Journal articles: 'Painting, Italian'

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ELLIOTT, SARA. "ITALIAN RENAISSANCE PAINTING." Art Book 1, no. 2 (March 1994): 19. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00017.x.

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Chen, Changhuan. "Research on the Influence of Western Renaissance Thought on Modern Painting Art." Journal of Education, Humanities and Social Sciences 15 (June 13, 2023): 202–6. http://dx.doi.org/10.54097/ehss.v15i.9257.

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The comparison between poetry and painting in the Renaissance has ancient origins, which was directly inspired by some ancient scholars' comments on the relationship between poetry and painting. People admire outstanding works of art, but they think that artistic creation is contemptible physical labor. Therefore, even the best artists are just excellent craftsmen. In the Italian Renaissance, a large number of outstanding painters emerged, and they made great achievements in art, leaving behind a painting aesthetic theory that benefited the whole western painting field. In this paper, the author analyzes the influence of western Renaissance thought on modern painting art, taking Italian Renaissance paintings as representatives. The Renaissance not only had a far-reaching impact on European society and politics, but also affected modern painting art to another extent. Advocating individual freedom, with the help of rationality and scientific knowledge, vivid images and real scenes are reproduced, which creates realism.

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Tomić, Radoslav. "Novi podaci o slici Teodora Matteinija u trogirskoj katedrali." Ars Adriatica, no. 1 (January 1, 2011): 159. http://dx.doi.org/10.15291/ars.435.

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The article presents new information about the altar painting “Blessed Augustin Kažotić, St John Evangelist and St James” in Trogir Cathedral. In the lower right corner, a previously unknown inscription was discovered during the restoration: Teodoro Matteini F. in Venezia 1805. Apart from the name of the distinguished Italian painter, Teodoro Matteini (Pistoia, 1754 - Venice, 1831), it states that it was made in Venice in 1805. This indisputably confirms the opinion published so far by Croatian and Italian art historians. Based on Italian and Croatian documents, it can be concluded that the key role in the commission of the painting was played by brothers Ivan Dominik (1761-1848) and Ivan Luka Garagnin (1764-1841), the noblemen of Trogir and respectable representatives of Dalmatian society in the early nineteenth century. They knew Matteini well because he was the painter who in 1798 painted a portrait of Ivan Dominik Garagnin who is mentioned in a letter as a steward of Trogir Cathedral. In the process of commissioning and designing the painting’s composition and details, an active part was played by the learned brothers’ friend and confidant, Giovanni de Lazara (Padua 1744-1833), a nobleman from Padua, knight of Malta, bibliophile, collector and inspector-conservationist of paintings in Padua and its environment from 1793 onwards.The painting shows St James, St John the Evangelist and a Trogir saint - blessed Augustin Kažotić (c. 1260-1323) - who was a bishop of Zagreb and Lucera. According to archival records, the citizens of Trogir provided Matteini with information about the saint and an older painting which served as a model for the new portrait. The painting was set in the new marble altar which had been installed by Nicolò and Zuane Degani in 1802.At Ca’ Pesaro (Galleria Internazionale d’Arte Moderna) in Venice, there is a drawing from 1805 signed by Matteini (pencil on paper, 431 x 283 mm) which depicts St James and is a preparatory sketch for his portrait on the Trogir painting.

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Lemainque, Ingrid. "Les tableaux italiens du Settecento dans les ventes parisiennes au XVIIe siècle." Studiolo 2, no. 1 (2003): 138–66. http://dx.doi.org/10.3406/studi.2003.1118.

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Ingrid Lemainque, Italian paintings of the Settecento in 18th-century Parisian sales ; In 19th-century France, contemporary Italian painting seems to have been little valued, if one believes the artistic literature of the time. A statistical analysis based on the thorough survey of Parisian sales catalogues between 1730 and 1799 enables one to distinguish a different truth, the presence of a particular taste for Settecento Italian paintings and reveals the importance of landscape and the Venetian school in these sales, to the detriment of more conventional schools and artists.

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Shi, Xueyan, and Zainuddin Abindinhazir. "THE RELATIONSHIP BETWEEN TIME FACTOR AND FIGURATIVE FACTOR IN CHINESE AND ITALIAN FIGURE PAINTING IN THE 15TH CENTURY." International Journal of Heritage, Art and Multimedia 6, no. 20 (December 5, 2023): 01–14. http://dx.doi.org/10.35631/ijham.620001.

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The Time factor used or emerged in painting is an issue that has been discussed for almost 1 century. However, there has never been any specific study related to time and figure painting. In addition, the author finds the time factor used in Italian and Chinese painting in the 15th century, which always depends on the figurative factor of the painting. So, this study is to explore the presentation of time factors in figure paintings in Italy and China from the 15th century to the 16th century and find out the rules between figurative factors and time factors in figure painting during this period.

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Zhang, Muhan. "Impact Of “Rise of Burgher Class” On Art: Italian Renaissance Painting." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 303–11. http://dx.doi.org/10.54097/y50tnp05.

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With the further development of Europe's overall economy, the seeds of capitalism began to appear, and cities also emerged. At the same time, the burgher class, the predecessor of the bourgeoisie, began to step onto the stage of history and began to transform society according to the needs of this class. The changes in the art of painting during the Italian Renaissance are closely related to the rise of the burgher class. The values advocated by the burgher class profoundly affected the painting art of this period, and the paintings also became the carrier of the new ideas of the Renaissance, then they further affected every member of society and embodied the social function of art. This article uses document analysis and work analysis methods to collect relevant historical materials and paintings, and conducts analysis based on the social background of the time, exploring the impact of the "rise of the burgher class " on art, and taking "Italian Renaissance painting art" for an example to explores the relationship between the two and clarifies that the class values advocated by the burgher class after the rise played a role in promoting the changes in the themes and connotations of paintings during this period.

