Artibus et Historiae最新文献

{"title":"S. Maria della Spina, Giovanni Pisano and Lupo di Francesco","authors":"Joseph Polzer","doi":"10.2307/1483773","DOIUrl":"https://doi.org/10.2307/1483773","url":null,"abstract":"The oratory of S. Maria della Spina, Pisa's most elaborate Gothic structure, was thoroughly rebuilt starting around the middle of the third decade of the Trecento. The dramatic sculptures of Christ and the Apostles on the oratory's southern exterior, and of the Virgin and Child on the western facade, are closely connected in style to the work of Giovanni Pisano who left Pisa in 1314 and died shortly after. Modern scholarship has assumed that these sculptures were produced in conjunction with the restoration of the oratory they decorated. Accordingly two possibilities emerged: One, that they were by Giovanni Pisano, in which case the oratory's documented restoration of the thirteen-twenties would have been minor; or two, that they were not by the master but belonged to his close following. This study proposes that these sculptures, by Giovanni Pisano, would have been re-used from some other structure, the earlier oratory not excluded. Supporting evidence is found in a survey of the principal sculptural projects produced by Pisan masters in Pisa, Genoa and Barcelona during the third and fourth decades who hardly matched Giovanni in artistic ability and dramatic concept. Recently uncovered evidence reinforces the identification of the principal Pisan sculptor then active as Lupo di Francesco. The exterior architectural decorative vocabulary of the oratory matches that of the tabernacle above the eastern entrance to the Pisan Campo Santo which belongs roughly around the early thirties.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"26 1","pages":"9-36"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483773","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68664085","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":"Édouard Manet's \"Le Déjeuner sur l'herbe\" as a Veiled Allegory of Painting","authors":"Rolf Læssøe","doi":"10.2307/1483783","DOIUrl":"https://doi.org/10.2307/1483783","url":null,"abstract":"Edouard Manet's Le Dejeuner sur l'herbe, 1863, has always been seen as enigmatic. This essay argues that the painting's often noted studio atmosphere is one of several keys to seeing it in a new light as a highly idiosyncratic allegory of painting. Other keys to this reading include the indoor hats of the two men, the relaxed attitude of the nude, and the presence of a kind of painting within the painting. Related to this, the reclining pointer in the painting is seen as a stand-in for Manet himself in a way that is similar to other key works by Manet. Finally, the painting is also discussed in relation to paintings by Courbet, Cezanne and Seurat.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"26 1","pages":"195-220"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483783","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68664410","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":"Hieronymus Bosch - Homo viator at a Crossroads: A New Reading of the Rotterdam tondo","authors":"Y. Pinson","doi":"10.2307/20067097","DOIUrl":"https://doi.org/10.2307/20067097","url":null,"abstract":"The Rotterdam tondo, one of Bosch's most enigmatic and intriguing works, raises many questions and is open to various readings. In this paper I am proposing a new reading of Bosch's Wayfarer by examining it from a different perspective. In this painting Bosch creates his own version of the homo viator motif, offering a multi-layered reading. This essay attempts to shed new light on the meaning of the wayfarer as not only related to sin, especially of the flesh, but also in association with decay and transience, thereby transforming the image into a memento mori, enriching Bosch's didactic purpose. The landscape is also imbued with emblematical references, and becomes a kind of paysage moralise. In creating his own vision of homo viator, Bosch seems to be parodying the idea of man's ethical choice as expressed in Guillaume de Diguilleville's Pilgrimage of Human Life, conceived as a mirror of conscience. Evoking the mirror metaphor, Bosch proposes a puzzling reading, which refers as well to folly with the figure of wayfarer conceived as a fool-sinner who, apparently, does not know himself. However, Bosch employs the mirror imagery ironically by turning it toward the viewer. Thus, the itinerant becomes the beholder's own self, on the road of sin leading toward perdition.