Bibliographies thématiques / Bolognese painting

Littérature scientifique sur le sujet « Bolognese painting »

Auteur : Grafiati
Publié le 10 mars 2023

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Articles de revues sur le sujet "Bolognese painting"

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Musatova, Tatyana. « Emperor Nicholas I, collector and philanthropist. Days 9/22 and 10/23 December 1845 in Bologna ». Stephanos Peer reviewed multilanguage scientific journal 54, no 4 (31 juillet 2022) : 50–67. http://dx.doi.org/10.24249/2309-9917-2022-54-4-50-67.

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Bologna with its eldest university in Europe was an important point of Emperor Nicholas I’s grand tour of Italy in 1845. In Rome the tsar talked with the Pope on problems of inter-church relations, then the rest of the time in the eternal city and along the entire route (from Palermo to Naples, from Florence to Bologna and Venice) he showed himself as a prominent collector, patron of the arts, who adopted his parents love for Italian art. The tsar had a special reverence for the Bologna painting school, the Bolognese Baroque style, which, along with the Roman Baroque, was refl ected in his purchases for the New Hermitage. Only in Bologna he acquired the originals of classical painting (Guercino, Agostino Caracci). There he practically completed the formation of his famous collection of Italian neoclassical sculpture (C. Baruzzi) and ordered copies from the local Pinacoteca of such a high level that they, having partially reached our time, were honored to enter the GE painting collection. Russian monarch’s visit is commemorated only in Rome and Bologna by commemorative plaques, the fi rst of which is offi cial, and the second is an “ordinary” Bolognese marquis, who considered it an honor to visit his palace by the Russian tsar.
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Matarazzo, Maria Gabriella. « ultima opera di Malvasia : 'Il Claustro di S. Michele in Bosco' e la decorazione carraccesca tra finzione e verità ». Acta ad archaeologiam et artium historiam pertinentia 32, no 18 N.S. (13 septembre 2021) : 29–58. http://dx.doi.org/10.5617/acta.9018.

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The Carracci's decorative vocabulary (from the early Bolognese friezes to the cycles of the Farnese Gallery in Rome and of the Cloister of San Michele in Bosco in Bologna) made extensive use of anthropomorphic supports, especially telamons and terms. Painted with a monochromatic technique, they deceived the beholder for their effective imitation of marble sculptures that illusively jut from the surface of the wall. While art historical scholarship mainly discussed them in regard to their chronology, attribution, iconography and their relationship with the Cinquecento decoration systems, their early reception still lacks a comprehensive assessment. This essay aims to undertake it through the case study of Il Claustro di S. Michele in Bosco, the last art-historical work by Malvasia. A section of this booklet is dedicated to the chiaroscuro"Termini" flanking the episodes of the life of St. Benedict painted by Ludovico Carracci and his pupils in the cloister of the Bolognese Olivetan monastery. Giacomo Giovannini, the engraver to whom Malvasia commissioned the illustrations included in the volume, also reproduced these painted sculptures in four etchings. By referring to a central couplet from the famous sonnet by Agostino Carracci "in lode di Nicolò Bolognese", he characterized Ludovico's (and Reni's) telamons as Michelangiolesque in their contour and Tizianesque in their naturalezza, as opposed to Annibale's terms frescoed in the Farnese Gallery, whose style Malvasia considered too harsh and dry ("statuino"). In this essay, Malvasia's notes on the cloister's telamons will be compared to his previous critical works and will be contextualized within the seventeenth-century Literature of Art and the coeval reproductive printmaking. As I will demonstrate, Malvasia aimed to restore the central role played by Agostino and Ludovico in the renovation of this decorative style, a role that was obscured by Annibale's growing fame in this genre of painting, particularly driven by the prints after his frescoes in the Farnese Palace published in the second half of the seventeenth century. 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.
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Pugliano, Valentina. « Ulisse Aldrovandi’s Color Sensibility : Natural History, Language and the Lay Color Practices of Renaissance Virtuosi ». Early Science and Medicine 20, no 4-6 (7 décembre 2015) : 358–96. http://dx.doi.org/10.1163/15733823-02046p04.