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Bogomolov, Nikolai. "Вячеслав Иванов и искусство Ренессансa." Modernités Russes 12, no. 1 (2011): 109–23. http://dx.doi.org/10.3406/modru.2011.955.

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Viacheslav Ivanov’s interest in Italian Renaissance painting is well known, and it has been analyzed more than once. For the most part, however, such investigations have treated poems of his with elements of ekphrasis or with mentions of artists and their paintings, or articles of his that refer to painting. In our opinion much remains to be said about this matter, and we offer some new materials relating to it. Among them are letters to Ivanov from members of his immediate circle (and, to a lesser, degree his own letters), which note his interest in Renaissance masters ; the reproductions of works of art that he wanted to have before his eyes throughout his life ; the advice that he gave to his friend and housekeeper M. M. Zamjatnina, who heard lectures on the subject and wrote about Renaissane painting ; finally, the books Zamjatnina checked out from the Geneva Library, volumes that could not have escaped Ivanov’s attention. These new materials demonstrate, firstly, that we should pay attention not only to paintings of the Italian Renaissance, but to those of the Northern Renaissance as well (German and Flemish artists above all). Secondly, we should pay much greater attention than previously to Ivanov’s attitude towards Botticelli. And, finally, we should examine the broad historical context in which he perceived Renaissance painting.

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Volyk, Yu P., and O. N. Razumovskaya. "PROBLEMS OF RESTORATION OF DECORATIVE INTERIOR PAINTINGS OF CLASSICISM." National Association of Scientists 4, no. 26(53) (2020): 7–25. http://dx.doi.org/10.31618/nas.2413-5291.2020.4.53.178.

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In the first third of XIX century, the interiors of St. Petersburg buildings were often adorned with decorative paintings on plafonds and cambers. Polychrome painting and grisaille painting, which imitates plasterwork, were usually made with distemper colors. The focus of attention in the era of classicism was antiquity, mythological subjects and heroes. The article discusses the paintings in Kamennoostrovsky Palace, the General Staff building on the Palace square, the Laval's mansion. Decorative interior painting in St. Petersburg was created by artists of Italian origin, the most famous of them being D. B. Scotti. The time and environmental conditions affected these paintings, and their restoration takes a long time and very hard work. The article describes all the difficulties involved in restoration; one of the most important conditions is the use of natural materials. The article also has photos showing the paintings before restoration, in the process of restoration and after its completion

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Gandolfi, Giangiacomo. "Two Illustrated Horoscopes of the Italian Renaissance." Paragone Past and Present 4, no. 1 (May 31, 2023): 45–69. http://dx.doi.org/10.1163/24761168-00401002.

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Abstract Among astral representations in Renaissance paintings and frescoes, a particular and very complex class stands out: that of Illustrated Horoscopes, that is, complete charts disguised under the cover of innocent pastoral landscapes or conventional mythological scenes. Two examples pertaining to this elusive class are proposed and analyzed in this article. The first is a Giorgionesque painting in the Royal Gallery in Dresden, the so-called Horoscope, that probably portrays the casting of a birth-chart for Ercole II d’Este, the son of Lucrezia Borgia, and at the same time a scene from the epic of Orlando and the Paladins. The second is Zucchi’s Assembly of the Gods, a copper panel painted for Ferdinando de Medici’s studiolo in the Roman Villa Medici, which arranges the planetary divinities in correlation to the zodiacal constellations, building the extraordinary nativity of the owner. Both astrological charts, albeit veiled and ambiguous by nature, are substantiated by internal signals, verified on the basis of contemporary horoscopes, and justified by the overall painting narrative.

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Benjamin, Andrew. "On the Image of Painting." Research in Phenomenology 41, no. 2 (2011): 181–205. http://dx.doi.org/10.1163/156916411x580940.

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AbstractPainting can only be thought in relation to the image. And yet, with (and within) painting what continues to endure is the image of painting. While this is staged explicitly in, for example, paintings of St. Luke by artists of the Northern Renaissance—e.g., Rogier van der Weyden, Jan Gossaert, and Simon Marmion—the same concerns are also at work within both the practices as well as the contemporaneous writings that define central aspects of the Italian Renaissance. The aim of this paper is to begin an investigation into the process by which painting stages the activity of painting. This forms part of a project whose aim is an investigation of the way philosophy should respond to the essential historicity of art (where the latter is understood philosophically).

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Gribkov, Vitaly S., and Vladimir M. Petrov. "Color Elements in National Schools of Painting: A Statistical Investigation." Empirical Studies of the Arts 14, no. 2 (July 1996): 165–81. http://dx.doi.org/10.2190/2udk-vpbk-ywjv-7l6q.

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A deductive model to explain the functioning of art brings forward regularities concerning the color elements which are used in paintings. To provide optimal perception both of individual paintings and of systems of paintings it is necessary to organize them in such a way that: each given painting consists of four spectral color elements and one or two non-spectral ones (black and/or white); each national school of painting should be based on its “color-and-light standard” which is nothing but white color representing sunlight, and the properties of this “standard” should respond to the parameters of the sunlight typical for the region of a given culture; quite a definite “color triad” is inherent to each national school, dominating the majority of its paintings. These regularities were verified using 822 paintings representing French, Italian, Spanish, and Russian national schools. The results obtained may be used not only for model purposes but also for various studies in history of art.

