Together with Giorgio Vasari, Vincenzio Borghini, artistic adviser to the Medici, was responsible for the design of the tomb of Michelangelo in the Florentine church of Santa Croce. On November 4, 1564, Borghini informed Duke Cosimo I de’Medici of his and Vasari’s intention to decorate this tombwith statues representing Painting, Sculpture, and Architecture, respectively. The order in which Borghini listed these statues suggests that he and Vasari wished to give Painting the main position, which meant that she would be placed in the center of the monument,
{"title":"Battista Lorenzi’s Statue of Painting on Michelangelo’s Tomb","authors":"Henk Thijs van Veen","doi":"10.1086/725526","DOIUrl":"https://doi.org/10.1086/725526","url":null,"abstract":"Together with Giorgio Vasari, Vincenzio Borghini, artistic adviser to the Medici, was responsible for the design of the tomb of Michelangelo in the Florentine church of Santa Croce. On November 4, 1564, Borghini informed Duke Cosimo I de’Medici of his and Vasari’s intention to decorate this tombwith statues representing Painting, Sculpture, and Architecture, respectively. The order in which Borghini listed these statues suggests that he and Vasari wished to give Painting the main position, which meant that she would be placed in the center of the monument,","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72658693","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}
Thomas Cole painted his five-part series Course of Empire for businessman Luman Reed. The varied scenes comprise a chronological history, going from the primitive and pastoral stages to an advanced urban development (fig. 1), to military destruction and ruin. Cole first ideated the series between 1827 and 1829, completing it by 1836. In advertisements, Cole stated that paintings “are not of any particular nation or country” and that they are allegory and not history. The artist called thework an “Epitome ofMan.” Yet, wemight look for suggestions
{"title":"The French Connection in Thomas Cole’s Course of Empire","authors":"J. Manca","doi":"10.1086/725530","DOIUrl":"https://doi.org/10.1086/725530","url":null,"abstract":"Thomas Cole painted his five-part series Course of Empire for businessman Luman Reed. The varied scenes comprise a chronological history, going from the primitive and pastoral stages to an advanced urban development (fig. 1), to military destruction and ruin. Cole first ideated the series between 1827 and 1829, completing it by 1836. In advertisements, Cole stated that paintings “are not of any particular nation or country” and that they are allegory and not history. The artist called thework an “Epitome ofMan.” Yet, wemight look for suggestions","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87924328","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}
Shannon Pritchard has pointed to a possible source for Michelangelo Merisi da Caravaggio’s Judith Beheading Holofernes in the pages of this journal. I hope to do something similar: to identify a possible print source for the Caravaggio painting traditionally referred to as John the Baptist with a Ram. TheMusei Capitolini and the Doria Pamphilj Gallery, Rome, hold two extant versions of the painting (dated to 1602). But nothing here bears on forensic issues of a curatorial nature.
香农·普里查德(Shannon Pritchard)指出了米开朗基罗·梅里西·达·卡拉瓦乔(Merisi da Caravaggio)的《朱迪思斩首霍洛芬内斯》(Judith斩首Holofernes)的可能来源。我希望做一些类似的事情:找出卡拉瓦乔传统上被称为“施洗约翰与公羊”的画作的可能的印刷来源。罗马的Capitolini博物馆和Doria Pamphilj画廊保存着这幅画的两个现存版本(可追溯到1602年)。但这里没有涉及到策展性质的法医问题。
{"title":"Caravaggio’s John the Baptist with a Ram: Iconography and Source","authors":"L. Groarke","doi":"10.1086/725527","DOIUrl":"https://doi.org/10.1086/725527","url":null,"abstract":"Shannon Pritchard has pointed to a possible source for Michelangelo Merisi da Caravaggio’s Judith Beheading Holofernes in the pages of this journal. I hope to do something similar: to identify a possible print source for the Caravaggio painting traditionally referred to as John the Baptist with a Ram. TheMusei Capitolini and the Doria Pamphilj Gallery, Rome, hold two extant versions of the painting (dated to 1602). But nothing here bears on forensic issues of a curatorial nature.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78322437","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}
Adolphe Valette was born in Saint-Étienne, France, a medium-sized, industrial city located southwest of Lyon. In his formative years, he typified the struggling young artist, who worked during the day and attended art classes in the evenings. Employment and education were the twin factors that determined where he chose to live, which meant moving to cities with an economy vibrant enough to support a respectable art school. Consequently, Valette found himself immersed in the bustling urban world of industry: his art in the service of commerce.
