Giulio Mancini e la nascita della connoisseurship

2016 ◽  
Vol 79 (1) ◽  
pp. 63-71
Author(s):  
Stefano Pierguidi
Keyword(s):  
18Th Century ◽  
Art Market ◽  
17Th Century ◽  
Modern Approach ◽  
Works Of Art

Abstract The role of Giulio Mancini as the father of connoisseurship has been recently questioned on the grounds that Mancini never aimed to discuss the attributions of contemporary works of art. Generally the birth of modern connoisseurship, with figures such as the Richardson brothers, has been linked to the growing art market of the 18th century, and the most important 17th-century forerunners, such as Marco Boschini, acted as dealers as well: all these connoisseurs dealt with the attributions of paintings of the previous centuries. This paper explores the roots of connoisseurship in the topography work of Mancini, author of the first modern artistic guide to Rome. Mancini, studying the early Renaissance frescoes in Rome (Jacopo Ripanda, Pastura, Pinturicchio, Baldassarre Peruzzi), discussed Vasari’s biographies and suggested new attributions with a modern approach that clearly anticipates the method of later connoisseurs.

From Research on the Literary Hermeneutics

2021 ◽  
pp. 9-84
Author(s):  
Anatoly S. Demin ◽  
Keyword(s):  
18Th Century ◽  
Literary Work ◽  
17Th Century ◽  
Foreign Affairs ◽  
16Th Century ◽  
Old Russian ◽  
Russian State ◽  
State Library ◽  
The Aesthetic

The research consists of the series of articles analyzing the pre- viously unexplored expressiveness, figurativeness, fantasy and sarcasticity of a number of Old Russian works. The first article reveals the expressiveness of the “Turkic” utterances of Afanasy Nikitin in The Journey Beyond Three Seas according to the list of the Russian State Archive of Ancient Acts (RSAAA), f. 181, no. 371 of the first quarter of the 16th century. The second article characterizes the distorted, fantastic earthly worlds depicted in the Tale of the Twelve Dreams of King Shahaisha according to the list of the Russian National Library (RNL), Kir.-Beloz., no. 22/1099 of the 1470s; in the Conversation of Three Saints according to the list of the Russian State Library (RSL), Troitsk., no. 778 of the beginning of the 16th century; in the collection of proverbs and sayings according to the list of the RSAAA, Ministry of Foreign Affairs, Moscow Main Archive (MMA), no. 250–455 of the late 17th century; in The Tale of Ersh Ershovich according to the list of Pushkin House, 1.27.105 of the late 17th — early 18th centuries; in the Bird Council according to the list of the RNL, 0.XVII.17 the mid-18th century; in the Medicine Book. How to Treat Foreigners according to the list of the RNL, Q.XVII.96, Peter’s time; in the Legend of a Luxurious Life and Fun according to the list of the RNL, 0.XVII.57 of the first quarter of the 18th cen- tury. The third article examines the aesthetic role of verses in the collections of the late 17th century: RSL, Tikhonravov, no. 233, 249, 380, 411, 499. The fourth article shows that some compilers of collections of the 17th century appreciated the visual arts of works, mostly very old (оn the example of collections of the RSL, Tikhonravov, no. 460, 384, 18, 340, 231). In two Appendices to the article are published the descriptions of the composition of the collection no. 231 and the text of the parable about the dispute of parts of the human body. In two Ap- pendices to the article, it is said about the everyday depiction of the collection of proverbs and sayings according to the list of the RSAAA, MMA, no. 250–455 of the late 17th century and on the expressiveness of articles in the miniature collection of the RSL, Bolshakov, no. 325. The fifth article points to the mocking meaning of proverbs and sayings about criminals in the same collection of the RSAAA, MMA, no. 250–455. Finally, the sixth article draws attention to the evolution of the literary work of Archpriest Avvakum from brief mentions of events to detailed stories about them (оn the material of Vita, petitions, Book of Interpretations, Book of Accusations, Write-off about the creation of man, The Lamentable Word about the death of noblewoman F. Morozova). We must warn you that the pictorial and expressive meaning of the examples and phrases quot- ed from the texts of the monuments is not thoroughly proved in this work, but is only stated. Otherwise, each example would require an independent essay on certain literary means, and the theme and composition of the work would be completely different.

scholarly journals Jaspar de Isaac’s Engraving “Narcissus”: On the Sources of Konstantin Somov’s Early Art

2020 ◽  
Vol 17 (2) ◽  
pp. 164-172
Author(s):  
Anna E. Zavyalova
Keyword(s):  
18Th Century ◽  
Fine Arts ◽  
17Th Century ◽  
The State ◽  
Contextual Analysis ◽  
French Edition ◽  
State Museum ◽  
First Time ◽  
Artistic Heritage

