Raphael was exacting in rendering the accoutrements of the figures in his paintings. Indeed, he frequently researched a particular personage’s collateral effects in designing them. When the artist in his Disputa (Stanza della Segnatura, Vatican) portrayed Saint Gregory the Great, the famous doctor of the church, he presented him seated on the marble chair that was then believed to have been his pontifical throne, an object still kept as a relic in the church of San Gregorio in Rome. This tendency can also be observed in the painter’s portraits, in which a sitter’s possessions were on occasion rendered with such verisimilitude that we can still locate them. For example, we can identify the fourteenth-century book, now known as the Hamilton Bible, perused by Leo X in Raphael’s portrait
拉斐尔在描绘他画中人物的服装时很讲究。事实上，他经常在设计时研究某个特定人物的附带影响。当这位艺术家在他的《争论》(梵蒂冈的《Stanza della Segnatura》)中描绘教堂里著名的医生圣格雷戈里大帝时，他让他坐在一把大理石椅子上，这把椅子当时被认为是他的教皇宝座，这把椅子现在仍作为文物保存在罗马的圣格雷戈里奥教堂里。这种倾向也可以在画家的肖像中观察到，在这些肖像中，一个人的财产有时被渲染得如此逼真，以至于我们仍然可以找到它们。例如，我们可以在拉斐尔的肖像中找到列奥十世阅读的十四世纪的书，现在被称为《汉密尔顿圣经》
{"title":"On the Significance of Saint Paul’s Sword in Raphael’s Saint Cecilia Altarpiece","authors":"Christian K. Kleinbub","doi":"10.1086/712860","DOIUrl":"https://doi.org/10.1086/712860","url":null,"abstract":"Raphael was exacting in rendering the accoutrements of the figures in his paintings. Indeed, he frequently researched a particular personage’s collateral effects in designing them. When the artist in his Disputa (Stanza della Segnatura, Vatican) portrayed Saint Gregory the Great, the famous doctor of the church, he presented him seated on the marble chair that was then believed to have been his pontifical throne, an object still kept as a relic in the church of San Gregorio in Rome. This tendency can also be observed in the painter’s portraits, in which a sitter’s possessions were on occasion rendered with such verisimilitude that we can still locate them. For example, we can identify the fourteenth-century book, now known as the Hamilton Bible, perused by Leo X in Raphael’s portrait","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"41 1","pages":"81 - 91"},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87491720","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 year we celebrate the fiftieth anniversary of a remarkable publication, It Ain’t Me Babe, proclaimed by its creators as “the first women’s liberation comic” and “the world’s first all-women’s comic book.” Bearing the date July 1970, this was the collaborative product of seven female artists already active in the alternative feminist media and counterculture newspapers of the San Francisco Bay Area. Several of them belonged to a group called the Feminist Liberation Basement Press, which produced a tabloid newspaper that bore the same title as the comic book. It Ain’t Me Babe resembled in format the other underground “comix” sold in head shops, record stores, and independent booksellers
今年，我们庆祝一本非凡的出版物《It Ain 't Me Babe》问世50周年，它的创作者宣称它是“第一本女性解放漫画”和“世界上第一本全女性漫画”。日期为1970年7月，这是七位女艺术家的合作作品，她们已经活跃在旧金山湾区的另类女权主义媒体和反主流文化报纸上。其中有几个人属于一个名为“女权解放地下室出版社”(Feminist Liberation Basement Press)的组织，该组织出版了一份小报，标题与这本漫画书相同。《It Ain 't Me Babe》在形式上与其他在唱片店、唱片店和独立书商出售的地下“喜剧”相似
{"title":"Before the Babe and After: Counting Women Cartoonists in the Underground Comix","authors":"John Cunnally","doi":"10.1086/711343","DOIUrl":"https://doi.org/10.1086/711343","url":null,"abstract":"This year we celebrate the fiftieth anniversary of a remarkable publication, It Ain’t Me Babe, proclaimed by its creators as “the first women’s liberation comic” and “the world’s first all-women’s comic book.” Bearing the date July 1970, this was the collaborative product of seven female artists already active in the alternative feminist media and counterculture newspapers of the San Francisco Bay Area. Several of them belonged to a group called the Feminist Liberation Basement Press, which produced a tabloid newspaper that bore the same title as the comic book. It Ain’t Me Babe resembled in format the other underground “comix” sold in head shops, record stores, and independent booksellers","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"15 1","pages":"44 - 54"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78009419","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}
Appearing in Detective Comics no. 27 (May 1939), “The Bat-Man,” as he was then called, was unlike anything seen before in comic books. With long, prominent ears that looked disturbingly like satanic horns and enormous batwings for a cape, Batman was initially as menacing as any of the villains he faced. Although Superman’s fight against injustice was based on altruistic motives, Batman’s war on crime emanated from vengeance for the murder of his parents during a robbery. Though usually unacknowledged in this way, Batman was the first major gothic superhero in comic books.
