Manuel Doroteo Carvajal (1819–72) was a mid-nineteenth-century Colombian painter, and author of two sketchbooks currently archived at the Museo Nacional de Colombia that contain more than one hundred drawings including portraits, genre scenes, landscapes, illustrations for children’s fables, flowers, and fruits. The first journal is dated July 1848 and ends at the beginning of the 1870s. Among his approaches to the visual, Carvajal included several trompe l’oeil drawings in both albums.
Manuel Doroteo Carvajal(1819-72)是19世纪中期的哥伦比亚画家，也是两本速写本的作者，目前保存在哥伦比亚国家博物馆，其中包含一百多幅绘画，包括肖像画，风俗画，风景画，儿童寓言插图，鲜花和水果。第一本日记的日期是1848年7月，结束于19世纪70年代初。在他的视觉方法中，卡瓦哈尔在两张专辑中都包括了几幅错视画。
{"title":"Keeping, Saving, and Remembering: Manuel Doroteo Carvajal’s Trompe l’Oeil Autograph Drawings as Elements of Rhetorical Visual Strategy during the Colombian Civil Wars of the 1850s and 1860s","authors":"Verónica Uribe Hanabergh","doi":"10.1086/714715","DOIUrl":"https://doi.org/10.1086/714715","url":null,"abstract":"Manuel Doroteo Carvajal (1819–72) was a mid-nineteenth-century Colombian painter, and author of two sketchbooks currently archived at the Museo Nacional de Colombia that contain more than one hundred drawings including portraits, genre scenes, landscapes, illustrations for children’s fables, flowers, and fruits. The first journal is dated July 1848 and ends at the beginning of the 1870s. Among his approaches to the visual, Carvajal included several trompe l’oeil drawings in both albums.","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":"80329287","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}
For those who have come to expect a refreshing mixture from Source in terms of subject, medium, and period, this quarter’s issue will not disappoint. Gothic architecture, Venetian guilds, Michelangelo, eighteenthcentury tapestry, cinema in the service of art criticism, South American painting in the nineteenth century, and the leisure reading of a French impressionist make up the bill. We do not claim to rival Cleopatra in sex appeal, but we too may say that age cannot wither nor custom stale our infinite variety! Marek Walczak calls attention to the motif of ropes which appear among the carved stone decorations of Gothic buildings in Poland from thefifteenth century. For example, a heavy cable of rope serves as a doorframe for the law students’ residence at JagiellonianUniversity in Krakow.
{"title":"Editor’s Note: The Spice of Life","authors":"John Cunnally","doi":"10.1086/714710","DOIUrl":"https://doi.org/10.1086/714710","url":null,"abstract":"For those who have come to expect a refreshing mixture from Source in terms of subject, medium, and period, this quarter’s issue will not disappoint. Gothic architecture, Venetian guilds, Michelangelo, eighteenthcentury tapestry, cinema in the service of art criticism, South American painting in the nineteenth century, and the leisure reading of a French impressionist make up the bill. We do not claim to rival Cleopatra in sex appeal, but we too may say that age cannot wither nor custom stale our infinite variety! Marek Walczak calls attention to the motif of ropes which appear among the carved stone decorations of Gothic buildings in Poland from thefifteenth century. For example, a heavy cable of rope serves as a doorframe for the law students’ residence at JagiellonianUniversity in Krakow.","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":"81614494","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 years immediately following the SecondWorld War, Italy saw the production of many innovative art documentaries by filmmakers such as Luciano Emmer, Umberto Barbaro, Roberto Longhi, and Glauco Pellegrini. Several of these films were critically acclaimed for their experimental nature in leading film and art journals all over the world. Strikingly, prominent art historians like Roberto Longhi,MatteoMarangoni, Valerio Mariani, and Rodolfo Pallucchini showed great interest in art documentaries and often collaborated with film directors as scholarly advisers and screenwriters. Especially for Italian art historian Carlo Ludovico Ragghianti (1910–87), the medium of film not only was capable of
