Notes from the Italian Art Society,
promoting the study of the architecture and visual arts of Italy, from prehistory to the present day.

A cycle of medieval frescoes not seen in centuries is now open to the public. The murals, which depict nonreligious themes such as the seasons, arts, zodiac, constellations, and the Virtues and Vices, were discovered during conservation of the Roman church of Santi Quattro Coronati. Home to cloistered Augustinian nuns since the sixteenth century, access to the complex’s artistic treasures has always been limited. Visits to the newly restored frescoes are available by appointment twice per month.

(Source: theartnewspaper.com)

#art #italy #conservation #fresco #Rome #Santi Quattro Coronati

IAS Newsletter Fall 2014

The Fall 2014 IAS Newsletter is now online.

Table of Contents:
President’s Message from Cathleen A. Fleck
Executive Board Announcements: Committee on Membership, Outreach, and Development; Events Coordinator
IAS-Kress Travel & Research Grants
IAS Conference Proposal Deadlines
IAS-Kress Lecture on the Mural Decoration of the Pisa Camposanto by Cathleen Fleck
1564-2014 Michelangelo—Incontrare un artista universale by Linda Nolan, John Cabot University, Rome
Pontormo e Rosso Fiorentino. Divergenti vie della “Maniera” By Alexandra Korey
David Rosand (1938-2014): In Memoriam by Babette Bohn
IASblog One Year On by Anne Leader
Medardo Rosso Exhibition and Study Days at the Center for Italian Modern Art by Heather Ewing, Center for Italian Modern Art

Fall/Winter 2014 Exhibitions
News and Announcements

#art #history #art history #italian art #Italian Art Society #newsletter #news #David Rosand #grants #camposanto #michelangelo #pontormo #rosso #iasblog #medardo rosso #CIMA

Jesuit artist Andrea Pozzo died on this day in 1709 in Vienna, where he was working for members of the Austrian court. Pozzo is known for his talent at quadratura— an illusionistic technique that simulates architecture in ceiling paintings, as seen in his tour de force ceiling fresco at the church of Sant’Ignazio in Rome. He also created the altar for the tomb of Saint Ignatius in the mother church of the Gesù, one of the most sumptuous of the late Baroque period. In 1703, Pozzo was invited to Vienna where he worked on the local Jesuit church and other secular projects, including the stupendous ceiling frescoes in the Marmorsaal of the Liechtenstein garden palace showing the Labors of Hercules

Reference: Richard Bösel. “Pozzo, Andrea.” Grove Art Online. Oxford Art Online. Oxford University Press.<http://www.oxfordartonline.com/subscriber/article/grove/art/T069154>.

Further reading: Perspective in Architecture and Painting: An Unabridged Reprint of the English-and-Latin Edition of the 1693 “Perspectiva Pictorum Et Architectorum” by Andrea Pozzo (Dover Translation); Mirabili disinganni. Andrea Pozzo (1642-1707). Architetto e pittore gesuita. Catalogo della mostra by L. Salviucci Insolera and R. Bösel (2010).

Allegory of the Jesuits’ Missionary Work, 1691-94, Fresco, Sant’Ignazio, Rome, full view and detail

Deeds of Hercules and his Apotheosis, 1704-08, Fresco, Liechtenstein Museum, Vienna

Omphale Punishing Hercules (detail), 1704-08, Fresco, Liechtenstein Museum, Vienna

Altar of St Ignatius Loyola, 1695-99, Marble, bronze, Il Gesù, Rome

Self-portrait, 1690s, oil on canvas, Galleria degli Uffizi, Florence

(Source: italianartsociety)

#art #history #art history #andrea pozzo #quadratura #trompe l'oeil #ceiling #fresco #Rome #jesuit order #Christian art #Counter-Reformation #Vienna #Hercules #mythology #illusion #perspective #17th century #18th Century #Baroque Art #Italian art #Italy #pozzo

Giandomenico Tiepolo was born on this day in 1727 in Venice.  Eldest son of the painter Giovanbattista Tiepolo (d. 1770), Giandomenico began working with his father in the 1740s and continued to work with him until his death. He served as president of the Venetian Academy (1780-83) and continued to make large-scale works like those of his father. He died in Venice in 1804. Shortly before his death, the artist executed 104 drawings to illustrate the life of Punchinello, a favorite character from the commedia dell’arte, a theme frequently depicted by Tiepolo throughout his career.