The article reveals and introduces into scientific circulation the previously unknown artistic source of Konstantin Andreyevich Somov’s early art – Jaspar de Isaac’s engraving “Narcissus”. There is traced the course of work with this one along with other art sources (works of European masters of the 16th—18th centuries depicting hunting scenes, paintings by Antoine Watteau, Jugendstil graphics), revealed the context of reference to it, and analyzed the stylistic features of including this source in Somov’s work on the watercolor “Rest after a Walk”. These tasks are addressed in the context of the role of artistic sources from the heritage of past eras in early works of Konstantin Somov. The topic’s relevance is determined by the fact that Jaspar de Isaac’s engraving “Narcissus”, made at the very beginning of the 17th century for a French edition of the “Imagines” by Philostratus the Elder, for the first time becomes the object of research as a source of Somov’s art. The scientific novelty of the work lies in the fact that for the first time it attempts to identify (basing on a combination of formal and contextual analysis), and to use a source from the artistic heritage of France of the beginning of the 17th century in the work of K. Somov on the themes of the 18th century. The reveal of the source — the engraving “Narcissus” by J. de Isaac — made it possible to reconstruct the artist’s work on the “Rest after a Walk”. The article examines not only the sketch for this work from the collections of the Pushkin State Museum of Fine Arts, but also the drawing “A Date” from the State Tretyakov Gallery. There is stated that it is a preparatory drawing for the watercolor “Rest after a Walk”, basing on the general iconography of the watercolor, sketch and engraving “Narcissus”. The author concludes that Somov’s appeal to the engraving by J. de Isaac was not conscious, it should be attributed to the phenomenon of artistic memory, and his probable acquaintance with it had taken place before the artist left for Paris in the autumn of 1897.

scholarly journals Mata Rantai Perdagangan Lada di Kalimantan Bagian Tenggara Pada Abad ke-17-18

2020 ◽  
Vol 5 (2) ◽  
pp. 113-120
Author(s):  
Endang Susilowati
Keyword(s):  
Rural Areas ◽  
18Th Century ◽  
17Th Century ◽  
East India Company ◽  
Dutch East India Company ◽  
Port City ◽  
Important Link ◽  
The Relationship

In the period of 17th  century up to 18th century, pepper was one of the important commodities of Southeastern Kalimantan. Pepper was produced by Dayak tribes in rural areas of Southeastern Kalimantan, transported through the rivers and traded in Banjarmasin, which was the most important port in the region.  Merchants from all around the globe visited Banjarmasin to trade for this commodity. This article aims to study the linkage of the pepper trade in Banjarmasin which involved pepper farmers in rural areas, Chinese and Banjar merchants as the middlemen, Sultan and court officials as the holders of privileges in pepper trade, and foreign traders (Chinese, Dutch, and the British) as the buyer of pepper in the port city of Banjarmasin. By discussing the role of each part of the link, the relationship between these parts can be seen clearly. The results of this study indicate that pepper farmers are the most disadvantaged party in this trade link, they hardly benefit from the growing trade of the pepper they produced. Meanwhile the middlemen, Sultan and court officials had enjoyed huge profits. The Sultan even used pepper as a political tool to gain the support of Dutch authorities (Dutch East-India Company) in dealing with their enemies. Another important link was the Chinese, Dutch and British merchants who competed for the pepper supplies. The Chinese traders who charged the pepper for a higher price had easier way to obtain the pepper supplies than the Dutch and British traders who were supported by their trading authorities.

scholarly journals Artworks of Russian Stone Carvers in the Diplomatic Service

2021 ◽  
Vol 9 (2) ◽  
Author(s):  
Sergey Vinokurov
Keyword(s):  
Twentieth Century ◽  
Significant Contribution ◽  
Art Market ◽  
The Other ◽  
Reference Book ◽  
Other Hand ◽  
Works Of Art ◽  
Russian State ◽  
Stone Carving

This review examines recently published works by Russian scholars in the field of artistic stone carving, namely, the reference book by N. M. Mavrodina, Works of Russian Stone-Carving Art in Collections outside Russia (2019), and the monograph by L. A. Budrina, Malachite Diplomacy (2020). Both works study objects created by Russian stone carving artists through the 18th – early twentieth century and which left the country as a result of various diplomatic occasions. The authors have adopted different research approaches. N. M. Mavrodina, preparing a catalogue of works exported from Russia, focuses mainly on the activities of Imperial stone-carving factories. The monograph by L. A. Budrina, on the other hand, focuses on the identification and study of carvings and their history; it also offers insights into the role of stone-carved objects in the formation of the image of the Russian state, and describes the main mechanisms that contributed to the formation of a fashion for Russian stone carving abroad. The two reviewed works offer a significant contribution to the historiography of stone carving art, as well as the role of works of art in creating the image of a country or region and their place in the formation of a single European art market.

scholarly journals Herder and the limits of the work of art

KÜLÖNBSÉG ◽  
2016 ◽  
Vol 16 (1) ◽  
Author(s):  
Szilvia Csanádi-Bognár
Keyword(s):  
18Th Century ◽  
Work Of Art ◽  
The Third ◽  
Works Of Art ◽  
Epistemological Model ◽  
Formed Part

