Correggio

Poco più giovane di Raffaello, si chiama così per via del suo paese di origine-in provincia di Reggio Emilia. Studia a Mantova, presso Mantegna, dal quale assorbe il gusto per l'illusionismo. Sempre a Mantova viene a contatto con il classicismo di Perugino e Dosso Dossi.

“Some Comments on Correggio in Connection with his Pictures in Dresden,” is here identified as the earliest publication on the connoisseurship of Italian Renaissance painting by renowned connoisseur Bernard Berenson.  The evolution of the article reveals that Berenson's selection of Antonio Allegri da Correggio (1489-1534) as a subject was not arbitrary.  Indeed, the selection of Correggio constituted Berenson's formative effort to combine the methodological approaches of two earlier historians of Italian Renaissance art, Giovanni Morelli and John Addington Symonds.  By integrating a Morellian examination of anatomical details with a Symondian aesthetic sensitivity to the artist as revealed through his work, Berenson arrived at his concept of “artistic personality” and a seemingly certifiable science of connoisseurship. To demonstrate its viability, Berenson implemented his new methodology in a pioneering monograph on Lorenzo Lotto - an artist whose work he initially believed demonstrated an affinity to that of Correggio.

This essay focuses on the interplay between the Hypnerotomachia Poliphili and Italian art of the early sixteenth century. While the Hypnerotomachia exerted some influence on artists of the subsequent generation, the nature of that influence will be reevaluated in light of the functions that poetic favole accrued around the turn of the sixteenth century. Opening with an examination of two paintings by Antonio Allegri da Correggio that are often seen as illustrative of the impact that the Hypnerotomachia had on Italian art, this essay will subsequently open up distance between the pictures and their purported source text. Focusing attention on Correggio’s complex engagement with the Hypnerotomachia affords new insights into the intricacy of the text itself, its relationship with antiquity, and how the tension between these two elements helped shape the anomalous status the Hypnerotomachia occupies today. The peculiar antiquarian approach that the Hypnerotomachia takes toward the study of language, architecture, and artifacts was quite common throughout the fifteenth century, but it quickly fell out of favor in the sixteenth century. The article concludes by suggesting that art historians begin thinking of the Hypnerotomachia as the extended manifesto of a model of engaged beholdership that held currency in Northern Italy around 1500 rather than as a source for iconography and new subjects. Viewed in this light, Colonna’s text yields important insights into the alluring qualities of artists like Mantegna and Antico, who shared with the Hypnerotomachia an abiding interest in interrogating antiquity as one of the animating forces underwriting their artistic project.

Il Bello Ideale: il concetto che attraversa l'intero corso della storia dell'arte, sin dagli albori dell'antica civiltà greca, viene qui letto nei suoi sviluppi critici moderni. La tesi analizza il momento storico in cui si elabora la dottrina del classicismo seicentesco per opera di Giovan Pietro Bellori. Istituisce un confronto diretto e puntuale nel campo della teoria artistica e delle fonti con un momento successivo, quello del cosiddetto Neoclassicismo settecentesco. Nell’articolazione di questi momenti vengono ad istituirsi le basi dello sviluppo in senso moderno della storia dell’arte, che vedrà in Johann Joachim Winckelmann un punto di svolta ormai maturo nel processo di sviluppo della disciplina storico-artistica, tanto da meritare l’appellativo da parte di Schlosser di «vero padre della storia dell’arte». Il metodo analitico del confronto tra i due momenti critici verte sul rapporto con l'Antico, sul ruolo della Natura nel concetto di Bellezza e sulle forme ed i contenuti della letteratura artistica. Infine si monitorano le tendenze stilistiche e le novità nella prassi artistica nel passaggio dal Seicento al Settecento, seguendo il percorso artistico del pittore-filosofo Mengs.

Attraverso lo spoglio di fonti edite ed inedite, si è cercato di fare luce sulla raccolta grafica appartenuta all'antiquario ed editore di origine vicentina Pietro Stefanoni (1557ca.-1642 ca.), di cui l’unica testimonianza nota erano le parole di Cassiano dal Pozzo che ricordava un «libro de’ disegni» dall’antico costituito da fogli «d’esquisita bellezza». Conferme sono emerse da materiale archivistico e da testimonianze contemporanee che hanno permesso di risalire, da un lato, all’acquisto dello «studio» del canonico cremonese Pietro Antonio Tolentino e, dall’altro, di mettere a fuoco i successivi passaggi ereditari e le dinamiche di dispersione del prezioso materiale. Ma sono state le lettere e le postille del famoso conoscitore padre Sebastiano Resta a essersi rivelate – ancora una volta - strumenti fondamentali per l’identificazione di alcuni disegni appartenuti a Stefanoni nelle più importanti collezioni di grafica del mondo.

