{"title":"Dans l'oeil du rétroviseur. Pour une histoire relativiste.","authors":"Philippe Junod","doi":"10.2307/1483689","DOIUrl":"https://doi.org/10.2307/1483689","url":null,"abstract":"That our vision has a historical background is demonstrated as much by differences of taste as it is by the ups and downs of the critical appreciation of the great masters of the past. The discovery of the subjectivity of vision and of the plurality of meanings might lead to deliberate projection or to a genuine and radical agnosticism. The realization, however, of how our knowledge of the present influences our image of the past also constitutes a source of value. A retrospective reading of art history is then capable of conferring a dimension of genuine dialogue on our aesthetic perception as long as this reading is based upon a relative understanding of objectivity.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"45 1","pages":"205-221"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483689","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68660107","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":"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}
{"title":"A Poussin Problem","authors":"Richard E. Spear","doi":"10.2307/1483703","DOIUrl":"https://doi.org/10.2307/1483703","url":null,"abstract":"A large drawing on seventeenth-century French paper of a Putto in Flight bearing an old attribution to Poussin corresponds in size and design to a putto in Le Temps et la Verite, painted for Cardinal Richelieu by Poussin in the Palais Royal in Paris in 1641. Stylistically anomalous in the corpus of Poussin's known oeuvre, it \"should\" be a copy - perhaps by young Charles Le Brun, who was working in the same palace at the same time - though this explains neither its variations from the painting nor what kind of preparatory work was required for Poussin to execute Le Temps et la Verite.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"157-161"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483703","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68660949","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":"Rembrandt and the Church Interiors of the Delft School","authors":"S. Michalski","doi":"10.2307/1483706","DOIUrl":"https://doi.org/10.2307/1483706","url":null,"abstract":"The new \"Delft-type\" of church interiors appeared in Dutch painting of the Golden Age exactly at mid-century. It is characterized by an original two-point scheme designed to form a corner at the nearest, assymetrically placed column. No convincing explanation has been provided for this \"dramatic turn around 1650\" (Giltaij), especially in view of the fact that Gerard Houckgeest - the inventor of the scheme - painted still in 1648 church interiors of the traditional type. I would like to suggest here a source of possible inspiration, namely Rembrandt's Medea-etching of 1648, which on closer analysis shows a similar spatial arrangement. A further link might be provided by the use of curtains both in Rembrandt's works (Holy Family, 1646) and in the church interiors of the Delft-type.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"183-193"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483706","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68661531","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":"On Mirror Copying of the Sistine Vault and Mannerist \"Invenzioni\"","authors":"Avigdor W. G. Poséq","doi":"10.2307/1483684","DOIUrl":"https://doi.org/10.2307/1483684","url":null,"abstract":"In Mannerist painting invenzione frequently coincides with citations of works done by predecessors which looks like the opposite of what one would describe as inventiveness. In discussing some of the adaptations of the pre- existent motifs, the author proposes to show that although the Mannerist apprehension of invention is not compatible with what is now understood by this term, their modus operandi anticipates the procedures which we recognise as signs of creativity in modern art. Because critical appreciation of Mannerist painting was based on prestigious precedents, inventiveness, as we know it, was not considered a pre-requisite. Creative innovation remained the privilege of the truly great masters whom lesser practitioners were expected to emulate. At a time when artistic training consisted in copying, more or less explicit citations from earlier works would be aesthetically acceptable and even commended. The Mannerist citations, however, are seldom replicas: The poetic license of the painters is especially evident in their adaptations of the scenes painted on the Sistine vault, which in the sixteenth century became a sort of academy of drawing.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"117-138"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483684","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68659541","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 Model's Pose: Raphael's Early Use of Antique and Italian Art","authors":"M. Kwakkelstein","doi":"10.2307/1483696","DOIUrl":"https://doi.org/10.2307/1483696","url":null,"abstract":"This article seeks to define the early development of Raphael's approach to the representation of the nude figure by reviewing the sources and dating of a number of his figure studies. It opens by linking some of these drawings to antiquities visible in Rome to support the theory of Raphael's presence in that city before 1508. It is then argued that, prior to his first studies after antique sculpture and the live nude model, executed in Florence, Raphael had assimilated classical motifs through a close study of the art of Perugino and Antonio Pollaiuolo. New evidence is presented to show that, contrary to a currently held view, Perugino and Pollaiuolo closely imitated antique sources.