Artibus et Historiae no. 81 (XLI), 2020
2020
232 x 252 mm
ISSN 0391-9064

Papers in Honour of William L. Barcham
Guest Editors: Stefania Mason and Peter Humfrey
90 EURO
Contents
Introduction (pp. 9–10)
This volume of Artibus et Historiae is published in honour of Bill Barcham, as he reaches the venerable age of eighty. It has been planned as a tribute to his lifetime achievement as a scholar of the art and culture of Venice, but also in token of friendship over many years.
Recently retired as Professor at the Fashion Institute of Art, State University of New York, Bill began his art-historical career in the same city, with a masters degree at New York University followed by a PhD at the Institute of Fine Arts. After living and teaching in Rome for seven years he taught at SUNY Albany and Vassar College, before settling down as lecturer at the Fashion Institute. During his academic career he has won numerous grants, including from the American Academy in Rome, the National Endowment for the Humanties, the Metropolitan Museum of Art, the Gladys Krieble Delmas Foundation, the Bogliasco Foundation, and others. In 2016, he was named Thaw Senior Fellow at the Morgan Library and Museum. He received the SUNY Chancellors Award for Excellence in Scholarship in 2004.
The wide range of Bill’s scholarly interests, extending chronologically from the fourteenth to the eighteenth centuries, is clearly illustrated by the attached bibliography. The subject of his PhD dissertation (The Imaginary Views of Antonio Canaletto) led him naturally to become a leading expert on the art of Settecento Venice, and in particular on its caposcuola, Giovanni Battista Tiepolo. Bill is the author of three books on Tiepolo as well as numerous articles, and he co-curated the exhibition on Veronese and Tiepolo in Udine in 2013. His other publications on seventeenth- and eighteenth-century art and patronage include the book on Cardinal Federico Cornaro, and the article on the Sagredo chapel in San Francesco della Vigna, which appeared in one of the early volumes of Artibus et Historiae.
In recent years Bill’s attention has focused mainly on a quite different area of research: the image of the Man of Sorrows in Venice and the Veneto in the late middle ages and the Renaissance. Undertaken in collaboration with Catherine Puglisi, this huge project has resulted in many articles, an exhibition held in New York in 2011, and a volume of conference papers. Last year the project culminated in the magisterial monograph, Art and Faith in the Venetian World.
To some extent the contributions in the present volume mirror the wide range of Bill’s interests, but above all they are presented in a spirit of warm personal appreciation. As he embarks upon his ninth decade, all the authors send him their best wishes for continuing health and happiness.
 
 
E ora qualche parola in italiano, la seconda lingua di Bill, quella con cui si esprime con i figli Raphael e Arianna e che ora vorrebbe insegnare anche al nipotino Theo. La lingua che usa, con una proprietà e ricchezza lessicale straordinaria, nella città che forse più ama, Venezia, dove è giunto molto giovane e che non ha mai smesso di frequentare, anche per lunghi periodi, per svolgere le sue ricerche, tenere corsi all’università, partecipare a convegni, tanto da meritare scherzosamente, in occasione della festa per i suoi settant’anni, le chiavi della città. Purtroppo ha ancora qualche difficoltà con il dialetto, ma col tempo potrà migliorare e, continuando saggiamente ad apprezzare la qualità della vita, godersi dei giorni di pura vacanza prima di volare verso qualche isola greca in compagnia di Catherine, senza sentirsi in colpa per non aver messo piede in biblioteca o nell’archivio!
Bill è felice a Venezia non solo perché ne apprezza l’incredibile bellezza, il ritmo lento, il rumore dell’acqua sulle rive, i rapporti umani facilitati dall’andare a piedi, ma perché ogni chiesa, palazzo, angolo nascosto può conservare la traccia di una storia e di una cultura oggetto dei suoi studi o configurarsi come potenziali campi di indagine per il futuro. Bill, infatti, non smette mai di studiare Venezia, i personaggi che ne hanno fatto la storia, artisti o cardinali o dogi, ricollocandoli nel contesto storico e nel tessuto urbano e sociale con rara sensibilità e vastezza di orizzonti. Girare per la città con lui può diventare occasione di scoperta anche per i nativi, rileggere insieme una pala, scoprire l’ennesimo Man of Sorrows incastonato nel muro o affrescato in un capitello, alzare gli occhi su un affresco dell’amatissimo Tiepolo.
Quale sarà il suo prossimo campo di indagine, quale personaggio cadrà sotto la lente d’ingrandimento della sua smisurata curiosità? E’ con l’augurio che continui a sorprenderci che gli dedichiamo questo volume!

 

Peter Humfrey

Stefania Mason

William L. Barcham – List of Publications (pp. 11–12)

Books, catalogues and co-edited collections of essays

 

Art and Faith in the Venetian World, Venerating Christ as the Man of Sorrows, in collaboration with Catherine Puglisi, Turnhout, 2019

Tiepolo’s Pictorial Imagination, Drawings for Palazzo Clerici, New York, 2017

New Perspectives on the Man of Sorrows, co-edited with Catherine Puglisi, Kalamazoo MI, 2013

Happiness, or Its Absence in Art, co-edited with Ronit Milano, Newcastle upon Tyne, 2013

I colori della seduzione, Giambattista Tiepolo e Paolo Veronese, co-edited with Linda Borean, exh. cat., Civici Musei di Udine, Udine, 2012

