Edmond Couchot teorico delle immagini digitali Paola Lagonigro Author of some of the first interactive artworks (La plume and Je sème à tout vent), Edmond Couchot was more prolific as a theoretician than as an artist. This paper seeks to reflect on his writings of the 1980s and early 1990s, when digital technologies were not…
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2001-2015: Odissea di distruzione Gerardo de Simone, Emanuele Pellegrini The beginning of the third millennium was marked by two dramatic events: the destruction of the Buddhas of Bamiyan and the attack to the Twin Towers. From then on an unprecedented global terrorist war, first practiced by Talibans, now by IS militants, has used the world…
Louise Bourdua
Introduction Louise Bourdua This issue of Predella comprises six essays that explore how artists and patrons interacted with the Trecento during the fifteenth century, dealing both with subject matter and style. Some authors have interpreted the insistence on the Trecento as a deliberate choice of models by patrons and painters. In other cases, however, the…
Paolo di Simone
«Gente di ferro e di valore armata». Postille al tema degli Uomini Illustri, e qualche riflessione marginale sulla pittura profana tra Medioevo e Rinascimento Paolo di Simone The cult of the past is a very common topos not only in the humanistic Quattrocento but also in the Middle Ages, and it represents a strong propaganda…
Fabio Massaccesi
Giovanni da Modena and the Relaunch of the Vita-Panel in the Quattrocento Fabio Massaccesi This paper investigates a little known group of fifteenth-century vita retables from Bologna, taking as its starting point the painting of Saint Bernardino da Siena, executed by Giovanni da Modena in 1451, now in the Pinacoteca Nazionale of Bologna. The painter…
Joanne W. Anderson
Mary Magdalen and the Imagery of Redemption: Reception and Revival in Fifteenth-Century Tyrol Joanne W. Anderson In 1384 a host miracle occurred in the Alpine church of Sankt Oswald in Seefeld. The perpetrator was publically humiliated and forced to repent for his sins, but the legend of his affront was to have lasting legacy in…
Gerardo de Simone
The use of Trecento sources in Antoniazzo Romano and Lorenzo da Viterbo Gerardo de Simone Lorenzo da Viterbo and Antoniazzo Romano were the two greatest local painters of the fifteenth century in the region of Rome. Despite their stature, their fame and scholarly fortune has been much inferior to their merits, compared to other contemporary…
Andrea Pinotti
El Greco at the Ophthalmologist’s Andrea Pinotti The paper aims at reconstructing the centennial history of the so-called “El Greco fallacy”, namely the hypothesis that the extremely elongated figures painted by the Cretan artist were due to his astigmatism and not to a stylistic option intentionally assumed by the painter. This hypothesis interestingly and problematically…
David Carrier
The Blind Spots of Art History: How Wild Art Came to Be – and Be Ignored David Carrier In their recent book Wild Art David Carrier and Joachim Pissarro make a distinction between art found in galleries and museums and what we call wild art – the many art forms which are outside of the…