Related Papers
New Perspectives on Quattrocento Painting in Venice: Lazzaro Bastiani and his Workshop
Gianmarco Russo
Lazzaro Bastiani distinguishes himself as one of the most interesting yet less considered fifteenth-century Venetian painters. Noted in San Lio since 1456, where he seems to have settled with his workshop, Lazzaro enjoyed widespread appreciation among his contemporaries, as demonstrated by the importance of commissions and documentary evidence. Nevertheless, scholarly focused on rival artistic families, such as those of Vivarini and Bellini, academics have not sufficiently stressed the importance of Bastiani’s course for the development of Venetian painting in the second half of the Quattrocento. This paper deals with a reexamination of the artist’s career from the seventh to the ninth decade of the fifteenth century, specifying some new aspects regarding style and chronology and discussing the relationship between some autographs pieces and bottega works, with particular attention to the reuse practice of the same cartoons for different oeuvres. As a result, archaisms and medieval legacy seem to confirm the workshop culture in which Bastiani’s painting arose.
Memorializing the Individual in Renaissance Florence: the altana frescoes in Palazzo Rucellai
Katharine Stahlbuhk
The Renaissance Society of America. Annual Meeting, Berlin 2015
Nere Jone Intxaustegi Jauregi
Producing Classicism, motif by motif (Renaissance Society of America Conference)
Jason Nguyen
This paper considers the emergence of French academic classicism in architecture alongside several legally sanctioned building practices in late 17th-century Paris, including newly regulated methods of funding, construction, and speculation. As opposed to the representational dictates of French Classicism, which granted intellectual authority to historical precedents and mathematical principles, these procedures tested, quantified, and gambled on architecture as a material reality. As a construction site, the Place des Victoires (1685-1694) by Jules Hardouin-Mansart, among others, proves a particular potent case study: Proposed and partially funded by the Duke of La Feuillade to house a royal sculpture by Martin Desjardins, the project involved a complex web of architects, sculptors, craftsmen, and entrepreneurs practicing throughout the speculatively developing quarter of the Butte St.-Roch. That the place royale – circular in form and ordered in its ensemble of details – was frequently subject to theoretical analysis proves its engagement with the classical model. This paper, therefore, examines the means by which the period’s regulated practices of construction and finance (a process that might best be described as “classicism-in-production”) continually interacted and intervened in the conceptualization and edification of classicism at the end of the Grand Siècle.
Bentvueghels on Display. Genesis of Domenicus van Wijnen’s Paintings representing the Netherlandish Schildersbent in Rome, session “Rome and Visual Culture I”, The Sixty-First Annual Meeting of the RSA (Renaissance Society of America), Berlino, 26 marzo 2015.
Tania De Nile
“The stump him lefte”: Sacraments, Spenser’s Dragon, and the Thirty-Nine Articles of Faith
2022 •
Dan Mills
The early Lombardy region in Vasari’s first edition of the Lives.
daniela viggiani
Traditions of Monochrome and Polychrome Sculpture
2015 •
Elisabeth Sobieczky
Paper presented at "The Renaissance Society of America. Annual Meeting, Berlin 26-28 March 2015" at the panel "Plain White? Questioning Monochromy in Early Modern Sculpture and Plasterwork", organized by Kirsten Lee Bierbaum and Claudia Lehmann, see panel # 10342, page 141. The paper focusses on traditions of monochromy as well as of polychromy in sculpture since medieval times. The phenomenon to consciously confront monochrome with polychrome sculpture is not completely a new development in early modern era, but has its medieval precedents in various settings. The paper will show to what degree early modern decisions respective choosing monochromy over polychromy do reflect an evaluation of the earlier works, how sculpture in general was evaluated, and also how an idealized concept of antiquity was influential. The role of new art technological developments will be pointed out, especially how their ability to imitate precious monochrome materials responds to new artistic needs, leading to a discussion of material iconography and of esthetics. Published as "White in Medieval Sculpture Polychromy - Iconography, Reception, Restoration", see PAPERS
27.03.2015: “Sculture sciocchissime – Sculture excellentissime”. Style and Classical Viewpoints Concerning Urban Roman Battle Reliefs
Michail Chatzidakis
Berlin, Humboldt Universität zu Berlin, Annual Meeting of the Renaissance Society of America: Panel “Renaissance Transformations of Antiquity VII: Allelopoietic Transformations of Roman battle scenes”
"'Habemus paulum': Reconstructing the Florentine Church of San Paolino", Annual Meeting of the Renaissance Society of America (Berlin, March 2015)
Alexander Röstel
Scholars of Botticelli's Munich Pietà, which is known to have come from the Florentine church of San Paolino, often noted the lack of information concerning the fabric of the church prior to its destruction in the second half of the seventeenth century. In light of Poliziano's and Lorenzo de' Medici's active involvement, this lacuna has been particularly regrettable. Based on newly discovered archival documents, this paper will reconstruct this important Florentine priory. Investigating the architecture, interior decoration and patronage networks, it will reinstate San Paolino within its urban context and shed new light on the setting of the high altarpiece.
