Entries Tagged as 'Renaissance'

La Renaissance de l’art au Musée de Cluny

Musée-de-Cluny

EXHIBITION: Une Renaissance. L’art entre Flandre et Champagne 1150-1250, musée de Cluny, musée national du Moyen Âge (6 place Paul Painlevé, 75005 Paris), 17 avril – 15 juillet 2013. Commissaires de l’exposition : Christine Descatoire, conservatrice en chef au musée de Cluny, Paris; et Marc Gil, Maître de conférences à l’université Charles de Gaulle-Lille 3, Institut de Recherches historiques du Septentrion (UMR-CNRS). Exposition organisée par le musée de Cluny et la Réunion des musées nationaux – Grand Palais.

Trésors insoupçonnés d’une renaissance avant la lettre: la nouvelle exposition du musée de Cluny dévoile le style original qui se développe entre Flandre et Champagne à la charnière des XIIe et XIIIe siècles. Enluminures, pièces d’orfèvrerie, sceaux, émaux, vitraux, ivoires et autres sculptures révèlent le dynamisme exceptionnel de ces régions.

Des régions créatrices de richesse. Par le biais des foires de Flandre et de Champagne et du prestige des villes drapières, les régions du nord et de l’est de l’Europe forment une véritable plaque tournante du commerce international. La Flandre, la Picardie, l’Artois, la Champagne et la région mosane sont stratégiquement situées entre les pays nordiques et l’espace méditerranéen, et irriguées par de nombreuses voies de circulation. Elles attirent marchands et artisans, qui créent un réseau de relations dynamiques au fil de leurs voyages. Grâce aux nombreuses abbayes présentes sur ce territoire, des liens étroits se tissent également sur le plan religieux et intellectuel, reliant des villes telles que Saint-Omer et Liège.

Une renaissance avant la Renaissance. Cette vigueur économique et spirituelle favorise la commande artistique et la naissance d’un courant nouveau. Généralement appelé «style 1200», il n’est ni roman, ni gothique, et se caractérise par un intérêt renouvelé pour les formes antiquisantes, pour la nature et pour l’homme. Les artistes se fondent sur l’observation des corps, à travers l’étude des vestiges matériels de l’Antiquité, et tout spécialement de la statuaire gréco-romaine, dont ils s’inspirent en particulier pour la beauté et la souplesse des drapés. Ce style singulier se construit grâce à la polyvalence et à la mobilité des artistes. L’inspiration mosane des émaux du trésor de la cathédrale de Troyes révèle notamment ces échanges féconds. Relations entre homologues de régions voisines, collaborations d’ateliers, transmission de maîtres à élèves: l’exposition met en lumière ces influences croisées et cette circulation des œuvres et des modèles, qui voyagent tout autant que les hommes. Le parti-pris géographique de cette exposition permet de proposer une lecture inédite du style 1200. En réunissant des œuvres partageant une esthétique commune, elle s’oppose à l’idée d’un art de transition. La grande châsse de la Vierge conservée au trésor de la cathédrale de Tournai, signée de la main du maître médiéval Nicolas de Verdun, en est l’un des exemples les plus représentatifs.

La promesse d’un paradis. Cet art septentrionnal, qui s’épanouit essentiellement dans le registre du sacré, doit également beaucoup aux commanditaires. Ecclésiastiques, comtes et dames de l’aristocratie constituent un cercle de mécènes éclairés. Leur dévotion se matérialise ainsi à travers des objets luxueux et d’une ébouissante qualité: l’espoir d’une place de choix au royaume des cieux… Parmi ces figures emblématiques s’impose celle de l’abbé Wibald de Stavelot, abbaye impériale du diocèse de Liège, à l’origine de la commande du retable de Saint-Remacle, aujourd’hui disparu, mais dont sont conservés deux précieux médaillons émaillés représentant des anges à l’expression délicate. Les princes laïcs, notamment les comtes de Flandre et de Champagne, ont eux aussi stimulé la création. Certaines de leurs compagnes, telles Sibylle de Flandre, Éléonore de Vermandois ou Marie de Champagne jouèrent un rôle de premier plan.

