Y024191 1 
0093843 10 1566 (1984)
A Chardin for Kansas City
ROSENBERG, Pierre
Nelson Gallery and Atkins Museum Bulletin, V/6, (Jan 1981), 21-36 11 illustrations
Lang.: Eng.
Doc. Type: analytic
Studies the Still Life with Cat and Fish acquired by the Nelson Gallery and Atkins Museum, Kansas City, in relation to a group of paintings and versions of this and similar subjects (Edmond de Rothschild collection; Burrell Collection, Art Gallery and Museum, Glasgow; Museu Nacional de Arte Antiga, Lisbon; and one unknown location). Examines problems of authenticity, dates and sequence; notes that the Lisbon Still Life with Cat, Ray and Oysters may be a copy rather than a version of the Glasgow painting; and dates the group 1728 rather than 1750s. (Staff) 
Desc.: animals--cats--Chardin, still life; Chardin, Jean Baptiste Simeon, French painter, 1699-1779--Still Life with Cat and Fish (Nelson Gallery and Atkins Museum, Kansas City); cats--and fish--Chardin; copi es, replicas and versions--Chardin--Still Life with Cat and Fish, versions; fish--and cats--Chardin; Glasgow (GBR), Burrell Collection-- Chardin--Still Life with Cat, Ray and Oysters; Kansas City (MO, USA), Nelson Gallery and Atkins Museum--Chardin-Still Life with Cat and Fish; Lisbon (PRT), Museu Nacional de Arte Antiga--Chardin--Still Life with Cat, Ray and Oysters, attribution reviewed; still life--Chardin-- cat and fish theme; Rothschild, Edmond de, baron, French collector, 1845-1934--collection--Chardin, Still Life with Cat and Fish
Sec. Head.: 69--RENAISSANCE, BAROQUE AND ROCOCO ART--artists and architects
Sub. Nationality: American; French; British; Portuguese
Sub. Period: 1720-1760
Sub. Style, Medium, Form: painting; secular iconography; still life

Y024191 2 
0086881 9 6137 (1983)
Durers Bildnis des Kaspar Nutzel (Portrait of Kaspar Nutzel by Albrecht Durer)
MENDE, Matthias
Mitteilungen des Vereins fur Geschichte der Stadt Nurnberg, LXIX, (1982), 130-141 8 illustrations, 1 color
Lang.: In German
Doc. Type: analytic
A lost painting done ca.1517/18, known to us through a painted copy (Verwaltung der Staatlichen Schlosser und Garten, Berlin, Jagdschloss Grunewald, inv. no. 1899; Anzelewsky cat. no. 135) and two drawings by Durer in Munich and Paris (Winkler nos. 565-566) may portray Kaspar Nutzel, Nuremberg councillor. Identification based on an engraving of 1669 by Johann Friedrich Leonart. (Author)
Desc.: Berlin (DEU), Staatliche Schlosser und Garten, Jagdschloss Grunewald--paintings--portrait of Nutzel, Durer, copy after; copies, replicas and versions--Durer--portrait of Nutzel, copy; Durer, Albrecht, German painter, printmaker, 1471-1528--portraits-Nutzel; L eonart, Johann Friedrich, Flemish printmaker, draftsman, 1633?-after 1680--engravings--portrait of Nutzel; Nutzel, Kaspar, German civic official, 1471-1529--portraits of--Durer
Sec. Head.: 69--RENAISSANCE, BAROQUE AND ROCOCO ART--artists and architects
Sub. Nationality: German
Sub. Period: 1517-1518
Sub. Style, Medium, Form: portraits; painting

Y024191 3
0084056 9 1978 (1983)
'EX MORTE LEVAMEN', een ongelijk paar door Jan Steen (EX MORTE LEVAMEN, an unequal couple by Jan Steen)
DEFOER, H. L. M.
Antiek, XV/5, (Dec 1980), 262-266 3 illustrations
Lang.: In Dutch
Summ. Lang.: Eng.
Doc. Type: analytic
The poet Jacob Cats stated in his famous emblem book that he enticed people by what look like images of love, but which really turn out to be emblems, while Jan Steen likewise aimed at drawing attention to virtue under the guise of depicting vice. The theme of unequal love had been popular since the end of the 15th c. and Jan Steen often depicted it. In a version of the subject in the Pushkin State Museum, Moscow, the key is provided by the bones, one held by the girl, two on the plate held by the matchmaker and one on the floor. They refer to an emblem by Cats which shows a man playing a flute made from the leg bone of a dead ass and has the motto Ex morte levamen (Out of death comes solace). The accompanying poem refers to the answer given by a young girl when asked why she was marrying a rich old man. 'It is well-known that the best flutes are made from the legs of asses after they have died'. The flute was a well-known phallic symbol so clearly the 'flute' of the bridegroom in our painting would only be meaningful to his bride after his death. (Antiek)
Desc.: Cats, Jacob, Dutch poet, 1577-1660--emblems--Ex morte levamen, as source for Steen, J.; copies, replicas and versions--Steen, J.--Unequal Love, versions; emblems and mottoes--Cats--Ex morte levamen; flutes--Cats--Ex morte levamen; love--unequal--Steen, J.; Moscow (SUN), Pushkin State Museum of Fine Arts--Steen, J.--Unequal Love; marriage--unequal love--Steen, J.; musical instruments--flutes--Cats, 
Ex morte levamen; Steen, Jan/Utch painter, 1626-1679--Unequal Love (Pushkin Museum, Moscow)
Sec. Head.: 69--RENAISSANCE, BAROQUE AND ROCOCO ART--artists and architects; 13--GENERAL WORKS--iconography
Sub. Nationality: Dutch; Russian
Sub. Period: 1626-1679
Sub. Style, Medium, Form: painting; secular iconography; graphic arts

Y024191 4
0081040 9 6158 (1983)
Fragonard & his friends: changing ideals in eighteenth century art
Exhibition shown: Saint Petersburg, FL, USA, Museum of Fine Arts, 20 Nov 1982-6 Feb 1983
Exhibition also shown: Little Rock, AR, USA, Arkansas Arts Center, 4 Mar-10 Apr 1983
Contributor (s): By Marion Lou GRAYSON 24[ca.20] p. 60 illustrations; 60 works shown LC82-73777
Lang.: Eng.
Doc. Type: exhibition catalogue
Organized around a recent acquisition by the Museum, Fragonard's La Bonne Mere (watercolor and gouache, Ananoff, II, Cat. No. 632), the exhibition includes 22 paintings, drawings and prints by Fragonard plus 38 works by 17 friends: Boucher, Chardin, Carle Vanloo, Natoire, Hubert Robert, Greuze, Joseph Vernet, David and others. Places Fragonard within the context of the declining Rococo and suggests that his rejection of a promising career as a history painter in the "grand manner" resulted from a psychological need to experiment and a philosophical belief that, for a capable artist, there was no single path to success. Provides evidence for direct connections between each of the artists and Fragonard. (Author)
Desc.: Boucher, Francois, French painter, 1703-1770--exhibitions; Chardin, Jean Baptiste Simeon, French painter, 1699-1779--exhibitions; David, Jacques Louis, French painter, 1748-1825--exhibitions; drawing, French--18th c.; Fragonard, Jean Honore, French painter, 1732-1806--exhibitions; Greuze, Jean Baptiste, French painter, 1725-1805--exhibitions; prints, French--18th c.; Little Rock (AR, USA), Arkansas Arts Center--exhibitions--Fragonard & his friends; changing ideals in eighteenth century art; Natoire, Charles Joseph, French painter, 1700-1777--exhibitions; painting, French--18th c.; parent and child--Fragonard--Good Mother; Robert, Hubert, French painter, 1733-1808--exhi- bitions; Rococo--and Fragonard; Saint Petersburg (FL, USA), Museum of Fine Arts of Saint Petersburg, Florida--exhibitions--Fragonard & his friends; changing ideals in eighteenth century art; Vanloo, Charles Andre (Carle Vanloo), French painter, printmaker, 1705-1765--exhibitions; Vernet, Claude Joseph, French painter, 1714-1789--exhibitions Sec. Head.: 69--RENAISSANCE, BAROQUE AND ROCOCO ART--artists and architects; 67--RENAISSANCE, BAROQUE AND ROCOCO ART--pictorial arts; 9--COLLECTIONS AND EXHIBITIONS--exhibition list
Sub. Nationality: French; American
Sub. Period: 1700-1799
Sub. Style, Medium, Form: painting; watercolor painting; drawing