Passion in Venice, Crivelli to Tintoretto and Veronese (The Man of Sorrows in Venetian Art), co-authored/edited with Catherine Puglisi, exh. cat., Museum of Biblical Art, New York, 2011, New York and London, 2010

GRAND IN DESIGN. The Life and Career of Federico Cornaro, Prince of the Church,Patriarch of Venice and Patron of the Arts, Venice, 2001

Giovanni Battista Tiepolo, New York, 1992

The Religious Paintings of Giambattista Tiepolo, Piety and Tradition in Eighteenth-Century Venice, Oxford, 1989

The Imaginary Views of Antonio Canaletto, New York, 1977

 

 

Essays and Articles

 

‘Doge Alvise IV Mocenigo, an Overlooked Patron of the Arts in Eighteenth-Century Venice’, Saggi e Memorie di Storia dell’Arte (forthcoming 2020)

‘Giandomenico Tiepolo’s “Via Crucis” in San Polo: Its Devotional Foundations and Artistic Preparation’, in La Chiesa di San Polo (forthcoming 2020)

‘Jacopo da Montagnana, the “Man of Sorrows” and the Bellini’, Artibus et Historiae, 80, 2019, pp. 11–23

‘A New Study on “Venezia Altrove”, Venetian Painters Working in German Lands in the Eighteenth Century”, review/essay, Arte Veneta, 73, 2016, pp. 197–203

‘Two Drawings by Giambattista Tiepolo for an Unidentified Ceiling’, co-authored with Anthony Panzera, Master Drawings, 54, 2015, pp. 343–364

‘Milling the bread of salvation: art, patronage and technology in the de Lazara altarpiece in Padua’, co-authored with Catherine Puglisi, in Artistic Practices and Cultural Transfer in Early Modern Italy, ed. by Nebehat Avcioğlu and Allison Sherman, Farnham, 2015, pp. 149–174

‘The Man of Sorrows and Royal Imaging: the Body Politic and Sovereign Authority in Mid-Fourteenth-Century Prague and Paris’, co-authored with Catherine Puglisi, in Essays in Honour of Stefania Mason, co-edited with Linda Borean, Artibus et Historiae, 70, 2014, pp. 31–59

‘La via del dubbio’ (2014) at <http://letadeldubbio.blogspot.it>

‘Giambattista Tiepolo e Gerolamo Mengozzi Colonna, l’armonia pittorica a due pennelli e la mistica carmelitana’, in La Chiesa di Santa Maria di Nazareth e la spiritualità dei Carmelitani a Venezia, ed. by Giacomo Bettini and Martina Frank, Venice, 2013, pp. 191–208

‘Six Panels by Michele Giambono, “pictor Sancti Marci”’, in New Perspectives on the Man of Sorrows, ed. by Catherine R. Puglisi and William L. Barcham, Kalamazoo MI, 2013, pp. 191–218

‘Franciscans and the Man of Sorrows in Fifteenth-Century Padua’, in Beyond the Text: Franciscan Art and the Construction of Religion, ed. by Xavier Seubert and Oleg Bychkov, Saint Bonaventure, NY, 2013, pp. 62–83

‘Picturing the Pursuit of Happiness in the Veneto Countryside, Giandomenico Tiepolo’s Paradoxical Peasants in the Villa Valmarana, Vicenza’, in Happiness, or Its Absence in Art, co-edited with Ronit Milano, Newcastle upon Tyne, 2013, pp. 91–106

‘Deferential or Formulaic? Antonio Vivarini and the Sacred Image of the Man of Sorrows’, Artibus et Historiae, 67, 2013 (Art in 16th-Century Venice: Context, Practices, Developments: Proceedings of a Conference in Honour of Peter Humfrey, vol. 1), pp. 57–72

‘Giambattista Tiepolo e Paolo Veronese, un duetto a una voce sola’, in I colori della seduzioneGiambattista Tiepolo e Paolo Veronese, exh. cat., Civici Musei di Udine, Udine, 2012, pp. 22–48

‘Domenico Morone’s Man of Sorrows and Madonna of Humility: Columbia’s “Cloth of Humility”’, MUSE. Annual of the Museum of Art and Archaeology, University of Missouri, 46, 2012, pp. 45–70

‘La trasformazione del Christo passo in un emblema urbano a Padova nel Quattrocento’, in L’iconografia della solidarietà. La mediazione delle immagini (secoli XIII–XVIII), ed. by Mauro Carboni and Maria Giuseppina Muzzarelli, Venice, 2011,pp. 29–46

‘Private Images for Public Spaces: Religious Art in Eighteenth-Century Venice’, in Venice in the Age of Canaletto, exh. cat., Sarasota FL and Memphis TN, 2009–2010, Munich, London and New York, 2009, pp. 41–49

‘Rosalba Carriera e Anton Maria Zanetti tra Venezia e Parigi nella prima metà del secolo XVIII’, in Rosalba Carriera 1673–1757, Verona, 2009, pp. 147–156

‘Bernardino da Feltre, the Monte di Pietà and the Man of Sorrows: Activist, Microcredit and Logo’, co-authored with Catherine Puglisi, Artibus et Historiae, 58, 2008, pp. 35–63

‘Il Caso Cornaro’, in Il collezionismo d’arte a Venezia. Il Seicento, ed. by Linda Borean and Stefania Mason, Venice, 2007, pp. 183–201

