Giacobbe Giusti, GIORGIONE: Laura, Kunsthistorisches Museum, Vienna

Giacobbe Giusti, GIORGIONE: Laura, Kunsthistorisches Museum, Vienna

Giorgione(/ˌdʒɔːrdʒiˈoʊneɪ, –ni/, US: /ˌdʒɔːrˈdʒoʊni/; Italian: [dʒorˈdʒoːne]; born Giorgio Barbarelli da Castelfranco; c. 1477/78–1510^[2]) was an Italian painter of the Venetian school in the High Renaissance from Venice, whose career was ended by his death at a little over 30. Giorgione is known for the elusive poetic quality of his work, though only about six surviving paintings are affirmatively acknowledged to be his. The uncertainty surrounding the identity and meaning of his work has made Giorgione one of the most mysterious figures in European art.

Together with Titian, who was probably slightly younger, he founded the distinctive Venetian school of Italian Renaissance painting, which achieves much of its effect through colour and mood, and is traditionally contrasted with Florentine painting, which relies on a more linear disegno-led style.

Selected works

Giacobbe Giusti, GIORGIONE

Young Man with Arrow, (1506)
Kunsthistorisches Museum, Vienna

• The Test of Fire of Moses(1500–1501) – Oil on panel, 89 x 72, Uffizi, Florence
• The Judgement of Salomon (1500–1501) – Oil on panel, 89 x 72 cm, Uffizi, Florence
• Judith (c. 1504) – Oil on canvas, transferred from panel, 144 x 66,5 cm, Hermitage Museum, St. Petersburg
• Adoration of the Shepherds (c. 1505–10) –Oil on panel, 90.8 x 110.5 cm,National Gallery of Art,Washington
• Castelfranco Madonna (Madonna and Child Enthroned between St. Francis and St. Nicasius); c. 1505 – Oil on wood, 200 x 152 cm, Duomo, Castelfranco Veneto
• Portrait of a Young Bride (Laura) (c. 1506) Oil on wood, 41 x 33,5 cm,Kunsthistorisches Museum, Vienna
• The Tempest (c. 1508) – Oil on canvas, 82 x 73 cm, Accademia, Venice
• La Vecchia (Old Woman) (c. 1508) – Oil on canvas, 68 x 59 cm, Accademia, Venice
• Pastoral Concert (c. 1509) widely now given to Titian– Oil on canvas, 110 x 138 cm, Louvre, Paris
• Portrait of a Youth (1508–10) – Oil on canvas, 72,5 x 54 cm, Museum of Fine Arts, Budapest
• The Three Philosophers (1509) – Oil on canvas, Kunsthistorisches Museum, Vienna
• Portrait of Warrior with his Equerry (c. 1509) – Oil on canvas, 90 x 73 cm, Galleria degli Uffizi, Florence
• Sleeping Venus (c. 1510) – Oil on canvas, 108,5 x 175 cm,Gemäldegalerie, Dresden
• The Impassioned Singer (c. 1510) – Oil on canvas, 102 x 78 cm,Galleria Borghese, Rome
• Portrait of a Young Man – Wood, 69,4 x 53,5 cm, Alte Pinakothek, Munich

•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). « Giorgione« . Encyclopædia Britannica. 12 (11th ed.). Cambridge University Press. pp. 31–33.
• Gould, Cecil, The Sixteenth Century Italian Schools, National Gallery Catalogues, London 1975, ISBN 0-947645-22-5
• Encyclopedia of Artists, volume 2, edited by William H.T. Vaughan, ISBN 0-19-521572-9, 2000

https://en.wikipedia.org/wiki/Giorgione

http://www.giacobbegiusti.com

Giacobbe Giusti, TULLIO LOMBARDO, Renaissance sculptor

Giacobbe Giusti, TULLIO LOMBARDO, Renaissance sculptor

 

Giacobbe Giusti, TULLIO LOMBARDO, Renaissance sculptor

 

Giacobbe Giusti, TULLIO LOMBARDO, Renaissance sculptor

Bacco e Arianna, Kunsthistorisches Museum, Vienna

Giacobbe Giusti, TULLIO LOMBARDO, Renaissance sculptor

Giovane guerriero, inizio del XVI secolo, Metropolitan Museum

 