Y024191 5
0075357 8 4770 (1982)
Nota in margine al Dizionario della critica d'arte: le voci "meccanico" e "meccanismo" ( Notes related to the Dizionario della critica d'arte: the terms "mechanical" and "mechanism")
GRASSI, Luigi
Storia dell'arte, 38-40, (Jan-Dec 1980), 425-432
Lang.: In Italian
Doc. Type: analytic
The author returns to the terms "mechanical" and "mechanism" (included in his dictionary of art criticism, published with M. Pepe, 1978), consulting other writers on art such as Alberti, Leonardo, Pino, Du Bos, Diderot, Algarotti, Reynolds, and Milizia. The meaning of these two words is linked to the debate between the liberal arts and the mechanical arts. During the 18th c. artistic techniques were esteemed. Even the famous paragone between painting and sculpture is part of these theoretical and aesthetic problems. It was Diderot who assigned greater importance and value to the mechanical arts over the liberal arts. Milizia recognizes in mechanism the simplicity and truth of the laws of nature. And Reynolds, in the same Enlightenment spirit, speaks of "Genius of mechanical performance" as the artist's capacity to realize the work of art perfectly. In other words, the genius of the artist is not a phenomenon that can be isolated and distinguished: it manifests itself through artistic techniques. (Author)
Desc.: Alberti, Leon Battista, Italian architect, author, 1404-1472--on mechanical arts; Algarotti, Francesco, Italian philosopher, critic, 1712-1764--on mechanical arts; art theory and criticism--mechanical and liberal arts; Diderot, Denis, French author, philosopher, 1713-1784--on mechanical arts; Du Bos, Jean Baptiste, abbe, French historian, diplomat, 1670-1742-- on mechanical arts; dictionaries and encyclopedias--art criticism; Grassi, Luigi, Italian art historian, b.1913--and Pepe, M.--Dizionario della critica d'arte; Leonardo da Vinci, Italian painter, sculptor, architect, engineer, musician, scientist, 1452-1519--on mechanical arts; Milizia, Francesco, Italian art historian, 1725-1798--on mechanical arts; Pepe, Mario, Italian art historian, 20th c.--and Grassi--Dizionario della critica d'arte; Pino, Paolo, Italian painter, author, act.1534-1565--on mechanical arts; painting--and sculpture--in Renaissance art theory; paragone--and liberal and mechanical arts; Reynolds, Joshua, British painter, 1723-1792--on mechanical arts; sculpture--and painting--in Renaissance art theory
Sec. Head.: 10--GENERAL WORKS--miscellanea
Sub. Nationality: French; Italian; British
Sub. Style, Medium, Form: art theory and criticism

Y024191 6
0073494 8 6162 (1982)
The poses of the child in the composition sketches by Leonardo da Vinci for
The Madonna and Child with a Cat and in other works related to this group
BUDNY, Virginia
Weatherspoon Gallery Association Bulletin, (1979-1980), 4-12 14 illustrations
Lang.: Eng.
Doc. Type: analytic
Examines eight sheets containing 23 different sketches attributed to Leonardo for the Madonna and Child with a Cat. The drawings are located in a private collection (London), the British Museum (London), the Musee Bonnat (Bayonne), the Ecole des Beaux-Arts (Paris), the Uffizi (Florence), the Biblioteca Ambrosiana (Milan) and in the Royal Library (Windsor). (Staff)
Desc.: animals--cats--Leonardo; Bayonne (FRA), Musee Bonnat--Leonardo--drawings, Madonna and Child with a Cat; cats--Leonardo; copies, replicas and versions--Leonardo--Madonna and Child with a Cat, versions; Florence (ITA), Galleria degli Uffizi, Gabinetto dei disegni--Leonardo--drawings, Madonna and Child with a Cat; Leonardo da Vinci, Italian painter, sculptor, architect, engineer, musician, scientist, 1452-1519--drawings--Madonna and Child with a Cat, versions; London (GBR), British Museum--Leonardo--drawings, Madonna and Child with a Cat; Mary, Virgin--and Child--with a cat, Leonardo; Milan (ITA), Ambrosiana, Biblioteca--Leonardo--drawings, Child with a Cat; Paris (FRA), Ecole nationale superieure des beaux-arts--Leonardo-- drawings; Windsor (GBR), Windsor Castle, Royal Library--Leonardo--drawings, Child with a Cat
Sec. Head.: 69--RENAISSANCE, BAROQUE AND ROCOCO ART--artists and architects
Sub. Nationality: Italian; British; French
Sub. Period: 1452-1499; 1500-1519
Sub. Style, Medium, Form: drawing

Y024191 7
0065626 7 5166 (1981)
Italian art, 1400-1500
Edited by: GILBERT, Creighton E. (Englewood Cliffs: Prentice-Hall: 1980) 226 p. index
Series: (Sources and documents in the history of art series) ISBN 0-13-507947-0 Price: $9.95
Lang.: Eng.
Doc. Type: monograph
Anthology of original writings of the 15th c. concerned with Italian art, with brief introductions by editor. First three sections are writings by artists (letters; contracts and other formal records; books written by artists, including Alberti On painting substantially complete, and Ghiberti's Second commentary complete). Remainder are writings by patrons, the clergy, literary people, and chroniclers. Includes all major texts and a number not previously known in art historical study (e.g. writings on art by Lorenzo de'Medici and S. Bernardino, and a list of all painters and sculptors having their own shops in Florence in 1470). (Editor)
Desc.: Alberti, Leon Battista, Italian architect, author, 1404-1472--Della pittura; art, Italian--15th c.; artists' writings--Italy--15th c.; authors--Italy--15th c.; Bernardino da Siena, S., Italian theologian, 1380-1444--writings--on art; Florence (ITA)--artists' shops-- (1470); Ghiberti, Lorenzo, Italian sculptor, theorist, ca.1381-1455; Medici, Lorenzo de' (Il Magnifico), Italian merchant prince, 1449-1492--writings--on art; patronage of art--Italy--15th c.; Renaissance art--Italy; religion and art--Italy--15th c.
Sec. Head.: 60--RENAISSANCE, BAROQUE AND ROCOCO ART--miscellanea
Sub. Nationality: Italian
Sub. Period: 1400-1500

Y024191 8
0062276 7 6213 (1981)
Aggiunta al catalogo del Veronese (Additions to the catalogue of Veronese)
PIGNATTI, Terisio
Arte veneta, XXXII, (1978), 214-219 6 illustrations, 1 color; catalogue of works
Lang.: In Italian
Doc. Type: analytic
Author adds five items to his catalogue raisonne, Veronese (Venezia: Alfieri, 1976): Cat. 115 bis, Agony in the Garden, ca.1560 (private collection); Cat. 107 bis, Portrait of a Seated Gentleman, ca.1560 (formerly Ecton Hall); Cat. 122 bis, S. Mennas (formerly Julius Weitzner collection), close to the painting of the same subject in the Galleria Estense, Modena (may be a ricordo); Cat. 134 bis, Marcus and Marcellian Taken to Martyrdom, ca.1570 (Rubenshuis, Antwerp, Duliere collection), perhaps a ricordo of the canvas in S. Sebastiano, Venice; Cat. 328 bis, Adoration of the Shepherds, ca.1580 (private collection, New York), etched by Matteo Piccioni (1641). Emphasizes the category of the ricordi, i.e. autograph paintings done by the artist upon request of collectors, in minor size, from most famous pieces; or actually also for studio documentation. (Author)
Desc.: Antwerp (BEL), Rubenshuis--Veronese--Marcus and Marcellian taken to Martyrdom; copies, replicas and versions--Veronese--ricordi; Ecton Hall (Northants, GBR)--paintings--Portrait of a Seated Gentleman, Veronese (former location); Jesus Christ--in Gethsemane--Veronese; Marcellian, S., d.ca.287--and Mark--taken to martyrdom, Veronese; Mark, S., d.ca.287--and Marcellian--taken to martyrdom, Veronese; Menas, S., d.ca.295--Veronese; Modena (ITA), Galleria e Museo Estense--Veronese--S. Mennas; Piccioni, Matteo, Italian painter, mosaicist, printmaker, ca.1615-1671--etchings--after Veronese, Adoration of the Shepherds; Venice (ITA), S. Sebastiano--paintings--Marcus and Marcellian taken to Martyrdom, Veronese; Veronese (Paolo Caliari), Italian painter, 1528-1588--attributions; Weitzner, Julius H., British, 20th c.--collection--Veronese, S. Mennas (former location)
Sec. Head.: 69--RENAISSANCE, BAROQUE AND ROCOCO ART--artists and architects
Sub. Nationality: Italian; American; British
Sub. Style, Medium, Form: painting; portraits; religious iconography

