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Early Bolognese Painting, Felsina Pittrice: Volume I:
Turnhout, Brepols, 2012 Hardback, XXVI+536 p., 7 b/w ill. + 150 colour ill., 220 x 280 mm. ISBN 9781905375844.
This richly illustrated volume provides a translation and critical edition of the opening part of the Felsina pittrice, which focuses on the art of late medieval Bologna. The text is unusual in the context of the Felsina pittrice as a whole in that it seeks to record what survives in the city, rather than focusing on individual artists. In response to Vasari?s account of the Renaissance of painting in Florence, Malvasia offers a colorful and valuable portrait of Trecento painting in Bologna, noting the location and condition of destroyed or whitewashed frescoes, dismantled polyptychs, and paintings for which no other record survives. Malvasia provides crucial information on works by important fourteenth-century painters such as Lippo di Dalmasio, Simone dei Crocefissi, and Vitale da Bologna. Included in the volume are historical notes to the text and to the transcriptions of the Scritti originali, published here in their entirety for the first time. The notes enrich our understanding of individual works and identify the sources Malvasia used. Elizabeth Cropper?s introductory essay serves to establish the significance of Malvasia as a historian of art, while Carlo Alberto Girotto?s bibliographical essay analyses the production and reception of the Felsina pittrice as a whole. Language : English, Italian.
Felsina Pittrice: Volume I: Early Bolognese Painting,
Turnhout, Brepols, 2012 Hardback, XXVI+536 p., 7 b/w ill. + 150 colour ill., 220 x 280 mm. Language : English, Italian. ISBN 9781905375844.
This richly illustrated volume provides a translation and critical edition of the opening part of the Felsina pittrice, which focuses on the art of late medieval Bologna. The text is unusual in the context of the Felsina pittrice as a whole in that it seeks to record what survives in the city, rather than focusing on individual artists. In response to Vasari?s account of the Renaissance of painting in Florence, Malvasia offers a colorful and valuable portrait of Trecento painting in Bologna, noting the location and condition of destroyed or whitewashed frescoes, dismantled polyptychs, and paintings for which no other record survives. Malvasia provides crucial information on works by important fourteenth-century painters such as Lippo di Dalmasio, Simone dei Crocefissi, and Vitale da Bologna. Included in the volume are historical notes to the text and to the transcriptions of the Scritti originali, published here in their entirety for the first time. The notes enrich our understanding of individual works and identify the sources Malvasia used. Elizabeth Cropper?s introductory essay serves to establish the significance of Malvasia as a historian of art, while Carlo Alberto Girotto?s bibliographical essay analyses the production and reception of the Felsina pittrice as a whole.
Felsina Pittrice: The Lives of the Bolognese Painters , Carlo Cesare Malvasia Felsina Pittrice: Life of Marcantonio Raimondi and Critical Catalogue of Prints by or after Bolognese Masters in 2 volumes
, Brepols - Harvey Miller, 2017 Hardback, 2 volumes ., 844 pages ., 33 b/w ill. + 877 colour ill., 220 x 280 mm, Languages: English, Italian. ISBN 9781909400665.
Malvasia's life of Marcantonio Raimondi includes Malvasia's critical catalogue of prints by or after Bolognese artists, from Giulio Bonasone to Giovan Battista Pasqualini. A great connoisseur and avid collector of prints, Malvasia recognizes the intelligence and novelty inherent in Giorgio Vasari's life of Marcantonio with its list of prints produced by the Bolognese engraver. In republishing Vasari's life, Malvasia not only adds valuable new information, but also completes Vasari's list by cataloguing all the prints unnoticed by his Florentine predecessor. Aware of the interest of amateurs and collectors in identifying old and new prints, establishing their states, and building up an exhaustive collection, Malvasia undertakes the groundbreaking task of describing, one by one or by coherent series, the whole corpus of prints executed by or after Bolognese masters as far as he could determine. He describes the subjects of these works accurately, transcribes their inscriptions, specifies their techniques (whether engraving, etching, or woodcut), supplying their measurements in Bolognese once. In listing the works of Bonasone, the Carracci, Giovan Luigi Valesio, Guido Reni, and Simone Cantarini, among others, Malvasia often comments on their technical and aesthetic qualities, resorting to a refined and complex terminology that reveals his profound knowledge of printmaking. In her introductory essay, Naoko Takahatake explains the historical significance of Malvasia?s innovative production of the first extensive print catalogue, shedding new light on the unique context of Bolognese printmaking in the sixteenth and seventeenth centuries. In her notes, Takahatake identifies over eight hundred prints mentioned by Malvasia, almost all of which are reproduced in color in a separate volume. Underscoring the importance of Malvasia?s critical catalogue for amateurs and collectors, Carlo Alberto Girotto offers a critical edition of the annotations made by the French art theorist Roger de Piles to his own copy of the Felsina pittrice (now in the library of the Institut National d?Histoire de l?Art, Paris). At the end of the translation and notes, Lorenzo Pericolo publishes the sections of Malvasia?s Scritti originali (Ms. B16, Biblioteca Comunale dell?Archiginnasio, Bologna) relating to Bonasone. Review "Overall, the volume is an excellent critical edition, based on accurate philological criteria, and should be considered a milestone for non-Italian speakers who wish to familiarize themselves with Felsina pittrice, a truly essential seventeenth-century text in the Italian and European scenario that provides a wealth of historiographical information and reflections useful for the development of multiple avenues of research." (Marzia Faietti, in: Print Quarterly, XXXV, 2018, 4, p. 469-470)
Felsina Pittrice: , Lives of Domenichino and Francesco Gessi, The Lives of the Bolognese Painters C. C. Malvasia.