Giacobbe Giusti, TULLIO LOMBARDO, Renaissance sculptor

Doppio ritratto in posa antica, Galleria Franchetti, Venezia

Giacobbe Giusti, TULLIO LOMBARDO, Renaissance sculptor

Monument to Doge Mocenigo

Tullio Lombardo (c. 1455 – November 17, 1532), also known as Tullio Solari, was an Italian Renaissance sculptor. He was the brother of Antonio Lombardo and son of Pietro Lombardo.^[1] The Lombardo family worked together to sculpt famous Catholicchurches and tombs. The church of Santi Giovanni e Paolo contains the Monument to Doge Pietro Mocenigo, executed with his father and brother, and the Monument to Doge Andrea Vendramin,^[2] an evocation of a Roman triumphal arch encrusted with decorative figures. Tullio also likely completed the funereal monument to Marco Cornaro in the Church of Santi Apostoli and the frieze in the Cornaro Chapel of the Santa Maria Gloriosa dei Frari. He also participated in the work to decorate Santa Maria dei Miracoli, Venice.

The Restoration of Adam

Sculpture of Adam after restoration process on exhibit at the Metropolitan Museum of Art

On the evening of October 6, 2002, Tullio Lombardo’s marble statue Adam, part of the Metropolitan Museum of Art‘s collection, fell to the floor of the Vélez Blanco patio, where it was displayed, and broke into 28 recognizable pieces and hundreds of small fragments. The ensuing investigation uncovered that the unfortunate incident occurred when the wood pedestal that it was displayed on collapsed. After undergoing more than a decade of extensive painstaking process of restoration Adam is now on display at the museum.^[3] Museum officials say their process for restoring the sculpture helped create a new model on how to conserve large sculptures.

The sculpture is the first monumental classical nude since antiquity.^[4] The restored statue is now on exhibit.^[5]

• 

  Bacchus & Ariadne
• 

  Young Warrior
• 

  Bust of Christ

References

1. Jump up^ Boglewood
2. Jump up^ Scholars Resource several excellent photographs. See also Pope-Hennessy and other standard works.
3. Jump up^ Vogel, Carol (November 8, 2014). « Recreating Adam, From Hundreds of Fragments, After the Fall ». New York Times. Retrieved November 10, 2014.
4. Jump up^ Muchnic, Suzanne and Susan Freudenheim. Los Angeles Times, October 10, 2002, « After Fall, Adam Won’t Be the Same, Expert Contends Archived 2014-11-10 at the Wayback Machine. ».
5. Jump up^ Tullio’s Adam returns to view at the Met – The marble nude that smashed to pieces 12 years ago has finally been restored

External links

Tullio Lombardo.

• Sculpture in the Metropolitan MA
• On Artcyclopedia
• Metropolitan Museum of Art Exhibition, « Tullio Lombardo’s Adam: A Masterpiece Restored »
•  « Lombardo« . Encyclopædia Britannica (11th ed.). 1911.

The Metropolitan Museum of Art

Location in Manhattan Show map of ManhattanShow map of New York CityShow map of New YorkShow map of the USShow all
Established	April 13, 1870; 148 years ago[1][2][3]
Location	1000 Fifth Avenue New York, NY 10028
Visitors	6,692,909 (2017)[4]
Director	Max Hollein
Website	www.metmuseum.org
The Metropolitan Museum of Art
U.S. National Register of Historic Places
U.S. National Historic Landmark
Elevation by Simon Fieldhouse
Built	1874; 144 years ago
Architect	Richard Morris Hunt; also Calvert Vaux; Jacob Wrey Mould
Architectural style	Beaux-Arts
NRHP reference #	86003556
Significant dates
Added to NRHP	January 29, 1972[5]
Designated NHL	June 24, 1986[6] [7]

The Metropolitan Museum of Art of New York City, colloquially « the Met« ,^[a]is the largest art museum in the United States. With 7.06 million visitors in 2016, it was the third most visited art museum in the world, and the fifth most visited museum of any kind.^[8] Its permanent collection contains over two million works,^[9] divided among seventeen curatorial departments. The main building, on the eastern edge of Central Park along Museum Mile in Manhattan, is by area one of the world’s largest art galleries. A much smaller second location, The Cloistersat Fort Tryon Park in Upper Manhattan, contains an extensive collection of art, architecture, and artifacts from Medieval Europe. On March 18, 2016, the museum opened the Met Breuermuseum at Madison Avenue on the Upper East Side; it extends the museum’s modern and contemporary art program.

The permanent collection consists of works of art from classical antiquity and ancient Egypt, paintings, and sculptures from nearly all the Europeanmasters, and an extensive collection of American and modern art. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, and Islamic art. The museum is home to encyclopedic collections of musical instruments, costumes, and accessories, as well as antique weapons and armor from around the world. Several notable interiors, ranging from first-century Rome through modern American design, are installed in its galleries.