Richesse matérielle et richesse spirituelle ne sont pas contradictoires au Moyen Âge. La magnificence des œuvres rend grâce à Dieu, car elle permet d’atteindre, par le visible, ce qui reste insaisissable. Elle se traduit par l’emploi de matériaux précieux et de gemmes étincelantes venues d’Orient, ou encore par l’utilisation de techniques élaborées et raffinées. Dans le domaine de l’orfèvrerie, émaux, nielles, filigranes et vernis brun sont souvent employés et parfois associés sur une même œuvre, à l’image de la somptueuse croix-reliquaire de Clairmarais.

De Paris à Saint-Omer. Au-delà de Paris, la visite continue en pays audomarois au musée de l’hôtel Sandelin, où le visiteur peut découvir le second volet de l’exposition au cœur des terres qui furent le théâtre de cette «renaissance».

En savoir plus

Florence at the Dawn of the Renaissance

Mostra-Toronto

EXHIBITION: Florence at the Dawn of the Renaissance: Painting and Illumination, 1300-1350, Los Angeles, The J. Paul Getty Museum (1200 Getty Center Drive), 13 November 2012 – 10 February 2013; and Toronto, The Art Gallery of Ontario, 16 March – 16 June 2013. Catalogue edited by Christine Sciacca, Los Angeles 2013.

In the early 1300s, creativity was flourishing in Florence at a time of unprecedented prosperity, urban expansion, and intellectual innovation. The Renaissance was awakening. In this dynamic climate, master painter Giotto di Bondone revolutionized painting with a new, more naturalistic approach to the human form. He – along with the iconic literary figure Dante Alighieri and accomplished panel painters and illuminators – formed a thriving artistic community that responded to the great demand for art and literature in the growing city, both for the decoration of sacred and secular buildings and for the illumination of luxurious manuscripts.

This major international loan exhibition presents seven breathtaking paintings by Giotto, the largest number ever assembled in North America, as well as extraordinary works by his Florentine contemporaries, including painters Bernardo Daddi and Taddeo Gaddi and painter-illuminators Pacino di Bonaguida, the Master of the Dominican Effigies, and the Master of the Codex of Saint George. Among the highlights are the earliest illuminated copies of Dante’s masterpiece the Divine Comedy, and nearly all the surviving leaves from the most important illuminated manuscript commission of the early 1300s, the Laudario of Sant’Agnese.

In a fresh approach to this material, paintings, manuscript illumination, and stained glass are examined side by side, in concert with new scientific analysis and findings about artists’ techniques and workshops, to reveal a complex and nuanced picture of the beauty of Florentine art during this pivotal moment in history. Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350, was co-organized by the J. Paul Getty Museum and the Art Gallery of Ontario. It has been supported by an indemnity from the Federal Council on the Arts and the Humanities.

This exhibition celebrates 2013 as the Year of Italian Culture in the United States, an initiative of the Italian Ministry of Foreign Affairs, realized under the leadership of the President of the Republic of Italy.

Learn more about the Getty exhibition or the Toronto exhibition

Assistant Professor, Oakland University

JOB: Assistant Professor – Medieval, Renaissance and Baroque Art, Department of Art and Art History, Oakland University, Rochester (MI).

Description: Tenure-track Assistant Professor to teach Medieval, Renaissance, and Baroque art. The candidate’s research specialization should be in one of those three areas. A secondary specialization is open. Teaching responsibilities include sections of the introductory survey of western art history, and advanced undergraduate courses in the art of Europe from the 4th century CE to 1750. Other courses may include undergraduate seminars, a writing intensive critical thinking course, and senior thesis capstone required of all art history majors. Opportunities exist for curricular development in areas of specialization involving comparative scholarship and innovative approaches to interdisciplinary frameworks. PhD required by the appointment start date; undergraduate teaching experience is preferred.

