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Artibus et Historiae最新文献

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The Architectural Piece in 1700: The Paintings of Alberto Carlieri (1672 - c. 1720), Pupil of Andrea Pozzo 1700年的建筑作品:阿尔贝托·卡里耶里(1672 -约1720)的画作，安德烈·波佐的学生
3区 艺术学
Artibus et Historiae Pub Date : 2004-01-01 DOI: 10.2307/1483790
D. Marshall
{"title":"The Architectural Piece in 1700: The Paintings of Alberto Carlieri (1672 - c. 1720), Pupil of Andrea Pozzo","authors":"D. Marshall","doi":"10.2307/1483790","DOIUrl":"https://doi.org/10.2307/1483790","url":null,"abstract":"This article presents a catalogue of 144 paintings by Alberto Carlieri (1672 - c.1720), a painter of architectural caprices whose paintings have frequently been misidentified as early works by Giovanni Paolo Panini (1691-1765) . Carlieri emerged from the workshop of Andrea Pozzo in the 1590s, and was apparently active in Rome until about 1720. Carlieri's sources in Pozzo are explored, and the architectural forms and compositions that form the primary subject of his pictures are subjected to a systematic 'transformational analysis' (to borrow a term from Hubert Damisch).","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"56 1","pages":"39-126"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483790","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68665063","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
Re-Reading Jackson Pollock's "She-Wolf" 重读杰克逊·波洛克的《母狼》
3区 艺术学
Artibus et Historiae Pub Date : 2004-01-01 DOI: 10.2307/1483792
Alexander B. Herman, J. Paoletti
{"title":"Re-Reading Jackson Pollock's \"She-Wolf\"","authors":"Alexander B. Herman, J. Paoletti","doi":"10.2307/1483792","DOIUrl":"https://doi.org/10.2307/1483792","url":null,"abstract":"Jackson Pollock painted his She-Wolf in 1943 on the eve of his first major exhibition in Peggy Guggenheim's Art of This Century gallery. Coming at a critical moment in his career, both in terms of his own stylistic development and in terms of his recognition, the painting was purchased very soon thereafter by the Museum of Modern Art. But, despite its familiarity, it has continued to elude satisfactory explanation of his meaning. This article serves as a further step to understanding the painting's content and Pollock's working process by revealing new figures within the picture, by associating drawings from the same time period with the painting, and by suggesting new sources for its imagery.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"25 1","pages":"139-155"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483792","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68664773","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
Leonardo, Mona Lisa and "La Gioconda". Reviewing the Evidence 列奥纳多、蒙娜丽莎和《乔康达》。审查证据
3区 艺术学
Artibus et Historiae Pub Date : 2004-01-01 DOI: 10.2307/1483789
J. Greenstein
{"title":"Leonardo, Mona Lisa and \"La Gioconda\". Reviewing the Evidence","authors":"J. Greenstein","doi":"10.2307/1483789","DOIUrl":"https://doi.org/10.2307/1483789","url":null,"abstract":"Although the title La Gioconda appears on the Salai inventory and was later used at Fontainebleau, the case for accepting Vasari's claim that the painting is a portrait of Mona Lisa del Giocondo is not as strong as recent studies suggest. Critics who used the title before 1642 did not think that it referred to the surname of the sitter. A review of the evidence casts doubts on Vasari's credibility, but illuminates the unusual purpose of Leonardo's painting.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"25 1","pages":"17-38"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483789","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68664861","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: 4
On the Construction of Reality and Imagery in Jan van Eyck and Woody Allen 论扬·凡·艾克与伍迪·艾伦的现实与意象建构
3区 艺术学
Artibus et Historiae Pub Date : 2004-01-01 DOI: 10.2307/1483745
Michael Schwarz
{"title":"On the Construction of Reality and Imagery in Jan van Eyck and Woody Allen","authors":"Michael Schwarz","doi":"10.2307/1483745","DOIUrl":"https://doi.org/10.2307/1483745","url":null,"abstract":"On what basis can we say that the History of Art is actually one history encompassing both painting and film, and to which both Jan van Eyck and Woody Allen belong? One possible answer would be that with all of their differences in uses and means, the concepts of art and of being an artist have remained more or less the same. The author thinks that misses the point. Rather it seems to him the other way around: With all the unbridgeable differences over what art is and what it means to be an artist, the uses and means of art are basically consistent. The shared nature of the uses can be defined in this way: Here as there, in late medieval painting as in film, it is a question of producing artificial reality. To be more precise, it is about the construction of a system of artificial realities related to one another and to the audience. That is a structure that does not add to the world's objective realities, but serves to communicate how we perceive these realities and what they mean to us. It is therefore about the production of visual media.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"25 1","pages":"19-31"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483745","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68662887","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