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Ilichev, Denis V. "Madonna del Libro in the Collection of the Sverdlovsk Regional Museum of Local Lore: The First Data of Attribution and Technical Study of the Picture." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 4 (2021): 46–59. http://dx.doi.org/10.15826/izv2.2021.23.4.066.

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This article is devoted to the attribution of the Madonna and Child painting from the collection of the Sverdlovsk Regional Museum of Local Lore (Yekaterinburg), corresponding to the image of Madonna del Libro distributed in Italy in the sixteenth century. Referring to works of Italian researchers, the author reveals the original source that served as the basis for creating the iconographic work, i.e. a work of Perino del Vaga, an Italian artist. Further research helps establish the fact that the Ural canvas is a copy of an original painting of the Spanish artist Pedro de Rubiales who worked in Italy in the 1640s–1660s and reinterpreted P. del Vaga’s work. However, a technological analysis of the Ural canvas demonstrates that it was created much later, between the second quarter and the mid-nineteenth century. The unknown author of the picture studied in the article made attempts to reconstruct the technology of the original, but the discrepancies between them and the materials and methods of the Italian painting from between the sixteenth and seventeenth centuries revealed in the analysis of the canvas, ground, the stratigraphy of the paint layer, and paint binder make it possible to speak about the author’s insufficient awareness of the principles of painting of the era and region he referred to in his reinterpretation. Thus, the work in question demonstrates the peculiarities of creating imitations of sixteenth-century works at a later time. The article also proposes a version on the place and time of restoration of the painting, formulated on the basis of comparing data on the use of duplication technology, the design of the subframe, the presence of a signature on the subframe, and the correlation of said features with records from the catalogue of the Nizhny Tagil collection of paintings by D. P. Shorin. They suggest that work to improve the preservation of the painting was performed in the workshops of the imperial Hermitage by restorer N. A. Sidorov.

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Castrillón Vizcarra, Alfonso. "Un automóvil de carrera es más bello que la Venus de Samotracia: notas sobre la primera generación futurista." Illapa Mana Tukukuq, no. 14 (February 18, 2019): 22–33. http://dx.doi.org/10.31381/illapa.v0i14.1877.

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ResumenEn junio de este año el público limeño tuvo la suerte de ver una gran exposición titulada Futurismo y velocidad, auspiciada por la Embajada de Italia y el Instituto Italiano de Cultura en Lima, en el tradicional Museo Italiano, como si las obras hubiesen sido escogidas ad hoc para sus salas. Sinembargo, la extraordinaria colección solo reunía cuadros de una segunda generación de pintores futuristas, presentados por un acertado estudio de Maurizio Scudiero. Animado por esta circunstancia, decidí escribir unas notas sobre el primer futurismo, el de su creador F. T. Marinetti y sus seguidores, sus ideas estéticas, políticas y sus aportes, con el fin de dar al lector los datos para que establezca el puente entre las dos generaciones. Palabras clave: futurismo, pintura futurista, manifiesto, Marinetti, Mussolini Abstract In June of this year, the Lima public was lucky enough to see a large exhibition entitled “Futurismo y velocidad” (Futurism and speed”), sponsored by the Italian Embassy and the Istituto Italiano di Cultura in the traditional Italian Museum, as if the works had been chosen ad hoc for their rooms. However, the extraordinary collection only brought together paintings by a second generation of Futurist artists, introduced by an accurate study by Maurizio Scudiero. Encouraged by this circumstance I decided to write some notes on the first futurism, that of its creator F.T. Marinetti, and his followers, his aesthetic ideas, policies and contributions, in order to give the reader the data to establish the bridge between the two generations. Keywords: Futurism, Futuristic Painting, Manifesto, Marinetti, Mussolini.

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Carrier, David, and Paul Hills. "The Light of Early Italian Painting." Leonardo 21, no. 2 (1988): 213. http://dx.doi.org/10.2307/1578568.

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Cropper, Elizabeth, and Charles Dempsey. "Italian Painting of the Seventeenth Century." Art Bulletin 69, no. 4 (December 1987): 494. http://dx.doi.org/10.2307/3050995.

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Maginnis, Hayden B. J., Paul Hills, and John White. "The Light of Early Italian Painting." Art Bulletin 71, no. 1 (March 1989): 137. http://dx.doi.org/10.2307/3051222.

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Pushkareva, Yulia E. "ITALIAN PAINTING IN S.P. SHEVYREV’S TRAVELOGUES." Imagologiya i komparativistika, no. 11 (June 1, 2019): 174–92. http://dx.doi.org/10.17223/24099554/11/7.

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Silano, Martha. "How to Read Italian Renaissance Painting." Prairie Schooner 86, no. 1 (2012): 32–34. http://dx.doi.org/10.1353/psg.2012.0016.

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Olszewski, Edward J., and Paul Hills. "The Light of Early Italian Painting." Sixteenth Century Journal 19, no. 4 (1988): 674. http://dx.doi.org/10.2307/2541005.

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Freedman (book author), Luba, and Giancarla Periti (review author). "Classical Myths in Italian Renaissance Painting." Renaissance and Reformation 36, no. 3 (December 2, 2013): 164–66. http://dx.doi.org/10.33137/rr.v36i3.20555.

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Piccolo, Olga. "The Portrait of an Italian Woman by Olga Boznanska Exhibited at the Venice Biennale in 1938: New Elements from a Stylistic and Archival Perspective." Perspektywy Kultury 30, no. 3 (December 20, 2020): 211–28. http://dx.doi.org/10.35765/pk.2020.3003.14.

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This targeted stylistic, bibliographical, and archival investigation casts a major light on a relevant portrait of a woman by the Polish painter Olga Boznanska, highlighting its rich exhibition and collection. The recent appearance in a Polish auction of a similar painting by Boznanska leads to the hypothesis that the subject of the painting—whose identity still remains a mystery—is the same in both paintings.

