An entry in the Libro Mastro of Donna Olimpia Maidalchini Pamphilj reads: “1654 Expenses for the Paintings for the Galleria of the Palazzo of Piazza Navona must be paid on 24 April, 3000 scudi paid in coin to Pietro Berrettini for the paintings and other ornamentation executed by him in said Galleria” (fig. 1). This payment identifies Donna Olimpia, sister-in-law of Pope Innocent X (Giovanni Battista Pamphilj, r. 1644–55), as the patron of the magnificent fresco by Pietro Berrettini
《Donna Olimpia Maidalchini Pamphilj》中有这样一段记载:“1654年纳沃纳广场宫画廊的绘画费用必须在4月24日支付，3000斯库迪硬币支付给彼得罗·贝雷蒂尼，以支付他在该画廊创作的绘画和其他装饰”(图1)。这笔付款表明，教皇诺森特十世(Giovanni Battista Pamphilj, r. 1644-55)的妹妹唐娜·奥林匹亚是彼得罗·贝雷蒂尼宏伟壁画的赞助人
{"title":"Olimpia Maidalchini Pamphilj as Patron of Pietro da Cortona’s Galleria Frescoes in Palazzo Pamphilj","authors":"Kimberly L. Dennis","doi":"10.1086/722323","DOIUrl":"https://doi.org/10.1086/722323","url":null,"abstract":"An entry in the Libro Mastro of Donna Olimpia Maidalchini Pamphilj reads: “1654 Expenses for the Paintings for the Galleria of the Palazzo of Piazza Navona must be paid on 24 April, 3000 scudi paid in coin to Pietro Berrettini for the paintings and other ornamentation executed by him in said Galleria” (fig. 1). This payment identifies Donna Olimpia, sister-in-law of Pope Innocent X (Giovanni Battista Pamphilj, r. 1644–55), as the patron of the magnificent fresco by Pietro Berrettini","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"1 1","pages":"267 - 276"},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79748614","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":"Editor’s Note: Thank You, Dan Brown, for Improving the Stereotype","authors":"John Cunnally","doi":"10.1086/722319","DOIUrl":"https://doi.org/10.1086/722319","url":null,"abstract":"","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"24 1","pages":"231 - 234"},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87740680","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":"Visual Documentation for Barnett Newman’s Curatorial Projects, 1944–1946: Part II: Commentary and Assessment","authors":"Michael Schreyach","doi":"10.1086/722325","DOIUrl":"https://doi.org/10.1086/722325","url":null,"abstract":"Part I of this","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"39 1","pages":"287 - 298"},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74902693","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}
As an artist, Suzanne Duchamp (1889–1963)—the sister of Marcel Duchamp—is today overshadowed by the fame of her slightly older brother, but she was an accomplished painter in her own right. She made a notable contribution to the history of twentieth-century art when she and her husband, Jean Crotti (1878–1958), formed a movement they called Tabu, an offshoot of Dada that was intended to be comparatively more life-affirming and spiritually uplifting. Crotti described Tabu as “a
{"title":"“A Noise that Decorum Does Not Allow”: A New Interpretation of a Work by Suzanne Duchamp","authors":"Francis M. Naumann","doi":"10.1086/722324","DOIUrl":"https://doi.org/10.1086/722324","url":null,"abstract":"As an artist, Suzanne Duchamp (1889–1963)—the sister of Marcel Duchamp—is today overshadowed by the fame of her slightly older brother, but she was an accomplished painter in her own right. She made a notable contribution to the history of twentieth-century art when she and her husband, Jean Crotti (1878–1958), formed a movement they called Tabu, an offshoot of Dada that was intended to be comparatively more life-affirming and spiritually uplifting. Crotti described Tabu as “a","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"20 1","pages":"277 - 286"},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89143193","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}
An artist steeped in the tradition of the classically inspired sculpture that flourished in the Po Valley and the Veneto from the latefifteenth century to the mid-sixteenth century, Gian Giorgio Lascaris (ca. 1458–1531) is now less well known to scholars than Pietro, Antonio, and Tullio Lombardo, Antonio Minello, and Giovan Maria Mosca, the other main exponents of the same artistic current. While Lascaris’s relative obscurity results
吉安·乔治·拉斯卡里斯(Gian Giorgio Lascaris，约1458-1531年)是一名沉浸在15世纪末至16世纪中期波河流域和威尼托繁荣发展的古典雕塑传统中的艺术家，如今在学者们看来，他的知名度不如彼得罗、安东尼奥、图利奥·隆巴多、安东尼奥·米内洛和乔文·玛丽亚·莫斯卡，后者是同一艺术潮流的其他主要代表人物。而拉斯卡瑞斯相对模糊的结果是