‘Gli esordi del Cristo passo nell’arte veneziana e la Pala feriale di Paolo Veneziano’, co-authored with C. Puglisi, in Cose Nuove e Cose Antiche. Scritti per MonsignorAntonio Niero e Don Bruno Bertoli, Venice, 2006, pp. 403–429

‘Il Teatro alla Moda’, in Tiepolo, Ironia e comico, exh. cat., Venice, 2004, pp. 69–73, and catalogue entries nos 2–13, pp. 76–93

‘Verwandtschafts- und Selbstrepräsentation in der Cornaro-Kapelle, Rom’, in Tod undVerklärung: Grabmalskultur in der frühen Neuzeit, ed. by Arne Karsten and Philipp Zitslsperger, Cologne, Weimar and Vienna, 2004, pp. 205–218

‘Luca Carlevarijs e la veduta veneziana del Settecento’, in Gaspar Vanvitelli e le origini delvedutismo, exh. cat., Rome and Venice, 2002–2003, Rome, 2002, pp. 57–67

‘Paolo Veronese e la Roma dei Barberini’, co-authored with Catherine Puglisi, Saggi e Memorie di Storia dell’Arte, 25, 2001, pp. 57–87

‘Mirar la ciudad. La Venecia de los vedutistas’, in Summa Pictorica. Historia Universal de la Pintura, VIII: El Siglo de la Razón, Barcelona, 2000, pp. 37–49

Essays on 17th- and 18th century painting in Western Europe, in I Dipinti della National Gallery di Londra (and English translation), Udine, 2000

‘e chi non potrebbe cantare facilmente Febo’, in Giambattista Tiepolo nel Terzo Centenariodella Nascita. Atti del Convegno Internazionale di Studi ‘Giambattista Tiepolo’, Padua, 1998, pp. 255–259

‘Re-examining Federico Cornaro’s Retirement to Rome’, Studi Veneziani, 35, 1998, pp. 137–152

‘Tiepolo, Rococo and the Eighteenth Century’, pp. 640–691, and ‘Landscape, Portraiture, and Genre Painting in Eighteenth-Century Venice’, pp. 740–789, in Venice, Art andArchitecture, ed. by G. Romanelli, Cologne and Udine, 1977

‘Cornaro, Marco’, vol. 7, pp. 861–862; ‘Sagredo, Zaccaria’, vol. 27, p. 521; and ‘Tiepolo family’, vol. 30, pp. 854–865, in The Dictionary of Art, London and New York, 1996

‘Tiepolo as a Painter of History and Mythology and as a Decorator’, pp. 105–117, and entries in Giambattista Tiepolo 1696–1770, exh. cat., Ca’ Rezzonico, Venice, and the Metropolitan Museum of Art, New York, 1996, New York, 1996

‘Townscapes and Landscapes’, pp. 93–112, in The Glory of Venice. Art in the EighteenthCentury, exh. cat., Royal Academy of Arts, London and the National Gallery of Art, Washington DC, 1994–1995

‘Vedute e paesaggi’, pp. 168–175, in Splendori del Settecento Veneziano, exh. cat., Ca’ Rezzonico, Venice, 1995

Il Trionfo di Flora di Giambattista Tiepolo: una Primavera per Dresda’, Arte Veneta, 45, 1994, pp. 71–77

Entries for drawings by Giambattista Piranesi, in European Master Drawings from theCollection of Peter Jay Sharp, exh. cat., National Academy of Design, New York, 1994, p. 66

‘Some New Documents on Federico Cornaro and His Two Chapels in Rome’, BurlingtonMagazine, CXXXV, 1993, pp. 821–822

Sancta Dei Genetrix: La Vergine Maria nei Soffitti del Tiepolo’, in La Chiesa Veneziana del Settecento, Venice, 1993, pp. 249–265

‘Two Views by Bernardo Bellotto: View of Dresden with the Frauenkirche at Left and View of Dresden with the Hofkirche at Right’, Journal of the North Carolina Museum of Art, XV, 1991, pp. 14–28

‘Patriarchy and Politics: Tiepolo’s “Galleria patriarcale” in Udine Revisited’, in Interpretazioni veneziane: studi di storia dell’arte in onore di Michelangelo Muraro, Venice, 1984, pp. 427–438

‘Costume in the Frescoes of Tiepolo and 18th-Century Italian Opera’, in Opera and Vivaldi, Austin, 1984, pp. 149–169

‘The Sagredo Chapel in San Francesco della Vigna’, Artibus et Historiae, 7, 1983, pp. 101–124

Essays on paintings by Antonio Canaletto and Francesco Guardi, in Italian Paintings XIV–XVIII Centuries from the Collection of the Baltimore Museum of Art, Baltimore, 1981, pp. 245–253, 261–273

Essays on French and English paintings of the 18th century, in Small Paintings of the Masters, vol. II, New York, 1980

‘Giambattista Tiepolo’s Ceiling for S. Maria di Nazareth in Venice: Legend, Traditions, and Devotions’, Art Bulletin, LXI, 1979, pp. 430–447

‘Canaletto and a Commission from Consul Smith’, Art Bulletin, LIX, 1977, pp. 383–393

Brief essays in Primitive to Picasso, exh. cat. for Knoedler’s Gallery, New York, 1966

 

 

Reviews

 

Bernardo Strozzi (1582–1644). The Conquest of Colour, exhibition at Palazzo Nicolosio Lomellino, Genoa’, Burlington Magazine, CLXII (January), 2019, pp. 52–53

