Tag: Italian Art

Book Launch | Baroque Naples and the Industry of Painting – Dr Christopher R. Marshall | Ian Potter Museum of Art

Book cover of Baroque Naples and the Industry of Painting: The World in the WorkbenchBy Dr Christopher R. Marshall

Baroque Naples and the Industry of Painting: The World in the Workbench | Dr Christopher R. Marshall Date: Thursday 20 Oct 2016, 6.00- 8.00pm Venue: Ian Potter Museum of Art, Swanston St, University of Melbourne, Parkville Free but RSVP essential: http://www.art-museum.unimelb.edu.au/public-programs/current-events/prgm-date/2016-10-20/prgm/book-launch-baroque-naples-and-the-industry-of-painting-the-world-in-the-workbench Join Dr Gerard Vaughan AM, Director, National Gallery of Australia for the Melbourne launch of Baroque Naples and the Industry of Painting: The World in the Workbench by Dr Christopher R. Marshall. In Baroque Naples and the Industry of Painting, Marshall presents a new reading of seventeenth-century Italian Baroque art that explores the social, material, and economic history of painting, revealing how artists, agents,…

Wednesday News Round Up | 1st June 2016 |

The rediscovered portrait of Costanza Sforza by Bolognese painter Lavinia Fontana. The sale by Uppsala Auktionskammare takes place 14 June 2016. Credit: Uppsala Auktionskammare

The rediscovery of a portrait by Lavinia Fontana (1552-1614) was announced this week. As announced on the Villa Ludovisi website the subject shows “Costanza Sforza of Santa Fiore (1560-1617), wife of the Duke of Sora, Giacomo Boncompagni (1548-1612). Giacomo himself was the legitimated son of Ugo Boncompagni = Pope Gregory XIII (1505-1572-1585). So at the time of her marriage in 1576—at the Apostolic Palace in the Vatican, with the whole College of Cardinals in attendance—Costanza Sforza found herself in the unusual position of daughter-in-law to a reigning Pope.” Plans for a Ballarat Biennale of Australian Art that would ‘draw in…

Lecture | The Pleasures of Allegory: Rethinking ‘Susanna and the Elders’ – Patricia Simons | University of Melbourne

Image: Tintoretto, Susanna and the Elders. Circa 1555. Vienna, Kunsthistorsiches Museum.

‘Susanna and the Elders’ is commonly read as a case of male voyeurism, in subject and purpose, or as mere moralizing allegory. This lecture moves away from each reductive extreme by re-examining the story’s history and visual effect. Professor Patricia Simons is Professor of Art History, University of Michigan. Her field of study includes the art of Renaissance Europe (primarily Italy, France and the Netherlands) with a special focus on the representation of gender and sexuality Date: Wednesday 9th March, 5:30–6:45PM Venue: Theatre 1, Alan Gilbert Building, University of Melbourne Free to attend. Registrations can be made on the university website.  

Lecture | Saint Dominic and the Foundation of the Order of Preachers, in Italian Art – Joan Barclay-Lloyd | Newman College

Tomb of St Dominic, Bologna

In the thirteenth century Saint Francis of Assisi and Saint Dominic founded two great mendicant orders – the Franciscans and the Dominicans. The imagery of Saint Dominic (c. 1170-1221) is much less well known than that of Saint Francis. This lecture will show some of its important features. Major works discussed will be the early parts of the tomb or Arca of Saint Dominic, by Nicolo Pisano , c. 1264-67, in Bologna; the Portrait of Saint Dominic with Scenes from his Life by Francesco Traini, c. 1342-5, in Pisa; and the frescoes in the ‘Spanish Chapel’ at S. Maria Novella…

Lecture and Symposium | New Perspectives on Italian and Australian Art History | University of Melbourne