The Metropolitan Museum of Art was founded in 1870 for the purposes of opening a museum to bring art and art education to the American people. It opened on February 20, 1872, and was originally located at 681 Fifth Avenue.

https://en.wikipedia.org/wiki/Tullio_Lombardo

http://www.giacobbegiusti.com

Giacobbe Giusti, ANTONELLO da Messina: Virgin Annunciate,Palazzo Abatellis, Palermo

Giacobbe Giusti, ANTONELLO da Messina: Virgin Annunciate,Palazzo Abatellis, Palermo

 

Giacobbe Giusti, ANTONELLO da Messina: Virgin Annunciate,Palazzo Abatellis, Palermo

The Virgin Annunciate in the Palazzo Abatellis in Palermo

Giacobbe Giusti, Antonello da Messina
Portrait of Man, possibly a self-portrait
Born	Antonello di Giovanni di Antonio c. 1430 Messina, Italy
Died	February 1479 Messina, Italy
Nationality	Italian
Known for	Painting
Movement	Italian Renaissance

Antonello da Messina, properly Antonello di Giovanni di Antonio, but also called Antonello degli Antoni^[1]and Anglicized as Anthony of Messina (c. 1430 – February 1479), was an Italian painter from Messina, Sicily, active during the Italian Renaissance. His work shows strong influences from Early Netherlandish painting although there is no documentary evidence that he ever travelled beyond Italy.^[2] Giorgio Vasaricredited him with the introduction of oil painting into Italy.^[3] Unusually for a south Italian artist of the Renaissance, his work proved influential on painters in northern Italy, especially in Venice.

Early life and training

Giacobbe Giusti, Antonello da Messina

 

Antonello da Messina – St Jerome in his study

Antonello was born at Messina around 1429–1431, to Garita (Margherita) and Giovanni de Antonio Mazonus.

According to a letter written in 1524 by the Neapolitan humanist Pietro Summonte, in about 1450 he was a pupil of the painter Niccolò Colantonio at Naples,^[4] where Netherlandish painting was then fashionable. This account of his training is accepted by most art historians.^[5]

Early career

Antonello returned to Messina from Naples during the 1450s.^[2] In around 1455 he painted the so-called Sibiu Crucifixion, inspired by Flemish treatments of the subject, which is now in the Muzeul de Artǎ in Bucharest. A Crucifixion in the Royal Museum of Antwerp dates from the same period. These early works shows a marked Flemish influence, which is now understood to be inspired by his master Colantonio and from paintings by Rogier van der Weyden and Jan van Eyck that belonged to Colantonio’s patron, Alfonso V of Aragon.

Giacobbe Giusti, Antonello da Messina

Antonello da Messina, Salting Madonna

In his biography of the artist, Giorgio Vasari remarked that Antonello saw an oil painting by Jan Van Eyck (the Lomellini Tryptych) belonging to King Alfonso V of Aragon at Naples. Another theory, supported only by vague documentary evidence, suggests that in 1456 Antonello visited Milan, where he might have met Van Eyck’s most accomplished follower, Petrus Christus. Since Antonello was one of the first Italians to master Eyckian oil painting, and Christus was the first Netherlandish painter to learn Italian linear perspective, such a meeting would be a convenient explanation for the evolution of the styles of both artists. However, neither is known for certain to have been in Milan at the time.

Between the years of 1456 and 1457, Antonello proved himself to be a master painter in Messina. He also shared his home with Paolo di Ciacio, a student from Calabria.^[6] The artist’s earliest documented commission, in 1457, was for a banner for the Confraternità di San Michele dei Gerbini in Reggio Calabria, where he set up a workshop for the production of such banners and devotional images.^[2] At this date, he was already married, and his son Jacobello had been born.

In 1460, his father is mentioned leasing a brigantine to bring back Antonello and his family from Amantea in Calabria. In that year, Antonello painted the so-called Salting Madonna, in which standard iconography and Flemish style are combined with a greater attention in the volumetric proportions of the figures, probably indicating a knowledge of works by Piero della Francesca. Also from around 1460 are two small panels depicting Abraham Served by the Angels and St. Jerome Penitent now in the Museo Nazionale della Magna Grecia in Reggio Calabria. In 1461 Antonello’s younger brother Giordano entered his workshop, signing a three-year contract. In that year Antonello painted a Madonna with Child for the Messinese nobleman Giovanni Mirulla, now lost.

