As editor I’ve had the opportunity to read hundreds of reports by peer reviewers explaining their reasons for accepting or rejecting an article submitted to Source, justifying their decision with a wide variety of criteria or systems of value. By far the best andmost compelling reason for clicking the “Accept” option can be summed up in the statement “This essay made me look at X in a different way than before,” X being the artist, painting, statue, building, or motif examined by the author of the article. There is something akin to alchemy in this power to transform the visual experience, for it often changes lead into gold, and we
{"title":"Editor’s Note: Of Amorous Dogs, Signatures on Sashes, and Drawing While Dancing","authors":"John Cunnally","doi":"10.1086/716325","DOIUrl":"https://doi.org/10.1086/716325","url":null,"abstract":"As editor I’ve had the opportunity to read hundreds of reports by peer reviewers explaining their reasons for accepting or rejecting an article submitted to Source, justifying their decision with a wide variety of criteria or systems of value. By far the best andmost compelling reason for clicking the “Accept” option can be summed up in the statement “This essay made me look at X in a different way than before,” X being the artist, painting, statue, building, or motif examined by the author of the article. There is something akin to alchemy in this power to transform the visual experience, for it often changes lead into gold, and we","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77681637","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 Pierre Bonnard’s lifetime and since, critics and writers have romanticized his life as rural and hermetic. The artist’s villa in Le Cannet, where he lived from 1926, three kilometers inland from Cannes, has often been portrayed as a retreat from the world. One writer on Bonnard even described it as a “white wooden hut” that left the artist “quite alone on his mountain, in communion with the sky.” This notion of Bonnard as a recluse in the Midi still lingers today, not least since it coincides so neatly with the way Bonnard has been treated since his death in 1947 as an outsider from the modern canon. Yet Bonnard
{"title":"Pierre Bonnard’s Books: An Interpretation","authors":"Lucy Whelan","doi":"10.1086/716332","DOIUrl":"https://doi.org/10.1086/716332","url":null,"abstract":"During Pierre Bonnard’s lifetime and since, critics and writers have romanticized his life as rural and hermetic. The artist’s villa in Le Cannet, where he lived from 1926, three kilometers inland from Cannes, has often been portrayed as a retreat from the world. One writer on Bonnard even described it as a “white wooden hut” that left the artist “quite alone on his mountain, in communion with the sky.” This notion of Bonnard as a recluse in the Midi still lingers today, not least since it coincides so neatly with the way Bonnard has been treated since his death in 1947 as an outsider from the modern canon. Yet Bonnard","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77583412","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}
This short note depends on a picture—Michelangelo’s carved signature on the Rome Pietà (fig. 1). Consider the difficulty of cutting each letter: thirty-six in total. At the center of the inscription, four wellproportioned and carefully carved letters initiate Michelangelo’s surname: B O N A ROTVS. Note especially the geometry and generous rotundity of the initial two letters, B O. This work requires precision and meticulous attention. A small, flathead chisel cuts sharp-edged channels about a millimeter deep. There is no slippage, no scratching of the polished marble, even when a serif
这段简短的注释依赖于一幅画——米开朗基罗在罗马圣像上雕刻的签名(图1)。考虑到切割每个字母的难度:总共36个。在铭文的中心，四个比例匀称且精心雕刻的字母开始了米开朗基罗的姓氏:B O N A ROTVS。尤其要注意开头两个字母的几何形状和大方的圆度。这项工作需要精确和细致的注意。一个小的平头凿子能凿出大约一毫米深的边缘锋利的沟渠。抛光后的大理石，即使是衬线，也不会有打滑、刮伤的现象
