Cinco copias imposibles Santa-María, Luis Martínez
Revista de arquitectura (Pamplona, Spain),
01/2022, Letnik:
24
Journal Article
Recenzirano
Este artículo desarrolla, mediante cinco casos de estudio, la improbabilidad de la copia en el arte de la pintura. Los cinco casos de estudio considerados tienen que ver con: el acento, la voz, el ...proceso, la verdad y el error. Considerada desde el acento, es decir desde la desviación que cada autor puede imponer a una obra, la copia literal no existe. Considerada la pintura como poesía no sonora, resultaría difícil encontrar la misma voz en el original que en la copia. Considerada desde el proceso, la obra es un acto inacabado y el concepto finalista de copia carece de sentido. Considerada desde la verdad, la verdad es inagotable e insondable, no tiene ni deudas ni dueño, no hay copias. Considerada, por último, desde el error, la copia y el original forman parte de un mismo experimento, un bello experimento. Estas mismas apreciaciones pueden trasladarse a la arquitectura.
...careful observation of both the post-restoration and pre-restoration pictures does not confirm this sign. ...even if the three facial skin lesions were neurofibromas, the woman would not meet ...diagnostic criteria for NF1. The phenotype of the woman (marked short stature with relative macrocephaly, low nasal bridge, midfacial hypoplasia, rhizomelic shortening...
A master of detail and of atmospheric perspectives, Mantegna painted life-like portrayals which could depict pathological disorders such as Horton's disease (an inflammation of the temporal ...arteries).1 Here we report a case of neurofibromatosis type 12 associated with hypopituitary dwarfism3 in the painting of the maid of the court scene of "La Camera degli Sposi" ("The Bridal Chamber", Ducal Palace, Mantua, Italy, 1465-1474) by Andrea Mantegna.
A correction notice for the original article: Maria Alambritis, ‘“Such a pleasant little sketch … of this irritable artist”: Julia Cartwright and the Reception of Andrea Mantegna in Late ...Nineteenth-Century Britain’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 28 (2019) <https://doi.org/10.16995/ntn.825>.
The Madonna with Child by Andrea Mantegna owned by the Museo Poldi Pezzoli in Milan is painted on canvas with an unusual distemper technique. During the period of 1863–1865, the painting was restored ...by Giuseppe Molteni. The identification of potential retouchings by Molteni, possibly covering part of the original layer, was the object of this work carried at the Opificio delle Pietre Dure. To evaluate the extent of both Molteni’s intervention and Mantegna’s original layer, the MA-XRF spectrometer developed by CHNet-INFN was used to discriminate between the two paint layers and identify the materials and the extension of both “artists”. Indeed, the elemental maps showed that Molteni’s work entirely covered the mantle of the Virgin, even changing the fold of the draperies and enriching the red robe with shell gold highlights, giving a different appearance to the painting. Moreover, MA-XRF also revealed that the original Mantegna was still mostly intact underneath Molteni’s layer, thereby providing a decisive guide for conservation works. These results indeed formed the basis for the technical decision to remove the varnish and Molteni’s version, unveiling the original Mantegna. A second MA-XRF campaign was then carried out to fully characterise the materials of this unusual painting technique.
Historians of Renaissance art have long been familiar with Giovanni Aurelio Augurello's interest in painting and sculpture, while historians of alchemy are aware of his lifelong dedication to the ...gold-making art immortalized in his masterpiece, Chrysopoeia (1515). Yet the problem of how these interests intersect in the poet's work has either been disregarded or framed within outdated categories such as occultism and hermeticism. In a dialogue with recent theoretical work on intermediality, and based on the identification of several key artistic allusions in Augurello's Chrysopoeia, this article proposes to interpret them beyond the conventions of ekphrasis. A remarkable focus on artistic techniques, processes, and materials, we argue, defines the self-referential blend of poetry and alchemy inscribed in Chrysopoeia. Rather than being the expression of an occult or hermetic mentality, this poem's fascination with the materiality and poetics of artworks, we propose, is attuned with the Northern Italian aesthetics nurtured by Andrea Mantegna, Giulio Campagnola, and other artists of the time.
Introduction Alambritis, Maria; Avery-Quash, Susanna; Fraser, Hilary
19: interdisciplinary studies in the long nineteenth century,
01/2019
28
Journal Article
Recenzirano
Odprti dostop
Introduction to this issue of 19, ‘Old Masters, Modern Women’.
A close study of Mantegna's Entombment engraving reveals how Mantegna inscribed into the facture of his engravings their ephemerality and destruction. Mantegna's prints introduced a new paper form of ...perpetuation into western European art, a form of continuation founded not in the endurance of the material but in the kinesis of the material. Through this movement, Mantegna's engravings were translated into other mediums and achieved a new form of continuation reliant not on the original but on the act of copying.
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