speci fi city, this","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76222856","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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