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Tavinor, Marie. "The Reception of British Painting at the Venice Biennali, 1895–1914." International Journal for History, Culture and Modernity 4, no. 1 (March 28, 2016): 73–91. http://dx.doi.org/10.18352/hcm.502.

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The opening of the Venice Biennale in 1895 provided an unprecedented occasion to bring international art to the Italian public. It thus enabled intellectuals, art critics and the wider public to see and judge national productions side by side. This paper proposes to look at the way biases developed along with the Biennale – in relation to the peculiar political situation in Europe. By looking at articles written by leading Italian art critics on newspapers and magazines such as Emporium, Fanfulla della Domenica, Il Marzocco or Illustrazione italiana, the paper will show that art often served as a pretext for a political analysis which ultimately pointed to the rising conflict between the Triple Alliance and the Triple Entente.

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Zhou, Yutong. "A Brief Analysis of Alberti’s Art Theory - Taking On Painting” as an Example." Journal of Soft Computing and Decision Analytics 2, no. 1 (January 9, 2024): 86–91. http://dx.doi.org/10.31181/jscda21202436.

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People’s perceptions of artists in Italy, particularly Florence, have transformed since the 15th century. Artists have created works of art that reflect the humanistic ethos of the era, which has fostered the study of art theory by humanist scholars and contributed to the development of an art historical consciousness. In his artistic theory, the Italian humanist Alberti of the early 15th century reflected the new development of Florentine art. Alberti, an artist and theorist of the early Renaissance, examined the changes in artistic creation in the new era with a very avant-garde and contemporary perspective, and applied scientific theoretical knowledge to painting creation as a premise for studying painting art techniques. His influential treatise “On Painting” is regarded as the first systematic painting theory work in the West, establishing the groundwork for Renaissance art theory. His description of the sublime nature of painting elevated painting’s status and reputation as an art form. It is also advantageous to facilitate the transition of painters from painters to artists. This article is founded on the theoretical content proposed in Alberti’s “On Painting” art theory work, analyzing the painting concepts proposed by Alberti and its governing function in Renaissance art.

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Kouria, Aphrodite. "Secular painting in the Ionian islands and Italian art: Aspects of a multi-faceted relationship." Historical Review/La Revue Historique 13 (February 24, 2017): 29. http://dx.doi.org/10.12681/hr.11555.

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The contribution of Italian art, especially Venetian, was decisive to the secularisation of art in the Ionian Islands and the shaping of the so-called Ionian School, in the context of a broader Western influence affecting all aspects of life and culture, especially on the islands of Zakynthos and Corfu. Italian influences, mainly of Renaissance, Mannerism and Baroque art, can be identified both on the iconographic and the stylistic level of artworks, with theoretical support. This article explores facets of the dialogue of secular painting in the Ionian with Italian art in the eighteenth and nineteenth centuries, focussing on works and artists that highlight significant aspects of this multilayered phenomenon and also through secondary channels that expand the horizon of analysis. Procession paintings, with their various connotations, and portraiture, which flourished in secular Ionian art, offer the most interesting material as regards the selection, reception and management of Italian models and points of reference.

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Surlapierre, Nicolas. "La fabrique de l'Atelier : les trajets italiens de Ferdinand Springer (1926-1939)." Studiolo 1, no. 1 (2002): 177–92. http://dx.doi.org/10.3406/studi.2002.1097.

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The fabric of the Atelier : the Italian journeys of Ferdinand Springer (1926-1939). The influence of Italy in Ferdinand Springer's work allows not only to assess the ascendancy of contemporary Italian painting but also to broach the issue of surrealism and metaphysical painting. In addition to the «Old Masters», Ferdinand Springer's two main references are Carlo Carrà and Giorgio Morandi. Morandi's «anti-rhetoric of the everyday» contrasts with Carlo Carrà's metaphysical painting which multiplies the references to a reflection on art and the wider dialogue between modernity and memory. Ferdinand Springer's production clearly enjoys the merger of these two characteristics ; he persistently bestows the «anti-rhetoric of the everyday» with features of metaphysical painting having found, in Italy, the «unrealising» origin of the «disquieting strangeness». His painting is thus marked by syncretism, halfway between the familiar and the bizarre, always abetting the emergence of unclear identities.

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Hnidyk, Iryna. "ICONS OF THE MOTHER OF GOD IN THE CULTURAL HERITAGE SPACE OF ROME." Ethnic History of European Nations, no. 68 (2022): 14–21. http://dx.doi.org/10.17721/2518-1270.2022.68.02.

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The images of the Mother of God in Italy represent a significant part of the cultural heritage of European and world sacred art and icon painting of various chronological periods and stylistic features. A special place in this dimension belongs to the icons of the Mother of God in Rome. Ever since the first centuries, images of the Virgin have been represented in the paintings of the Roman catacombs. The iconographic heritage of Rome represents different periods and a unique interweaving of styles. Over the centuries, ancient icons of the Mother of God have been kept in Rome, made both in the technique of encaustic, tempera, and later in oil painting. Many images of the Mother of God in Rome represent the original samples of the Byzantine style of icon painting of various origins and the works of masters of the Italian artistic environment at the intersection of Western and Eastern artistic styles. A significant number of these icons are crowned and have the status of miraculous. Some of the most ancient and famous icons of the Mother of God in Rome are «Salus Populi Romani», «Madonna del Conforto», «Madonna Avvocata», «Madonna della Clemenza», «Madre del Perpetuo Soccorso», «Santa Maria del Popolo», «Madonna della Catena», «La Madonna dei Martiri» and others. Common iconographic types are Hodegetria, Agiosoritissa, Kyriotissa, Galaktotrofusa, etc. Often, these icons have several Italian-language names, which must be considered when choosing methodological tools for historiographical analysis. The article provides a general overview of the heritage of the icons of the Mother of God in Rome based on the most famous of them. English-language and Italian-language historiography was analyzed to model further relevant research directions in developing this topic by modern specialists in an interdisciplinary context. It is emphasized that in the churches of Rome, there are still many less-known and less-researched icons of the Mother of God, particularly in terms of stylistic features and painting techniques. Their detailed study and analysis of sources can effectively fill this niche in historiography and become an interesting topic for modern interdisciplinary research in the field of history, icon painting, art, restoration, and cultural heritage, as well as the basis of original concepts for exhibitions, photo catalogs, new excursion routes, etc.

