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Artibus et Historiae最新文献

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Mantegnas "Mutter der Tugenden" 曼第纳美德之母
3区 艺术学
Artibus et Historiae Pub Date : 2003-01-01 DOI: 10.2307/1483728
Philipp P. Fehl
{"title":"Mantegnas \"Mutter der Tugenden\"","authors":"Philipp P. Fehl","doi":"10.2307/1483728","DOIUrl":"https://doi.org/10.2307/1483728","url":null,"abstract":"The present article continues the main problem expounded in the previous one, devoted to the Praise in the History of Art and Its Fate. This time the authors tries to deal with the issue of finding the right measure in praising. Andrea Mantegna's famous painting Pallas Expelling the Vices from the Garden of Virtues (Paris, Louvre) serves him as a means to present his answer to that question, since the painting itself shows the praise of the virtues. The author evokes the figure of Philostratus the Elder, the ancient master of ekphrasis, and the author of Imagines, talking to his companion, a young 10-year-old boy, thus presenting the reader with a masterly dialogue between the two \"ghosts\", in which the veiled message of the picture becomes clear, and consequently - we can learn the answer to the problem posed at the beginning.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"29-42"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483728","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68662469","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
Vested Interest: Redressing Jews on Michelangelo's Sistine Ceiling 既得利益:米开朗基罗西斯廷天花板上的犹太人
3区 艺术学
Artibus et Historiae Pub Date : 2003-01-01 DOI: 10.2307/1483735
Barbara Wisch
{"title":"Vested Interest: Redressing Jews on Michelangelo's Sistine Ceiling","authors":"Barbara Wisch","doi":"10.2307/1483735","DOIUrl":"https://doi.org/10.2307/1483735","url":null,"abstract":"A yellow circular badge, or Jewish signum, was painted by Michelangelo on the left shoulder of Aminadab, an ancestor of Christ located prominently in the lunette above the papal throne. Although previously overlooked, the badge has profound importance. This essay explores the implications of this sign as a quintessential indicator of demeaned status in a society that demarcated Jews by imposing degrading dress codes, legislated their role as moneylenders, and subjected them to humiliating public spectacles. Michelangelo's inclusion of the badge opens new lines of inquiry about iconographic themes in the chapel, his representations of Old Testament personages, and his own attitudes toward the Jewish community. The conflicting discourses discussed in this essay underscore the complexity and deep-seated ambivalence of the role of Jews in Christian theology and society.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"143-172"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483735","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663036","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: 14
Spirituality and Jewish Ceremonial Art 灵性与犹太仪式艺术
3区 艺术学
Artibus et Historiae Pub Date : 2003-01-01 DOI: 10.2307/1483736
V. Mann
{"title":"Spirituality and Jewish Ceremonial Art","authors":"V. Mann","doi":"10.2307/1483736","DOIUrl":"https://doi.org/10.2307/1483736","url":null,"abstract":"Maimonides (1138-1204) was the earliest medieval rabbi to raise the question of the appropriateness of art in a liturgical space, whether a synagogue or a home. His concern was that art might interfere with the attainment of spirituality during prayer (kavanah in Hebrew). Maimonides' discussion was cited by other rabbis asked t rule on the question of art. Their responsa allow an understanding of the types of art found medieval synagogues, and the conflicting attitudes of rabbis to their presence, some believing that art enhanced spirituality and others viewing it as a distraction.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"173-182"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483736","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663181","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
Monastic "Imitatio Christi": Andrea del Castagno's "Cenacolo di S. Apollonia" 修道院“米里亚姆·克里斯蒂”安德里亚·德尔·卡斯特洛的《圣阿波罗尼亚的晚餐》
3区 艺术学
Artibus et Historiae Pub Date : 2003-01-01 DOI: 10.2307/1483759
Eckart Marchand
