Pietro Perugino Research Articles

Perspective Studies on Perugino’s and Raffaello’s Painted Architecture

The architecture that the Renaissance artists depicted in their works constitutes a vast reservoir of formal solutions that influenced (and were reciprocally influenced by) built architecture. Generally painted according to a rigorous perspective structure, most painted architecture can be restituted and modelled to become part of the Virtual Heritage that develops and extends its knowledge to a wider range of people and scholars. These procedures are here applied to some of the works of Pietro Perugino and Raffaello, a master and his student, in order to define their specific approach to composition, perspective, and architecture. The application of these procedures produced some primary results—the architecture restitutions in plan and elevation or section—and some secondary results concerning the way painted architecture was conceived, represented in perspective, and received as well as it was related to actual architecture.

Pietro Perugino’s atopic facial dermatitis

Pietro Vannucci (ca. 1450 - 1523), better known as Pietro Perugino, was one of the most brilliant Italian Renaissance painter working in Rome, Florence, and Perugia. The sense of spaciousness and the compositional clarity of his painting anticipated the ideals of High Renaissance [1].

Andrea Verrocchio and His Followers: An Exhibition

Fifty exceptional works of Andrea del Verrocchio (1435‐1488) are on exhibit at the National Gallery of Art in Washington DC. This important exhibit has sculpture, paintings and drawings of one of the most important Renaissance Masters of the fourteenth century. While considered foremost a master sculptor along with Donatello and Michelangelo, he was also noted for his important innovations in painting. As teacher, his workshop was the most important in Florence, and included the young Leonardo da Vinci, Pietro Perugino and Sandro Botticelli. His David and Boy with Dolphin are just of few of the masterpieces included in this important exhibition, which covers a full range of his contributions and will remain on view until January 12, 2020. This is the only opportunity to see this powerful collection in this country as it returns immediately to Italy.

«Вознесение Девы Марии» Пьетро Перуджино из алтарной композиции для церкви Сантиссима-Аннунциата во Флоренции: метод работы мастерской и репутация живописца

The Assumption of the Virgin (1505–1507), created by Pietro Perugino for the altar of theSantissima Annunziata Cathedral in Florence, was, according to Giorgio Vasari, a very painful episode in the career of the master. Younger colleagues of Perugino claimed that he used for this composition some figures that they had already met in his other works. After this incident, the artist did not get a single large order either in Florence, or in his native Perugia. It is worth saying that Perugino borrowed the creative method of reusing cartoons from his teacher Verrocchio and successfully applied it throughout his career. Seldom attention is paid to this Florentine tradition as a clue to the artistic apprenticeship in a workshop; it is often used to separate some groups of monuments. In this case, the source of citation was the altar of the Church of San Pietro in Perugia (1496–1499, Lyon Museumof Fine Arts), which was also used in other works of Perugino’s workshop.The article is aimed at the problem of reusing compositions created in different Renaissance workshops. The study of the changes in these compositions sheds light on Pietro Perugino’s oeuvre and on changes in the artistic taste at the turn of the 15th–16th centuries.

Repetition, Variation, and the Idea of Art in Renaissance Italy

When Pietro Perugino completed his altarpiece for Santissima Annunziata in Florence in 1507, he was criticized by local artists for having simply repeated old motifs and compositional formulas. The moment has always been recognized as marking an important transition, the emergence of an idea of art in which inventive originality plays an essential role. Yet the distinction between repetition and variation was contested and might even be creatively thematized in artistic practice. Raphael, especially evidently in his early Madonna pictures, developed an inventive technique involving maximally efficient variation – variation just sufficient to inflect meaning – that was appreciated as such by patrons and understood to be a “poetic” strategy, similar to the kinds of variations admired by Pietro Bembo in the poetry of Petrarch. Raphael’s approach helps to explain the “canonical” or “classical” quality admired even in his monumental narrative pictures.

Quality, Demand, and the Pressures of Reputation: Rethinking Perugino

What is the economic meaning of reputation? The associations that existed among reputation, demand, production, and price in the careers of popular Renaissance painters are complex. A body of written, visual, and analytic material from about 1500 concerning the painter Pietro Perugino makes it possible to investigate these interrelations and to explore the strategies that arose to deal with the demand that resulted from fame. Reputation and demand together exerted immense force on production practices, and this pressure had significant effects on the quality of works of art, regardless of price.

The combined use of lead–tin yellow type I and II on a canvas painting by Pietro Perugino

This article reports the first occurrence of the combined use of lead and tin yellow type I and type II identified on the same paint layer. The two forms have been identified by Raman microscopy on a green layer from the background of the painting Gonfalone della Giustizia (confraternity of Justice banner) executed at Perugia around 1496 by Pietro Perugino.

