Colin Eisler observed in 1987 that postwar art scholarship had increasingly begun to distance itself from the biographical details of artists. In the typical study, he wrote, “The Life is gotten over just as hastily as possible before turning to The Work.” In Eisler’s view, this development was unfortunate, for “if an artist’s work is worthy of scrutiny, the more we know the artist the better.” Perhaps no art historian has taken Eisler’s guidance more to heart than Martin Kemp. His Leonardo embraced the virtues of outright biography so avidly that it became an
{"title":"Famous but Unknown: An Introduction to J. Howard Miller","authors":"J. Kimble","doi":"10.1086/718490","DOIUrl":"https://doi.org/10.1086/718490","url":null,"abstract":"Colin Eisler observed in 1987 that postwar art scholarship had increasingly begun to distance itself from the biographical details of artists. In the typical study, he wrote, “The Life is gotten over just as hastily as possible before turning to The Work.” In Eisler’s view, this development was unfortunate, for “if an artist’s work is worthy of scrutiny, the more we know the artist the better.” Perhaps no art historian has taken Eisler’s guidance more to heart than Martin Kemp. His Leonardo embraced the virtues of outright biography so avidly that it became an","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"35 1","pages":"49 - 58"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76613683","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}
Not all bowdlerization is the result of sexual prudery. I heard Leo Steinberg once express disappointment with an edition of the Diary of John Evelyn that he was reading because the editor had decided to eliminate Evelyn’s extensive reports and critiques of sermons he attended on Sundays. The editor was convinced that no modern reader would have the slightest interest in such tedious accounts of theology and exegesis. Yet these homilies, Steinberg noted, not only excited great attention and curiosity during Evelyn’s lifetime (1620–1706), but they were regarded as important forms of communal entertainment and popular discussion,
{"title":"Editor’s Note: Restoring the Director’s Cut","authors":"John Cunnally","doi":"10.1086/718484","DOIUrl":"https://doi.org/10.1086/718484","url":null,"abstract":"Not all bowdlerization is the result of sexual prudery. I heard Leo Steinberg once express disappointment with an edition of the Diary of John Evelyn that he was reading because the editor had decided to eliminate Evelyn’s extensive reports and critiques of sermons he attended on Sundays. The editor was convinced that no modern reader would have the slightest interest in such tedious accounts of theology and exegesis. Yet these homilies, Steinberg noted, not only excited great attention and curiosity during Evelyn’s lifetime (1620–1706), but they were regarded as important forms of communal entertainment and popular discussion,","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"69 1","pages":"1 - 4"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86438032","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 one balmy evening in July 1970, two men appeared in Myeongdong, a bustling commercial district in Seoul, South Korea. In their button-up shirts, the men—Chung Chan S. (Chŏng Ch’an-sŭng) and Ko Ho—might have blended in with the workforce returning home for the day. Yet the pair wore placards around their necks, conspicuously drawing attention to themselves in a society that valued conformity above all. The sign upon Chung’s chest asked, “With what do you
1970年7月一个温暖的夜晚，两名男子出现在韩国首尔繁华的商业区明洞。身穿系扣衬衫的陈钟s (Chŏng Ch 'an-sŭng)和高浩(Ko ho -音译)可能已经融入了下班回家的工作人员之中。然而，这对夫妇在脖子上挂着标语牌，在一个重视一致性高于一切的社会中引人注目地吸引人们对他们的关注。钟胸前的牌子上写着:“你用什么?
