Due note su Michael Pacher:il San Lorenzo dell’Altaredi San Lorenzo, e il soggiorno a Milano Giorgio Bonsanti At the heart of this essay are two questions concerning the South Tyrolean woodcarver and painter Michael Pacher (probably Bruneck, ca. 1435-Salzburg, 1498). First, the polychrome wood figure of Saint Lawrence, presently in storage at the Tiroler Landesmuseum…
Catarina Schmidt Arcangeli
Encountering “Exotic” Ornament:Arabic Calligraphy and Islamic LuxuryTextiles in Jacopo Bellini’s Paintings Catarina Schmidt Arcangeli A number of studies and exhibitions have considered the interactions of the Renaissance Venetian painters Gentile and Giovanni Bellini with the East, but less attention has been dedicated to the question whether Jacopo Bellini had already been interested in Islamic art….
Eric R. Hupe
In the Midst of a Cloud:Giovanni Bellini and the Opticsof the Resurrection Eric R. Hupe Giovanni Bellini’s Resurrection of Christ (ca. 1475-1477) was commissioned by Marco Zorzi to decorate the altar of his newly constructed chapel in San Michele in Isola. Bellini shows Christ’s Resurrection set within an amazingly naturalistic landscape of the Venetian terraferma….
Fredrika H. Jacobs
Rethinking Giovanni Battista Moroni:the “Sacred Portraits” Fredrika H. Jacobs By one recent count, no less than 120 portraits have been attributed to the north Italian painter Giovanni Battista Moroni (ca. 1521/1524-1579/1580). Among them are three sacred portraits, paintings that depict their sitters offering devotion to holy figures. This paper considers whether or not the sacred…
Barbara Wisch
Promoting Piety, Coercing Conversion:The Roman Archconfraternity of theSantissima Trinità dei Pellegrini eConvalescenti and its Oratory Barbara Wisch The imposing oratory of the Roman Archconfraternity of the Santissima Trinità dei Pellegrini e Convalescenti was built ex novo from 1570 to 1571 and highly praised by contemporaries. Although large, elaborately decorated oratories were fundamental expressions of confraternal…
Christina Lamb Chakalova
Magnificence and IllusionisticSpectacle: Bolognese Quadratura atthe Belvedere of Prince Eugene ofSavoy in Imperial Vienna Christina Lamb Chakalova Prince Eugene of Savoy (1663-1736) used his immense wealth and prominent political position to move artists and a multiplicity of art objects across cultural boundaries and political borders to convey courtly magnificence. He unified them at the Belvedere,…
Mariarosaria Ruggiero
Una partnership internazionale inTerra di Lavoro nell’età durazzesca Mariarosaria Ruggiero This essay retraces the events of a studio where two artistic personalities who worked in the area of Terra di Lavoro during the age of Ladislao of Durazzo stood out and created a figurative enclave. Their artistic language developed between the end of the fourteenth…
Vittoria Brunetti
Un Marte “da galleria”, opera diGiovanni Baratta Vittoria Brunetti Around 1736-1737 Giovanni Baratta sculpted two medallions with the portraits of Mars and Minerva for the façade of the Royal Palace of La Granja de San Ildefonso, designed by the architect Filippo Juvarra. The appearance of another version of the Mars on the art market sheds…
Livia de Pinto
Dalla trasparenza alla materia.(Di)segni della Scuola di San Lorenzoper un ritorno alla pittura a Romatra fine anni Settanta eprimi anni Ottanta del Novecento Livia de Pinto In the city of Rome, the events that characterized the activity of seven artists identified as the Scuola di San Lorenzo have been particularly significant in a time frame…
David Lucidi
Dello Delli pittore e scultore fiorentino.Spunti attributivi e spigolatured’archivio David Lucidi This article regards Daniello di Niccolò Delli, well-known as Dello Delli (Florence, 1403 – Spain, post 1466?).It focuses on the artist’s first activity, that is the beginning of his career in Florence in the early 1420s, his stay in Siena and Venice between 1425…