{"title":"The Darkest Knight: The Gothic Roots of Batman Comics","authors":"Thomas Andrae","doi":"10.1086/711341","DOIUrl":"https://doi.org/10.1086/711341","url":null,"abstract":"Appearing in Detective Comics no. 27 (May 1939), “The Bat-Man,” as he was then called, was unlike anything seen before in comic books. With long, prominent ears that looked disturbingly like satanic horns and enormous batwings for a cape, Batman was initially as menacing as any of the villains he faced. Although Superman’s fight against injustice was based on altruistic motives, Batman’s war on crime emanated from vengeance for the murder of his parents during a robbery. Though usually unacknowledged in this way, Batman was the first major gothic superhero in comic books.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"3249 1","pages":"19 - 33"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86593273","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}
Steve Ditko almost never participated in interviews, and in 1968 he took part in his very last, in issue 4 of the fanzineMarvel Main. Responding to a question about which of his characters he believed were the clearest extension of his own philosophy, Ditko remarked, “Every person, whether he wants to be or not, is in a continuous struggle. It’s not a physical life or death struggle. . . . It’s a struggle for his mind!” For Ditko, this struggle meant to protect one’s mind from being corrupted by “irrational premises.” It’s that personal struggle for the individual mind that underwrites Ditko’s philosophy as he explored it over the course of his career, from its beginnings in 1953, working in a variety of genres, to his
{"title":"“’Twas Steve’s Idea”: Steve Ditko and the Problem of Collaborative Production","authors":"Z. Kruse","doi":"10.1086/711342","DOIUrl":"https://doi.org/10.1086/711342","url":null,"abstract":"Steve Ditko almost never participated in interviews, and in 1968 he took part in his very last, in issue 4 of the fanzineMarvel Main. Responding to a question about which of his characters he believed were the clearest extension of his own philosophy, Ditko remarked, “Every person, whether he wants to be or not, is in a continuous struggle. It’s not a physical life or death struggle. . . . It’s a struggle for his mind!” For Ditko, this struggle meant to protect one’s mind from being corrupted by “irrational premises.” It’s that personal struggle for the individual mind that underwrites Ditko’s philosophy as he explored it over the course of his career, from its beginnings in 1953, working in a variety of genres, to his","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"2661 1","pages":"34 - 43"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87532044","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}
It was the summer of 1972 in Arlington, Virginia. My best friend and I sat across from each other in intense cross-legged dialogue. Doug proudly displayed his copy of DC’s Action Comics starring Superman. I had Dynamo no. 1 from Tower Comics (fig. 1). The calculus that informs six-year-old logic determined that his comic book was better because the quasiomnipotent Superman was universally known. In those years of lunchboxes and recess kickball, one’s stature might reside, if fleetingly, in the question of whose hero could beat up the other’s. I casually explained that Dynamo was Superman’s brother. This is my earliest memory of willful prevarication. It is also my earliest memory of what would become a lifelong fascination with comic books.