{"title":"Adolphe Valette and the Firefly","authors":"John Walter Taylor","doi":"10.1086/725531","DOIUrl":"https://doi.org/10.1086/725531","url":null,"abstract":"Adolphe Valette was born in Saint-Étienne, France, a medium-sized, industrial city located southwest of Lyon. In his formative years, he typified the struggling young artist, who worked during the day and attended art classes in the evenings. Employment and education were the twin factors that determined where he chose to live, which meant moving to cities with an economy vibrant enough to support a respectable art school. Consequently, Valette found himself immersed in the bustling urban world of industry: his art in the service of commerce.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79961503","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}
When Sigmund Freud was asked if he was familiar with the writings of Friedrich Nietzsche, he replied that he had heard of Nietzsche but deliberately avoided reading his books. He suspected that the philosopher’s ideas might be too similar to his own and could thus inhibit or deflect his process of discovery. This anecdote comes to mind whenever one of my university students (or a writer submitting an article to our journal) is criticized for missing some important, even vital, authority among the scholarly sources cited in their research paper. The author sometimes justifies this omission by insisting that their discovery is so
{"title":"Editor’s Note: Another Glorious Company","authors":"John Cunnally","doi":"10.1086/725524","DOIUrl":"https://doi.org/10.1086/725524","url":null,"abstract":"When Sigmund Freud was asked if he was familiar with the writings of Friedrich Nietzsche, he replied that he had heard of Nietzsche but deliberately avoided reading his books. He suspected that the philosopher’s ideas might be too similar to his own and could thus inhibit or deflect his process of discovery. This anecdote comes to mind whenever one of my university students (or a writer submitting an article to our journal) is criticized for missing some important, even vital, authority among the scholarly sources cited in their research paper. The author sometimes justifies this omission by insisting that their discovery is so","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73512311","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}
While his name is a glaring omission, the brief missive regarding an Indigenous silversmith, datedMarch 9, 1566, and held at theArchivoGeneral de Indias in Seville, is surprisingly rich in detail (fig. 1). It was sent by the first archbishop of Lima, Jerónimo de Loayza, to King Philip II of Spain, in order to discuss a silversmith who had lived in the archbishop’s home since 1552, at least. The letter suggests that the silversmith traveled from New Spain with Antonio deMendoza himself whenMendoza was summoned to Peru as viceroy in 1550. It even describes three pieces made by the silversmith.
虽然遗漏了他的名字，但这封日期为1566年3月9日、保存在塞维利亚印第安人档案馆的关于一名土著银匠的简短信件却出人意料地详细(图1)。这封信是利马的第一任大主教Jerónimo de Loayza寄给西班牙国王菲利普二世的，目的是讨论至少从1552年起就住在大主教家里的一名银匠。信中提到，1550年门多萨被任命为秘鲁总督时，这位银匠和安东尼奥·德门多萨一起从新西班牙来到秘鲁。它甚至描述了银匠制作的三件作品。
{"title":"“Cosas desta tierra”: An Indigenous Silversmith from Mexico in Peru, ca. 1550","authors":"Yeidy Rosa","doi":"10.1086/725525","DOIUrl":"https://doi.org/10.1086/725525","url":null,"abstract":"While his name is a glaring omission, the brief missive regarding an Indigenous silversmith, datedMarch 9, 1566, and held at theArchivoGeneral de Indias in Seville, is surprisingly rich in detail (fig. 1). It was sent by the first archbishop of Lima, Jerónimo de Loayza, to King Philip II of Spain, in order to discuss a silversmith who had lived in the archbishop’s home since 1552, at least. The letter suggests that the silversmith traveled from New Spain with Antonio deMendoza himself whenMendoza was summoned to Peru as viceroy in 1550. It even describes three pieces made by the silversmith.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87457438","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 rich and diverse art collection of the University of Stockholm includes a lovely painting depicting a quack doctor performing in a village square (fig. 1). He has spread his jars of ointment on a makeshift table resting atop a barrel, and he now stands behind it on a trunk and theatrically presents his offerings to a crowd of people who have gathered around him. He is dressed in a colorful outfit, including blue trousers with golden horizontal stripes and a blue sash, and he wears an oversized Phrygian cap. The crowd is composed of simple people; most of