{"title":"Monastic \"Imitatio Christi\": Andrea del Castagno's \"Cenacolo di S. Apollonia\"","authors":"Eckart Marchand","doi":"10.2307/1483759","DOIUrl":"https://doi.org/10.2307/1483759","url":null,"abstract":"This article proposes an interpretation of the choice, placement and rendering of the scenes painted for the female Florentine convent (c. 1447) in its religious context. The Last Supper is read as an imago that presented the nuns with important exemplars-the apostles, who were the model of a communal life in imitatio Christi. Castagno encourages their contemplation rather than that of the event by the depiction of gestures that characterize them as individuals. In the Crucifixion, Entombment and Resurrection Castagno emphasizes the narrative, concentrating on the bystanders' grief. While the apostles were models for monks and nuns alike, here Castagno provided the nuns of S. Apollonia with suitable female models.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"31-50"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483759","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663611","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
Leonardo da Vinci's Last Supper: The Case of the Overturned Saltcellar 列奥纳多·达·芬奇的《最后的晚餐》:翻箱倒柜的案例
3区 艺术学
Artibus et Historiae Pub Date : 2003-01-01 DOI: 10.2307/1483731
J. Wasserman
{"title":"Leonardo da Vinci's Last Supper: The Case of the Overturned Saltcellar","authors":"J. Wasserman","doi":"10.2307/1483731","DOIUrl":"https://doi.org/10.2307/1483731","url":null,"abstract":"Recent cleaning of Leonardo's Last Super in the Dominican refectory of Santa Maria delle Grazie, Milan, accentuates an amorphous discoloration near the right wrist of Judas. The discoloration is the residue of what replicas of the painting show as a saltcellar Judas accidentally overturns,spilling its contents onto the table. My paper poses and responds to three questions. When and why was the saltcellar reduced to ghost-like status? Did Leonardo originate the idea of including the utensil in a Last Supper? What idea does the object convey in a Last Supper context?","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"65-72"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483731","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68662341","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 Interaction of Painting and Sculpture in the Art of Perugino 佩鲁吉诺艺术中绘画与雕塑的互动
3区 艺术学
Artibus et Historiae Pub Date : 2003-01-01 DOI: 10.2307/1483762
A. Coonin
{"title":"The Interaction of Painting and Sculpture in the Art of Perugino","authors":"A. Coonin","doi":"10.2307/1483762","DOIUrl":"https://doi.org/10.2307/1483762","url":null,"abstract":"Pietro Perugino was one of the most important painters of the Italian Renaissance, yet his career reveals a significant debt to the art of sculpture. The artist regularly utilized sculptures to assist in the design of paintings, and he enjoyed profitable working relationships with many individual sculptors. Perugino looked to sculpture both as a source of inspiration and for its practical value in the studio for study, teaching, and as a source of models. Perugino particularly studied works by Verrocchio, Pollaiuolo, Donatello, and Jacopo Sansovino. His professional interaction with practicing sculptors also proved significant, especially his association with Verrocchio and his rental of a studio in Florence from the heirs of Lorenzo Ghiberti. This studio, called \"le porte,\" was still active, in part, as a sculpture workshop and contained sculpture collected from various ages. With the help of recently discovered documents and a reconsideration of various works of art, this study of Perugino highlights the natural interconnection between painting and sculpture (and painters and sculptors) in the Italian Renaissance workshop.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"103-120"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483762","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663929","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: 13
"Elevatio". The Depiction of a Ritual Gesture “Elevatio”。仪式性手势的描绘
3区 艺术学
Artibus et Historiae Pub Date : 2003-01-01 DOI: 10.2307/1483729
M. Barasch
{"title":"\"Elevatio\". The Depiction of a Ritual Gesture","authors":"M. Barasch","doi":"10.2307/1483729","DOIUrl":"https://doi.org/10.2307/1483729","url":null,"abstract":"Several strands of observation and reflection meet in the gesture of raising a sacred object, the paten, in the Mass. The lifting up of something, or somebody, is frequently seen in the art of different periods, in both religious and secular imagery. Elevation touches on some ideas, or rather intuitive meanings, of our experience of space. While some aspects of our perception of space, mainly in visual experience, have attracted a great deal of scholarly attention (it is enough to think of the study of perspective in painting), the concern with the expressive nature of space as such, and its layers or \"places,\" has been much more limited. The present essay does not, however, deal with the expressive character of space in general but it confines itself to the limits of the precise motif of \"elevatio\", the raising of a sacred object and bringing it to the upper layers in our field of vision. Examples are taken from representations of \"sacred actions\", that is, of religious rituals, but occasionally the author also resorts to examples of political iconography.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"43-56"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483729","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68662524","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: 6
