Related Papers
Comitatus: A Journal of Medieval and Renaissance Studies
From "Art of Memory" to Naturalism: Andrea Alciato and the Development of the Early Modern Emblem
2018 •
Rachel Carlisle
TAYLOR Barry & Alejandro COROLEU (eds.), Brief Forms in Medieval and Reinassance Hispanic Literature, Newcastle upon Tyne : Cambridge Scholars Publishing, 2017, 168-188. ISBN (13): 978-1-4438-9139-4
On the Presence of Alciato’s Emblems in the Work of Baltasar de Vitoria, Disciple of Francisco Sánchez de las Brozas
2017 •
Cirilo García Román
Maria Demidova
Andrea Alciato's "Concordia" Emblem and the Paintings by
2020 •
Maria Demidova
The article puts forward the hypothesis, that an idea of the two famous paintings of the XVII century – “The Surrender of Breda” by Diego Velazquez and “Meeting of the two Ferdinands” by Peter Paul Rubens – was influenced by the emblem “Concordia” from Andrea Alciato’s book. That point of view has already been discussed repeatedly in relation to Velázquez’s painting, but for the first time it is expressed with reference to Rubens’s work. The hypothesis is justified by the analysis of the historical and cultural situation, mainly, by the materials related to the ceremonial entry of Cardinal-Infante Ferdinand to Antwerp in April 1635. The painting “Meeting of the two Ferdinands” has been also considered in the context of the “solemn encounter” type of works, among which it takes particular place due to its emphasized centerpiece – handshake, symbolic motif, derived from the Roman antiquity. The new interpretation turns the emblem “Concordia” into a connecting link between the two works by Rubens and Velázquez. It adds justification for the standpoint of the researchers, who wrote about the formal proximity of the two paintings. Both artworks were created at the same time (1634–1635), and their pointed relationship seems to be deliberate, although it remains unclear, how two artists could learn about each other’s ideas. The article offers an answer to the long-posed question: why the significant handshake motif, taken from the “Concordia” emblem, is missed in Velázquez’s painting. The analysis of the work by the Spanish painter brings to light the complex allegorical composition, hidden behind the realistic manner of that historical canvas. The revealed distinction in regard to the mentioned emblem indicates the clandestine polemical position of the younger artist, who might deliberately take a similar theme after his older colleague, but made a completely different interpretation.
“Dosso Dossi’s Jupiter Painting Butterflies: Artistic Rivalry and Imitation in Renaissance Ferrara.” Artibus et Historiae, 41, 82 (Dec., 2020), 187-209.
2021 •
James R Jewitt
The present essay re-examines Dosso Dossi’s remarkable Jupiter Painting Butterflies (c.1524, Wawel Royal Castle, Cracow), almost certainly made for Duke Alfonso I d’Este in Ferrara, proposing a novel reading of its enigmatic subject-matter as an allegory of painting. In a picture so clearly about artistic production, ironically, scholars have mostly lost sight of the visual milieu in which Dosso’s work once existed. Key questions regarding the picture’s initial location and display have received scant attention. This study seeks to recuperate that by reinserting the Jupiter into the rigorously planned ensemble of works ordered for Alfonso’s galleries. It begins by connecting the Wawel Jupiter’s allegorical imagery to burgeoning art theory in Italy from the fifteenth to sixteenth century, in particular the paragone, or rivalry between media in the visual arts. Fundamental to its pictorial structure is the humanist poetics of imitatio that spurred competition in Ferrara among resident artists and eruditi, but also between modern and classical models. What emerges is a clearer sense of the multifarious artworks with which the Dossi workshop sought to engage. These ranged from esteemed ancient prototypes and rare antiquities unattainable by Duke Alfonso, to contemporary art collections formed in Ferrara and at the neighboring Gonzaga court in Mantua. Ultimately, a new display location is proposed for Dosso’s Jupiter Painting Butterflies: the Camerini d’Alabastro of the Via Coperta. Installed here, nearby artworks Alfonso painstakingly assembled from Giovanni Bellini, Titian, Antonio Lombardo, and others, its imagery joined the dynamic dialogue with ancient and modern artistry across media. Finally, Dosso’s unusual depiction of a rainbow is linked for the first time to scientific inquiry in Ferrara, where its vivid meteorological imagery further celebrated painting’s superiority as a discursive and poetic medium.
REVIEW: Francis Ames-Lewis, The Intellectual Life of the Early Renaissance Artist. New Haven and London: Yale University Press, 2000; Robert Williams, Art, Theory, and Culture in Sixteenth-Century Italy: From Techne to Metatechne. Cambridge and New York: Cambridge University Press, 1997, in The Art Bulletin LXXXIII (2001), 150-153.
Stephen J. Campbell
The Burlington Magazine
Review: Giancarlo Fiorenza, Dosso Dossi. Paintings of Myth, Magic, and the Antique
2010 •
Arvi Wattel
Review: Giancarlo Fiorenza. Dosso Dossi: Paintings of Myth, Magic, and the Antique, in Sixteenth Century Journal, Vol. 41, No. 3 (Fall 2010): 921–22.
Arthur J . DiFuria
Shifting our vision: reading Early Modern emblems in the 21st Century
2011 •
Alvaro Llosa
espanolSe propone una edicion digital de un emblema de Alciato usando la interactividad que proporciona la pantalla de ordenador. Se requiere un lector activo que investiga y explora enlaces y anclajes para descifrar el significado profundo del mecanismo iconico y simbolico. Este significado se experimenta como lectura visual a la vez que como exploracion de la geografia iconica del emblema. EnglishThis article proposes a digital edition of an early modern emblem by Alciato using the interactivity of the screen. It requires an active reader who seeks and explores links and nchors in order to decipher the specific and deeper meaning of this iconic and symbolic device. Such a meaning is experienced as a visual reading as well as an exploration of the iconic geography of the emblem itself
Brill: Brill's Studies on Art, Art History, and Intellectual History
Andrea del Sarto: Splendor and Renewal in the Renaissance Altarpiece (Introduction Proofs)
2020 •
Steven J Cody
Over the course of his career, Andrea del Sarto (1486–1530) created altarpieces rich in theological complexity, elegant in formal execution, and dazzlingly brilliant in chromatic impact. This book investigates the spiritual dimensions of those works, focusing on six highly-significant panels. According to Steven J. Cody, the beauty and splendor of Andrea’s paintings speak to a profound engagement with Christian theories of spiritual renewal—an engagement that only intensified as Andrea matured into one of the most admired artists of his time. From this perspective, 'Andrea del Sarto: Splendor and Renewal in the Renaissance Altarpiece' not only shines new light on a painter who has long deserved more scholarly attention; it also offers up fresh insights regarding the Renaissance altarpiece itself.
"Entre livre d’emblèmes et iconologie: Daniel de la Feuille, Essay d'un dictionnaire...", 11e congrès international de la Society for Emblem Studies, Nancy, Faculté de droit, 3-7 juillet 2017 (Programme).
Chloé Perrot