, Brepols - Harvey Miller, 2012 Hardback, XXIV+414 p., 151 colour ill., 220 x 280 mm, Languages: English, Italian . ISBN 9781909400009.
Richly illustrated, this critical edition and English translation of Malvasia?s lives of Domenichino and Francesco Gessi from his Felsina pittrice offer access to the life and work of two great masters of seventeenth-century Bologna. Domenichino?s life plays a seminal role in Malvasia?s definition of the "fourth age" of painting in Italy. From the very beginning, Malvasia pits against each other Guido Reni and Domenichino, the two champions of the vanguard style that emerged from the Carracci reform of painting. If Guido becomes the idol of the Lombard and Bolognese school, "more attuned to tenderness and audacity," Domenichino embodies an ideal of perfection more in keeping with the Florentine and Roman school, "fond of finish and diligence." Malvasia reports that he did not know Domenichino, and his reconstruction of the career of the master as he moved among Rome, Naples, and Bologna stands in stark contrast to Giovan Pietro Bellori?s more sympathetic account, published in 1672. If, to redeem the supremacy of the Bolognese school, Malvasia downplays the problem of Domenichino?s "erudition" and "fertility" of invention, he does so with hesitation and among unresolvable contradictions. His assimilation of Domenichino?s art to the Roman and Tuscan canon is, then, profoundly polemical. In this light, Malvasia?s life of Domenichino can be defined as the most tormented and ultimately unsuccessful eulogy in the Felsina pittrice: a great piece of art-historical criticism about an artist whose greatness Malvasia could not deny. Malvasia?s assessment of the artistic personality of Francesco Gessi turns upon the painter?s rivalry with his master, Guido Reni, whose perfection in painting nevertheless remains unmatchable. In relating how Domenichino snatched away the highly talented Giovan Battista Ruggeri from his previous master, Francesco Gessi, Malvasia turns the conflicts inherent in Domenichino?s life into a generational struggle between artistic factions. In the process, Malvasia provides important biographical information about Giovan Giacomo Sementi, another of Guido?s disciples and Gessi?s lifelong rival. Review "Thanks to the Center for Advanced Study in the Visual Arts, Washington, DC, and above all to the publisher, Harvey Miller, these are volumes of the very highest quality, featuring large type, illustrations of all pictures, profound and extensive scholarship, and a translation on facing pages that makes Malvasia a pleasure to read. Harvey Miller has already set the bar high with its many volumes of the Corpus Rubenianum. The Malvasia is even more lavish (...)" (Theodore K. Rabb, in: The Art Newspaper, N°262, November 2014)
Carlo Cesare Malvasia, Elizabeth Cropper (ed), Lorenzo Pericolo (ed)
Reference : 64933
Felsina pittrice: The Lives of Francesco Francia and Lorenzo Costa
, Brepols - Harvey Miller, 2022 Hardback, xxxiv + 410 pages, Size:220 x 280 mm, Illustrations:14 b/w, 163 col., Language(s):English, Italian. ISBN 9781912554799.
Summary In Bologna, Giorgio Vasari's maniera moderna is inaugurated through the art of the goldsmith-painter Francesco Francia (c.1447-1517). Malvasia assimilates the beginning of this new era with the end of night and the crack of dawn, when never before seen colors are revealed to the eyes with extraordinary intensity. In his life of Francia, Vasari had acknowledged the role of precursor played by this Bolognese master in the history of Italian painting. By the same token, he had tarnished Francia's reputation by alleging that he had died soon after unpacking Raphael's Ecstasy of Saint Cecilia upon its arrival in Bologna. His death, Vasari insisted, was a moment of reckoning: it was then that Francia recognized his artistic inferiority and damnation with regard not only to Raphael, but also to the highest achievements of the maniera moderna. Aware of the historical validity of Vasari's account, Malvasia ?lifted? it wholesale into his Felsina pittrice, but not without bringing its author to trial by examining his biased testimony in light of the rich documentary evidence he had gathered against his narrative. Equipped with the most refined tools of forensic eloquence, seething with outrage, Malvasia is at his best in challenging Vasari's historical distortions and prejudices not only in connection with Francia, but also his disciples, Timoteo Viti (1469-1523), Lorenzo Costa (1460-1535), and Giovanni Maria Chiodarolo (1480-1530). Denouncing Vasari's silence about the works and importance of Francia's progeny--in particular Giacomo (1484-1557) and Giovan Battista Francia--Malvasia explains how the activity of these masters promoted the education and social status of painters in Bologna before the foundation of the Carracci Academy in 1582. Illustrated with numerous color images (many of them taken expressly for this publication), this volume provides a critical edition and annotated translation of Malvasia's lives of Francia and his disciples, among them prominently Costa. The integral transcription (for the first time) in this volume of Malvasia's preparatory notes (Scritti originali) to the lives of Francia, Costa, and Chiodarolo presents important material that could foster the study of Bolognese painting in the age of humanism under the rulership of the Bentivoglio.