在第二次世界大战后的几年里，意大利见证了许多创新的艺术纪录片的制作，如卢西亚诺·埃默、翁贝托·巴巴罗、罗伯托·隆吉和格劳科·佩莱格里尼。这些电影中有几部因其实验性质在世界各地的主要电影和艺术期刊上受到好评。引人注目的是，著名的艺术史学家如罗伯托·隆吉、马蒂奥·马兰戈尼、瓦莱里奥·马里亚尼和鲁道夫·帕鲁奇尼对艺术纪录片表现出极大的兴趣，并经常作为学术顾问和编剧与电影导演合作。尤其是对意大利艺术史学家Carlo Ludovico Ragghianti(1910-87)来说，电影这一媒介不仅能够
{"title":"Michelangelo in Motion: Carlo Ludovico Ragghianti’s Critofilm Michelangiolo (1964)","authors":"Joséphine Vandekerckhove","doi":"10.1086/714717","DOIUrl":"https://doi.org/10.1086/714717","url":null,"abstract":"In the years immediately following the SecondWorld War, Italy saw the production of many innovative art documentaries by filmmakers such as Luciano Emmer, Umberto Barbaro, Roberto Longhi, and Glauco Pellegrini. Several of these films were critically acclaimed for their experimental nature in leading film and art journals all over the world. Strikingly, prominent art historians like Roberto Longhi,MatteoMarangoni, Valerio Mariani, and Rodolfo Pallucchini showed great interest in art documentaries and often collaborated with film directors as scholarly advisers and screenwriters. Especially for Italian art historian Carlo Ludovico Ragghianti (1910–87), the medium of film not only was capable of","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":"78119553","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}
Pierre Bonnard’s studio appears today much as it did at the time of the artist’s death in 1947. For decades his villa named Le Bosquet, in the southern French town of Le Cannet, lay abandoned owing to a legal dispute over Bonnard’s estate. When finally in 1968 the villa was purchased and subsequently restored by Bonnard’s family, his great-nephewMichel Terrasse even reported finding the artist’s paint-spattered clothes and hat still in the wardrobe.When I visited in 2015 there was also a collection of books and periodicals inside a cupboard in Bonnard’s studio. It contained enough items with dedications to Bonnard, markings that appear to be in his hand, or connections to his life, to suggest a collection that at least in
{"title":"Pierre Bonnard’s Books: A Catalogue with an Introduction","authors":"Lucy Whelan","doi":"10.1086/714716","DOIUrl":"https://doi.org/10.1086/714716","url":null,"abstract":"Pierre Bonnard’s studio appears today much as it did at the time of the artist’s death in 1947. For decades his villa named Le Bosquet, in the southern French town of Le Cannet, lay abandoned owing to a legal dispute over Bonnard’s estate. When finally in 1968 the villa was purchased and subsequently restored by Bonnard’s family, his great-nephewMichel Terrasse even reported finding the artist’s paint-spattered clothes and hat still in the wardrobe.When I visited in 2015 there was also a collection of books and periodicals inside a cupboard in Bonnard’s studio. It contained enough items with dedications to Bonnard, markings that appear to be in his hand, or connections to his life, to suggest a collection that at least in","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":"83469680","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":"Perceptions of Michelangelo’s Letter of 1542","authors":"S. E. Kay","doi":"10.1086/712861","DOIUrl":"https://doi.org/10.1086/712861","url":null,"abstract":"","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88269824","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 the dazzling and impulsive Venetian painter Tintoretto came to maturity in Venice toward the middle of the sixteenth century, when he began to paint a much-acclaimed cycle of pictures for the Scuola di San Marco, he had already achieved at least one masterpiece sometime earlier in the 1540s, when he painted Christ among the Doctors—a picture now in the museum of the Opera del Duomo in Milan that is worthy of our closest attention (fig. 1). Critics have recognized the painter’s explosive reinvention of the monumental Roman art of Michelangelo and Raphael and the scintillating appropriation of Titian’s shimmering chromatic art in Tintoretto’s tumultuous rendering of the Bible story that tells of how Jesus shocked his learned elders with prodigious learning.
