Artibus et Historiae最新文献

{"title":"The Enlightened Patronage of Cardinal Pietro Ottoboni (1667-1740)","authors":"E. Olszewski","doi":"10.2307/1483685","DOIUrl":"https://doi.org/10.2307/1483685","url":null,"abstract":"A survey of the art patronage of Cardinal Pietro Ottoboni (1667-1740) is presented. This involved a fifty-year-career as Vice-Chancellor of the Church during which time the cardinal engaged painters, sculptors, architects and musicians. Their projects included the Vatican tomb of his great-uncle, Pope Alexander VIII, a confessione and chapel for his basilica of San Lorenzo in Damaso, and a theater and tapestries and paintings for his official palace of the Cancelleria. His artists, many of them court residents, included Arcangelo Corelli, Alessandro Scarlatti, Filippo Juvarra, Domenico Gregorini, Angelo de' Rossi, Francesco Trevisani and Sebastiano Conca, among others.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"139-165"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483685","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68659865","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}

{"title":"Further Light on the Critical Reception of Goya's \"Family of Charles IV\" as Caricature","authors":"Alisa Luxenberg","doi":"10.2307/1483705","DOIUrl":"https://doi.org/10.2307/1483705","url":null,"abstract":"Recent inquiry into the critical reception of Goya's Family of Charles IV as caricature traced a particular phrase, \"a grocer and his family who have just won the big lottery prize,\" that appears in American art history survey textbooks, back to reported comments by Renoir in 1907. New research finds the phrase originated in an 1887 survey of Spanish art by the Belgian critic Lucien Solvay, who did not consider Goya's portrait to be caricature. This article explores the ways in which Solvay's phrase was borrowed and applied, and how these re-uses reflected a dramatic shift in interpreting Goya's painting.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"179-182"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483705","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68661517","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}

{"title":"The 'Unusual Character' of Holbein's \"Ambassadors\"","authors":"H. Kenaan","doi":"10.2307/1483697","DOIUrl":"https://doi.org/10.2307/1483697","url":null,"abstract":"This paper seeks to offer a new approach to the problem of meaning in Hans Holbein's Ambassadors. Widely recognized as one of the more enigmatic portraits of the Renaissance, interpretations of this painting typically issue from the contrast between literal and figurative meaning. What distinguishes my treatment of the painting is, first of all, the methodology I adopt in interpreting it, and, second, the surprising results that issue from this methodology.Instead of attempting to decipher the painting's symbolic scheme, I propose a philosophical account of the painting as a visual enigma, i.e., as an enigma that intrinsically belongs to the visual domain. I argue that the enigmatic character of the painting is tied to its unusual form of appearance, and I focus on the ways in which the painting's visuality is indeed exceptional, both within the framework of Holbein's work and within the larger context of Renaissance portraiture.The analysis of two unusual visual features (within their historical and pictorial context) leads me to claim that the Ambassadors is a painting concerned with a secret, a specific secret underlying the relationship between the two men it portrays, Jean de Dinteville and Georges de Selves. I argue that the intimate relationship between the two Frenchmen is of a kind that could not be openly expressed, and that the painting's peculiarity stems from the indirect manner in which it chooses to express its concern with this secret.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"528 1","pages":"61-75"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483697","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68659797","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}

{"title":"Rembrandt's \"Earliest Prints\" Reconsidered","authors":"Roelof van Straten","doi":"10.2307/1483686","DOIUrl":"https://doi.org/10.2307/1483686","url":null,"abstract":"It is now widely believed that Rembrandt started making prints as early as 1625-1626, and that the Circumcision, the Rest on the Flight into Egypt and the Flight into Egypt are his first etchings. In this paper the author attributes the first two of these prints to Jan Lievens and shows that the Flight into Egypt should be dated a few years later than has usually been conjectured. A number of arguments indicate that Rembrandt started etching as late as 1628, and that he must have bought a printing press the following year.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"167-177"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483686","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68659931","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}