{"title":"The Misaligned Body: The Fourth Group and Performance Art in Authoritarian South Korea","authors":"Adela Kim","doi":"10.1086/718491","DOIUrl":"https://doi.org/10.1086/718491","url":null,"abstract":"On one balmy evening in July 1970, two men appeared in Myeongdong, a bustling commercial district in Seoul, South Korea. In their button-up shirts, the men—Chung Chan S. (Chŏng Ch’an-sŭng) and Ko Ho—might have blended in with the workforce returning home for the day. Yet the pair wore placards around their necks, conspicuously drawing attention to themselves in a society that valued conformity above all. The sign upon Chung’s chest asked, “With what do you","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"4 1","pages":"59 - 69"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88617987","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 most memorable moment of Michelangelo Buonarroti’s Sistine Chapel ceiling is, for most—possibly all—modern viewers, the creation of Adam. The vital distance between the hands of God and the first man is one of Michelangelo’s most potent inventions. Yet sixteenth-century commentators on the ceiling were struck more powerfully by the figure of the prophet Jonah (fig. 1) over the altar wall. Vasari expressed his admiration for the way the figure tips away from the actual surface on which it is painted, which itself tips toward the viewer:
{"title":"Michelangelo’s Jonah: A Study in Multitasking","authors":"Anthony Apesos","doi":"10.1086/718486","DOIUrl":"https://doi.org/10.1086/718486","url":null,"abstract":"The most memorable moment of Michelangelo Buonarroti’s Sistine Chapel ceiling is, for most—possibly all—modern viewers, the creation of Adam. The vital distance between the hands of God and the first man is one of Michelangelo’s most potent inventions. Yet sixteenth-century commentators on the ceiling were struck more powerfully by the figure of the prophet Jonah (fig. 1) over the altar wall. Vasari expressed his admiration for the way the figure tips away from the actual surface on which it is painted, which itself tips toward the viewer:","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"38 1","pages":"14 - 23"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85033218","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 beginning of the Itinerarium mentis in Deum (The journey of the mind into God, ca. 1259), Saint Bonaventure (1217–74) exhorts his reader, “Open your eyes, alert the ears of your spirit, unlock your lips, and apply your heart that you may see, hear, praise, love, and adore . . . your God.” As though visualizing Bonaventure’s call to prayer, Giovanni Bellini’s (ca. 1430–1516) painting, St. Francis in the Desert (ca. 1475), portrays the Poverello moving into the light with eyes turned heavenward and lips parted in a sigh of exultation (fig. 1). This supernatural
圣博纳旺图尔(1217 - 1274年)在《Deum游记》(约1259年心灵进入上帝的旅程)的开头劝勉他的读者:“睁开你的眼睛，警醒你灵魂的耳朵，打开你的嘴唇，用心去看、去听、去赞美、去爱、去崇拜……”你的神。”乔瓦尼·贝利尼(Giovanni Bellini，约1430-1516年)的画作《沙漠中的圣弗朗西斯》(St. Francis in the Desert，约1475年)仿佛在想象波纳旺图尔的祈祷，描绘了波韦洛走向光明，眼睛望向天空，嘴唇张开，发出狂喜的叹息(图1)。这是一种超自然的感觉
{"title":"The Journey into the Mind of Bellini: Bonaventure and the Frick St. Francis","authors":"E. Hupe","doi":"10.1086/718485","DOIUrl":"https://doi.org/10.1086/718485","url":null,"abstract":"In the beginning of the Itinerarium mentis in Deum (The journey of the mind into God, ca. 1259), Saint Bonaventure (1217–74) exhorts his reader, “Open your eyes, alert the ears of your spirit, unlock your lips, and apply your heart that you may see, hear, praise, love, and adore . . . your God.” As though visualizing Bonaventure’s call to prayer, Giovanni Bellini’s (ca. 1430–1516) painting, St. Francis in the Desert (ca. 1475), portrays the Poverello moving into the light with eyes turned heavenward and lips parted in a sigh of exultation (fig. 1). This supernatural","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"37 10","pages":"5 - 13"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72477594","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}
