Abstract
The funerary monument of Bona Sforza, Duchess of Bari and Queen of Poland, in the Basilica of San Nicola in Bari has been a subject of discussion since the uncovering, in 1918, of documents ...which assign the marble authorship to a team of minor sculptors working in Naples around 1589–1593. Whilst research has focused on the history of this sepulchre, the name of the architect whom the queen’s daughter and heir, Anna Jagiellon, commissioned to design the tomb has remained unknown. Zygmunt Waźbiński, in 1979, proposed to attribute the project to Tomasz Treter, a canon from the Basilica of Santa Maria in Trastevere in Rome; this attribution, however, can no longer be upheld. This essay reviews the history of Bona’s monument and reassesses the question of its authorship. New evidence sheds light on the tomb’s models and reconnects its design to late-sixteenth-century tomb sculpture in Naples.
Julius von Schlosser (1866-1938), Commemorative volume of the Wiener Jahrbuch für Kunstgeschichte (vol. 60, 2021) including 13 lectures devoted to the work of Julius Schlosser. The subjects are ...treated concretely, without academic ‘discourse’, illustrating the generational span and antithesis of a relatively prolific career spent between the museum and university during a period important in defining the goals of the discipline.
El retablo mayor de San Jerónimo de Granada constituye sin duda alguna una de las piezas señeras de la retablística andaluza e hispana de la Edad Moderna, tanto por la impronta clasicista de su ...arquitectura como por la confluencia de diversos maestros en la transición del renacimiento al primer naturalismo seiscentista. El artículo ofrece un estado de la cuestión sobre sus posibles autores, profundiza en su historia constructiva y aspectos iconográficos y, finalmente, aporta una visión inédita sobre las fuentes visuales que sirvieron de inspiración a esta magna obra.
Bertoldo di Giovanni (ca. 1440–1491) was the primary sculptor and medal worker for Lorenzo the Magnificent (1449–1492). Despite being one of the most prominent Italian Renaissance artists working in ...Florence, little is known about his workshop and practice. The Frick Collection, New York, owns a
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, one of a small number of bronze statuettes attributed to Bertoldo predominantly based on stylistic grounds. This article presents the results obtained from the scientific analysis of The Frick statuette, including a detailed technical characterization of the casting alloy, gilding, solder, organic coatings, and other later alterations. An array of analytical techniques was employed, including X-radiography, micro- and portable X-ray fluorescence (μXRF and pXRF) spectroscopies, scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM/EDS), Raman and Fourier-transform infrared (FTIR) spectroscopies, and pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS). This work supported a larger technical study of Bertoldo’s statuettes and reliefs related to an exhibition organized by The Frick, which brought together a select group of medals, as well as eleven bronzes ascribed to the artist, including the museum’s statuette. Close collaboration between conservators, curators, and scientists was critical throughout the study of the
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, which also included extensive visual examination of the object in order to understand details of manufacture, identify sampling sites, and interpret the collected data. This study confirmed that The Frick figure was cast from the same brass alloy as a second very similar
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in the Liechtenstein Collection, Vienna, suggesting that the two are a pendant pair that was likely cast simultaneously. In addition, analysis supported the assertion that the copper base on The Frick sculpture is original and assisted in identifying later alterations in both works. This focused research has expanded the current knowledge of the sculptor’s materials and methods, enabling scholars to better contextualize his artistic production within the framework of Italian Renaissance sculpture.
El testamento de Arnao de Bruselas permite saber que se llamaba Arnaut Spierinck. Su hermano Gil Spierinck posiblemente se corresponda con el escultor y pintor activo en Aldenarda de 1523 a 1536, ...año en el que Arnao aparece en Zaragoza al ingresar en el taller de Damián Forment. Se aportan también algunos datos sobre el retablo mayor de Santa María de Palacio en Logroño, obra maestra de Arnao, y de otros retablos en los que intervino el escultor: Nalda –junto con Andrés de Araoz–, Torrecilla sobre Alesanco, Aldeanueva de Ebro y Tómalos en Torrecilla de Cameros, contratado por el pintor Juan de Rojas.
The Fonte Gaia from Renaissance to Modern Times' examines the history of Siena's famous public fountain, from its fifteenth-century origins to its eventual replacement by a copy in the nineteenth ...century (and the modern fate of both). The book explores how both the Risorgimento and the Symbolist movements have shaped our perceptions of the Italian Renaissance, as the Quattrocento was filtered through the lens of contemporary art and politics.
How do living, breathing human bodies respond to the inert bodies of sculpture? This article examines some of the art-theoretical and psychological writings of Violet Paget ('Vernon Lee') and ...Clementina Anstruther-Thomson of the 1880s and 1890s in an attempt to map the evolution of their formalist art criticism. Engaging with the eighteenth-century ghosts of Johann Joachim Winckelmann and Gotthold Ephraim Lessing, Lee and Anstruther-Thomson created their very own exploration of art forms evolving in space and in time. Questioning how our reading of literature affects our reading of sculpture, and observing their own mental and physical responses to the encounter with three-dimensional artworks, their binocular gaze and critical collaboration resulted in innovative theories of empathy and intermediality. This article traces their discussions of the interrelationship between literature and sculpture from Lee's early essays in Belcaro: Being Essays on Sundry Aesthetical Questions (1881) to the late collaborative volume Art and Man (1924).
A Rothschild prayer book; an Italian bronze casket by Antico; a lavishly illustrated Carnival chronicle from sixteenth-century Germany; an altarpiece by the famous Flemish painter Pieter Brueghel the ...Younger-much of the artwork in this book, held by Australian collections, is essentially unknown beyond the continent, and so this collection of essays will surprise even specialists. The authors showcase these extraordinary objects to their full potential, revealing a wide range of contemporary art and historical research.
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