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Famed for his collection of drawings of naturalia and his thoughts on the relationship between painting and natural knowledge, it now appears that the Bolognese naturalist Ulisse Aldrovandi (1522–1605) also pondered specifically color and pigments, compiling not only lists and diagrams of color terms but also a full-length unpublished manuscript entitled De coloribus or Trattato dei colori. Introducing these writings for the first time, this article portrays a scholar not so much interested in the materiality of pigment production, as in the cultural history of hues. It argues that these writings constituted an effort to build a language of color, in the sense both of a standard nomenclature of hues and of a lexicon, a dictionary of their denotations and connotations as documented in the literature of ancients and moderns. This language would serve the naturalist in his artistic patronage and his natural historical studies, where color was considered one of the most reliable signs for the correct identification of specimens, and a guarantee of accuracy in their illustration. Far from being an exception, Aldrovandi’s ‘color sensibility’ spoke of that of his university-educated nature-loving peers.
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Fiorenza, Giancarlo. « Reframing Seventeenth-Century Bolognese Art : Archival Discoveries. Babette Bohn and Raffaella Morselli, eds. Visual and Material Culture, 1300–1700 15. Amsterdam : Amsterdam University Press, 2019. 182 pp. €89. - Redefining Eclecticism in Early Modern Bolognese Painting : Ideology, Practice, and Criticism. Daniel M. Unger. Visual and Material Culture, 1300–1700 8. Amsterdam : Amsterdam University Press, 2019. 232 pp. €95. » Renaissance Quarterly 74, no 3 (2021) : 950–53. http://dx.doi.org/10.1017/rqx.2021.122.

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Haxen, Ulf G. « An Artist in the Making. Yehuda Leib ben Eliyya Ha-Cohen’s Haggadah, Copenhagen, 1769 ». Fund og Forskning i Det Kongelige Biblioteks Samlinger 59 (4 janvier 2020) : 43. http://dx.doi.org/10.7146/fof.v59i0.123730.

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Ulf G. Haxen: An Artist in the Making – Yehuda Leib ben Eliyya Ha-Cohen’s Haggadah, Copenhagen, 1769 ‘Eclecticism’ as an artistic term refers to an approach rather than a style, and is generally used to describe the combination of different elements from various art-historical periods – or pejoratively to imply a lack of originality. Proponents of eclecticism argue more favourably, however, with reference to the 16th century Carracci family and their Bolognese followers, that the demands of modernity (i.e. the new Baroque style) could be met by skilful adaptation of art features from various styles of the past. The essay concerns the eighteenth century scribe and miniaturist Yehuda Leib ben Eliyah Ha-Cohen’s illustrated Haggadah liturgy of the second book of the, Old Testament Exodus, which represents a shift of paradigm away from the traditional Bohemia-Moravian school of Jewish book-painting towards a new approach. Our artist experiments freely, and to a certain extent successfully, with a range of different styles, motifs, themes, and iconographical traits, such as conversation pieces. Yehuda Leib Ha-Cohen may have abandoned his home-town, the illustrious rabbinic center Lissa/Leszno in Poland, after a fire devastated its Jewish quarter in 1767. He migrated to Denmark and lived and worked in Copenhagen for at least ten years, as indicated by two of his extant works, dated Copenhagen 1769 and 1779 respectively. He was thus a contemporary of another Danish Jewish master of the Bohemia – Moravian school, Uri Feibush ben Yitshak Segal, whose iconic miniature work The Copenhagen Haggadah (1739) is well-known by art historians in the field. Yehuda Leib Ha-Cohen drew some of his Haggadic themes from two main sources, the Icones Biblicae by Mathäus Merian and the Amsterdam Haggadot 1695 and 1712 (e.g. Pit’om and Ramses, The Meal Before the Flight). He never imitates his models, however. He adapts the standard motifs according to his own stylistic perception of symmetry and perspective, furnishing the illustrations with a muted gouache colouring. Several of his Haggadic themes are executed with inventiveness, pictorial imagination, and a subtle sense of humour, such as The Seder Table, The Four Sons, The Finding of the Infant Moses, Solomon’s Temple, and Belshazzars Feast. Yehuda Leib’s enigmatic reference to the ‘the masons’ (Hebrew הבנאים ) in the manuscript’s colophon has until now hardly been satisfactorily interpreted. Incidentally, however, another Hebrew prayer-book written and decorated by Mayer Schmalkalden in Mainz in 1745, recently acquired by Library of Congress, bears the same phrase (fi ‘inyan ha-bana’im = according to the code of the Masons). Dr. Ann Brener, a Hebrew specialist at the Oriental Department of Library of Congress, suggests in an unpublished essay, that the reference may be an allusion to ‘the Talmudic scholars who engage in building up the world of civilization’, (The Babylonian Talmud, Shabbat 114a). However that may be, Yehuda Leib Ha-Cohen’s miniatures constitute a veritable change of paradigm as far as eighteenth-century Hebrew book illustration is concerned.
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Bauer, Aaron M., Alessandro Ceregato et Massimo Delfino. « The oldest herpetological collection in the world : the surviving amphibian and reptile specimens of the Museum of Ulisse Aldrovandi ». Amphibia-Reptilia 34, no 3 (2013) : 305–21. http://dx.doi.org/10.1163/15685381-00002894.