{"title":"Guest Editor’s Note: Superman’s Brother","authors":"A. Flaten","doi":"10.1086/711339","DOIUrl":"https://doi.org/10.1086/711339","url":null,"abstract":"It was the summer of 1972 in Arlington, Virginia. My best friend and I sat across from each other in intense cross-legged dialogue. Doug proudly displayed his copy of DC’s Action Comics starring Superman. I had Dynamo no. 1 from Tower Comics (fig. 1). The calculus that informs six-year-old logic determined that his comic book was better because the quasiomnipotent Superman was universally known. In those years of lunchboxes and recess kickball, one’s stature might reside, if fleetingly, in the question of whose hero could beat up the other’s. I casually explained that Dynamo was Superman’s brother. This is my earliest memory of willful prevarication. It is also my earliest memory of what would become a lifelong fascination with comic books.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"64 1","pages":"1 - 6"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77510289","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 first issue of New Fun comics magazine, consisting of all original material, appeared on newsstands January 11, 1935, published by Major Malcolm Wheeler-Nicholson (fig. 1). This was the beginning of his series of original comics magazines, leading to Action Comics no. 1 in 1938, which featured Superman on the cover. The Major’s comics magazines, or comic books, should be understood as a critically important continuum resulting in the emergence of superhero comics. Much of what we take for granted as the fundamental elements of modern comic books, from their business model to their design, artwork, and story lines, can be traced back to this pre-Superman period of early comics history.
{"title":"Major Malcolm Wheeler-Nicholson and the Origins of DC Comics","authors":"Nicky Wheeler-Nicholson","doi":"10.1086/711340","DOIUrl":"https://doi.org/10.1086/711340","url":null,"abstract":"The first issue of New Fun comics magazine, consisting of all original material, appeared on newsstands January 11, 1935, published by Major Malcolm Wheeler-Nicholson (fig. 1). This was the beginning of his series of original comics magazines, leading to Action Comics no. 1 in 1938, which featured Superman on the cover. The Major’s comics magazines, or comic books, should be understood as a critically important continuum resulting in the emergence of superhero comics. Much of what we take for granted as the fundamental elements of modern comic books, from their business model to their design, artwork, and story lines, can be traced back to this pre-Superman period of early comics history.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"42 1","pages":"7 - 18"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81970298","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}
Nineteen sixty-seven bore witness to many events that are nothing more than dimmemories today. NASA was gearing up to send astronauts into orbit around themoonwithin a year. The VietnamWarwas beginning to divide the country. Comic books and the development of a format for extended sequential storytelling, now commonly referred to as a graphic novel, were hardly high on the agenda of important things to consider. In 1967, the comic book industry experienced a drop in its sales for the first time since the start of the superhero boom now referred to by comics historians as the “Silver Age.”
{"title":"The Evolution of the Contemporary Graphic Novel: Gil Kane’s His Name Is … Savage! and Blackmark","authors":"D. Herman","doi":"10.1086/711344","DOIUrl":"https://doi.org/10.1086/711344","url":null,"abstract":"Nineteen sixty-seven bore witness to many events that are nothing more than dimmemories today. NASA was gearing up to send astronauts into orbit around themoonwithin a year. The VietnamWarwas beginning to divide the country. Comic books and the development of a format for extended sequential storytelling, now commonly referred to as a graphic novel, were hardly high on the agenda of important things to consider. In 1967, the comic book industry experienced a drop in its sales for the first time since the start of the superhero boom now referred to by comics historians as the “Silver Age.”","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"9 1","pages":"55 - 65"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87433820","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 his 1966 article on the fresco decoration of the Pucci chapel in the church of Santissima Trinità dei Monti in Rome (fig. 1), John Gere set out to distinguish the contribution of Taddeo Zuccaro (1529–66) from that of his younger brother, collaborator, and heir to the family business, Federico (1540/41–1609). This, however, proved to be a challenging task. Not only is the decoration of the Pucci chapel one of Taddeo’s commissions that were left unfinished with his death in 1566, but Federico, who had a stylistic dependence on his brother, completed the scheme in 1589. Giorgio Vasari, who included a biography of Taddeo in the second edition of the Vitae in 1568, recorded that the artist died while busying himself with a cartoon for the chapel’s altarpiece.