Rencontres à Venise, Étrangers et Vénitiens dans l’art du XVIIe siècle, exhibition at Musée des Beaux-Arts, Ajaccio’, Burlington Magazine, CLX (September), 2018, pp. 774–777

Giovanni Bellini. La nascita della pittura devozionale umanistica. Gli studi, Emanuela Daffra, ed.’, Burlington Magazine, CLVI (December), 2014, pp. 819–820

Tiepolo, il miglior pittor di Venezia”, exhibition at Villa Manin, Passariano’, Burlington Magazine, CLV (April), 2013, pp. 285–286

Il collezionismo d’arte a Venezia. Il Settecento, L. Borean and S. Mason, eds. (Venice, 2009)’, Apollo, CLXXIV (July–August), 2011, pp. 98–99

‘C. Mazza, I Sagredo, committenti e collezionisti d’arte nella Venezia del Sei e Settecento (Venice, Istituto Veneto delle Scienze, Lettere ed Arti, 2004)’, Arte Veneta, LXIII, 2006, pp. 267–269

The Cambridge Companion to Giovanni Bellini, P. Humfrey, ed., and The Cambridge Companion to Titian, P. Meilman, ed.’, Italian Quarterly, XLII, 2005, pp. 91–93

Lettere artistiche del Settecento Veneziano, A. Bettagno and M. Magrini, eds.’, Arte Veneta, LX, 2003, pp. 226–228

Bernardo Bellotto and the Capitals of Europe, exhibition at the Museum of Fine Arts, Houston, TX’, Apollo, CLV, 2002, pp. 47–49

P. Sohm’s PittorescoMarco Boschini, his Critics, and their Critiques of Painterly Brushwork in Seventeenth- and Eighteenth-Century Italy (Cambridge Univ. Press, 1991)’, Italian Quarterly, XXXIII, 1996, pp. 131–133

‘P.F. Brown’s Venetian Narrative Painting (Yale Univ. Press, 1988)’, Italian Quarterly, XXXII, 1995, pp. 148–151

‘J. Bean and W. Griswold, 18th Century Italian Drawings in the Metropolitan Museum of Art’, Italian Quarterly, XXXII, 1995, p. 147

‘M. Levey’s Giambattista Tiepolo’, Italian Quarterly, XXIX, 1988, pp. 117–119

‘A. Corboz’s Canaletto. Una Venezia immaginaria’, Burlington Magazine, CXXVIII, 1986, p. 614

‘J.G. Links’s Canaletto’, Art Bulletin, LXVI, 1984, pp. 703–704

‘A. Binion’s I Disegni di Giambattista Pittoni’, The Eighteenth Century: A CurrentBibliography, n.s., 9, 1983, pp. 310–311

Masterpieces of Eighteenth-Century Drawing (Intro. by G. Romanelli)’, The EighteenthCentury: A Current Bibliography, n.s., 9, 1983, p. 364

Claude Lorrain, exh. cat., The National Gallery of Art, Washington DC’, The Art Journal, 43, 1983, pp. 73–76

 

‘G. Briganti’s Gaspar van Wittel e l’origine della veduta settecentesca’, The Art Bulletin, LI, 1969, pp. 189–194

 

Books, catalogues and co-edited collections of essays

 

Art and Faith in the Venetian World, Venerating Christ as the Man of Sorrows, in collaboration with Catherine Puglisi, Turnhout, 2019

Tiepolo’s Pictorial Imagination, Drawings for Palazzo Clerici, New York, 2017

New Perspectives on the Man of Sorrows, co-edited with Catherine Puglisi, Kalamazoo MI, 2013

Happiness, or Its Absence in Art, co-edited with Ronit Milano, Newcastle upon Tyne, 2013

I colori della seduzione, Giambattista Tiepolo e Paolo Veronese, co-edited with Linda Borean, exh. cat., Civici Musei di Udine, Udine, 2012

Passion in Venice, Crivelli to Tintoretto and Veronese (The Man of Sorrows in Venetian Art), co-authored/edited with Catherine Puglisi, exh. cat., Museum of Biblical Art, New York, 2011, New York and London, 2010

GRAND IN DESIGN. The Life and Career of Federico Cornaro, Prince of the Church,Patriarch of Venice and Patron of the Arts, Venice, 2001

Giovanni Battista Tiepolo, New York, 1992

The Religious Paintings of Giambattista Tiepolo, Piety and Tradition in Eighteenth-Century Venice, Oxford, 1989
The Imaginary Views of Antonio Canaletto, New York, 1977

 

 

Essays and Articles

 

‘Doge Alvise IV Mocenigo, an Overlooked Patron of the Arts in Eighteenth-Century Venice’, Saggi e Memorie di Storia dell’Arte (forthcoming 2020)

‘Giandomenico Tiepolo’s “Via Crucis” in San Polo: Its Devotional Foundations and Artistic Preparation’, in La Chiesa di San Polo (forthcoming 2020)

‘Jacopo da Montagnana, the “Man of Sorrows” and the Bellini’, Artibus et Historiae, 80, 2019, pp. 11–23

‘A New Study on “Venezia Altrove”, Venetian Painters Working in German Lands in the Eighteenth Century”, review/essay, Arte Veneta, 73, 2016, pp. 197–203

