Artibus et Historiae最新文献

{"title":"Vice, Vagrancy and Villa Culture: Bonifacio de' Pitati's \"Dives and Lazarus\" in Its Venetian Context","authors":"P. Cottrell","doi":"10.2307/1483779","DOIUrl":"https://doi.org/10.2307/1483779","url":null,"abstract":"Bonifacio de' Pitati's Dives and Lazarus reflects pressing concerns with poor relief, sanitation and the responsibilities of the Venetian aristocrat in Renaissance Venice. This article seeks to establish the picture's correct position in Bonifacio's career and places it in the context of other, seldom discussed versions of the theme by Tintoretto, Jacopo Bassano, Benedetto Caliari and Ludovico Pozzoserrato. In re-embodying Christ's parable on the porch of a contemporary mainland villa, many of these works invite an analysis of contemporary attitudes to villa culture and the socio-economic structure of sixteenth-century lagoon life.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"26 1","pages":"131-150"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483779","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68664623","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":"In the Days of the Barley Harvest: The Iconography of Ruth","authors":"Sarit Shalev-Eyni","doi":"10.2307/1483774","DOIUrl":"https://doi.org/10.2307/1483774","url":null,"abstract":"This paper discusses the iconography of Ruth as depicted in two manuscripts, the Tripartite Mahzor, a Jewish prayer book of around 1322 from the Lake Constance region and the Padua Bible, a Christian picture Bible of around 1400 from Italy. Both manuscripts were influenced by the general European iconography of Ruth, but also share some special iconographic similarities based on Jewish commentaries and midrashic texts. The Jewish connection of the Christian Padua Bible is testimony to the Christian interest in the literal sense of the Bible and its Jewish interpretations among some Christian exegetes from the twelfth century on. Alongside the Christian interest in Jewish commentaries it is possible to suggest an additional interest in Jewish or Jewish like pictorial traditions of the book of Ruth.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"26 1","pages":"37-57"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483774","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68664157","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":"A Matter of Mistaken Identity. In Search of a New Title for Rubens's \"Tiberius and Agrippina\"","authors":"A. Anke, Van Wagenberg-Ter Hoeven","doi":"10.2307/20067100","DOIUrl":"https://doi.org/10.2307/20067100","url":null,"abstract":"Recent research has raised some doubts about the title of Peter Paul Rubens's double portrait Tiberius and Agrippina, with two ancient Roman heads in profile, in the National Gallery of Art, Washington. A hypothesis for a new title is proposed, based on issues like the complex relationship between the Roman Emperor Tiberius and Germanicus's wife Agrippina the Elder, Rubens's knowledge of the antiques and Roman Julian-Claudian history through Tacitus in particular. The painting is being compared with another double profile portrait painted by Rubens's studio, and with compositional motifs from coins and cameos that may have inspired Rubens for this particular jugate portrait. Specific features of the sitters are taken into account, as we know them from both historical descriptions and objects. Rubens's undertaking with the Frenchman Peiresc to publish engravings of the most famous cameos in Europe substantiates his interest in cameos. Rubens's painting set the standard for the double profile portrait as painterly subject matter.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"309 1","pages":"113-127"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20067100","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69061702","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":"English Engravings of Picturesque Views after Jean Pillement (1728-1808)","authors":"M. Gordon-Smith","doi":"10.2307/1483748","DOIUrl":"https://doi.org/10.2307/1483748","url":null,"abstract":"In 1754 when Jean Pillement, after a successful stay in Spain and Portugal, arrived in London at the age of twenty six, the English economy was enjoying a dynamic growth which had a direct repercussion on the art market. Thanks to the extraordinary public demand of the time for fine prints of desirable works of art, an artist's stature and fame was directly related to the number of his printed works circulated domestically and abroad. Pillement succeeded in taking full advantage of the opportunities which engravings offered in England; not only through his talent for draughtmanship but also through the renderings of his drawings by first class engravers and etchers, native and imported. It was in England that many of his ornamental designs were first engraved and published. It is also where Pillement began to turn his attention to landscape drawing and painting. His pastoral scenes, seascapes and picturesque views found an appreciative clientele in London. His stay of ten years in England opened to him as well the French market for engravings and established his reputation as a brilliant ornamentalist as well as a landscape artist.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"25 1","pages":"65-86"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483748","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663257","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":"Edward Burne-Jones' \"Andromeda\": Transformation of Historical and Mythological Sources","authors":"L. Cheney","doi":"10.2307/1483754","DOIUrl":"https://doi.org/10.2307/1483754","url":null,"abstract":"Sir Edward Burne-Jones' affinity for classical ideals, literature and art is reflected in his mythological paintings, in particular the Perseus and Andromeda series. The objectives of this study are threefold: to reveal Burne-Jones' visual assimilation and aesthetic integration of Neoplatonic ideals in one of his mythological cycles, Perseus and Andromeda, to examine Burne-Jones' adaptation of the classical sources for the Andromeda theme and his awareness of the pictorial tradition for this mythological tale and, to understand Burne-Jones' interpretation of the femme fatale, visually expressed in the image of Andromeda from the Perseus cycle, by focusing on three episodes: The Rock of Doom, The Doom Fulfilled and The Baleful Head of 1875-1888. In his mythological paintings of Andromeda, Burne-Jones embodied an unprecedented strangeness that was bound to strike the imaginations of other artists in the Pre-Raphaelite and Symbolist movements. His paintings provided his contemporaries with examples of classical appropriation in Pre-Raphaelite paintings, along with a systematic use of the great themes of Greek mythology, whose modernized symbolism was adapted to the major preoccupation at the heart of the decadent view of the world - the tragedy of the artist confronted with modern life and contemporary society, the fear of woman and a terrified obsession with sexuality, and the consternation at the mystery of things represented by the myth of Perseus and Andromeda.