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The natural history collection of the Bolognese polymath, encyclopedist, and natural philosopher Ulisse Aldrovandi (1522-1605) is regarded as the first museum in the modern sense of the term. It was intended as a resource for scholarship and a microcosm of the natural world, not simply a cabinet of curiosities. In addition to physical specimens, Aldrovandi’s zoological material included a large series of paintings of animals (Tavole di Animali) that were integral to the collection. Following Aldrovandi’s death, his collection was maintained by the terms of his will, but by the 19th century relatively little remained. We examined surviving herpetological components of the collection, comprising 19 specimens of ten species, as well as the corresponding paintings and associated archival material in the Museum of Palazzo Poggi, Museo di Zoologia, and Biblioteca Universitaria Bolognese in Bologna, Italy. Although the antiquity of some of these dried preparations is in question, many are documented in the Tavole di Animali and/or are mentioned in 17th century lists of the museum, verifying them as the oldest museum specimens of amphibians and reptiles in the world. Exotic species are best represented, including two specimens of Uromastyx aegyptia and several boid snakes – the first New World reptiles to be displayed in Europe. However, the Tavole di Animali suggest that the original collection was dominated by Italian taxa and that greater effort may have been made to conserve the more spectacular specimens. The Aldrovandi collection provides a tangible link to the dawn of modern herpetology in Renaissance Italy.
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Pericolo, Lorenzo. « Lorenzo Pericolo. Review of "Redefining Eclecticism in Early Modern Bolognese Painting : Ideology, Practice, and Criticism" by Daniel M. Unger. » caa.reviews, 15 mai 2020. http://dx.doi.org/10.3202/caa.reviews.2020.46.

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Limb, Alice. « From the life school to the gallery wall, via the portfolio : the collection, treatment, and display of oil sketches on paper produced in the contexts of the Carracci school ». Notes and Records : the Royal Society Journal of the History of Science, 10 novembre 2021. http://dx.doi.org/10.1098/rsnr.2021.0043.

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The three oil sketches on paper forming the basis of this study—all of elderly, male sitters—are attributed to unknown sixteenth- or early seventeenth-century Bolognese artists: painters associated with the Carracci family and their Academia degli Incaminati. This context was notable for its near-constant examination of the world around it through consistent drawing and painting, and for its success in exporting its negotiations of the contemporary religious landscape beyond Bologna, to Rome and further afield. A brief overview of the original intention, forms and early functions of these works is given, before focus turns to traditions of ownership and collection in the generations immediately after their creation. The British contexts that the sketches entered during the eighteenth century—collections at Stourhead House, Saltram House and General John Guise's bequest to Christ Church—are then explored through consideration of the social and artistic milieux in which these works were acquired. All three sketches have been mounted on to canvas or panel supports: this conservation history sheds light on how these works have been altered structurally, aesthetically and in functionality as they moved from an early didactic purpose to that of display in the eighteenth century.
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Iseppi, Giulia. « A Bolognese collector rediscovered ». Journal of the History of Collections, 27 novembre 2020. http://dx.doi.org/10.1093/jhc/fhaa019.

