{"title":"<i>Vermeer</i> (Amsterdam, Rijksmuseum), 10 February–4 June 2023. Catalogue edited by Pieter Roelofs and Gregor J. M. Weber. Rijksmuseum/Hannibal Books, 2023. 320 pp 200 color illus. Euro 59. ISBN 9789464666182.","authors":"Wayne Franits","doi":"10.1111/rest.12880","DOIUrl":"https://doi.org/10.1111/rest.12880","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135268602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The exhibition Federico da Montefeltro e Francesco di Giorgio. Urbino crocevia delle arti reflected on the importance of Urbino on the sixth centenary of the birth of Federico da Montefeltro (1422– 2022). The show included over 60 loans from paintings to sculptures, drawings, illuminated manuscripts and medals, created by more than 20 artists from different parts of Italy, as well as Spain and Croatia. Displayed in the temporary exhibition space on the ground floor of the ducal palace, the curators intended that the building itself should form an integral part of the exhibition. The catalogue and first panel explained that the show took as its historical cue Federico’s victory over his neighbour and rival, Sigismondo Malatesta, and the start of the second phase of the construction of the ducal palace (1460). The display thus focused on the decades between 1460 and 1480, the most ‘mature’ period of Federico’s patronage and the moment when Urbino became, as the title suggests, a ‘crossroads’ of the arts. The first room opened with a section entitled Ritorno di Federico da Montefeltro a Urbino. Piero e gli antefatti prospettici (1462– 1476), which addressed the celebration of Federico and his family through images dating to the second phase of the palace’s construction. In addition to several portraits of the duke, the exhibition featured the relief of Federico’s son Guidobaldo portrayed by Domenico Rosselli and that of his wife, Battista Sforza, executed by the Croatian sculptor Francesco Laurana. The latter was commissioned by the duke himself to commemorate the untimely death of his wife; it displays the fine talents of the Dalmatian sculptor, particularly evident in how the veil gathers over her hair and in the delicately carved lace tied under her chin. The room’s principal focus, however, was undoubtedly Piero della Francesca’s Flagellation (Urbino, Galleria Nazionale delle Marche), which faced the visitor immediately upon entering. As it predated all works in the room by about 10 years, the painting is described in the catalogue as the ideal ‘beginning of the exhibition’, while the explanatory panel considered it as a ‘manifesto of the culture of Urbino’ (‘manifesto della cultura urbinate’) as it displays the mathematical interest in the use of perspective that characterised the artistic environment of the court in the second half of the 15th century. A primary space on the wall was granted to the panel, distancing it from the rest
Federico da Montefeltro和Francesco di Giorgio的展览。乌尔比诺艺术品反映了乌尔比诺在费德里科·达·蒙特费尔特罗(1422 - 2022)诞辰六百年的重要性。这次展览包括60多件外借作品，从油画到雕塑、素描、彩绘手稿和奖章，由来自意大利不同地区、西班牙和克罗地亚的20多位艺术家创作。在公爵宫殿底层的临时展览空间中展出，策展人希望建筑本身成为展览的一个组成部分。目录和第一个展板解释说，这次展览的历史线索是费德里科战胜了他的邻居和对手西吉斯蒙多·马拉泰斯塔，并开始了公爵宫殿的第二阶段建设(1460年)。因此，展览集中于1460年至1480年之间的几十年，这是费德里科赞助的最“成熟”时期，也是乌尔比诺成为艺术“十字路口”的时刻，正如标题所暗示的那样。第一个展厅的展区名为《Federico da Montefeltro a Urbino》。Piero e gli antefatti prospetici(1462 - 1476)，通过宫殿建造第二阶段的图像来纪念费德里科和他的家人。除了几幅公爵的肖像外，展览还展出了多梅尼科·罗塞利(Domenico Rosselli)为费德里科的儿子吉多巴多(Guidobaldo)绘制的浮雕，以及克罗地亚雕塑家弗朗西斯科·劳拉纳(Francesco Laurana)为费德里科的妻子巴蒂斯塔·斯福尔扎(Battista Sforza)绘制的浮雕。后者是由公爵亲自委托，以纪念他的妻子英年早逝;它展示了达尔马提亚雕刻家的精湛才华，尤其是在她的头发上的面纱和她下巴下精致的雕刻花边上。然而，房间的主要焦点无疑是皮耶罗·德拉·弗朗西斯卡(Piero della Francesca)的《鞭挞》(Urbino, Galleria Nazionale delle Marche)，它在游客进入后立即面向游客。由于它比房间里的所有作品都早了大约10年，这幅画在目录中被描述为理想的“展览开始”，而解释小组则认为它是“乌尔比诺文化宣言”(“manifesto della cultura urbinate”)，因为它展示了15世纪下半叶宫廷艺术环境中透视法的数学兴趣。墙上的主要空间被授予面板，使其与其他部分保持距离
