Images, the Jesuits believed, had a special power to communicate Christianity to potential converts, unhindered by the obstacles of language or cultural difference. This fantasy of images as, in the words of CounterReformation thinker Gabriele Paleotti, a “universal language” able to move the unlettered or those who did not speak one’s language to piety motivated the Jesuits’ extensive use of visual material in their missionary activities. A print in the Ashmolean Museum, Oxford, however, points to anxiety around, rather than confidence in, images used in missionary endeavors. It provides evidence of when Alessandro Valignano’s
{"title":"Marian Demotion: An Engraving of the Virgin and Child in Early Modern China and Problems of Cross-Cultural Translation","authors":"S. Park","doi":"10.1086/709192","DOIUrl":"https://doi.org/10.1086/709192","url":null,"abstract":"Images, the Jesuits believed, had a special power to communicate Christianity to potential converts, unhindered by the obstacles of language or cultural difference. This fantasy of images as, in the words of CounterReformation thinker Gabriele Paleotti, a “universal language” able to move the unlettered or those who did not speak one’s language to piety motivated the Jesuits’ extensive use of visual material in their missionary activities. A print in the Ashmolean Museum, Oxford, however, points to anxiety around, rather than confidence in, images used in missionary endeavors. It provides evidence of when Alessandro Valignano’s","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"158 10 1","pages":"252 - 261"},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83230784","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}
For Renaissance writers on art, few tropes enjoyed the prominence of comparison between contemporary and ancient practitioners. Among a select group of comparanda, the most commonwere surely Apelles for painters and Praxiteles for sculptors, though Myron, Lysippus, Phidias, and others made sporadic appearances. To modern readers, such analogies vary widely in their appropriateness and utility, responding to regional and momentary tastes, friendships, networks, and rivalries. Battista Spagnoli’s claim that the art of the ancients “is tarnished and loses all luster”when seen alongside that of Andrea Mantegna accords, in spirit, with art historical estimations of the significance of his
{"title":"Antonio Rossellino, the Eros of Praxiteles, and Michelangelo’s David","authors":"Sean T. Roberts","doi":"10.1086/709189","DOIUrl":"https://doi.org/10.1086/709189","url":null,"abstract":"For Renaissance writers on art, few tropes enjoyed the prominence of comparison between contemporary and ancient practitioners. Among a select group of comparanda, the most commonwere surely Apelles for painters and Praxiteles for sculptors, though Myron, Lysippus, Phidias, and others made sporadic appearances. To modern readers, such analogies vary widely in their appropriateness and utility, responding to regional and momentary tastes, friendships, networks, and rivalries. Battista Spagnoli’s claim that the art of the ancients “is tarnished and loses all luster”when seen alongside that of Andrea Mantegna accords, in spirit, with art historical estimations of the significance of his","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"106 1","pages":"219 - 229"},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84979209","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}
The painter Roger de La Fresnaye is known for his conservative handling of cubist methods and techniques. His classicizing approach, by which he converted natural forms into a harmoniously balanced configuration of simplified planes and arcs rendered in pure, luminous color, is paradigmatically instantiated in L’homme assis (Musée des beaux-arts, Rouen)—one of the last canvases he produced before departing for the front in 1914, and a work that has long been regarded as one of his finest compositions. This article discusses newly discovered evidence concerning the artist’s preliminary oil study for this work, which