Historians believe that Antonello painted his first portraits in the late 1460s. They follow a Netherlandish model, the subject being shown bust-length, against a dark background, full face or in three-quarter view,^[7] while most previous Italian painters had adopted the medal-style profile pose for individual portraits.^[8] John Pope-Hennessy described him as « the first Italian painter for whom the individual portrait was an art form in its own right ».^[9]

Giacobbe Giusti, ANTONELLO da Messina: Virgin Annunciate,Palazzo Abatellis, Palermo

 

The Virgin Annunciate in the Palazzo Abatellis in Palermo

Although Antonello is mentioned in many documents between 1460 and 1465, establishing his presence in Messina in those years, a gap in the sources between 1465 and 1471 suggests that he may have spent these years on the mainland.^[8] In 1474, he painted the Annunciation, now in Syracuse, and the St. Jerome in His Studyalso dates from around this time.^[10]

Selected works

• Sibiu Crucifixion (1455) – Muzeul de Artà,Bucharest
• Crucifixion (1455) – Oil on panel 52.5 x 42.5 cm, Koninklijk Museum voor Schone Kunsten, Antwerp
• Abraham Served by the Angels – Museo della Magna Grecia, Reggio Calabria
• Ecce Homo (c. 1470) – Tempera and oil on panel, 42.5 x 30.5 cm, Metropolitan Museum of Art, New York City
• Ecce Homo (1470) – Tempera and oil on panel, 40 x 33 cm, Galleria Nazionale di Palazzo Spinola, Genoa
• St. Jerome Penitent – Various techniques on wood, 40.2 x 30.2 cm, Museo della Magna Grecia, Reggio Calabria
• San Gregorio Polyptych (1473) – Tempera on panel, 194 x 202 cm, Regional Museum,Messina
• Ecce Homo (c. 1473) – Tempera on panel, 19.5 x 14.3 cm, Private collection, New York City
• Portrait of a Man (1474) – Oil on wood, Staatliche Museen, Berlin
• Madonna with Child (Salting Madonna) – Oil on wood, 43.2 x 34.3 cm, National Gallery, London
• Portrait of a Man (1474) – Oil on wood, 32 x 26 cm, Staatliche Museen, Berlin
• Annunciation (1474) – Oil on panel, 180 x 180 cm, Bellomo Palace Regional Gallery,Syracuse
• St. Jerome in His Study (c. 1474) – Oil on wood, 46 x 36,5 cm, National Gallery, London
• Ecce Homo (1475) – Oil on panel, 48.5 x 38 cm, Collegio Alberoni, Piacenza
• Portrait of a Man (Il Condottiere) (1475) – Oil on wood, 35 x 38 cm, Musée du Louvre, Paris
• Crucifixion (1475) – Wood, 42 x 25,5 cm, National Gallery, London
• Portrait of a Man (c. 1475) – Oil on wood, Galleria Borghese, Rome
• Portrait of a Man (c. 1475) – Oil on panel, 36 x 25 cm, National Gallery, London
• Portrait of a Man (1475–1476) – Oil on panel, 28 x 21 cm, Museo Thyssen-Bornemisza, Madrid
• San Cassiano Altarpiece (1475–76) – Oil on panel, Kunsthistorisches Museum, Vienna
• The Dead Christ Supported by an Angel (1475–78) – Panel, 74 x 51 cm, Museo del Prado, Madrid
• Christ at the Column (c. 1475–1479) – Oil on wood, 25,8 x 21 cm, Musée du Louvre, Paris
• Virgin of the Annunciation -Oil on panel, Alte Pinakothek, Munich
• Portrait of a Man (1476) – Oil on panel, Museo Civico d’Arte Antica, Turin
• Virgin of the Annunciation (c. 1476) – Oil on wood, 45 x 34,5 cm, Museo Nazionale, Palermo
• St. Sebastian (1477–1479) – Oil on canvas transferred from panel, 171 × 85 cm,Gemäldegalerie Alte Meister, Dresden
• Portrait of a Young Man (c. 1478) – Panel, 20.4 x 14.5 cm, Staatliche Museeun, Berlin
• Portrait of an unknown man – Oil on panel, Museo Mandralisca, Cefalu