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"25 1","pages":"197-227"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483754","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663447","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 Franco-Prussian War and Cosmological Symbolism in Odilon Redon's \"Noirs\"","authors":"B. Larson","doi":"10.2307/1483791","DOIUrl":"https://doi.org/10.2307/1483791","url":null,"abstract":"The author examines the political and social dimensions of Redon's cosmological graphic work of the last three decades of the nineteenth century within the dual context of the emerging field of astrophysics and the revival of cosmological symbolism following the Franco-Prussian War. She looks at the growing importance of eclipse studies along with public awareness of an eclipse that took place at the end of the war as the sources of Redon's black sun. She also looks at the revival of apocalyptic imagery at the end of the century along with scientific information about comets in discussing Redon's lithographic album The Apocalypse of St. John (1899). Finally, the author speculates about the influence of the extraterrestrial life debate (initiated with the Martian Canal debates in 1877) on Redon's work.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"25 1","pages":"127-138"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483791","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68665194","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":"Bronzino and the Diligence of Art","authors":"Deborah Parker","doi":"10.2307/1483751","DOIUrl":"https://doi.org/10.2307/1483751","url":null,"abstract":"This study examines a long passage on painters' excuses in Bronzino's poem, Il secondo delle scuse. The poem, a burlesque capitolo, offers considerable insight into Bronzino's views on art, its theory and practice. After explicating the poem, I discuss how Bronzino's own artistic practice reflects his beliefs and how his views on art compare to those evinced by Vasari in the Vite. Particular attention is paid to Vasari's Life of Bronzino. The study includes a transcription and English translation of the section on painter's excuses in Il secondo delle scuse.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"52 1","pages":"161-174"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483751","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663348","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 Lost \"Portrait of a Young Man\" (Attributed to Raphael) from the Collection of the Princes Czartoryski Family in Cracow. A Contribution to Studies on the Typology of the Renaissance Portrait","authors":"J. Grabski","doi":"10.2307/1483795","DOIUrl":"https://doi.org/10.2307/1483795","url":null,"abstract":"Lost since 1945, the Portrait of a Young Man has been known to modern scholars only from photographs. Without examining the original, it is difficult to conclusively confirm or refute the portrait's attribution to Raphael, which became traditional in the 19th century. Modern art history, unable to study the painting itself, has of necessity repeated the attribution made by earlier scholars who had the opportunity to see the original before the Second World War. Although the typology of the Portrait of a Young Man originated in Northern Italy, it also shows the influence of Northern European artists. This type of portrait recalls Bellini, Giorgione, and Titian's earlier work. Such Northern Italian portraiture was also influenced by early Dutch painters, Durer and Leonardo. The portrait under discussion is not Umbrian or Florentine - the traditions in which Raphael was trained. It has a range of qualities characteristic of paintings from the 1520s and later, precursors of Mannerist portraiture (analogies in portraits by Sebastiano del Piombo, Moretto da Brescia, Lorenzo Lotto, Salviati, or Pontormo and Parmigianino). The Portrait of a Young Man aroused interest in the years following Raphael's death, and there are several known copies. Such interest suggests that this is Raphael's image, rather than that of an unknown youth painted by Raphael. The classical, idealized beauty of the sitter, presented an an uomo ideale, indicates that it may be a posthumous likeness of the 'godlike Raphael' xecuted in ommaggio of the dead artist. Thus, we would have here a \"Portrait of Raphael\" but not by Raphael (in Italian it is the same expression: \"ritratto di Raffaello\"). The question, who of Raphael's contemporaries could have immersed himself so deeply in his style, whether one of his students, immitators or artists inspired solely by his work, with regard to the Raphaelesque theme, or if this is indeed the work of Raphael himself, will for now remain unresolved. There is evidence that points at Giulio Romano or Sebastiano del Piombo. The latter was the Eternal City's most fashionable portraitist in the second and third decades of the 16th century. He knew Raphael well, and was Michelangelo's protege. His portraits combined Northern influences (Durer, Bellini, Giorgione) with those of Leonardo, Michaelanglo, and of course Raphael. Ultimately, only an examination of the original will be able to determine, once and for all, the authorship of this exquisite Renaissance portrait.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"25 1","pages":"215-239"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483795","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68665012","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":"Cornelis Ketel: A Painter without a Brush","authors":"N. Galley","doi":"10.2307/1483749","DOIUrl":"https://doi.org/10.2307/1483749","url":null,"abstract":"In his Schilderboeck published in 1604, Karel van Mander relates that his friend, Cornelis Ketel \"got the urge to paint without brushes, with his hands\" and that a year later, in 1600, \"it occurred to him to paint without hands, with his feet\". This astonishing artistic process has aroused the curiosity of many amateurs and art historians since the seventeenth century, but the reasons that led van Mander to name the technical eccentricities of this painter-poet were never convincingly explained. The present article aims at understanding these singular acts and their underlining in the context of the artists' lives and the artistic theory of this period.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"25 1","pages":"87-100"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483749","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663303","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":"Piero della Francesca and Narrative Encapsulation: E.g. The Cock on the Column","authors":"M. Lavin","doi":"10.2307/1483744","DOIUrl":"https://doi.org/10.2307/1483744","url":null,"abstract":"Piero della Francesca expanded the evolution of continuous narrative in the fifteenth century in his cycle of the True Cross at Arezzo by adding what is called here \"narrative encapsulation.\" This technique involves the layering of several versions of the same story within a unified composition to enrich the fabric of meaning. Three examples from his cycle are elucidated here, to show how, in their expanded form, they enhance the overall significance of the narrative.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"25 1","pages":"9-18"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483744","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68662793","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}