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":"60 2","pages":"36 - 47"},"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}
The Yongle emperor (Zhu Di, 1360–1424; r. 1402–24) was the third emperor of the Ming dynasty (1368–1644). He is most well-known for his sponsorship of treasure voyages to India, Arabia, and East Africa and for moving the capital from Nanjing to Beijing following his coup against the second Ming ruler, the Jianwen emperor (Zhu Yunwen, 1377– 1402; r. 1398–1402), whowas also Yongle’s nephew. Scholars are familiar with the image of Yongle from the painting Portrait of Emperor Yongle
{"title":"Destined to Rule: The Symbolism of the Jade-Colored Throne in the Yongle Emperor’s Portrait","authors":"Quincy Ngan","doi":"10.1086/724207","DOIUrl":"https://doi.org/10.1086/724207","url":null,"abstract":"The Yongle emperor (Zhu Di, 1360–1424; r. 1402–24) was the third emperor of the Ming dynasty (1368–1644). He is most well-known for his sponsorship of treasure voyages to India, Arabia, and East Africa and for moving the capital from Nanjing to Beijing following his coup against the second Ming ruler, the Jianwen emperor (Zhu Yunwen, 1377– 1402; r. 1398–1402), whowas also Yongle’s nephew. Scholars are familiar with the image of Yongle from the painting Portrait of Emperor Yongle","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"103 1","pages":"14 - 24"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79466176","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 choosing the essays for this issue of Source, I aimed for our usual variety of medium, period, and methodology, without being conscious of an overall theme. But I notice that many of the articles in this issue revolve around the power of art to transform or provoke a metamorphosis, such as changing a novice to a knight, converting a solid building to a visionary fantasy, or promoting a usurper into a legitimate ruler. This transformative power, of course, also has its effect on the viewer, for whom a work of art, in whatever medium, may provoke a spiritual or emotional makeover. In the Broadway musical Billy Elliot, the provincial dance teacher, Mrs. Wilkinson, tells her clumsy pupils (all of them
{"title":"Editorial Note: Transformations","authors":"John Cunnally","doi":"10.1086/724213","DOIUrl":"https://doi.org/10.1086/724213","url":null,"abstract":"In choosing the essays for this issue of Source, I aimed for our usual variety of medium, period, and methodology, without being conscious of an overall theme. But I notice that many of the articles in this issue revolve around the power of art to transform or provoke a metamorphosis, such as changing a novice to a knight, converting a solid building to a visionary fantasy, or promoting a usurper into a legitimate ruler. This transformative power, of course, also has its effect on the viewer, for whom a work of art, in whatever medium, may provoke a spiritual or emotional makeover. In the Broadway musical Billy Elliot, the provincial dance teacher, Mrs. Wilkinson, tells her clumsy pupils (all of them","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"56 1","pages":"1 - 4"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81336999","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 densely populated frescoes by Giotto and his workshop in the crossing vaults of the Lower Church of San Francesco at Assisi, generally dated to the second decade of the fourteenth century, still resist iconographical exegesis. The three allegories of the Franciscan vows of poverty, chastity, and obedience are particularly challenging: their imagery is unique and complex, presenting enigmatic tableaux acted out by historical and symbolic figures amid throngs of angels. This article offers a new interpretation of a central incident in one of the vele (sails), as the frescoes are
{"title":"Chastity’s Knight: Allegory and Chivalry in Assisi","authors":"J. Renner","doi":"10.1086/724206","DOIUrl":"https://doi.org/10.1086/724206","url":null,"abstract":"The densely populated frescoes by Giotto and his workshop in the crossing vaults of the Lower Church of San Francesco at Assisi, generally dated to the second decade of the fourteenth century, still resist iconographical exegesis. The three allegories of the Franciscan vows of poverty, chastity, and obedience are particularly challenging: their imagery is unique and complex, presenting enigmatic tableaux acted out by historical and symbolic figures amid throngs of angels. This article offers a new interpretation of a central incident in one of the vele (sails), as the frescoes are","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"26 1","pages":"5 - 13"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72665834","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 April 1909 William Howard Taft posed at the White House for the only Spanish artist who has ever portrayed a president of the United States of America: Joaquín Sorolla y Bastida (1863–1923). The commission was a direct consequence of the overwhelming success that the painter had achieved in his first exhibition in the United States, inaugurated the previous February at the Hispanic Society of America in New York under Spanish royal patronage.