{"title":"Federico da Montefeltro e Francesco di Giorgio Martino. Urbino crocevia delle arti (Galleria Nazionale delle Marche, Urbino, 23 June–9 October 2022). Catalogue by Alessandro Angelini, Gabriele Fattorini and Giovanni Russo. Venice: Marsilio Editore, 2022. 320 pp. ISBN 979‐1254630396.","authors":"Lunarita Sterpetti","doi":"10.1111/rest.12882","DOIUrl":"https://doi.org/10.1111/rest.12882","url":null,"abstract":"The exhibition Federico da Montefeltro e Francesco di Giorgio. Urbino crocevia delle arti reflected on the importance of Urbino on the sixth centenary of the birth of Federico da Montefeltro (1422– 2022). The show included over 60 loans from paintings to sculptures, drawings, illuminated manuscripts and medals, created by more than 20 artists from different parts of Italy, as well as Spain and Croatia. Displayed in the temporary exhibition space on the ground floor of the ducal palace, the curators intended that the building itself should form an integral part of the exhibition. The catalogue and first panel explained that the show took as its historical cue Federico’s victory over his neighbour and rival, Sigismondo Malatesta, and the start of the second phase of the construction of the ducal palace (1460). The display thus focused on the decades between 1460 and 1480, the most ‘mature’ period of Federico’s patronage and the moment when Urbino became, as the title suggests, a ‘crossroads’ of the arts. The first room opened with a section entitled Ritorno di Federico da Montefeltro a Urbino. Piero e gli antefatti prospettici (1462– 1476), which addressed the celebration of Federico and his family through images dating to the second phase of the palace’s construction. In addition to several portraits of the duke, the exhibition featured the relief of Federico’s son Guidobaldo portrayed by Domenico Rosselli and that of his wife, Battista Sforza, executed by the Croatian sculptor Francesco Laurana. The latter was commissioned by the duke himself to commemorate the untimely death of his wife; it displays the fine talents of the Dalmatian sculptor, particularly evident in how the veil gathers over her hair and in the delicately carved lace tied under her chin. The room’s principal focus, however, was undoubtedly Piero della Francesca’s Flagellation (Urbino, Galleria Nazionale delle Marche), which faced the visitor immediately upon entering. As it predated all works in the room by about 10 years, the painting is described in the catalogue as the ideal ‘beginning of the exhibition’, while the explanatory panel considered it as a ‘manifesto of the culture of Urbino’ (‘manifesto della cultura urbinate’) as it displays the mathematical interest in the use of perspective that characterised the artistic environment of the court in the second half of the 15th century. A primary space on the wall was granted to the panel, distancing it from the rest","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90964309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Renaissance StudiesEarly View Review of Exhibitions Vor Dürer. Kupferstich wird Kunst (Frankfurt am Main, Städel Museum), 28 September 2022–22 January 2023. Catalogue edited by Martin Sonnabend, Vor Dürer - Kupferstich wird Kunst: deutsche und niederländische Kupferstiche des 15. Jahrhunderts aus der Graphischen Sammlung des Städel Museums. Sandstein Verlag, 2022. 312pp. 221ill. ISBN 978-3-95498-707-8. Guido Scholten, Corresponding Author Guido Scholten [email protected] Draiflessen Collection (Liberna Collection)Search for more papers by this author Guido Scholten, Corresponding Author Guido Scholten [email protected] Draiflessen Collection (Liberna Collection)Search for more papers by this author First published: 04 June 2023 https://doi.org/10.1111/rest.12881Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinkedInRedditWechat Early ViewOnline Version of Record before inclusion in an issue RelatedInformation