{"title":"“Unjustly Tormented by Love”: Eros as a Source of Artistic Inspiration in an Epigram for Gian Giorgio Lascaris, Alias Pyrgoteles","authors":"Diletta Gamberini","doi":"10.1086/720927","DOIUrl":"https://doi.org/10.1086/720927","url":null,"abstract":"An artist steeped in the tradition of the classically inspired sculpture that flourished in the Po Valley and the Veneto from the latefifteenth century to the mid-sixteenth century, Gian Giorgio Lascaris (ca. 1458–1531) is now less well known to scholars than Pietro, Antonio, and Tullio Lombardo, Antonio Minello, and Giovan Maria Mosca, the other main exponents of the same artistic current. While Lascaris’s relative obscurity results","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"3 1","pages":"176 - 185"},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90345012","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}
“My wallpaper and I are fighting a duel to the death. One or the other of us has got to go.” These are reported to be the last words of Oscar Wilde, delivered on his deathbed at the Hôtel d’Alsace in Paris. The quote came to mind as I admired the colorful statue of Wilde by Danny Osborne in Merrion Square in Dublin recently, where I traveled to take part in the annual meeting of the Renaissance Society of America. I cannot vouch for the accuracy of the wallpaper story, but as the Italians say, se non è vero, è ben trovato, if it's not true, it’s well founded, and we can guess who the winner was of the duel. Art deserves our attention if only because it will survive us, even in its most pedestrian
“我的墙纸和我正在进行生死决斗。我们两个总有一个得走。”据说这是奥斯卡·王尔德在巴黎Hôtel d 'Alsace酒店临终前说的最后一句话。最近，我去都柏林梅里恩广场(Merrion Square)参加美国文艺复兴协会(Renaissance Society of America)年会，在欣赏丹尼·奥斯本(Danny Osborne)的彩色王尔德雕像时，这句话浮现在我的脑海中。我不能保证壁纸故事的准确性，但正如意大利人所说，se non è vero， è ben trovato，如果它不是真的，它是有充分根据的，我们可以猜测谁是决斗的赢家。艺术值得我们关注，因为它比我们活得更久，即使是在最平淡无奇的时候
{"title":"Editor’s Note: The Persistence of Wallpaper","authors":"John Cunnally","doi":"10.1086/720924","DOIUrl":"https://doi.org/10.1086/720924","url":null,"abstract":"“My wallpaper and I are fighting a duel to the death. One or the other of us has got to go.” These are reported to be the last words of Oscar Wilde, delivered on his deathbed at the Hôtel d’Alsace in Paris. The quote came to mind as I admired the colorful statue of Wilde by Danny Osborne in Merrion Square in Dublin recently, where I traveled to take part in the annual meeting of the Renaissance Society of America. I cannot vouch for the accuracy of the wallpaper story, but as the Italians say, se non è vero, è ben trovato, if it's not true, it’s well founded, and we can guess who the winner was of the duel. Art deserves our attention if only because it will survive us, even in its most pedestrian","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"29 1","pages":"151 - 154"},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77958567","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 fresco cycle at the church of Santa Maria in Binda, in Nosate, Italy, is remarkable for several reasons. Executed in the early 1500s by Giovani Maria De Lione della Castellanza, the cycle includes a Dance of Death mural practically unknown to scholars and notable not only for its un-usual iconography but also for being one of the very few painted in medieval Italy. The frescoes also feature an extraordinary set of seven images of the Virgin and Child arranged in a row directly above the Dance of Death. Perhaps most intriguingly, the overall iconographic program
意大利诺萨特市宾达圣玛丽亚教堂的壁画循环之所以引人注目，有几个原因。16世纪初，乔瓦尼·玛丽亚·德·利奥内·德拉·卡斯特兰萨(giovanni Maria De Lione della Castellanza)完成了这个系列，其中包括一幅学者们几乎不知道的《死亡之舞》壁画，它不仅因其不同寻常的肖像而闻名，而且是中世纪意大利为数不多的画作之一。这些壁画还以一组非凡的七幅圣母圣婴的肖像为特色，这七幅肖像排列在死亡之舞的正上方。也许最有趣的是整个图像程序
{"title":"Movement and Interaction at Santa Maria in Binda","authors":"E. Gertsman, A. Verduci","doi":"10.1086/720925","DOIUrl":"https://doi.org/10.1086/720925","url":null,"abstract":"The fresco cycle at the church of Santa Maria in Binda, in Nosate, Italy, is remarkable for several reasons. Executed in the early 1500s by Giovani Maria De Lione della Castellanza, the cycle includes a Dance of Death mural practically unknown to scholars and notable not only for its un-usual iconography but also for being one of the very few painted in medieval Italy. The frescoes also feature an extraordinary set of seven images of the Virgin and Child arranged in a row directly above the Dance of Death. Perhaps most intriguingly, the overall iconographic program","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"17 1","pages":"155 - 164"},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82679380","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}