1909年4月，威廉·霍华德·塔夫脱在白宫为唯一一位为美国总统画像的西班牙艺术家摆好了姿势:Joaquín索罗拉·y·巴斯蒂达(Sorolla y Bastida, 1863-1923)。去年2月，这位画家在西班牙王室的赞助下，在纽约的美国西班牙裔协会(Hispanic Society of America)举行了他在美国的首次展览，并取得了巨大的成功。
{"title":"A Spanish Painter in the White House: Joaquín Sorolla’s Portrait of President William Howard Taft (1909)","authors":"Fátima Bethencourt Pérez","doi":"10.1086/724211","DOIUrl":"https://doi.org/10.1086/724211","url":null,"abstract":"In April 1909 William Howard Taft posed at the White House for the only Spanish artist who has ever portrayed a president of the United States of America: Joaquín Sorolla y Bastida (1863–1923). The commission was a direct consequence of the overwhelming success that the painter had achieved in his first exhibition in the United States, inaugurated the previous February at the Hispanic Society of America in New York under Spanish royal patronage.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"19 1","pages":"58 - 68"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77992182","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":"Oscar White Muscarella (1931–2022)","authors":"Elizabeth Simpson","doi":"10.1086/724212","DOIUrl":"https://doi.org/10.1086/724212","url":null,"abstract":"","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"10 1","pages":"69 - 73"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86097960","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 architectural photography of Annette and Rudi Rada documented the cities, buildings, landscapes, and people of South Florida and the Caribbean from approximately 1946 to 1975, at a time when publications such as the Miami Herald, House & Garden, the American Home, and others were promoting travel to a region that was still largely perceived as an untouched paradise. Both self-taught, the couple produced work for nearly thirty years that explored the local cultures of
{"title":"The Architectural Photography of Annette and Rudi Rada: Modernity and Tradition in Miami and Havana","authors":"Victor Deupi","doi":"10.1086/722326","DOIUrl":"https://doi.org/10.1086/722326","url":null,"abstract":"The architectural photography of Annette and Rudi Rada documented the cities, buildings, landscapes, and people of South Florida and the Caribbean from approximately 1946 to 1975, at a time when publications such as the Miami Herald, House & Garden, the American Home, and others were promoting travel to a region that was still largely perceived as an untouched paradise. Both self-taught, the couple produced work for nearly thirty years that explored the local cultures of","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"9 1","pages":"299 - 309"},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87475714","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}
During the Italian Renaissance, primarily in Florence but also more broadly in Tuscany and elsewhere, painted wooden trays (deschi da parto), as well as painted wooden bowls (tafferie da parto), were used to encourage, celebrate, and commemorate childbirth. Less than a hundred are known today, some intact and others fragmentary. However, during the height of their popularity, it is very likely that thousands of these trays and bowls were made for families across the economic spectrum. Like the painted marriage chests with which they are frequently associated, they were handed down from parent to child or sold on the
在意大利文艺复兴时期，主要是在佛罗伦萨，但也更广泛地在托斯卡纳和其他地方，彩绘木托盘(deschi da parto)，以及彩绘木碗(tafferie da parto)，被用来鼓励，庆祝和纪念分娩。如今已知的不到100座，有些完好无损，有些则支离破碎。然而，在它们最受欢迎的时候，很可能有成千上万的托盘和碗是为各个经济阶层的家庭制作的。就像经常与它们联系在一起的彩绘结婚箱一样，它们要么是由父母传给孩子，要么是被拍卖
{"title":"A Childbirth Tray with the Trial of Moses","authors":"J. Musacchio","doi":"10.1086/722320","DOIUrl":"https://doi.org/10.1086/722320","url":null,"abstract":"During the Italian Renaissance, primarily in Florence but also more broadly in Tuscany and elsewhere, painted wooden trays (deschi da parto), as well as painted wooden bowls (tafferie da parto), were used to encourage, celebrate, and commemorate childbirth. Less than a hundred are known today, some intact and others fragmentary. However, during the height of their popularity, it is very likely that thousands of these trays and bowls were made for families across the economic spectrum. Like the painted marriage chests with which they are frequently associated, they were handed down from parent to child or sold on the","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"22 1","pages":"235 - 244"},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84112825","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":"Talking Colors: Ercole Sarti and the Verses That Gave Voice to His Paintings","authors":"A. L. Conte","doi":"10.1086/722322","DOIUrl":"https://doi.org/10.1086/722322","url":null,"abstract":"","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"116 1","pages":"255 - 266"},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87748402","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}
Of the nearly four hundred figures in Michelangelo’s Sistine Chapel Last Judgment fresco (1536–41), fewer than one hundred have been identified as recognizable individuals (fig. 1). Most of these are canonical: many are biblical (Christ, the Virgin, John the Baptist); others are saints, distinguishable by the attributes of martyrdom (Sebastian, Bartholomew, Lawrence); and some are characters of a mythological cast (Minos, Charon). Fewer still are apparent portraits of Michelangelo’s contemporaries in the guises of particular saints or sinners. One of the few perceptible personalities to appear, not in an allegorical mien but
{"title":"The Last Judgment of Savonarola","authors":"Rob Millard","doi":"10.1086/722321","DOIUrl":"https://doi.org/10.1086/722321","url":null,"abstract":"Of the nearly four hundred figures in Michelangelo’s Sistine Chapel Last Judgment fresco (1536–41), fewer than one hundred have been identified as recognizable individuals (fig. 1). Most of these are canonical: many are biblical (Christ, the Virgin, John the Baptist); others are saints, distinguishable by the attributes of martyrdom (Sebastian, Bartholomew, Lawrence); and some are characters of a mythological cast (Minos, Charon). Fewer still are apparent portraits of Michelangelo’s contemporaries in the guises of particular saints or sinners. One of the few perceptible personalities to appear, not in an allegorical mien but","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"122 1","pages":"245 - 254"},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80179171","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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