Y024191 9
0061610 7 792 (1981)
Artists' contracts of the early Renaissance
GLASSER, Hannelore
PhD diss, 1965, Columbia University (New York, London: Garland: 1977) 417 p. 59 illustrations; bibliography printed
Series: (Outstanding dissertations in the fine arts) ISBN 0-8240-2694-2 Price: $40
Lang.: Eng.
Doc. Type: dissertation
Based on a comparative analysis of more than 200 documents, this study concentrates on 15th c. contracts for painting and sculpture commissioned by patrons (single or collective) from Tuscan-born or trained artists. The artist's contract is discussed within the larger framework of other commercial agreements since many of the forms, phrases, and legal stipulations are common to them all. A closer analysis of 50 original documents extant in various archives concentrates on the form and content of the contract in order to define typical stipulations. The "progress" of a number of commissions is traced by means of extant modifying contracts, payments, and documents which reveal delay, litigation, and arbitration. Conclusions about 15th c. contract procedure are then applied to the problem of the commission for the altarpiece containing Leonardo da Vinci's Madonna of the Rocks. Based on new transcriptions of the known documents by Gino Corti and on new documents discovered by the author, a reexamination of the initial contracts leads to a clearer visualization of a lost ambiance (church, chapel, and altarpiece) as well as a clearer idea of the lost ancona of which Leonardo's masterpiece was part. This suggests a new approach to the 25-year lawsuit and the arbitration documents which resolved it.
Desc.: artists--Italy--contracts, 15th c.; Corti, Gino, Italian art historian, 20th c.--transcription of artists' contracts, 15th c.; dismembered works--Leonardo--Madonna of the Rocks altarpiece; dissertations, American--Glasser, Artists' contracts of the early Renaissance; Leonardo da Vinci, Italian painter, sculptor, architect, engineer, musician, scientist, 1452-1519--Madonna of the Rocks-- (dismembered work); law and art--Italy--artists' contracts, 15th c.; Mary, Virgin--Madonna of the Rocks--Leonardo; painting, Italian--artists' contracts-15th c.; patronage of art--Italy--artists' contracts, 15th c.; Renaissance art--Italy--patronage, 15th c.; reconstructions, painting--Leonardo da Vinci--Madonna of the Rocks; sculpture, Italian--artists' contracts--15th c.
Sec. Head.: 60--RENAISSANCE, BAROQUE AND ROCOCO ART--miscellanea
Sub. Nationality: Italian
Sub. Period: 1400-1499
Sub. Style, Medium, Form: Renaissance; painting; sculpture

Y024191 10
0058176 6 5757 (1980)
Le chat de Mademoiselle Dupuy (Mademoiselle Dupuy's cat) 
PROUTE, Michele
Gazette des Beaux-Arts, XCIV, (Sept 1979), 95-96 5 illustrations
Lang.: In French
Doc. Type: analytic
Documents the tale of Mademoiselle Dupuy's cat, to whom she left her fortune, recounted in a comic version in Bayle's Dictionnaire (IV, 89), and recurring as a theme in prints and tiles from the 17th c. Reproduces an engraving of her dictating her will, by Caylus after C.A. Coypel, 1727. (Courtauld Institute)
Desc.: animals--cats--Mademoiselle Dupuy's; Bayle, Pierre, French philosopher, 1647-1706--on Mademoiselle Dupuy's cat; Caylus, Anne Claude Philippe de Tubieres, comte de, French archaeologist, printmaker, author, 1692-1765--engravings--after Coypel, C.A., Mademoiselle Dupuy Dictating her Will; Coypel, Charles Antoine, French painter, printmaker, 1694-1752-- Mademoiselle Dupuy Dictating her Will--engraving by Caylus; cats--prints--French, 17th c., theme of Mademoiselle Dupuy's cat; Dupuy, Jeanne Felix, French musician, d.1677--will--as origin of tale of Mademoiselle Dupuy's cat; prints, French-theme of Mademoiselle Dupuy's cat; tiles, French--theme of Mademoiselle Dupuy's cat
Sec. Head.: 67--RENAISSANCE, BAROQUE AND ROCOCO ART--pictorial arts; 68--RENAISSANCE, BAROQUE AND ROCOCO ART--decorative arts
Sub. Nationality: French
Sub. Period: 1671-1699; 1700-1799
Sub. Style, Medium, Form: graphic arts; decorative arts; secular iconography

Y024191 11
0057944 6 4708 (1980)
Count Carlo Gamba: a Florentine gentleman of former times
GINORI, Leonardo
Apollo, CX/210, (Aug 1979), 108-113 9 illustrations
Lang.: Eng.
Doc. Type: analytic
Discusses Gamba's writings on Italian Renaissance art and as President of the Museo Horne, Florence from 1916. (Staff, RILA, UK)
Desc.: Florence (ITA), Museo Horne--Gamba as president; Gamba, Carlo, conte, Italian art historian, art administrator, 1870-1963; Renaissance art--Gamba on
Sec. Head.: 08--GENERAL WORKS--art historians and critics
Sub. Nationality: Italian
Sub. Period: 1890-1963
Sub. Style, Medium, Form: Renaissance

Y024191 12
0057122 6 6371 (1980)
Sandrart a Rome
KLEMM, Christian
Gazette des Beaux-Arts, XCIII, (Apr 1979), 153-166 7 illustrations
Lang.: In French
Summ. Lang.: Eng.
Doc. Type: analytic
Concerns Sandrart's sojourn in Rome (1629-1635), the contacts he had there with other artists and with patrons such as Giustiniani and with the Raggi family, and the works he painted in these years. The most important commission was a Death of Seneca (destr.); a drawing recently acquired by the Stadtische Kunstsammlungen of Augsburg casts light on the origin and date (1635) of the painting. On the basis of comparison with the signed Good Samaritan (Brera, Milan), the Death of Cato (Museo Civico, Padua) is reintegrated into the work of the artist. Finally, a rather uncommon Assumption of the Virgin (S. Francesco a Ripa, Rome) is attributed, mainly on stylistic grounds, to Sandrart. (Author, Gazette des Beaux-Arts)
Desc.: Augsburg (DEU), Stadtische Kunstsammlungen--Sandrart--drawings, Death of Seneca; Cato the Younger, Roman statesman, 95-46 B.C.--death of--Sandrart; Germans in Italy--Rome--Sandrart; Giustiniani, Vincenzo, marchese, Italian author, collector, 1564-1637--as patron of Sandrart; Jesus Christ--parables--good Samaritan, Sandrart; Mary, Virgin--assumption--Sandrart; Milan (ITA), Pinacoteca di Brera--Sandrart--Good Samaritan; Padua (ITA), Museo Civico--Sandrart--Death of Cato, attr.; Raggi family--as patrons of Sandrart; Rome (ITA), S. Francesco a Ripa--paintings--Assumption of the Virgin, Sandrart, attr.; Sandrart, Joachim I von, German painter, printmaker, art historian, 1606-1688--in Rome; Seneca, the younger (Lucius Annaeus Seneca), Roman philosopher, dramatist, statesman, ca.3 B.C.-65 A.D.--death of--Sandrart
Sec. Head.: 69--RENAISSANCE, BAROQUE AND ROCOCO ART--artists and architects
Sub. Nationality: Italian; German
Sub. Period: 1629-1635
Sub. Style, Medium, Form: painting; religious iconography; secular iconography

Y024191 13
0055665 6 1680 (1980)
An unknown drawing by Leonardo da Vinci
POUNCEY, Philip
Apollo, CVIII/202, (Dec 1978), 405 3 illustrations
Lang.: Eng.
Doc. Type: analytic
A pen and wash drawing belonging to the Escola Superior de Belas Artes, Porto and there incomprehensibly attributed to Raffaellino Da Reggio represents a young woman seated on the ground washing her child's feet in a basin. Placed alongside such drawings by Leonardo as those of the Virgin and Child with a Cat on a double-sided sheet in the British Museum (Catalogue of Italian drawings, XIV-XV centuries, 1950, no.97), the Porto drawing reveals itself as a work from his hand of about the same date, ca.1480: an attribution supported by the writing showing through from the back of the sheet, which seems to be 'mirror writing' compatible with Leonardo's. (Author, RILA, UK)
Desc.: animals--cats--with Virgin and Child, Leonardo; cats--with Virgin and Child--Leonardo; children--Leonardo--woman washing her child's feet; Leonardo da Vinci, Italian painter, sculptor, architect, engineer, musician, scientist, 1452-1519--drawings--Woman Washing her Child's Feet (Escola de Belas Artes, Porto); London (GBR), British Museum, Department of Prints and Drawings-- Leonardo--drawings, Virgin and Child with a Cat; Mary, Virgin--and Child--with a cat, Leonardo; Motta, Raffaello (Raffaellino da Reggio), Italian painter, ca.1550-1578--drawings--Woman Washing her Child's Feet (Escola de Belas Artes, Porto), attr. Leonardo; Porto (PRT), Escola Superior de Belas Artes--collection--Raffaellino da Reggio, drawings, Woman Washing her Child's Feet, attr. Leonardo; women--Leonardo--woman washing her child's feet
Sec. Head.: 69--RENAISSANCE, BAROQUE AND ROCOCO ART--artists and architects
Sub. Nationality: Italian
Sub. Period: 1460-1519
Sub. Style, Medium, Form: drawings; iconography

