Étiqueté : Michel-Ange

Parution : Inge Reist, “When Michelangelo Was Modern”, Brill, Leyde, 2022

Through case studies of collectors, patrons, and agents who redefined collecting and the art market, this volume illuminates how the changing status of the artist, rise of connoisseurship, role of intermediaries and new patterns of consumption established models for collecting and display that resemble those still practiced today. The book presents new research by recognized scholars who examine the motivations of collectors and agents, emphasizing how their collecting, patronage and advocacy could require support of...

Séminaire : Marc Bormand, « Autour des Esclaves de Michel-Ange : étude, restauration, présentation », Université de Genève, en présence et en ligne, le 11 mai 2022, 12h15-13h45

Dans le cadre du séminaire Actualité de la recherche, organisé conjointement par le Département d’histoire de l’art et de musicologie de l’Université de Genève et la HEAD – Genève, aura lieu la conférence : « Autour des Esclaves de Michel-Ange : étude, restauration, présentation » par Marc Bormand (Musée du Louvre, Paris). Le mercredi 11 mai 2022 de 12h15 à 13h45, en présence et visioconférence. Adresse : Uni Bastions, salle B 214 (rue de Candolle, 5, 1205 Genève) Lien Zoom : https://unige.zoom.us/j/68718123469 L’accès est libre et toute personne intéressée est la bienvenue.

Exposition : “Michelangelo: l’effigie in bronzo di Daniele da Volterra”, Florence, Galleria dell’Accademia di Firenze, du 15 février au 19 juin 2022

Michelangelo: l’effigie in bronzo di Daniele da Volterra, a cura di Cecilie Hollberg, è una mostra studio unica e inconsueta che parte da un discorso fatto di quesiti ancora aperti per arrivare a soluzioni nuove con metodi innovativi. È la prima volta che vengono riuniti questi nove busti simili, alcuni apparentemente quasi uguali, che riportano i tratti di Michelangelo Buonarroti (1475 – 1564). Proprio quell’effigie che tutti noi siamo abituati a collegare con l’incomparabile artista...

Parution : Marsha Libina, “Sebastiano del Piombo and the Sacred Image”, Turnhout, Brepols, 2022

On account of the artists’ collaborative practice, Sebastiano del Piombo’s oeuvre is often misconstrued as a coloristic supplement to Michelangelo’s disegno or as a mere extension of the older master’s drawings and ideas. Marsha Libina’s book complicates this narrative by offering a critical reevaluation of the devotional art of Sebastiano del Piombo (1485–1547), an important Venetian artist whose Roman work stands at the nexus of questions regarding art, religious reform and the largely unexplored history of artistic collaboration. Investigating...

Exposition : “Michelangelo: i bronzi della Passione”, Mantoue, Palazzo Ducale, du 18 mars au 15 juin 2022.

Michelangelo Buonarroti è semplicemente il “divino” Michelangelo, l’archetipo degli artisti di tutti i tempi. Grande fu la sua fama, anche in vita: nonostante la sua attività si sia concentrata su Roma e Firenze, anche la Mantova dei Gonzaga dovette fare i conti con l’ineludibile influenza di quel gigante. Il 22 febbraio del 1527 Federico II scriveva di essere da “molt’anni (…) amatore dello excellentissimo messer Michele Angelo” e – in un significativo ribaltamento di ruoli...

Parution : Matthias Wivel, « Sebastiano del Piombo and Michelangelo: The Compass and the Mirror », Turnhout, Brepols, 2022

The collaboration between Michelangelo Buonarroti (1475-1564) and Sebastiano del Piombo (1485-1547), is among the most extraordinary artistic partnerships of the early modern period. It produced works of startling originality, crucial to the development of the so-called High Renaissance in the first decades of the sixteenth century. It was arguably Michelangelos most creative collaboration, helping him refine motifs and narrative strategies, and it proved determining for Sebastianos development of a monumental, spiritually invested idiom whose influence...

Parution : Bad Reception: Expressing Disapproval of Art in Early Modern Italy, Mitteilungen des Kunsthistorischen Institutes in Florenz, LXIII. (2021)

Mitteilungen des Kunsthistorischen Institutes in Florenz LXIII. Band (2021), Heft 1 (current issue) Bad Reception: Expressing Disapproval of Art in Early Modern Italy edited by Diletta Gamberini, Jonathan K. Nelson, Alessandro Nova Diletta Gamberini – Jonathan K. Nelson  Preface (pp. 3–5) Alessandro Nova Bad Reception in Early Modern Italy: An Introduction (pp. 6–13) Jonathan K. Nelson – Richard J. Zeckhauser Italian Renaissance Portraits that Disappoint: Isabella d’Este, Francesco del Giocondo and Other Displeased Patrons (pp....

Appel à contribution : Michelangelo and Artistic Media: Multiplicity or Unity?, RSA, Dublin, date limite le 2 août 2021

Session organized by Angeliki Pollali (Deree-The American College of Greece) and Berthold Hub (University of Vienna) In Vasari’s Vite, Michelangelo is the only artist credited with the attributes of all three arti: Michelagnolo Buonarotti, pittore, scultore, et architetto. While Vasari presents the different artistic media as distinct, they were closely interrelated in the sixteenth century. Modern scholarship has treated the different media in Michelangelo’s work extensively, albeit separately, focusing initially on painting and sculpture, and...

Journée d’étude en ligne : Ora Pro Nobis: Marian Devotion in the Middle Ages and Renaissance, British Archeaological Association, le 3 juillet 2021

An online day in honour of Dr Cathy Oakes SATURDAY 3 JULY 2021 Cathy Oakes was Director of Studies in the History of Art at Oxford University’s Department of Continuing Education and a Fellow of Kellogg College, Oxford, co-founder of the Centre for Marian Studies, and a lecturer for the Learning Department of the V&A, The Arts Society (formerly NADFAS), Art Pursuits Abroad, ACE, and many other organisations, Dr Oakes inspired countless students by her...

Colloque : (Im)material Michelangelo: Toward a Visual Historiography of Sculpture – Between Reproduction and Art-Historical Enquiry, Rome, Bibliotheca Hertziana, 25 mai 2021

Reproducing, representing, copying, or recording an artwork is the inevitable result of an interpretation, which can reveal some neglected aspects of the original model, as well as disguise or change many others. This is due both to the intentions of those involved in making or in requesting the copy or the reproduction and to the intrinsic difficulties of the ‘translation’ process from one medium to another. These problems are shared by ‘artistic’ copies as much...

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