{"title":"Some Observations on Domenico Beccafumi's Two \"Fall of the Rebel Angels\" Panels","authors":"Gustav F. Medicus","doi":"10.2307/1483767","DOIUrl":"https://doi.org/10.2307/1483767","url":null,"abstract":"Domenico Beccafumi's two Fall of the Rebel Angels panels are discussed. An unfinished figure in the lower right corner of the Pinacoteca Fall is related to two works by Beccafumi, executed between 1519-1523, confirming an early 1520s date of execution for the panel. The more structured second version in San Niccolo is proposed to derive from a traditional Sienese typology for the Fall of the Rebel Angels theme. The commingling of angels alongside nudes with no angelic/demonic markers in both panels is connected to theological and literary traditions surrounding the Fall of the Angels which intermingle men and angels.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"209-218"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483767","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663757","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":"From Purgatory to the \"Primavera\": Some Observations on Botticelli and Dante","authors":"M. Marmor","doi":"10.2307/1483739","DOIUrl":"https://doi.org/10.2307/1483739","url":null,"abstract":"Botticelli's Primavera has been studied by more eminent art historians than perhaps any other work of Renaissance art. The chronicle of these readings would make for a representative anthology of 20th-century art historical methodologies, and yet no consensus about the painting's \"meaning\" has emerged. In this article, the Primavera is discussed in the context of what we know and what we can surmise about the artist's own literary and intellectual culture and especially his lifelong engagement with Dante's Divina Commedia. The painting is studied as an attempt on the artist's part to translate into his own medium the thematics surrounding Dante's Earthly Paradise episode at the end of the Purgatorio. These thematics are explored in the context of Cristoforo Landino's 1481 commentary on Dante, with which Botticelli, who devoted many years to illustrating Landino's edition, was intimately familiar. Landino saw in Dante's Earthy Paradise episode an allegory of the soul's moral and spiritual pilgrimage from the vita voluptuosa through the vita activa to the vita contemplativa, a passage occurring, like Dante's pilgrimage as a whole, under the influence of Celestial Venus. The Primavera is discussed as a visual variation on the same theme, presented all'antica in a manner that resonates with Dante's classical allusions, especially as interpreted by Landino. In addition to reflecting Botticelli's own artistic and intellectual interests and aspirations, as well as those of his presumed patron, the Primavera echoes still with a rivalry that brought Botticelli into competition with such other close students of Dante as Leonardo and Michelangelo. This paragone awaits further study.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"199-212"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483739","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663128","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":"Camposanto, Terra santa: Picturing the Holy Land in Pisa","authors":"Diane Cole Ahl","doi":"10.2307/1483733","DOIUrl":"https://doi.org/10.2307/1483733","url":null,"abstract":"Inspired by scholarship on historic memory and sacred topography, the article proposes a new interpretation of the decorative program of the Camposanto in Pisa. Enclosing earth brought from Mount Calvary during the crusades, the Camposanto was conceived not only as a cemetery but as a reliquary church and place of pilgrimage. Its frescoes recreated the experience of pilgrimage by evoking the sacred sites of the Holy Land, inaccessible from Pisa due to naval losses and the crusades. A coda to the article publishes a drawing for Benozzo Gozzoli's Punishment of Korah, Dathan, and Abiron, tentatively ascribing it to Andrea Boscoli and reconstructing the lost fresco.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"95-122"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483733","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68662703","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":"Of Sirens and Onocentaurs: A Romanesque Apocalypse at Montceaux-l'Etoile","authors":"William J. Travis","doi":"10.2307/1483681","DOIUrl":"https://doi.org/10.2307/1483681","url":null,"abstract":"Focusing on the relationship between word and image at Montceaux-l'Etoile, this essay argues that a pair of capitals representing a siren and an onocentaur functioned as a sculptural commentary on the apocalyptic notion that \"the time is near.\" From a broader perspective, this interpretation opens up a new way to read the Romanesque sculpture of Burgundy as word images, where capitals evoked specific phrases from scripture and the choice of phrases determined the overall program; comparisons to Autun and Vezelay suggest that these churches adopted a similar method. Eighty-one texts collected in the appendix set out the evidence for the siren and onocentaur in early medieval thought.