Y024191 14
0054675 6 5510 (1980)
O stosunka wspolczesnych historykow sztuki do pojecia "styl renesansowy" (Art historians of our time facing the concept of "Renaissance style")
ZLAT, Mieczyslaw
Biuletyn historii sztuki, XL/1, (1978), 23
Lang.: In Polish
Summ. Lang.: French
Doc. Type: analytic
Discusses divergences among art historians over the last 30 years regarding the concept of Renaissance style. On the basis of the outstanding works of art history, isolates three main attitudes. The first identifies the characteristics of 15th and 16th c. art, tracing the limits of Renaissance art in time and space and establishing inner lines of demarcation (Panofsky, Blunt, Wittkower et al.). The second carries on the traditional model of the term Renaissance (Salmi, Hartt, et al.); and the third is characterized by varying degrees of mistrust of the category Renaissance style, ranging from total negation (Argan, Tafuri) to retention of the term "Renaissance" accompanied by an interpretation of 15th and 16th c. art which utterly disregards any notion of style (Chastel, Gombrich). [Paper delivered at the VII Seminarium metodologicznego p.t. "Pojecie stylu", Nieborow (1976).] (Biuletyn historii sztuki)
Desc.: Argan, Giulio Carlo, Italian art historian, b.1909--on Renaissance style; art history--concept of style--Renaissance (1945-1975); art theory and criticism--concept of Renaissance style; Blunt, Anthony, British art historian, 1907-1983--on Renaissance style; Chastel, Andre, French art historian, b.1912--on Renaissance style; conferences--Seminarium metodologicznego, 7th, Nieborow (1976); Gombrich, Ernst Hans Josef, British art historian, b.1909--on Renaissance style; Hartt, Frederick, American art historian, b.1914--on Renaissance style; Panofsky, Erwin, American art historian, 1892-1968--on Renaissance style; Renaissance--style--as concept in art history (1945-1975); Salmi, Mario, Italian art historian, 1889-1980--on Renaissance style; Seminarium metodologicznego, 7th, Nieborow (1976); style--Renaissance--in art history (1945-1975); Tafuri, Manfredo, Italian art historian, b.1935--on Renaissance style; Wittkower, Rudolf, American art historian, 1901-1971--on Renaissance style
Sec. Head.: 60--RENAISSANCE, BAROQUE AND ROCOCO ART--miscellanea
Sub. Nationality: French; German; British; Italian; American; Polish
Sub. Style, Medium, Form: art theory and criticism; Renaissance

Y024191 15
0051729 6 1201 (1980)
Bericht uber holzkonservatorische Probleme des Gemaldes Kat.-Nr. 191, Paris
Bordone, die zu einer neuen Methode der Rahmung fuhrten (Report on problems of wood conservation of the painting cat. no. 191, Paris Bordone, which led to a new method of framing)
PRIEBE, Gerhard
Forschungen und Berichte, Staatliche Museen zu Berlin, XVII, (1976), 57-67 2 illustrations; diagrams
Doc. Type: analytic
The painting (a Virgin and Child with Saints) acquired in 1821 by the Staatliche Museen, is among the best examples of the Venetian High Renaissance and was probably painted by Titian's pupil Paris Bordone between 1530 and 1540. Restoration reports from the 19th c. show that above all panel paintings were exposed to considerable stresses. Thus the restorers in the woodwork shop developed a new method of framing which was first tested on this painting. The painting was hung in the frame. Flat pieces of metal were fastened at the level of the second board at the backo, h: he support so that the picture now is suspended in the groove of the lower frame and mechanical stresses are excluded by the dead weight of the panel. (RILA, DDR)
Desc.: Berlin (DDR), Staatliche Museen zu Berlin, Gemaldegalerie--Bordone-- Virgin and Child with Saints; Bordone, Paris (FRA), Italian D painter, 1500-1571--Virgin and Child with Saints (Staatliche Museen, Berlin); conservation and restoration, painting--Bordone--Virgin and Child with Saints; frames--Bordone--Virgin and Child with Saints; Mary, Virgin--and Child--with saints, Bordone; supports--Bordone--Virgin and Child with Saints
Sec. Head.: 67--RENAISSANCE, BAROQUE AND ROCOCO ART--pictorialarts; 69--RENAISSANCE, BAROQUE AND ROCOCO ART--artists and architects
Sub. Nationality: Italian; German
Sub. Period: 1530-1540; 1821-1976
Sub. Style, Medium, Form: painting; religious iconography

Y024191 16
0051669 6 1165 (1980)
Zu einigen spatmanieristischen niederlandischen Landschaften der Berliner Galerie ( On some late-Mannerist Dutch landscapes in the Berlin Gemaldegalerie)
GEISMEIER, Irene
Forschungen und Berichte, Staatliche Museen zu Berlin, XVII, (1976), 63-717 illustrations, 1 color
Doc. Type: analytic
Painting in the late-16th and early-17th cs. shows a rich artistic productivity, nevertheless only a few prominent artists' names have come down. The Gemaldegalerie in the Berlin Bode-Museum (formerly the Kaiser-Friedrich-Museum) owns a series of landscapes by Flemish and Dutch painters. The painting Wooded Landscape with Tobias and the Angel (cat. no. 720) is here seen as an early work of David Vinckeboons. Another painting, Flemish Landscape with Deerhunt (cat.II/266) is attributed to the circle of David Vinckeboons and dated to ca.1610. (RILA, DDR)
Desc.: Berlin (DDR), Staatliche Museen zu Berlin, Gemaldegalerie--landscapes--Dutch and Flemish, 16th-17th cs.; hunting--deer hunt--Vinckeboons school; landscape--16th-17th cs.; Mannerism--Netherlands--landscapes; Tobias--and the angel--Vinckeboons; Vinckeboons school--Landscape with Deerhunt (Gemaldegalerie, Berlin, DDR); Vinckeboons, David, Dutch painter, 1576-1632--Wooded Landscape with Tobias and the Angel (Gemaldegalerie, Berlin, DDR), attr.
Sec. Head.: 67--RENAISSANCE, BAROQUE AND ROCOCO ART--pictorial arts; 69--RENAISSANCE, BAROQUE AND ROCOCO ART--artists and architects; 95--COLLECTIONS AND EXHIBITIONS--public collections
Sub. Nationality: Dutch; Flemish
Sub. Period: 1580-1650
Sub. Style, Medium, Form: painting; religious iconography; secular iconography; landscape

Y024191 17
0045990 5 2823 (1979)
Duchamp and the classical perspectivists
CLAIR, Jean
Artforum, XVI/7, (Mar 1978), 40-49 37 illustrations; diagrams
Doc. Type: analytic
Duchamp frequently insisted that The Large Glass (Museum of Art, Philadelphia) was mainly a consideration on perspective: 'The Large Glass is actually a rehabilitation of perspective, which had been completely neglected and decried. With me perspective became absolutely scientific'. An observation in A L'Infinitif makes it fairly plain where his mind was leading: 'See Cat. of the Bibliotheque Sainte Genevieve, under 'Perspective: Niceron (le Pere J. Francois), Thaumaturgus Opticus'. An obvious fact which needs to be stressed is that by substituting a plate of glass for an opaque canvas, Duchamp was doing no more than applying the analysis of the classical perspectivists to the letter in making a real pariete di vetro (wall of glass), according to the definition of Leonardo. Indeed, both the structure and the iconography of the Large Glass closely relate to the classical treatises of perspective which he could read when he was an employee to the Bibliotheque Sainte Genevieve in Paris. The rest of the work, optical devices, ready-mades, up to the large environment in the Philadelphia Museum, Etant Donnes, all relate to this perspectivistsobsession, including optical illusionism, anamorphoses, games on appearances. His idea of a fourth dimension, of which the real, three-dimensional world is but an appearance, closely relates to these perspectivist games: the fourth dimension is articulated to the third in the same way as, in the classical treatises on perspective, the third dimension is articulated to the plane. (Author)
Desc.: Duchamp, Marcel, French artist, 1887-1968--and classical perspectivists; Leonardo da Vinci, Italian painter, sculptor, architect, engineer, musician, scientist, 1452-1519--theories--perspective; Niceron, Jean Francois, French mathematician, 1613-1646--on perspective--influence on Duchamp; Paris (FRA), Bibliotheque S. Genevieve--Duchamp as employee of; Philadelphia (PA, USA), Philadelphia Museum of Art--Duchamp--works; perspective--Duchamp
Sec. Head.: 79--NEO-CLASSICISM AND MODERN ART--artists, architects, photographers
Sub. Nationality: French; American
Sub. Period: 1900-1967
Sub. Style, Medium, Form: sculpture

