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Artibus et Historiae最新文献

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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
Some Observations on Domenico Beccafumi's Two "Fall of the Rebel Angels" Panels 多梅尼科·贝卡米的两幅《反叛天使的堕落》画板观照
3区 艺术学
Artibus et Historiae Pub Date : 2003-01-01 DOI: 10.2307/1483767
Gustav F. Medicus
{"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}
引用次数: 1
Camposanto, Terra santa: Picturing the Holy Land in Pisa 坎波桑托，圣塔:描绘比萨的圣地
3区 艺术学
Artibus et Historiae Pub Date : 2003-01-01 DOI: 10.2307/1483733
Diane Cole Ahl
{"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}
引用次数: 5
Of Sirens and Onocentaurs: A Romanesque Apocalypse at Montceaux-l'Etoile 塞壬和独角兽:在蒙特索的罗马式启示录
3区 艺术学
Artibus et Historiae Pub Date : 2002-01-01 DOI: 10.2307/1483681
William J. Travis
{"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}
引用次数: 9
Ambrogio Lorenzetti's "War and Peace" Murals Revisited: Contributions to the Meaning of the "Good Government Allegory" 重新审视安布罗吉奥·洛伦泽蒂的“战争与和平”壁画:对“好政府寓言”意义的贡献
3区 艺术学
Artibus et Historiae Pub Date : 2002-01-01 DOI: 10.2307/1483682
Joseph Polzer
{"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}
引用次数: 33
The "Hercules" in Piero's House 皮耶罗家的“大力神”
3区 艺术学
Artibus et Historiae Pub Date : 2002-01-01 DOI: 10.2307/1483683
C. Gilbert
{"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}
引用次数: 0
Michelangelo's Projects for the Medicean Tombs: Rereading of the Story of the Medici Chapel 米开朗基罗的美第奇墓葬计划:重读美第奇教堂的故事
3区 艺术学
Artibus et Historiae Pub Date : 2002-01-01 DOI: 10.2307/1483699
Yoni Ascher
{"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}
引用次数: 1
De Piles, Drawing and Color. An Essay in Quantitative Art History 德桩，绘画和颜色。定量艺术史论文
3区 艺术学
Artibus et Historiae Pub Date : 2002-01-01 DOI: 10.2307/1483688
V. Ginsburgh, Sheila Weyers
{"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}
引用次数: 4
Die wachsame Müdigkeit des Alters. Realismus als rhetorisches Mittel im Spätmittelalter 人总衰弱现实主义还是深色的修辞派
3区 艺术学
Artibus et Historiae Pub Date : 2002-01-01 DOI: 10.2307/1483695
Martin Büchsel
{"title":"Die wachsame Müdigkeit des Alters. Realismus als rhetorisches Mittel im Spätmittelalter","authors":"Martin Büchsel","doi":"10.2307/1483695","DOIUrl":"https://doi.org/10.2307/1483695","url":null,"abstract":"The depiction of 'old age' in late medieval art could be used as rhetorical vocabulary to characterise the four Fathers of the Church, St Benedict or other saints as ascetic, spiritually 'holy men'. The wooden sculpture of Abbot Benedict in the Liebieghaus from the early sixteenth century demonstrates how such realism of 'old age' could be combined with the transitorical moments of pseudo-realism. The energy of his lips and eyes in a face full of crinkles stand in significant contrast with the spirit of an old man.A dramatic scene in ate medieval art could on the other hand often produce some features of old age on a young face, as the images of St John in the Veit Stos altarpiece in Krakow or the John on Patmos in the woodcut series by Albrecht Durer show. The natural connotations of John's youth, 'beauty' and 'peacefulness' stand here in contrast to the dramatic scenes. The same rhetorical vocabulary can be sometimes found in pictures which at first appear like portraits. The tomb sculpture of Rudolf von Scherenberg at the Cathedral of Wurzburg shows in reality not the bishop as a well known old person but as a a man of great spirit and with signs of ascetic life of a Father of the Church. The inscriptions support such an interpretation. The question of the truthfulness of portraits is also discussed in some sculptures by Niclaus Gerhaert. A closer study of the practice of late medieval devotio moderna would help to understand this kind of rhetorical vocabulary.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"21-35"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483695","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68660157","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
Painted theory of art : le suicidé (1877) by Édouard Manet and the disappearence of narration 绘画艺术理论:Édouard马奈的《自杀》(1877)与叙事的消失
3区 艺术学
Artibus et Historiae Pub Date : 2002-01-01 DOI: 10.2307/1483687
U. Ilg
{"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}
引用次数: 2
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