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Editor’s Note: Of Amorous Dogs, Signatures on Sashes, and Drawing While Dancing 编者注:多情的狗,肩带上的签名,边跳舞边画画
IF 0.3 3区 艺术学 0 ART Pub Date : 2021-06-01 DOI: 10.1086/716325
John Cunnally
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
作为编辑,我有机会阅读数百篇同行审稿人的报告,他们解释了他们接受或拒绝提交给Source的文章的原因,用各种各样的标准或价值体系来证明他们的决定。到目前为止,点击“接受”选项的最佳和最令人信服的理由可以总结为“这篇文章让我以不同于以前的方式看待X”,X是文章作者所研究的艺术家、绘画、雕像、建筑或主题。这种改变视觉体验的能力类似于炼金术,因为它经常把铅变成金子,而我们
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引用次数: 0
Pierre Bonnard’s Books: An Interpretation 皮埃尔·博纳尔的书:解读
IF 0.3 3区 艺术学 0 ART Pub Date : 2021-06-01 DOI: 10.1086/716332
Lucy Whelan
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
在皮埃尔·博纳尔的一生中,评论家和作家都把他的生活浪漫化了,把他描绘成一个乡村和与世隔绝的人。这位艺术家从1926年起就住在勒坎内(Le Cannet)的别墅里,那里距离戛纳内陆三公里,经常被描绘成一个远离世界的地方。一位关于博纳尔的作家甚至把它描述为一个“白色的木屋”,让这位艺术家“独自一人在山上,与天空交流”。波纳尔在《迷笛》中作为隐士的观念至今仍在流传,尤其是因为它与波纳尔在1947年去世后被视为现代经典之外的局外人的方式非常吻合。然而,博纳尔
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引用次数: 0
Michelangelo’s O
IF 0.3 3区 艺术学 0 ART Pub Date : 2021-06-01 DOI: 10.1086/716329
W. Wallace
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
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引用次数: 0
Artifice and Reality in Caravaggio’s Lute Player 卡拉瓦乔《琵琶手》中的技巧与现实
IF 0.3 3区 艺术学 0 ART Pub Date : 2021-06-01 DOI: 10.1086/716330
T. Thomas
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
学者们一致认为,卡拉瓦乔(1571-1610)在1590年代慢慢掌握了空间、光线和解剖学,他们分析了他的绘画形成方法,包括他的空间异常和不准确。然而,关于他的作曲方法,有很多不同的说法。米娜·格雷戈里在卡拉瓦乔的《琵琶手》(图1)中看到了他早期作品在空间连贯性方面的进步。她指出,这幅画“体现了他对透视的兴趣”。她称这部作品“从视角上看……很精致”
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引用次数: 0
Parmigianino’s Bitch 帕米贾尼诺的母狗
IF 0.3 3区 艺术学 0 ART Pub Date : 2021-06-01 DOI: 10.1086/716326
James Grantham Turner
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。
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引用次数: 0
Édouard Brandon: A Jewish Painter in Nineteenth-Century Rome Édouard布兰登:19世纪罗马的犹太画家
IF 0.3 3区 艺术学 0 ART Pub Date : 2021-06-01 DOI: 10.1086/716331
Marsha Stevenson
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
画家Édouard布兰登(1831-97)今天鲜为人知,但在19世纪在巴黎首屈一指的艺术界。那些熟悉他成熟作品的人可能会想到犹太教堂的内部或以拉比为主角的类型场景。然而,在他生命的早期,布兰登的主要产出是天主教的主题,这是本文的重点。1856年至1863年,他在罗马创作了一系列关于瑞典圣布里奇特的绘画作品。这些作品在他的整个职业生涯中一直很重要,但其中一些作品颇具挑衅性
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引用次数: 0
Michelangelo’s Moses in the 1540s 米开朗基罗1540年代的摩西
IF 0.3 3区 艺术学 0 ART Pub Date : 2021-03-01 DOI: 10.1086/714713
Emily A. Fenichel
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
虽然米开朗基罗·博纳罗蒂(1475-1564)在1510年代雕刻了摩西神像,但它直到1545年才被安置在维尼科利圣彼得的朱利叶斯二世的坟墓里(图1)。在这期间,米开朗基罗一直在他的工作室里工作,也许还以某种方式编辑了它。雕塑周围的世界也在这一时期发生了变化。瓦萨里在米开朗基罗的传记中对这幅作品的处理见证了1540年代罗马宗教和艺术的剧变。同样,米开朗基罗在1540年代的合作祭坛设计中对雕塑的重新思考揭示了艺术家对族长的不断变化的看法。在他的米开朗基罗传记中,瓦萨里称赞摩西的美无与伦比,超越了所有古代作品。他惊讶于米开朗基罗的凿子一定是按顺序变成了铅笔
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引用次数: 0
Maximiliaan de Hase’s Story of Cyrus Tapestry Series (1771–76) for Empress Maria Theresa 马克西米利安·德·哈斯为玛丽亚·特蕾莎皇后创作的塞勒斯故事挂毯系列(1771-76)
IF 0.3 3区 艺术学 0 ART Pub Date : 2021-03-01 DOI: 10.1086/714714
K. Brosens
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)
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引用次数: 0
Ropes and Knots: Architectural Emulation in Fifteenth- and Early Sixteenth-Century Central Europe and the Origins of Architecture 绳索和结:15世纪和16世纪早期中欧的建筑模拟和建筑的起源
IF 0.3 3区 艺术学 0 ART Pub Date : 2021-03-01 DOI: 10.1086/714711
M. Walczak
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
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引用次数: 1
On the Separation of the Arts in Venice: A Neglected Passage from the Statutes of the Stonemasons’ Guild 论威尼斯艺术的分离:从石匠协会章程中被忽视的一段话
IF 0.3 3区 艺术学 0 ART Pub Date : 2021-03-01 DOI: 10.1086/714712
Lorenzo G. Buonanno
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)
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引用次数: 0
期刊
SOURCE-NOTES IN THE HISTORY OF ART
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