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Abstract This study concerns the discovery of a new figure in the field of seventeenth-century art collecting: Count Ludovico Caprara, a general under Ferdinand II de’ Medici. Newly discovered archival documents reveal that the Caprara family had one of the richest collections of paintings in Bologna, displayed in a palace close to the Piazza Maggiore; most of these works, however, remain untraced. Ludovico collected more than a hundred canvases, mostly portraits of contemporary painters. The discovery of a purchase note and an inventory of the picture gallery have allowed the role of Ludovico in contemporary collecting and his contacts with personalities in the art market of Seicento Bologna to be established. An attempt is made here to identify several paintings by Giovanni Andrea Sirani, Francesco Gessi and others, and to clarify certain aspects of Ludovico’s taste, especially his preference for the Bolognese school, despite spending his life at the Medici court.
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Avery-Quash, Susanna, et Giovanni Mazzaferro. « Michelangelo Gualandi (1793–1887) and the National Gallery ». Journal of the History of Collections, 19 décembre 2020. http://dx.doi.org/10.1093/jhc/fhaa035.

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Abstract Over one hundred letters between the Bolognese art agent, archivist and local historian Michelangelo Gualandi (1793–1887) and Sir Charles Eastlake (1793–1865), first director of the National Gallery, London, have recently been discovered in the University Library at Frankfurt. The correspondence charts the pair’s relationship during Eastlake’s decade in office from 1855 and demonstrates the diverse ways in which Gualandi assisted Eastlake, from sourcing books and undertaking archival research to helping to purchase pictures for the National Gallery and Eastlake’s own private collection. It also presents new data concerning the paintings that eluded them and the state of the international art market in the middle of the nineteenth century. We contend that their collaboration-cum-friendship deserves greater recognition and, given the extent of his assistance, that Gualandi might justifiably be repositioned within the gallery’s institutional history as, in many ways, a figure comparable in importance to Otto Mündler, the gallery’s official Travelling Agent.
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Thèses sur le sujet "Bolognese painting"

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Wood, Carolyn H. « The Indian summer of Bolognese painting Gregory XV (1621-23) and Ludovisi art patronage in Rome / ». 1988. http://catalog.hathitrust.org/api/volumes/oclc/19652611.html.

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Cristalli, Flavia. « Bartolomeo Cesi (1556-1629). Catalogo delle pitture ». Doctoral thesis, 2023. https://hdl.handle.net/2158/1295775.

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Questa tesi mira a fornire un nuovo catalogo dei dipinti di Bartolomeo Cesi (1556-1629). Il focus del lavoro sono le opere dell'artista, ma questi è stato indagato anche nei suoi aspetti biografici, recuperando le bozze manoscritte di Carlo Cesare Malvasia conservate all'Archiginnasio di Bologna (ms. B 16) o ricercando informazioni presso gli archivi di quella città. La considerazione corrente, da parte della critica, di Cesi come un artista dotto, così erudito da saper formulare anche programmi iconografici complessi, viene messa in dubbio proprio grazie alle fonti documentarie ritrovate. Non vi sono nuove acquisizioni di pitture, ma continue sono le proposte e le riflessioni condotte nell'ambito della loro cronologia, un campo non facile per via dello stile molto costante del pittore e per via della sua nota predilezione a ricopiare figure già inventate anche a distanza di decenni. In questo senso viene ribadita la tesi, già essenzialmente acquisita ma che mancava spesso di conferme, di riscontri con le opere, dell'avvio di una fase calante del pittore a partire dalla fine del primo decennio del Seicento. Un'attenzione particolare è stata rivolta alle commissioni di opere a tema profano, ovvero al ciclo dedicato alle Storie di Enea a Palazzo Fava a Bologna e a quello delle Storie di Annibale di Palazzo Albergati, quest'ultimo un inedito di straordinario interesse per via del tema, così raro, che è raffigurato, e per via dei numerosi quesiti che pone ancora.
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Livres sur le sujet "Bolognese painting"

