Relevant bibliographies by topics / Portrait of la Fornarina (Raphael)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Portrait of la Fornarina (Raphael)'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Portrait of la Fornarina (Raphael)"

1

Espinel, Carlos Hugo. "The portrait of breast cancer and Raphael's La Fornarina." Lancet 360, no. 9350 (December 2002): 2061–63. http://dx.doi.org/10.1016/s0140-6736(02)11997-0.

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McVaugh, Robert E. "Turner and Rome, Raphael and the Fornarina." Studies in Romanticism 26, no. 3 (1987): 365. http://dx.doi.org/10.2307/25600666.

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Walek, Janusz. "The Czartoryski "Portrait of a Youth" by Raphael." Artibus et Historiae 12, no. 24 (1991): 201. http://dx.doi.org/10.2307/1483421.

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Craven, Jennifer. "Ut pictura poesis: a new reading of Raphael's portrait ofLa Fornarinaas a Petrarchan allegory of painting, fame and desire." Word & Image 10, no. 4 (October 1994): 371–94. http://dx.doi.org/10.1080/02666286.1994.10435523.

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Lucco, Mauro. "A New Portrait by Raphael and Its Historical Context." Artibus et Historiae 21, no. 41 (2000): 49. http://dx.doi.org/10.2307/1483635.

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Kospolova, N. E. "Inversion of image of Raphael's sublime women." Voprosy kul'turologii (Issues of Cultural Studies), no. 7 (July 1, 2020): 33–41. http://dx.doi.org/10.33920/nik-01-2007-05.

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The main idea of research is proof of productivity applications for interdisciplinary research on fine art material. Synthesis of comparative analysis, evolutionary analysis, psychological analysis, theological and anthropological reconstruction personification helps predict nonstandard conclusions concerning allegations of territorial integrity also referred to as omnisexuality image Madonnas by Raphael. Work belies the established views and controversial version ofthe art of the past on the canonicity of iconographic images of Raphael and nominated as exemplars of transcendental creativity at the transition to the Renaissance and during his heyday names Da Messina and Botticelli. Examines the reception of anthropological analogy as a phenomenon. The hypothesis is proved the simultaneous evolution of technology of a portrait of Raphael and inversion of the iconography of women's images in his works.
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MacCannell, Daniel. "King Henry IX, or cardinal called York? Henry Benedict Stuart and the reality of kingship." Innes Review 58, no. 2 (November 2007): 196–209. http://dx.doi.org/10.3366/e0020157x07000066.

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A picture belonging to the National Portrait Gallery, London, attributed as of 1958 to Pompeo Batoni,1 is now listed as ‘Unknown Cardinal, formerly known as Henry Benedict Maria Clement Stuart, Cardinal York, [by the] circle of Anton Raphael Mengs’ ( Fig. 1 ).2 It is not the identity of the artist that poses the central question of this article, but of the sitter – in this, and in a very different painting: the Scottish National Portrait Gallery's Prince Charles Edward Stuart, by Maurice Quentin de La Tour ( Fig. 2 ).3
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Barnes, Bernadine, David Alan Brown, Jane Van Nimmen, and Giorgio Vasari. "Raphael and the Beautiful Banker: The Story of the Bindo Altoviti Portrait." Sixteenth Century Journal 37, no. 4 (December 1, 2006): 1230. http://dx.doi.org/10.2307/20478231.

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BAGGS, BOB. "RAPHAEL & THE BEAUTIFUL BANKER: THE STORY BEHIND THE BINDO ALTOVITI PORTRAIT." Art Book 13, no. 2 (May 2006): 30–32. http://dx.doi.org/10.1111/j.1467-8357.2006.00663.x.

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Russell, I. Jon. "Portrait of a Young Woman [La Muta], 1507 by Raphael, Italian [1483–1520]." Journal of Musculoskeletal Pain 21, no. 4 (November 21, 2013): 299–304. http://dx.doi.org/10.3109/10582452.2013.855288.