‘Two Drawings by Giambattista Tiepolo for an Unidentified Ceiling’, co-authored with Anthony Panzera, Master Drawings, 54, 2015, pp. 343–364

‘Milling the bread of salvation: art, patronage and technology in the de Lazara altarpiece in Padua’, co-authored with Catherine Puglisi, in Artistic Practices and Cultural Transfer in Early Modern Italy, ed. by Nebehat Avcioğlu and Allison Sherman, Farnham, 2015, pp. 149–174

‘The Man of Sorrows and Royal Imaging: the Body Politic and Sovereign Authority in Mid-Fourteenth-Century Prague and Paris’, co-authored with Catherine Puglisi, in Essays in Honour of Stefania Mason, co-edited with Linda Borean, Artibus et Historiae, 70, 2014, pp. 31–59

‘La via del dubbio’ (2014) at <http://letadeldubbio.blogspot.it>

‘Giambattista Tiepolo e Gerolamo Mengozzi Colonna, l’armonia pittorica a due pennelli e la mistica carmelitana’, in La Chiesa di Santa Maria di Nazareth e la spiritualità dei Carmelitani a Venezia, ed. by Giacomo Bettini and Martina Frank, Venice, 2013, pp. 191–208

‘Six Panels by Michele Giambono, “pictor Sancti Marci”’, in New Perspectives on the Man of Sorrows, ed. by Catherine R. Puglisi and William L. Barcham, Kalamazoo MI, 2013, pp. 191–218

‘Franciscans and the Man of Sorrows in Fifteenth-Century Padua’, in Beyond the Text: Franciscan Art and the Construction of Religion, ed. by Xavier Seubert and Oleg Bychkov, Saint Bonaventure, NY, 2013, pp. 62–83

‘Picturing the Pursuit of Happiness in the Veneto Countryside, Giandomenico Tiepolo’s Paradoxical Peasants in the Villa Valmarana, Vicenza’, in Happiness, or Its Absence in Art, co-edited with Ronit Milano, Newcastle upon Tyne, 2013, pp. 91–106

FULVIO ZULIANI - Strategie narrative e spaziali nelle Storie di Sant’Orsola di Tomaso da Modena a Treviso (pp. 13–23)
Tomaso Barisini, more commonly known as Tomaso da Modena, was active between 1347 and 1358 in Treviso, where he left his most important works. Among these is the cycle of frescoes with the stories of St Ursula in the church of Santa Margherita, detached from the walls of the church at the end of the nineteenth century and now kept in the Museum of St Catherine. In the cycle, commissioned by the rich merchant Diomede Bazzoletti, the painter interprets and updates the legend of the Saint, made very popular by Jacopo da Varagine, with a vividly naturalistic pictorial language, underlining the psychology of the characters and the dramatic tension of the events culminating in the massacre of the Saint and her companions. Moreover, it engages the spectator with a series of totally innovative spatial devices.
HELENA KATALIN SZÉPE and FEDERICA TONIOLO - Celebrating Athanasius in Venice. Illuminated Manuscripts for the Nuns of Santa Croce alla Giudecca (pp. 25–48)

A newly discovered two-volume breviary in the Library of the Correr Museum, Venice, appears to have been illuminated c. 1485–1495 for the female Benedictine monastery of Santa Croce alla Giudecca. The breviary is an important addition to the corpus of Venetian illuminated manuscripts, but is also among very few surviving testimonies of the art and religious culture of the Santa Croce nunnery before the church was completely rebuilt in 1508–1511. The breviary was painted initially by two artists, one named here as the Master of the Correr Santa Croce Breviary, while the other was the well-known and prolific Master of the Pico Pliny. A later hand, perhaps that of a nun, illuminated some of the initials. An inscription within the breviary definitively confirms that the Santa Croce convent was associated with the reformed Congregation of Santa Giustina in Padua. The breviary features unique liturgy and imagery celebrating Saint Athanasius of Alexandria, a Greek Church Father whose presumed body was donated to the nuns in 1455. The miniatures also highlight the cult of treasured relics of the Holy Cross at Santa Croce.