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TOOKE, A. "Flaubert on Painting: The Italian Notes (1851)." French Studies 48, no. 2 (April 1, 1994): 155–73. http://dx.doi.org/10.1093/fs/48.2.155.

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TOOKE, ADRIANNE. "FLAUBERT ON PAINTING: THE ITALIAN NOTES (1851)." French Studies XLVIII, no. 2 (1994): 155–73. http://dx.doi.org/10.1093/fs/xlviii.2.155.

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Mitrofanova, Natalia Yu. "Textile Painting by Cesare Tacchi." Vestnik of Saint Petersburg University. Arts 13, no. 2 (2023): 313–25. http://dx.doi.org/10.21638/spbu15.2023.206.

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The work of the Italian artists of the Piazza del Popolo School is a unique period in the history of art of the 20th century. The activities of this association marked the birth of the Italian version of pop art. Despite the fact that the American and Italian pop movements existed in parallel and had similar external features, they were significantly different. These differences can be traced in the creativity of the members of the association. Cesare Tacchi was a member of this union. The path of this master represents an individual trajectory of artistic and conceptual development. One of the creative stages of Cesare Tacchi falls into the mid-sixties of the twentieth century. Experimental and innovative paintings of this time were created using industrially produced fabrics. Large-scale textile collages, in addition to being painted with enamel, pastels and felt-tip pens, also acquired a relief texture due to the furniture filler. Cesare Tacchi used a pick with nails or metal staples in accordance with the logic of the created image. That is why the artist ironically called himself “upholstery”, and called his textile collages “upholstery”. In them, we find images of artist’s friends, his own self-portraits or images made on the basis of photographs. The pattern, texture of the fabric and the softness of the emerging relief, together with the conceptual nature of the creative technique, made a great impression on the viewer and gave rise to new associations. Textiles simultaneously demonstrated the consumer culture of that time, turned from a subordinate material into a means of artistic expression, became an object of art and contributed to the emergence of a stream of new associative links, far from the consumer idea.

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Cohen-Willner, Saskia. "Een schilderij van Jacopo Palma il Giovane in een vroeg zeventiende-eeuwse Amsterdamse verzameling." Oud Holland - Quarterly for Dutch Art History 113, no. 4 (1999): 175–80. http://dx.doi.org/10.1163/187501799x00346.

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AbstractIn this article a drawing by Palma il Giovane, now owned by the Staatliche Graphische Sammlung in Munich, is identified as a study for a painting by the same artist. The present whereabouts of this painting, which early on in the 17th century was in the collection of the Amsterdam merchant and art-lover Hendrick van Os, are unknown. Identification of the drawing was facilitated by the lengthy description of this work in Karel van Mander's biography of Palma Giovane in the Italian Lives of his Schilderboeck (Haarlem 1604). Van Mander describes the painting as showing Venus, Juno and Minerva seated at a table, while the angry Discord has just thrown the apple of discord in their midst. His description of the Van Os painting conforms perfectly, almost down to the smallest detail, with the Munich drawing. Van Mander, during his entire stay in Italy, never visited Venice. For his notion of Venetian painting he relied largely on the information he received from visitors to Venice and its surroundings or on Venetian works he had seen elsewhere, either in other Italian cities or in the Netherlands. For his description of Palma Giovanc's artistic skills Van Mander could rely on his firsthand knowledge of the painting owned by Hendrick van Os.

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Melro Salzedas, Nelyse A., and Rivaldo Alfredo Paccola. "Hibridização de imagens: cinema/pintura / Hybridization of Images: Film/Painting." Revista Internacional de Cultura Visual 3, no. 1 (April 4, 2016): 1–7. http://dx.doi.org/10.37467/gka-revvisual.v3.488.

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ABSTRACTThis paper discusses the hybridization of images of paintings and film particles in Italian and American films, including establishing a metaphorical field whose interstitium a common field to both arises. The Italian critic De Santi (Cinema and pittura, 2008) brings up this process of hybridization: Pasolini, the film "Rage" (1963), uses the backdrop of the screen Rosso Fiorentino, "The Descent from the Cross" (1521); in another, "Mamma Roma" (1962) and Fellini, "Satyricon" (1969), inspired by the Mantegna screen "Dead Christ" (1485). Also, Newel (Mona Lisa smile, 2003) uses Picasso screen (Demoiselles D'Avignon, 1907) as a pedagogical discourse of the protagonist.RESUMOObjetivamos discutir a hibridização de imagens de pinturas e partículas cinematográficas em filmes italianos e norte-americano, estabelecendo entre elas um campo metafórico em cujo interstício surge um campo comum a ambas. O crítico italiano De Santi (Cinema e pittura, 2008) traz à tona esse processo de hibridização: Pasolini, no filme “Raiva” (1963), usa como cenário a tela de Rosso Fiorentino, “A descida da cruz” (1521); em outro, “Mamma Roma” (1962), e Fellini, “Satyricon” (1969), inspiram-se na tela de Mantegna “Cristo morto” (1485). Igualmente, Newel (Mona Lisa smile, 2003) utiliza tela de Picasso (Demoiselles D’Avignon, 1907) como discurso pedagógico da protagonista.