Y024191 18
0045298 5 5106 (1979)
Die Cappella Altemps in S. Maria in Trastevere (The Cappella Altemps in S. Maria in Trastevere)
FRIEDEL, Helmut
Romisches Jahrbuch fur Kunstgeschichte, XVII, (1978), 89-123 14 illustrations, 1 color; plans, elevations; diagrams
Doc. Type: analytic
On the basis of source material from the archive of the Duca di Gallese it is possible to infer the extent of the alterations by Cardinal Marcus Siticus Altemps in S. Maria in Trastevere. Altemps, a nephew of Pope Pius IV, was appointed by him legate to the Council of Trent. In his chapel in S. Maria in Trastevere (1587-89) Altemps had the painter Pasquale Cati and the stuccoist Pompeo dell'Abbate execute around an 8th c. icon of the Virgin, a decorative program that clearly shows the new post-Tridentine ecclesiastical outlook. In a large fresco the assembled Council of Trent is interpreted through allegorical figures. In it the papacy is equated with Ecclesia (the Church). (Author)
Desc.: Abbate, Pompeo dell', Italian stucco artist, 16th c.--decorations-- Cappella Altemps, S. Maria in Trastevere, Rome; Altemps, Marcus Siticus, Italian card., 1533-1595--chapel--S. Maria in Trastevere, Rome; Cati, Pasquale, Italian painter, ca.1550-ca.1620--frescoes--Cappella Altemps, S. Maria in Trastevere, Rome; Church (allegorical figure)--Cati; Counter-Reformation iconography--Italy--Rome, S. Maria in Trastevere, Cappella Altemps; Pius IV, pope, 1499-1565--and Cardinal Altemps; Rome (ITA), S. Maria in Trastevere--Cappella Altemps--decorations, Cati and dell'Abbate
Sec. Head.: 65--RENAISSANCE, BAROQUE AND ROCOCO ART--architecture;  67--RENAISSANCE, BAROQUE AND ROCOCO ART--pictorial arts
Sub. Nationality: Italian
Sub. Period: 1587-1589
Sub. Style, Medium, Form: painting; religious iconography; mural painting

Y024191 19
0044799 5 280 (1979)
Infinite jest: wit and humor in Italian Renaissance art
BAROLSKY, Paul
(Columbia: University of Missouri Press: 1978) 224 p. 99 illustrations;  bibliography; index
ISBN 0-8262-0241-1 Price: $34
Doc. Type: monograph
A general study which is intended as an antidote to the high seriousness of the allegorical, iconographic, and Neo-Platonic interpretations that have dominated the study of Renaissance art in recent years. Includes discussion of satire, parody, irony, travesty, and burlesque in works by Botticelli, Raphael, Michelangelo, Titian, and other major artists. The themes of Italian art are related to the writings of Lorenzo de' Medici, Berni, Folengo, and Aretino as well as of Erasmus, Rabelais, Montaigne, and Shakespeare. The wit and humor of Italian artists is compared to that of northerners such as Bosch and Bruegel. In stressing the bawdy character of Renaissance art, the book treats the satire of the ancient gods, the playfulness of Bacchic art, the priapean elements in Renaissance art and literature, and the erotic comedy of nuptial art. (Author)
Desc.: Aretino, Pietro, Italian author, 1492-1556--influence on humorous subjects in Renaissance art; allegory--Renaissance, Italian; art history--methodology--Italian Renaissance art; art, Italian--Renaissance--wit and humor; Bacchus--Bacchic themes--art, Italian, Renaissance; Berni, Francesco, Italian poet, 1497?-1535--writings--influence on humorous subjects in Renaissance art; Bosch, Hieronymus (Hieronymus van Aken), early Netherlandish painter, ca.1450-1516--wit and humor--compared with Italian Renaissance art; Botticelli, (Alessandro di Mariano Filipepi), Italian painter, ca.1447-1510--humorous subjects; Bruegel, Pieter, the elder, early Netherlandish painter, b.1520-1530, d.1569--wit and humor--compared with Italian Renaissance art; classical subjects--art--Italian Renaissance, humorous subjects; Erasmus, Desiderius, early Netherlandish humanist, 1466?-1536-- writings--influence on Italian Renaissance art; erotic art--Italy--Renaissance, humorous aspects; Folengo, Teofilo, Italian poet, 1496-1544--writings--influence on humorous subjects in Renaissance art; gods--Italian Renaissance art--satirical aspects; iconography--Italian Renaissance art--wit and humor; irony--Italian Renaissance art; literature and art--Italy--Renaissance, priapean elements in; Medici, Lorenzo de', duke of Urbino, 1492-1519--writings--influence on humorous subjects in Renaissance art; Michelangelo Buonarroti, Italian sculptor, painter, architect, poet, 1475-1564--humorous subjects; Montaigne, Michel Eyquem, French essayist, 1533-1592--influence on Italian Renaissance art; Neo-Platonism--interpretations of wit and humor in Italian Renaissance art; Priapus (god)--Italian Renaissance art--humorous aspects; parody (art)--Italian Renaissance art; Rabelais, Francois, French author, physician, ca.1490-1553--writings-- influence on Italian Renaissance art; Raphael (Raffaello Sanzio), Italian painter, architect, 1483-1520-- humorous subjects; Renaissance art--Italy--wit and humor; Shakespeare, William, Eng. playwright, poet, 1564-1616--influence on Italian Renaissance art; satire--Italian Renaissance art;  Titian, Tiziano Vecellio, Italian painter, 1477?-1576--humorous subjects; wit and humor--Italian Renaissance art
Sec. Head.: 13--GENERAL WORKS--iconography; 60--RENAISSANCE, BAROQUE AND ROCOCO ART--miscellanea
Sub. Nationality: Italian
Sub. Style, Medium, Form: Renaissance; iconography

Y024191 20
0043606 5 1472 (1979)
Raphael und die Psyche-Statue Agostino Chigis (Raphael and Agostino Chigi's statue of Psyche)
SCHWARZENBERG, Erkinger
Jahrbuch der Kunsthistorischen Sammlungen in Wien, XXXVII, (1977), 107-136 26 illustrations; diagrams
Doc. Type: analytic
A 16th c. drawing in the Albertina, Vienna (Rom IX, inv. no. 111, cat. 137) shows the crouching statue of a Roman Psyche which stood in the Farnesina during Agostino Chigi's lifetime. Raphael studied it and alludes to it in his figure of the crouching Psyche in the eight spandrel of the loggia. Venus may be pointing at the statue itself rather than at the lunette below. The author follows up the history of the statue through the Quirinal Gardens and the Villa d'Este to its present location in the Capitoline. (Author)
Desc.: Chigi, Agostino, Italian banker, ca.1465-1520--collection--antique sculpture, Psyche; Psyche (Roman statue)--and Raphael--Loggia di Psiche, Farnesina, Rome; Raphael (Raffaello Sanzio), Italian painter, architect, 1483-1520-- reference to Chigi Psyche in Loggia di Psiche, Farnesina; Rome (ITA), Musei Capitolini--sculpture--Psyche; Rome (ITA), Palazzo del Quirinale--sculpture--Psyche (former location); survival of antiquity--Chigi Psyche--influence on Raphael; Tivoli (ITA), Villa d'Este--sculpture--Psyche (former location); Vienna (AUT), Graphische Sammlung Albertina--drawings--Italian, 16th c., inv. no. 111, Psyche
Sec. Head.: 69--RENAISSANCE, BAROQUE AND ROCOCO ART--artists and architects
Sub. Nationality: Italian
Sub. Period: 1508-1520
Sub. Style, Medium, Form: mural painting; Roman; sculpture; drawings