文艺复兴研究。展览早期回顾。库普费斯蒂奇艺术博物馆(法兰克福美因河畔Städel博物馆)，2022年9月28日至2023年1月22日。目录由Martin Sonnabend编辑，Vor drer - Kupferstich wind Kunst: deutsche und niederländische Kupferstiche des 15。Jahrhunderts aus der Graphischen Sammlung des Städel博物馆。Sandstein出版社，2022。312页。221生病了。ISBN 978-3-95498-707-8。Guido Scholten，通讯作者Guido Scholten [email protected] Draiflessen Collection (Liberna Collection)搜索本作者的更多论文Guido Scholten，通讯作者Guido Scholten [email protected] Draiflessen Collection (Liberna Collection)搜索本作者的更多论文首次发表:2023年6月4日https://doi.org/10.1111/rest.12881Read全文taboutpdf ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare给予accessShare全文accessShare全文accessShare请查看我们的使用条款和条件，并勾选下面的复选框共享文章的全文版本。我已经阅读并接受了Wiley在线图书馆使用共享链接的条款和条件，请使用下面的链接与您的朋友和同事分享本文的全文版本。学习更多的知识。复制URL共享链接共享onemailfacebooktwitterlinkedinreddit微信早期视图在线版本记录前纳入问题相关信息
{"title":"<i>Vor Dürer. Kupferstich wird Kunst</i> (Frankfurt am Main, Städel Museum), 28 September 2022–22 January 2023. Catalogue edited by Martin Sonnabend, <i>Vor Dürer ‐ Kupferstich wird Kunst: deutsche und niederländische Kupferstiche des 15. Jahrhunderts aus der Graphischen Sammlung des Städel Museums</i>. Sandstein Verlag, 2022. 312pp. 221ill. ISBN 978‐3‐95498‐707‐8.","authors":"Guido Scholten","doi":"10.1111/rest.12881","DOIUrl":"https://doi.org/10.1111/rest.12881","url":null,"abstract":"Renaissance StudiesEarly View Review of Exhibitions Vor Dürer. Kupferstich wird Kunst (Frankfurt am Main, Städel Museum), 28 September 2022–22 January 2023. Catalogue edited by Martin Sonnabend, Vor Dürer - Kupferstich wird Kunst: deutsche und niederländische Kupferstiche des 15. Jahrhunderts aus der Graphischen Sammlung des Städel Museums. Sandstein Verlag, 2022. 312pp. 221ill. ISBN 978-3-95498-707-8. Guido Scholten, Corresponding Author Guido Scholten [email protected] Draiflessen Collection (Liberna Collection)Search for more papers by this author Guido Scholten, Corresponding Author Guido Scholten [email protected] Draiflessen Collection (Liberna Collection)Search for more papers by this author First published: 04 June 2023 https://doi.org/10.1111/rest.12881Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinkedInRedditWechat Early ViewOnline Version of Record before inclusion in an issue RelatedInformation","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134928018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hoe ouder hoe sotter (‘the older [one is], the [more] foolish’) is an old Dutch proverb with the kind of lesson that one finds in a variety of sixteenthcentury satires, whether verse or drama. And that is the basic visual message conveyed in a several satirical images gathered in a new focus exhibition, organized by curator Emma Capron at London’s National Gallery. Stars of the show are pendant images by Quinten Massys (also known as Metsys, active 1491– 1530): one in the Gallery collection, a grotesque Old Woman (Fig. 1), is nicknamed ‘The Ugly Duchess’ (for reasons described below); the other, an Old Man (Fig. 2), interacts with her across connected space. But another major actor in the installation drama is none other than Leonardo da Vinci, whose grotesque faces and caricatures in drawings comprise a major component of this London display. They also form the subject of a valuable accompanying essay by Martin Clayton, noted Leonardo authority and Head