The intention of this dissertation is to open up collaborative pictures to meaningful analysis by accessing the perspectives of early modern viewers. The Italian primary sources from the fifteenth to the seventeenth centuries yield a surprising amount of material indicating both common and changing habits of thought when viewers looked at multiple authorial hands working on an artistic project. It will be argued in the course of this dissertation that critics of the seventeenth century were particularly attentive to the practical conditions of collaboration as the embodiment of theory. At the heart of this broad discourse was a trope extolling painters for working with what appeared to be one hand, a figurative and adaptable expression combining the notion of the united corpo and the manifold meanings of the artist’s mano. Hardly insistent on uniformity or anonymity, writers generally believed that collaboration actualized the ideals of a range of social, cultural, theoretical, and cosmological models in which variously formed types of unity were thought to be fostered by the mutual support of the artists’ minds or souls. Further theories arose in response to Giovanni Paolo Lomazzo’s hypothesis in 1590 that the greatest painting would combine the most highly regarded old masters, each contributing their particular talents towards the whole. Presented with this ideal involving inimitable hands and minds, Francesco Scannelli, Carlo Cesare Malvasia, and Marco Boschini each reflected on the practical conditions and possibilities of

Collaborative Painting Between Minds and Hands: Art Criticism, Connoisseurship, and Artistic Sodality in Early Modern Italy

This book examines the heretofore unsuspected complexity of Lorenzo Ghiberti's sculpted representations of Old Testament narratives in his Gates of Paradise (1425–52), the second set of doors he made for the Florence Baptistery and a masterpiece of Italian Renaissance sculpture. One of the most intellectually engaged and well-read artists of his age, Ghiberti found inspiration in ancient and medieval texts, many of which he and his contacts in Florence's humanist community shared, read, and discussed. He was fascinated by the science of vision, by the functioning of nature, and, above all, by the origins and history of art. These unusually well-defined intellectual interests, reflected in his famous Commentaries, shaped his approach in the Gates. Through the selection, imaginative interpretation, and arrangement of biblical episodes, Ghiberti fashioned multi-textured narratives that explore the human condition and express his ideas on a range of social, political, artistic, and philosophical issues.

Lorenzo Ghiberti's Gates of Paradise: Humanism, History, and Artistic Philosophy in the Italian Renaissance

La coleccion Lecciones Juanelo Turriano de Historia de la Ingenieria publica en este libro los resultados del Proyecto de I+D+i HAR2012-31117 El dibujante ingeniero al servicio de la monarquia hispanica. Siglos XVI-XVIII (DIMH), financiado por el Ministerio de Economia y Competitividad del Gobierno de Espana, cuya Investigadora Principal ha sido Alicia Camara Munoz, Catedratica de Historia del Arte de la Universidad Nacional de Educacion a Distancia (UNED). Los capitulos, redactados por los miembros del proyecto y especialistas invitados, se organizan en cuatro secciones, «Ingenieros vs. Arquitectos. El proyecto dibujado», «Describir las fronteras», «Usos y formas de difusion» y «Las Humanidades Digitales en el proyecto DIMH». A traves de ellas se abordan cuestiones clave sobre el dibujo de los ingenieros, utilizado para fines diversos a lo largo de esos tres siglos, siempre en la orbita del poder, que se valio de esas imagenes y de sus autores para conocer, controlar y transformar ciudades y territorios. Lo novedoso de haber puesto el foco de la investigacion en el dibujo ha permitido avanzar en el conocimiento de su evolucion, codificacion y usos. La participacion de historiadores, historiadores del arte, arquitectos e ingenieros informaticos refleja el caracter interdisciplinar del proyecto y los cambios que se estan produciendo desde hace anos en el estudio de unas imagenes que se encuentran a medio camino entre el arte y la ciencia.

El dibujante ingeniero al servicio de la monarquía hispánica: siglos XVI-XVIII

1580), 1 pervenendo a un'approfondita conoscenza settoriale dei suoi studi. Il convegno del 2002, 2 strutturato intorno ai due poli indivisibili della filologia e dell'invenzione artistica, ha rappresentato uno spartiacque nella fortuna critica destinata all'autore.3 Il ruolo di prim'ordine svolto dal filologo e iconografo fiorentino, attivo alla corte di Cosimo I de' Medici tra gli anni '50 e '70 del sedicesimo secolo, ha sollecitato, infatti, l'urgenza di una rilettura unitaria della sua vicenda, importante per gli storici della lingua, i filologi e gli storici dell'arte. Vincenzio Borghini si forma come monaco benedettino nella Badia Fiorentina e, negli anni del discepolato, presso Pier Vettori si avvicina alla tradizione dei testi e alle ricerche antiquarie. Condotta la carriera religiosa tra Arezzo, Mantova e Firenze, stringe i primi legami con il circolo accademico ducale. Sono tuttavia le cariche, prima di \"Spedalingo\

"ut pictura lingua". ecfrasi e memoria nelle pagine di vincenzio borghini

This essay situates Giovanni Stradano’s engravings of the discovery of the Americas from the Americae Retectio and Nova Reperta series within the context of their design in late sixteenth-century Florence, where the artist worked at the Medici court and collaborated with the dedicatee of the prints, Luigi Alamanni. Through an analysis of the images in relation to contemporary texts about the navigators who traveled to the Americas, as well as classical sources, emblems, and works of art in diverse media — tapestry, print, ephemera, and fresco — the study argues that Stradano’s allegorical representations of the Americas were produced in order to make clear Florence’s role in the invention of the New World.

https://www.jstor.org/stable/10.1086/667256

Stradano’s Allegorical Invention of the Americas in Late Sixteenth-Century Florence*

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The drawings of Filippino Lippi and his circle

La Sala delle Carte geografiche in Palazzo Vecchio : capriccio et invenzione nata dal Duca Cosimo

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Gentile da Fabriano agli Uffizi

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