References

1. Jump up^ Memorie istorico-critiche di Antonello degli Antonj pittore Messinese by Tommaso Puccini, Florence 1809.
2. ^ Jump up to:^a b c Barbera 2005, p. 13.
3. Jump up^ Barbera 2005, p. 14.
4. Jump up^ The letter to the Venetian Marcantonio Michiel, of 20 March 1524, reporting on the state of art in Naples, and works there by Netherlandish painters, dwells upon Colantonio and his Netherlandish technique, which one sees assimilated in the art of Antonello; it was published by Fausto Niccolini, L’arte napoletana del Rinascimento(Naples) 1925:161-63. It is translated in Carol M. Richardson, Kim Woods, and Michael W. Franklin, Renaissance Art Reconsidered: An Anthology of Primary Sources(2007:193-96).
5. Jump up^ Barbera 2005, p. 15.
6. Jump up^ « Antonello da Messina ». Benezit Dictionary of Artists. Oxford Art Online. Oxford University Press. Retrieved February 13, 2017.
7. ^ Jump up to:^a b Barbera 2005, p. 23.
8. ^ Jump up to:^a b Barbera 2005, p. 51.
9. Jump up^ Pope-Hennessy 1966, p. 60.
10. Jump up^ Barbera 2005, p. 22.
11. Jump up^ Barbera 2005, p. 29.
12. Jump up^ Chisholm 1911.

Sources

• Barbera, Giocchino (2005). Antonello da Messina, Sicily’s Renaissance Master(exhibition catalogue). New York: Metropolitan Museum of Art Yale University Press. ISBN 0-300-11648-9 (online).
• Christiansen, Keith. “Antonello da Messina (ca. 1430–1479).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (March 2010)
• Pope-Hennessy, John (1966). The Portrait in the Renaissance. London: Phaidon.
•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). « Antonello da Messina« . Encyclopædia Britannica. 2 (11th ed.). Cambridge University Press. p. 148.

Antonello da Messina.

• Antonello da Messina in the « History of Art »
• Antonello da Messina – Biography and Works
• Best of Sicily Magazine article on Antonello da Messina and the technique of egg tempera / oil media
•  « Antonello da Messina« . Catholic Encyclopedia. 1913.
• Web Gallery of Art
• Guardian article on « Portrait of a Man »
• Petrus Christus: Renaissance master of Bruges, a full text exhibition catalog from The Metropolitan Museum of Art, which contains material on Antonello da Messina (see index)

https://en.wikipedia.org/wiki/Antonello_da_Messina

http://www.giacobbegiusti.com

Giacobbe Giusti, ANTONIO da CORREGGIO: Jupiter and Io

Giacobbe Giusti, ANTONIO da CORREGGIO: Jupiter and Io

Giacobbe Giusti, ANTONIO da CORREGGIO: Jupiter and Io
Artist	Antonio da Correggio
Year	c. 1532–1533
Medium	Oil on canvas
Dimensions	163.5 cm × 70.5 cm (64.4 in × 27.8 in)
Location	Kunsthistorisches Museum

Jupiter and Io (c. 1530) is a painting by the Italian late Renaissance artist Antonio Allegrida Correggio. It is housed in the Kunsthistorisches Museum of Vienna, Austria.

History

The series of Jupiter’s Loves was conceived after the success of Venus and Cupid with a Satyr. Correggio painted four canvasses in total, although others had been programmed perhaps.

In the first edition of his Lives, late Renaissance art biographer Giorgio Vasari mentions only two of the paintings, Leda and the Swan (today at the Gemäldegalerie, Berlin) and one Venus (presumably the Danaecurrently in the Borghese Gallery of Rome), although he knew them only from descriptions provided by Giulio Romano. Vasari mentions that the commissioner, duke Federico Gonzaga II, wanted to donate the works to emperor and King of Spain Charles V: that the other two works, Ganymede Abducted by the Eagleand Jupiter and Io, were in Spain during the 16th century implies that they were part of the same series. British art historian Cecil Gouldsuggested that Federico had commissioned the Io and Ganymede for himself, and that they were ceded to Charles V only after the duke’s death in 1540, perhaps on occasion of the marriage of the king’s son, Philip;^[1] other hypothesized that Federico ordered them for the Ovid room in his Palazzo Te.^[2]

The canvas was in Vienna since as early as the 1610s, when it is mentioned in the Habsburg imperial collections together with Ganymede.^[1]

Description

The scene of Jupiter and Io is inspired by Ovid‘s classic Metamorphoses. Io, daughter of Inachus, the first king of Argos, is seduced by Jupiter (Zeus in Greek), who hides behind the dunes to avoid hurting the jealous Juno (Hera in Greek). Jupiter was often tempted by other women and took on various disguises in order to cover his various escapades, one time taking the form of a swan, another time of an eagle, and in this painting he is not becoming something else so much as enveloping himself in a dark cloud, even though it is bright daylight. He is embracing the nymph, his face barely visible above hers. She is pulling Jupiter’s vague, smoky hand towards herself with barely contained sensuality; this is a sensual painting, depicting one of the many loves of the god. Indeed, the Duke of Mantua, Federico Gonzaga, wanted to place the painting and its companion pieces in a room dedicated to the loves of Jupiter.

