Narrow your search

Library

Rubenshuis (6)

KBR (3)

KMSKA (2)

KU Leuven (2)

MSK (2)

UCLouvain (1)

ULB (1)

ULiège (1)

VUB (1)


Resource type

book (7)


Language

English (4)

German (2)

Spanish (1)


Year
From To Submit

2021 (2)

2017 (1)

2015 (1)

2002 (1)

2000 (1)

More...
Listing 1 - 7 of 7
Sort by

Book
Alte Texte in neuem Gewand : zur Relevanz moderner Editionen und Neuübersetzungen kunsthistorischer Quellenschriften : der Fall Malvasia
Author:
Year: 2015

Loading...
Export citation

Choose an application

Bookmark

Abstract


Book
Drawing tradition : Malvasia, Alfonso Lombardi, and the use of models in Bologna
Author:
Year: 2021

Loading...
Export citation

Choose an application

Bookmark

Abstract

Malvasia's life of the Carracci : commentary and translation
Authors: ---
ISBN: 0271018992 Year: 2000 Publisher: University Park, PA Pennsylvania State University

Loading...
Export citation

Choose an application

Bookmark

Abstract


Book
La pintura boloñesa en el Prado : tras las huellas de Malvasia como crítico de la pintura: cátedra Museo del Prado
Author:
ISBN: 9788416160983 Year: 2017 Publisher: Madrid Arada editores

Loading...
Export citation

Choose an application

Bookmark

Abstract

Guido Reni (1575-1642) : Funktion und Wirkung des religiösen Bildes
Author:
ISBN: 3795414083 Year: 2002 Volume: Band 3 Publisher: Regensburg Schnell & Steiner


Book
Lives of Francesco Francia and Lorenzo Costa
Authors: --- --- --- --- --- et al.
ISBN: 9781909400665 9781905375844 1905375840 9781909400641 9781909400658 9781909400009 1909400009 1909400645 1909400661 1909400653 9781909400672 9781909400689 9781912554799 1909400688 1912554798 190940067X 9781909400696 1909400696 Year: 2021 Publisher: London Harvey Miller Publishers, an imprint of Brepols Publishers

Loading...
Export citation

Choose an application

Bookmark

Abstract

In Bologna, Giorgio Vasari’s maniera moderna is inaugurated through the art of the goldsmith-painter Francesco Francia (c.1447–1517). Malvasia assimilates the beginning of this new era with the end of night and the crack of dawn, when never before seen colors are revealed to the eyes with extraordinary intensity. In his life of Francia, Vasari had acknowledged the role of precursor played by this Bolognese master in the history of Italian painting. By the same token, he had tarnished Francia’s reputation by alleging that he had died soon after unpacking Raphael’s Ecstasy of Saint Cecilia upon its arrival in Bologna. His death, Vasari insisted, was a moment of reckoning: it was then that Francia recognized his artistic inferiority and damnation with regard not only to Raphael, but also to the highest achievements of the maniera moderna. Aware of the historical validity of Vasari’s account, Malvasia “lifted” it wholesale into his Felsina pittrice, but not without bringing its author to trial by examining his biased testimony in light of the rich documentary evidence he had gathered against his narrative. Equipped with the most refined tools of forensic eloquence, seething with outrage, Malvasia is at his best in challenging Vasari’s historical distortions and prejudices not only in connection with Francia, but also his disciples, Timoteo Viti (1469–1523), Lorenzo Costa (1460–1535), and Giovanni Maria Chiodarolo (1480–1530). Denouncing Vasari’s silence about the works and importance of Francia’s progeny––in particular Giacomo (1484–1557) and Giovan Battista Francia––Malvasia explains how the activity of these masters promoted the education and social status of painters in Bologna before the foundation of the Carracci Academy in 1582. Illustrated with numerous color images (many of them taken expressly for this publication), this volume provides a critical edition and annotated translation of Malvasia’s lives of Francia and his disciples, among them prominently Costa. The integral transcription (for the first time) in this volume of Malvasia’s preparatory notes (Scritti originali) to the lives of Francia, Costa, and Chiodarolo presents important material that could foster the study of Bolognese painting in the age of humanism under the rulership of the Bentivoglio.

Listing 1 - 7 of 7
Sort by