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Luca Riva, a Deaf Painter in Spanish Milan 卢卡·里瓦,西班牙米兰的一位聋人画家
IF 0.3 3区 艺术学 Q4 Arts and Humanities Pub Date : 2022-03-01 DOI: 10.1086/720928
Jesse Locker
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
1624年9月9日晚,33岁的画家卢卡·里瓦(Luca Riva)高烧不退地躺在米兰马焦雷医院(Ospedale Maggiore)一间烛光房的床上,奄奄一息。自7月以来,他一直生病,最近几天开始出现“急性恶性发烧”和“不寻常的危险发作”。由于担心这是他最后的几个小时,一位法官、一位公证人、遗嘱执行人和各种证人聚集在他的房间里,记录他最后的遗嘱和遗嘱。里瓦的情况并不典型,因为他生来就耳聋,也是文盲,这意味着他在法律上无法写自己的遗嘱,也无法沟通
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引用次数: 0
Visual Documentation for Barnett Newman’s Curatorial Projects, 1944–1946: 巴尼特·纽曼策展项目的视觉记录,1944-1946
IF 0.3 3区 艺术学 Q4 Arts and Humanities Pub Date : 2022-03-01 DOI: 10.1086/720929
Michael Schreyach
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引用次数: 2
How to Destroy a Mural 如何破坏壁画
IF 0.3 3区 艺术学 Q4 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.1086/719461
A. Wasserman
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.
北卡罗莱纳大学格林斯博罗分校一直在努力解决约瑟夫的问题。考克斯于1960年创作的未命名的雕塑壁画(图1)。在过去六十年的不同时刻,大学的代表们移除了关键元素,允许松散的维护,并将整个作品拆开。作为2018年拆除支持壁画的建筑物以及随后在同一地点建造新建筑物的一部分,该大学揭示了对壁画的制度性理解,即与其说壁画是公共艺术作品,不如说是有用的公共材料的集合。
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引用次数: 0
Sainted Remains and Ordinary Bones 圣骨与普通骨
IF 0.3 3区 艺术学 Q4 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.1086/719455
E. Longsworth
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引用次数: 0
Hierarchies of Value: The Medallist’s Work in Sixteenth-Century Art 价值等级:奖牌获得者在16世纪的艺术作品
IF 0.3 3区 艺术学 Q4 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.1086/719457
Caylen Ferguson Heckel
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
1550年12月,莱昂尼给皇帝查理五世的御用大臣安托万·佩雷诺·德·格兰维尔写了一封信,莱尼在信中描述了一个大型皇帝铜像的委托模型,寻求批准他的第二个愤怒人物的概念,克制地蜷缩在基座上(图1)。莱昂尼强调其构图的复杂性和情感影响,表达了格兰维尔不能看到模型的悲伤,因为如果他能,莱尼说:格兰维尔会比现在更爱他,而且会把他看成另一个人
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引用次数: 0
The Missing Telescope in Vermeer’s The Astronomer 维米尔《天文学家》中丢失的望远镜
IF 0.3 3区 艺术学 Q4 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.1086/719460
J. Haladyn
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
在《天文学家》(1668)中,约翰内斯·维米尔向我们展示了一个室内场景,一个人坐在窗前的一张小桌子旁,他伸出右手,触摸着一个天球,上面画着一系列星座(图1)。这个天球是1600年约多克斯·宏迪乌斯制作的一对天球之一;这一套地球仪可以在这幅画的配套作品《地理学家》(1668)中看到。天文学和地理学在当时是同一领域的两个分支。的
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引用次数: 0
Konrad Peutinger, Jörg Breu, and Festina Lente: An Origin of the Early Modern Emblem in the Prayer Book of Maximilian I Konrad Peutinger, Jörg Breu和Festina Lente:马西米利安一世祈祷书中早期现代徽记的起源
IF 0.3 3区 艺术学 Q4 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.1086/719456
R. M. Carlisle
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
1531年在奥格斯堡印刷的Andrea Alciato的《自由象征》标志着早期现代象征的出现。这本书似乎是在作者的朋友兼同事康拉德·佩廷格(Konrad Peutinger)的要求下未经作者许可出版的,他的徽章集就是献给他的。在之前的十年里,阿尔恰托以手稿的形式在他的朋友之间传播他的标志,几乎可以肯定没有插图。阿尔西亚托认为奥格斯堡艺术家Jörg Breu的作品并不复杂
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引用次数: 0
Editor’s Note: A Serving of Salmagundi 编者注:一份沙丁鱼
IF 0.3 3区 艺术学 Q4 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.1086/719454
John Cunnally
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
弗兰克·莫德尔(Frank Modell, 1983)在《纽约客》(New Yorker)上画了一幅著名的漫画,画的是一个困惑的家庭在博物馆的大厅里,凝视着一个目录,上面列出了“疯狂的大画”、“美丽的乡村景色”、“国王、女王、裸体雕像”和“奇怪的金属、木头和塑料物品”。本着同样的透明精神,我们可以将本期《来源》的目录改写为“令人费解的坟墓”、“寓言乌龟”、“傲慢的艺术家”、“死鸟、凶残的爸爸、室内天文学家”,最后是“没人想拯救的公共艺术”。Source很自豪地分享我们期望在我们伟大的国家中找到的各种各样的内容
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引用次数: 0
Revisiting the Dundee Caracciolo 重访邓迪卡拉乔洛
IF 0.3 3区 艺术学 Q4 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.1086/719459
A. Thom
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
乔瓦尼·巴蒂斯塔·卡拉乔洛(Giovanni Battista Caracciolo, 1578-1635),也被称为巴蒂斯泰罗,是最早使用卡拉瓦乔画笔语言的那不勒斯艺术家之一。让-皮埃尔·库津(Jean-Pierre Cuzin)形容卡拉乔罗是“那不勒斯人,他真正思考了卡拉瓦乔在这座城市留下的画布的戏剧性力量和简朴。”卡拉乔洛的作品证明了他是一个有才华的早期卡拉瓦基主义的采集者,在他的职业生涯中,他接受了一些著名的委托,在他的整个职业生涯中,他一直保持着卡拉瓦基风格,除了他后期的画布和壁画中某些博洛尼亚风格的入侵。一件需要更新归属的作品
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引用次数: 0
Short Notes and Some News on the Master SB: A Newly Discovered Still-Life Painting 《SB大师:一幅新发现的静物画》的简记和一些新闻
IF 0.3 3区 艺术学 Q4 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.1086/719458
Matteo Cicchetti
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,
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引用次数: 0
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SOURCE-NOTES IN THE HISTORY OF ART
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