scholarly journals Ludovico Carracci a Roma

2021 ◽  
Vol 32 (18 N.S.) ◽  
pp. 97-116
Author(s):  
Giovanna Perini Folesani
Keyword(s):  
Seventeenth Century ◽  
Visual Evidence ◽  
Religious Paintings

This essay focuses on Ludovico Carracci (1555-1619) and this reputation in Rome in his lifetime and afterwards. Well-known, but often overlooked literary and visual evidence on Ludovico's appreciation in Rome is brought to bear, in order to reassess his contemporary fame, superior to his cousins', as is suggested by works attributed to him in the main seventeenth-century Roman collections. His present-day partial disgrace is the result of a number of changes soon brought about by several factors, including the probability of untold doubts on his religious orthodoxy raising in the early seventeenth-century. His use of German prints especially in his late religious paintings may have a lot to do with this.   On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.

The Construction of Northumberland House and the Patronage of its Original Builder, Lord Henry Howard, 1603–14

2010 ◽  
Vol 90 ◽  
pp. 341-400 ◽  
Author(s):  
Manolo Guerci
Keyword(s):  
Seventeenth Century ◽  
Complete Analysis ◽  
Visual Evidence ◽  
Architectural Patronage ◽  
First Time

AbstractThis paper affords a complete analysis of the construction of the original Northampton (later Northumberland) House in the Strand (demolished in 1874), which has never been fully investigated. It begins with an examination of the little-known architectural patronage of its builder, Lord Henry Howard, 1st Earl of Northampton from 1603, one of the most interesting figures of the early Stuart era. With reference to the building of the contemporary Salisbury House by Sir Robert Cecil, 1st Earl of Salisbury, the only other Strand palace to be built in the early seventeenth century, textual and visual evidence are closely investigated. A rediscovered elevational drawing of the original front of Northampton House is also discussed. By associating it with other sources, such as the first inventory of the house (transcribed in the Appendix), the inside and outside of Northampton House as Henry Howard left it in 1614 are re-configured for the first time.

The Inquisition, Professing Jews, and Christian Images in Seventeenth-Century Modena

2012 ◽  
Vol 81 (3) ◽  
pp. 575-600 ◽  
Author(s):  
Katherine Aron-Beller
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Sense Of Belonging ◽  
Urban Spaces ◽  
Active Period ◽  
Jewish Communities ◽  
Early Modern Italy ◽  
Religious Paintings ◽  
The City

In seventeenth-century Italy, Christian relics and images were scattered through urban spaces, not only because the faithful were expected to acknowledge and touch them, but because their moving through city streets in processions celebratedcommunitas, the sense of belonging that was so much part of early modern civic existence.The Inquisitorial archive in Modena holds at least twelveprocessiagainst professing Jews (who lived for the most part in the city capital or in smaller Jewish communities scattered through the duchy) for the offence of desecrating Christian images during its most active period of prosecution between 1598 and 1640. Denunciations accused Jews of removing crucifixes from walls, stoning or tampering Christian statues and religious paintings, and failing to show the necessary respect to images carried through the streets. This paper explores the frequency of the image desecration charges against Jews in early modern Italy and in particular the duchy of Modena, the pivotal impact of internal Christian processes about their own images and whether these objects did in fact have inherent or stable meanings for Jews at this time.

scholarly journals Humans as Animals, Animals as Humans in Seventeenth-Century Russia

2018 ◽  
Vol 6 ◽  
pp. 46-57
Author(s):  
Charles J Halperin ◽  
Ann M Kleimola
Keyword(s):  
Seventeenth Century ◽  
The Other ◽  
Wild Animals ◽  
Human Beings ◽  
Visual Material ◽  
Visual Evidence ◽  
The One ◽  
Polar Opposite

The boundary between human and animal in seventeenth-century Russia was more porous than has been realized. In several witchcraft cases supposedly-bewitched humans were described as speaking like animals. Muscovite hagiography and miracle stories also portrayed the demon-possessed as speaking and acting like animals. This dehumanization of humans as animals constitutes the polar opposite of the anthropomorphizing of animals as humans in bestiaries, which depicted animals as possessing human characteristics. Visual evidence corroborates these connections between the bewitched and demon-possessed on the one hand, and animals on the other, by picturing demons and humans turning to sin with animal characteristics. Early demonic representations featured the eidalon, a Greek-based figure with animal features. This textual and visual material from seventeenth-century Muscovy zoomorphized the bewitched and demon-possessed by categorizing their behavior as beastly, as that of wild animals, and by projecting the attributes and emotions of animals onto human beings. Attributing human traits to an animal might be a compliment but ascribing traits to a human could only be a criticism, thus demonstrating and confirming the Muscovite premise of human superiority over animals.