TIZIANA FRANCO - Testimonianze artistiche di contesti monastici femminili a Verona (XIV–XV secolo) (pp. 49–61)
Few physical traces remain of the many female convents founded in Verona in the Middle Ages, and equally, little evidence survives of artistic activity undertaken there during the first centuries of their existence. This paper attempts to provide a summary of what is known of such activity in the period before the mid-fifteenth century, with special reference to works of art certainly or probably commissioned by a nun, and containing her image.
DEBORAH HOWARD - Venetian Galleys as Domestic and Ritual Space (pp. 63–78)
This essay opens with a discussion of the ways in which ships, especially galleys, were depicted in Venetian Renaissance painting, particularly in the art of Carpaccio. The physical layout of the galleys as marine architecture is analysed with reference to pilgrim narratives of the same period. Images of galleys in pilgrim chronicles, especially those of Reuwich and Grünemberg, provide visual details to amplify the evidence of the written texts. These sources help to reconstruct the rituals of life on the long voyage to the Holy Land. The article explores the role of religion in facing the perils of the voyage, especially storms, plague and piracy.
CATHERINE WHISTLER - Invention and Devotion in Giovanni Bellini’s Uffizi Lamentation (pp. 79–98)
This unusual work by Giovanni Bellini has been viewed variously in the scholarly literature as an unfinished painting, as a simile or model for the workshop to follow, or as an autonomous work of art. This paper explores the iconography in particular, proposing that Bellini’s treatment of the subject would have been indecorous in a fully-coloured painting for public viewing. Instead, it argues that Bellini probably made this for more restricted elite viewing, both as a devotional image and as a representation that afforded appreciation of aspects of his art. In creating a monochrome image in a compelling close-up form, Bellini incorporated allusions to relief sculpture. However, the particular graphic technique of the Lamentation evokes contemporary large-scale, virtuoso engravings, a context that also explains its early categorization as a work in ‘chiaro scuro’.
MAURO LUCCO - Pietro da Vicenza, not Pasqualino. But which Pietro? (pp. 99–113)
Since its first appearance in 1890, a Madonna and Child formerly in the Vieweg and Goudstikker collections has been believed to be by Pasqualino Veneto, because of the initials ‘P.V.P.’, which Pasqualino in fact never used. Furthermore, he was mainly a follower of Cima da Conegliano, while this Madonna resembles the style of Bartolomeo Montagna, who lived and worked at Vicenza. So, Pietro da Vicenza seems the best candidate to be acknowledged in the initials ‘P.V.P.’, a signature this artist commonly used, as demonstrated by his fresco in the church of San Pietro at Valvasone.
Taking the above as a new point of departure, the author tries to bring some order into paintings and documents associated with the artist, reaching a conclusion that ‘Pietro da Vicenza’, ‘Pietro Fadelo da Vicenza’, and ‘Petrus Vicentinus’, always believed to be the same person, are probably three different artists. Documented facts of their lives sometimes help, because we find at the same time works made at a great distance apart, and clearly not by the same hand. The author hopes that this attempt might be the basis for further research on a little-known aspect of Veneto painting.
BEVERLY LOUISE BROWN - Sculpted in My Heart: Titian and the Secrets of La Schiavona (pp. 115–136)
Who is La Schiavona and why did Titian paint her? These questions have been asked repeatedly since 1640 when the painting was first recorded in the collection of Conte Alessandro Martinengo Colleone of Brescia, who had apparently obtained it on the black market.  She has often been identified as Caterina Cornaro, although this is highly unlikely. Equally perplexing is the simulated marble profile portrait on the parapet, which is generally explained as Titian’s response to the paragone debateBy proving that he can imitate both life and sculpture, Titian asserts the primacy of painting. However, his reason for including the relief may have been slightly different. Pietro Bembo penned two sonnets on a portrait by Giovanni Bellini in which he describes the portrait as ‘the face of the one that, with even greater care, I have sculpted in my heart’. This, of course, is a Petrarchan trope as even Vasari realized when he compared the two great poets and the portraits of their beloved. Images on parapets frequently provided a visual testament to the invisible – the inner dimensions of a sitter’s soul, which could not be easily illustrated. Is the relief in La Schiavona a visual manifestation of what was sculpted in the poet’s heart? By including it, Titian was able to assert that painting not only trumped both ancient and modern sculpture but poetry as well. In La Schiavona Titan threw down the gauntlet to poets and painters alike, showing that he could do the impossible – the impossible that Bembo’s poem itself had asked of him.
PETER HUMFREY - More on Dosso’s Aeneas Frieze (pp. 137–156)
As is well known, the decoration of the camerino of Alfonso d’Este included, above the celebrated Bacchanals by Bellini and Titian, a frieze of ten scenes from Virgil’s Aeneid by the Ferrarese court painter Dosso Dossi. As recently as the Dosso exhibition of 1998–1999 only two and a half of these scenes had been rediscovered, but since then several more have re-emerged, two of them very recently, leaving only three still missing. As well as publishing the two new discoveries, the present article takes the opportunity to reassess the iconographic programme of the frieze as a whole, and to consider how they were originally arranged in the camerino.
MICHEL HOCHMANN - À propos d’un album de photographies méconnu : Simone Bianco et Tiziano Aspetti au palais Grimani de Santa Maria Formosa (pp. 157–172)