Noteworthy is the contrast between the evanescent figure of the immaterial Jupiter, and the sensual substance of Io’s body, shown lost in an erotic rapture which anticipates the works of Bernini and Rubens.

References

1. ^ Jump up to:^a b Gould, Cecil (1976). The paintings of Correggio. London. pp. 130–131.
2. Jump up^ Verheyen, Egon (1966). « Correggio’s Amori di Giove ». Journal of the Warburg and Courtauld Institutes. XXIX: 160–192. doi:10.2307/750714. JSTOR 750714.

Sources

• Adani, Giuseppe (2007). Correggio pittore universale. Correggio: Silvana Editoriale. ISBN 978-88-366-0977-2.

Correggio’s Jupiter and Io, Smarthistory at Khan Academy

• Page at museum’s website (in German)

Jupiter und Io

 Giacobbe Giusti, ANTONIO da CORREGGIO: Jupiter and Io

Jupiter und Io
Antonio da Correggio, 1531 oder 1532
Öl auf Leinwand
163,5 × 74 cm
Kunsthistorisches Museum, Wien

Jupiter und Io ist ein Gemälde von Antonio da Correggio aus der ersten Hälfte des 16. Jahrhunderts im Stil der Renaissance. Es zeigt den Moment der Verführung Ios durch den Gott Jupiter und gilt als eines der Meisterwerke Correggios^[1]. Heute befindet es sich im Kunsthistorischen Museum in Wien.

Auftraggeber, Entstehung und Verbleib

Das Bild entstand als ein Teil einer Auftragsarbeit einer Serie von vier^[2] erotischen Gemälden, die sich mit den Liebesabenteuern Jupiters befassen. Auftraggeber der Gemälde war Herzog Federico II. von Mantua. Neben diesem Gemälde entstanden noch Jupiter und Danaë, heute in der Galleria Borghese in Rom, Leda mit dem Schwan, heute in der Gemäldegalerie Berlin, und Entführung des Ganymed, dieses Gemälde befindet sich ebenfalls im Kunsthistorischen Museum in Wien. Der Zyklus insgesamt wird als ein Höhepunkt erotisierender Malerei der Renaissance gesehen^[3], das Gemälde selbst gilt als das erotischste seiner Zeit^[4]. Die Arbeiten entstanden um 1530, das Gemälde selbst 1531^[5] oder 1532^[6]. Herzog Federico verschenkte das Bild an Kaiser Karl V. anlässlich dessen Aufenthaltes in Mantua. Daher kam es nach Wien, war im 17. Jahrhundert noch in anderem Besitz und wurde durch Kaiser Rudolf II. endgültig zurückgekauft.

Motiv und Darstellung

Das Gemälde stellt den Moment des, auf Seiten Ios unfreiwilligen, Geschlechtsaktes zwischen dem Gott und der Begehrten dar, alle Bilder der Serie spielen entweder in diesem Moment oder unmittelbar zuvor. In den Metamorphosen des Ovid (I, 563ff.) heißt es, nach dem vergeblichen Werben Jupiters, dazu: Sie aber floh schon, hatte bald die Weiden von Lerna hinter sich und die baumbestandene Flur im Bergland von Argos, als plötzlich der Gott über das weite Gefilde Finsternis zieht und es einhüllt. So hemmt er die Flucht und raubt Io die Unschuld. Mittlerweile schaut Juno gerade auf die Gefilde hernieder und verwundert sich, wie bei hellem Tag sie ein flüchtiger Nebel mit Nacht deckt.^[7] Correggio stellt den Gott als sanfte Wolke dar, seine rechte Hand umfasst Io. Unmittelbar neben dem Gesicht Ios bildet sich aus der Wolke ein männliches Gesicht heraus in der Bewegung, Io zu küssen. Der Kunstgeschichte ein Rätsel ist die Figur des trinkenden Hirsches in der rechten Ecke unten, es kann sich um eine Andeutung des Vaters Ios, Inachos – eines Flussgottes – handeln^[8]. Typisch für Correggio ist die starke Hell-Dunkel-Kontrastierung zur Steigerung der Tiefenwirkung^[9]. Dennoch besticht das Bild vor allem durch die Feinheit der Darstellung des Fleisches^[10] und der Lichtführung auf ihm. Correggio gelang es, die heikle Szene ohne jede Derbheit oder Vulgarität darzustellen^[11].