Public and Private Portraits of Cosimo de' Medici and Eleonora di Toledo: Bronzino's Paintings of His Ducal Patrons in Ottawa and Turin 科西莫·德·美第奇和埃莱奥诺拉·迪·托莱多的公共和私人肖像:布龙奇诺在渥太华和都灵为他的公爵赞助人画的画
3区 艺术学
Artibus et Historiae Pub Date : 2004-01-01 DOI: 10.2307/1483750
Janet Cox-Rearick, Mary Westerman Bulgarella
{"title":"Public and Private Portraits of Cosimo de' Medici and Eleonora di Toledo: Bronzino's Paintings of His Ducal Patrons in Ottawa and Turin","authors":"Janet Cox-Rearick, Mary Westerman Bulgarella","doi":"10.2307/1483750","DOIUrl":"https://doi.org/10.2307/1483750","url":null,"abstract":"This article is a study of the portraits of Duke Cosimo I de' Medici and his Spanish consort, Duchess Eleonora di Toledo, a subject that has not been undertaken in modern scholarship. The majority of these are by their court portraitist, Agnolo Bronzino (1503-1572), whose state portraits (now in collections in Florence, Turin, Philadelphia, Prague, Pisa, Sydney, and Washington) expressed the ideals of the Medici court and the duke's \"politica culturale\". Others who portrayed the ducal couple were the miniaturist, Giulio Clovio, the painter, Il Tosini, and the sculptors Cellini, Bandinelli, Poggini, Rossi, Del Tadda, and Compagni. The authors present evidence for the inclusion of two of Bronzino's acknowledged masterworks in portraiture of the early 1550s in this group of ducal portraits\" the Portrait of a Lady (Turin, Galleria Sabauda) and the Portrait of a Gentleman (Ottawa, National Gallery of Canada). The multifaceted evidence discussed includes a study of the physical properties of the paintings, comparisons with Bronzino's other portraits of the ducal couple (including some using comparative computer imaging), and a consideration of them in the context of Bronzino's workshop practice in the production of Medici portraits. The authors also make a detailed study of the sitters' attire and accessories, which supports the conclusion that they are indeed the Medici couple.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"25 1","pages":"101-159"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483750","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663327","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: 8
Caravaggio, Murtola e "la chioma avvelenata di Medusa" 卡拉瓦乔，穆尔托拉和“水母毒发”
3区 艺术学
Artibus et Historiae Pub Date : 2004-01-01 DOI: 10.2307/1483752
M. Marini
{"title":"Caravaggio, Murtola e \"la chioma avvelenata di Medusa\"","authors":"M. Marini","doi":"10.2307/1483752","DOIUrl":"https://doi.org/10.2307/1483752","url":null,"abstract":"The article explores a version of the Head of Medusa by Caravaggio which was known to the contemporary poet Murtola and must evidently have been distinct from the celebrated version in Florence painted for the Grand Duke of Tuscany. Marini's arguments (which included X-radiographs showing substantial changes of mind - including that of an eye in a completely different position) are all the more convincing as in the list of objects in the possession of Caravaggio in August 1605, there appears 'una rotella', which must be the picture known to Murtola.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"11 1","pages":"175-184"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483752","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663413","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
The Metaphysics of the Mundane: Understanding Andy Warhol's Serial Imagery 世俗的形而上学:理解安迪·沃霍尔的系列意象
3区 艺术学
Artibus et Historiae Pub Date : 2004-01-01 DOI: 10.2307/1483746
J. Dyer
{"title":"The Metaphysics of the Mundane: Understanding Andy Warhol's Serial Imagery","authors":"J. Dyer","doi":"10.2307/1483746","DOIUrl":"https://doi.org/10.2307/1483746","url":null,"abstract":"The serial structure of Andy Warhol's silkscreens articulates a dynamic structure of actualization of which anything is an instance, thus providing a model of how the mundane world comes to be, persists to be the same, but is always changing. His serial works enact iterative structures of free, synthetic, iterative self-realization, a rational process of the actualization of things. In making numerous depthless images identical, Warhol makes them different through obvious surface printing accidents, spontaneous traces of differentiating activity. They reveal the constructive activity irreducible to any element involved in making the series. This underivable activity is spontaneous, non-deterministic and free, but also relational because serial.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"25 1","pages":"33-47"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483746","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663619","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: 12