Y024191 21
0034757 4 5410 (1978)
A pastel by Thomas Frye, ca.1710-62
WYNNE, Michael
British Museum Yearbook, II, (1977), 242-245 3 illustrations
Doc. Type: analytic
Portrait of a Girl Holding a Kitten was acquired by the British Museum, London in 1975. It is a striking example of a work by Frye in the manner of his Venetian near-contemporary Piazzetta. Suggests it is one of the 'portraits-crayons' exhibited at the Society of Artists of Great Britain, London in 1761. Compares it to Portrait of a Man Leaning on a Staff (private collection, GB) and Portrait of a Man in Profile to the Left Leaning on a Staff (private collection, Ireland). (Staff, RILA, UK)
Desc.: Frye, Thomas, Irish painter, 1710-1762--drawings--Portrait of a Girl Holding a Kitten (British Museum, London); London (GBR), British Museum, Department of Prints and Drawings--Frye--drawings, Portrait of a Girl Holding a Kitten; London (GBR), Society of Artists of Great Britain--exhibitions--1761, Frye; Piazzetta, Giovanni Battista, Italian painter, printmaker, ca.1682-1754--influence on Frye
Sec. Head.: 69--RENAISSANCE, BAROQUE AND ROCOCO ART--artists and architects
Sub. Nationality: Italian; British
Sub. Period: 1710-1762
Sub. Style, Medium, Form: drawings

Y024191 22
0031320 4 1723 (1978)
Le Triptyque Micault de J.C. Vermeyen. Etude historique (J.C. Vermeyen's
Micault Triptych. An historical study)
BERGEN-PANTENS, Christiane van den
Bulletin des Musees royaux des beaux-arts de Belgique, XXII/1-4, (1973), 33-57 12 illustrations
Summ. Lang.: Dutch
Doc. Type: analytic
Discusses the Raising of Lazarus triptych from S. Gudule, now in the Musees royaux des Beaux-Arts, Brussels, with donors Jean Micault, his wife Livine Cats van Welle and children on wings. Gives a history of members of the donor family, heraldry, and other works of art associated with them. The triptych is dated 1547-49. (Courtauld Institute)
Desc.: Brussels (BEL), SS. Michel et Gudule--paintings--Micault Triptych, Vermeyen (former location); Brussels (BEL), Musees royaux des Beaux-Arts de Belgique--Vermeyen-- Micault Triptych; Cats van Welle, Livine, early Netherlandish wife of Jean Micault, d.1547--as donor of Vermeyen, Raising of Lazarus triptych; donors' portraits--Micault; Jesus Christ--miracles--raising Lazarus, Vermeyen; Lazarus--raising of--Vermeyen; Micault, Jean, early Netherlandish court official, act.1474, d.1539-- as donor of Vermeyen, Raising of Lazarus triptych; Vermeyen, Jan Cornelis, early Netherlandish painter, ca.1500-1559-- Micault Triptych (Musees royaux des Beaux-Arts, Brussels)
Sec. Head.: 69--RENAISSANCE, BAROQUE AND ROCOCO ART--artists and architects
Sub. Nationality: Netherlandish
Sub. Period: 1547-1549
Sub. Style, Medium, Form: painting; religious iconography; secular iconography

Y024191 23
0030259 4 4038 (1978)
La raccolta Baglioni (The Baglioni collection)
Exhibition shown: Bergamo, ITA, Accademia Carrara, 27 Mar-6 June 1976
Contributor (s): Catalogo a cura di Francesco ROSSI 110 p. 198 illustrations, 4 color; 197 works shown LC76-480057
Doc. Type: exhibition catalogue
Italian Renaissance and Baroque art. (Arts Library, University of California at Santa Barbara)
Desc.: art, Italian--Baglioni collection; Baglioni, Francesco, Italian, d.1900--Italian art; Baroque art--Baglioni collection; Bergamo (ITA), Accademia Carrara--exhibitions--La raccolta Baglioni; Renaissance art--collections--Baglioni collection
Sec. Head.: 86--MODERN ART--sculpture; 60--RENAISSANCE, BAROQUE AND ROCOCO ART--miscellanea; 95--COLLECTIONS AND EXHIBITIONS--public collections
Sub. Nationality: Italian
Sub. Period: 1300-1399; 1400-1499; 1500-1599; 1600-1699; 1700-1799
Sub. Style, Medium, Form: Renaissance; Baroque

Y024191 24
0026697 3 3924 (1977) Reviewed in RILA 3 3925 (1977)
Gestures of despair in medieval and early Renaissance art
BARASCH, Moshe
(New York: New York University Press: 1976) 162 p. illustrations; index ISBN 0-8147-1006-9 Price: $35
Doc. Type: review of a monograph
Desc.: art, Italian--gestures of despair--13th-14th cs.; Dante Alighieri, Italian poet, 1265-1321--Divina commedia-- illustrations, depicting gestures of despair; Donatello (Donato di Niccolo di Betto Bardi), Italian sculptor, ca.1386-1466--gestures of despair; despair--Medieval and early Renaissance gestures; gesture; Jesus Christ--crucifixion--gestures of despair, Italian art, 13th-14th cs.; Jesus Christ--lamentation--gestures of despair, Italian art, 13th-14th cs.; Last Judgment--sinners' gestures of despair--Italian art, 13th-14th cs.; literature and art--Italy--parallel expressions of despair; Medieval iconography--gestures of despair; Renaissance iconography--gestures of despair--14th c.; Riccio, Andrea (Andrea Briosco), Italian goldsmith, sculptor, medalist, 1470-1532--gestures of despair; society and art--Italy--parallel expressions of despair; survival of antiquity--gestures used in Italian art, 13th-14th cs., sources
Sec. Head.: 13--GENERAL WORKS--iconography
Sub. Nationality: Italian
Sub. Period: 1200-1299; 1300-1399
Sub. Style, Medium, Form: Medieval; Renaissance; iconography
Review by: SWARTZBURG, Susan G., ARLIS/NA Newsletter, V/3, (Apr 1977), 102

Y024191 25
0026119 3 270 (1977)
Cats at home in church
SPRIGGS, Gereth M.
Country Life, CLX/4147, (23 Dec 1976), 1890-1892 7 illustrations
Doc. Type: analytic
Illustrates the symbolism of cats in religious works of various media. (Staff, RILA, UK)
Desc.: animals--cats--in religious art; religious symbolism--cats
Sec. Head.: 13--GENERAL WORKS--iconography
Sub. Nationality: Eng.; French; Italian
Sub. Style, Medium, Form: painting; drawings; glass-painting; sculptur-; religious iconography

Y024191 26
0023255 3 3924 (1977)
Gestures of despair in medieval and early Renaissance art
BARASCH, Moshe
(New York: New York University Press: 1976) 162 p. illustrations; index ISBN 0-8147-1006-9 Price: $35
Doc. Type: monograph
A history of gestures as expressions of despair or self-injury in Italian art of the 13th and 14th cs. These gestures and their rendering were initially used to dramatize the castigation of sinners and the damned in the Last Judgment and later extended to both saints and sinners in scenes such as the Lamentation and the Crucifixion. Gives attention to classical sources and to literary traditions, particularly Dante's Divine Comedy, and social customs as parallel expressions of the attitudes toward gesticulation influencing Medieval and Renaissance artists such as Donatello and Andrea Riccio. (Publisher)
Desc.: art, Italian--gestures of despair--13th-14th cs.; Dante Alighieri, Italian poet, 1265-1321--Divina commedia-- illustrations, depicting gestures of despair; Donatello (Donato di Niccolo di Betto Bardi), Italian sculptor, ca.1386-1466--gestures of despair; despair--Medieval and early Renaissance gestures; gesture; Jesus Christ--crucifixion--gestures of despair, Italian art, 13th-14th cs.; Jesus Christ--lamentation--gestures of despair, Italian art, 13th-14th cs.; Last Judgment--sinners' gestures of despair--Italian art, 13th-14th cs.; literature and art--Italy--parallel expressions of despair; Medieval iconography--gestures of despair; Renaissance iconography--gestures of despair--14th c.; Riccio, Andrea (Andrea Briosco), Italian goldsmith, sculptor, medalist, 1470-1532--gestures of despair; society and art--Italy--parallel expressions of despair; survival of antiquity--gestures used in Italian art, 13th-14th cs., sources
Sec. Head.: 13--GENERAL WORKS--iconography; 50--MEDIEVAL ART--miscellanea
Sub. Nationality: Italian
Sub. Period: 1200-1299; 1300-1399
Sub. Style, Medium, Form: Medieval; Renaissance; iconography

