Italian Renaissance Art

Inventing the High Renaissance from Winckelmann to Wikipedia: An introductory essay

by Jill Burke

This is also available via the Ashgate website - with more information about the book as a whole - see http://www.ashgate.com/default.aspx?page=637&title_id=10906&edition_id=14230&calcTitle=1

This introductory essay considers how the term "High Renaissance" came into usage, and whether we should use... more This introductory essay considers how the term "High Renaissance" came into usage, and whether we should use it or not today. It links to particular methodologies we associate with High Renaissance artist and introduces the essays in the volume.

Words or Gestures? Marriage Rituals in Renaissance Italy: Continuity and Change, 1400-1600, in: Regional Variations in Matrimonial Law and Custom in Europe, 1150- 1600, Ed. Korpiola, M. (Leiden: Brill, 2011), 275-287.

by Cecilia Cristellon

Co-authored with Silvana Seidel Menchi

Formal Analysis of the Massacre of the Innocents (Francesco Caroto)

by Galven Lee

Public Display of Affection: The Making of Marriage in the Venetian Courts before the Council of Trent (1420- 1545). In: The Erotic Cultures of Renaissance Italy, Hg. Matthews- Grieco, S. (Aldershot: Ashgate, 2010), 173-197.

by Cecilia Cristellon

Aristotele, De caelo - Giordano Bruno, De l'Infinito: confronto e commento.

by Stefano Ulliana

Aristotele, Metafisica - Giordano Bruno, De l'Infinito: confronto e commento.

by Stefano Ulliana

Scheda su Giordano Bruno

by Stefano Ulliana

Da editore Spazio Tre, Roma

Giordano Bruno e il problema della modernità - Da <<Cosmos & History>>

by Stefano Ulliana

English abstract inside ... English abstract inside ...

"El viaje a Italia de Juan VIII Paleólogo: Evidencia artística"

by Galo Garcés Avalos

Publicado en la página web www.bizanciomaravillosa.com.

Un artículo sobre Juan VIII Paleólogo, penúltimo emperador de Bizancio, quien tras la caída de Tesalónica en el 1430... more Un artículo sobre Juan VIII Paleólogo, penúltimo emperador de Bizancio, quien tras la caída de Tesalónica en el 1430 decidió de una vez por todas encarar el peligro turco y someter definitivamente a su Imperio e Iglesia al Papado, y de esa forma salvarlo de la total destrucción por parte del creciente Emirato Otomano. Su llegada a la Italia Renacentista dejó huella en la memoria de los artistas más reconocidos en el momento, quien vieron en el Basileus la figura del último príncipe cristiano del Oriente.

Review of Renaissance Theories of Vision

by Allie Terry-Fritsch

Book Review: Renaissance Theories of Vision
Journal of European Studies 2012 42: 76
by T. J. K. Conlin

Vittore Carpaccio. The Invention of a Painter in XIXth Century Europe

by Alessandro Del Puppo

Renaissance Society of America Annual Meeting,
Washington, D.C., 22-24 March 2012
“The Long Shadow of the Venetian Cinquecento”

In this paper, I focus on the rediscovery of the Venetian painter Vittore Carpaccio by some European artists and... more In this paper, I focus on the rediscovery of the Venetian painter Vittore Carpaccio by some European artists and critics during the XIX Century.
As enlargement of my researches about Carpaccio’s and Mantegna’s modern legacy (see infra, 2005 and 2009), I encompass the modern rediscovery of Carpaccio into three main lines:
1. the transformation of the Vasarian image of the “narrative painter” under the culture of European Realism of the 1860, and its fate;
2. the pietistic and religious lecture, founded by A.F. Rio and pursued by John Ruskin;
3. the Symbolist interpretations, followed by painters such Gustave Moreau or Edward  Burne Jones and extended by Walter Pater, Maurice Barrés, Theodor de Wyzewa.
These different kinds of rediscoveries drove definitively the name of Carpaccio into the discourse of modern art history, from Berenson's Venetian Italian Painters to Ludwig-Molmen.
ti’s first monograph (1907).

Enrico Rocchi, ingegnere militare e storico. [Enrico Rocchi, military engineer and historian]

by Piero Cimbolli Spagnesi

In: QUADERNI DELL'ISTITUTO DI STORIA DELL'ARCHITETTURA, ns, 44-50, 2004-2007 (Saggi in onore di Gaetano Miarelli Mariani. A cura di M.P. Sette, M. Caperna, M. Docci, M.G. Turco. Roma 2007); pp. 261-272. ISBN 978-88-7597-401-5, ISSN 0485-4152

Storicità di Gustavo Giovannoni e del suo 'diradamento edilizio'. [Historicity of Gustavo Giovannoni and of his 'building reduction']

by Piero Cimbolli Spagnesi

In: Gustavo Giovannoni. Riflessioni agli albori del XXI secolo. Atti della giornata di studio in onore di Gaetano Miarelli Mariani, 1928-2002 (Roma, 26 giugno 2003). A cura di M.P. Sette; pp. 41-56. ISBN 88-7597-372-5