The paper investigates the graphic collection belonged to Pietro Stefanoni (1557ca. – 1642ca. ). If Cassiano dal Pozzo remembered a "book of drawing” from the Antique consisting of sheets "of exquisite beauty ", other evidences emerged from archival material and contemporary statements that allowed to track down the purchase of the "studio" of Pietro Antonio Tolentino, a clergyman of Cremona, and to focus on the inheritance and the way this precious material was dispersed. In the end, the letters and the annotations of the famous connoisseur Sebastiano Resta allowed to identify some drawings belonged to Stefanoni in the most important graphic collections in the world .

Il saggio ripercorre le vicende del monastero benedettino femminile parmense di San Paolo tra tardo Medioevo e Rinascimento, a partire dalle badesse che si sono susseguite nella carica, prendendone in considerazione le azioni e i rapporti familiari e politici. Basandosi su documenti editi e inediti, particolare attenzione è stata riservata alle badesse della famiglia Bergonzi, promotrici di un notevole rinnovamento artistico e culturale nel monastero, su tutte Cecilia Bergonzi e Giovanna da Piacenza (quest'ultima committente del Correggio per la decorazione di una stanza del suo appartamento privato), prima dell'introduzione della riforma dell'osservanza nel 1524.

In questo saggio sono stati resi noti e studiati alcuni documenti inventariali, datati tra Sei e Settecento, che riguardano tre significative collezioni milanesi: la quadreria del nobile Giulio Bonacina (che possedeva dipinti riferiti a Carlo Cane, Claude Lorrain, Giulio Cesare Procaccini, Giuseppe Nuvolone); la collezione della nobile Margherita del Pozzo Bonacina (con quadri di Carlo Preda, Camillo Procaccini, Carlo Antonio Rossi); la quadreria del reverendo Gerolamo Bertachino (nella quale erano presenti dipinti lombardi di Michelangelo Nuvolone, Giulia Cerana, Daniele Crespi e Giovan Ambrogio Figino, ma anche diversi quadri attribuiti ad artisti famosi come Tiziano, Raffaello, Dürer, il Veronese, Bramante, Lorrain, Rubens, Correggio, lo Spagnoletto, Parmigianino, Michelangelo).

A) ARTÍCULOS
Andrea Mecacci, “Kitsch y neokitsch”.
Maximiliano Crespi, “La función antimoderna. Filología y estilística como modelos de investigación humanística en Héctor Ciocchini”.
B) NOTA CRÍTICA
José Jatuff y Fabio Campeotto, “Mesura y grandes relieves: William James, Victor Hugo y Correggio”.
C) COMENTARIOS BIBLIOGRÁFICOS
José de Nordenflycht, "Sandra Szir y María Amalia García (eds.). Entre la academia y la crítica. La construcción discursiva y disciplinar de la historia del arte. Argentina – Siglo XX"
Franco Liberati, "Gustav Theodor Fechner. Anatomía comparada de los ángeles/Sobre la danza [Vergleichende Anatomie der Engel/Über den Tanz]

Catalogo della mostra Correggio e Parmigianino arte a Parma nel Cinquecento, catalogo a cura di D. Ekserdjian / Scuderie del Quirinale 2016
Exhibition catalogue Correggio and PARMIGIANINO Art in Parma during the sixteenth century / SCUDERIE QUIRINALE 2016

Renaissance painters and theoreticians manifested a vivid interest in pictorial representations of clouds. This phenomenon must be read in relation to the progress in understanding the principle of the perspective regime in the works of Brunelleschi and Alberti. If Brunelleschi’s experiments equipped the painters of the Quattrocento period with a new vocabulary to interrogate nature and filter its responses to visual signs, then the idea of representing a cloud presented both a great problem and a creative challenge.

Clouds cannot be depicted by means of geometry; such a body, according to Brunelleschi’s concept, "without a surface" cannot be "described" or reduced to the coordinates of the perspectival grid of clearly delineated shapes.

In the context of Renaissance art, the cloud has more than a symbolic meaning: far from simply designating the firmament, it touches on a theoretical dilemma present, especially in Alberti’s "Della Pittura." What is, after all, the task of the painter? Should their work follow the geometrical regime governed by the rule of depicting only that which can be seen? Or should the rules of perspective lend themselves to "istoria" — narratives that often imply illusionistic or, in the case of clouds, miraculous zones outside the empirical reach of the human eye?

By looking at the evolution of painterly representations of clouds in the works of Italian Renaissance artists, this short paper suggests various ways of thinking about this problem.

