Explorations in Renaissance Culture最新文献_第10页

The Reception of Bartolomeo Bermejo’s Saint Augustine 接待巴尔托洛梅奥·贝尔梅霍的圣奥古斯丁

Explorations in Renaissance Culture Pub Date : 2015-03-16 DOI: 10.1163/23526963-04101004

Doot Bokelman

引用次数: 0

Who “laid him in a manger”?: Biblical Women in Herbert, Vaughan and Traherne 谁“把他放在马槽里”?:赫伯特、沃恩和特拉赫恩的圣经女性

Explorations in Renaissance Culture Pub Date : 2015-03-16 DOI: 10.1163/23526963-04101003

J. Graham

引用次数: 0

The Induction of Sly: The Influence of the Spanish Tragedy on the Two Shrews 斯莱的诱导:西班牙悲剧对《两个泼妇》的影响

Explorations in Renaissance Culture Pub Date : 2014-04-20 DOI: 10.1163/23526963-90000468

F. Ardolino

引用次数: 0

Michaelangelo’s Shadow: Guiliano Bugiardini 米凯兰杰罗的影子

Explorations in Renaissance Culture Pub Date : 2014-04-20 DOI: 10.1163/23526963-90000469

N. Land

引用次数: 0

Editors’ Notes and Acknowledgments 编者注释和致谢

Explorations in Renaissance Culture Pub Date : 2014-04-20 DOI: 10.1163/23526963-90000458

James S. Baumlin, T. Baumlin, Frances M. Malpezzi

引用次数: 0

Architectural Painting: Giorgio Vasari's Altarpiece for the Monastery of Santa Maria Novella in Arezzo 建筑绘画:Giorgio Vasari为阿雷佐Santa Maria Novella修道院设计的祭坛画

Explorations in Renaissance Culture Pub Date : 2013-12-02 DOI: 10.1163/23526963-90000438

S. Nocentini

引用次数: 0

Vasari: Between the Paragone and the Portraits of Himself 瓦萨里:在典范和他自己的肖像之间

Explorations in Renaissance Culture Pub Date : 2013-12-02 DOI: 10.1163/23526963-90000441

Émilie Passignat

{"title":"Vasari: Between the Paragone and the Portraits of Himself","authors":"Émilie Passignat","doi":"10.1163/23526963-90000441","DOIUrl":"https://doi.org/10.1163/23526963-90000441","url":null,"abstract":"For most critics, now and in the past, Giorgio Vasari is-first and foremost-the author of Le vite de' piu eccellenti pittori, scultori e architettori. Vasari's artistic work-in particular, his paintinghas instead remained rather at the edge of the attention of scholars, when compared to the immense literature that continues to fuel the bibliography of his Le Vite, undoubtedly a work of undeniable and fundamental importance. Vasari's long and ambiguous fate among critics is marked by some bias: on the one hand, it stems from his parochialism in Le Vite, in favor of the Tuscans; on the other hand, it originates in the unanimous condemnation of Mannerism during past centuries, reevaluated only during the twentieth century. Yet Vasari's work has never remained unnoticed through the years; it has always become a fundamental point of reference. In 2011 on the occasion of the five hundreth anniversary of his birth, Vasari was heavily discussed with an approach much less bound and conditioned by the ideas of the critics in the past. There were so many celebrations organized in his honor that we can call it a pure and true consecration. Almost as it were a myth, and a myth is not born by itself Much of this success should primarily be attributed to the artist himself Vasari was an incomparable artisan of his own image, in passing it on to posterity, supported in this effort by his acquaintances he chose accurately, and later because of the work and contributions of his heirs, which are still unappreciated to this day.! In light of these observations, the scope of this essay is to highlight the fact that Vasari might not have entrusted the task of the artists' posthumous fame, and the claim of their new social status obtained in the sixteenth century, only to his Le Vite, but also how, through his entire artistic career and under different forms of communication, he was deeply committed and dedicated to achieving these goals. Indeed, this essay is about investigating Vasari's self-portrayal: how he describes himself in relation to his own art, thus proposing an interpretation more cross-sectional of the style in which Vasari builds his own image through the years; observing more attentively his portraits, self-portraits, and some of his works painted in residences in Arezzo and Florence; and finally, by considering the important work the Ragionamenti.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":"39 1","pages":"85-109"},"PeriodicalIF":0.0,"publicationDate":"2013-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23526963-90000441","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64622856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Giorgio Vasari, Saint Thomas of Aquinas and the Heretics In the Chapel of Pius V: A New Discovery 乔治·瓦萨里，圣托马斯的阿奎那和异教徒在庇护五世教堂:一个新的发现