The Department values comparative approaches to art history and will be especially receptive to scholars who investigate the intersections of historical specialties within a global context.

Located in Metro Detroit, Oakland University is a nationally recognized doctoral/research institution and one of Michigan’s fastest growing universities with more than 19,000 students. Oakland prides itself on providing a dynamic, student-focused learning environment with integration of liberal and professional studies by a faculty of dedicated scholar-teachers. The Department of Art and Art History offers programs of study leading to the Bachelor of Arts degree with a major in Art History, in Studio Art, in Studio Art with K-12 Art Education Certification, or in Graphic Design. The Department’s curriculum encompasses art-making as an aesthetic expression of intellectual vision, and contextual study and research into the exceptional range of aesthetic expression throughout history.

First consideration will be given to candidates whose complete applications, including reference letters submitted directly by referees, are received by 11:59 p.m., Sunday, 27 January 2013.

Source: H-ArtHist

Medieval and Renaissance Art and Identity

BOOK: Art and Identity: Visual Culture, Politics and Religion in the Middle Ages and the Renaissance, edited by Sandra Cardarelli, Emily Jane Anderson and John Richards, Cambridge 2012 (Cambridge Scholars), 310 pp. black & white illustrations, £ 44.99.

This book provides a fully contextualised overview on aspects of visual culture, and how this was the product of patronage, politics, and religion in some European countries between the 13th and 17th centuries. The research that is showcased here offers new perspectives on the conception, production and reception of artworks as a means of projecting core values, ideals, and traditions of individuals, groups, and communities. This volume features contributions from established scholars and new researchers in the field, and examines how art contributed to the construction of identities by means of new archival research and a thorough interdisciplinary approach. The authors suggest that the use of conventions in style and iconography allowed the local and wider community to take part in rituals and devotional practices where these works were widely recognized symbols. However, alongside established traditions, new, ad-hoc developments in style and iconography were devised to suit individual requirements, and these are fully discussed in relevant case-studies. This book also contributes to a new understanding of the interaction between artists, patrons, and viewers in Medieval and Renaissance times.

Contents:
* Brendan Cassidy, Images of Saints and Political Identity in Late-Medieval Italy (pp. 3-18)
* Catherine Lawless, Civic Identity, Sanctity and Gender in Trecento Florence (pp. 19-44)
*Sandra Cardarelli, The Cathedral, the Church and the City: Celebrating Saints in the Statutes of Southern Tuscan Cities (pp. 45-70)
*Sarah Schell, Death and Disruption: Social Identity and Representation in the Medieval English Funeral (pp. 71-97)
*Jacek Kowzan, Memorare Novissima Tua. The Iconography of the Last Four Things as a Representation of Religious Identity (pp. 98-126)
*Jill Harrison, Being Florentine: A Question of Identity in the Arte della Lana, Florence (pp. 127-148)
*Kees van der Ploeg, Maintaining Identity: The Fifteenth-Century Renovation of St Lebuinus in Deventer (pp. 149-166)
*Giovanna Guidicini, The Political and Cultural Influence of James V’s Court on the Decoration of the King’s Fountain in Linlithgow Palace (pp. 167-192)
*Jennifer Vlček Schurr, The Dedication Illustration of the Passional of Abbess Cunegund – and Questions of Identity (pp. 193-218)
*Joseph Hammond, Negotiating Carmelite Identity: The Scuola dei Santi Alberto e Eliseo at Santa Maria dei Carmini in Venice (pp. 219-242)
*Laura Walters, Finding Fialetti: Examining the Oeuvre of Odoardo Fialetti through the Sources Relating to His English Patronage (pp. 243-268).

Two Lectures by Hans Belting

LECTURES: The Warburg Institute, University of London, School of Advanced Study (Woburn Square, London WC1H), at 4.30 in the Lecture Room. Admission is free.