In the 16th and 17th centuries the concept of the line was discussed in the context of the debate between advocates of disegno colore and Poussin-Rubens as the device for forming images and the space of paintings. In contrast, parallel to the emergence of aesthetic discussion in the 18th century, the discussion of the concept formed part of the relation and the space between the work of art and the viewer. The distinctness of form became part of the discussion on abstract notions and ethical states. The importance of the line was discussed by several authors of the 18th century, like Winckelmann’s ideas on the outline. As a result, a whole cult of the silhouette emerged by the end of the 18th century. Wincklemann connected the notion of the outline to the concept of the idea, while Herder resisted granting importance to the notion of the line. The first section of the paper traces the place of the concept in 18th century theories of art. The second section summarizes the reasons for Herder’s resistance and shows what other concepts take over the role of the line in his epistemological model. The third section traces another difference between Herder and his contemporaries: why it remains unproblematic to talk of works of art, especially of sculpture, for Herder.

scholarly journals The use of woody plants in Estonian and Livonian manor ensembles during the second half of the 17th century

2020 ◽  
Vol 72 (1) ◽  
pp. 75-90
Author(s):  
Sulev Nurme
Keyword(s):  
Woody Plants ◽  
Landscape Architecture ◽  
18Th Century ◽  
17Th Century ◽  
Spatial Design ◽  
Literary Sources ◽  
Spatial Composition ◽  
The Common ◽  
Map Analysis

AbstractNot much is known about the 17th-century Estonian and Livonian landscape architecture. Most of the information is based on the descriptions found in historical archival and literary sources and on some of the well-known engravings. According to these, a common idea of that era's landscape architecture is that it was humble in scale and design, and was similar to the practice of late-medieval times when there was no space or ambition to grow woody plants in small gardens of castles. But when diving into the Swedish manor plans dating back to the last decades of the 17th century, it can be noted that the layouts of manorial hearts are inherent to the spatial design of early baroque, which is characterized by a landscape that has strongly been redesigned and includes a decorative garden, kitchen garden and a park. This article focuses on the spatial composition of Estonian and Livonian manor parks of the second half of the 17th century and observes the role of trees and their use in these landscapes. This article is based on the results of a study about the planning of baroque manor hearts Understanding the Role of 18th Century Estonian Manor Ensembles in Contemporary Planning and Conservation (Eesti 18. sajandi mõisaansamblid 21. sajandi maastikuplaneerimises: avastamine, mõistmine, tõlgendamine) which was carried out by the author of this article. The map analysis results deal with the spatial structure of manor ensembles and the observations made during the analysis. The article examines the possible ways of using woody plants in 17th-century Estonian manors while looking at the manor ensemble as an architectonic of early baroque. Based on the research results it can be said that by the last decades of the 17th century the wealthiest manors had already built manor hearts with a modest but a clearly baroque style layout which is characterized by a regular and symmetrical ensemble core, a garden axially connected to the main building and avenues heading into the landscape. This type of approach enables to broaden the common conception of the era's garden and park architecture in the manor hearts of Estonia and Livonia. Based on what is highlighted in the article it can be said that the tradition and practice of garden art that has shaped the image of Estonian landscape had already been developed by the end of the 17th century.

scholarly journals Mathematicians and Mathematics at Prague University during the Second Half of the 18th Century

2021 ◽  
Author(s):  
Georg Schuppener
Keyword(s):  
18Th Century ◽  
Modern Science ◽  
17Th Century ◽  
Teaching Mathematics ◽  
Minor Importance ◽  
Significant Development ◽  
The Enlightenment ◽  
And Mathematics ◽  
Jesuit Order

The paper describes the situation of teaching mathematics and its position at Prague University in the second half of the 18th century. In order to be able to adequately present the specific changes during this period, I first explain the development of the role of mathematics as a modern science among the Prague Jesuits in the two centuries before. It is pointed out that the Jesuits initially assigned only a very minor importance to mathematics. From the middle of the 17th century, however, there was significant development. In the middle of the 18th century, under the influence of the Enlightenment, state reforms set in, which also significantly influenced the structure and content of education at Prague University. I describe the consequences of these reforms – that also led to the dissolution of the Jesuit Order – for mathematics. Finally, I deal with the life and work of mathematicians and astronomers at Prague University in the second half of the 18th century.

Russian Museum of Emperor Alexander III as a place of memory

2020 ◽  
Vol 2020 (11-1) ◽  
pp. 132-147
Author(s):  
Dmitry Rakovsky
Keyword(s):  
Comparative Analysis ◽  
Historical Consciousness ◽  
Russian Society ◽  
Museum Collection ◽  
Works Of Art ◽  
History Of ◽  
The Creation ◽  
Historical Representations

The main purpose of this article is to study the role of the Russian Museum in the formation of the historical consciousness of Russian society. In this context, the author examines the history of the creation of the Russian Museum of Emperor Alexander III and its pre-revolutionary collections that became the basis of this famous museum collection (in particular, the composition of the museum’s expositions for 1898 and 1915). Within the framework of the methodology proposed by the author, the works of art presented in the museum’s halls were selected and distributed according to the historical eras that they reflect, and a comparative analysis of changes in the composition of the expositions was also carried out. This approach made it possible to identify the most frequently encountered historical heroes, to consider the representation of their images in the museum’s expositions, and also to provide a systemic reconstruction of historical representations broadcast in its halls.

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