Italian Drawings Research Articles

Andrea Czére: 18th-Century Italian Drawings in the Budapest Museum of Fine Arts. A Complete Catalogue

Andrea Czére: 18th-Century Italian Drawings in the Budapest Museum of Fine Arts. A Complete Catalogue

Review: Building with Paper: The Materiality of Renaissance Architectural Drawings

Review: <i>Building with Paper: The Materiality of Renaissance Architectural Drawings</i>

Parmigianino’s Bitch

Parmigianino’s Bitch

ОРИГІНАЛЬНА ГРАФІКА РОБЕРТА ЛІСОВСЬКОГО: ЖАНРОВИЙ ДІАПАЗОН ТА СПЕЦИФІКА АВТОРСЬКОЇ МОВИ

The article highlights the work of the Ukrainian emigrant artist Robert Lisovsky (1893-1982), a representative of the Narbut school, a master of book, magazine and applied graphics. While the graphic works by Robert Lisovsky published in books, magazines, calendars and publishing stamps are relatively well-studied, his drawings and watercolors are remain lesser known. The analysis of these works could contribute in clarifying the features of the artist's creative method and author's language. Also, it will determine the stylistic and figurative as well as plot-content preferences of the artist. The article outlines the genre range of graphic works created by Robert Lisovsky, which included portraits, landscapes, urban motifs, floristics and still lifes. The authors consider Robert Lisovsky's graphics and make attempt to determine his plastic language are determined. They find out that Robert Lisovsky most often dealt with the landscapes, including the urban ones, as well as the motives of sacral architecture. A peculiar feature of the artistic language of Robert Lisovsky is a free realistic interpretation of nature with the use of rhythmic and generalization techniques. The sweeping expressive bar line and contrasting fillings used by Robert Lisovsky in the Lviv and Prague periods of his work are replaced by a light modeling line and fine hatching in Italian drawings. In the final London period of his work, the artist resorted to several approaches to the interpretation of nature and demonstrated the author's method of transforming a realistic fixation of nature into an artistic image. The article identifies the specifics of the artist's creative method, emphasizes the semantic and stylistic characteristics of his works.

カルトーネ・プンテジャートとディゼーニョ(素描)の確立 : 一六世紀イタリア絵画史・展開の一側面

カルトーネ・プンテジャートとディゼーニョ(素描)の確立 : 一六世紀イタリア絵画史・展開の一側面

Italian master drawings from the Princeton University Art Museum

This richly illustrated volume offers a new look at the exceptional collection of Italian drawings at the Princeton University Art Museum. An introductory essay by Laura M. Giles chronicles the history and significance of the collection, and nearly one hundred of the collection's masterworks are treated with essay-length entries and full-page images. The first scholarly examination of the collection since Felton Gibbons's comprehensive publication of 1977, the catalogue includes an appendix of more than 150 drawings that have entered the collection since--many previously unpublished, and all fully documented with short entries. Highlights include works by celebrated masters, including Carpaccio and Modigliani, from the early Renaissance through the early Modern periods, with an emphasis on the collection's renowned holdings of works by Luca Cambiaso, Guercino, and the two Tiepolos.

Review: The Geometry of Creation: Architectural Drawing and the Dynamics of Gothic Design, by Robert Bork

Robert Bork The Geometry of Creation: Architectural Drawing and the Dynamics of Gothic Design Farnham, UK, and Burlington, Vt.: Ashgate, 2011, 484 pp., 240 b/w illus. $119.95, ISBN 9780754660620 In 1383 the Troyes cathedral chapter paid Henry de Bruisselles 20 sous “for a portrait for the … choir screen made on parchment … to show to the bourgeois and to the laborers of the city side by side with another portrait made by Michelin, the mason. The said bourgeois and laborers held that the portrait of Henry de Bruisselles was the better.”1 At about the same time, Peter Parler or his son, Wenzel, designed the upper stories of Prague cathedral’s south transept, revising a drawing begun three decades earlier. The same drawing, taken to Vienna by Wenzel, informed his work on the south tower of the Stephansdom. Drawings on parchment, complemented by wood or paper templates, small sketches, and full-scale engravings on walls and pavements, embody one intricate facet of the robust technology of architectural representation. Vehicles of communication, construction guides, and instruments of public persuasion, they informed all aspects of the late medieval building process. Robert Bork’s The Geometry of Creation: Architectural Drawing and the Dynamics of Gothic Design presents case studies of the use of drawings in architectural projects from the thirteenth to the sixteenth century. Although most of the six hundred surviving Gothic drawings are connected to building projects in the Holy Roman Empire, Bork extends his inquiry to examples in France and Italy to argue that the same design procedures were shared by masons working throughout Europe. Reconstructions of the geometry used to design plans, elevations, towers, tabernacles, and tombs are presented in precise diagrams using Vectorworks CAD software that allows information, gathered through meticulous observation of the original parchments, to be processed “with unprecedented flexibility and rigor” (20). Bork, whose account features masons at their drafting tables with compass and straightedge, resists excursions into the swamps of symbolic interpretation, and although he illuminates …