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White, John. "The Light of Early Italian Painting. Paul Hills." Speculum 64, no. 1 (January 1989): 176–78. http://dx.doi.org/10.2307/2852217.

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Villers, Caroline, David Bomford, Jill Dunkerton, Dillian Gordon, Ashok Roy, and Jo Kirby. "Art in the Making: Italian Painting before 1400." Studies in Conservation 35, no. 3 (August 1990): 163. http://dx.doi.org/10.2307/1506170.

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Lakey, Christopher R. "The Materiality of light in Medieval Italian Painting." English Language Notes 53, no. 2 (September 1, 2015): 119–36. http://dx.doi.org/10.1215/00138282-53.2.119.

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Zuraw, Shelley E. ":Classical Myths in Italian Renaissance Painting." Sixteenth Century Journal 43, no. 3 (September 1, 2012): 943–44. http://dx.doi.org/10.1086/scj24245670.

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Blanc, Rosario, Eloisa Manzano, Ana López-Montes, Nazaret Domínguez-Gasca, and José Luis Vílchez. "Non-Invasive Study of the Pigments of a Painting on Copper with the Inscription “Boceto di Pablo Veronese” on the Back." Heritage 6, no. 6 (June 14, 2023): 4787–801. http://dx.doi.org/10.3390/heritage6060254.

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The palette used on a small painting on copper support, with the inscription “Boceto di Pablo Veronese” on the back, was characterized. Non-invasive techniques such as X-ray diffraction (XRD) and hand-held X-ray fluorescence (XRF) were proven to be highly effective for this. The objectives of the proposed work were twofold. On the one hand, the objective was the study, in situ, of the pigments of a painting on a copper support. On the other hand, it was to enrich the literature related to the study of paintings on metal supports, since few related studies are available despite the relatively large number of such 16th and 17th century paintings from Italy and Northern Europe. The results of the analysis showed a copper support with a base layer of gypsum mixed with ochre earths. Atop this layer is a sketch with lead white in the lighter areas and bone black in the darker shadow areas, suggesting that the artist performed a preliminary study of the luminosity of the scene. Finally, the upper or pictorial layer consists of a mix of pigments with some lead white to lower saturation and increase lightness, particularly evident in the flesh tones. The resulting palette thus includes lead white, vermilion, bone black, Naples yellow, and lazurite pigments. These results are compared to Veronese’s other paintings, as well as to those of certain contemporary artists, and the use of the resulting pigments in 16th and 17th century Italian painting techniques is discussed.

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Avdeev, Vasilii Aleksandrovich. "Failed Totalitarian Art: English Military Painting of the First World War." Культура и искусство, no. 5 (May 2023): 64–78. http://dx.doi.org/10.7256/2454-0625.2023.5.38241.

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The subject of this article is subjects on the military theme in the paintings of European artists of the first half of the twentieth century.The object of the study is the stylistic and artistic features of painting by British military artists and painters of totalitarian states of the first half of the twentieth century. For the first time in domestic practice, the author offers to consider the unique phenomenon of British military painting of the First World War. She compares Italian aerofuturism, a style adopted by the fascist regime during the Second World War, which is close to her in spirit and connected with her modernist roots. The research was based on the provisions of the domestic author Igor Golomstock, who took the principle of the megamachine of the American historian and philosopher Lewis Mumford as a criterion for determining totalitarian art. The main conclusions of this study are the confirmation of the effectiveness of the Mumford formula in determining the criteria for the belonging of paintings to totalitarian art. At the same time, the considered example of English military painting, created in a democratic state, but bearing obvious features of totalitarian art, raises the question of the unambiguity of the correlation of the latter with the authoritarian form of government. The novelty of this work is the very possibility of familiarizing the domestic reader with the most interesting artistic and spiritual phenomenon - English military painting, closely related to Vorticism, the national trend of modernism, also insufficiently familiar to our public In addition, a wide range of issues related to the art history problem of identifying criteria for totalitarian art is considered

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Zhao, Wanpeng. "James Cahill's Song Painting World and the Early Painting History of Ancient China." Journal of Education, Humanities and Social Sciences 20 (September 7, 2023): 25–28. http://dx.doi.org/10.54097/ehss.v20i.11415.

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Mr. James Cahill devoted himself to connecting the changes in the painting history from the late Western Zhou Dynasty to the Song Dynasty into a systematic exposition. That is, early Chinese painting changed from decoration to the continuous exploration of the reproduction of nature and visual faithfulness, and reached its peak in the Song Dynasty, becoming another great naturalism and reproduction painting tradition comparable to the Italian Renaissance. In order to expand and enhance the world influence of Chinese visual art, James Cahill has put forward unique academic ideas, aiming at guiding a kind of understanding and enlightenment of ordinary perception of life.

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Buta, Mircea Gelu. "Genetic diseases in religious painting." Medicine and Pharmacy Reports 94, no. 3 (July 30, 2021): 382–89. http://dx.doi.org/10.15386/mpr-1996.

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The attention paid to Trisomy 21, a genetic condition described by Langdon Down in 1866, is due to concerns about establishing the age of this pathology during evolution. Due to the synergy between medicine and art history, it is possible to reconstruct the diseases that have characterized the most a certain historical period as well as the perception of the population towards them. Using iconodiagnosis, namely studying works of art through medical imaging, it was found that in Europe, during the Renaissance, Trisomy 21 was represented by Italian and Flemish painters in religiously inspired paintings.

