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Ave Papa/Ave Papabile
In 1624 Pope Urban VIII appointed Marcello Sacchetti depositary general and secret treasurer of the Apostolic Chamber, and Giulio Sacchetti bishop of Gravina. Urban later gave Marcello the lease on the alum mines of Tolfa and raised Giulio to the cardinalate. To assert their new power, the Sacchetti began commissioning works of art. Marcello discovered and promoted leading Baroque masters, such as Pietro da Cortona and Nicolas Poussin, while Giulio purchased works from previous generations. In the eighteenth century, Pope Benedict XIV bought the collection and housed it in the Capitoline Museum, where it is now a substantial portion of the collection. By focusing on the relationship between the artists in service and the Sacchetti, this study expands our knowledge of the artists and the complexity of the processes of agency in the fulfillment of commissions. In so doing, it underlines how the Sacchetti used art to proclaim a certain public image and to promote Cardinal Giulio as a candidate to the papal throne.
Visible Spirit
As early as the 1950s, Professor Irving Lavin was recognized as a major voice in American art history. His sustained production of seminal scholarly contributions have left their mark on an astonishingly wide range of -subjects and fields. Bringing these far-reaching publications together will not only provide a valuable resource to scholars and -students, but will also underscore fundamental themes in the history of art - historicism, the art of commemoration, the relationship between style and meaning, the -intelligence of artists - themes that define the role of the visual arts in human communication. Irving Lavin is best known for his array of fundamental publications on the Baroque arti...
The Art of Religion
Bernini and Pallavicino, the artist and the Jesuit cardinal, are closely related figures at the papal courts of Urban VIII and Alexander VII, at which Bernini was the principal artist. The analysis of Pallavicino's writings offers a new perspective on Bernini's art and artistry and allow us to understand the visual arts in papal Rome as a 'making manifest' of the fundamental truths of faith. Pallavicino's views on art and its effects differ fundamentally from the perspective developed in Bernini's biographies offering a perspective on the tension between artist and patron, work and message. In Pallavicino's writings the visual arts emerge as being intrinsically bound up with the very core of religion involving questions of idolatry, mimesis and illusionism that would prove central to the aesthetic debates of the eighteenth century.
A God Or a Bench
Taking a new approach to consideration of the sculpture created in France during the seventeenth and eighteenth centuries, this book is concerned with its societal roles and the ways in which it was received. The author draws on an extensive range of texts by artists, critics, art theoreticians and other writers as well as on images, setting contemporary conceptions of the nature and purposes of sculpture and individual works into the contexts of the elite and popular cultures of the time. Among topics included are investigations of the employment of statuary for political and religious communication, pictorial representations of sculpture, the comparative roles of painting and sculpture, and the social status of various kinds of sculptors. Previous treatments have dealt with these productions primarily in terms of stylistic developments or of the accomplishments of individual sculptors. This study however approaches its subject thematically rather than chronologically or biographically, while nevertheless acknowledging developments and variations that occurred during the period.
Propaganda and the Jesuit Baroque
"This is a subtle, intelligent, and deeply learned recasting of a whole range of issues central to art history: the place of the Baroque in the construction of modern art histories; the peculiar aesthetics of propaganda as a distinctively institutional mobilizing of images and forms; the role of the Jesuits in constructing (and then deconstructing) the relation of architectural style and ideology. Evonne Levy's careful readings of key monuments in the Catholic Baroque shed light not only on those works, but on the whole evolution of art historical understanding—and misunderstanding—that has made the Baroque so central and problematic for the discipline of art history."—W. J. T. Mitchel...
Italian Literature Before 1900 in English Translation
"Italian Literature before 1900 in English Translation provides the most complete record possible of texts from the early periods that have been translated into English, and published between 1929 and 2008. It lists works from all genres and subjects, and includes translations wherever they have appeared across the globe. In this annotated bibliography, Robin Healey covers over 5,200 distinct editions of pre-1900 Italian writings. Most entries are accompanied by useful notes providing information on authors, works, translators, and how the translations were received. Among the works by over 1,500 authors represented in this volume are hundreds of editions by Italy's most translated authors - Dante Alighieri, [Niccoláo] Machiavelli, and [Giovanni] Boccaccio - and other hundreds which represent the author's only English translation. A significant number of entries describe works originally published in Latin. Together with Healey's Twentieth-Century Italian Literature in English Translation, this volume makes comprehensive information on translations accessible for schools, libraries, and those interested in comparative literature."--Pub. desc.
Reclaiming Female Agency
'Reclaiming Feminine Agency' identifies female agency as a central theme of recent feminist scholarship & offers 23 essays on artists & issues from the Renaissance to the present, written in the 1990s & after.
Passive Tranquillity
This is a print on demand publication. Born in 1698, Della Valle came to Rome in 1725 upon the death of his master, Giovanni Foggini. There he remained until his death in 1768. The phrase "passive tranquillity" refers both to the style of Della Valle's sculpture & the ambiance of 18th-cent. Rome, &, further, serves to distinguish Della Valle from his better known precursors, Gianlorenzo Bernini & Michelangelo. Theirs was a sculpture of the heroic & expressive. Della Valle's sculpture represents figures of an introverted, serene type. In its demonstrations of the ways in which Della Valle's art could have been formed by the institutions & cultural currents of 18th-cent. Rome, the text seeks to account for that sense of quiescence & composure common to the arts of settecento Rome. Illustrations.
American Drawings and Watercolors in the Metropolitan Museum of Art
"The Museum's collection illuminates all aspects of Sargent's career. The drawings and watercolors in particular reflect his activity outside the portrait studio: his sojourns in Spain, Morocco and elsewhere in North Africa, and in the Middle East; his enduring fascination with Venice; his holidays in the Italian lake district and the Alps; his tours of North America, including Florida and the Rocky Mountains; his visit as an official war artist to the western front in 1918; and his work as a muralist at the Boston Public Library, the Museum of Fine Arts, Boston, and Harvard University's Widener Library."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