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"37-60"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483696","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68659779","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 Strozzi Chapel by Michele Tosini: A Visual Interpretation of Redemptive Epiphany","authors":"H. Hornik","doi":"10.2307/1483700","DOIUrl":"https://doi.org/10.2307/1483700","url":null,"abstract":"The rediscovery and analysis of the only extant fresco cycle by Michele Tosini (1503-1577) reaffirms the importance of this Mannerist artist in mid-sixteenth century Florence. The chapel frescoes, commissioned by the Strozzi family, depict the Adoration of the Kings and the Marriage at Cana, two events associated with the favorite Florentine feast day of the Epiphany. A third event, the Baptism of Christ is juxtaposed with a Lamentation scene in the original altar panel. Together, the frescoes and altar panel define the program of the chapel as the full cycle of redemption from the infancy narratives through Christ's sacrifice and death.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"97-118"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483700","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68660755","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":"\"Don Quichotte\", Daumier et la légende de l'artiste\"","authors":"P. Kaenel","doi":"10.2307/1483704","DOIUrl":"https://doi.org/10.2307/1483704","url":null,"abstract":"Don Quixote occupies an emblematic place in Daumier's work. But contrary to the literary myth of Cervantes's hero, the legend surrounding the artist is based on sparse textual and biographical sources. With 29 paintings and 41 drawings, the Don Quixote motif is the most important in Daumier's work. But why? The «marvelous kinship» (J. Adhemar) between Don Quixote and Daumier must be reinterpreted in the light of ideological, literary and artistic relationships between Spain and France in the 19th century. They reveal that the Don Quixote iconography, far from merely reflecting in an autobiographical fashion the failure of an ageing artist, is instead instrument of conquest and of artistic recognition.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"163-177"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483704","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68661016","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 Golden Age... The First and Last Days of Mankind\": Claude Lorrain and Classical Pastoral, with Special Emphasis on Themes from Ovid's Metamorphoses","authors":"Claire Pace","doi":"10.2307/1483702","DOIUrl":"https://doi.org/10.2307/1483702","url":null,"abstract":"Claude's rendering of Ovidian scenes is best considered in the context of his approach to classical pastoral, and particularly his affinity to Sannazaro's Arcadia. The first part of this paper explores this aspect of Claude's work. The second part considers his treatment of subjects from Ovid, suggesting that his approach differs from that of earlier artists, avoiding dramatic and erotic subjects, and usually also avoiding the actual moment of metamorphosis. Claude's Acis and Galatea is seen as exemplifying his rendering of Ovidian scenes; showing a moment of idyllic happiness shortly to be disturbed by tragic events. This \"vespertinal\" mood is seen as according with that of pastoral in general. Thus Claude succeeds in reintegrating Ovid's subversive use of pastoral motifs into the pastoral tradition.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"127-156"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483702","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68660875","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 Tomb in Rome: Observations on the \"Pietà\" in Florence and the \"Rondanini Pietà\"","authors":"Philipp P. Fehl","doi":"10.2307/1483680","DOIUrl":"https://doi.org/10.2307/1483680","url":null,"abstract":"The chief concern of the present study is the evaluation of the evidence the work in question itself - Michelangelo's Florentine Pieta - offers for the placement of Christ's left leg before Michelangelo attacked it. If, as the author suggests, we abandon our trust in the square socket in the thigh of Christ as a guide to the original position of the left leg, more than one position of the leg seems possible. The reconstruction proposed here narrows the angle between the legs and the pathos of the scene (Deposition) is more silent. If Calcagni, forced by the exigencies of the destruction, invented a new position for the left leg, he did it with a high regard for the pathos of the work as a whole. His restoration has preserved the group, and continues to give us access, like a frame around a painting, to its grief and lonely beauty.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"23 1","pages":"9-27"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483680","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68659651","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}