{"title":"Tintoretto’s Big Books","authors":"Paul Barolsky","doi":"10.1086/712863","DOIUrl":"https://doi.org/10.1086/712863","url":null,"abstract":"Although the dazzling and impulsive Venetian painter Tintoretto came to maturity in Venice toward the middle of the sixteenth century, when he began to paint a much-acclaimed cycle of pictures for the Scuola di San Marco, he had already achieved at least one masterpiece sometime earlier in the 1540s, when he painted Christ among the Doctors—a picture now in the museum of the Opera del Duomo in Milan that is worthy of our closest attention (fig. 1). Critics have recognized the painter’s explosive reinvention of the monumental Roman art of Michelangelo and Raphael and the scintillating appropriation of Titian’s shimmering chromatic art in Tintoretto’s tumultuous rendering of the Bible story that tells of how Jesus shocked his learned elders with prodigious learning.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82674647","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 recent years scholars have increasingly studied Caravaggio’s studio procedures, but no one to my knowledge has taken photographs of models with the purpose of demonstrating the light sources he used while painting. In their seventeenth-century biographies of the artist, Giovanni Pietro Bellori and Joachim von Sandrart both state that, while working in a darkened room, Caravaggio (1571–1610) illuminated his subjects with a single light source from above. Sandrart does not specify the type of illumination used by Caravaggio (he mentions “einiges kleines Liecht”—one small light), but in a highly influential translation of Bellori’s account, Howard Hibbard is more specific, referring to “lamps.” Bellori’s report reads as follows: “[Caravaggio] trovò una maniera di campirle [i.e., his models] entro l’aria bruna d’una camera rinchiusa,
近年来，学者们越来越多地研究卡拉瓦乔的工作室程序，但据我所知，没有人为了展示他在绘画时使用的光源而拍摄模特的照片。在17世纪的艺术家传记中，Giovanni Pietro Bellori和Joachim von Sandrart都指出，卡拉瓦乔(1571-1610)在一个黑暗的房间里工作时，用一个单一的光源从上面照亮了他的主题。桑德拉特没有具体说明卡拉瓦乔使用的照明类型(他提到了“einiges kleines light”——一盏小灯)，但在对贝洛里的描述进行了极具影响力的翻译后，霍华德·希巴德(Howard Hibbard)更具体地提到了“灯”。贝洛里的报告如下:“(卡拉瓦乔)trovò una maniera di campirle(即他的模特)entro l 'aria bruna d 'una camera rinchiusa，
{"title":"How Did Caravaggio Light His Subjects?","authors":"T. Thomas","doi":"10.1086/712864","DOIUrl":"https://doi.org/10.1086/712864","url":null,"abstract":"In recent years scholars have increasingly studied Caravaggio’s studio procedures, but no one to my knowledge has taken photographs of models with the purpose of demonstrating the light sources he used while painting. In their seventeenth-century biographies of the artist, Giovanni Pietro Bellori and Joachim von Sandrart both state that, while working in a darkened room, Caravaggio (1571–1610) illuminated his subjects with a single light source from above. Sandrart does not specify the type of illumination used by Caravaggio (he mentions “einiges kleines Liecht”—one small light), but in a highly influential translation of Bellori’s account, Howard Hibbard is more specific, referring to “lamps.” Bellori’s report reads as follows: “[Caravaggio] trovò una maniera di campirle [i.e., his models] entro l’aria bruna d’una camera rinchiusa,","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73105631","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 original patron or owner of a medieval manuscript may be possible to identify only in the most general way, if at all. The inclusion of certain saints in the calendar or litany of a devotional book may suggest that it was destined for a particular region or religious order; a painting of a kneeling figure may delineate the social station and gender of its owner. More specific information about original or subsequent owners is sometimes provided by colophons, calendar additions, or other inscriptions. Heraldic emblems in borders, line endings, or backgrounds are often taken to indicate family or corporate affiliations, sometimes pointing to a specific owner. For example, the tiny