Capturing the sublime: Italian drawings of the Renaissance and Baroque

This handsome volume brings together an impressive array of scholars, who analyze an outstanding private collection of 175 Old Master drawings that date from the 16th through the 18th centuries. The collection vibrantly revealed here includes a wide variety of drawings - from sketches and figure drawings to copies after masters and preliminary studies for major compositions - and features the work of many important Italian artists, including Raphael, Andrea del Sarto, Baccio Bandinelli, Pontormo, Perino del Vaga, Gian Lorenzo Bernini, Salvator Rosa, Guercino, and Giovanni Battista Tiepolo, among many others. Each work is reproduced and accompanied by complete documentation: physical description, provenance, bibliography, and exhibition history, as well as background information on the subjects captured in the drawings. Capturing the Sublime opens up the beauty of these drawings to a broader public and provides important new attributions and scholarship.

John Zarobell. Review of "The Art of Disegno: Italian Prints and Drawings from the Georgia Museum of Art" by Robert Randolf Coleman and Babette Bohn.

John Zarobell. Review of "The Art of Disegno: Italian Prints and Drawings from the Georgia Museum of Art" by Robert Randolf Coleman and Babette Bohn.

:Drawn to Italian Drawings: The Goldman Collection

:<i>Drawn to Italian Drawings: The Goldman Collection</i>

Babette Bohn. Review of "A Corpus of Drawings in Midwestern Collections: Sixteenth-Century Italian Drawings, 2 vols." by Edward Olszewski.

Babette Bohn. Review of "A Corpus of Drawings in Midwestern Collections: Sixteenth-Century Italian Drawings, 2 vols." by Edward Olszewski.

Drawn to Italian drawings: the Goldman Collection

Drawn to Italian drawings: the Goldman Collection

A Note on the Examination of Silverpoint Drawings by Near-Infrared Reflectography

A group of 17 Italian fifteenth-century metalpoint drawings were examined using near-infrared reflectography and analysed non-invasively by X-ray fluorescence and Raman spectrometry. Metals, including silver and lead, reflect infrared (IR) radiation specularly and selectively. As expected, all of the lead-based metalpoint in this group of drawings proved to be entirely opaque when examined by IR reflectography. However, the silver-based metalpoint found on these drawings was observed to be wholly or partially transparent to infrared radiation in the 800–1700 nm range. The results obtained on drawings were compared with those from reference material of known composition. The response of silver-based metalpoint to infrared radiation is here attributed to the presence of silver corrosion products, particularly silver sulphide (Ag2S), a commonly encountered degradation product of silver. This compound shows high transmission in the spectral range under investigation.

:Italian Master Drawings at the Philadelphia Museum of Art

The Philadelphia Museum of Art is fortunate to have a collection of Italian drawings that encompasses a broad sweep of Italy's art history, from the Renaissance to Futurism to the contemporary. With this publication, 80 of these drawings are provided with insightful commentary, scholarly analysis, and biographies of the artists.

Italian Master Drawings at the Philadelphia Museum of Art (review)