Važnost slike (verbalne i umjetničke) za riječ vjere; Tradicija kao nadahnuće likovnoj interpretaciji Uznesenja BDM; Marijina smrt i svjetlo Božje milosti (M. Caravaggio, Smrt Djevice, 1604-1606); Marijina tjelesna proslava i čežnja za nebom (Tizian, Assunta, 1518.); Marijino uzdizanje i nebeski ples (Coreggio, Uznesenje Djevice, 1526-1530). Neizbježnost smrti, važnost zemaljskoga života, nebo kao cilj našega postojanja; Uznesenje BDM kao hermeneutika za sadašnji život

This article has a dual focus.  On the one hand, it traces the history of the tradition of the floating and rotating dome and relates it to the idea of the sublime.  On the other hand, it delves into the phenomenological component of the sublime as discussed in philosophy and as presented in literature and in architecture in relationship to expansive space.  In the process, it distinguishes between the architectural sublime, the cosmological sublime, and the spatial sublime.

The previously anonymous Jesus healing the sick is here restored to Denis Calvaert, and linked for the first time
to its preparatory drawing in the Louvre. The painting, thought to have been
lost, came from the Bolognese monastery of San Michele in Bosco, where it had been admired during as one of his most
beautiful works.

Prix Monseigneur Marcel (Académie Française) - 2016

L’histoire de l’art a longtemps considéré le rire dans la peinture italienne de la Renaissance comme un phénomène mineur et trivial. Ce livre démontre qu’il en va autrement. En référence aux études sur la “peinture comique”, il propose une réflexion à la fois plus ample et plus ciblée sur le rire dans l’art du XVIe siècle. Plus ample, parce qu’elle envisage toutes les formes du rire devant les images, et les pratiques sociales qui les sous-tendent. Plus ciblée, parce qu’elle offre aussi une analyse minutieuse de cinq tableaux qui illustrent de manière paradigmatique le fonctionnement du comique dans la réception des images.

Les ressorts comiques de la peinture, devenus pour la plupart étrangers à l’oeil contemporain, exigent une enquête historique et anthropologique. Cet ouvrage permet au lecteur de saisir et d’apprécier les dimensions facétieuses des oeuvres, leurs enjeux et leurs fonctions. Par une étude des différentes théories du rire depuis l’Antiquité jusqu’à la Renaissance, Francesca Alberti dégage les origines anciennes d’une conception positive du rire, explique ses liens étroits avec l’érotisme ou encore souligne l’importance de la surprise dans sa “mécanique”. Les exemples choisis dévoilent les multiples facettes du comique et témoignent, en particulier, de la porosité entre sphères sacrée et profane. Les retables du Corrège révèlent l’existence et le fondement théologique d’un rire sacré, tandis que les fables mythologiques du Tintoret dévoilent le renouveau du burlesque divin dans sa dimension souvent parodique.

L’auteur utilise une approche interdisciplinaire qui fait dialoguer l’histoire de l’art et l’anthropologie, l’histoire des religions et l’histoire de la littérature ou encore les théories médicales et la philosophie. Par l’envergure et l’originalité des champs convoqués, l’étude jette un regard radicalement neuf sur l’art italien de la Renaissance.

RESUMEN: Se propone un repaso al entero conjunto de las relaciones artísticas entre Niccolò Ludovisi y la corte española a la luz de un nuevo envío de pinturas documentado por cuenta del munificente príncipe y que atañe a otras conocidas obras que tuvieron por destino el Alcázar de Madrid. Se ofrecen asimismo nuevos datos y evidencias a propósito de las restantes donaciones realizadas por el noble boloñés, que permiten no solo rellenar algunas de las lagunas que todavía subsistían en relación con los cuantiosos presentes artísticos entregados al monarca, sino también abrir nuevas vías a la investigación.

PALABRAS CLAVE: Ludovisi; Felipe IV; Rafael; Tiziano; Bernini; obispo de Marsico; duque de Terranova; pórfidos; Salón de los Espejos; Alcázar de Madrid; peste.

ABSTRACT: The artistic relations between Prince Ludovisi and the Spanish monarchy: New data and evidence This article reviews the full spectrum of artistic relations between Niccolò Ludovisi and the Spanish court in light of a new documented shipment of paintings by the magnanimous prince; a shipment that also concerns other well-known works delivered to the Alcázar of Madrid. It provides new data and evidence on the donations made by this Bolognese nobleman that allow resolving some of the remaining questions regarding the many gifts given to Philip IV, and opens new avenues for research.

KEY WORDS: Ludovisi; Philip IV; Raphael; Titian; Bernini; Bishop of Marsico; Duke of Terranova; porphyries; Hall of Mirrors; Alcázar of Madrid; plague.

The Photo Archive Antonio Morassi (Ca' Foscari University of Venice) contains a unique file with photographs and expertises on two paintings attributed to Titian and Correggio. This paper aims to investigate the role played by the two art historians Ludwig Baldass and Roberto Longhi in this "affair", which represents an evocative case study for the history of Italian art market after the Second World War, and for the critical debate over Correggio and his legacy.