An album of photographs presenting views of the Palazzo Grimani di Santa Maria Formosa was published by the photographer L. Brusa at the very end of the nineteenth and the beginning of the twentieth century. A discovery of a complete exemplar of this very rare publication in the library of the National Gallery of Art in Washington revealed photos of a number of sculptures held in the palace at that time, before they were scattered or, in some cases, lost. The latter applies especially to the marble bust of Doge Antonio Grimani, which was exhibited on the mantelpiece in a space called the Doge’s Room (camera del doge). We do not know the present whereabouts of this sculpture but Brusa’s photographs allow for attributing it to Simone Bianco. The piece is a splendid example of the art of this sculptor and of the genre of all’antica portrait bust in the Renaissance. The portrait of the doge was flanked on the mantelpiece by two busts of Roman emperors (Caracalla and Vitellius), possibly by the hand of Tiziano Aspetti who, just like Simone Bianco, restored a fair number of ancient busts in the Grimani collection. Also to Aspetti should be re-attributed the four reliefs which used to decorate the Tribuna of the Palazzo Grimani. All these sculptures additionally bring new information on the taste of the Grimani and on their influence on the artists they employed.
PHILIP SOHM - Venetian Finger Painting after Titian (pp. 173–194)
Palma Giovane was the first Renaissance painter to openly and proudly declare himself to be a finger painter. He did so in his Self-portrait Painting the Resurrectionc. 1585 where he shows himself dragging his index finger through the yellow light of the ‘Resurrection’. Titian’s death in 1576, much like Michelangelo’s in 1564, occasioned speculation about who would be the new Renaissance Apelles. Who would be the new Titian? Palma nominated himself by applying his fingers to canvas, thus adopting Titian’s technique made famous by Marco Boschini, Palma’s pupil and author of La Carta del navegar pitoresco. Palma performs the resurrection of painting by painting the Resurrection of Christ. This self-promoting self-portrait is read here as an art-theoretical statement about the Venetian technique of drawing with paint (un’accademia alla veneziana), about the transubstantiation of pigments and how Incarnation and carnation are entwined. Palma also performs a miracle of revivifying the inanimate when his meta-painting of the Resurrection seems to respond to the touch of his brush and finger: the soldier doubles over as if stabbed launching Christ from his grave. Venetians including Francesco Bassano and Giulio Carpioni and fans of Titian including Velázquez also painted self-portraits that suggest finger painting.
STÉPHANE LOIRE - Paintings by Veronese in the Napoleon Inventory (1810)
Between 1793 and 1815, an exceptional collection of paintings then attributed to Paolo Caliari, known as Veronese (Verona, 1528 – Venice, 1588), were hosted by the Louvre Museum. Three-quarters of them had left the museum as early as 1815, but because of their abundance, diversity of origins and subsequent fate, they form a particularly characteristic ensemble of the enormous transfers of works of art provoked in France and throughout Europe by the political upheavals of the French Revolution. The first record of the Louvre’s collections drawn up from 1810, the Inventaire Napoléon, is the only document to give their exact number, titles, dimensions and origins. Of the approximately six thousand two hundred paintings listed in this document, fifty-eight appeared under the name of Veronese, of which twenty-six came from the collection of Louis XIV and twenty-eight from seizures abroad. The Louvre Museum now holds only thirteen of them, but the analysis of their presence in this document reveals unknown aspects of Veronese’s critical fortune.
STEFANIA MASON - In and Out of Tintoretto’s Workshop: The Case of Paolo Fiammingo (pp. 223–236)
This is an in-depth examination of Paolo Fiammingo as a ‘figure’ painter, starting from his arrival in Venice from his native Antwerp, probably at the beginning of the 1570s, and of his relationship with Tintoretto, his collaboration in the workshop of the Venetian master having been attested by Carlo Ridolfi (1648). A painting previously assigned to Tintoretto is given here to Fiammingo, with the aid of the transmitted light investigations made during his recent cleaning, and read in relation to the cycle on the life of St Roch in the Venetian church dedicated to this saint. The analysis is extended to some of the altarpieces by Fiammingo in which one can feel the influence and admiration for Tintoretto, even when the Northern artist established himself on the Venetian artistic scene as an independent master and before specializing in the genre of landscape, for which he would be best known.
JOHN MARCIARI - ‘Drawing in Tintoretto’s Venice’: Marginal Notes to an Exhibition (pp. 237–252)
This article is a postscript on the author’s 2018–2019 exhibition Drawing in Tintoretto’s Venice, reviewing some of the main themes of the exhibition and reinforcing the essential role of drawing in Tintoretto’s artistic practice. The article also includes notes about some discoveries made during the exhibition, after the catalogue had gone to press, regarding the survival and provenance of Tintoretto’s drawings, as well as some preliminary revelations offered by recent technical study. Finally, it offers comments on a handful of drawings at the margins of Tintoretto’s œuvre, works of disputed attribution that may nonetheless provide additional insights about the use of drawing in Tintoretto’s workshop.
CATHERINE PUGLISI - ‘Certe palliole da processione’: Guido Reni, Silk, Civic Piety and Ceremony (pp. 253–279)
At the height of the devastating plague of 1630, the Senate of Bologna commissioned Guido Reni’s monumental Pallione del Voto to serve as a votive processional standard. According to his biographer Carlo Cesare Malvasia, Reni’s use of a silk support constituted a novelty, except for ‘certe palliole da processione’. Recent studies of early processional banners permit us to consider the Pallione within the tradition of a once widespread and prominent artistic expression of communal piety and ceremony. Factors of size, weight, expense, expediency and durability bore on the choice of support, whether panel, linen, canvas or silk, and changing needs dictated the function and even the survival of standards, subject to extreme wear and tear. The extant visual evidence for contemporary banners in Rome, Bologna and Milan demonstrates their continued vitality in the Seicento, revealing that silk became the preferred support, evoking splendor and pageantry. An exploration of Reni’s further experiments with silk in a few works of the 1630s concludes the article, attesting to the increasing fashion for precious supports.
LINDA BOREAN - The Legacy of Giovanni Maria Sasso (pp. 281–289)