画家Roger de La Fresnaye以其对立体派方法和技巧的保守处理而闻名。他的经典手法，他把自然的形式转化成一个和谐的平衡配置简化平面和弧线呈现纯，明亮的颜色，是典型的例子，在L 'homme assis (mus des beaux-arts，鲁昂)，他在1914年离开前线之前制作的最后的画布之一，长期以来被认为是他最好的作品之一。本文讨论了艺术家对这幅作品的初步油画研究的新发现的证据
{"title":"On Roger de La Fresnaye’s Lost Étude pour le portrait de l’artiste and Its Corbeille de fleurs Motif","authors":"Anne Greeley","doi":"10.1086/709193","DOIUrl":"https://doi.org/10.1086/709193","url":null,"abstract":"The painter Roger de La Fresnaye is known for his conservative handling of cubist methods and techniques. His classicizing approach, by which he converted natural forms into a harmoniously balanced configuration of simplified planes and arcs rendered in pure, luminous color, is paradigmatically instantiated in L’homme assis (Musée des beaux-arts, Rouen)—one of the last canvases he produced before departing for the front in 1914, and a work that has long been regarded as one of his finest compositions. This article discusses newly discovered evidence concerning the artist’s preliminary oil study for this work, which","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"62 1","pages":"262 - 271"},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77679852","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}
Situated in the rear of our set of essays in this issue of Source is an elegiac “Appreciation” by Paul Barolsky of one of his former teachers, the late Fred Licht. Best known for his work on Goya, Licht was a multifaceted scholar and curator whose published essays (including some in Source) covered several centuries of topics ranging from Raphael to Picasso. Barolsky’s remarks about Licht’s “acute visual analysis and . . . depth of historic knowledge” brought me to thinking about one of my own mentors (elegiac moods being rather contagious), Paul Watson, who passed in 2005. Students in his course on Italian Renaissance painting at Penn in the 1970s may no longer remember exactly what Paul said about Botticelli or Mantegna, but they will never forget his wit, which could sometimes take on an acerbic and irreverent tone. I
{"title":"Editor’s Note: Of Jesus and Judas","authors":"John Cunnally","doi":"10.1086/709187","DOIUrl":"https://doi.org/10.1086/709187","url":null,"abstract":"Situated in the rear of our set of essays in this issue of Source is an elegiac “Appreciation” by Paul Barolsky of one of his former teachers, the late Fred Licht. Best known for his work on Goya, Licht was a multifaceted scholar and curator whose published essays (including some in Source) covered several centuries of topics ranging from Raphael to Picasso. Barolsky’s remarks about Licht’s “acute visual analysis and . . . depth of historic knowledge” brought me to thinking about one of my own mentors (elegiac moods being rather contagious), Paul Watson, who passed in 2005. Students in his course on Italian Renaissance painting at Penn in the 1970s may no longer remember exactly what Paul said about Botticelli or Mantegna, but they will never forget his wit, which could sometimes take on an acerbic and irreverent tone. I","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"85 1","pages":"205 - 208"},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90134769","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}
Amid variants of the misogynistic motifs known as “Power of Women” or Weibermacht popular in early modern northern Europe appears an early unique interpretation: Albrecht Altdorfer’s 1506 lively, scrawly chiaroscuro drawing Samson and Delilah (fig. 1). It would be unusual at this time to depict a historical (or biblical-historical) woman as anything but a moral example of good or bad behavior. Delilah, lethal deceiver of the Old Testament hero Samson, finds herself squarely in the category of “bad.”Why, then, does Altdorfer’s Delilah appear to be attempting to warn a sleeping, unshorn Samson of the approach of Philistine soldiers?
在早期现代北欧流行的“女性的力量”(webermacht)等厌女主题的变体中，出现了一种早期独特的解释:阿尔布雷希特·阿尔特多弗(Albrecht Altdorfer) 1506年创作的生动、粗壮的明暗对比画《参son and Delilah》(图1)。在当时，将历史上(或圣经历史上)的女性描绘成品行好坏的道德榜样是很不寻常的。大利拉，旧约英雄参孙的致命骗子，发现自己完全属于“坏人”的范畴。那么，为什么阿特多弗的黛利拉似乎是在试图警告熟睡的未剪毛的参孙，非利士人的士兵正在逼近呢?