Hans Belting, Emeritus Professor, Institute of Art History and Media Theory, College of Design Karlsruhe.

Wednesdays, 14 November 2012
Dante’s picture theory and the shadow

Thursday, 15 November 2012
Florence and Baghdad: Renaissance art and Arab science
This event is held in association with the Centre for the History of Arabic Studies in Europe.

Learn more

Renaissance Venice from the Morgan

EXHIBITION: Renaissance Venice: Drawings from the Morgan, New York, The Morgan Library & Museum, 18 May – 23 September 2012. Organized by Rhoda Eitel-Porter, guest curator.

Featuring some seventy masterpieces of drawings, books, maps, and letters from the Morgan’s rich holdings, the exhibition Renaissance Venice: Drawings from the Morgan chronicles the artistic production of the city of Venice and its territories during the republic’s Golden Age, the sixteenth century. The exhibition features striking examples by great masters of the period, including Paris Bordone, Vittore Carpaccio, Lorenzo Lotto, Jacopo Tintoretto, Titian, and Paolo Veronese.

Offering compelling insights into contemporary art, religion, and culture, Renaissance Venice addresses topics such as the portrait in Venetian art, Venice and the landscape tradition, religious and civic life, artistic innovations in printmaking and drawing, book publishing and cartography, and the role of foreign artists in the city. This is the first presentation and study of these drawings as a group and the first show in the United States on this theme.

Learn more

Tours 1500: Art et société de la Renaissance

CONFERENCE: Tours 1500: Art et société à Tours au début de la Renaissance, Tours, Centre d’Études Supérieures de la Renaissance (CESR), Salle Rapin (59, rue Néricault-Destouches – BP 11328 – 37013 Tours Cedex 1), 10-12 mai 2012. Réservation obligatoire. Contact

Programme:

Jeudi 10 mai 2012
Matinée: Corporations et métiers tourangeaux (9h 30)
Présidence: Bernard Chevalier
* David Rivaud (historien, Tours), Topographie de la ville de Tours vers 1500, état de la question
* Frédéric Tixier (Ingénieur de recherche, Institut de Recherche et d’Histoire des Textes, Paris), Les arts somptuaires à Tours autour de 1500: état de la question et nouvelles perspectives
*
Rolande Collas (docteur en Histoire, Tours), Les soyeux tourangeaux
* Eric Reppel (Professeur certifié d’Histoire-Géographie, Collège Pierre de Ronsard, Bourgueil), Les armuriers à Tours de 1480 à 1520

Après-midi: Artistes et commanditaires (14h 15)
Présidence: Marie Jacob
* Pierre-Gilles Girault (Conservateur, château et musées de Blois), Peintres et commande artistique  dans les archives tourangelles
* Caroline Vrand (Doctorante, université de Franche-Comté), Tours et les collections d’objets d’art d’Anne de Bretagne
* Mara Hofmann (Assistante de recherche, Institut Warburg, Londres), Jean Poyer: Entre tradition et innovation
* Pascale Charron (Maître de conférences, Tours-CESR), Autour du manuscrit Tours BM ms 2104: les ateliers tourangeaux entre Touraine et Bourbonnais
* Alexandra Zvereva (Chercheur associé, Université Paris-Sorbonne, Centre Roland Mousnier CNRS, Paris), Jean Clouet: étranger, peintre, officier royal, notable de Tours

Vendredi 11 mai 2012
Matinée: La ville « en représentation » (9h 30)
Présidence: Pierre-Gilles Girault
* Cécile Bulté (Doctorante, Université Paris IV), Décorer et anoblir. De la capitale provinciale à la ville royale à travers le décor urbain de Tours (1480-1520)
* Jean-Luc Porhel (Directeur des Archives et du Patrimoine, Tours), Aménagement et décor du premier hôtel de ville de Tours, autour de 1508
* Jean-Marie Guillouët (Maître de conférences, université de Nantes et Conseiller scientifique, INHA, Paris), Jean Fouquet et les savoir-faire architecturaux à la cathédrale de Tours
* Nicholas Herman (Ph.D. Candidate, New York University / Theodore Rousseau Fellow, Metropolitan Museum of Art), Bourdichon urbaniste

