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CARAVAGGIO AND PICTORIAL NARRATIVE, Dislocating the Istoria in Early Modern Painting
, Brepols Publishers, 2011 Hardcover, VII 654 p., 0 b/w ill. 336 colour ill., 225 x 300 mm, . ISBN 9781905375486.
"Truly a distinguished achievement, this book is required reading for general readers as well as specialists in the history of art" (Charles Dempsey, The Johns Hopkins University) A very important part of Caravaggio?s production consists of pictorial narratives, mostly religious. Thus, according to early modern aesthetics, Caravaggio practiced the artistic genre of the istoria: the most discussed and thoroughly defined pictorial institution of his time. Unanimously, seventeenth-century artists and art theorists censored and condemned Caravaggio?s art for its numerous deficiencies and faults in regard to the principles of the istoria. In spite of all these testimonies, Caravaggio?s innovations in and misuses of the techniques specific to early modern pictorial narrative have never been systematically studied, debated, and put into historical perspective. In this volume, Lorenzo Pericolo argues that Caravaggio?s multiple experimentations with the traditional devices of the istoria not only represent the core of an unprecedented "poetics of dislocation," but also unsettled, dismantled, and expanded the scope of pictorial narrative in ways that would have redefined and deeply transformed the concept of painting and artistic creation, had Caravaggio?s enterprise not have been ferociously criticized and stigmatized as both aberrant and defective. To solidly establish the importance and groundbreaking charge of Caravaggio?s work, Pericolo examines the notion of Leon Battista Alberti?s istoria as interpreted and developed by early modern artists and theorists?from Leonardo to Vasari, from Lomazzo to Poussin, and from Michelangelo to Bellori?in vast surveys in which the concepts of diachrony, duration, eurythmy, propriety, verisimilitude, and pictorial truth? among others?are carefully examined on a theoretical and practical level. By analyzing the paintings of Caravaggio?s followers such as Cecco del Caravaggio, Battistello Caracciolo, Valentin de Boulogne and, not least, Diego Velazquez, Pericolo explores how Caravaggio?s innovations in the domain of pictorial narrative were variously construed, elaborated upon, and brought to fruition in the aftermath of the master?s death in 1610, thereby offering a critical explanation of the implosion and extinction of the Caravaggesque movement in the 1630s. Among the flood of recent books devoted to Caravaggio, whose popularity now stands at the zenith, Lorenzo Pericolo?s profound and passionate study stands out for its sensitive and learned presentation of an argument that is both historically true and critically revealing to present-day sensibilities. Thoroughly at home in the vast literature devoted to Baroque art in general and to Caravaggio in particular, Pericolo also brings to his subject an unrivaled understanding of modern theoretical techniques on the one hand, and, on the other, an unrivaled mastery of seventeenth-century artistic theory, profoundly based in Aristotelian poetics and in rhetorical techniques. Through extended close readings of Caravaggio?s paintings, arranged in roughly chronological order, Pericolo brilliantly teases out the theoretical and practical choices that confronted Caravaggio, and that further determined reception of his work, both in the positive and negative senses, by highly sophisticated contemporary audiences. Beyond this, Pericolo is a remarkably sensitive guide to Caravaggio?s expression of profound, wrenching and often painful, emotions caught in eternal suspension, the sources of both his contemporaries? discomfort and our own, modern, recognition and appreciation. Truly a distinguished achievement, this book is required reading for general readers as well as specialists in the history of art.
Remembering the Middle Ages in Early Modern Italy
, Brepols - Harvey Miller, 2015 Hardback, IV+388 p., 122 b/w ill. + 22 colour ill., 220 x 280 mm, 2015 Languages: English. ISBN 9782503555584.