Current debates about erasure and action in relation to race highlight the need for art historians to be vigilant about how we describe and analyze representations of non-Europeans. The Ethiopian princess Andromeda from ancient mythology is a notable example. The textual trail implying that Andromeda was black begins in now-lost Greek plays from the fifth century BCE that unequivocally described the character as Ethiopian, and later texts adduced below continued that
{"title":"Race Matters: Black Andromeda in the Renaissance and in Contemporary Whitewashing","authors":"P. Simons","doi":"10.1086/720926","DOIUrl":"https://doi.org/10.1086/720926","url":null,"abstract":"Current debates about erasure and action in relation to race highlight the need for art historians to be vigilant about how we describe and analyze representations of non-Europeans. The Ethiopian princess Andromeda from ancient mythology is a notable example. The textual trail implying that Andromeda was black begins in now-lost Greek plays from the fifth century BCE that unequivocally described the character as Ethiopian, and later texts adduced below continued that","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"100 1","pages":"165 - 175"},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79344007","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 tercentenary of the 1720 South Sea Bubble saw a fl urry of interest in The Bubblers Medley ( fi g. 1), a satirical trompe-l ’ oeil print published by Thomas Bowles II and sold at his London shop soon after the stock market collapsed. 1 Yet for all the attention paid to the medley ’ s printed items — news clippings, illustrated verse, a playing card — one fi gure got short shrift: the naked boy blowing soap bubbles in the lower right-hand corner. 2
{"title":"Memento Mordant: Etching Bubbles and Biting Time","authors":"R. Ezra","doi":"10.1086/720978","DOIUrl":"https://doi.org/10.1086/720978","url":null,"abstract":"The tercentenary of the 1720 South Sea Bubble saw a fl urry of interest in The Bubblers Medley ( fi g. 1), a satirical trompe-l ’ oeil print published by Thomas Bowles II and sold at his London shop soon after the stock market collapsed. 1 Yet for all the attention paid to the medley ’ s printed items — news clippings, illustrated verse, a playing card — one fi gure got short shrift: the naked boy blowing soap bubbles in the lower right-hand corner. 2","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"7 1","pages":"197 - 207"},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78465113","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}
Marble is among the least discussed metamorphic disappearances in Yoko Ono ’ s artistic production from the 1960s. Not limestone recrys-tallized but a vanishing material notion visualized, Ono ’ s marble hides within a series of conceptual statements, instruction pieces, and unre-alized fi lms awaiting activation through mental and physical perfor-mance. Together her works evoking marble may be seen as pivotal ele-ments within Ono ’ s revolutionary contribution to the dematerialization of the art object. Exploring beyond the limits of medium speci fi city, this
{"title":"“Covered with Thick Marble”: Uncovering Yoko Ono’s Marble Works from 1961 to 1966","authors":"Alexander Kusztyk","doi":"10.1086/720930","DOIUrl":"https://doi.org/10.1086/720930","url":null,"abstract":"Marble is among the least discussed metamorphic disappearances in Yoko Ono ’ s artistic production from the 1960s. Not limestone recrys-tallized but a vanishing material notion visualized, Ono ’ s marble hides within a series of conceptual statements, instruction pieces, and unre-alized fi lms awaiting activation through mental and physical perfor-mance. Together her works evoking marble may be seen as pivotal ele-ments within Ono ’ s revolutionary contribution to the dematerialization of the art object. Exploring beyond the limits of medium speci fi city, this","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"48 1","pages":"220 - 229"},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76222856","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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