Y024191 27
0021618 3 246 (1977)
Grape symbolism in paintings of the 16th and 17th centuries
DE JONGH, E.
Simiolus, VII/4, (1974), 166-191 32 illustrations
Doc. Type: analytic
Discusses the emblem of a hand with a bunch of grapes representing virginity and religious marriage in 17th c. illustrated writings of Jacob Cats and 17th c. Dutch portraits. Examines the symbolism of the grapes and vine as representing Christ and the Virgin in 16th c. Flemish paintings. (Courtauld Institute)
Desc.: portraits--17th c.--symbolism of hand with bunch of grapes; Cats, Jacob, Dutch poet, 1577-1660--emblem of hand with bunch of grapes; grapes--symbolism in Flemish and Dutch painting, 16th and 17th cs.; grapevine--as symbol of Virgin--painting, Flemish, 16th c.; Jesus Christ--symbolized by grapes, in 16th c. Flemish painting; Mary, Virgin--symbolism of the grapevine--painting, Flemish, 16th c.; painting, Flemish--iconography of grapes and vine
Sec. Head.: 13--GENERAL WORKS--iconography; 67--RENAISSANCE, BAROQUE AND ROCOCO ART--pictorial arts
Sub. Nationality: Dutch; Belgian
Sub. Period: 1500-1599; 1600-1699
Sub. Style, Medium, Form: painting; religious iconography

Y024191 28
0020874 3 1720 (1977)
American Cat-alogue: the cat in American folk art
Exhibition shown: New York, NY, USA, Museum of American Folk Art, 12 Jan-26 Mar 1976
Contributor (s): By Bruce JOHNSON 124 p. 124 illustrations, 8 color; 124 works shown ISBN 0-380-00590-5 Price: $4.95
Doc. Type: exhibition catalogue
The cat figures more prominently in American folk art than perhaps any other animal. Cats were found in almost every form of folk art: quilts, hooked rugs, furniture, fireboards, pottery, samplers, canes, even on a scrimshaw tooth and a theorem. Also included were works by American folk painters Ammi Phillips, Joseph H. Davis, John Kane, Joseph Chandler, Morris Hirshfield, John Bradley, Caleb Purrington, Sturtevant J. Hamblen. Folk stories and superstitions about cats are included in the catalogue. (Author)
Desc.: animals--cats--folk art, American; Bradley, John, American painter, act.1837-1845--exhibitions; Chandler, Joseph Goodhue, American painter, 1813-1880?--exhibitions; Davis, Joseph H., American painter, act.1832-1837--exhibitions; folk art, American--cat subjects; Hamblen, Sturtevant J., American painter, act.1837-1856--exhibitions; Hirshfield, Morris, American painter, 1872-1946--exhibitions; Kane, John, American painter, 1860-1934--exhibitions; New York (NY, USA), Museum of American Folk Art--exhibitions--American Cat-alogue: the cat in American folk art; Phillips, Ammi, American painter, 1788-1865--exhibitions; Purrington, Caleb P., American painter, 19th c.--exhibitions 
Sec. Head.: 70--NEO-CLASSICISM AND MODERN ART--miscellanea; 95--COLLECTIONS AND EXHIBITIONS--public collections
Sub. Nationality: American
Sub. Period: 1800-1976
Sub. Style, Medium, Form: painting; decorative arts; porcelain and pottery; furniture; sculpture

Y024191 29
0020384 3 891 (1977)
18th century drawings from California collections
Exhibition shown: Claremont, CA, USA, Galleries of the Claremont Colleges 16 Jan-29 Feb 1976
Exhibition also shown: Sacramento, CA, USA, E.B. Crocker Art Gallery, 14 Mar-11 Apr 1976
Contributor (s): Catalogue by David W. STEADMAN and Carol M. OSBORNE 112 p. 95 illustrations; bibliography; biographies; 67 works shown ISBN 0-915478-09-9 Price: $6.95
Doc. Type: exhibition catalogue
The catalogue includes individual discussions of each drawing plus biographical sketches of the 54 artists whose works are represented. Artists include Bartolozzi, Baumgartner, Bibiena, Bison, Boucher, Cades, Cats, Chodowiecki, David, Fragonard, Gainsborough, Gandolfi, Ghezzi, Gillot, Gravelot, Holzer, Huet, Juvarra, Robert, Romney, Tiepolo, Vincent, Watteau, West and de Wit. Whenever possible comparative material--related drawings, paintings or prints for which the drawings were preparatory studies--is illustrated. Thirty-nine of the 67 drawings have never before been published. Full catalogue entries and reproductions of each object. (David W. Steadman, Pomona College, Claremont, Calif)
Desc.: Bartolozzi, Francesco, Italian painter, printmaker, ca.1727-1815-- exhibitions--drawings; Baumgartner, Johann Wolfgang, German painter, draftsman, 1712-1761-- exhibitions--drawings; Bibiena, Francesco Galli, Italian painter, architect, scenographer, 1659-1739--exhibitions--drawings; Bison, Giuseppe Bernardino, Italian painter, 1762-1844--exhibitions-- drawings; Boucher, Francois, French painter, 1703-1770--exhibitions--drawings; Cades, Giuseppe, Italian painter, printmaker, 1750-1799--exhibitions-- drawings; Cats, Jacob, Dutch painter, draftsman, 1741-1799--exhibitions--drawings; Chodowiecki, Daniel Nikolaus, German painter, printmaker, 1726-1801-- exhibitions--drawings; Claremont (CA, USA), Galleries of the Claremont Colleges--exhibitions--18th century drawings from California collections; David, Jacques Louis, French painter, 1748-1825--exhibitions--drawings; drawings--18th c.--in California collections; Fragonard, Jean Honore, French painter, 1732-1806--exhibitions-- drawings; Gainsborough, Thomas, British painter, 1727-1788--exhibitions--drawings; Gandolfi, Ubaldo, Italian painter, printmaker, sculptor, 1728-1781-- exhibitions--drawings; Ghezzi, Pier Leone, Italian painter, 1674-1755--exhibitions--drawings; Gillot, Claude, French painter, printmaker, 1673-1722--exhibition-- drawings; Gravelot, Hubert Francois, Bourguignon, French painter, printmaker, 1699-1773--exhibitions--drawings; Holzer, Johann Evangelist, German painter, printmaker, 1709-1740-- exhibitions--drawings; Huet, Jean Baptiste, French painter, 1745-1811--exhibitions--drawings; Juvara, Filippo, Italian architect, printmaker, 1678-1736--exhibitions--drawings; Robert, Hubert, French painter, 1733-1808--exhibitions--drawings; Romney, George, British painter, 1734-1802--exhibitions-drawings; Sacramento (CA, USA), Crocker Art Museum--exhibitions--18th century drawings from California collections; Tiepolo family, Italian painters, printmakers, 18th c.--exhibitions-- drawings; Vincent, Francois Andre, French painter, printmaker, 1746-1816-- exhibitions--drawings; Watteau, Jean Antoine, French painter, 1684-1721--exhibitions--drawings; West, Benjamin, American painter, 1738-1820--exhibitions--drawings; Wit, Jacob de, Dutch painter, printmaker, 1695-1754--exhibitions-- drawings
Sec. Head.: 67--RENAISSANCE, BAROQUE AND ROCOCO ART--pictorial arts; 95--COLLECTIONS AND EXHIBITIONS--public collections
Sub. Nationality: German; Italian; Dutch; American; French
Sub. Period: 1700-1799
Sub. Style, Medium, Form: drawings

Y024191 30
0020077 3 3934 (1977)
The Coronation of the Virgin in fifteenth century Italian art
ECHOLS, Mary Tuck
PhD diss, 1976, University of Virginia 318 p. typescript; microfilm; xerox
Doc. Type: dissertation
Desc.: art, Italian--15th c.--iconography of coronation of the Virgin; dissertations, American--Echols, The Coronation of the Virgin in fifteenth century Italian art; Mary, Virgin--coronation--in 15th c. Italian art; Renaissance art--Italy--15th c., iconography of coronation of the Virgin
Sec. Head.: 13--GENERAL WORKS--iconography; 60--RENAISSANCE, BAROQUE AND ROCOCO ART--miscellanea
Sub. Nationality: Italian
Sub. Period: 1400-1499
Sub. Style, Medium, Form: painting; sculpture; religious iconography