From Perception to Paint: the Practical Use of the Camera Obscura in the Time of Vermeer

2013 ◽  
Vol 1 (1-2) ◽  
pp. 19-47
Author(s):  
Jane Jelley
Keyword(s):  
Seventeenth Century ◽  
Camera Obscura ◽  
Naked Eye ◽  
Visual Evidence ◽  
Optical Effects ◽  
The Subject ◽  
Painting Process ◽  
Studio Practice ◽  
Materials Used ◽  
Variable Focus

This is a report of a studio experiment to explore how images from the camera obscura could have been used directly by artists of Vermeer’s era. It has a pragmatic and practical approach, bringing a painter’s eye and experience to the problems of transferring images from the lens to a canvas, using the primitive technology and unrefined materials available then. It addresses how an artist could use the condensed, flattened images from camera obscura projections in his painting process, when the subject could appear reversed and inverted on the screen or on the wall. It considers how the limitations of the materials that make transfers possible might affect studio practice, and ultimately the stylistic qualities of the work produced. This paper outlines a simple printing method that would enable the seventeenth-century painter to transfer monochrome images, corrected in orientation, from the lens to a canvas with relative ease, for use as the painting progressed in the stages prescribed at the time. Prints made on the ground layer could form the basis of underpainting, while those on top layers could transfer highlights and optical effects, not seen with the naked eye. This technique would allow the painter to be in the light of his studio, facing his motif, when working in colour. Reference is made to art historical literature and contemporary workshop treatises, and all materials used are authentic. The results obtained using this process are consistent with the visual evidence of the way in which Vermeer applied his paint, and with recent scientific examination of his work. The findings suggest possible causes for some of the unusual qualities of Vermeer’s work, in particular the strong tonal polarity in the underpainting with no evidence of drawing, his choice of material in the ground layers, and the qualities of variable focus.

scholarly journals Rostgaard, Fabretti og dal Pozzos “Papir Museum”. Nogle aftryk af antikke indskrifter i Det Kongelige Bibliotek og to hovedværker i barokkens internationale lærdomskultur

2014 ◽  
Vol 48 ◽  
Author(s):  
Patrick Kragelund
Keyword(s):  
Seventeenth Century ◽  
British Museum ◽  
Innovative Methods ◽  
Visual Evidence ◽  
Large Numbers ◽  
Before And After ◽  
New Evidence

NB: Artiklen er på dansk, kun resuméet er på engelsk. Patrick Kragelund: Rostgaard, Fabretti and the Dal Pozzo “Paper Museum”. The article discusses a series of late seventeenth century squeezes of Greek and Roman inscriptions in the Manuscript Department of the Danish Royal Library. The squeezes are relevant for understanding two of the period’s most ambitious antiquarian and scientific Roman projects, those of Rafaello Fabretti (1619-1700) and the brothers Cas­siano (1588-1657) and Carlo Dal Pozzo (1606-89). Both projects were based in Rome of the High Baroque and both focus on the visual, the former as a means of recon­structing the texts of ancient inscriptions, the latter to assemble visual evidence for the renowned Dal Pozzo “Paper Museum” (Musevm Chartacevm) ultimately aimed at illustrating all the categories of objects constituting the visible world. The evidence consisting of 29 sheets was acquired in Rome in 1699 by the Dan­ish scholar Frederik Rostgaard (1671-1745). Summarizing the arguments for reject­ing the old idea of Rostgaard having manufactured the squeezes himself, the article briefly outlines the reasons for accepting their intimate links with the grand project of Fabretti, showing how the Rostgaard material in fact offers hitherto discarded new evidence for the reading of ten ancient inscriptions. However, the article’s main focus is on discussing what the material shows about the project of Fabretti and his in many respects innovative methods in using standardised, mechanical means for assembling textual and visual evidence. The second section discusses some hitherto discarded or misapprehended links between the projects of Fabretti and that of the Dal Pozzo brothers. Two Dal Pozzo drawings (ill. 5-6), now in the British Museum, are shown to be copies of an inscrip­tion (now in Urbino, CIG 6238 = IGUR 1228) and a squeeze (Rostgaard no. 18 = ill. 7) in what was then Fabretti’s collection; a third and closely related Dal Pozzo draw­ing (ill. 8), also in the British Museum, copies a further inscription (CIL 6.3424) that was detected and – on the basis of a squeeze – edited by Fabretti; rather than on the original inscription, the said Dal Pozzo drawing may well be based upon Fabretti’s squeeze. In any case, the recovery of these inscriptions is datable to 1684 and 1687, thus in­cidentally raising questions about the overall validity of the commonly accepted chro­nology for the ordering of this section of the Dal Pozzo collections. Attempts to date the acquisition of large numbers of drawings to before and after 1682seem contra­dicted by this new evidence. Thus the three Dal Pozzo drawings discussed above all seem datable, not to before 1682, but to between 1687-89, the latter being the year in which the death of Carlo Dal Pozzo put an end to the great project.

Visualizing Marvell

2019 ◽  
pp. 243-262
Author(s):  
Katherine Acheson
Keyword(s):  
Seventeenth Century ◽  
Visual Culture ◽  
Early Modern ◽  
Critical Reception ◽  
Visual Features ◽  
Plastic Arts ◽  
Visual Evidence ◽  
The Many

Marvell’s poetry is distinguished by its preoccupation with forms, practices, and theories of the visual and plastic arts. Among the many fields of visual culture in which Marvell’s imagination played is that of print itself. This chapter focuses on visual features of print that might contribute to our understanding of Marvell’s identity as a poet within the culture in which his work circulated. First, the chapter considers Marvell’s early printed elegies and commendatory verses and how their layout represents the early modern poet in print. Second, the chapter considers the frontispiece portrait of Marvell printed in Miscellaneous Poems in the context of seventeenth-century portraits of poets and in relation to critical reception of his work in more recent times. The chapter demonstrates how visual evidence can lead to deeper understanding of how poets imagined themselves and their work in relation to their audiences, their genres and modes, and their peers.

Sign in / Sign up

Export Citation Format

Share Document