Après-midi: L’architecture tourangelle entre style flamboyant et formes « antiques » (14h 30)
Présidence: Marion Boudon-Machuel
* Alain Salamagne (Professeur Tours-CESR), La question de l’architecture de brique à Tours en 1500
* Xavier Pagazani (Docteur Université Paris IV-Sorbonne, Centre André Chastel), Les demeures aux champs des maires-échevins de Tours autour de 1500
* Jean Guillaume (Professeur émérite à l’université de Paris-Sorbonne), L’architecture “à l’antique” à Tours : le temps des expériences (1505-1520)
* Evelyne Thomas (Docteur en histoire de l’art, Centre André Chastel, ERHAM), Le répertoire ornemental “Tours 1500″

Samedi 12 mai 2012
Matinée: « A l’antique » (9h 30)
Présidence: Pascale Charron
* Teresa D’Urso (Chercheuse en Histoire de l’art, Seconda Università degli Studi di Napoli. Maria Capua Vetere, CE), La diffusione della miniatura all’antica a Tours agli inizi del Cinquecento: artisti e committenti
* Marie Jacob (Université de Paris Ouest-Nanterre La Défense, Nanterre), Le succès du répertoire antique de Jean Fouquet autour de 1500
* Valérie Guéant (Université de Lille III, laboratoire IRHiS, Villeneuve d’Ascq), Le Maître des Missels della Rovere, dynamique de production et de transfert entre  Rome et Tours
* Maxence Hermant (Conservateur. Bibliothèque nationale de France, département des manuscrits), Le Maître de Claude de France: état de la question
* Marion Boudon Machuel et Pascale Charron: Clôture du colloque.

En savoir plus

 

The Absent Body in Art

CALL FOR PAPERS: The Absent Body in Medieval and Renaissance Art, Southeastern College Art Conference, Durham, North Carolina (Unites States), 18-20 October 2012.

As part of a three part series of sessions addressing the absent body throughout the history of western art, this session explores the ways in which the absent body is represented in medieval and Renaissance art. For this session, papers are invited that address representations of the absent body in art from between the years 800 and 1600 from the region of Europe and the Mediterranean. Papers might address this topic by focusing on religious or secular works that depict the body symbolically or in fragmented form. Topics that may be considered include, but are not limited to, discussion of relics, reliquaries, the Eucharist, the Trinity, funerary art, and courtly culture. In addition, papers might consider the impact that Christian decorum had on artists’ ability to represent the body during the Middle Ages as well as how these moral values changed with the rise of humanism and the Renaissance.

To submit an abstract, please click here. For any questions, please contact Emily Kelley.

Deadline: 20 April 2012.

Source: H-ArtHist

Price Formation in the Art Markets

CONFERENCE: Price Formation in Late Medieval and Early Modern Art Markets, 12. Irseer Arbeitskreis für vorindustrielle Wirtschafts- und Sozialgeschichte, Schwabenakademie Irsee, 30 March – 1 April 2012.

Works of art are objects of particular interest for analysing  procedures of price formation. In the pricing of works of art, the aesthetic value of an art object was increasingly considered to be higher than its material value. This is usually the case when artists and agents start to make a clear distinction between high art and simple craftsmanship. The production process could likewise influence the level of pricing. If a piece of art was commissioned by an individual patron, the size of the object, the materials to be used and the selection of motives were frequently laid down in a written contract. Was the head of a workshop particularly well known, a contract could also stipulate the personal involvement of the master in the final execution of a work of art. Successful artists often employed their signature as a kind of brand name and calculated this bonus into the formation of their price for an art object.