of Prints and Drawings, including the remarkable Leonardos, at Windsor Castle. Additional imagery of age and ugliness in the exhibition raises fundamental questions about a new, early modern turn towards independent images of figures who are neither portraits nor identifiable individuals from historical subjects of religion or myth. As Capron makes clear, this painting innovation is both secular and satirical. Her lively catalogue extends the issues of her exhibition and enriches it with an essential complement, which raises fundamental questions. The two main figures seem clearly to be pendants, painted by the same artist, Massys (although Martin Davies in his final word on the attribution, still called the London painting ‘after Massys (?)’), since they share a painted marble balustrade and common monochrome green backgrounds. Davies connected it with a Windsor drawing (Fig. 3; RCIN 912492), a copy after Leonardo from his circle (on display in the exhibition), and he follows Erwin Panofsky in associating the picture with Erasmus’s 1511 Praise of Folly satire about ‘foolish old women who still wish “to play the goat.”’ Her outlandish costume, especially her terribly oldfashioned horned wimple headdress (akin to Bruges’s Margaret van Eyck, 1439), combines with a most inappropriate décolletage that reveals her wrinkled bosom to display both her vanity and her absurdity. Of course, as recognized by Lorne Campbell in his 2015 Gallery catalogue, this picture utilizes the conventions of portraiture, showing a nearlyhalflength figure at
“越老越傻”(Hoe ouder Hoe sotter)是一句古老的荷兰谚语，它的寓意可以在16世纪的各种讽刺作品中找到，无论是诗歌还是戏剧。这就是伦敦国家美术馆策展人艾玛·卡普龙(Emma Capron)组织的一场新焦点展览中收集的几幅讽刺图片所传达的基本视觉信息。展览的明星是昆滕·马斯(Quinten Massys，也被称为梅西斯，活跃于1491年至1530年)的垂坠图像:画廊收藏中的一个，一个怪诞的老妇人(图1)，被昵称为“丑陋的公爵夫人”(原因如下);另一个是一个老人(图2)，在连接的空间中与她互动。但装置艺术的另一个主要角色不是别人，正是达芬奇，他的怪诞面孔和漫画画构成了这次伦敦展览的主要组成部分。它们也构成了马丁·克莱顿(Martin Clayton)的一篇有价值的随笔的主题，马丁·克莱顿是著名的达芬奇权威和版画和绘画负责人，包括温莎城堡中著名的达芬奇。展览中关于年龄和丑陋的其他图像提出了一个基本问题，即新的、早期现代转向独立的人物形象，这些人物既不是肖像，也不是宗教或神话历史主题中的可识别个人。正如卡普龙所言，这种绘画创新既世俗又讽刺。她的生动的目录扩展了她的展览的问题，并丰富了它与一个必要的补充，这提出了根本性的问题。这两个主要人物显然是挂件，出自同一位艺术家马西(Massys)之手(尽管马丁·戴维斯(Martin Davies)在最后的鉴定中仍称这幅伦敦画作“以马西(Massys)命名”)，因为它们共用一个彩绘大理石栏杆，背景都是单色的绿色。戴维斯将其与温莎的一幅画联系起来(图3;RCIN 912492)，这是达芬奇在他的圈子里的复制品(在展览中展出)，他跟随欧文·帕诺夫斯基(Erwin Panofsky)，将这幅画与伊拉斯谟(Erasmus) 1511年的《愚蠢的赞美》(Praise of Folly)联系在一起，讽刺“愚蠢的老女人仍然希望”扮演山羊。“她古怪的服装，尤其是她那可怕的老式角褶头饰(类似于布鲁日的玛格丽特·凡·艾克(Margaret van Eyck)， 1439年)，再加上一个最不合适的发型，露出她皱巴巴的胸部，显示出她的虚荣和荒谬。”当然，正如洛恩·坎贝尔(Lorne Campbell)在他2015年的画廊目录中所承认的那样，这张照片利用了肖像的惯例，展示了一个近半长的人物
{"title":"The Ugly Duchess. Beauty and Satire in the Renaissance. (London: National Gallery) 16 March ‐ 11 June 2023. Catalogue edited by Emma Capron. Distributed by Yale University Press.","authors":"Larry Silver","doi":"10.1111/rest.12872","DOIUrl":"https://doi.org/10.1111/rest.12872","url":null,"abstract":"Hoe ouder hoe sotter (‘the older [one is], the [more] foolish’) is an old Dutch proverb with the kind of lesson that one finds in a variety of sixteenthcentury satires, whether verse or drama. And that is the basic visual message conveyed in a several satirical images gathered in a new focus exhibition, organized by curator Emma Capron at London’s National Gallery. Stars of the show are pendant images by Quinten Massys (also known as Metsys, active 1491– 1530): one in the Gallery collection, a grotesque Old Woman (Fig. 1), is nicknamed ‘The Ugly Duchess’ (for reasons described below); the other, an Old Man (Fig. 2), interacts with her across connected space. But another major actor in the installation drama is none other than Leonardo da Vinci, whose grotesque faces and caricatures in drawings comprise a major component of this London display. They also form