{"title":"Patronage and Heraldry in the Tickhill Psalter (New York, NYPL, MS Spencer 26)","authors":"A. Stanton","doi":"10.1086/712859","DOIUrl":"https://doi.org/10.1086/712859","url":null,"abstract":"The original patron or owner of a medieval manuscript may be possible to identify only in the most general way, if at all. The inclusion of certain saints in the calendar or litany of a devotional book may suggest that it was destined for a particular region or religious order; a painting of a kneeling figure may delineate the social station and gender of its owner. More specific information about original or subsequent owners is sometimes provided by colophons, calendar additions, or other inscriptions. Heraldic emblems in borders, line endings, or backgrounds are often taken to indicate family or corporate affiliations, sometimes pointing to a specific owner. For example, the tiny","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86123442","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 a previous note in this journal, I pointed to a remarkable gap in the reception history of the Villa Farnesina, Rome: Sodoma’s Nuptials of Roxana and Alexander the Great, commissioned for Agostino Chigi’s state bedroom in 1518 to 1519, remained off-limits for visiting artists and never appeared in drawings or printed guides. Vasari described it so inaccurately that I suggested he relied on a secondhand account, and Gaspare Celio’s 1638 guide to Roman art merely notes that “in the Bedrooms there are stories by Iacomo Sodoma of Siena and others.” Appreciation of Sodoma’s now-canonical fresco had to wait until the nineteenth century, when Michelangelo Prunetti declared it (albeit briefly) “veramente poetica, e sublime.” Richard Förster made a thorough iconographical study of the Roxana episode and argued for
在本杂志之前的一篇文章中，我指出了罗马法内西纳别墅接待历史上的一个显著空白:1518年至1519年，为阿戈斯蒂诺·基吉(Agostino Chigi)的国家卧室委托制作的索多玛的罗克萨娜和亚历山大大帝的婚礼，一直禁止来访的艺术家进入，从未出现在图纸或印刷指南中。瓦萨里的描述非常不准确，我认为他依赖的是二手资料，加斯帕雷·塞利奥(Gaspare Celio) 1638年出版的罗马艺术指南仅仅指出，“卧室里有锡耶纳的亚科莫·索多玛(Iacomo Sodoma)和其他人的故事。”直到19世纪，人们才开始欣赏索多玛的这幅壁画，当时米开朗基罗·普鲁内蒂(Michelangelo Prunetti)宣称(尽管只是简短地)“veramente poetica, e sublime”。理查德Förster对罗克珊那一集做了彻底的图像学研究，并提出
{"title":"Addendum: Roxana or Not?","authors":"J. Turner","doi":"10.1086/712865","DOIUrl":"https://doi.org/10.1086/712865","url":null,"abstract":"In a previous note in this journal, I pointed to a remarkable gap in the reception history of the Villa Farnesina, Rome: Sodoma’s Nuptials of Roxana and Alexander the Great, commissioned for Agostino Chigi’s state bedroom in 1518 to 1519, remained off-limits for visiting artists and never appeared in drawings or printed guides. Vasari described it so inaccurately that I suggested he relied on a secondhand account, and Gaspare Celio’s 1638 guide to Roman art merely notes that “in the Bedrooms there are stories by Iacomo Sodoma of Siena and others.” Appreciation of Sodoma’s now-canonical fresco had to wait until the nineteenth century, when Michelangelo Prunetti declared it (albeit briefly) “veramente poetica, e sublime.” Richard Förster made a thorough iconographical study of the Roxana episode and argued for","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86800212","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}
Some years ago I taught History of Photography at Iowa State University (Dr. Emily Godbey now teaches that course), and sometimes citizens would visit my office asking me to comment on an antique photo they found in their attic or barn and to speculate about its market value. One woman brought in a nineteenth-century studio portrait of a family group. She believed it was an unknown and unpublished photograph of Abraham Lincoln, his wife, and children. If this assessment proved true, the image would certainly count as a valuable and historically significant discovery. I told her that the man in the picture did not look much like Lincoln to me but more important was the fact that the photo appeared to be a gelatin-paper cabinet card, a process not in use until at least ten years
几年前，我在爱荷华州立大学(Iowa State University)教授摄影史(Emily Godbey博士现在教这门课)，有时市民会到我的办公室来，让我评论他们在阁楼或谷仓里发现的一张古董照片，并推测它的市场价值。一位女士带来了一幅19世纪画室里的家庭集体肖像。她认为这是一张未知的、未发表的亚伯拉罕·林肯、他的妻子和孩子们的照片。如果这一评估被证明是正确的，这幅图像肯定会被视为一项有价值且具有历史意义的发现。我告诉她照片中的男人对我来说不太像林肯但更重要的是这张照片看起来像是一张明胶纸的橱柜卡片，这个过程至少在十年后才被使用
{"title":"Editor’s Note: What We See Doth Lie","authors":"John Cunnally","doi":"10.1086/712858","DOIUrl":"https://doi.org/10.1086/712858","url":null,"abstract":"Some years ago I taught History of Photography at Iowa State University (Dr. Emily Godbey now teaches that course), and sometimes citizens would visit my office asking me to comment on an antique photo they found in their attic or barn and to speculate about its market value. One woman brought in a nineteenth-century studio portrait of a family group. She believed it was an unknown and unpublished photograph of Abraham Lincoln, his wife, and children. If this assessment proved true, the image would certainly count as a valuable and historically significant discovery. I told her that the man in the picture did not look much like Lincoln to me but more important was the fact that the photo appeared to be a gelatin-paper cabinet card, a process not in use until at least ten years","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89224790","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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