The cabinet of Eros: Renaissance mythological painting and the studiolo of Isabella d'Este

The Renaissance studiolo was a space devoted in theory to private reading and contemplation, but at the Italian courts of the fifteenth century, it had become a space of luxury, as much devoted to displaying the taste and culture of its occupant as to studious withdrawal. The most famous studiolo of all was that of Isabella d'Este, marchioness of Mantua (1474--1539). A chief component of its decoration was a series of seven paintings by some of the most noteworthy artists of the time, including Andrea Mantegna, Pietro Perugino, Lorenzo Costa, and Correggio. These paintings encapsulated the principles of an emerging Renaissance artistic genre--the mythological image. Using these paintings as an exemplary case, and drawing on other important examples made by Giorgione in Venice and by Titian and Michelangelo for the Duke of Ferrara, Stephen Campbell explores the function of the mythological image within a Renaissance culture of readers and collectors.

ALTARPIECES AND AGENCY: THE ALTARPIECE OF THE SOCIETY OF THE PURIFICATION AND ITS ‘INVISIBLE SKEIN OF RELATIONS’

To consider the Renaissance altarpiece as an active social force, this article draws on ideas concerning the efficacy of works of art articulated by Alfred Gell in his compelling book Art and Agency (1998). Considering as a case study the altarpiece depicting the Virgin enthroned with saints and angels, commissioned by the Florentine Confraternity of the Purification in 1461 and painted by Benozzo Gozzoli, the text investigates the network of relationships that generated the work, including the confraternity's association with the Virgin, the Medici family, the convent of the Observant Dominicans, the citizens of Florence and the painters Fra Angelico and Benozzo Gozzoli. The essay argues that Renaissance altarpieces played a dynamic and practical role in the social life of the period. Moreover, it contends that altarpieces themselves were causal in the creation of works of art, and links this analysis to the problem of interpreting altarpieces that were made to be pictorially similar to an already existing work. Michelle O'Malley is the Director of the Office for Research Support in the School of Humanities at the University of Sussex; previously she was the Head of Education for Exhibitions at the Royal Academy of Arts, London. Her published work includes The Business of Art: Contracts and the Commissioning Process in Renaissance Italy (Yale University Press, forthcoming 2005) and The Material Renaissance, co‐edited with Evelyn Welch (Manchester University Press, forthcoming 2007). She is currently working on issues of valuing and pricing, focusing on the career of Pietro Perugino. Her interest in questions of agency is related to this topic.

The Renaissance fifth finger * Authors' response

Dr Hijmans and Dr Dequeker (November 2004 JRSM1) have presented five 15th century paintings by Dirk Bouts (1410–1475) and his son, Albrecht. Each of these portrays a woman with a distinct deformity of one or both fifth fingers. They have proposed that a single sitter for all of these portraits had camptodactyly, a congenital, often hereditary, fixed flexion of the proximal interphalangeal (PIP) joint of the fifth finger but without flexion of the distal interphalangeal (DIP) joint. This is accompanied by compensatory hyperextension of the metacarpophalangeal joint.2 This conformation of the fifth finger is not physiological. That is, most people cannot flex the PIP joint of the fifth finger without also flexing the DIP joint. It is reasonable, then, to suggest a pathological basis for the fingers in the portraits. Hijmans and Dequeker dismiss ‘mannerism’ as an explanation, having found no such anomalies in works by other artists of the time. However, I have come across several camptodactyly-like hands in The Metropolitan Museum of Art. Some examples are shown in Figure 1. The artists are, reading left to right from top to bottom, Gerard David (1455–1523), Fillipo Lipi (1406–1469), Hans Memling ((1430–1494), Pietro Perugino (1448–1523), Cosimo Roselli (1439–1507), and Luca Signorelli (1445–1523). It seems that both northern and southern European artists from roughly 1420 to 1520 used this unphysiological affectation, perhaps to imbue the hand with a certain delicacy and grace. Figure 1 Renaissance hands from the Metropolitan Museum of Art I suggest that Dirk Bouts and his son were not using a sitter with a pathological deformity, but were simply following the fashion of the time.

A digital technique for art authentication.

We describe a computational technique for authenticating works of art, specifically paintings and drawings, from high-resolution digital scans of the original works. This approach builds a statistical model of an artist from the scans of a set of authenticated works against which new works then are compared. The statistical model consists of first- and higher-order wavelet statistics. We show preliminary results from our analysis of 13 drawings that at various times have been attributed to Pieter Bruegel the Elder; these results confirm expert authentications. We also apply these techniques to the problem of determining the number of artists that may have contributed to a painting attributed to Pietro Perugino and again achieve an analysis agreeing with expert opinion.

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.