the subject of a valuable accompanying essay by Martin Clayton, noted Leonardo authority and Head of Prints and Drawings, including the remarkable Leonardos, at Windsor Castle. Additional imagery of age and ugliness in the exhibition raises fundamental questions about a new, early modern turn towards independent images of figures who are neither portraits nor identifiable individuals from historical subjects of religion or myth. As Capron makes clear, this painting innovation is both secular and satirical. Her lively catalogue extends the issues of her exhibition and enriches it with an essential complement, which raises fundamental questions. The two main figures seem clearly to be pendants, painted by the same artist, Massys (although Martin Davies in his final word on the attribution, still called the London painting ‘after Massys (?)’), since they share a painted marble balustrade and common monochrome green backgrounds. Davies connected it with a Windsor drawing (Fig. 3; RCIN 912492), a copy after Leonardo from his circle (on display in the exhibition), and he follows Erwin Panofsky in associating the picture with Erasmus’s 1511 Praise of Folly satire about ‘foolish old women who still wish “to play the goat.”’ Her outlandish costume, especially her terribly oldfashioned horned wimple headdress (akin to Bruges’s Margaret van Eyck, 1439), combines with a most inappropriate décolletage that reveals her wrinkled bosom to display both her vanity and her absurdity. Of course, as recognized by Lorne Campbell in his 2015 Gallery catalogue, this picture utilizes the conventions of portraiture, showing a nearlyhalflength figure at","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81571887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In his preface to the exhibition catalogue, commenting on the fragmentary state of Palazzo Te after spoliations that occurred over the centuries, the director of the complex, Stefano Baia Curioni, evokes the nostalgia of a lost splendour produced by the overwhelming frescoes and stucco reliefs of the ceilings. Compared to those decorations, he concludes, ‘everything else is an absence’. This is precisely the challenge with which Barbara Furlotti and Guido Rebecchini, the two curators of the show Giulio Romano. La forza delle cose, had to engage: exhibiting an absence. Even if they focused on the production of ‘Raphael’s most important pupil’ as a designer of luxury objects – mostly tableware – and stunning pieces of furniture, such disappearance is not just that of his creations from the rooms of the suburban residence conceived for Federico II. In other words, this exhibition did not simply aim to suggest the former opulence of the interiors of the Gonzaga court and, in so doing, demonstrate how their riches were a substantial part of the aesthetic experience of courtly life in the Renaissance: as the title suggested, to reveal the social and performative power (‘forza’) of those things (‘cose’). The curators had to take a step further as the absence they challenged was also of the very artefacts produced after Giulio’s designs. They all underwent destruction and reuse as was commonplace for early modern highend tableware, which could be promptly sacrificed for financial reasons whenever new gold and silver currency needed to be coined. If, on one hand, this was among the reasons for the continuous request of new inventions that triggered Giulio’s creativity, these precious, smallscale objects were ‘intrinsically transient’ and in most cases disappeared over the decades. How did the concise, erudite and precious exhibition conceived by Furlotti and Rebecchini respond to that brief? Be it documentary, objectbased or reconstructive, different strategies were put in place in the six rooms of Palazzo Te hosting the show, not least to respond to different types of audiences. The exhibition centred on drawing, both conceptually and physically, and thereby adopted one of the most consolidated paradigms for the interpretation of the period, whose origins in sixteenthcentury artistic theory and enduring central role for