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"29-62"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483681","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68659238","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":"Ambrogio Lorenzetti's \"War and Peace\" Murals Revisited: Contributions to the Meaning of the \"Good Government Allegory\"","authors":"Joseph Polzer","doi":"10.2307/1483682","DOIUrl":"https://doi.org/10.2307/1483682","url":null,"abstract":"","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"63-105"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483682","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68659349","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 \"Hercules\" in Piero's House","authors":"C. Gilbert","doi":"10.2307/1483683","DOIUrl":"https://doi.org/10.2307/1483683","url":null,"abstract":"Piero della Francesca's Hercules, a fresco in the Isabella Stewart Gardner Museum in Boston, and the painter's only secular work, is unique among his paintings in many respects. Although its authenticity as an autograph work has never been questioned, it is usually neglected in the literature on Piero. The fresco comes from the painter's own house in Borgo San Sepolcro and thus is an exceptional case of an artist's self-patronage. The analogy of composition and dimensions with Piero's later portrait, as well as iconographic attributes of the virtue of Prudence and some other clues, lead the author to make a convincing notion that the Hercules is Piero's self-portrait, what is more, a \"moral\" one, characterising him as an artist.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"107-116"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483683","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68659425","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 and the Eye of the Beholder: The Early Bologna Sculptures","authors":"E. Longsworth","doi":"10.2307/1483698","DOIUrl":"https://doi.org/10.2307/1483698","url":null,"abstract":"Michelangelo's designs for St. Petronius, St. Proculus and the Candelabrum-Bearing Angel, carved for the Shrine of St. Dominic in Bologna during a stay in the city from 1494 to 1495, illustrate his sensitivity to the object as a visual experience bound to the observer and governed by conditions imposed by the site. The visual evidence provided by these three statuettes in fact demonstrates that, from the beginning of his career as a sculptor, Michelangelo's fundamental ideas concerning figural composition al giudizio dell'occhio, for which he later would become famous, were firmly in place.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"77-82"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483698","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68659894","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":"Painted theory of art : le suicidé (1877) by Édouard Manet and the disappearence of narration","authors":"U. Ilg","doi":"10.2307/1483687","DOIUrl":"https://doi.org/10.2307/1483687","url":null,"abstract":"The present article centers on Manet's painting Le suicide, so far little discussed in modern research. The reluctance of the painter to represent suicide within a narrative context is here considered as the most salient feature of this canvas and serves as a key for its interpretation. As further analysis shows, Manet's approach contradicted the tradition of representing suicide, according to which this subject was normally reserved to history painting and focused on the very aspects Manet chose to omit. It is argued that the artist thus deliberately displayed his disregard of the principles of academic painting and that Le suicide was an artistic manifesto of Manet's position within the Realist movement.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"179-190"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483687","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68659951","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 Projects for the Medicean Tombs: Rereading of the Story of the Medici Chapel","authors":"Yoni Ascher","doi":"10.2307/1483699","DOIUrl":"https://doi.org/10.2307/1483699","url":null,"abstract":"Some designs for a grand double tomb by Michelangelo are considered to be designs for the never executed Magnifici tomb in the Medici chapel. The reclining figures displayed on the sarcophagi in these designs were accordingly interpreted as the Magnifici effigies. However, for stylistic and iconographic reasons these figures cannot represent effigies. This puts in question the original cause of these designs and consequently leads to wonder whether Michelangelo ever intended to erect a double tomb for the Magnifici on the free entrance wall of the Medici Chapel. It seems that almost from the outset he planned to have two double tombs on the lateral walls.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"83-96"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483699","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68659981","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":"De Piles, Drawing and Color. An Essay in Quantitative Art History","authors":"V. Ginsburgh, Sheila Weyers","doi":"10.2307/1483688","DOIUrl":"https://doi.org/10.2307/1483688","url":null,"abstract":"We show (a) that de Piles' scores in the balance des peintres are only mildly reflected in his other writings and that color comes out only as a weak and unconvincing explanation of the space he devotes to individual artists in his Abrege; (b) that his Abrege is more closely related to the number of paintings in the royal collection; (c) that Felibien des Avaux, the (allegedly) traditionalist art historian who became member of the Royal Academy much earlier than de Piles, admitted in 1699 only, was less in agreement with the tastes of the King than was de Piles and (d) that de Piles changed views on painting and predicted in a much better way than Felibien and the Academy, who were the painters who would pass the test of time, and those who would not.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"45 1","pages":"191-203"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483688","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68660048","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}