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Schulz, Vera-Simone. "Bild, Ding, Material: Nimben und Goldgründe italienischer Tafelmalerei in transkultureller Perspektive." Zeitschrift für Kunstgeschichte 79, no. 4 (December 30, 2016): 508–41. http://dx.doi.org/10.1515/zkg-2016-0037.

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Abstract With a special focus on processes of artistic transfer between the Apennine peninsula and other regions in the Mediterranean and beyond, this paper sheds new light on haloes and gold grounds in thirteenthto fifteenth-century Italian painting. By means of case studies, it analyzes both (1) the role of haloes and gold grounds within the specific logic of the images, and (2) the impact of imported artifacts (their techniques, decoration, and materiality) on Italian panel painting as well as the complex interplays between imports and local production. Elucidating the intersections, frictions, and fields of tension between visual and material culture, this paper contributes to discussions on transmedial and transmaterial dynamics, transcultural art history, and the multireferentiality of gold.

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Amadori, Maria Letizia, Gianluca Poldi, Mara Camaiti, Fabio Frezzato, Antonella Casoli, Giulia Germinario, Elena Monni, Cecilia Pedulli, and Valeria Mengacci. "Giovanni Santi’s Late 15th-Century Paintings: Microscopic, Spectroscopic and Chromatographic Investigations on Pigments, Powdered Glass and Binding Media." Applied Sciences 13, no. 17 (August 28, 2023): 9739. http://dx.doi.org/10.3390/app13179739.

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After a huge non-invasive diagnostic campaign performed on the corpus of Giovanni Santi’s artworks, three paintings were selected and investigated: the Martyrdom of Saint Sebastian panel, the Visitation altarpiece and the canvas with Tobias and the Archangel Raphael (c. 1487 and 1494). Micro-invasive investigations including optical microscopy, ESEM-EDX, micro-Raman spectroscopy, FTIR and FTIR-ATR spectroscopy and GC-MS were carried out on selected micro samples. The results of the integrated analyses confirmed the use of a Renaissance palette with oil and, only in a few cases, tempera techniques. Some significant peculiarities emerged in Santi’s practice, as he used localized off-white priming and colorless powdered glass with a siccative oil—in red, flesh, pinkish and green hues—confirming the influence of the Flemish painters in Urbino and, possibly, also in western central Italy. This innovative technical expedient compared to the traditional Italian painting technique was identified also in red and bluish samples collected from the Communion of the Apostles panel painted by Justus of Ghent around 1473–1474 for Urbino Corpus Domini Confraternity. The Flemish master was called to the court of Duke Federico to paint in oil and his presence at the ‘Urbino workshop’ probably contributed to the diffusion of this technique. Both in Giovanni Santi’s paintings and the Communion of the Apostles, the glass particles are related to a soda-lime glass typical of the Italian area, widely detected in Italian paintings from the late 15th and 16th centuries.

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Harris, Leigh Coral. "FROM MYTHOS TO LOGOS: POLITICAL AESTHETICS AND LIMINAL POETICS IN ELIZABETH BARRETT BROWNING’S CASA GUIDI WINDOWS." Victorian Literature and Culture 28, no. 1 (March 2000): 109–31. http://dx.doi.org/10.1017/s1060150300281072.

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@FP = CHARLES DICKENS ADAMANTLY DECLARES he will not indulge in “any grave examination into the government or misgovernment of any portion” of Italy, because “that beautiful land” requires only aesthetic reflections that “have ever a fanciful and idle air” (1); and John Ruskin relentlessly insists on turning attention away from the action in the Italian streets and inward toward the motionless stones of buildings, because Venice, “Queen of Marble and of Mud,” has no political dimension (“Stones of Venice” 9: xxix). Elizabeth Barrett Browning, by contrast, masterfully tackles the problem of the emerging nation’s political image in Victorian England. These comments by prominent Victorian men of letters reflect the conventional British formulation of Italy through the nineteenth century “as the locus of the feminine and silent properties of space, painting, nature, and the body — a place outside of history where temporal motion had ceased” (Bailey 94).1 Indeed, a commonplace implicit in the British definition of pre-national Italy is the idea of la bella Italia as apolitical and even ahistorical. But from 1815 onwards, as Italians became increasingly dissatisfied under their new Austrian rulers, the British equation between Italy and art, Italy and beauty, became increasingly out of touch with the Italian republican movement.2

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Heuer, Keely. "Tenacious Tendrils: Replicating Nature in South Italian Vase Painting." Arts 8, no. 2 (June 6, 2019): 71. http://dx.doi.org/10.3390/arts8020071.

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Elaborate floral tendrils are one of the most distinctive iconographic features of South Italian vase painting, the red-figure wares produced by Greek settlers in Magna Graecia and Sicily between ca. 440–300 B.C. They were a particular specialty of Apulian artisans and were later adopted by painters living in Paestum and Etruria. This lush vegetation is a stark contrast to the relatively meager interest of Archaic and Classical Athenian vase painters in mimetically depicting elements of the natural world. First appearing in the work of the Iliupersis Painter around 370 B.C., similar flowering vines appear in other contemporary media ranging from gold jewelry to pebble mosaics, perhaps influenced by the career of Pausias of Sicyon, who is credited in ancient sources with developing the art of flower painting. Through analysis of the types of flora depicted and the figures that inhabit these lush vegetal designs, this paper explores the blossoming tendrils on South Italian vases as an evocation of nature’s regenerative powers in the eschatological beliefs of peoples, Greek and Italic alike, occupying southern Italy.