{"title":"Taddeo Zuccaro and the Pucci Chapel in Santissima Trinità dei Monti, Rome","authors":"Georgios E. Markou","doi":"10.1086/709191","DOIUrl":"https://doi.org/10.1086/709191","url":null,"abstract":"In his 1966 article on the fresco decoration of the Pucci chapel in the church of Santissima Trinità dei Monti in Rome (fig. 1), John Gere set out to distinguish the contribution of Taddeo Zuccaro (1529–66) from that of his younger brother, collaborator, and heir to the family business, Federico (1540/41–1609). This, however, proved to be a challenging task. Not only is the decoration of the Pucci chapel one of Taddeo’s commissions that were left unfinished with his death in 1566, but Federico, who had a stylistic dependence on his brother, completed the scheme in 1589. Giorgio Vasari, who included a biography of Taddeo in the second edition of the Vitae in 1568, recorded that the artist died while busying himself with a cartoon for the chapel’s altarpiece.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"04 1","pages":"241 - 251"},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86074547","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 Garden Scene is one of the most famous images to have survived from Assyria, the world’s first empire. The scene, one of the gypsum reliefs from the North Palace at Nineveh (ca. 643 BCE), shows the Assyrian king Ashurbanipal reclining on a couch while the queen Libbalisharrat sits next to him in a lush garden. The scene’s tranquility initially seems to diverge from the violent images of warfare that traditionally dominate Assyrian palace reliefs, but this impression is belied by the presence of a severed head hanging in a tree situated to the left of the royal couple, usually attributed to the Elamite king Teumman, who was defeated by Ashurbanipal’s army in 653 BCE.
{"title":"Libbali-sharrat in the Garden: An Assyrian Queen Holding Court","authors":"D. Kertai","doi":"10.1086/709188","DOIUrl":"https://doi.org/10.1086/709188","url":null,"abstract":"The Garden Scene is one of the most famous images to have survived from Assyria, the world’s first empire. The scene, one of the gypsum reliefs from the North Palace at Nineveh (ca. 643 BCE), shows the Assyrian king Ashurbanipal reclining on a couch while the queen Libbalisharrat sits next to him in a lush garden. The scene’s tranquility initially seems to diverge from the violent images of warfare that traditionally dominate Assyrian palace reliefs, but this impression is belied by the presence of a severed head hanging in a tree situated to the left of the royal couple, usually attributed to the Elamite king Teumman, who was defeated by Ashurbanipal’s army in 653 BCE.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"307 1","pages":"209 - 218"},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77510279","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}
Leaving a dinner party in Florence one fine spring evening in 1987, Fred Licht remarked to his fellow guests, “I am just a cicerone.” Not untrue, his statement was of course ironic, since Fred pondered works of art deeply and his friends all knew it. Yes, he was a cicerone or guide, but he was far more than that. For years Fred led students here and there throughout Italy in order to behold works of art that he loved. What he had to say was informed by a deep knowledge which he happily shared and by an obsessive attempt to solve the mysteries of great, well-known masterpieces and of works that were little known. In the summer of 1960 he showed slides of works of art aboard a little ship, the Ascanio, filled with students traveling between New York
{"title":"Fred Licht (1928–2019): An Appreciation","authors":"Paul Barolsky","doi":"10.1086/709194","DOIUrl":"https://doi.org/10.1086/709194","url":null,"abstract":"Leaving a dinner party in Florence one fine spring evening in 1987, Fred Licht remarked to his fellow guests, “I am just a cicerone.” Not untrue, his statement was of course ironic, since Fred pondered works of art deeply and his friends all knew it. Yes, he was a cicerone or guide, but he was far more than that. For years Fred led students here and there throughout Italy in order to behold works of art that he loved. What he had to say was informed by a deep knowledge which he happily shared and by an obsessive attempt to solve the mysteries of great, well-known masterpieces and of works that were little known. In the summer of 1960 he showed slides of works of art aboard a little ship, the Ascanio, filled with students traveling between New York","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"132 1","pages":"272 - 276"},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79647758","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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