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"26 1","pages":"57-84"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20067097","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69061685","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 Departing Soul. The Long Life of a Medieval Creation","authors":"M. Barasch","doi":"10.2307/20067095","DOIUrl":"https://doi.org/10.2307/20067095","url":null,"abstract":"The essay deals with the iconography of departing soul. Although Egyptian and Greek art knew the motif of a soul, it was medieval culture which created iconography of a figure of the soul at the particular moment of leaving the body of a dying person. The author investigates medieval examples of this topic. Souls were always represented as anonymous, which may be explained in connection with some intellectual trends of the Middle Ages like Monopsychism. In the late Middle Ages and early modern age the motif of the departing soul was developed. Not only was the soul of the Virgin, or of a particularly venerated saint imagined as departing from the body but also the soul of every mortal human being, including the sinful. The other new feature is the focusing of interest and attention on the fate of the soul. The departure of the soul is fussed with the motif of the judgment of the soul. Later, in the 16th and 17th centuries, Italian artists didn't create a unified image of the motif. Nevertheless, certain features recur in all representations — one is the anonymity of soul, another is its youthfulness. The late medieval images juxtaposed soul and body, the images made in the age of Mannerism and early Baroque detach the soul form its former dwelling place, the body, and show it on its way to the final destination, the heavens. The author shows how long-lived the medieval creation was.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"26 1","pages":"13-28"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20067095","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69061534","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":"Michelangelo's \"Laocoön?\"","authors":"Lynn Catterson","doi":"10.2307/20067096","DOIUrl":"https://doi.org/10.2307/20067096","url":null,"abstract":"The sculptural group of Laocoon and his Sons in the Vatican is considered to be one of the most famous and influential representatives of antiquity to survive. Described by Pliny the Elder as superior to all works, it was discovered in 1506 in a vineyard in Rome and authenticated at the site by Giuliano da Sangallo, with Michelangelo Buonarroti in tow. It was immediately acquired by Pope Julius II who installed it in the Cortile Belvedere of the Vatican, where it has been ever since. Although scholars have long sought to determine the precise origin of the Laocoon - whether it is a Greek original or a Roman copy, and to fix its date of manufacture somewhere between the mid-third century BC and the second century AD - no one has ever questioned its authenticity. A reevaluation of the Laocoon and the circumstances of its \"discovery\" together with new evidence culled from drawings and letters lead to the conclusion that the statue is probably a modern forgery by Michelangelo.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"26 1","pages":"29-56"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20067096","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69061636","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":"Sluter's \"Pleurants\" and Timanthes' \"Tristitia Velata\": Evolution of, and Sources for a Humanist Topos of Mourning","authors":"J. Moffitt","doi":"10.2307/1483776","DOIUrl":"https://doi.org/10.2307/1483776","url":null,"abstract":"Claus Sluter (c. 1360-1406) is now celebrated as the Netherlandish sculptor who introduced both \"naturalism\" and \"compassion\" into post-medieval art. Focusing on his Tomb of Philip the Bold (mostly executed between 1404 and 1406), this study examines a particular motif: Sluter's \"pleurants\", or grief-stricken mourners with veiled faces. In this case, the motif - originally called \"Tristia velata\" - is shown to have been a commonplace in classical-era texts, so revealing the \"humanistic\" sources of Sluter's art. The \"veiled grief\" topos is also traced in Renaissance texts based on the same classical-literary legacy.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"26 1","pages":"73-84"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483776","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68664385","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":"...e fa dolce la morte: Love, Death, and Salvation in Michelangelo's \"Last Judgment\"","authors":"Berthold Hub","doi":"10.2307/1483778","DOIUrl":"https://doi.org/10.2307/1483778","url":null,"abstract":"The presence of people embracing and kissing each other in the Last Judgment has caused astonishment and lack of understanding among Michelangelo's contemporaries as well as in modern scholarship. An explanation is proposed through a close reading of Michelangelo's poems which he wrote during the planning and execution of the fresco and which he dedicated to Tommaso Cavalieri, with whom he was passionately in love. Though referring to various topics originating from medieval mysticism,Petrarchan love-lyric and Renaissance Neo-Platonic love-treatises, Michelangelo's poems strip away the traditional allegorical and metaphorical meaning of representation of physical love. Rather, earthly interpersonal love is the indispensable prerequisite for eschatological salvation and immortality, both for lover and beloved, their love finding fulfilment only in death. This reading of Michelangelo's poetry also allows for a new perspective on the artist's self-portrait on the flayed skin of St. Bartholomew.