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Two Notes on Francisco de Holanda
CONTENTS I. The authenticity of the Roman Dialogues II. Catalogue of Francisco de Holanda's writings, drawings, paintings and architectural designs.
On Antique Painting
Francisco de Hollanda completed Da pintura antigua in 1548, eight years after the young Portuguese humanist, painter, and architect had spent two years in Italy. Book I is the first Portuguese treatise on the theory and practice of painting. In contrast to Italian texts on artistic theory, which define painting as the imitation of nature, Hollanda's treatise, influenced by Neoplatonism, develops a theory of the painter as an original creator guided by divine inspiration. Book II, "Dialogues in Rome," is a record of three conversations with Michelangelo, Vittoria Colonna, and members of their circle and a fourth with Giulio Clovio. It is the most informative and intimate intellectual portrait of Michelangelo before the biographies by Vasari and Condivi.
Dialogues with Michelangelo
- Francisco de Holanda's Dialogues record Michelangelo's participation in art discussions hosted by Vittoria Colonna, revealing his thoughts and world as he painted The Last Judgement The Dialogues by Portuguese painter and writer Francisco de Holanda give unprecedented insight into the opinions, preoccupations and character of Michelangelo, already in his lifetime the most celebrated and influential artist in Europe. These Dialogues record his participation in the discussions about art hosted by Vittoria Colonna, his closest friend. Michelangelo's opinions and ambitions during the period when he was painting The Last Judgement come vividly to life, as does the world in which he moved. No other text brings us so close to Michelangelo the artist, poet and thinker. The Dialogues are presented here in the classic translation by Charles Holroyd, painter, engraver, art historian and director of the National Gallery. The introduction by David Hemsoll situates the Dialogues in the context of Michelangelo's career and the artistic world in Rome. Sixteen pages of illustrations include some of Michelangelo's finest drawings, and views of the Rome he knew.
Frans Floris (1519/20–1570): Imagining a Northern Renaissance
Frans Floris de Vriendt radically transformed Netherlandish art. His monumental mythologies introduced a new appreciation for the heroic nude to the Low Countries and his religious art challenged standards of decorum. Born into a family of sculptors and architects, Floris refashioned his art through travel, first studying with the humanist painter Lambert Lombard in Liège and then continuing on to Italy. These experiences defined the hybridizing novelty of his art, forged by juxtaposing antique and modern, Italian and northern sources. This book maps Floris’s hybrid style onto shifting conceptions of cultural, religious, and political identity on the eve of the Dutch Revolt. It explores his collaborations and rivalries, engagement with artistic theory, hierarchical workshop, and revolutionary use of print.
Platonism
The sixteen essays in this volume trace the development of Platonism in the history of Western thought, starting with the revival of the Platonic tradition in the early modern period that followed the rediscovery and translation of important Greek texts. Special attention is devoted to Marsilio Ficino’s translations and commentaries; to the relationship between Platonism and Christianity; to the influence of Platonic metaphysics on the mystical tradition – in particular on Jacob Böhme and Emanuel Swedenborg; to the impact of idealism on the hermeneutical criticism of traditional philosophical categories and to the ways in which the so-called ‘Critique of Modernity’ promoted a new reading of the Platonic dialogues. The emphasis throughout is on demonstrating the theoretical and historical continuity of Platonism over the centuries. Contributors are: Laura Candiotto, Pierpaolo Ciccarelli, Anna Corrias, Francesca Maria Crasta, Eva del Soldato, Laura Follesa, Guido Giglioni, Nicholas Holland, Andrea Le Moli, Brunello Lotti, Cecilia Muratori, Arnold Oberhammer, Paula Oliveira e Silva, Valery Rees, Pasquale Terracciano, and Angelo Maria Vitale.
Trust and Proof
Translators’ contribution to the vitality of textual production in the Renaissance is still often vastly underestimated. Drawing on a wide variety of sources published in Spanish, Portuguese, Italian, Latin, German, English, and Zapotec, this volume brings a global perspective to the history of translators, and the printed book. Together the essays point out the extent to which particular language cultures were liable to shift, overlap, shrink, and expand during one of the most defining periods in the history of print culture. Interdisciplinary in approach, Trust and Proof investigates translators’ role in the diffusion of discourse about languages and ancient knowledge, as well as changing etiquettes of reading and writing.
Drawing and the Senses
A study of drawing and philosophy in artistic practice, important not only for art history but also for literature studies, intellectual history, religious history, history of the book,and history of science. 00Leon Battista Alberti wrote in 'De pictura' (1435) that painting is divine because, ?as they say of friendship, a painting lets the absent be present.? Absence and Presence in Early-Modern Drawing Pedagogy examines this relationship between absent and present objects and subjects in early-modern artistic pedagogy. This book studies the intersections among artistic treatises, natural philosophy and theology from 1400-1700, arguing that drawing pedagogy sought to teach the painting of histories that stimulated in the viewer the sensation of being present before the historical moment, the person, the still life. The manifestation of presence remained not only in the sensation of sight but also in all the sensory perceptions of touch, taste, smell and the sixth sense of sensing, the experience of existence. This book demonstrates the pedagogical means by which artists sought to teach the simulation of presence (and the sensorial perception of absence
Making Copies in European Art 1400-1600
Making Copies in European Art 1400-1600 comprises sixteen essays that explore the form and function, manner and meaning of copies after Renaissance works of art. The authors construe copying as a method of exchange based in the theory and practice of imitation, and they investigate the artistic techniques that enabled and facilitated the production of copies. They also ask what patrons and collectors wanted from a copy, which characteristics of an artwork were considered copyable, and where and how copies were stored, studied, displayed, and circulated. Making Copies in European Art, in addition to studying many unfamiliar pictures, incorporates previously unpublished documentary materials.
Idea of the Temple of Painting
An English translation of the Renaissance treatise on painting by the Milanese artist Giovan Paolo Lomazzo (1538-1592). Drawing on a wide range of influences, including Leonardo's legacy, Neoplatonic cosmology, and the occult, Lomazzo affirms the development of every artist's unique, expressive style or maniera.