In addition to custom-made products, early forms of serial production were introduced in order to serve the growing demand for specific art products, taking into account fashionable trends, as well as specific materials and techniques. Both categories of products – individual commissions and objects made for the art market – were affected by different trends in the designation of price levels. In the course of the centuries, different kinds of art markets developed. In addition to artists selling products from their own shop, specialized art agents established alternative networks for trading in art. With the rise of art galleries and art auctions a new system of price formation was established. In the context of evaluation the aesthetic qualities of a work of art, the expertise of specialists, the knowledge of connoisseurs and the discipline of art criticism were significant factors for the art trade.

These topics will be discussed systematically on the base of empirical case studies. The program of the conference combines contributions of an international panel of economic historians, social and cultural historians, art historians and sociologists specialized in the pricing of art.

[Read more →]

An Experimental Phase in the History of Early Printing: Fifteenth-Century Blockbooks

CONFERENCE: Eine Experimentierphase im frühen Buchdruck: Blockbücher des 15. JahrhundertsAn Experimental Phase in the History of Early Printing: Fifteenth-Century Blockbooks, München, Bayerische Staatsbibliothek, 16.-17. Februar 2012. In Kooperation mit der Bodleian Library, Oxford. Kontakt: bettina.wagner@bsb-muenchen.de

Die Tagung bietet die Gelegenheit zur Diskussion der bisherigen Projektergebnisse mit Vertretern der einschlägigen Fachdisziplinen. Am ersten Tag werden Fragen in Bezug auf die Materialität der Blockbücher behandelt und am zweiten an ausgewählten Beispielen inhaltliche, funktionelle und rezeptionsgeschichtliche Fragen erörtert.

Programm
Donnerstag, 16.2.2012 (14:00):
* Paul Needham (Princeton), The paper stocks of blockbooks: Allan Stevenson and beyond
15:00-15:45Richard Field (Yale), Cutting remarks: A brief examination of the technique of the early woodcut
* Ad Stijnman (Wolfenbüttel), The colours of black: printing inks for blockbooks
* Andrew Honey (Oxford), The binding of blockbooks: searching for evidence of contemporarybinding methods
* Rahel Bacher (München), Erkenntnismöglichkeiten durch Digitalisierung und Thermographie: Produktionszyklen innerhalb einer Blockbuchausgabe
* Eröffnung der Blockbuch-Ausstellung der BSB (mit Empfang).

Freitag, 17.2.2012 (9:00):
* Nigel Palmer (Oxford), Das erste Blockbuch? Eine literaturwissenschaftliche Perspektive auf das ‘Exercitium super Pater noster’
* Joost Robbe (Aarhus), Zur Genese der niederländischen Typoxylografien des ‘Speculum humanae salvationis’
* Peter Schmidt (München), Das ‘Canticum Canticorum’ im Rahmen der Text-Bild-Geschichte, Exegese undFrömmigkeit
* Sabine Griese (Leipzig), Das ‘Zeitglöcklein’. Strategien der Gebetsandacht
* Almut Breitenbach (Münster), Text in Bewegung. Die ‘Septimania poenalis’ in Blockdruck und handschriftlicher Überlieferung
* Susanne Rischpler (Wien/Würzburg), Bild und Text in der ‘Ars memorandi’
* Richard Kremer (Dartmouth College, Hanover), A Census of All Known Copies of Regiomontanus’s Blockbook Calendar: New Technologies, New Questions, New Findings?
* Frank Fürbeth (Frankfurt), Das Verhältnis der Überlieferung von Handschrift und Blockbuch bei der Johannes Hartlieb zugeschriebenen ‘Chiromantie’
* Oliver Duntze (Berlin), Zum komplexen Verhältnis von xylographischer und typographischer Schrift: Die Blockbuchausgaben der ‘Ars minor’ des Aelius Donatus
- Schlussdiskussion.