{"title":"Death Nag: Altdorfer’s 1506 Delilah and the Real Power of Women","authors":"Jennifer L. Nelson","doi":"10.1086/709190","DOIUrl":"https://doi.org/10.1086/709190","url":null,"abstract":"Amid variants of the misogynistic motifs known as “Power of Women” or Weibermacht popular in early modern northern Europe appears an early unique interpretation: Albrecht Altdorfer’s 1506 lively, scrawly chiaroscuro drawing Samson and Delilah (fig. 1). It would be unusual at this time to depict a historical (or biblical-historical) woman as anything but a moral example of good or bad behavior. Delilah, lethal deceiver of the Old Testament hero Samson, finds herself squarely in the category of “bad.”Why, then, does Altdorfer’s Delilah appear to be attempting to warn a sleeping, unshorn Samson of the approach of Philistine soldiers?","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"34 1","pages":"230 - 240"},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82774967","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}
JohnOpie’s portrait of CharlesMacklin (ca. 1699–1797) is one of themore technically accomplished likenesses of the celebrated actor-playwright. It was the work of a painter hailed as “the English Rembrandt”; there was hyperbole in that soubriquet, but Opie (1761–1807) was certainly among the more talented British portraitists of his day, and his skills are evident in his rendering of Macklin. The portrait is furthermore notable for depicting Macklin doing something other than acting. Visual artists had typically portrayed Macklin, like most actors, in character, costumed and suspended at amoment within a drama.Macklin was generally shown as Shylock, the role for which he was renowned—this was
{"title":"John Opie’s Portrait of Charles Macklin and the Shakespeare Gallery","authors":"P. Goring","doi":"10.1086/707744","DOIUrl":"https://doi.org/10.1086/707744","url":null,"abstract":"JohnOpie’s portrait of CharlesMacklin (ca. 1699–1797) is one of themore technically accomplished likenesses of the celebrated actor-playwright. It was the work of a painter hailed as “the English Rembrandt”; there was hyperbole in that soubriquet, but Opie (1761–1807) was certainly among the more talented British portraitists of his day, and his skills are evident in his rendering of Macklin. The portrait is furthermore notable for depicting Macklin doing something other than acting. Visual artists had typically portrayed Macklin, like most actors, in character, costumed and suspended at amoment within a drama.Macklin was generally shown as Shylock, the role for which he was renowned—this was","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"39 1","pages":"184 - 193"},"PeriodicalIF":0.3,"publicationDate":"2020-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81411400","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}
A three-dimensional, polychrome realization of a question mark, H. C. Westermann’s Untitled remains something of a question itself (fig. 1). Without the verbiage normally preceding any such sign it is impossible to know what, if anything, is being asked. Perhaps the riddle posed has more to do with viewer projection than the artist’s own intendedmeaning, although it is my contention that built into the content of the sculpture was a faith that such uncertainty would attract attention. Certainly this was true in the months of its initial reception, when Untitled elicited divergent responses and frequent reproduction. Clearly it met the needs of critics in their desire to engage with emergent practices in United
{"title":"An Open-Ended Question: H. C. Westermann’s Untitled, 1962","authors":"D. McCarthy","doi":"10.1086/707745","DOIUrl":"https://doi.org/10.1086/707745","url":null,"abstract":"A three-dimensional, polychrome realization of a question mark, H. C. Westermann’s Untitled remains something of a question itself (fig. 1). Without the verbiage normally preceding any such sign it is impossible to know what, if anything, is being asked. Perhaps the riddle posed has more to do with viewer projection than the artist’s own intendedmeaning, although it is my contention that built into the content of the sculpture was a faith that such uncertainty would attract attention. Certainly this was true in the months of its initial reception, when Untitled elicited divergent responses and frequent reproduction. Clearly it met the needs of critics in their desire to engage with emergent practices in United","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"68 1","pages":"194 - 202"},"PeriodicalIF":0.3,"publicationDate":"2020-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88185960","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}
Michelangelo Buonarroti’s Temptation in the Sistine Chapel is marked by iconographic freedom and innovation, as the artist departs more than once from biblical text and pictorial tradition (fig. 1). Genesis 3:6 describes how the wily serpent tempted Eve with forbidden fruit from the Tree of the Knowledge of Good and Evil, and she, in turn, tempted the first man: “And when the woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be desired to make one wise, she took of the fruit thereof, and did eat, and gave also unto her husband with her; and he did eat.” Michelangelo, perhaps to emphasize Adam’s free will, independence of mind, and inexcusable
米开朗基罗·博纳罗蒂(Michelangelo Buonarroti)的《西斯廷教堂的诱惑》(Temptation in the Sistine Chapel)以图像的自由和创新为标志，因为艺术家不止一次地偏离了圣经文本和绘画传统(图1)。创世纪3:6描述了狡猾的蛇如何用分别善恶树上的禁果诱惑夏娃，而她反过来诱惑了第一个男人:女人见那树的果子好作食物，也悦人的眼目，且是可喜爱的，能使人有智慧，就摘下果子来吃了，又给他丈夫。他确实吃了。”米开朗基罗，也许是为了强调亚当的自由意志、思想独立和不可原谅
{"title":"“His fruit was sweet to my taste”: The Song of Solomon and Michelangelo’s Temptation","authors":"J. Manca","doi":"10.1086/707742","DOIUrl":"https://doi.org/10.1086/707742","url":null,"abstract":"Michelangelo Buonarroti’s Temptation in the Sistine Chapel is marked by iconographic freedom and innovation, as the artist departs more than once from biblical text and pictorial tradition (fig. 1). Genesis 3:6 describes how the wily serpent tempted Eve with forbidden fruit from the Tree of the Knowledge of Good and Evil, and she, in turn, tempted the first man: “And when the woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be desired to make one wise, she took of the fruit thereof, and did eat, and gave also unto her husband with her; and he did eat.” Michelangelo, perhaps to emphasize Adam’s free will, independence of mind, and inexcusable","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"1 1","pages":"162 - 171"},"PeriodicalIF":0.3,"publicationDate":"2020-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89733923","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}
“Most people look at a painting with their ears,” runs the old Chinese proverb, although I suspect this is actually a bit of cynical Yankee wit of the P. T. Barnum variety, disguised as a pearl of ancient oriental wisdom. Those of us who teach art history know very well how difficult it is to persuade students to abandon what they have already been told about a work of art, replacing this inherited sagacity with the evidence of their own eyes and the discoveries of their own research. Perhaps we have good reason to be thankful that so many of these students come to our classrooms with zero prior knowledge of the subject, possessing the unbiased innocence of the “transparent eye-ball” that Emerson experienced only in moments of transcendental ecstasy.