{"title":"Realistic Elements in the Work of Giacomo Francesco Cipper before 1715","authors":"G. Gruber","doi":"10.2307/1483656","DOIUrl":"https://doi.org/10.2307/1483656","url":null,"abstract":"With this paper the author attempts to show that in some hitherto unpublished paintings Cipper works from real life. His oeuvre has always been characterised as anecdotal or erotic, but his early period work especially has a lot of realistic, \"portrait-like\" compositions with a psychological intensity that offers an important point of departure for Ceruti's genre scenes. Cipper's early work has to be seen in a different light: it is not a development for mastering his central spatial perspective, as Proni proposed in 1994. To the contrary, it is linked to the \"northern\" principle of the projection onto the pictorial plane as first discussed by Pacht. The colouristic development of the oeuvre will be demon­strated with the help of the colour reproductions of some important, crucial paintings known until now only in black and white.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"22 1","pages":"109-125"},"PeriodicalIF":0.0,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483656","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68658010","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}

{"title":"Style, Clarity, and Artistic Production in a Courtly Center: Some Myths about Ferrarese Painting of the Quattrocento","authors":"J. Manca","doi":"10.2307/1483652","DOIUrl":"https://doi.org/10.2307/1483652","url":null,"abstract":"Among the regional centers of fifteenth-century Italy, the city-state of Ferrara is distinguished by particularly distinctive and noteworthy artistic styles. Unfortunately, a number of gen­eralizations have arisen that give a false idea of the nature of the local styles. These myths include the notions that Ferrarese art of the Quattrocento was particularly harsh and neurotic, that artistic production was unusually collaborative, and that the iconography was more complex than that found elsewhere in Italy. In addition, the overestimation of the role of particular artists there has given rise to a number of attributional problems, especially the idea that Cosme Tura provided drawings or cartoons for the most important surviving mural cycle of Quattrocento Ferrara, the Hall of the Months in the Palazzo Schifanoia.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"22 1","pages":"55-63"},"PeriodicalIF":0.0,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483652","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68658145","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}

{"title":"Cézanne and \"Japonisme\"","authors":"Hidemichi Tanaka","doi":"10.2307/1483720","DOIUrl":"https://doi.org/10.2307/1483720","url":null,"abstract":"After summarising the comments of other art historians on possible links between Cezanne's paintings and Japanese landscape prints, the author assesses the circumstantial evidence for Cezanne's knowledge of Japanese art, noting that several of Cezanne's friends were in the forefront of the Japonisant movement. Cezanne is famous for his denial of the value of outline, one of the techniques which lends Japanese prints much of their character, and advocacy of the representation of nature by the cylinder, the sphere and the cone, an idea which can also be found in the writings of Hokusai. This denial of outline may reflect the artist's awareness of Japanese ink paintings, as opposed to prints, and it is also clear that he understood some of the fundamental teachings of Buddhism, which were in harmony with his own notion of the worship of nature. The article concludes by suggesting that Cezanne may have painted exactly thirty-six oil paintings of Mont Sainte-Victoire in conscious rivalry with the title of Hokusai's series of 'thirty-six' (actually forty-six) views of Mount Fuji.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"64 1","pages":"201-220"},"PeriodicalIF":0.0,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483720","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68662078","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}