Reviewed by: Italian Master Drawings at the Philadelphia Museum of Art Giancarlo Fiorenza (bio) Ann Percy and Mimi Cazort . Italian Master Drawings at the Philadelphia Museum of ArtPhiladelphia Museum of Art and Penn State University Press. 288. US $55.00 Rarely does one find a combination of the history of collecting and the practice of connoisseurship presented as seamlessly and cogently as in this book. Published on the occasion of the exhibition Italian Master Drawings, 1540 to the Present, and in Italian as I grandi disegni italiani del Philadelphia Museum of Art by Silvana Editoriale, the present volume forms part of Amilcare Pizzi's distinguished series I grandi disegni italiani, which celebrates significant holdings of Italian drawings in collections world-wide. The Philadelphia Museum of Art's collection of approximately 2700 Italian drawings is a relatively recent phenomenon, stemming from the bequest of roughly 350 Italian old master drawings in 1978 from the estate of Anthony Morris Clark, and from the formal acquisition in 1984 and 1985 of the nearly 2500 old master drawings, mostly Italian, from the Pennsylvania Academy of the Fine Arts in Philadelphia (which had been on loan to the museum since 1956). The conjoining under one roof of these collections, whose shared strength resides in works from the eighteenth century, particularly Roman, offers a superb forum for the care, study, and exhibition of all facets of Italian drawings. Ann Percy's thoughtful and meticulously written essay on the history of the collection is vital for understanding not only how the majority of the Italian drawings arrived at the museum, but more importantly, how the drawings themselves shaped the cultural identity of a variety of Philadelphia institutions past and present. Her essay focuses on the collecting strategies and habits of two amateurs from Philadelphia, John S. Phillips (1800-76), and Matthew Carey Lea (1823-97), who donated two of the earliest and largest collections of graphic arts assembled in America to the Pennsylvania Academy; and of Anthony Morris Clark, the eminent art historian and museum professional born in Philadelphia who specialized in the study of eighteenth-century Roman art. Percy discusses in detail the personal and professional dealings of Phillips and Lea: family fortunes, travels abroad, associations with other American collectors, early cataloguing techniques, all coloured with lively anecdotal details. The sixty-five illustrations of Italian drawings in her essay - all from the museum - have brief documentary entries at the end of the volume. The catalogue itself, authored by Mimi Cazort, contains eighty entries of works ranging from one of the earliest examples in the collection, Francesco Salviati's Christ Disputing with the Doctors in the Temple, about 1539, to one of its latest, Giuseppe Penone's Untitled (Spoglia d'oro su spine d'acacia [labbra]), 2001. The handsome, full-page colour illustrations of selected works are complemented by a biography of the artist and a brief discussion of the featured drawing, together with the appropriate [End Page 241] information on media and provenance. The works are well selected and give an impression of the scope of the museum's holdings, the ongoing challenges of attribution (recognizing and dismissing some of the more wishful names assigned by Phillips and Lea), and the range of genre and technique. Highlights include Guercino's Samson and Delilah, Giovanni Benedetto Castiglione's Melancholia, Giovanni David's Allegory of the Artist on the Verge of Death, and Luigi Sabatelli's The Madness of Orlando. Perhaps the gem of the collection is Giuseppe Cades's coloured drawing Armida Gazes on the Sleeping Rinaldo (about 1785), a hauntingly enigmatic piece, whose true subject is still open to debate, and one that explores the emotional boundaries between love and death. Cades was a favourite of Clark's, whose stature as a historian and collector surely motivated the acquisition of this piece in 1990. Somewhat expectedly, the catalogue reveals a reduction in the quantity and slight dip in the quality of drawings outside the eighteenth century when compared to other collections showcased in the series I grandi disegni italiani. At times the biographies outweigh the actual discussion of the object, and in the cases of well-known artists, the reader may be left wanting more...

Italian master drawings at the Philadelphia Museum of Art

Italian master drawings at the Philadelphia Museum of Art

The stylus revealed: A metalpoint identification study of fifteenth-and sixteenth-century Italian drawings in the Metropolitan Museum of Art

Summary In a two-part study, X-ray fluorescence spectrometry (XRF) and multispectral infra-red reflectography (MSIRR) were evaluated as metalpoint identification techniques. The compositions of metalpoints and ground layers in seven Italian drawings in The Metropolitan Museum of Art collection dating from the turn of the sixteenth century were determined using XRF. The drawings studied are attributed to Leonardo da Vinci, the Leonardo School, Filippino Lippi, Pietro Perugino, Circle of Pietro Perugino or Raphael, Circle of Domenico Ghirlandaio, and Pier Francesco Foschi. Each drawing was also analysed using MSIRR. The protocol followed for each analytical method is described. Results indicate that XRF can identify inclusions in metalpoints as well as the primary metal. MSIRR results suggest that inclusions affect the nature of the base metal to absorb infra-red light. The inclusions detected reflect contemporary metallurgical practices. The possibility and implications of considering stylus composition as an aid to attribution are mentioned.

Italian drawings before 1600 in the Art Institute of Chicago: a catalogue of the collection

Preface Acknowledgments Introduction Notes to the Reader Abbreviations Color Plates Catalogue Comparative Illustrations and Selected Versos Concordance Bibliography Index of Artists Index of Previous Owners Index of Related Works

Italian fifteenth- to seventeenth-century drawings

This book is the fourth to be published in a series of volumes that will be the first complete scholarly catalogue of the Robert Lehman Collection at the Metropolitan Museum of Art--a collection of paintings, drawings, and decorative-arts objects that possesses in itself the breadth and quality of a major museum. The 116 Italian drawings analyzed and discussed in this volume are largely from the fifteenth and sixteenth centuries. They include an elaborate design for an equestrian monument by Antonio Pollaiuolo, a magnificent study of a bear by Leonardo da Vinci, a cartoon by Luca Signorelli, a study for a vault fresco by Taddeo Zuccaro, and a number of other drawings that are among the best Italian examples to have survived from this period.

18th Century Italian Drawings in the Metropolitan Museum of Art

18th Century Italian Drawings in the Metropolitan Museum of Art