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Dissertations / Theses on the topic "Portrait of la Fornarina (Raphael)"

1

Rakovsky, Daniel. "Les deux côtés du visage : dissymétrie et construction du portrait à la Renaissance." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040197.

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Tout visage est structuré selon un ordre symétrique. La thèse explore les conséquences de cette spécificité formelle du visage sur la construction du portrait dans le contexte spécifique de la Renaissance. Elle débute par une remise en cause de l’approche neuropsychologique qui fait de la dissymétrie et de la partition du visage dans le portrait la simple expression d’un donné physionomique. À travers une réflexion autour de la symétrie et de la dissymétrie dans l’ordre de la représentation, notre recherche rend compte de l’intérêt de ces catégories esthétiques pour la compréhension des enjeux formels et philosophiques propres à la construction du portrait. Elle révèle également la richesse et la complexité des significations allouées à la symétrie et à la dissymétrie dans le cosmos culturel de la Renaissance, celles-ci allant parfois à contre-courant de nos représentations contemporaines. Une dernière partie de cette recherche est consacrée au symbolisme théologique séculaire distinguant entre le côté droit et le côté gauche du visage, un côté tourné vers le céleste, l’autre vers le terrestre, et à son influence sur l’art du portrait. La démonstration est rythmée par diverses études de cas, parmi lesquelles des analyses approfondies de portrait peints par Jan Van Eyck, Giovanni Bellini, Raphaël et Albrecht Dürer
Every face is structured in a symmetrical order. This research paper explores the consequences of this formal specificity on the construction of the portrait in the particular context of the European Renaissance. It starts with a critique of the neuropsychological approach that makes the asymmetry and the distinction between the two sides of the face in the portrait the mere expression of a particular physiognomy. Through a reflection on the aesthetic categories of symmetry and asymmetry in the order of representation, the research demonstrates the interest of these concepts for the understanding of the formal and philosophical issues specific to the construction of portraits. It also reveals the richness and complexity of meanings assigned to symmetry and asymmetry in the cultural cosmos of the Renaissance, these ones sometimes going against the grain of contemporary representations. The final section is devoted to the secular theological symbolism distinguishing between the right side and the left side of the face, one side turned to the heavenly, the other to the earthly, and the resulting influence on the art of portraiture. The demonstration is punctuated by various case studies, including an in-depth analysis of portraits painted by Jan Van Eyck, Giovanni Bellini, Raphael and Albrecht Dürer
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Marsova, Liubov. "Přátelské portréty v italském renesančním malířství." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-369962.

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(in English): Represented dissertation dedicated to the issue of male portraits of friends in Italian renaissance painting. Despite of existence of some publications focused on the specific aspects of male portraiture, this area has not been yet given sufficient research interest. In the introductory clause is presented theoretical outline of the male friendship concept of male friendship in the culture of the Italian Renaissance and also some key aspects of the portrait genre. The work is divided into chapters by topic: for example, "Portrait and Antique", "Portrait and Remembrance", "Portrait and Poetry". Some particularly interesting moments were extracted into separate excursions as profile portraits of two men, the subject of a mirror in a portrait genre, the communication possibilities of images. Artworks analyzed in the present research are not classified into a classical model of chronological "development". The pictures are interconnected with theoretical thinking, which is also conditioned by the artwork itself. For each painting, existing researches have been gathered and comprehended. There are also new iconographic interpretations of some of the presented works. For research have been abundantly used literature of period, theoretical writings and poetry. The work tries to respond to...
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Books on the topic "Portrait of la Fornarina (Raphael)"

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Lorenza, Mochi Onori, and Galleria nazionale d'arte antica (Italy), eds. Raffaello: La Fornarina. Roma: De Luca, 2000.

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2

Lorenza, Mochi Onori, Fondazione arte e civiltà (Milan, Italy)., and Musei di Porta Romana (Milan, Italy)., eds. La Fornarina di Raffaello. Milano: Skira, 2002.

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3

1937-, Van Nimmen Jane, and Raphael 1483-1520, eds. Raphael and the beautiful banker: The story of the Bindo Altoviti portrait. New Haven: Yale University Press, 2005.

