The essay traces in greatly summarised form the history of the reception of Dante in the visual arts, focusing on the various ways in which painters, sculptors and architects have, through the ages, ...given visual substance to the peculiar physical and structural reality of Alighieri's afterlife. The article offers a minimal survey of this production, identifying two historical periods in which the structure of the poem and the worlds invented by Alighieri are privileged with respect to the story of the pilgrim's journey. The first phase, which went from the middle of the 15th century to the late 16th century, and involved scientists, intellectuals, painters, sculptors and architects, is already widely known. The essay summarises the essential data, opening up to almost forgotten drawings produced by anonymous artists at the beginning of the 16th century. The second phase has just begun and is still to be written. The essay considers a number of works produced by contemporary artists to illuminate how they look again at the structures created by Dante and use them as graphic supports of great symbolic value which are capable of representing and judging the present.
The recent exhibitions dedicated to Botticelli around the world show, more than ever, the significant and continued debate about the artist. Botticelli Past and Present engages with this debate. The ...book comprises four thematic parts, spanning four centuries of Botticelli’s artistic fame and reception from the fifteenth century. Each part comprises a number of essays and includes a short introduction which positions them within the wider scholarly literature on Botticelli. The parts are organised chronologically beginning with discussion of the artist and his working practice in his own time, moving onto the progressive rediscovery of his work from the late eighteenth to the turn of the twentieth century, through to his enduring impact on contemporary art and design. Expertly written by researchers and eminent art historians and richly illustrated throughout, the broad range of essays in this book make a valuable contribution to Botticelli studies.
Facing Botticelli: three studies on the significant detail Marzia Faietti; Tiziana Borea; Amalda Ciani Cuka ...
Figure : rivista della Scuola di Specializzazione in Beni Storico-Artistici dell'Università di Bologna,
11/2019, Letnik:
4, Številka:
1
Journal Article
Recenzirano
Odprti dostop
These texts are the results of a seminar organised and coordinated by Marzia Faietti at Gallerie degli Uffizi (a.a. 2016-2017). During these lectures, particular attention was payed to meaningful ...details in some famous Botticelli’s paintings. Valentina Saetti’s text analyses Madonna of the Magnificat, Amalda Ciani Cuka’s St.Augustin in his study and Tiziana Borea’s the Calumny of Apelles.
Looking at Botticelli Tyminski, Robert
Jung journal,
04/02/2024, 2024-04-02, Letnik:
18, Številka:
2
Journal Article
Recenzirano
The author writes about the recent exhibition of Botticelli's art, primarily focused on his drawings, that was presented at the San Francisco Legion of Honor. Botticelli lived in Florence during the ...Early Italian Renaissance. A brief overview of Botticelli's life and his times is provided. Although he was well regarded as an artist during his lifetime, his art was largely forgotten for nearly four hundred years. Botticelli's reputation grew during the twentieth century and he continues to command our attention. This essay explores the psychological reasons for our attraction to his art. Botticelli was highly talented at drawing and painting the human form, and he gave creative emphasis to the eyes. His emphasis on both may not have been entirely coincidental. He seemed to have known that appreciation of art occurs within a field including the artist, their creation, and the viewer.
Abstract
Undertaking the conservation of artworks informed by the results of molecular analyses has gained growing importance over the last decades, and today it can take advantage of ...state-of-the-art analytical techniques, such as mass spectrometry-based proteomics. Protein-based binders are among the most common organic materials used in artworks, having been used in their production for centuries. However, the applications of proteomics to these materials are still limited. In this work, a palaeoproteomic workflow was successfully tested on paint reconstructions, and subsequently applied to micro-samples from a 15th-century panel painting, attributed to the workshop of Sandro Botticelli. This method allowed the confident identification of the protein-based binders and their biological origin, as well as the discrimination of the binder used in the ground and paint layers of the painting. These results show that the approach is accurate, highly sensitive, and broadly applicable in the cultural heritage field, due to the limited amount of starting material required. Accordingly, a set of guidelines are suggested, covering the main steps of the data analysis and interpretation of protein sequencing results, optimised for artworks.
