Revaluing Renaissance Art. (Reviews).Gabriele Neher and Rupert Shepherd, eds., Revaluing Renaissance Art. Rants, UK and Brookfield, VT: Ashgate, 2000. xiv + 42 b/w figs. + 241 pp. $84.95. ISBN ISBN
International Standard Book Number
ISBN International Standard Book Number
ISBN n abbr (= International Standard Book Number) → ISBN m : 0-75460-169-2.
This collection of thirteen essays is concerned with the cultural and economic value systems that shaped the life-histories of Renaissance art objects. The most interesting articles belong to the strand of inquiry that seeks to close the gap separating anthropology from art history. Jo Kirby's study of pigments, for example, demonstrates that even the "intrinsic" value of an artist's material is determined by circumstance. Ultramarine ultramarine, blue pigment used chiefly as a coloring material and as a bluing agent. A double silicate of sodium and aluminum with some sulfur, it is prepared commercially from kaolin, sulfur, soda ash, and other inexpensive ingredients. blue and red lake were dear because of the scarcity of natural resources, the difficulty of their import, and the skill needed to manufacture the pigments. When a Florentine painter journeyed to Venice to purchase a high-grade blue, he was going to fetch lapis lazuli lapis lazuli (lăp`ĭs lăz`lē), gem, deep blue, violet, or greenish blue in color and usually flecked with yellow iron pyrites. that had been quarried in the remote mountains of Badakhshan (Afghanistan) whence the material traveled to Baghdad, Constantinople, and then to Venice, where a delicate procedure was undertaken to separate pigment from the impurities of the stone. The high cost of superior pigment meant that both painter and client were educated in a particular aesthetic system of color not of the white race; - commonly meaning, esp. in the United States, of negro blood, pure or mixed.
See also: Color . Likewise, Lorenzo Lotto's characteristic reds required a complex production beginning with insect secretions imported from India that were made into dye for cloth. The expensive pigment was finally extracted from leftover shearings of dyed cloth and bound with a medium to paint such glorious passages as the Madonna's dress in the Mystic Marriage of Saint Catherine for Niccolo Bonghi in Bergamo.
According to according to
1. As stated or indicated by; on the authority of: according to historians.
2. In keeping with: according to instructions.
3. Neher and Shepherd, their project of "revaluing" (or reconsidering the spectrum of values attached to works of art) includes looking at women's history ''This article is about the history of women. For information on the field of historical study, see Gender history.
Women's history is the history of female human beings. Rights and equality
Women's rights refers to the social and human rights of women. and "low" art. In this vein, Evelyn Welch explores the historical biographies of sleeves as they passed from one owner to another. It is well known that sleeves were regulated by sumptuary laws sumptuary laws (sŭmp`chĕ'rē), regulations based on social, religious, or moral grounds directed against overindulgence of luxury in diet and drink and extravagance in dress and ; and it is clear -- from Salome in the Venetian Baptistry to Raphael's Donna Velata -- that sleeves were a women's issue, expressing feminine allure as well as conspicuous wealth. Welch's research on the refashioning of sleeves and their mobility in society is particularly interesting. She seems to follow Arjun Appadurai's precept An order, writ, warrant, or process. An order or direction, emanating from authority, to an officer or body of officers, commanding that officer or those officers to do some act within the scope of their powers. Rule imposing a standard of conduct or action. that in analyzing the trajectories of "things in motion" we discover their meanings. We learn that the gifting of sleeves and cloaks frequently transcended the barriers of social caste and even of secular (dress) versus ecclesiastical (altar) display. In a general way, her findings support Pierre Bordieu's theory that even when gi ft giving appears most disinterested, the act was never truly divorced from economic knowledge. As Dennis Romano has shown, in a pioneering article in this journal (RQ XLVI 4 Winter 1993), Renaissance gifts involved reciprocity that solidified allegiance in social relationships; they were important for what they did as well as what they were.
Household Madonnas represented a substantial cultural production in Renaissance Italy, and Jacqueline Musacchio looks at these devotional objects from the point of view of the consumer. Drawing upon the inventories of the Magistrato dei Pupilli, she finds that Madonnas, as commodities, could be classified as Venetian, Greek, Spanish, French, or as copies of celebrated icons such as the Madonna of Loreto. Among other details presented here it is fascinating to imagine Alessandro Gondi gloating over the low price he paid for a beautiful Madonna from the confiscated con·fis·cate
tr.v. con·fis·cat·ed, con·fis·cat·ing, con·fis·cates
1. To seize (private property) for the public treasury.
2. To seize by or as if by authority. See Synonyms at appropriate.
adj. estate of Piero de' Medici Piero de' Medici may refer to one of the following people.
There were two Medici known as Piero de' Medici:
Charles M. Rosenberg's spirited contribution on Alfonso d'Este, Michelangelo, and "the man who bought pigs," shows the way mainstream intellectual capital could be subverted by local knowledge. Duke Alfonso d'Este, proud of his collection of Titians, had longed for a work ("any work") by Michelangelo since visiting him on the scaffolding of the Sistine Chapel in 1512. When in 1530 Alfonso finally sent an agent to Florence to receive Michelangelo's Leda and the Swan Leda and the Swan is a motif from Greek mythology, in which Zeus came to Leda in the form of a swan. According to later Greek mythology, Leda bore Helen and Polydeuces, children of Zeus while at the same time bearing Castor and Clytemnestra, children of her husband Tyndareus, the , the emissary EMISSARY. One who is sent from one power or government into another nation for the purpose of spreading false rumors and to cause alarm. He differs from a spy. (q.v.) disparaged the painting as "una poca cosa," thus infuriating Michelangelo, who ordered the provincial dim-wit out of his house. The Ferrarese agent, it seems, was better at evaluating commodities such as pigs or grain than in discerning the signature difficolta of Michelangelo's hand. Alfonso never got his painting, and it is no accident that the reporters, Vasari and Condivi, were the premier advocates of the Florence-Rome paradigm of disegno. Despite its rather awkward title, Revaluing Renaissance Art offers some interesting insight s on the evaluation of knowledge and things in Renaissance Italy.