在展览目录的序言中，博物馆馆长Stefano Baia Curioni评论了几个世纪以来发生的破坏后，Te宫的残缺状态，唤起了对巨大壁画和天花板灰泥浮雕所产生的失落辉煌的怀旧之情。他总结道，与这些装饰相比，“其他一切都是缺位”。这正是朱利奥·罗马诺(Giulio Romano)展览的两位策展人芭芭拉·弗洛蒂(Barbara Furlotti)和吉多·雷贝基尼(Guido Rebecchini)所面临的挑战。La forza delle cose，必须参与:表现出缺席。即使他们把注意力集中在“拉斐尔最重要的学生”的作品上，作为奢侈品(主要是餐具)和令人惊叹的家具的设计师，这种消失不仅仅是他为费德里科二世设计的郊区住宅房间里的作品。换句话说，这次展览不仅仅是为了展示贡萨加宫廷内部以前的富裕，这样做是为了展示他们的财富是文艺复兴时期宫廷生活美学体验的重要组成部分:正如标题所暗示的那样，揭示这些东西的社会和表演力量(“forza”)。策展人必须更进一步，因为他们所挑战的缺位也是在朱利奥的设计之后生产的人工制品。它们都经历了破坏和再利用，就像早期现代高端餐具一样，每当需要铸造新的金银货币时，它们就会因为经济原因而被迅速牺牲。一方面，如果这是不断要求新发明激发朱利奥创造力的原因之一，那么这些珍贵的小物件“本质上是短暂的”，并且在大多数情况下在几十年后消失了。Furlotti和Rebecchini构思的简洁、博学和珍贵的展览是如何回应这一简要的?无论是纪实的、实物的还是重建的，在Palazzo Te的六个房间里，不同的策略被放置在不同的位置，尤其是为了回应不同类型的观众。展览以绘画为中心，从概念上和物理上，从而采用了最巩固的范式之一来解释这一时期，其起源是16世纪的艺术理论和持久的核心作用
{"title":"Giulio Romano. La forza delle cose (Palazzo Te, Mantova, 8 October 2022–8 January 2023). Catalogue by Barbara Furlotti and Guido Rebecchini. Venice: Marsilio Arte, 2022, 207 pp., colour illustrations. ISBN: 979‐12‐5463‐049‐5.","authors":"Dario Donetti","doi":"10.1111/rest.12870","DOIUrl":"https://doi.org/10.1111/rest.12870","url":null,"abstract":"In his preface to the exhibition catalogue, commenting on the fragmentary state of Palazzo Te after spoliations that occurred over the centuries, the director of the complex, Stefano Baia Curioni, evokes the nostalgia of a lost splendour produced by the overwhelming frescoes and stucco reliefs of the ceilings. Compared to those decorations, he concludes, ‘everything else is an absence’. This is precisely the challenge with which Barbara Furlotti and Guido Rebecchini, the two curators of the show Giulio Romano. La forza delle cose, had to engage: exhibiting an absence. Even if they focused on the production of ‘Raphael’s most important pupil’ as a designer of luxury objects – mostly tableware – and stunning pieces of furniture, such disappearance is not just that of his creations from the rooms of the suburban residence conceived for Federico II. In other words, this exhibition did not simply aim to suggest the former opulence of the interiors of the Gonzaga court and, in so doing, demonstrate how their riches were a substantial part of the aesthetic experience of courtly life in the Renaissance: as the title suggested, to reveal the social and performative power (‘forza’) of those things (‘cose’). The curators had to take a step further as the absence they challenged was also of the very artefacts produced after Giulio’s designs. They all underwent destruction and reuse as was commonplace for early modern highend tableware, which could be promptly sacrificed for financial reasons whenever new gold and silver currency needed to be coined. If, on one hand, this was among the reasons for the continuous request of new inventions that triggered Giulio’s creativity, these precious, smallscale objects were ‘intrinsically transient’ and in most cases disappeared over the decades. How did the concise, erudite and precious exhibition conceived by Furlotti and Rebecchini respond to that brief? Be it documentary, objectbased or reconstructive, different strategies were put in place in the six rooms of Palazzo Te hosting the show, not least to respond to different types of audiences. The exhibition centred on drawing, both conceptually and physically, and thereby adopted one of the most consolidated paradigms for the interpretation of the period, whose origins in sixteenthcentury artistic theory and enduring central role for","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83374177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"EmilyMichelson, Catholic Spectacle and Rome's Jews: Early Modern Conversion and Resistance. Princeton: Princeton University Press, 2022. 