Photo of Gerard Vaughan

A symposium on new perspectives on Italian and Australian Art History at the University next week, with a keynote by National Gallery of Australia Director Dr Gerard Vaughan. Full program for symposium is now available on the website (pdf link). Changing the National Gallery of Australia: re-thinking the installations | Dr Gerard Vaughan In late 2015, the Director of the National Gallery of Australia, Dr Gerard Vaughan announced: ‘We have commenced an ambitious project to transform the experience at the NGA. Every time you visit the Gallery there will be new discoveries as we constantly revitalise the galleries dedicated to…

News and Writing on Art and Art History | June 19th 2015

Rare Bernini Sculpture Surfaces at the Getty
By jori finkel	June 17, 2015 7:52 am June 17, 2015 7:52 am
The bust of Pope Paul V (1621), by Bernini.
The bust of Pope Paul V (1621), by Bernini, now at The Getty. Credit Sotheby’s

A round-up of art news and reviews from the past week. On the saga of federal arts funding good news that Labor, Greens and Independents have combined forces to pass a move for a Senate Inquiry into the National Programme for Excellence into the Arts. The Art Newspaper has published a version of Richard Schiff’s catalogue essay for the exhibition New York Painting at Kunstmuseum Bonn. In the essay Schiff (in what is becoming a sub-genre of arts writing) criticises the critic as having ‘failed painting’. The essay contains a number of insightful observations on the state of criticism and…

Seminar | A New Document for Ghiberti at Santa Maria Novella in Florence | Hugh Hudson

A New Document for Ghiberti at Santa Maria Novella in Florence: The Confraternity of St Peter Martyr between Convent and Commune | Dr Hugh Hudson, University of Melbourne An unpublished reference in a book of the Confraternity of St Peter Martyr in the Archivio di Stato di Firenze shows that Lorenzo Ghiberti was among a group of 27 Florentine citizens who met in early 1414, of whom four were elected captains for the year. This raises a number of questions about confraternal practices in early Renaissance Florence. Did one have to be a member of a confraternity to elect, or…

Melbourne Portrait Group Seminar | Callum Reid, ‘Semper rectus, semper idem: The Uffizi Self Portrait Collection’

Francesco Marchissi, ‘Sala dei Pittori’ (detail), c. 1760. Vienna, Nationalbibliothek

The Uffizi collection of artists’ self-portraits, the majority of which is today secreted away in the Vasari Corridor, is the product of several important events in the history of collecting by the Grand Ducal families in Florence. This paper will discuss the various approaches to the acquisition and display of self-portraits across the Medici and Lorraine Grand-Duchies, their changing locations and their significance to the evolution of the broader gallery. First collected throughout the seventeent century and brought to the Uffizi around the turn of the eighteenth century, in many respects the early programs for their arrangement were an important…

Exhibition Review | Pontormo and Rosso Fiorentino at Palazzo Strozzi and Baccio Bandinelli at The Bargello: an appreciation | Esther Theiler

On the left is Rosso Fiorentino, Madonna and Child with Four Saints (Spedalingo Altarpiece), 1518, oil on canvas, 172 x 141.5 cm., Galleria degli Uffizi, Florence, and on the right Pontormo, Sacred Conversation (Pucci Altarpiece), 1518, oil on canvas, 221.5 x 189.5 cm., Church of San Michele Visdomini, Florence

Pontormo and Rosso Fiorentino: Diverging Paths of Mannerism and Baccio Bandinelli, Sculptor and Master (1493-1560) Reviewed by Esther Theiler Palazzo Strozzi and the Bargello have provided not only welcome respite from the heat in Florence this summer but also rewarding opportunities for appraising the threads of influence of Leonardo da Vinci, Raphael and Michelangelo as they metamorphosed into the style most often characterised as mannerist. The curators at the Palazzo Strozzi have made a considered decision to call this style the “modern manner” rather than mannerism, in accordance, they believe, with sixteenth century usage (even though the English language version…

Melbourne Portrait Group Seminar | Adam Bushby, ‘El Gran Turco: Ottoman Turks in Venetian painting, 1453-1571′

Gentile Bellini (attr.), Portrait of Sultan Mehmet II (1480). National Gallery, London.

