Showing papers in "Art Bulletin in 1962"
142 citations
TL;DR: Early in the fourteenth century in Tuscany, a long allegorical poem entitled L'Intelligenza, author unknown, was written by a poet who wrote of his love for a beautiful woman who appears to him as an angelic vision, in the bloom of spring as discussed by the authors.
Abstract: Early in the fourteenth century in Tuscany was written a long allegorical poem entitled L'Intelligenza, author unknown. Since its discovery over a century ago, it has assumed a position of some importance in the history of allegorical and didactic verse after Dante.1 The poet sings of his love for a beautiful woman who appears to him as an angelic vision, in the bloom of spring. Dressed in silks of Cathay, with a mantle from Alexandria trimmed in white ermine, she wears a crown laden with a veritable lapdarium of precious and magical jewels.2 She lives in a splendid palace in the orient, built by divine Love “in the Indian manner” (a la guis' indiana). Most of the poem's 309 stanzas in nona rima are devoted to a description of this incredible edifice, with its fabulous furnishings and decorations in mosaic. Finally, toward the very end, the grand edifying allegorical significance of the poem is revealed (Madonna = L'Intelligenza; the palace = l'anima col corpo, i.e., Man).
37 citations
31 citations
TL;DR: Gombrich as discussed by the authors studied the psychology of pictorial representation and found that pictorial representations can be interpreted as a form of illusion, which can be viewed as a kind of self-reference.
Abstract: (1962). e. h. gombrich, Art and Illusion. A Study in the Psychology of Pictorial Representation. The Art Bulletin: Vol. 44, No. 1, pp. 75-79.
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12 citations
TL;DR: Rayonnant as mentioned in this paper is a very light skeletal structure with enormous, all-pervading windows and a unified treatment of the sculptural effects of the masonry, and it was the first comprehensive statement of Rayonnant design.
Abstract: Bythe middle of the thirteenth century Paris had become the leading foyer of a new phase of Gothic architecture. The work undertaken in the 1240's at such sites as St. Denis and the Ste. Chapelle formed the first comprehensive statement of Rayonnant design, and from Paris it spread far and wide, to Beauvais, Strasbourg and Troyes as well as to Burgundy, the Rhone Valley and Languedoc. Created within the framework established at Chartres in 1194, Rayonnant represented first and foremost a refinement of High Gothic, the development of a very light skeletal structure with enormous, all-pervading windows and a unified treatment of the sculptural effects of the masonry.1 But Rayonnant also went beyond High Gothic in several ways. It speculated on elegance of scale rather than on the immensity or the configurations of space, it was precise but not always forthright and it appealed to the intellect through subtlety and sometimes even surprise rather than through clarity and balance. The work of Pierre de Montreu...
12 citations
TL;DR: Gavino Hamilton as discussed by the authors was one of the most famous ammiratori of Neoclassical art. But his life was not yet complete, and his reputation was still questionable.
Abstract: Archaeological excavations and paintings of Homeric subjects made Gavin Hamilton famous amongst his contemporaries as an arbiter of Neoclassical taste.1 As late as 1832, nearly forty years after his death, he was remembered as the “celebre Gavino Hamilton, uno de’ principali ammiratori dell'antichita, e che grandissima parte ebbe al risorgimento del gusto ed al discoprimento di monumenti importanti che oggi adornano i musei di Roma, Napoli e Parigi.”2 Friend of Canova and Robert Adam, purchaser of the Virgin of the Rocks in the National Gallery, London, and vendor of many antique sculptures: these are some aspects of Gavin Hamilton's life suggestive of his contemporary importance.
11 citations
TL;DR: Barozzi's perspective treatise as discussed by the authors was published posthumously in 1583 under the title, Le dve regole della prospettiva pratica di M. P. Vignola con i comentarij del R. Egnatio Danti.
Abstract: Vignola's perspective treatise was published posthumously in 1583 under the title, Le dve regole della prospettiva pratica di M. Iacomo Barozzi da Vignola con i comentarij del R. P.M. Egnatio Danti.1
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TL;DR: The grinning Philosopher (Fig. 1) seems to be one of the mysterious and ageless brotherhood of tramps and beggars as discussed by the authors who came to the palace of the Escorial with no special credentials, but with four companions, all tattered, shabby, or unkempt, he had the good luck to be lodged in the largest room of the royal suite.
Abstract: The grinning Philosopher (Fig. 1) seems to be one of the mysterious and ageless brotherhood of tramps and beggars. Coming to the palace of the Escorial with no special credentials, he was not turned away, but with four companions (Figs. 2–5), all tattered, shabby, or unkempt, he had the good luck to be lodged in the largest room of the royal suite. This was the apartment that Philip II had designed for his own use, that was once his audience-chamber and now, with the adjacent oratory and alcove, is remembered as the favorite and the last abode of the King. The somber spirit of the Prudent Monarch still pervades the suite, but the Wise Men have long since gone; and many who visit the royal habitation today and see it with its sixteenth century appointments and fittings restored are unaware that two hundred years ago the place bore an aspect very unlike either the pristine or the present.
TL;DR: The singularity of Cezanne's early paintings depends ultimately not on any aesthetic or technical innovation, but on their power and authenticity as images as mentioned in this paper, and they were inspired by Romanticism with its new ideals of freedom and intensity, above all by Delacroix who remained his idol long after his own art had become more classical in temper.