Explorations in Renaissance Culture Pub Date : 2013-12-02 DOI: 10.1163/23526963-90000442

L. Cheney

{"title":"Giorgio Vasari, Saint Thomas of Aquinas and the Heretics In the Chapel of Pius V: A New Discovery","authors":"L. Cheney","doi":"10.1163/23526963-90000442","DOIUrl":"https://doi.org/10.1163/23526963-90000442","url":null,"abstract":"~ fter his election as pope in 1566, Pius V (Antonio Ghislieri, 150472, reigned 1566-72 (Fig. 1)1 began a filial artistic connection with Giorgio Vasari (1511-74). His first commission for Vasari was to decorate the pope's burial chapel at the church of Santa Croce in Bosco Marengo, his natal place. The chapel decoration consists of an Adoration if the Magi and several other paintings, including New and Old Testament scenes as well as Dominican saints and martyrdoms, reflecting the pope's affiliation with this religious order (Corti 130).2 His other major papal commissions for Vasari were to decorate his apartment and three chapels in the Vatican in 1571-72 (Vasari 102-3).3 The result of these commissions prompted Pope Pius V to grant Vasari the highest honors in the Cavalierato di San Pietro e Cavalier dello Speron d'Oro (Knight if the Golden Spur) a gold chain on top of remunerations totaling over a thousand scudi.4 In a letter from his friend Monsignor Guglielmo Sangalletti, Secret Treasurer to Pope Pius V, dated December 5, 1569, Vasari describes these commissions: an apartment with a gallery, two small rooms, and a chapel (Frey 471-73, 475-76, 485, 527, 547, and 882). Vasari and Federico Zuccaro (1540-1609) embellished the apartment with fresco decorations during the reign of the pope.5 An additional commission from the pope to decorate three chapels, which are located in the so-called Borgia's Tower (Torre Borgia or Torre Pia, Fig. 2); they are architecturally designed in three levels, one above the other. Vasari's ricordi, or entries to his commissions-along with the writings of Paola Barocchi followed by the studies of Julian Kliemann and Laura Corti, which are based on the collected letters documented in Karl Frey's epistolary and Alessandro del Vita's inventories-explain the commissions. These accounts and historical notations assist in visualizing Vasari's original design of these chapels, since they have been subject to many transformations and renovations through the years (Vasari 102-3; Frey 471-73, 475-76 and 882; Barocchi 68-70; Kleimann 96-7; Corti 138-40).6 The themes of chapels honor the triumphs of Saint Michael, Saint Peter Martyr, and Saint Stephen Martyr. The subject in each chapel expresses the spiritual Dominican affirmations of Pope Pius V in support of the Council of Trent's edicts and his moral fortitude, on the renewal of the church's pastoral mission, and the condemnation ofheresy.7","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":"39 1","pages":"111-133"},"PeriodicalIF":0.0,"publicationDate":"2013-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23526963-90000442","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64622897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

“Aucuns de ma langue”: Language and Political Identity in Late-Medieval France “语言的意义”:中世纪晚期法国的语言与政治认同

Explorations in Renaissance Culture Pub Date : 2013-12-02 DOI: 10.1163/23526963-90000451

Daisy Delogu

引用次数: 0

What Kind of Play Is Troilus and Cressida 《特洛伊罗斯与克蕾西达》是什么游戏

Explorations in Renaissance Culture Pub Date : 2013-12-02 DOI: 10.1163/23526963-90000447

Michael L. Hays

引用次数: 0