Cosimo Rosselli u Strossmayerovoj galeriji u Zagrebu ( Cosimo Rosselli at the Strossmayer Gallery in Zagreb )

by Ljerka Dulibic

published in Radovi Instituta za povijest umjetnosti (0350-3437) 29 (2005); 65-74

Dvije slike iz zbirke Strossmayerove galerije u Galeriji su pripisane firentinskom slikaru Cosimu Rosselliju (1439.–... more Dvije slike iz zbirke Strossmayerove galerije u Galeriji su pripisane firentinskom slikaru Cosimu Rosselliju (1439.– 1507.). Oblikovnom, tipološkom i stilskom analizom u ovom istraživanju potvrđeno je Rossellijevo autorstvo slike Bogorodica s Djetetom i dva anđela, iako je u Galeriji uz ovakvo atributivno određenje postavljen znak pitanja. Slika je razmotrena u kontekstu srodnih Rossellijevih slika iz sredine osmoga desetljeća 15. stoljeća. Nasuprot tomu, utvrđeno je kako slika Bogorodica s Djetetom i svetima Kuzmom i Damjanom, koja je u Galeriji neupitno pripisana Cosimu Rosselliju, nije djelo ovoga slikara. Ta je slika nastala u posljednjoj četvrtini 15. stoljeća, u okviru neke od radionica bliskih načinu Domenica Ghirlandaia.

Slike vezane uz Francesca Pesellina u zbirci Strossmayerove galerije starih majstora: problemi atribucije i radioničke produkcije (I quadri legati a Francesco Pesellino nella collezione della Galleria Strossmayer: i problemi d'attribuzione e di produzione di bottega)

by Ljerka Dulibic

published in Renesansa i renesanse u umjetnosti Hrvatske, Zbornik Dana Cvita Fiskovića II. / Predrag Marković ; Jasenka Gudelj (ed). - Zagreb : Institut za povijest umjetnosti ; Odsjek za povijest umjetnosti Filozofskog fakulteta Sveučilišta u Zagrebu , 2008. 79-88 (ISBN: 978-953-6106-75-2).

Na primjeru slika iz zbirke Strossmayerove galerije povezanih s imenom Francesca Pesellina razmatra se specifična... more Na primjeru slika iz zbirke Strossmayerove galerije povezanih s imenom Francesca Pesellina razmatra se specifična problematika radioničke slikarske produkcije 15. stoljeća. Istraživanjem djelovanja toskanskih majstora i njihovih radionica zastupljenih u Strossmayerovoj galeriji otvaraju se pitanja načela rada u slikarskim radionicama 15. stoljeća, širenja utjecaja i predložaka, dotiče se problematika produkcije za umjetnička središta i one za provinciju, odnos invencije i vulgarizacije, odnos kiparstva i slikarstva, pa i kontekst društvenih okolnosti. Na ovome mjestu prezentirano je nekoliko oglednih primjera čija problematika upućuje na takav pristup.

Giovanni Bellini, Sveti Augustin i Sveti Benedikt; Vittore Carpaccio, Sveti Sebastijan; Cosimo Rosselli, Bogorodica s Djetetom i dva anđela; Sljedbenik Bernardina Pinturicchija, Bogorodica s Djetetom, svetom Katarinom i donatorom; Mariotto Albertinelli, Izgon Adama i Eve iz raja; Marco Palmezzano, Krist nosi križ; Giovanni Battista Moroni, Portret muškarca

by Ljerka Dulibic

published in Tizian, Tintoretto, Veronese - veliki majstori renesanse (Tizian, Tintoretto, Veronese - Great Renaissance Masters), ed. Radoslav Tomić, exhibition catalogue, Galerija Klovićevi dvori, Zagreb, 2011.

New information on the 19th century provenance of Albertinelli's Old Testament cycle

by Ljerka Dulibic

Co-authored with Iva Pasini Tržec, published in RIHA Journal. Journal of the International Association of Research Institutes in the History of Art,. 0035 (6 February 2012) (2012)

Analysis of the correspondence of Bishop J. J. Strossmayer and his agents, and of W. Buchanan and his agents, has... more Analysis of the correspondence of Bishop J. J. Strossmayer and his agents, and of W. Buchanan and his agents, has provided new evidence of the 19th century provenance of Mariotto Albertinelli's paintings The Expulsion from Paradise in the Strossmayer Gallery in Zagreb, and The Creation and Fall of Man in the Courtauld Institute of Art Gallery in London. The material analysed provides an insight into the then common practice of fragmenting artworks, sometimes very violently, and enables a revision of some assumptions and claims concerning the fate of the two paintings by Albertinelli, ultimately suggesting some guidelines for conclusions as to the original appearance of his Old Testament cycle.

“La predella di Sano di Pietro per il polittico di San Giovanni Battista all’Abbadia Nuova: ricostruzione e iconografia”, Prospettiva 126-127, 2007, 92-104.

by Dóra Sallay

Co-authored with Wolfgang Loseries.

"Dipinti senesi in Ungheria: Vicende storiche e nuove ricerche", Accademia dei Rozzi XIV, 28, 2008, 3-16

by Dóra Sallay

Sensing, Time and the Aural Imagination in Titian's Venus with Organist and Dog

by Marlene Eberhart

Published in 'Artibus et Historiae', 2012