Reference: William L. Barcham. “Tiepolo.” Grove Art Online. Oxford Art Online. Oxford University Press.<http://www.oxfordartonline.com/subscriber/article/grove/art/T084951pg2>

Further reading: Domenico Tiepolo: The Punchinello Drawings by Adelheid M. Gealt

The Burial of Punchinello, ca. 1800, New York: The Metropolitan Museum of Art, Robert Lehman Collection, 1975

Dance in the Country, ca. 1755, New York: The Metropolitan Museum of Art, Gift of Mr. and Mrs. Charles Wrightsman, 1980

Europe, New York: The Metropolitan Museum of Art, Bequest of Grace Rainey Rogers, 1943

(Source: italianartsociety)

#tiepolo #18th Century #Venice #Italian art #art #history #art history #commedia dell'arte #Punchinello #drawing #painting #rococo

Sculptor Pietro Bernini died on this day in Rome in 1629. He was sixty-seven years old. Born near Florence, Pietro is much better known for his son and best student Gianlorenzo. After a career divided between Florence and Naples, Pietro moved with his son to Rome in 1605. Though not seen as a great inventor, Pietro is recognized as a master technician intimately familiar with the work of Giambologna, lessons he passed down to his gifted and more talented son. In Rome, Pietro received several important commissions, including an altarpiece showing the Assumption of the Virgin (1606) at Santa Maria Maggiore and the tomb of Clement VIII (1611-13) in the same church. At the Barberini Chapel in Sant’Andrea della Valle, he installed his St. John the Baptist (1612-15). He also made secular works for Cardinal Scipione Borghese, who would become one of Gianlorenzo’s great patrons. Though his works are of uneven success, in those like Faun Teased by Cupids one can see how Gianlorenzo learned to sculpt. Pietro’s biographer, Giovanni Baglione famously said of him, “had he had greater compositional ability, he would have been a remarkable artist.”

Reference: Michael P. Mezzatesta and Rudolf Preimesberger. “Bernini.” Grove Art Online. Oxford Art Online. Oxford University Press. <http://www.oxfordartonline.com/subscriber/article/grove/art/T008287pg1>

Further reading: Bernini by Howard Hibbard (1991); European Sculpture, 1400-1900 in The Metropolitan Museum of Art by Ian Wardropper (2011).

Spring in the Guise of Flora and Autumn in the Guise of Priapus, 1616-17, New York: The Metropolitan Museum of Art, Purchase, The Annenberg Foundation Gift, 1990

Pietro and Gianlorenzo Bernini, Bacchanal: A Faun Teased by Children, ca. 1616-17, New York: The Metropolitan Museum of Art, Purchase, The Annenberg Fund Inc. Gift, Fletcher, Rogers, and Louis V. Bell Funds, and Gift of J. Pierpont Morgan, by exchange, 1976

The Assumption, 1607-10, Marble, Santa Maria Maggiore, Rome

St. John the Baptist, 1612-15, Marble, Sant’Andrea della Valle, Rome

(via italianartsociety)

#art #history #art history #Pietro Bernini #sculpture #Rome #Naples #Florence #16th century #17th century #Mannerism #Renaissance #Baroque #Italian #Italian art #Christian art

Florentine artist Alesso Baldovinetti died on this day in 1499. The eldest son of a wealthy merchant who rejected his expected career in commerce to become an artist, Alesso was part of the second generation of quattrocento painters active in Florence. Unfortunately, Baldovinetti often experimented with his technique, which has led to the degradation of several of his works.

Reference: Ailsa Turner. “Baldovinetti, Alesso.” Grove Art Online. Oxford Art Online. Oxford University Press.<http://www.oxfordartonline.com/subscriber/article/grove/art/T005889>.

Further reading: Alesso Baldovinetti Pittore Fiorentino: Con L’Aggiunta Dei Suoi Ricordi by Emilio Londi (2010) 

Annunciation, 1447, Galleria degli Uffizi, Florence

Nativity, 1460-2, Santissima Annunziata, Florence

Portrait of a Lady in Yellow, c. 1465, National Gallery, London

(Source: italianartsociety)

#art #history #art history #baldovinetti #Florence #Italian art #Italy #Renaissance #15th century #Italian #Italian Renaissance

Lombard architect and sculptor Giovanni Antonio Amadeo died on this day in 1522 in Milan. He was in his 70s. Active in Bergamo, Cremona, Milan, and Pavia, Amadeo was a leading proponent of all’antica design and dominated late fifteenth-century Lombard architecture and sculpture. Among his celebrated works are his contributions to the splendid funerary chapel for Bartolomeo Colleoni in Bergamo, which had been begun by his teacher Francesco Solari and his brother Guiniforte. Amadeo undertook a number of projects for members of the Sforza family, including decoration for Milan Cathedral, the Certosa of Pavia, and the Ospedale Maggiore of Milan.

