Rome and Spoleto: Fra Filippo Lippiand Bishop Berardo Eroliin the Duomo of Spoleto Jean K. Cadogan Fra Filippo Lippi’s last mural project was the apse decoration (1466-1469) in the Cathedral of Spoleto. Although payment records reveal details of the chronology, technique, and execution of the murals, this paper will focus on the role that the…
Marilyn Aronberg Lavin
Sigismondo Pandolfo Malatesta’sSurprising Duality: Images and Words Marilyn Aronberg Lavin For some 650 years, it has been fun to recount how Sigismondo Pandolfo Malatesta, Lord of Rimini (1417- 1468), was three times burned in effigy and damned to hell by Pius II, the reigning pope. No one like him had been seen before or after….
Timothy McCall
«Questo misto di profano e di sacro»:The Studiolo Oratorio of Torrechiara Timothy McCall In one corner of the Camera d’Oro of Torrechiara castle (south of Parma), the room’s gold and azuritefrescoes and polychrome tiles are conspicuously interrupted by the remnants of a study: intarsia panels and terra verde frescoes representing four uomini famosi. This essay…
Giorgio Bonsanti
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…