Max Semrau bemerkt zu den Gemälden des Zyklus: Niemals ist die Unbefangenheit der Antike in der Verkörperung höchsten Sinnengenusses mit soviel schalkhafter Anmut und Liebenswürdigkeit vereinigt worden, wie in diesen Gemälden.^[12].

Literatur

• Wolfgang Braunfels: Kleine italienische Kunstgeschichte. DuMont Buchverlag, Köln 1984, ISBN 3-7701-1509-0.
• Patrick de Rynck: Die Kunst Bilder zu lesen – Die Alten Meister entschlüsseln und verstehen, Parthas Verlag, Berlin 2005, ISBN 3-86601-695-6.
• Will Durant: Glanz und Zerfall der italienischen Renaissance. Band 8 aus Will und Ariel Durant Kulturgeschichte der Menschheit, 1. Aufl., Südwest Verlag, München 1978, ISBN 3-517-00562-2.
• Gerhard Fink (Übers. und Hrsg.): Ovid, Metamorphosen, Artemis Verlag, Zürich und München 1989, ISBN 3-7608-1016-0
• Fritz Knapp: Die künstlerische Kultur des Abendlandes, 3 Bde., 3. bis 4. Aufl., Kurt Schroeder Verlag, Bonn und Leipzig 1923
• Max Semrau: Die Kunst der Renaissance in Italien und im Norden. 3. Aufl., Bd. III aus Wilhelm Lübke, Grundriss der Kunstgeschichte, 14. Aufl., Paul Neff Verlag, Esslingen 1912.
• Rolf Toman (Hrsg.): Die Kunst der italienischen Renaissance – Architektur, Skulptur, Malerei, Zeichnung. Tandem Verlag, Köln 2007, ISBN 978-3-8331-4582-7.
• Stefano Zuffi: Die Renaissance – Kunst, Architektur, Geschichte, Meisterwerke. DuMont Buchverlag, 2008, ISBN 978-3-8321-9113-9.

Einzelnachweise

1. Hochspringen↑ Semrau: Die Kunst der Renaissance in Italien und im Norden, S. 323.
2. Hochspringen↑ de Rynck: Die Kunst Bilder zu lesen – Die Alten Meister entschlüsseln und verstehen, S. 168.
3. Hochspringen↑ Zuffi: Die Renaissance – Kunst, Architektur, Geschichte, Meisterwerke, S. 251.
4. Hochspringen↑ de Rynck: Die Kunst Bilder zu lesen – Die Alten Meister entschlüsseln und verstehen, S. 168.
5. Hochspringen↑ Zuffi: Die Renaissance – Kunst, Architektur, Geschichte, Meisterwerke, S. 251.
6. Hochspringen↑ de Rynck: Die Kunst Bilder zu lesen – Die Alten Meister entschlüsseln und verstehen, S. 168.
7. Hochspringen↑ Fink (Übers. und Hrsg.): Ovid, Metamorphosen, S. 26.
8. Hochspringen↑ de Rynck: Die Kunst Bilder zu lesen – Die Alten Meister entschlüsseln und verstehen, S. 168.
9. Hochspringen↑ Toman (Hrsg.): Die Kunst der italienischen Renaissance – Architektur, Skulptur, Malerei, Zeichnung, S. 383.
10. Hochspringen↑ Knapp: Die künstlerische Kultur des Abendlandes, Bd. II, S. 157.
11. Hochspringen↑ Zuffi: Die Renaissance – Kunst, Architektur, Geschichte, Meisterwerke, S. 251.
12. Hochspringen↑ Semrau: Die Kunst der Renaissance in Italien und im Norden, S. 323/324.

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Giacobbe Giusti, ANDREA MANTEGNA: L’Adoration des bergers

Giacobbe Giusti, ANDREA MANTEGNA: L’Adoration des bergers

Giacobbe Giusti, ANDREA MANTEGNA: L’Adoration des bergers

L’Adoration des bergers, tempera sur panneau (New York, Metropolitan Museum of Art).

Andrea Mantegna est né probablement en 1431^{N 2} dans un petit village, Isola di Carturo (aujourd’hui Isola Mantegna, commune de Piazzola sul Brenta), situé non loin de Padoue, sur les terres de la République de Venise. Gardant des troupeaux², il est le second fils d’un charpentier-menuisier prénommé Biagio, de condition modeste, qui meurt entre 1449 et 1451³.

