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SOURCE-NOTES IN THE HISTORY OF ART最新文献

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Editor’s Note: Of Amorous Dogs, Signatures on Sashes, and Drawing While Dancing 编者注:多情的狗，肩带上的签名，边跳舞边画画
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-06-01 DOI: 10.1086/716325
John Cunnally
{"title":"Editor’s Note: Of Amorous Dogs, Signatures on Sashes, and Drawing While Dancing","authors":"John Cunnally","doi":"10.1086/716325","DOIUrl":"https://doi.org/10.1086/716325","url":null,"abstract":"As editor I’ve had the opportunity to read hundreds of reports by peer reviewers explaining their reasons for accepting or rejecting an article submitted to Source, justifying their decision with a wide variety of criteria or systems of value. By far the best andmost compelling reason for clicking the “Accept” option can be summed up in the statement “This essay made me look at X in a different way than before,” X being the artist, painting, statue, building, or motif examined by the author of the article. There is something akin to alchemy in this power to transform the visual experience, for it often changes lead into gold, and we","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77681637","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
Pierre Bonnard’s Books: An Interpretation 皮埃尔·博纳尔的书:解读
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-06-01 DOI: 10.1086/716332
Lucy Whelan
{"title":"Pierre Bonnard’s Books: An Interpretation","authors":"Lucy Whelan","doi":"10.1086/716332","DOIUrl":"https://doi.org/10.1086/716332","url":null,"abstract":"During Pierre Bonnard’s lifetime and since, critics and writers have romanticized his life as rural and hermetic. The artist’s villa in Le Cannet, where he lived from 1926, three kilometers inland from Cannes, has often been portrayed as a retreat from the world. One writer on Bonnard even described it as a “white wooden hut” that left the artist “quite alone on his mountain, in communion with the sky.” This notion of Bonnard as a recluse in the Midi still lingers today, not least since it coincides so neatly with the way Bonnard has been treated since his death in 1947 as an outsider from the modern canon. Yet Bonnard","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77583412","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
Michelangelo’s O
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-06-01 DOI: 10.1086/716329
W. Wallace
{"title":"Michelangelo’s O","authors":"W. Wallace","doi":"10.1086/716329","DOIUrl":"https://doi.org/10.1086/716329","url":null,"abstract":"This short note depends on a picture—Michelangelo’s carved signature on the Rome Pietà (fig. 1). Consider the difficulty of cutting each letter: thirty-six in total. At the center of the inscription, four wellproportioned and carefully carved letters initiate Michelangelo’s surname: B O N A ROTVS. Note especially the geometry and generous rotundity of the initial two letters, B O. This work requires precision and meticulous attention. A small, flathead chisel cuts sharp-edged channels about a millimeter deep. There is no slippage, no scratching of the polished marble, even when a serif","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74425281","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
Parmigianino’s Bitch 帕米贾尼诺的母狗
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-06-01 DOI: 10.1086/716326
James Grantham Turner
{"title":"Parmigianino’s Bitch","authors":"James Grantham Turner","doi":"10.1086/716326","DOIUrl":"https://doi.org/10.1086/716326","url":null,"abstract":"David Ekserdjian rightly drew our attention to the erotic, sometimes openly genital element in the drawings of Parmigianino (Francesco Mazz[u]ola, 1503–40), in a pioneering 1999 article and in his 2006 monograph, and since then important examples from private collections have seen the light in exhibitions. Eroticism seems an intrinsic part of that artist’s vitality and inventiveness, an intuition already expressed by the fictional Pietro Aretino in Lodovico Dolce’s 1557 dialogue on painting: Parmigianino “gave his creations a certain loveliness [vaghezza] which makes whoever looks at them fall in love with them","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74025005","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
Artifice and Reality in Caravaggio’s Lute Player 卡拉瓦乔《琵琶手》中的技巧与现实
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-06-01 DOI: 10.1086/716330
T. Thomas
{"title":"Artifice and Reality in Caravaggio’s Lute Player","authors":"T. Thomas","doi":"10.1086/716330","DOIUrl":"https://doi.org/10.1086/716330","url":null,"abstract":"In agreement that Caravaggio (1571–1610) slowly gainedmastery of space, light, and anatomy during the 1590s, scholars have analyzed his methods of pictorial formation, including his spatial anomalies and inaccuracies. Nevertheless, widely divergent accounts have been written about his approach to compositional construction. Mina Gregori saw in Caravaggio’s Lute Player (fig. 1) an advance in spatial coherence beyond his earlier works. She noted his “interest in perspective manifest in” this painting. Calling the work “perspectivally [. . .] refined,” she","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89644232","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
Édouard Brandon: A Jewish Painter in Nineteenth-Century Rome Édouard布兰登:19世纪罗马的犹太画家
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-06-01 DOI: 10.1086/716331
Marsha Stevenson