In the last two decades several studies have been devoted to the figure of Giovanni Maria Sasso, the most prominent art dealer, painting restorer and antiquarian active in Venice at the end of the eighteenth century. Nevertheless, several aspects of his life, career and personality, still need to be examined. This paper focuses on the legacy and on the works of art recorded in the manuscript inventory compiled in 1803 by the academic painter Antonio Florian. The contents of this new documentary evidence are compared with the items listed in the auction sale catalogue which was printed in the same year in order to put on sale the major part of the paintings, drawings and prints owned by Sasso. The paper addresses specific topics, like the taste for ‘modelli’ and sketches, by making also new proposals in terms of identification of paintings attributed to Giambattista Pittoni and Giambattista Tiepolo.
JAN K. OSTROWSKI - The Assumption of the Virgin Mary in a Triumphal Chariot: A Contribution to Marian Iconography and to the History of Art History (pp. 291–306)
In the Roman Catholic parish church in Monasterzyska (until 1939 Poland, now Ukraine) there was once a valuable late Baroque sculptural furnishing, almost completely destroyed during the Soviet rule, but fortunately documented by Polish art historians before the Second World War. A special place was occupied by the large bas-relief of the Assumption of the Virgin, work of the Lwów sculptor Antoni Sztyl, which contained an unusual motif of a decorative throne, to which angels invite the Virgin Mary. At the beginning of the 1990s the present author identified a graphic pattern of this bas-relief: a composition by Gottfried Bernhard Göz, reproduced in the etchings illustrating numerous editions of the Roman Missal, published in Kempten and Augsburg from 1734 to the beginning of the nineteenth century. It is a motif not yet recorded in Marian iconography: it turned out that the object that Sztyl interpreted as a throne is in fact a triumphal chariot on which Mary is to be taken to heaven. Searching for a text that could suggest such a solution has lasted about 25 years. A pertinent passage was finally identified in the commentary on the Psalms by the French Jesuit Thomas Le Blanc, published several times in Cologne in the second half of the seventeenth and in the first half of the eighteenth century. The author not only mentions the exaltation of the Virgin Mary on a triumphal chariot, but also associates its wheels with her virtues. Detailed elements of this formulation appear in earlier church literature (Saint Bernard of Clairvaux, Albert the Great, Saint Bridget of Sweden), but it seems that it was Le Blanc who gave it the final form. His treatise was undoubtedly known in the theological circles of Kempten and Augsburg, from which probably the inspiration came for Göz, as illustrator of the Roman Missal. In the circle of Lwów sculpture of the eighteenth century, one can indicate at least one more similar, still unresolved iconographic puzzle: the scene of the Dead Christ Mourned by Saint Mary Magdalene.
MASSIMO FAVILLA and RUGGERO RUGOLO - Ideology on the Ceiling: Giambattista Tiepolo for the Palaces of the Corner, Manin and Mocenigo (pp. 307–327)
The authors analyze the decorations of the ceilings made by Giambattista Tiepolo in the residences of three noble Venetian families.
In the first case they enter the Corner Palace in San Polo, where the painter worked for several years, in particular in the first half of the 1740s, when he painted the canvas of the ceiling of the so-called Cabinet of Mirrors. It depicts the Allegory of Marital Concordia, which, together with the canvases on the walls of the room, represents the complex ideology of one of the oldest, proudest and most powerful families in the history of the Venetian Republic.
On the contrary, for the Manins, who became part of the aristocracy of Venice only in 1651 after a large donation to the State, Tiepolo painted a ceiling in which the fundamental role of wealth in order to reach the nobility was highlighted, and at the same time it is affirmed that richness must be followed by generosity to be confirmed (Scrooge docet!).
The Mocenigo family was certainly older than the Manins, although much less than the Corners. For a ceiling of the Mocenigo Palace in San Samuele, Tiepolo painted a canvas that intended to emphasize the fundamental value of the aristocratic origin for the continuity and greatness of the Mocenigo name.
DAMIAN DOMBROWSKI - The Realm of Women: Giovanni Battista Tiepolo, a Vassal of the Feminine (pp. 329–368)
In the works of G. B. Tiepolo, the female gender is of paramount importance. Where women are the protagonists, they appear with a sovereignty that is unique for Settecento painting. Since this phenomenon has never been analyzed systematically, this study is a primer in defining Tiepolo’s ‘Realm of Women’. Rather than being a contribution to gender studies, it is an enquiry into an essential aspect of the painter’s œuvre from a phenomenological point of view.
Tiepolo’s women are rulers by nature – not so much for office, rank, or insignias, but on grounds of their nonchalant authority which lends them an air of detachment and condescension. Only men are caught by sentimentalism; their roles are limited to rapturous, albeit trivial, admiration. Before women, they sink into shadows, they are characterized as foolish, feeble, or even frightened. For the sake of degrading maleness, passages of Tasso are visually reworked to the point of reversing their meaning. The peculiar reverie of Tiepolo’s women (even in key moments of history, or at the climax of sacred happenings) is frequently increased up to a veritable lack of interest for their male counterparts.
Tiepolo’s gaze at the female body – a standardized body, of little naturalness – is a gaze without desire. Nude figures remain unapproachable, for the viewer in front of the picture just as for the male protagonists within the picture. The ubiquitous ostentation of the female bosom, most often without any narrative necessity, is not an erotic signal but an emblem of feminine power.
The women painted by Tiepolo are symbols of a higher, autonomous, more beautiful form of existence. In order to make us believe in the ‘verisimilitude’ of this otherness, he inverts the established hierarchy of the sexes. The realm of art, for which he is striving throughout his œuvre, had to be a realm of women.
KEITH CHRISTIANSEN - Tiepolo’s Apollo and Hyacinth and its Preparatory Drawings (pp. 369–378)
The remarkable number of drawings that can be associated with Tiepolo’s great painting of Apollo and Hyacinth in the Thyssen Museum provides an ideal opportunity for exploring an imagination on the cusp of modernity – one attentive to conventional literary sources but embracing as well poetics of ambiguity.