Charles Eliot Norton (1827–1908), the first professor of art history atHarvard—whose wordwould have had an enormous impact—refused to support the young Bernhard Berenson (1865–1959) when he requested a recommendation for a scholarship application to travel abroad after his final year at Harvard (1886–87) (figs. 1, 2). Was the reason an (unacknowledged) bias against Jews? And was this the same reason that later, knowing of Berenson’s role in assisting Isabella Stewart Gardner (1840–1924) in locating and purchasing Old Master paintings, he apparently never
{"title":"Charles Eliot Norton on Bernhard Berenson: Methodological Differences or Ethnic Bias?","authors":"A. Moskowitz","doi":"10.1086/718489","DOIUrl":"https://doi.org/10.1086/718489","url":null,"abstract":"Charles Eliot Norton (1827–1908), the first professor of art history atHarvard—whose wordwould have had an enormous impact—refused to support the young Bernhard Berenson (1865–1959) when he requested a recommendation for a scholarship application to travel abroad after his final year at Harvard (1886–87) (figs. 1, 2). Was the reason an (unacknowledged) bias against Jews? And was this the same reason that later, knowing of Berenson’s role in assisting Isabella Stewart Gardner (1840–1924) in locating and purchasing Old Master paintings, he apparently never","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"30 1","pages":"42 - 48"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80362399","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}
Jacopo Pontormo’s fresco in the grand salone of the Medicean villa at Poggio a Caiano (fig. 1) has been the subject of extensive analysis, which has yielded what might be called a partial consensus. Following Giorgio Vasari, most scholars accept that the painting alludes to the story of the shape-shifting god Vertumnus and the nymph Pomona. It seems clear, too, that the painting is partially rooted in Ovid’s detailed account, in Metamorphoses, of Vertumnus’s assumption of various guises in an attempt to seduce Pomona. At the same time, the fresco also features references
Jacopo Pontormo在Poggio a Caiano美第奇别墅的大型沙龙上的壁画(图1)一直是广泛分析的主题，这可能产生了部分共识。继Giorgio Vasari之后，大多数学者都认为这幅画暗指了变形神Vertumnus和女神Pomona的故事。似乎也很清楚，这幅画部分源于奥维德在《变形记》中对维图姆纳斯的详细描述，他伪装成各种各样的样子，试图引诱波莫娜。同时，壁画也有参考文献
{"title":"Nitidissima solis imago: Pontormo, Vertumnus, and the Sun","authors":"K. Houston","doi":"10.1086/718487","DOIUrl":"https://doi.org/10.1086/718487","url":null,"abstract":"Jacopo Pontormo’s fresco in the grand salone of the Medicean villa at Poggio a Caiano (fig. 1) has been the subject of extensive analysis, which has yielded what might be called a partial consensus. Following Giorgio Vasari, most scholars accept that the painting alludes to the story of the shape-shifting god Vertumnus and the nymph Pomona. It seems clear, too, that the painting is partially rooted in Ovid’s detailed account, in Metamorphoses, of Vertumnus’s assumption of various guises in an attempt to seduce Pomona. At the same time, the fresco also features references","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"42 1","pages":"24 - 33"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79400174","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 living in Antwerp for many years, the Florentine merchant Lodovico Guicciardini (1521–89) compiled information about the region’s history and culture that he first published in 1567, complete with several maps. His brief descriptions of artists are useful to art historians, as is his attention to women artists. But one person in the latter category remains virtually unknown, and no work of hers has been discovered. It will be demonstrated here that, in part, Anna Coblegers’s invisibility is