Y024191 31
0013305 2 4643 (1976)
Zu Cortonas Dreifaltigkeitsgemalde und Berninis Ziborium in der Sakramentskapelle von St. Peter ( On Cortona's Trinity and Bernini's ciborium in the Cappella del Sacramento, S. Peter's)
NOEHLES, Karl
Romisches Jahrbuch fur Kunstgeschichte, XV, (1975), 169-182 6 illustrations; index
Doc. Type: analytic
Gives the history of the commission for the Trinity and discusses its iconographic relationship to the tabernacle. Initially the painting was to be a Trinity with the Virgin Interceding (drawing, Chatsworth, Cat.no.596) and seems, in the theological context of the mystery of the creation and salvation of the world to have had an intimate conceptual connection with the Cappella del Coro opposite in which the Corpus Domini in Michelangelo's Pieta was joined with Vouet's Adoration of the Cross. Bernini's wooden model for the tabernacle was set up temporarily in the Cappella Gregoriana and was not placed in front of Cortona's painting until 1638. Bernini did not succeed in producing it in metal before Cortona's death. The final work was completed 1673-75, after a new design. (Author)
Desc.: Bernini, Gian Lorenzo, Italian artist, 1598-1680--ciborium (Cappella del Sacramento, S. Pietro, Rome); Chatsworth (Derb, GBR)--Cortona--drawings, Cat.no.596, Trinity; Pietro da Cortona (Pietro Berrettini), Italian architect, painter, 1596-1669--Trinity (Cappella del Sacramento, S. Pietro, Rome); Cross--adoration of--Vouet; Jesus Christ--Pieta--Michelangelo; Michelangelo Buonarroti, Italian sculptor, painter, architect, poet, 1475-1564--sculpture--Pieta (S. Pietro, Vatican, Rome); Rome (ITA), Vatican, S. Pietro--Cappella del Coro--frescoes, Adoration of the Cross (destr.), Vouet; Rome (ITA), Vatican, S. Pietro--Cappella del Sacramento--ciborium, Bernini; Rome (ITA), Vatican, S. Pietro--Cappella del Sacramento--paintings, Trinity, Cortona; Rome (ITA), Vatican, S. Pietro--Cappella Gregoriana--as temporary 17th c. location of Bernini's ciborium; Rome (ITA), Vatican, S. Pietro--sculpture--Pieta, Michelangelo; Trinity--Cortona; Vouet, Simon, French painter, 1590-1649--frescoes--Adoration of the Cross (Cappella del Coro, S. Pietro, Rome)
Sec. Head.: 67--RENAISSANCE, BAROQUE AND ROCOCO ART--pictorial arts; 68--RENAISSANCE, BAROQUE AND ROCOCO ART--decorative arts
Sub. Nationality: Italian; French
Sub. Period: 1500; 1625-1675
Sub. Style, Medium, Form: religious iconography; decorative arts; painting

Y024191 32
0013161 2 5183 (1976)
Ut magis luceat: eine Miszelle zu Rembrandt's Anslo (Ut magis luceat: a miscellany on Rembrandt's Anslo)
KLAMT, Johann Christian
Jahrbuch der Berliner Museen, XVII, (1975), 155-165 5 illustrations
Doc. Type: analytic
On the basis of an emblem Ut magis luceat by Sebastian de Covarrubias (Emblemas morales, Madrid, 1610, III, no.60) and one by Jacob Cats Liceat sperare timenti (Emblemata moralia et oeconomica, Rotterdam, 1627, no.20) as well as of a passage in Mundus symbolicus by Philippo Picinello, one can ascertain that the pair of candle snuffers was seen as a symbol of correctio fraterna in the 16th and 17th cs. Thomas Aquinus stressed the correctio fraterna as a principal duty of the ministry. In the community life of the Mennonites and in their conception of marriage correctio fraterna played a significant role. The pair of candle snuffers lying beneath the candle in Rembrandt's portrait of the Mennonite minister Cornelis Claesz Anslo (Gemaldegalerie, Staatliche Museen Preussischer Kulturbesitz, Berlin) seems to be a conscious allusion to the sitter's pastoral qualities. (Author)
Desc.: Ansingh, Maria Elisabeth Georgina, Dutch painter, printmaker, 1875-1959--portraits--Rembrandt; Berlin (DEU), Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie--Rembrandt--portrait of Cornelis Claesz Anslo; Cats, Jacob, Dutch poet, 1577-1660--emblem--Liceat sperare timenti; Covarrubias y Orozco, Sebastian de, Spanish author, priest, 17th c.-- emblem--Ut magis luceat; candle snuffers--significance in Rembrandt's portrait of Cornelis Claesz Anslo; Mennonite--and correctio fraterna; Picinelli, Filippo, Italian author, 1604-ca.1667--Mundus symbolicus; Rembrandt Harmensz. van Rijn, Dutch painter, printmaker, 1606-1669-- portraits--Cornelis Claesz Anslo (Gemaldegalerie, Staatliche Museen Preussischer Kulturbesitz, Berlin);  Thomas Aquinas, S., Italian scholastic theologian, philosopher, ca.1225-1274--on correctio fraterna
Sec. Head.: 69--RENAISSANCE, BAROQUE AND ROCOCO ART--artists and architects
Sub. Nationality: Dutch
Sub. Period: 1640-1641
Sub. Style, Medium, Form: painting; iconography

Y024191 33
0010985 2 3290 (1976)
A retrospective exhibition of paintings by Harold Weston (1894-1972)
Exhibition shown: South Hadley, MA, USA, Mount Holyoke College, Art Museum , 8 Sept-8 Oct 1975
Contributor (s): Catalogue by Jean C. HARRIS 30 p. 7 illustrations; bibliography; biographies; exhibition list; 74  works shown
Doc. Type: exhibition catalogue
Oils and gouaches of landscape, portrait, still life, nude, cat, and  figure subjects. (Staff)
Desc.: animals--cats--Weston; nude--Weston; South Hadley (MA, USA), Mount Holyoke College, Art Museum--exhibitions--A retrospective  exhibition of paintings by Harold Weston (1894-1972); Weston, Harold, American painter, 1894-1972--exhibitions
Sec. Head.: 79--NEO-CLASSICISM AND MODERN ART--artists, architects, photographers; 95--COLLECTIONS AND EXHIBITIONS--public  collections
Sub. Nationality: American
Sub. Period: 1922-1968
Sub. Style, Medium, Form: painting; secular iconography; portraits; landscape

Y024191 34
0005542 1 4808 (1975)
LONDON (GBR), National Gallery; LONDON (GBR), National Gallery
The sixteenth-century Italian schools
Contributor (s): By Cecil GOULD  (London: 1975) bibliography; index
Series: (National Gallery catalogues)
Doc. Type: monograph
One of a series which replaces the catalogue of 1929. Combines the  separate editions of 1959 (the 16th c. Venetian school) and 1962 (16th  c. Italian schools, excluding the Venetian), and includes paintings by  Beccafumi (Marcia, Tanaquil), Giorgione (Sunset Landscape with S.  Roch (?), S. George and S. Anthony Abbot), Titian (Allegory of Prudence, Death of Actaeon), Parmigianino (Mystic Marriage of S. Catherine), and  an anon. Madonna and Child With the Infant Baptist of the Florentine  School. (Staff)
Desc.: Actaeon--death, Titian; Anthony of Egypt, S., 251?-356--with  S. Roch and S. George, Giorgione; Beccafumi, Domenico, Italian painter, sculptor, 1486?-1551--Marcia (National Gallery, London); Beccafumi, Domenico, Italian painter, sculptor, 1486?-1551--Tanaquil (National  Gallery, London); Catherine of Alexandria, S.--mystic marriage--Parmigianino; George, S.--with S. Roch and S. Anthony Abbot, Giorgione; Giorgione (Giorgio da Castelfranco), Italian painter, 1477/78-1510-- Sunset  Landscape with S. Roch (?), S. George and S. Anthony Abbot (National  Gallery, London); London (GBR), National Gallery--Florentine School, Madonna and Child With the Infant Baptist; Marcia, wife of Cato  Uticensis, act.56 B.C.--Beccafumi; Mary, Virgin--and Child--with S.  John the Baptist, Florentine school, 16th c.; Parmigianino (Francesco  Mazzola), Italian painter, 1503-1540--Mystic Marriage of S. Catherine  (National Gallery, London); prudence--Titian; painting, Italian--London, National Gallery; Roch, S., 14th c.--with S. George and S. Anthony  Abbot, Giorgione; Tanaquil--Beccafumi; Titian, Tiziano Vecellio, Italian painter, 1477?-1576--Allegory of Prudence (National Gallery, London); Titian, Tiziano Vecellio, Italian painter, 1477?-1576--Death  of Actaeon (National Gallery, London)
Sec. Head.: 85--MODERN ART--architecture; 67--RENAISSANCE, BAROQUE  AND ROCOCO ART--pictorial arts

Y024191 35
0001439 1 108 (1975)
Giuseppe Fiocco et la Renaissance a Venise ( Giuseppe Fiocco and the
Renaissance in Venice)
CHASTEL, Andre
Saggi e memorie di storia dell'arte, VIII, (1972), 9-10
Lang.: In French
Doc. Type: analytic
Remarks on the contribution of Giuseppe Fiocco to the study of Venetian  Renaissance art. (Staff)
Desc.: art, Italian--Fiocco on Venetian Renaissance art; Fiocco, Giuseppe, Italian art historian, 1884-1971--on Venetian Renaissance  art; Venice (ITA)--art--Renaissance, Fiocco on
Sec. Head.: 08--GENERAL WORKS--art historians and critics