An unpublished essay written in 1894–95 by Mary Berenson offers the first extended analysis of ‘the immense popularity among cultivated Anglo-Saxons’ of Botticelli. Written in collaboration with ...Bernard Berenson, it offers the idiosyncratic view that the dreamy aspect of Botticelli’s figures results from the tension between the artist’s interest in both linearity and unidealized naturalism. The ‘indeterminate’ appearance of his works appealed to fifteenth-century viewers, who vacillated between Christian and ‘Renaissance’ values, and to modern observers, who were similarly undecided between religion and modernity. The Pre-Raphaelites, for example, revealed ‘a dissatisfaction with the present that leads them to take refuge’ in Renaissance dreams, but this was due in part to their mistaken acceptance of workshop paintings as works by Botticelli himself. Their flawed approach was compounded by the writings of Ruskin and Pater. The science of connoisseurship, as developed by the Berensons, is required to truly understand Botticelli.
•Comprehensive study of an alleged forgery of a tempera painting on tile with apparently Botticelli features.•Pigments identification – i.e., iron oxide pigments, cinnabar, carbon black, and calcite) ...- by combined FORS and Raman spectroscopy.•Pigments mapping by SCM algorithm application to the multispectral image cube.•Colorimetric analysis to quantitatively evaluate the cleaning method and provide support for an informed restoration process.
In this work, a tempera painting of uncertain attribution from the Uffizi Galleries was studied. The painting, which portraits a man with apparently Botticellian features, was probably created by one of the most skilled forgers of the early 20th century, Umberto Giunti. He used a flat tile as a support, covered with preparatory layers emulating a wall painting. To shed light on the authorship of the painting, it was crucial to investigate its composing materials, as well as the execution technique and the state of conservation. To this end, non-invasive spectroscopic and imaging optical techniques were applied. Specifically, VIS-NIR multispectral reflectography was used to reveal the presence of possible preparatory drawings, pentimenti and overpaintings. Raman and Fibre Optics Reflectance Spectroscopies allowed identifying the pigments used by the artist. Finally, colour variations due to the cleaning procedure were documented in order to provide a support for an informed restoration process.
A print of Botticelli’s painting La Primavera in the dancer Isadora Duncan’s childhood home had a fundamental impact on her development of modern dance. This article explores Duncan’s dance and ...costume based on La Primavera in conjunction with other neo-Renaissance dancers (Sacharoff and Sachetti) and Aby Warburg’s interest in the Florentine nymph and moving draperies, arguing for the importance of studying the old masters, of looking like a woman, and embracing continued renascences.
Abstract
In what follows I raise the question of Ariadne and Dionysus for Nietzsche, including the relative size of Ariadne’s ears, as Dionysus observes at the close of “Ariadne’s Lament”
Klage der ...Ariadne
. Nietzsche’s references to ears invoke not only Nietzsche’s “selective” concern with having the right ears (both to hear what he says and with respect to his discovery regarding ancient Greek tragedy: hearing with one’s eyes, that is the relation of ancient Greek music in the word) but also the question of myth and genealogical context. Reading through myth is key not only in terms of the textual, lyric tradition but also painting and sculpture, including sarcophagi in antiquity. It makes all the difference to ask, as Karl Kerényi cites Nietzsche as asking:
Wer weiß
…
was Ariadne ist?
And not less:
who was she to Dionysus?
To this extent, Nietzsche’s concern with ears, small and long, is less incidental or furry fetish than hermeneutic attunement.
Tasis knew that he was going to die for his homosexuality and for his conyugal infidelity with Isabel de Borbón wife of Felipe IV. Consecuentemente Tasis suffered from anagoge. Felipe iV wanted him ...dead. Botticelli wanted to save his soul. Tasis. wanted to see himself in heaven in the presence of God, Tasis sabía que iba a morir por su homosexualidad y por su infidelidad conyugal con la reina Isabel de Borbón cónyuge de Felipe IV. En consecuencia, el poeta sufría de anagogía. Don Felipe le quería ver muerto. Botticelli quería salvarle el alma. Nuestro poeta quería morir católicamente y verse en el cielo al lado de Dios, Cristo y la Virgen María.
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