On the night of September 9, 1624, a thirty-three-year-old painter named Luca Riva lay feverish and deathly ill in his bed in a candlelit room in the Ospedale Maggiore in Milan. Having been sick since July, in recent days he had begun to suffer from “an acute malign fever” and “unusual and dangerous fits.” Fearing that these were his final hours, a judge, a notary, protonotaries, and variouswitnesses had gathered in his room to record his last will and testament. Riva’s case was far from typical, for he had been born deaf and was also illiterate, which meant he was legally unable to write his own will and unable to communicate
{"title":"Luca Riva, a Deaf Painter in Spanish Milan","authors":"Jesse Locker","doi":"10.1086/720928","DOIUrl":"https://doi.org/10.1086/720928","url":null,"abstract":"On the night of September 9, 1624, a thirty-three-year-old painter named Luca Riva lay feverish and deathly ill in his bed in a candlelit room in the Ospedale Maggiore in Milan. Having been sick since July, in recent days he had begun to suffer from “an acute malign fever” and “unusual and dangerous fits.” Fearing that these were his final hours, a judge, a notary, protonotaries, and variouswitnesses had gathered in his room to record his last will and testament. Riva’s case was far from typical, for he had been born deaf and was also illiterate, which meant he was legally unable to write his own will and unable to communicate","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"32 1","pages":"186 - 196"},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77595496","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:","authors":"Michael Schreyach","doi":"10.1086/720929","DOIUrl":"https://doi.org/10.1086/720929","url":null,"abstract":"","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"5 1","pages":"208 - 219"},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83777057","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}
TheUniversity of North Carolina at Greensboro has struggled with what tomake of—and out of—JosephH. Cox’s untitled sculptural mural from 1960 (fig. 1). At various moments over the past six decades, representatives of the university have removed key elements, permitted lax maintenance, and disassembled the work entirely. As part of the 2018 demolition of the building that supported the mural and the subsequent construction of a new building on the same site, the university revealed an institutional understanding of the mural to be less a work of public art than a collection of useful public materials.
{"title":"How to Destroy a Mural","authors":"A. Wasserman","doi":"10.1086/719461","DOIUrl":"https://doi.org/10.1086/719461","url":null,"abstract":"TheUniversity of North Carolina at Greensboro has struggled with what tomake of—and out of—JosephH. Cox’s untitled sculptural mural from 1960 (fig. 1). At various moments over the past six decades, representatives of the university have removed key elements, permitted lax maintenance, and disassembled the work entirely. As part of the 2018 demolition of the building that supported the mural and the subsequent construction of a new building on the same site, the university revealed an institutional understanding of the mural to be less a work of public art than a collection of useful public materials.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"79 1","pages":"139 - 149"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86197175","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":"Sainted Remains and Ordinary Bones","authors":"E. Longsworth","doi":"10.1086/719455","DOIUrl":"https://doi.org/10.1086/719455","url":null,"abstract":"","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"341 1","pages":"76 - 87"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77778744","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 December 1550, Leone Leoni wrote a letter to Antoine Perrenot de Granvelle, imperial minister of Emperor Charles V, in which Leoni describes a model for a commission of a large-scale bronze statue of the emperor, seeking approval for his concept of a second figure of Fury, restrained and cowering at the base (fig. 1). Emphasizing its compositional complexity and emotional impact, Leoni expresses sadness that Granvelle cannot see the model—for if he could, Leoni says, Granvelle would love him more than he does already and would see him as other
{"title":"Hierarchies of Value: The Medallist’s Work in Sixteenth-Century Art","authors":"Caylen Ferguson Heckel","doi":"10.1086/719457","DOIUrl":"https://doi.org/10.1086/719457","url":null,"abstract":"In December 1550, Leone Leoni wrote a letter to Antoine Perrenot de Granvelle, imperial minister of Emperor Charles V, in which Leoni describes a model for a commission of a large-scale bronze statue of the emperor, seeking approval for his concept of a second figure of Fury, restrained and cowering at the base (fig. 1). Emphasizing its compositional complexity and emotional impact, Leoni expresses sadness that Granvelle cannot see the model—for if he could, Leoni says, Granvelle would love him more than he does already and would see him as other","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"65 1","pages":"99 - 108"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78689836","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 The Astronomer (1668) Johannes Vermeer presents us with an interior scene of a man seated at a small table in front of a window, his right hand reaching out and touching a celestial globe on which a series of constellations are rendered (fig. 1). This globe is one of a pair produced by Jodocus Hondius in 1600; the terrestrial globe from this set can be seen in this painting’s companion work, The Geographer (1668). Astronomy and geography were two branches of the same field at this time. The
{"title":"The Missing Telescope in Vermeer’s The Astronomer","authors":"J. Haladyn","doi":"10.1086/719460","DOIUrl":"https://doi.org/10.1086/719460","url":null,"abstract":"In The Astronomer (1668) Johannes Vermeer presents us with an interior scene of a man seated at a small table in front of a window, his right hand reaching out and touching a celestial globe on which a series of constellations are rendered (fig. 1). This globe is one of a pair produced by Jodocus Hondius in 1600; the terrestrial globe from this set can be seen in this painting’s companion work, The Geographer (1668). Astronomy and geography were two branches of the same field at this time. The","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"32 1","pages":"128 - 138"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73604291","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}