The Case of Giovanni Bastianini: A Fair and Balanced View 乔瓦尼·巴斯蒂亚尼案:一个公正和平衡的观点
3区 艺术学
Artibus et Historiae Pub Date : 2004-01-01 DOI: 10.2307/1483793
A. Moskowitz
{"title":"The Case of Giovanni Bastianini: A Fair and Balanced View","authors":"A. Moskowitz","doi":"10.2307/1483793","DOIUrl":"https://doi.org/10.2307/1483793","url":null,"abstract":"Giovanni Bastianini is best known for works that have been considered forgeries, skillful evocations as they are of Renaissance busts and reliefs. Yet the earliest notices regarding the sculptor are completely lacking in any allegation or even hint of fraud on the sculptor's part. Several decades later the word \"forgery\" is first attached to his name. This paper will examine the early sources and documentary information regarding a series of sculptures known to be by Bastianini, and to evaluate the more recent and almost uniformly accusatory scholarly allegations. It will become evident that the latter are based on spurious assertions, speculation, and misinterpretations of the sources. For, once it was suggested that he was a forger, the notion gathered momentum and, as in a game of \"telephone\", all sight was lost of the earliest evidence.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"25 1","pages":"157-185"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483793","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68664839","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
Augustine Käsenbrot of Olomouc, His Golden Bowl in Dresden, and the Renaissance Revival of "Poetic" Bacchus 奥洛穆茨的奥古斯丁Käsenbrot，他在德累斯顿的金碗，以及文艺复兴时期“诗意的”巴克斯
3区 艺术学
Artibus et Historiae Pub Date : 2003-01-01 DOI: 10.2307/1483738
L. Konečný
{"title":"Augustine Käsenbrot of Olomouc, His Golden Bowl in Dresden, and the Renaissance Revival of \"Poetic\" Bacchus","authors":"L. Konečný","doi":"10.2307/1483738","DOIUrl":"https://doi.org/10.2307/1483738","url":null,"abstract":"Augustine Kasenbrot's Golden Bowl of 1508 in the Grunes Gewolbe in Dresden ranks among the most important artworks associated with the Early Renaissance in Central Europe. However, its sources, function and meaning have not been so far interpreted in due detail. As this study intends to demonstrate, the plaquette used as the bowl's bottom may have been acquired by Kasenbrot while he studied in Padua in early 1490s, and may be attributed to a late fifteenth-century sculptor active in Padua or in Veneto. This exquisite piece depicts Bacchus as a winged genius, thus obviously harking back to Pausanias' description of the god, for \"wine lifts and eases the spirit in the same way as wings lift birds\". Thus the bowl, due to its iconography and inscriptions, relates to Bacchic mysteries as revived by Renaissance humanists, and ultimately refers to Platonic (or Neo-Platonic) theories of inspiration as \"divine madness\". This corresponds with what Kasenbrot opined in his early, Paduan, Dialogus in defensionem poetices, as well as with activities of one of his Paduan Professors, Niccolo Leonico Tomeo - not to speak about writings of Augustine's humanist friends in Buda, Vienna and Olomouc.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"185-197"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483738","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663010","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: 3
Raphael's Designer Labels: From the Virgin Mary to La Fornarina 拉斐尔的设计师标签:从圣母玛利亚到La Fornarina
3区 艺术学
Artibus et Historiae Pub Date : 2003-01-01 DOI: 10.2307/1483734
Rona Goffen
{"title":"Raphael's Designer Labels: From the Virgin Mary to La Fornarina","authors":"Rona Goffen","doi":"10.2307/1483734","DOIUrl":"https://doi.org/10.2307/1483734","url":null,"abstract":"The way in which Raphael signed his paintings signified much more than a declaration of authorship. Of course, the choice of words is meaningful in itself, but even more than the wording, Raphael exploited the placement of his signature within the composition to express his piety, his professional ambition, and his sense of accomplishment. In particular, those signatures written on the garments of various personages are significant precisely because a name written on a figure in that way is usually taken to identify that person, not the maker of the image. Taken together, the inscriptions almost constitute an autobiography, culminating with Raphael's last signature, on the armband of La Fornarina.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"113-142"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483734","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68662290","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: 8
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