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Vera, Fortunati Pietrantonio, et Fioravanti Baraldi Anna Maria, dir. Pittura bolognese del '500. Bologna, Italia : Grafis, 1986.

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Seventeenth-century Bolognese ceiling decorators. Santa Barbara, Calif : Fithian Press, 1992.

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Mezzaratta : Vitale e altri pittori per una confraternita bolognese. Bologna : Bononia University Press, 2005.

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Jadranka, Bentini, et Scaglietti Kelescian Daniela, dir. La signora col cagnolino di Angelo Crescimbeni : Ritratti del Settecento bolognese a confronto. Venezia : Marsilio, 2003.

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Cesare, Malvasia Carlo. Felsina pittrice : Lives of the Bolognese painters : Lives of Domenichino and Francesco Gessi. Washington : Center for Advanced Study in the Visual Arts, National Gallery of Art, 2013.

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Daniele, Benati, Galleria Cavour (Bologna Italy) et Fondantico (Bologna Italy), dir. Tesori per il Duemila : I valori dell'uomo nella pittura bolognese dal XIV al XIX secolo : catalogo. Bologna : Fondantico, 1999.

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Armandi, Anna Maria Matteucci. I decoratori di formazione bolognese tra Settecento e Ottocento : Da Mauro Tesi ad Antonio Basoli. Milano : Electa, 2002.

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I decoratori di formazione bolognese tra Settecento e Ottocento : Da Mauro Tesi ad Antonio Basoli. Milano : Electa, 2002.

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Cristina, Basteri Maria, dir. La Rocca dei Rossi a San Secondo : Un cantiere della grande decorazione bolognese del Cinquecento. Parma : Public Promo Service, 1995.

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Ebert-Schifferer, S. Il gusto bolognese : Barockmalerei aus der Emilia-Romagna : eine Ausstellung im Rahmen der europäischen Regionalpartnerschaft Hessen-Emilia-Romagna : Hessisches Landesmuseum Darmstadt, 7. Januar-20. März 1994. [Bologna] : Nuova Alfa Editoriale, 1993.

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Chapitres de livres sur le sujet "Bolognese painting"

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« Front Matter ». Dans Redefining Eclecticism in Early Modern Bolognese Painting, 1–6. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvd1c7j5.1.

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« Criticism ». Dans Redefining Eclecticism in Early Modern Bolognese Painting, 159–206. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvd1c7j5.10.

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« Conclusion ». Dans Redefining Eclecticism in Early Modern Bolognese Painting, 207–8. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvd1c7j5.11.

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« Epilogue ». Dans Redefining Eclecticism in Early Modern Bolognese Painting, 209–24. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvd1c7j5.12.

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« Index ». Dans Redefining Eclecticism in Early Modern Bolognese Painting, 225–32. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvd1c7j5.13.

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« Table of Contents ». Dans Redefining Eclecticism in Early Modern Bolognese Painting, 7–8. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvd1c7j5.2.

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« List of Plates and Figures ». Dans Redefining Eclecticism in Early Modern Bolognese Painting, 9–12. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvd1c7j5.3.

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« Preface ». Dans Redefining Eclecticism in Early Modern Bolognese Painting, 13–16. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvd1c7j5.4.

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« Introduction ». Dans Redefining Eclecticism in Early Modern Bolognese Painting, 17–32. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvd1c7j5.5.

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« Defining Eclecticism ». Dans Redefining Eclecticism in Early Modern Bolognese Painting, 33–56. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvd1c7j5.6.

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