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4

Wolf, Norbert. Hans Holbein the Younger, 1497/98-1543: The German Raphael. Köln: Taschen, 2004.

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5

Brown, David Alan. Raphael and the beautiful banker: The story of the Bindo Altoviti portrait. New Haven, CT: Yale University Press, 2005.

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6

Claudio, Falcucci, ed. The Portrait of Baldassare Castiglione & the Madonna dell'Impannata Northwick: Two studies on Raphael. Frankfurt am Main: Peter Lang, 2011.

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Sylvie, Béguin, and Garofalo Cristiana, eds. Raffaello: Catalogo completo dei dipinti. Santarcangelo di Romagna: Octavo, 2002.

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8

Anna, Coliva, and Galleria Borghese, eds. Raffaello: Da Firenze a Roma. Milano: Skira, 2006.

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9

Patrizia, Nitti, Restellini Marc, Strinati Claudio M, and Musée national du Luxembourg (France), eds. Raffaello: Grazia e bellezza. Milano: Skira, 2001.

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Lorenza, Mochi Onori, ed. La Fornarina di Raffaello. Milano: Skira, 2002.

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Book chapters on the topic "Portrait of la Fornarina (Raphael)"

1

"Portrait: Morris Raphael Cohen." In American Philosophical Association Centennial Series, 516. Philosophy Documentation Center, 2013. http://dx.doi.org/10.5840/apapa2013756.

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2

Mac Carthy, Ita. "Grace and Favour." In The Grace of the Italian Renaissance, 50–75. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691175485.003.0004.

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This chapter shows that the life of Renaissance grace begins in earnest with Baldassare Castiglione's Libro del cortegiano (Book of the Courtier, 1516) and Raphael's portrait of Castiglione (1514–1516). It does so because preoccupations with grace and its multiple senses are central to both the book of manners and the painting, so much so that Castiglione came to be known as the great theorist of grace while Raphael was identified as its painter. Both have been referred to in countless studies from the sixteenth century to today as the embodiments of Renaissance grace. In addition, the network of interconnections between them makes Castiglione and Raphael a promising point of departure. It is an ideal testing ground for observing how grace behaves in different media and examining the extent to which it can be said to contribute to those interdisciplinary rivalries and friendships that allowed Renaissance learning, literature, and arts to flourish.
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3

Philo, John-Mark. "Shakespeare’s Macbeth and Livy’s Legendary Rome." In An Ocean Untouched and Untried, 115–41. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857983.003.0006.

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Chapter 5 explores the influence exerted by Livy on Shakespeare’s Macbeth. Livy’s account of the early, legendary Rome makes itself felt in Macbeth in two distinct but complementary ways. When Hector Boece wrote his national history of Scotland, the Scotorum Historia (1527), he turned to Livy to fill the historical blanks in Scotland’s past. The Macbeth episode was no exception, and Boece modelled his Maccabeus closely on Livy’s Tarquin the Proud. Raphael Holinshed (c.1525–80?), relying on Boece’s Scotorum Historia, as well as its Scots translation by John Bellenden, for his Historie of Scotland, thereby incorporated these distinctly Livian elements into his own account of Macbeth’s reign. Shakespeare used Holinshed as his primary source for Macbeth and thus rehearsed a portrait of tyranny which was ultimately inspired by Livy’s Tarquin. The second means of transmission involves a new source for consideration: William Painter’s Second Tome of the Palace of Pleasure. By translating Livy for his novel the Two Roman Queenes, Painter highlighted the roles played by two female king-makers, Tanaquil and Tullia, in establishing and edifying the Tarquinian dynasty at Rome. It was Painter’s interpretation of Livy, this chapter argues, that alerted Shakespeare to the dramatically satisfying prospect of a wife who not only encourages her husband with an appeal to his masculinity, but readily participates in the crimes she would have her husband commit. There is more of ancient Rome to Shakespeare’s Scottish play, this chapter argues, than first meets the eye.
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Journal articles
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