{"title":"A Quack in Stockholm: Establishing the Oeuvre of Joachim van den Heuvel","authors":"Jochai Rosen","doi":"10.1086/725528","DOIUrl":"https://doi.org/10.1086/725528","url":null,"abstract":"The rich and diverse art collection of the University of Stockholm includes a lovely painting depicting a quack doctor performing in a village square (fig. 1). He has spread his jars of ointment on a makeshift table resting atop a barrel, and he now stands behind it on a trunk and theatrically presents his offerings to a crowd of people who have gathered around him. He is dressed in a colorful outfit, including blue trousers with golden horizontal stripes and a blue sash, and he wears an oversized Phrygian cap. The crowd is composed of simple people; most of","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74851609","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}
In February 2020 a painting by Marie-Victoire Lemoine (1754–1820) stole the show at Doyle auctioneers in New York (fig. 1). Identified as a portrait of Pauline Leclerc, née Bonaparte, flamboyant sister of Napoleon I, it fetched $387,000, including the buyer’s premium. Its provenance probably helped to drive the price, a record for the artist. According to Doyle, Pauline gave the painting to her brother Joseph Bonaparte, who took it with him into exile in America after the First
{"title":"Unraveling a Myth: A Misidentified Portrait by Marie-Victoire Lemoine","authors":"Margaret A. Oppenheimer","doi":"10.1086/725529","DOIUrl":"https://doi.org/10.1086/725529","url":null,"abstract":"In February 2020 a painting by Marie-Victoire Lemoine (1754–1820) stole the show at Doyle auctioneers in New York (fig. 1). Identified as a portrait of Pauline Leclerc, née Bonaparte, flamboyant sister of Napoleon I, it fetched $387,000, including the buyer’s premium. Its provenance probably helped to drive the price, a record for the artist. According to Doyle, Pauline gave the painting to her brother Joseph Bonaparte, who took it with him into exile in America after the First","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72417165","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}
On May 27, 1459, Pope Pius II entered Mantua at the head of a triumphal procession to open the Council of Mantua. Dismayed by the fall of Constantinople to the Ottoman Turks in 1453, the council issued a call in January 1460 for a crusade to recover lost Christian lands. While the council deliberated, Andrea Mantegna accepted a position as court artist to the council’s host, Ludovico II Gonzaga, Marquis of Mantua. Not long after this, Mantegna painted for Ludovico an Adoration of the Magi in which the Magi lead a strikingly multiethnic entourage
{"title":"Mantegna’s Black Magus and Prester John","authors":"M. Leith, Allyson Everingham Sheckler","doi":"10.1086/724208","DOIUrl":"https://doi.org/10.1086/724208","url":null,"abstract":"On May 27, 1459, Pope Pius II entered Mantua at the head of a triumphal procession to open the Council of Mantua. Dismayed by the fall of Constantinople to the Ottoman Turks in 1453, the council issued a call in January 1460 for a crusade to recover lost Christian lands. While the council deliberated, Andrea Mantegna accepted a position as court artist to the council’s host, Ludovico II Gonzaga, Marquis of Mantua. Not long after this, Mantegna painted for Ludovico an Adoration of the Magi in which the Magi lead a strikingly multiethnic entourage","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72475051","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}
While architectural inventions after Michelangelo are often termed “Mannerist,” Giorgio Vasari used a more conspicuous adjective to describe licentious ornament: grotesque. According to Vasari, “new fantasies have since been seen which have more of the grotesque than of reason or rule in their ornamentation.” The “fantasies” that architects such as Bartolomeo Ammannati, Bernardo Buontalenti, and Vasari
{"title":"The Grotesque Provocations of the Palazzo di Bianca Cappello","authors":"Victoria Addona","doi":"10.1086/724209","DOIUrl":"https://doi.org/10.1086/724209","url":null,"abstract":"While architectural inventions after Michelangelo are often termed “Mannerist,” Giorgio Vasari used a more conspicuous adjective to describe licentious ornament: grotesque. According to Vasari, “new fantasies have since been seen which have more of the grotesque than of reason or rule in their ornamentation.” The “fantasies” that architects such as Bartolomeo Ammannati, Bernardo Buontalenti, and Vasari","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72466476","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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