{"title":"Michelangelo’s O","authors":"W. Wallace","doi":"10.1086/716329","DOIUrl":"https://doi.org/10.1086/716329","url":null,"abstract":"This short note depends on a picture—Michelangelo’s carved signature on the Rome Pietà (fig. 1). Consider the difficulty of cutting each letter: thirty-six in total. At the center of the inscription, four wellproportioned and carefully carved letters initiate Michelangelo’s surname: B O N A ROTVS. Note especially the geometry and generous rotundity of the initial two letters, B O. This work requires precision and meticulous attention. A small, flathead chisel cuts sharp-edged channels about a millimeter deep. There is no slippage, no scratching of the polished marble, even when a serif","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74425281","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}
David Ekserdjian rightly drew our attention to the erotic, sometimes openly genital element in the drawings of Parmigianino (Francesco Mazz[u]ola, 1503–40), in a pioneering 1999 article and in his 2006 monograph, and since then important examples from private collections have seen the light in exhibitions. Eroticism seems an intrinsic part of that artist’s vitality and inventiveness, an intuition already expressed by the fictional Pietro Aretino in Lodovico Dolce’s 1557 dialogue on painting: Parmigianino “gave his creations a certain loveliness [vaghezza] which makes whoever looks at them fall in love with them
David Ekserdjian在1999年的一篇开创性文章和2006年的专著中，正确地将我们的注意力吸引到Parmigianino (Francesco Mazz[u]ola, 1503-40)绘画中的色情元素，有时是公开的生殖器元素，从那时起，私人收藏的重要例子在展览中看到了光。情色似乎是这位艺术家的活力和创造力的内在组成部分，这种直觉已经被虚构的彼得罗·阿雷蒂诺(Pietro Aretino)在洛多维科·多尔切(Lodovico Dolce) 1557年关于绘画的对话中表达出来:帕尔米加尼诺“赋予他的创作某种可爱(vaghezza)，让任何看到它们的人都爱上它们。
{"title":"Parmigianino’s Bitch","authors":"James Grantham Turner","doi":"10.1086/716326","DOIUrl":"https://doi.org/10.1086/716326","url":null,"abstract":"David Ekserdjian rightly drew our attention to the erotic, sometimes openly genital element in the drawings of Parmigianino (Francesco Mazz[u]ola, 1503–40), in a pioneering 1999 article and in his 2006 monograph, and since then important examples from private collections have seen the light in exhibitions. Eroticism seems an intrinsic part of that artist’s vitality and inventiveness, an intuition already expressed by the fictional Pietro Aretino in Lodovico Dolce’s 1557 dialogue on painting: Parmigianino “gave his creations a certain loveliness [vaghezza] which makes whoever looks at them fall in love with them","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74025005","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 agreement that Caravaggio (1571–1610) slowly gainedmastery of space, light, and anatomy during the 1590s, scholars have analyzed his methods of pictorial formation, including his spatial anomalies and inaccuracies. Nevertheless, widely divergent accounts have been written about his approach to compositional construction. Mina Gregori saw in Caravaggio’s Lute Player (fig. 1) an advance in spatial coherence beyond his earlier works. She noted his “interest in perspective manifest in” this painting. Calling the work “perspectivally [. . .] refined,” she
{"title":"Artifice and Reality in Caravaggio’s Lute Player","authors":"T. Thomas","doi":"10.1086/716330","DOIUrl":"https://doi.org/10.1086/716330","url":null,"abstract":"In agreement that Caravaggio (1571–1610) slowly gainedmastery of space, light, and anatomy during the 1590s, scholars have analyzed his methods of pictorial formation, including his spatial anomalies and inaccuracies. Nevertheless, widely divergent accounts have been written about his approach to compositional construction. Mina Gregori saw in Caravaggio’s Lute Player (fig. 1) an advance in spatial coherence beyond his earlier works. She noted his “interest in perspective manifest in” this painting. Calling the work “perspectivally [. . .] refined,” she","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89644232","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 painter Édouard Brandon (1831–97) is little known today, but in the nineteenth century hemoved in the premier artistic circles of Paris. Those who are familiar with his mature work may think of synagogue interiors or of genre scenes featuring rabbis. Earlier in his life, however, Brandon’s primary output was Catholic in subject matter, and that is the focus of this paper. He spent 1856–63 in Rome developing an extensive cycle of paintings on Saint Bridget of Sweden. These works remained important throughout his career but were provocative in some