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"26 1","pages":"103-130"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483778","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68664526","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":"Jean Pillement at the Court of King Stanislaw August of Poland (1765-1767)","authors":"M. Gordon-Smith","doi":"10.2307/20067101","DOIUrl":"https://doi.org/10.2307/20067101","url":null,"abstract":"After a two-year stay at the Imperial Court of Maria Theresa and Francis I in Vienna (1763-1765), during which he proved his creative talents in a variety of media, Jean Pillement accepted the invitation of the newly elected King of Poland, Stanislaw August Poniatowski, to come to Warsaw in order to take on the post of court painter. It would prove to be an exacting appointment. The young King well educated and well travelled (he had sojourned at the courts of Dresden, Vienna, Berlin, Amsterdam, Paris, London and St. Petersburg) was a genuine lover of the arts, a discerning collector and strove to create an enlightened court by bringing to Warsaw architects, painters and sculptors, theatre, opera and ballet artists and generally create favourable conditions for learning, the arts and art collecting. This ambitious programme, however, placed on his artists stringent demands dictated by Stanislaw August according to his own vision of what he wished to be done. It was particularly tedious for such a free spirit like Pillement, but he obediently complied with the King's wishes by executing multiple orders not necessarily related to his art and ranging from the project of a royal monogram; a project of gondolas; another of Rococo wall brackets; sketches of paintings of history inspired by texts by Plutarch, Titus Livius and Suetonius presented according to the written descriptions of the King; furthermore, views of antique ruins after Piranesi: the Acqua Julia and the temple of Minerva Medici, both in Rome. And finally - patriotic Polish allegorical compositions. Mercifully, the King's orders included also topics in which Pillement excelled, namely Rococo wall decorations for the King's study and two pairs of large, superb panels for the royal summer residence of Ujazdow, which are now in the collection of the Petit Palais in Paris. Pillement also painted numerous pastoral landscapes for the king's private apartments. Four of them are used today as overdoors at the Royal Castle. Following the example of Stanislaw August, prominent aristocratic families, such as the Czartoryskis, the Branickis, the Potockis, the Sapiehas, the Zamoyskis and the Mniszechs also collected Pillement's drawings and paintings. In appreciation of Pillement's services, the King granted him a royal patent to the title of Premier Peintre du Roy (also appears spelled as Roi) de Pologne.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"26 1","pages":"129-163"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20067101","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69061758","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":"Les précédents du plan de Jefferson pour l'Université de Virginie","authors":"A. Corboz","doi":"10.2307/1483782","DOIUrl":"https://doi.org/10.2307/1483782","url":null,"abstract":"The present article explores the problem of various sources and the iconographic programme of Thomas Jefferson's project for campus of the University of Virginia in Charlottesville (1817-1826). In conclusion, the author points out that it was the sacred architecture which dominated among the possible sources of Jefferson's idea, rather that the similarly laid out royal residence of Marly-le-Roi (as many scholars had suggested). Although the campus of the University of Virginia formally draws on ecclesiastic models, it was built as a \"ville seculiere\", where the sacred dimensions of architecture disappeared for the benefit of democratic ideals. At the time of Jefferson, the esoteric and metaphysic dimensions of architecture had disappeared and caused a sort of migration of architectural types.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"26 1","pages":"173-194"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483782","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68664268","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":"Middeldorf and Bertoldo, Both Again","authors":"Lynn Catterson","doi":"10.2307/1483777","DOIUrl":"https://doi.org/10.2307/1483777","url":null,"abstract":"In 1978 Ulrich Middeldorf proposed that the Portrait of a Man Holding a Medal attributed to Botticelli (Florence, Uffizi), depicts the illegitimate son of Giovanni di Cosimo de' Medici, whom he identified as the sculptor Bertoldo. This article tests the plausibility of Middeldorf's idea within a documentary and historical framework, while using the visual evidence of the portrait itself. Furthermore, it is suggested that the sitter of the portrait may be found within the group portrait of the Medici family painted by Benozzo Gozzoli in the Cappella dei Magi in Palazzo Medici, using a new system for determining the identities of the individuals represented in the Procession of the Magus Caspar.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"26 1","pages":"85-101"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483777","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68664450","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}