The relationship between early modern Italy and its medieval past has become the object of new interest and debate in art history. To a certain extent, other fields of scholarship, such as history, history of literature, and history of philosophy, have remained alien to the discussion. Yet, the emergence of the humanities as autonomous disciplines in the nineteenth century was predicated on the arduous and sophisticated scrutiny and re-thinking of the ?divides? in the history of western Europe and their hermeneutical validity. Articulating the division between ancient / medieval and medieval / Renaissance has been particularly important in this discourse. At present, although the interpretation of the medieval / Renaissance divide no longer rests on the oversimplifying binomial of continuity / discontinuity, the identification and assessment of what historically constitutes a break, a transition, a regression, or a novelty are still topics of contention and ambivalence. Remembering the Middle Ages in Early Modern Italy approaches these important interpretive issues through the fresh lens of case studies carried out by scholars from the diverse fields of history of art and architecture, history of literature, and philosophy. In these essays, the notion of ?remembrance? is examined and inflected in multiple ways: as memory and survival, as a process of distance and clarification, and as nostalgia, repudiation, and revival. Remembering the Middle Ages also offers an updated survey on the ways in which the medieval / Renaissance divide was originally constructed in the fifteenth and sixteenth centuries and subsequently interpreted from Jacob Burckhardt?s The Civilization of the Renaissance in Italy (1860) to the present day. Lorenzo Pericolo is Associate Professor of History of Art at the University of Warwick. He is the author of Caravaggio and Pictorial Narrative: Dislocating the Istoria in Early Modern Painting (2011). With the Center for Advanced Studies in the Visual Arts (Washington DC), he is preparing the critical edition of the life of Guido Reni by Carlo Cesare Malvasia. Jessica N. Richardson is Wissenschaftliche Assistentin at the Kunsthistorisches Institut in Florenz ?Max-Planck-Institut (Florence) in the Department of Gerhard Wolf. She was Research Associate at the Center for the Advanced Study in the Visual Arts (Washington DC) then Amherson Fellow at Villa I Tatti (Florence). She is currently working on a book on the creation and treatment of medieval miraculous images in Bologna between the fourteenth and the seventeenth centuries. Table of Contents Introduction ? Jessica N. Richardson Antiquitas and the Medium Aevum: The Ancient / Medieval Divide and Italian Humanism ? Frederic Clark Vasari in Practice, or How to Build a Tomb and Make it Work ? C. Jean Campbell Shifting Identities: Jacopo Campora?s De Immortalitate Anime from Manuscript to Print ? Eugenio Refini Leon Battista Alberti: ?Philology? of Forms and Time in Sant?Andrea, Mantua ? Arturo Calzona Did Siena Have a Renaissance? ? Jane Tylus Persistence and Polychronicity in Roman Churches ? Dale Kinney Pulci?s Morgante and the End of a Medieval World ? David Quint Incorporating the Middle Ages: Lazzaro Bastiani, the Bellini, and the ?Greek? and ?German? Architecture of Medieval Venice ? Lorenzo Pericolo Dante and Petrarch in Giovan Battista Gelli?s Lectures at the Florentine Academy ? Federica Pich Medieval Column Crosses in Early Modern Bologna ?Jessica N. Richardson Serving Christ: The Assumption Procession in Sixteenth-Century Rome ? Kirstin Noreen Changing Historical Perspectives? Giovan Pietro Bellori and the Middle Ages in Rome ? Elisabeth Oy-Marra Visual Evidence and Periodization in Giulio Mancini?s Observations on Early Christian and Medieval Art in Rome ? Frances Gage Epilogue: The Shifting Boundaries of the Middle Ages: From Die Kultur der Renaissance in Italien (1860) to Anachronic Renaissance (2010) ? Lorenzo Pericolo
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)
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.
Philippe de Champaigne. "Philippe, homme sage et vertueux". Essai sur l'art et l'oeuvre de Philippe de Champaigne (1602- 1674).
Tournai, La Renaissance du Livre, 2002. In-4, rel. éd. pleine-toile enduite bleue sous jaquette ill. en coul., 319 pp. sur 3 colonnes, plus de 300 reprod. en n/b. et coul. in-t., bibliographie. Etiquette ex-libris.
Collection Références. Très bonne condition. - Frais de port : -France 8,45 € -U.E. 13 € -Monde (z B : 23 €) (z C : 43 €)
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: , 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)