{"title":"Édouard Brandon: A Jewish Painter in Nineteenth-Century Rome","authors":"Marsha Stevenson","doi":"10.1086/716331","DOIUrl":"https://doi.org/10.1086/716331","url":null,"abstract":"The painter Édouard Brandon (1831–97) is little known today, but in the nineteenth century hemoved in the premier artistic circles of Paris. Those who are familiar with his mature work may think of synagogue interiors or of genre scenes featuring rabbis. Earlier in his life, however, Brandon’s primary output was Catholic in subject matter, and that is the focus of this paper. He spent 1856–63 in Rome developing an extensive cycle of paintings on Saint Bridget of Sweden. These works remained important throughout his career but were provocative in some","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72404737","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}
Jan Długosz (1410–80) was an author of a number of eminent historical studies, a protagonist of humanism in Poland, and the teacher of the sons of King Casimir IV Jagiellonian. He founded a number of churches and houses, which are built of brick and have plain block forms and vaults of the simplest figuration or just flat, wooden ceilings. Their unarticulated external elevations are decorated with diaper-work pattern formed of vitrified brick.Only the recurring decorative details (e.g., doorways in stepped surrounds, window surrounds, and heraldic friezes) are
Jan Długosz(1410 - 1480)是许多著名历史研究的作者，波兰人文主义的主角，国王卡西米尔四世雅盖隆的儿子们的老师。他建造了许多教堂和房屋，这些教堂和房屋都是用砖建造的，有朴素的砌块形式和形状最简单的拱顶，或者只是平坦的木制天花板。其未铰接的外部立面装饰着由玻璃砖形成的纸尿裤图案。只有反复出现的装饰细节(例如，台阶环绕的门廊、窗户环绕和纹章饰带)被保留下来
{"title":"Ropes and Knots: Architectural Emulation in Fifteenth- and Early Sixteenth-Century Central Europe and the Origins of Architecture","authors":"M. Walczak","doi":"10.1086/714711","DOIUrl":"https://doi.org/10.1086/714711","url":null,"abstract":"Jan Długosz (1410–80) was an author of a number of eminent historical studies, a protagonist of humanism in Poland, and the teacher of the sons of King Casimir IV Jagiellonian. He founded a number of churches and houses, which are built of brick and have plain block forms and vaults of the simplest figuration or just flat, wooden ceilings. Their unarticulated external elevations are decorated with diaper-work pattern formed of vitrified brick.Only the recurring decorative details (e.g., doorways in stepped surrounds, window surrounds, and heraldic friezes) are","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84728328","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 Clothworkers’ Company, London, houses three late eighteenthcentury Brussels tapestries showing the story of Cyrus. The pieces bear the arms of Maria Theresa, Archduchess of Austria and empress of the Holy Roman Empire (1717–80), and the signatures of tapestry producers Jan Frans van der Borcht (d. 1774) and his son Jacob (1735– 94). The scenes are titled The Recognition of Cyrus by Astyages (F.V.D. BORGHT) (fig. 1), The Restoration of the Temple Treasures by Cyrus (F.V.D.BORGHT) (fig. 2), and The Marriage of Mandane to Cambyses (IAC.V.D.BORGHT) (fig. 3). The Clothworkers’ Company acquired
伦敦的纺织工人公司收藏着三幅18世纪晚期的布鲁塞尔挂毯，展示了居鲁士的故事。这些挂毯上印有奥地利大公夫人、神圣罗马帝国皇后玛丽亚·特蕾莎(Maria Theresa)的臂章(1717-80年)，以及挂毯生产商扬·弗朗斯·凡·德·博尔希特(Jan Frans van der Borcht, 1774年)和他的儿子雅各布(Jacob, 1735 - 94年)的签名。这些场景被命名为阿斯提阿格斯的《居鲁士的承认》(F.V.D.BORGHT)(图1)，居鲁士的《神庙宝藏的修复》(图2)，以及曼丹与冈比西斯的婚姻(IAC.V.D.BORGHT)(图3)
{"title":"Maximiliaan de Hase’s Story of Cyrus Tapestry Series (1771–76) for Empress Maria Theresa","authors":"K. Brosens","doi":"10.1086/714714","DOIUrl":"https://doi.org/10.1086/714714","url":null,"abstract":"The Clothworkers’ Company, London, houses three late eighteenthcentury Brussels tapestries showing the story of Cyrus. The pieces bear the arms of Maria Theresa, Archduchess of Austria and empress of the Holy Roman Empire (1717–80), and the signatures of tapestry producers Jan Frans van der Borcht (d. 1774) and his son Jacob (1735– 94). The scenes are titled The Recognition of Cyrus by Astyages (F.V.D. BORGHT) (fig. 1), The Restoration of the Temple Treasures by Cyrus (F.V.D.BORGHT) (fig. 2), and The Marriage of Mandane to Cambyses (IAC.V.D.BORGHT) (fig. 3). The Clothworkers’ Company acquired","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89157935","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}