{"title":"Édouard Brandon: A Jewish Painter in Nineteenth-Century Rome","authors":"Marsha Stevenson","doi":"10.1086/716331","DOIUrl":"https://doi.org/10.1086/716331","url":null,"abstract":"The painter Édouard Brandon (1831–97) is little known today, but in the nineteenth century hemoved in the premier artistic circles of Paris. Those who are familiar with his mature work may think of synagogue interiors or of genre scenes featuring rabbis. Earlier in his life, however, Brandon’s primary output was Catholic in subject matter, and that is the focus of this paper. He spent 1856–63 in Rome developing an extensive cycle of paintings on Saint Bridget of Sweden. These works remained important throughout his career but were provocative in some","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72404737","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
Ropes and Knots: Architectural Emulation in Fifteenth- and Early Sixteenth-Century Central Europe and the Origins of Architecture 绳索和结:15世纪和16世纪早期中欧的建筑模拟和建筑的起源
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-03-01 DOI: 10.1086/714711
M. Walczak
{"title":"Ropes and Knots: Architectural Emulation in Fifteenth- and Early Sixteenth-Century Central Europe and the Origins of Architecture","authors":"M. Walczak","doi":"10.1086/714711","DOIUrl":"https://doi.org/10.1086/714711","url":null,"abstract":"Jan Długosz (1410–80) was an author of a number of eminent historical studies, a protagonist of humanism in Poland, and the teacher of the sons of King Casimir IV Jagiellonian. He founded a number of churches and houses, which are built of brick and have plain block forms and vaults of the simplest figuration or just flat, wooden ceilings. Their unarticulated external elevations are decorated with diaper-work pattern formed of vitrified brick.Only the recurring decorative details (e.g., doorways in stepped surrounds, window surrounds, and heraldic friezes) are","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84728328","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
Maximiliaan de Hase’s Story of Cyrus Tapestry Series (1771–76) for Empress Maria Theresa 马克西米利安·德·哈斯为玛丽亚·特蕾莎皇后创作的塞勒斯故事挂毯系列(1771-76)
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-03-01 DOI: 10.1086/714714
K. Brosens
{"title":"Maximiliaan de Hase’s Story of Cyrus Tapestry Series (1771–76) for Empress Maria Theresa","authors":"K. Brosens","doi":"10.1086/714714","DOIUrl":"https://doi.org/10.1086/714714","url":null,"abstract":"The Clothworkers’ Company, London, houses three late eighteenthcentury Brussels tapestries showing the story of Cyrus. The pieces bear the arms of Maria Theresa, Archduchess of Austria and empress of the Holy Roman Empire (1717–80), and the signatures of tapestry producers Jan Frans van der Borcht (d. 1774) and his son Jacob (1735– 94). The scenes are titled The Recognition of Cyrus by Astyages (F.V.D. BORGHT) (fig. 1), The Restoration of the Temple Treasures by Cyrus (F.V.D.BORGHT) (fig. 2), and The Marriage of Mandane to Cambyses (IAC.V.D.BORGHT) (fig. 3). The Clothworkers’ Company acquired","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89157935","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
Michelangelo’s Moses in the 1540s 米开朗基罗1540年代的摩西
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-03-01 DOI: 10.1086/714713
Emily A. Fenichel
{"title":"Michelangelo’s Moses in the 1540s","authors":"Emily A. Fenichel","doi":"10.1086/714713","DOIUrl":"https://doi.org/10.1086/714713","url":null,"abstract":"Although Michelangelo Buonarroti (1475–1564) carved theMoses in the 1510s, it was not installed in the tomb of Julius II in San Pietro in Vincoli until 1545 (fig. 1). In the intervening years, Michelangelo lived with the work in his studio and perhaps edited it in some way. The world around the sculpture underwent changes in this period as well. Vasari’s treatment of the work in Michelangelo’s biography bears witness to the religious and artistic upheaval of 1540s Rome. Likewise, Michelangelo’s rethinking of the sculpture in designs for a collaborative altarpiece from the 1540s reveals the artist’s changing vision of the patriarch. In his biography of Michelangelo, Vasari acclaims the Moses for having no equal in beauty and surpassing every ancient work. He marvels that Michelangelo’s chisel must have turned into a pencil in order","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78093461","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
On the Separation of the Arts in Venice: A Neglected Passage from the Statutes of the Stonemasons’ Guild 论威尼斯艺术的分离:从石匠协会章程中被忽视的一段话
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-03-01 DOI: 10.1086/714712
Lorenzo G. Buonanno
{"title":"On the Separation of the Arts in Venice: A Neglected Passage from the Statutes of the Stonemasons’ Guild","authors":"Lorenzo G. Buonanno","doi":"10.1086/714712","DOIUrl":"https://doi.org/10.1086/714712","url":null,"abstract":"Artists in earlymodernVenice rarelyworkedwithmore than onemedium. As inmost major European cities, Venetian craftsmen belonged to guilds, known locally as the arti or fraglie (and conflated with their confraternity, the scuola). Since the Middle Ages, the arti were divided in broad terms according to the primary material they employed: wood sculptors belonged to the arte of the marangoni da case (house carpenters), painters to the depentori, stonecutters and sculptors to the tagiapiera. Differentiation according to technical process (such as that between woodcarving","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86068813","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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