Five Hierarchies of Intercessors for Salvation: The Decoration of the Angels' Chapel in the Gesù 救恩代祷者的五个等级:Gesù天使礼拜堂的装饰
3区 艺术学
Artibus et Historiae Pub Date : 2003-01-01 DOI: 10.2307/1483766
Golda Balass
{"title":"Five Hierarchies of Intercessors for Salvation: The Decoration of the Angels' Chapel in the Gesù","authors":"Golda Balass","doi":"10.2307/1483766","DOIUrl":"https://doi.org/10.2307/1483766","url":null,"abstract":"The Angels' Chapel in the Church of the Gesu in Rome was painted in the last decade of the 16th century. While the iconographic program of the chapel's decoration reflects the tenets of the Counter-Reformation Church, it is also notably congruent with Jesuit concerns. This article provides a detailed interpretation of the chapel's fresco cycle within two interdependent contexts: the Catholic-Protestant conflict over cardinal theological issues, and the Catholic belief in the hierarchical intercession for salvation. Furthermore, the discussion provides an understanding of how the visual arts served the post-Tridentine Church.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"177-208"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483766","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663738","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
Giovanni d'Alemagna, Antonio Vivarini and the Early History of the Ovetari Chapel Giovanni d'Alemagna, Antonio Vivarini和Ovetari教堂的早期历史
3区 艺术学
Artibus et Historiae Pub Date : 2003-01-01 DOI: 10.2307/1483758
Ian Holgate
{"title":"Giovanni d'Alemagna, Antonio Vivarini and the Early History of the Ovetari Chapel","authors":"Ian Holgate","doi":"10.2307/1483758","DOIUrl":"https://doi.org/10.2307/1483758","url":null,"abstract":"The 1448 contracts for the decoration of the Ovetari chapel in Padua awarded the lion's share of the work to the Venetian painters, Giovanni d'Alemagna and Antonio Vivarini. Despite this, their role in the project is often overlooked in discussions concerning the chapel since they covered only a fraction of the wall space allocated to them before abandoning the project altogether in 1450. The present study aims to reach a better understanding of their relationship to the Ovetari project through a reconsideration of their surviving Paduan works. The study contributes to our understanding of the chapel in several ways. Firstly it reveals new links between patrons and artists. In addition it puts forward fresh proposals concerning the designs of Giovanni and Antonio for the project, based upon evidence of their work in the chapel itself and from their contemporary oeuvre. Moreover, it proposes a new role for the so-called Forzori altar as an important source for the designs of the Ovetari artists. Finally, the paper charts the biography of Giovanni d'Alemagna suggesting a long-standing relationship between the artist and Paduan audiences.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"9-29"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483758","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663589","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
Giovanni Pisano, the Dominicans, and the Origin of the "crucifixi dolorosi" 乔瓦尼·皮萨诺、多米尼加人与“十字架”的起源
3区 艺术学
Artibus et Historiae Pub Date : 2003-01-01 DOI: 10.2307/1483761
Pavel Kalina
{"title":"Giovanni Pisano, the Dominicans, and the Origin of the \"crucifixi dolorosi\"","authors":"Pavel Kalina","doi":"10.2307/1483761","DOIUrl":"https://doi.org/10.2307/1483761","url":null,"abstract":"The crucifixi dolorosi were traditionally believed to be a product of Central European, especially German culture. Their model was sought for in the well-known Crucifix of St. Maria in Kapitol church in Cologne. It is, however, probable that this sculptural type was of Italian origin. It could be inspired by sculptures of Giovanni Pisano, not only by his stone and wooden crucifixes, but also by such statues as his Christ from the Flagellation in the Pisa Baptistery pulpit. The spiritual roots of the sculptural type are to be found rather in the literature and praxis of flagellant brotherhoods, which blossomed in trecento Italy than in German mysticism where they were sought for earlier.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"81-101"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483761","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663678","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: 7
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