Ottoman Turks often appear in Venetian painting between the Turkish conquest of Constantinople in 1453 and the defeat of the Turkish navy by the Holy League at the Battle of Lepanto in 1571. The relationship between the Republic of Venice and the Ottoman Empire is typically understood through commercial trade, naval battles and religious differences. This paper examines the representation of Ottoman Turks in Venetian painting, including portraiture, identifying a trend of increasingly negative representations, and discussing the extent to which pictorial changes reflected political and commercial changes in the Mediterranean. Venue: Dulcie Hollyock Room, Ground Floor, Baillieu Library (Building 177),…

Floor Talks | Italian Masterpieces at the NGV

Mengs and Batoni

See the NGV’s permanent collection in a new light as curators and conservators take visitors through the permanent displays, making connections with artists and works featured in the Italian Masterpieces. Please note these talks are not in the Italian Masterpieces exhibition but held in NGV’s permanent collection. Friday 1 August Renaissance portraiture & personalities: Lucrezia Borgia | Speaker Carl Villis, Conservator of European Paintings before 1800 Friday 8 August Love and marriage in the Italian Renaissance | Speakers Dr Matthew Martin, Curator, Decorative Arts & Antiquities and Sophie Matthiesson, Curator, International Art Friday 15 August Veronese and Tiepolo | Speaker…

Exhibition Review | Italian Masterpieces from Spain’s Royal Court | Katrina Grant

Andrea di Lione Italian 1610–1685 Elephants in a circus (Gli Elefanti in un circo) c.1640 oil on canvas 229.0 x 231.0 cm Museo Nacional del Prado, Madrid (P00091) Spanish Royal Collection

Italian Masterpieces from Spain’s Royal Court, Museo del Prado Reviewed by Katrina Grant The exhibition runs until until 31st August 2014 at the NGV International, St Kilda Rd. This exhibition tells two stories. The first is the story of Italian art from Raphael to Tiepolo and the second is the story of Spanish engagement with Italian art over this period. The exhibition highlights the close artistic relationship between Italy and Spain in the Early Modern period. It includes paintings that were directly commissioned by the Spanish Royal family from such artists as Titian, as well as works collected a century…

Exhibition Review | Veronese: Magnificence in Renaissance Venice | David Packwood

Paolo Veronese (1528-1588) 'The Family of Darius before Alexander', 1565-7 Oil on canvas. 236.2 x 474.9 cm © The National Gallery, London

Veronese: Magnificence in Renaissance Venice David Packwood Veronese: Magnificence in Renaissance Venice is on at the National Gallery, London, 2014 until the 15th June 2014. It was written,  then, on my page in the Book of Fate that at two in the afternoon of the sixth day of June in the year 2014 that I, along with a friend, should attend an exhibition of Paolo Veronese for the first time within the hallowed halls of the London, National Gallery. “Veronese” is no longer just a name to me, or a reproduction in a book, or a digital image floating on…

Lecture and Discussion Series | Italian art and Spanish patronage, 1500-1800 | NGV Melbourne

Titian Italian 1485/90–1576 Philip II (Filippo II) 1551 oil on canvas 193.0 x 111.0 cm Museo Nacional del Prado, Madrid (P00411) Spanish Royal Collection © Museo del Prado 2009

In association with the  exhibition Italian Masterpieces from Spain’s Royal Court, Museo del Prado’  the NGV is presenting a series of lectures on Italian art and Spanish patronage, 1500-1800. The lectures will touch on topics including art and patronage, Renaissance painting, the art of the Italian Baroque, and more. The Saturday lectures will be followed by Monday night Discussion Groups that will take place in the exhibition space. The lectures will be presented by local art historians who are recognised international experts on the history of Italian art and Spanish patronage between 1500-1800 centuries. All lectures take place at 2pm. Saturday…