The Interaction of Painting and Sculpture in the Art of Perugino

Pietro Perugino was one of the most important painters of the Italian Renaissance, yet his career reveals a significant debt to the art of sculpture. The artist regularly utilized sculptures to assist in the design of paintings, and he enjoyed profitable working relationships with many individual sculptors. Perugino looked to sculpture both as a source of inspiration and for its practical value in the studio for study, teaching, and as a source of models. Perugino particularly studied works by Verrocchio, Pollaiuolo, Donatello, and Jacopo Sansovino. His professional interaction with practicing sculptors also proved significant, especially his association with Verrocchio and his rental of a studio in Florence from the heirs of Lorenzo Ghiberti. This studio, called le porte, was still active, in part, as a sculpture workshop and contained sculpture collected from various ages. With the help of recently discovered documents and a reconsideration of various works of art, this study of Perugino highlights the natural interconnection between painting and sculpture (and painters and sculptors) in the Italian Renaissance workshop.

Reviews of Exhibitions

Making and Meaning: Holbein's Ambassadors, National Gallery, London, 5 November 1997‐1 February 1998.Pietro Perugino: Master of Italian Renaissance, The Grand Rapids Art Museum, Grand Rapids, 16 November 1997‐1 February 1998.Sumptuosa tabula picta: Pittori a Lucca tra gotico e rinascimento, Museo Nazionale di Villa Guinigi, Lucca, 28 March‐5 July 1998

Pietro Perugino: master of the Italian Renaissance

Pietro Perugino: master of the Italian Renaissance

Dibujos y grabados en el proceso creador de Fernando Yáñez

The meaning of some of the drawings and engravings in Fernando Yanez's work is widely analyzed. Some of drawings, published by Dominique Cordellier and conserved in the Louvre, as well as in Berlin Museum (Kupferstichkabinett), is the matter of this study. Likewise the original designs by Antonio del Pollaiolo and Pietro Perugino, that had been copied down by Yanez and other painters belonging to his own art circle, or merely by some other of his contemporary artists, are examined.

What Eye Movement Research Tells Us about Perceptual Behavior of Children and Adults: Implications for the Visual Arts

record of eye fixations and movements is an objective measure of an individual's involvement with an art object. This review of eye movement research reveals distinct patterns of viewing behavior which are determined by the age of the viewer, the type of visual material, nature of the problem confronting the viewer, and the structure of the object. Strategies to employ, alter, or measure the effect of these behaviors are important to learning and research in the visual arts. Eye movement research over the last forty-five years provides evidence that some general characteristics of eye movement behavior can be identified for children and adults while viewing works of art and pictures. perception of an art object occurs so rapidly that the individual is unaware of the many eye movements and fixations used to scan the surface of the object. record of eye movements and fixations is an objective measure which can help in understanding the perceptual process with works of art. Descriptions of the relationship of eye movements and perceptual response to works of art can be found in the art literature. Bevlin (1971) describes John Sargent's painting The Daughters of Edward Darley Boit in the following manner: The two strong groupings of standing figures are balanced by the seated child. Our eyes are led to the child by the downward sweep in the aprons on the older sisters (p. 246). Taylor (1957) outlines a viewing pattern concerning Pietro Perugino's painting The Crucifixion with Saints: our eyes tend to relate similar colors. Further, strong contrasts, whether of hue or of value,

Renaissance Painting at the Morgan: Miniatures in Context?

The exhibition Renaissance Painting in Manuscripts: Treasures from the British Library, held recently at the Pierpont Morgan Library, afforded an opportunity to study some of the most splendid illuminated manuscripts produced in Flanders, Italy, and France during the century after the invention of printing, from roughly 1450 to 1560. The core of the exhibition consisted of twenty-five books, of which twenty-four are manuscripts and one a printed book, all generously lent by the British Library in London. These include magnificent works attributed to the painters Simon Marmion, Gerard David, and Simon Bening, in Flanders; Pietro Perugino, Attavante degli Attavanti, and Giulio Clovio, in Italy; and Jean Fouquet, Jean Bourdichon, and Jean Perréal, in France.

A Master-painter and his Pupils: Pietro Perugino and his Umbrian Workshop

A Master-painter and his Pupils: Pietro Perugino and his Umbrian Workshop Get access SYLVIA FERINO SYLVIA FERINO Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 2, Issue 3, October 1979, Pages 9–14, https://doi.org/10.1093/oxartj/2.3.9 Published: 01 October 1979

Pediatrics in art: hydrocephalus.

About 30 years ago Ruhrah published in this journal a number of articles depicting disease states in the models artists used for the infant in their paintings of the Madonna and Child. Among the afflictions discovered by Ruhrah in these models were infantile edema, 1 rickets and exophthalmos, 2 cretinism or mongolism, 3 and muscular hypertrophy. 4 This illustration showing the Madonna and Child, Saints and Angels by Pietro Perugino (1445-1523), the original of which is part of the W. A. Clark Collection at the with the exception of the head, are excellent; this would lead one to suspect that Perugino's model must have been hydrocephalic. Pietro Perugino was the beloved teacher of Raphael and next to his student he was the greatest representative of the Umbrian School. It is interesting to read in Vasari's Lives of the Artists that Perugino, in spite of the religious tone of his paintings,