{"title":"Women Artists in Sixteenth-Century Antwerp: The Missing Case of Anna Coblegers (ca. 1545/50?–66)","authors":"P. Simons","doi":"10.1086/718488","DOIUrl":"https://doi.org/10.1086/718488","url":null,"abstract":"When living in Antwerp for many years, the Florentine merchant Lodovico Guicciardini (1521–89) compiled information about the region’s history and culture that he first published in 1567, complete with several maps. His brief descriptions of artists are useful to art historians, as is his attention to women artists. But one person in the latter category remains virtually unknown, and no work of hers has been discovered. It will be demonstrated here that, in part, Anna Coblegers’s invisibility is","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"67 1","pages":"34 - 41"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84042765","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}
At the 2002 Montpellier Danse festival, choreographer Trisha Brown (1936–2017) premiered a new hybrid work of dance and drawing. Through the project’s title, It’s a Draw, she encapsulated the ambiguity governing her combination of these two mediums in a single performative artwork. From July 1 to July 6, 2002, in the festival’s nonproscenium Studio/Théâtre du Hangar, Brown presented live improvisational dance and used improvised movement to draw, producing three ten-byeight-foot works per night: nine drawings in all. As Jean-Paul Montanari,
在2002年的蒙彼利埃舞蹈节上，编舞家特丽莎·布朗(1936-2017)首次推出了舞蹈和绘画的新混合作品。通过这个项目的标题，她将这两种媒介结合在一起的模糊性浓缩在了一件行为艺术作品中。从2002年7月1日到7月6日，在音乐节的非舞台工作室/ th tre du Hangar，布朗表演现场即兴舞蹈，并用即兴动作绘画，每晚创作三幅10英尺高的作品，总共九幅。正如让-保罗·蒙塔纳里所说，
{"title":"Choreographer Trisha Brown’s It’s a Draw (2002–3)","authors":"S. Rosenberg","doi":"10.1086/716333","DOIUrl":"https://doi.org/10.1086/716333","url":null,"abstract":"At the 2002 Montpellier Danse festival, choreographer Trisha Brown (1936–2017) premiered a new hybrid work of dance and drawing. Through the project’s title, It’s a Draw, she encapsulated the ambiguity governing her combination of these two mediums in a single performative artwork. From July 1 to July 6, 2002, in the festival’s nonproscenium Studio/Théâtre du Hangar, Brown presented live improvisational dance and used improvised movement to draw, producing three ten-byeight-foot works per night: nine drawings in all. As Jean-Paul Montanari,","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"34 1","pages":"269 - 278"},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84097649","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}
About two decades before Sandro Botticelli (ca. 1445–1510) made his celebrated drawings of the Divine Comedy (Berlin and Vatican City), he already showed his pictorial intelligence in an illustration of Petrarch’s Triumph of Love (fig. 1). This little-known pen-and-ink drawing, in a manuscript of Petrarch’s Canzoniere and Triumphs (Ravenna, Biblioteca Classense, ms. 143, fol. 141v), was first published in 1984 by Annarosa Garzelli, who attributed it to Botticelli’s workshop, but the characteristic style, high quality, and original interpretation all indicate that it was
大约在桑德罗·波提切利(约1445-1510年)画出著名的《神曲》(柏林和梵蒂冈城)的20年前，他就已经在彼特拉克的《爱的胜利》的插图中展示了他的绘画智慧(图1)。这幅鲜为人知的水墨画出现在彼特拉克的《Canzoniere and Triumphs》的手稿中(拉文纳，Biblioteca Classense, 143女士，fol)。Annarosa Garzelli于1984年首次出版，并将其归因于波提切利的工作室，但其独特的风格，高质量和原创的解释都表明它是波提切利的
{"title":"Botticelli Interprets Petrarch’s Triumph of Love: An Overlooked Drawing in Ravenna","authors":"J. Nelson","doi":"10.1086/716327","DOIUrl":"https://doi.org/10.1086/716327","url":null,"abstract":"About two decades before Sandro Botticelli (ca. 1445–1510) made his celebrated drawings of the Divine Comedy (Berlin and Vatican City), he already showed his pictorial intelligence in an illustration of Petrarch’s Triumph of Love (fig. 1). This little-known pen-and-ink drawing, in a manuscript of Petrarch’s Canzoniere and Triumphs (Ravenna, Biblioteca Classense, ms. 143, fol. 141v), was first published in 1984 by Annarosa Garzelli, who attributed it to Botticelli’s workshop, but the characteristic style, high quality, and original interpretation all indicate that it was","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"19 1","pages":"223 - 233"},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87511269","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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