Mehr Informationen

The Renaissance Portrait at the Met

EXHIBITION: The Renaissance Portrait from Donatello to Bellini, New York, The Metropolitan Museum of Art (Gallery 699, 1000 Fifth Avenue e 82nd Street), 21 December 2011 – 18 March 2012. The exhibition was organized by Staatliche Museen zu Berlin, Gemäldegalerie and The Metropolitan Museum of Art, New York.

It has been said that the Renaissance witnessed the rediscovery of the individual. In keeping with this notion, early Renaissance Italy also hosted the first great age of portraiture in Europe. Portraiture assumed a new importance, whether it was to record the features of a family member for future generations, celebrate a prince or warrior, extol the beauty of a woman, or make possible the exchange of a likeness among friends.

This exhibition brings together approximately 160 works—by artists including Donatello, Filippo Lippi, Botticelli, Verrocchio, Ghirlandaio, Pisanello, Mantegna, Giovanni Bellini, and Antonello da Messina, and in media ranging from painting and manuscript illumination to marble sculpture and bronze medals, testifying to the new vogue for and uses of portraiture in fifteenth-century Italy.

During the early Renaissance, artists working in Florence, Venice, and the courts of Italy created magnificent portrayals of the people around them —from heads of state and church to patrons, scholars, poets, and artists— concentrating for the first time on producing recognizable likenesses and expressions of personality.

The rapid development of portraiture was linked closely to Renaissance society and politics, ideals of the individual, and concepts of beauty. The object may have been to commemorate a significant event —a marriage, death, the accession to a position of power— or it may have been to record the features of an esteemed member of the family for future generations.

Featuring many rare international loans, this exhibition presents an unprecedented survey of the period and provides new research and insight into the early history of portraiture. It is divided into three sections and spans a period of eight decades. Beginning in Florence, where independent portraits first appeared in abundance, it moves to the courts of Ferrara, Mantua, Bologna, Milan, Urbino, Naples and papal Rome, and ends in Venice, where a tradition of portraiture asserted itself surprisingly late in the century.

In Florence, the most striking innovations occurred first in sculpture and were then taken up in painting. In the courts, thanks in large measure to the genius of Pisanello, the medal became the preferred means of recording a likeness. The medals, which were durable, could be produced in multiple casts, and were easily exchanged among the social elite.

In Venice the painted portrait held sway, thanks to the achievements of Antonello da Messina and Giovanni Bellini, whose portraits resolutely abandoned the dominant Italian convention for the profile to present the sitter turned three-quarters, his or her distant gaze and delicately modeled features expressing hints of an interior life.

As Leon Battista Alberti declared in his treatise on painting, composed in 1435: «Painting possesses a truly divine power in that not only does it make the absent present (as they say of friendship), but it also represents the dead to the living many centuries later, so that they are recognized by spectators with pleasure and deep admiration for the artist.»

Click here to read about the catalogue

The exhibition has been reviewed by RICHARD STEMP, in The Burlington Magazine, volume CLIII, number 1304, November 2011, pp. 761 and 762.

Learn more

Peddling Print in Renaissance Italy

ARTICLE: Rosa M. Salzberg, “Selling stories and many other things in and through the city”: Peddling Print in Renaissance Florence and Venice, in The Sixteenth Century Journal. The Journal of Early Modern Studies, XLII, 2011, n. 3, pp. 737-759.

Abstract

Mobile and marginal, street sellers tend to disappear from the historical record, yet they played a very important part in the dissemination of cheap print from the earliest days of Italian publishing. They operated in the most central spaces of Italian cities such as Venice and Florence, selling cheap printed pamphlets, fliers, and images alongside other small consumer goods. They helped to make print accessible to a wide audience, often engaging in oral hawking or performance that could reach beyond the confines of the fully literate minority.  However, these sellers occupied an ambiguous position in Italian cities, more often welcomed by customers and audiences than by guilds and government authorities. The increasing restrictions on print peddlers introduced in the era of the Counter-Reformation reflect the efforts of civic and religious authorities to grapple with the contemporary challenges of a burgeoning print market.