Printed in 1531 at Augsburg, Andrea Alciato’s Emblematum Libermarks the emergence of the early modern emblem. The book appears to have been published without the author’s permission at the behest of Konrad Peutinger, his friend and colleague to whom the collection of emblems is dedicated. In the previous decade, Alciato circulated his emblems, almost certainly unillustrated, among his friends in manuscript form. Alciato deemed the unsophisticated images by Augsburg artist Jörg Breu
{"title":"Konrad Peutinger, Jörg Breu, and Festina Lente: An Origin of the Early Modern Emblem in the Prayer Book of Maximilian I","authors":"R. M. Carlisle","doi":"10.1086/719456","DOIUrl":"https://doi.org/10.1086/719456","url":null,"abstract":"Printed in 1531 at Augsburg, Andrea Alciato’s Emblematum Libermarks the emergence of the early modern emblem. The book appears to have been published without the author’s permission at the behest of Konrad Peutinger, his friend and colleague to whom the collection of emblems is dedicated. In the previous decade, Alciato circulated his emblems, almost certainly unillustrated, among his friends in manuscript form. Alciato deemed the unsophisticated images by Augsburg artist Jörg Breu","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"141 1","pages":"88 - 98"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80560204","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 well-known New Yorker cartoon by Frank Modell (1983) shows a bemused family in the lobby of a museum, gazing at a directory that lists: “Big Crazy Paintings,” “Nice Country Scenes,” “Kings, Queens, Naked Statues,” and “Weird Metal, Wood and Plastic Things.” In a similar spirit of transparency, we could rewrite our table of contents for this issue of Source as “Puzzling Tombs,” “Allegorical Turtles,” “Uppity Artists,” “Dead Birds, Murderous Dads, Indoor Astronomers,” and finally “Public Art That Nobody Wants to Save.” Source is proud to share the vast variety of content that we expect to find in our great national
{"title":"Editor’s Note: A Serving of Salmagundi","authors":"John Cunnally","doi":"10.1086/719454","DOIUrl":"https://doi.org/10.1086/719454","url":null,"abstract":"A well-known New Yorker cartoon by Frank Modell (1983) shows a bemused family in the lobby of a museum, gazing at a directory that lists: “Big Crazy Paintings,” “Nice Country Scenes,” “Kings, Queens, Naked Statues,” and “Weird Metal, Wood and Plastic Things.” In a similar spirit of transparency, we could rewrite our table of contents for this issue of Source as “Puzzling Tombs,” “Allegorical Turtles,” “Uppity Artists,” “Dead Birds, Murderous Dads, Indoor Astronomers,” and finally “Public Art That Nobody Wants to Save.” Source is proud to share the vast variety of content that we expect to find in our great national","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"12 1","pages":"71 - 75"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83395019","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}
Giovanni Battista Caracciolo (1578–1635), also known as Battistello, was one of the first Neapolitan artists to speak the language of Caravaggio’s brush. Jean-Pierre Cuzin descibed Caracciolo as being “aman of Naples who truly meditated on the dramatic power and austerity of the canvases left in the city by Caravaggio.” Caracciolo’s oeuvre proves that he was a talented early adopter of Caravaggism, and he received some prestigious commissions across his career, throughout which he remained Caravaggesque, except for certain Bolognese intrusions in his late canvases and in his frescoes. One work that requires a refreshed attribution
{"title":"Revisiting the Dundee Caracciolo","authors":"A. Thom","doi":"10.1086/719459","DOIUrl":"https://doi.org/10.1086/719459","url":null,"abstract":"Giovanni Battista Caracciolo (1578–1635), also known as Battistello, was one of the first Neapolitan artists to speak the language of Caravaggio’s brush. Jean-Pierre Cuzin descibed Caracciolo as being “aman of Naples who truly meditated on the dramatic power and austerity of the canvases left in the city by Caravaggio.” Caracciolo’s oeuvre proves that he was a talented early adopter of Caravaggism, and he received some prestigious commissions across his career, throughout which he remained Caravaggesque, except for certain Bolognese intrusions in his late canvases and in his frescoes. One work that requires a refreshed attribution","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"03 1","pages":"118 - 127"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86277542","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 author of this text was able to observe the various phases of restoration of this newly discovered still-life painting (fig. 1). The painting measures 371⁄4 by 283⁄8 inches. It was found in Spain in 2019, offered at auction as Bodegón con cesto de melocotones, peras, manzanas, granada y aves muertas and attributed to the “Neapolitan school.” The restoration, conducted in Genoa, showed that the canvas had a few scattered retouches, some dating to the eighteenth century and others, more recent, to the end of the nineteenth century. A previous and clumsy cleaning,
这篇文章的作者能够观察到这幅新发现的静物画修复的各个阶段(图1)。这幅画的尺寸为371⁄4 × 283⁄8英寸。这幅画于2019年在西班牙被发现，在拍卖会上以Bodegón con cesto de melocotones, peras, manzanas, granada y aves muertas的名义出售，被认为是“那不勒斯学派”的作品。在热那亚进行的修复工作表明，画布上有几处零散的润饰，其中一些可以追溯到18世纪，另一些则是在19世纪末。先前笨拙的清理，
{"title":"Short Notes and Some News on the Master SB: A Newly Discovered Still-Life Painting","authors":"Matteo Cicchetti","doi":"10.1086/719458","DOIUrl":"https://doi.org/10.1086/719458","url":null,"abstract":"The author of this text was able to observe the various phases of restoration of this newly discovered still-life painting (fig. 1). The painting measures 371⁄4 by 283⁄8 inches. It was found in Spain in 2019, offered at auction as Bodegón con cesto de melocotones, peras, manzanas, granada y aves muertas and attributed to the “Neapolitan school.” The restoration, conducted in Genoa, showed that the canvas had a few scattered retouches, some dating to the eighteenth century and others, more recent, to the end of the nineteenth century. A previous and clumsy cleaning,","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"78 1","pages":"109 - 117"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79688300","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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