Abstract: The singularity of Cezanne's early paintings depends ultimately not on any aesthetic or technical innovation, but on their power and authenticity as images.1 Throughout the 1860's, when other advanced artists in Paris were transforming Realism into an increasingly lyrical means of rendering fugitive natural phenomena of season and weather and the purely pleasurable aspects of modern urban life, he transposed directly onto the canvas his blackest moods and most violent impulses.2 In this determination to make of painting an instrument of vehement self-expression, he was undoubtedly inspired by Romanticism with its new ideals of freedom and intensity, above all by Delacroix, who remained his idol long after his own art had become more classical in temper.3 But if his early works recall Delacroix's in their themes of violence or passion, occasionally also in their exotic settings, they proceed, as Schapiro explains, from fundamentally different sources: no longer illustrations of dramatic episodes in classic...
TL;DR: Offner as discussed by the authors, A Critical and Historical Corpus of Florentine Painting (CCH) is a critical and historical collection of paintings from the 16th and 17th centuries.
Abstract: (1962). richard offner, A Critical and Historical Corpus of Florentine Painting. The Art Bulletin: Vol. 44, No. 4, pp. 340-344.
TL;DR: Haydon's "Christ's Triumphant Entry into Jerusalem" as mentioned in this paper is an unpublished letter written by Haydon in the early 1960s, which describes Christ's "triumphant entry into Jerusalem".
Abstract: (1962). Haydon's “Christ's Triumphant Entry into Jerusalem”: An Unpublished Letter. The Art Bulletin: Vol. 44, No. 1, pp. 53-54.
TL;DR: Panofsky as mentioned in this paper, Renaissance and Renascences in Western Art, Vol. 44, No. 1, pp. 65-67, 1962, The Art Bulletin: Vol.
Abstract: (1962). erwin panofsky, Renaissance and Renascences in Western Art. The Art Bulletin: Vol. 44, No. 1, pp. 65-67.
TL;DR: Aisled mediaeval timber churches in the subsoil of bombed mediaeval church sites in Holland and northwestern Germany have made it clear that the mediaeval masonry church stems typologically not from the early Christian basilica, but from a building type of even greater antiquity, which was originally associated with purely domestic functions as mentioned in this paper.
Abstract: Recent discovery of remains of timbered churches in the subsoil of bombed mediaeval church sites in Holland and northwestern Germany has made it clear that the aisled mediaeval timber church stems typologically not from the early Christian basilica, as did the mediaeval masonry church, but from a building type of even greater antiquity, which was originally associated with purely domestic functions.1 In text fig. 1 are shown the plan and reconstruction of the Carolingian parish church of Breberen, near Aachen, the remains of which were excavated in 1948–1950 by J. P. Tholen.2 Text fig. 2 shows the plan and reconstruction of a farmhouse of the fourth century b.c., excavated in 1934–1935 by Albert Egges van Giffen, in the Iron Age dwelling mound of Ezinge, Groningen province, Holland.3 The layout and constructional system of these two buildings are identical in all respects, and there can be no doubt that they belong to the same building tradition.
TL;DR: Manet's paintings of the battle of the Kearsarge and the Alabama as mentioned in this paper have been widely recognized as one of the finest examples of realistic depiction of the sea and air.
Abstract: Though perhaps best known for his figure paintings, Manet has left a considerable number of still lifes, landscapes, and "historical" works. It is not surprising that, during his numerous visits to the French coast, he made some fine paintings of the sea. The Philadelphia Museum is fortunate in having his largest and perhaps his best, the Battle of the Kearsarge and the Alabama, and a handsome smaller painting entitled Marine. At first glance these works seem to be "realistic" records of things seen, or "impressionistic" images of the vibrancy of sea and air caught at one moment in time. In both works, however, there are disconcerting disparities that make us question such simple conclusions as to Manet's intention and style. Perhaps, instead, they give some key to Manet's singular genius. The Battle of the Kearsarge and the Alabama (Fig. I) was painted in the summer of 1864 soon after the engagement of the two American battleships in the harbor at Cherbourg.' As an illustration of this exciting event it overshadowed the other seascapes of 1864. The question has also been raised as to whether Manet actually witnessed the battle and recorded his realistic impression; or whether he composed the painting from news reports and pictures. These problems have already been discussed elsewhere.2 Our concern is neither with
TL;DR: One of the factors that certify Delacroix's eminence as the pivotal figure in the history of nineteenth century French painting is in essence technical: he liberated, once and forever it would seem, the free movement of paint on the surface of the canvas from the tight control of the academic brush which denied painterly texture a role in the vocabulary of art as discussed by the authors.
Abstract: One of the factors that certify Delacroix's eminence as the pivotal figure in the history of nineteenth century French painting is in essence technical: he liberated, once and forever it would seem, the free movement of paint on the surface of the canvas from the tight control of the academic brush which denied painterly texture a role in the vocabulary of art. It is characteristic of Delacroix that this act of liberation was neither an arbitrary overflow of romantic exuberance nor a revolutionary device completely lacking in precedent, theoretical and practical. Moreover, he was eloquently articulate on the subject, so that his aims and theoretical sources are abundantly clear.
TL;DR: Tiffany's "AMerican Art Supreme in Colored Glass" article as discussed by the authors was published in 1893 during the World Columbian Exposition in Chicago, the year of the first World's Columbian International Exposition.
Abstract: “AMerican Art Supreme in Colored Glass,” thus did Louis Comfort Tiffany entitle an article about his own work in 1893,1 the year of the World's Columbian Exposition in Chicago. One is inclined to pass this off as the bravura boast of a chauvinist or provincial, but on closer examination of the facts, it becomes evident that America was indeed supreme in the field of colored glass in the 1890's and, by virtue of its influence, completely transformed this art form in Europe. One learns, furthermore, that although other American firms and individuals also made colored glass,2 it was the name Tiffany that signified colored glass, indeed became synonymous with the term all over the world.