Reference: Richard Schofield and Janice Shell. “Amadeo, Giovanni Antonio.” Grove Art Online. Oxford Art Online. Oxford University Press. <http://www.oxfordartonline.com/subscriber/article/grove/art/T002214>.

(Source: commons.wikimedia.org, via italianartsociety)

#art #history #art history #italian art #amadeo #milan #pavia #bergamo #lombardy #architecture #sculpture #Renaissance #italian architecture #italy #16th century

Sicilian painter Pietro Novelli died on this day in 1647 in Palermo. Novelli trained with his father in Monreale and continued his studies in Palermo where he came to know the work of Dutch painter Anthony Van Dyck, who visited the city in 1624.  Novelli also traveled to Rome and Naples in the 1620s where he was exposed to Renaissance masters and Baroque contemporaries, including Giovanni Lanfranco and Jusepe de Ribera. Primarily a painter of religious scenes, Novelli is recognized today as Sicily’s most important artist of the seventeenth century.

Reference: Vincenzo Pacelli. “Novelli, Pietro.” Grove Art Online. Oxford Art Online. Oxford University Press.<http://www.oxfordartonline.com/subscriber/article/grove/art/T062922>.

Further reading: Pietro Novelli il Monrealese by Guido di Stefano (1989)

Cain and AbelGalleria Nazionale d’Arte Antica

David with the Head of Goliath, 1630s, Los Angeles: J. Paul Getty Museum, 72.PA.16

Circle of Pietro Novelli, The Agony in the Garden, ca. 1640,  Los Angeles: J. Paul Getty Museum, 94.GA.96

(Source: italianartsociety)

#art #history #art history #Pietro Novelli #Palermo #17th Century #Baroque Art #Christian art #religious art #Sicily

Titian died on this day in 1576 in Venice, Though his birthdate is unknown, he was in his late 80s or early 90s at his death. Today recognized as one of Venice’s most important artists, and as one of the most influential Renaissance painters, Titian was admired for his naturalism, color, and skill with the oil medium, which he used to great effect in his devotional works, portraits, and mythologies. Titian also inspired many painters of the Baroque period, including the Carracci, Rubens, and Velázquez. His influence lasted into the 19th century as artists like Joseph M.W. Turner continued to study the Renaissance master, and avant-garde artists like Édouard Manet reformulated some of his most famous compositions for a modern audience.

Reference: Cecil Gould. “Titian.” Grove Art Online. Oxford Art Online. Oxford University Press <http://www.oxfordartonline.com/subscriber/article/grove/art/T085242>.

Further reading: Titian by Peter Humfrey (2007); Titian by Charles Hope, et al. (2004).

Self-Portrait, 1562-64, Staatliche Museen, Berlin

Pesaro Madonna, detail, 1519-26, S. Maria della Gloriosa dei Frari, Venice

Man with the Blue Sleeve (Gerolamo Barbarigo?), ca. 1510, National Gallery, London

Portrait of a Man in a Red Cap, ca. 1516, The Frick Collection, New York

Assumption of the Virgin, 1516-18, Santa Maria Gloriosa dei Frari, Venice

Crowning with Thorns, 1542, Musée du Louvre, Paris

Bacchus and Ariadne, 1520-22, National Gallery, London

Venus and Adonis, 1554, Museo del Prado, Madrid

Venus of Urbino (detail), before 1538, Galleria degli Uffizi, Florence

Flora, 1515-20, Galleria degli Uffizi, Florence

(via italianartsociety)

#titian #art #venice #renassiance #art history #16th century #italy

Chair of architecture at the University of Palermo, Ernesto Basile died on this day in 1932. Associated with the Stile Liberty — the Italian version of Art Nouveau — Basile’s designs appealed to upper-middle-class patrons in his home city. Though many of his buildings have been destroyed, a sense of his style can be found in private houses like the Villino Florio (1907-9) and Villa Basile (1903). One of his most important commissions was to expand the Parliament building in Rome, the Palazzo Montecitorio (1902-14), adding on to the original structure built by Gianlorenzo Bernini.

Reference: Helen M. Hills. “Basile.” Grove Art Online. Oxford Art Online. Oxford University Press. <http://www.oxfordartonline.com/subscriber/article/grove/art/T006710pg2>

Further reading: Ernesto Basile a Montecitorio (2002).

(Source: italianartsociety)

#art #history #art history #stile liberty #art nouveau #Ernesto Basile #SIcily #Palermo #20th Century #architectural history #Architecture