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Ayres, Larry M. "An Early Christian Legacy in Italian Romanesque Miniature Painting." Wiener Jahrbuch für Kunstgeschichte 46-47, no. 1 (December 1994): 37–44. http://dx.doi.org/10.7767/wjk.1994.4647.1.37.

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Benton, Janetta Rebold. "Some Ancient Mural Motifs in Italian Painting around 1300." Zeitschrift für Kunstgeschichte 48, no. 2 (1985): 151. http://dx.doi.org/10.2307/1482276.

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Sharma, Sanjay. "Hand wasting in Calumny of Apelles." Neurology International 1, no. 1 (September 9, 2009): 12. http://dx.doi.org/10.4081/ni.2009.e12.

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Renaissance painting from the early 15th to mid 16th centuries originated in the area of present-day Italy. Inspired by the works of ancient Greece and Rome, artist produced painting based on topographic observation and the idealistic body proportion. The most of the painting depicts human figure in perfect shape. Calumny of Apelles was painted by the Italian painter Sandro Botticelli. A dark male figure painted in center with bilateral symmetrical distal wasting of limbs and poor body frame. The unusual portrayal may also suggest use of live model suffering from lead toxicity and lead neuropathy.

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Agoston, Laura Camille. "Male/Female, Italy/Flanders, Michelangelo/Vittoria Colonna." Renaissance Quarterly 58, no. 4 (2005): 1175–219. http://dx.doi.org/10.1353/ren.2008.0886.

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AbstractThis essay proposes a new reading of the famous passage comparing the devotional value of Flemish and Italian painting in Francisco de Holanda’s (1517-84) Portuguese treatiseDa pintura antigua. My purpose is to demonstrate that the polarizing and divisive claims made about Flemish painting are unmade in the text itself. The major grounds upon which Flemish art is attacked in the first of the four Roman dialogues are upheld for admiration in the second. The strongly misogynistic character of the passage on Flemish painting has obscured the more complex and shifting treatment of gender identity in the text.

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Sedleryonok, Valeria D. "Venetian Cinquecento Pictures and France in the 1820s: Painting, Perception, Influence." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 69–89. http://dx.doi.org/10.21638/spbu15.2022.104.

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This article deals with reassessing Venetian Cinquecento painting in France in the 1820s. This research is a series of case studies related to this problem and providing various types of historical analysis. It examines particular artworks, artistic, social, political contexts, and the influence of Venetian art on the formation of a new artistic language in France in the 1820s. Using an analysis of a wide range of both visual and verbal primary sources, I explore theoretical and practical aspects of the reassessment of Venetian Cinquecento painting in early nineteenth-century France. The paper presents a detailed examination of various French publications of that time regarding Venetian art, as well as a comparative analysis of artworks by Venetian and French artists, namely, Jacopo Robusti, Paolo Veronese, Andrea Schiavone, Eugène Delacroix, Xavier Sigalon, and Eugène Devéria. In this article, I address the following questions. What was the knowledge about Italian Renaissance art in France in the early 19th century? What place did the Venetian school take among the Italian schools of painting in the French consciousness at that time? How was Venetian painting perceived, revisited and presented? How did it influence the formation of a new artistic language in the 1820s? This study reveals the causes, specifics, aspects, and far-reaching consequences of the reconsideration of Venetian Cinquecento painting in the 1820s and its significance for the understanding of the patterns of art development in 19th-century France.

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Morales Folguera, Jose Miguel. "Tomás Heredia Livermore (1819-1893) y la Hacienda Nadales en Málaga. Hermetismo y Antigüedad / Tomás Heredia Livermore (1819-1893) and the Nadales Hacienda in Málaga. Hermeticism and Antiquity." IMAGO. Revista de Emblemática y Cultura Visual, no. 15 (January 17, 2024): 31. http://dx.doi.org/10.7203/imago.15.26080.

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ABSTRACT: The Nadales Hacienda, which for two centuries bore the name San José, is one of the most important recreational haciendas created in the area around the city of Malaga in the 19th century. The industrialist and freemason Tomás Heredia (1819-1893) commissioned the Italian architect Antonio Cipolla (1822-1874) with the project of designing a palace that included a cabinet decorated with pompeian paintings. Heredia also charged the British gardener Stephen Geoffrey with the design of a landscaped garden with emblematic elements. KEYWORDSPompeian Painting; Emblematics; Landscape Garden; Tomás Heredia; Antonio Cipolla. RESUMEN: La Hacienda Nadales, que durante dos siglos llevó el nombre de San José, es una de las más importantes haciendas de recreo creadas en el entorno de ciudad de Málaga en el siglo XIX. El industrial y masón Tomás Heredia (1819-1893) encargó al arquitecto italiano Antonio Cipolla (1822-1874) el proyecto de un palacio donde hay un gabinete decorado con pinturas pompeyanas, y el diseño de un jardín paisajista con elementos emblemáticos al jardinero inglés Stephen Geoffrey.

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Rabb, Theodore K. "How Italian Was the Renaissance?" Journal of Interdisciplinary History 33, no. 4 (April 2003): 569–75. http://dx.doi.org/10.1162/00221950360536521.

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The traditional account of the Renaissance holds that intellectual and artistic influence moved overwhelmingly in one direction—from Italy to the rest of Europe, and especially toward the North. A remarkable exhibition in Bruges, however, has made the case that traffic did not go just one way, at least so far as innovation in painting was concerned, because the vibrant cultural center of the Low Countries had a powerful and significant impact on southern Europe. That this case is made through art is an indication of how important it is to bring different disciplines to bear on our understanding of the past.

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Journal articles on the topic 'Painting, Italian'

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