“大多数人用耳朵看一幅画，”这是一句中国谚语，尽管我怀疑这实际上是p·t·巴纳姆(P. T. Barnum)那种愤世嫉俗的美国人的机智，伪装成一颗古老东方智慧的明珠。我们这些教授艺术史的人非常清楚，要说服学生放弃他们已经被告知的关于一件艺术作品的知识，用他们自己的眼睛和研究的发现来取代这种遗传的智慧是多么困难。也许我们有充分的理由感谢这么多来到我们教室的学生，他们对这门学科一无所知，拥有“透明的眼球”的无偏见的天真，这是爱默生只有在超然的狂喜时刻才体验到的。
{"title":"Editor’s Note: New Baggage for Old Masters","authors":"John Cunnally","doi":"10.1086/707739","DOIUrl":"https://doi.org/10.1086/707739","url":null,"abstract":"“Most people look at a painting with their ears,” runs the old Chinese proverb, although I suspect this is actually a bit of cynical Yankee wit of the P. T. Barnum variety, disguised as a pearl of ancient oriental wisdom. Those of us who teach art history know very well how difficult it is to persuade students to abandon what they have already been told about a work of art, replacing this inherited sagacity with the evidence of their own eyes and the discoveries of their own research. Perhaps we have good reason to be thankful that so many of these students come to our classrooms with zero prior knowledge of the subject, possessing the unbiased innocence of the “transparent eye-ball” that Emerson experienced only in moments of transcendental ecstasy.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"15 1","pages":"135 - 139"},"PeriodicalIF":0.3,"publicationDate":"2020-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82541205","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}
The depictions in the so-called Asàrotos òikos (“unswept floor”) mosaic from the Vatican have remained puzzling, although it seems clear that waste is portrayed (fig. 1). The images depicted in the main parts of the mosaic have been recognized as remnants of food (such as cherries, grapes, leaves, nutshells, lobster claws, fish skeletons, oysters, chicken bones; fig. 2), and even a tiny mouse appears among them. Another part of themosaic features Dionysian tragicmasks (fig. 3).Mosaics belonging to this genre have been interpreted as a symbolic representation of the Roman elite. However, the proximity of reversal images in the mosaic
{"title":"Decadence or Hedonism? The Abject as Sublime in the Asàrotos òikos Mosaic Floor from the Vatican","authors":"Nava Sevilla-Sadeh","doi":"10.1086/707740","DOIUrl":"https://doi.org/10.1086/707740","url":null,"abstract":"The depictions in the so-called Asàrotos òikos (“unswept floor”) mosaic from the Vatican have remained puzzling, although it seems clear that waste is portrayed (fig. 1). The images depicted in the main parts of the mosaic have been recognized as remnants of food (such as cherries, grapes, leaves, nutshells, lobster claws, fish skeletons, oysters, chicken bones; fig. 2), and even a tiny mouse appears among them. Another part of themosaic features Dionysian tragicmasks (fig. 3).Mosaics belonging to this genre have been interpreted as a symbolic representation of the Roman elite. However, the proximity of reversal images in the mosaic","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"1995 1","pages":"140 - 149"},"PeriodicalIF":0.3,"publicationDate":"2020-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82443913","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}
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