Although Michelangelo Buonarroti (1475–1564) carved theMoses in the 1510s, it was not installed in the tomb of Julius II in San Pietro in Vincoli until 1545 (fig. 1). In the intervening years, Michelangelo lived with the work in his studio and perhaps edited it in some way. The world around the sculpture underwent changes in this period as well. Vasari’s treatment of the work in Michelangelo’s biography bears witness to the religious and artistic upheaval of 1540s Rome. Likewise, Michelangelo’s rethinking of the sculpture in designs for a collaborative altarpiece from the 1540s reveals the artist’s changing vision of the patriarch. In his biography of Michelangelo, Vasari acclaims the Moses for having no equal in beauty and surpassing every ancient work. He marvels that Michelangelo’s chisel must have turned into a pencil in order
{"title":"Michelangelo’s Moses in the 1540s","authors":"Emily A. Fenichel","doi":"10.1086/714713","DOIUrl":"https://doi.org/10.1086/714713","url":null,"abstract":"Although Michelangelo Buonarroti (1475–1564) carved theMoses in the 1510s, it was not installed in the tomb of Julius II in San Pietro in Vincoli until 1545 (fig. 1). In the intervening years, Michelangelo lived with the work in his studio and perhaps edited it in some way. The world around the sculpture underwent changes in this period as well. Vasari’s treatment of the work in Michelangelo’s biography bears witness to the religious and artistic upheaval of 1540s Rome. Likewise, Michelangelo’s rethinking of the sculpture in designs for a collaborative altarpiece from the 1540s reveals the artist’s changing vision of the patriarch. In his biography of Michelangelo, Vasari acclaims the Moses for having no equal in beauty and surpassing every ancient work. He marvels that Michelangelo’s chisel must have turned into a pencil in order","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78093461","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}
Artists in earlymodernVenice rarelyworkedwithmore than onemedium. As inmost major European cities, Venetian craftsmen belonged to guilds, known locally as the arti or fraglie (and conflated with their confraternity, the scuola). Since the Middle Ages, the arti were divided in broad terms according to the primary material they employed: wood sculptors belonged to the arte of the marangoni da case (house carpenters), painters to the depentori, stonecutters and sculptors to the tagiapiera. Differentiation according to technical process (such as that between woodcarving
早期现代威尼斯的艺术家很少使用一种以上的媒介。和大多数欧洲主要城市一样，威尼斯工匠属于行会，在当地被称为arti或fraglie(并与他们的同道会scuola合并)。自中世纪以来，根据他们使用的主要材料，工匠被划分为广泛的术语:木雕属于marangoni da case(房屋木匠)的艺术，画家属于depentori，石匠和雕塑家属于tagiapiera。根据工艺流程区分(如木雕之间)
{"title":"On the Separation of the Arts in Venice: A Neglected Passage from the Statutes of the Stonemasons’ Guild","authors":"Lorenzo G. Buonanno","doi":"10.1086/714712","DOIUrl":"https://doi.org/10.1086/714712","url":null,"abstract":"Artists in earlymodernVenice rarelyworkedwithmore than onemedium. As inmost major European cities, Venetian craftsmen belonged to guilds, known locally as the arti or fraglie (and conflated with their confraternity, the scuola). Since the Middle Ages, the arti were divided in broad terms according to the primary material they employed: wood sculptors belonged to the arte of the marangoni da case (house carpenters), painters to the depentori, stonecutters and sculptors to the tagiapiera. Differentiation according to technical process (such as that between woodcarving","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86068813","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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