352 pp. $39.95/£35.00. ISBN 978‐0‐691‐21133‐6 (hb).","authors":"R. Clines","doi":"10.1111/rest.12866","DOIUrl":"https://doi.org/10.1111/rest.12866","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91076189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Renaissance StudiesVolume 37, Issue 3 p. 462-467 Review of Exhibitions Tudor Mystery: The Master of the Countess of Warwick (Compton Verney), 4 February–7 May 2023. Catalogue by Amy Orrock with contributions by Edward Town, Tudor Mystery: The Master of the Countess of Warwick. Compton Verney Publishing, 2023. 60 pp 17ill. £15.00. ISBN 978-1-9999659-3-8. Sara Ayres, Corresponding Author Sara Ayres [email protected] University of CopenhagenSearch for more papers by this author Sara Ayres, Corresponding Author Sara Ayres [email protected] University of CopenhagenSearch for more papers by this author First published: 10 April 2023 https://doi.org/10.1111/rest.12869Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinkedInRedditWechat Volume37, Issue3June 2023Pages 462-467 RelatedInformation
{"title":"<i>Tudor Mystery: The Master of the Countess of Warwick</i> (Compton Verney), 4 February–7 May 2023. Catalogue by Amy Orrock with contributions by Edward Town, <i>Tudor Mystery: The Master of the Countess of Warwick</i>. Compton Verney Publishing, 2023. 60 pp 17ill. £15.00. <scp>ISBN</scp> 978‐1‐9999659‐3‐8.","authors":"Sara Ayres","doi":"10.1111/rest.12869","DOIUrl":"https://doi.org/10.1111/rest.12869","url":null,"abstract":"Renaissance StudiesVolume 37, Issue 3 p. 462-467 Review of Exhibitions Tudor Mystery: The Master of the Countess of Warwick (Compton Verney), 4 February–7 May 2023. Catalogue by Amy Orrock with contributions by Edward Town, Tudor Mystery: The Master of the Countess of Warwick. Compton Verney Publishing, 2023. 60 pp 17ill. £15.00. ISBN 978-1-9999659-3-8. Sara Ayres, Corresponding Author Sara Ayres [email protected] University of CopenhagenSearch for more papers by this author Sara Ayres, Corresponding Author Sara Ayres [email protected] University of CopenhagenSearch for more papers by this author First published: 10 April 2023 https://doi.org/10.1111/rest.12869Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinkedInRedditWechat Volume37, Issue3June 2023Pages 462-467 RelatedInformation","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135592906","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"NeilYounger, Religion and Politics in Elizabethan England: The Life of Sir Christopher Hatton. Manchester: Manchester University Press, 2022. xiii + 270 pp. £85.00.\u0000 ISBN\u0000 978‐1‐5261‐5949‐6 (hb).","authors":"Rosalyn Cousins","doi":"10.1111/rest.12867","DOIUrl":"https://doi.org/10.1111/rest.12867","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75559569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"StefanoVillani, Making Italy Anglican: Why the Book of Common Prayer was Translated into Italian. Oxford: Oxford University Press, 2022. xiv ± 292 pp. £64. ISBN 978‐0‐19‐758773‐7 (hb).","authors":"E. Davies","doi":"10.1111/rest.12868","DOIUrl":"https://doi.org/10.1111/rest.12868","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87478329","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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