{"title":"Apelles's Stories and the \"Paragone\" Debate: A Re-Reading of the Frescoes in the Casa Vasari in Florence","authors":"Michiaki Koshikawa","doi":"10.2307/1483648","DOIUrl":"https://doi.org/10.2307/1483648","url":null,"abstract":"The frescoes in the Sala delle Arti in the Florentine home of Giorgio Vasari have been the subject of several interpretative studies. These studies have analysed the three scenes from the Elder Pliny's legends on antique artists in relation to Vasari's art-theoretical concepts such as disegno, imitazione, and giudizio. While they have aptly characterized this fresco cycle as \"depicted art theory\", however, two fundamental questions regarding these frescoes still remain unsolved: First, scholarly opinions are divided as to the identity of the artist painting a female figure in his studio (Apelles or Zeuxis). Second, while some scholars suppose Vincenzo Borghini's intervention to the thematic invention of the fresco cycle, others, to the contrary, assume Vasari's \"refusal\" of Borghini's advice. This paper attempts to find answers to these questions through a reading of Vasari's pictorial representations against Borghini's art-theoretical thoughts recorded in his manuscript entitled Selva di Notizie (1564). The author points out that the theme of \"Apelles painting Diana\" had become a topos demonstrating the affinity of painting with poetry in the 16th-century art theory. This idea is eloquently expressed in Borghini's discussion on \"Painting, Sculpture, Poetry, and Music\", and Borghini's arguments for painting's superiority over sculpture find exact counterparts in Vasari's representations (the great variety of light effects and natural phenome­na, harmonious combination of foreground and background, etc.). Further, Borghini's comparison between well-composed historia and music seems to provide an appropriate explanation for the fact that Vasari included the Allegory of Music next to that of Painting. All these coincidences would suggest that the meanings of the Sala delle Arti frescoes had a kind of \"sub-plot\" which is a demonstration and exaltation of painting's universal ability to imitate nature in the paragone context. The program of this decoration was most probably suggested by the author of Selva di Notizie, and its implied message is painting's self-eulogy based on the thoughts shared by Vasari and Borghini, especially after the reheated paragone debate around the time of Michelangelo funeral.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"22 1","pages":"17-28"},"PeriodicalIF":0.0,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483648","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68657804","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}

{"title":"Monuments of Marsyas: Flayed Wall and Echoing Space in the New Sacristy, Florence","authors":"Charles A. Burroughs","doi":"10.2307/1483712","DOIUrl":"https://doi.org/10.2307/1483712","url":null,"abstract":"The Medici Chapel in Florence, designed by Michelangelo, is an excellent testcase for a recent shift in the discipline of Art History to metonymic method, i.e., emphasizing spatial (and other) contiguity rather than text- based iconography. In the 1440s Cosimo de' Medici, effective ruler of Florence since 1434, built his great palace and assumed sole responsibility for the reconstruction of the nearby church of San Lorenzo. The palace faced away from the church, a symbolic disjunction that troubled successive generations of Medici. In the early 1520s, Michelangelo produced various designs, none executed, for the entrance wall of the Medici Chapel with the tombs of Lorenzo the Magnificent and his brother. This article argues that the two latest known designs both suggest a connection between the chapel and spaces beyond, but with profoundly different ideological resonances. One recalls the triumphal, classical architecture of Michelangelo's abandoned facade project for the church and, further back, celebrations of Medici power in the city at large. The other refers to the high altar of the basilica itself, near Cosimo's tomb. The dissected architectural forms of the second design evoke the myth of Marsyas, the flayed satyr, as do motifs in the chapel's executed decoration. Such allusions link the chapel with the garden of the Medici Palace, where ancient statues of Marsyas flanked the portal that led out toward the church. Set up by Cosimo and Lorenzo, these statues entered into a complex set of echoes with other statues in the palace garden and courtyard. The reference to Marsyas is not just a matter of iconography, but also of a radically innovative conception of the possibilities of architectural signification, while inviting reflection on the historical roles and fortunes of the Medici themselves.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"22 1","pages":"31-49"},"PeriodicalIF":0.0,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483712","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68661650","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}

{"title":"Sprechende Bildnisse. Bemerkungen zu einigen Porträts von Rembrandt","authors":"L. O. Larsson","doi":"10.2307/1483651","DOIUrl":"https://doi.org/10.2307/1483651","url":null,"abstract":"The article discusses some portraits by Rembrandt in connection with theories of rhetoric. Point of departure is the posthumous portrait of J. C. Silvius which is compared to the artist's portraits of C. Claesz. Anslo and with his earlier portrait of Silvius. The analysis focuses on formal and decorous problems connected with the representation of speech in portraits, including a discussion of Vondel's famous four lines on Anslo's portrait as well as on other examples of the tradition they belong to. In comparison with Rembrandt's portrait of Jan Asselyn the means of characterization to be derived from rhetorical actio is discussed.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"22 1","pages":"45-54"},"PeriodicalIF":0.0,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483651","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68658111","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}