Avant l’âge de onze ans, confié par ses parents en adoption^{N 3,3}, il entre comme apprenti chez le peintre Francesco Squarcione, qui est à la tête d’un atelier à Padoue, l’un des plus importants de cette région. Ancien tailleur et brodeur, Squarcione se passionne pour l’art ancien et la rhétorique. Il est, à l’image de son compatriote Pétrarque, amateur d’antiquités romaines, et avait amassé une quantité impressionnante d’objets datant de l’Empire romain, voire, grâce aux liens commerciaux entretenus par Venise¹, de la Grande Grèce(statues en marbre, vases, bronzes, bas-reliefs, etc.). Sa collection lui sert de modèle pour ses commandes dans le goût du temps⁵, et on compte jusqu’à 137 élèves l’ayant assisté — dont les ferrarais Cosmè Tura et Francesco del Cossa¹ —, tant son atelier était réputé dans toute l’Italie¹.

Le 23 mai 1445, dans le plus ancien document mentionnant son existence, Andrea Mantegna est appelé « Andrea pictore » : il s’agit du codicille d’un testament liant Squarcione à un notaire de Padoue³. Tommaso Mantegna, le frère aîné d’Andrea, également tailleur, vit dans le quartier de Santa Lucia, non loin de l’atelier². Imprégné par l’humanisme renaissant¹, Squarcione lui enseigne le latin, les auteurs classiques, et lui donne à étudier des fragments de sculpture romaine, et par là, les figures, les volumes, la mise en perspective, comme le souligne Giorgio Vasari en ces termes : « [Mantegna] s’exerçait à partir d’objets en plâtre, copiés de statues antiques, et sur des copies de peintures, qui venaient de différents endroits, et en particulier de la Toscane et de Rome » (Les Vies, III). L’apprenti se passionne alors pour l’antiquité et va rester six ans au service du maître. Il est témoin des travaux de l’artiste florentin Donatello entrepris pour la ville à partir de 1443. La sensibilité au monde classique et le goût des antiquités deviennent l’une des composantes fondamentales de son langage artistique, qu’il a suivi tout au long de sa carrière. Mantegna quitte l’atelier de Squarcione, au moment d’un voyage effectué en compagnie du maître à Venise en 1448 ; les rapports se dégradent entre les deux hommes puisque Andrea attaque Squarcione en justice pour travaux impayés : Mantegna s’affranchit et part gagner sa vie².

Andrea Mantegna (Italian: [anˈdrɛːa manˈteɲɲa]; c. 1431 – September 13, 1506) was an Italianpainter, a student of Roman archeology, and son-in-law of Jacopo Bellini. Like other artists of the time, Mantegna experimented with perspective, e.g. by lowering the horizon in order to create a sense of greater monumentality. His flinty, metallic landscapes and somewhat stony figures give evidence of a fundamentally sculptural approach to painting. He also led a workshop that was the leading producer of prints in Venice before 1500.

Le Metropolitan Museum of Artde New York est l’un des plus grands musées d’art au monde. Ouvert au public depuis le 20 février 1872, il est situé dans l’arrondissementde Manhattan, du côté de Central Park sur la Cinquième avenue et à la hauteur de la 82^e rue. Le musée comprend également un autre bâtiment, « The Cloisters » (les cloîtres), à l’extrémité nord de l’île, dans Fort Tryon Park(quartier de Washington Heights). Cette annexe présente des œuvres d’art médiéval et des reconstitutions de cloîtres européens. Les collections du Met comptent plus de deux millions d’œuvres d’art provenant du monde entier¹ et représentant une gamme d’objets très divers. Les premières pièces furent apportées par les fondateurs puis des dons et des legs de grands collectionneurs ainsi que les diverses politiques d’acquisition menées par les directeurs successifs. Les visiteurs peuvent ainsi admirer des trésors de l’Antiquité, tels que ceux exposés dans ses galeries grecques et chypriotes, en passant par des toiles et des sculptures de tous les grands maîtres européens, jusqu’à une large collection d’art américain. Les collections sont aussi composées d’œuvres égyptiennes, africaines, asiatiques, océaniennes, moyen-orientales, byzantines et islamiques².

Une collection encyclopédique d’instruments de musique du monde entier peut aussi être admirée ainsi qu’une série d’intérieurs, comme une chambre romaine du i^er siècle av. J.-C. ou une pièce dessinée par l’architecte américain Frank Lloyd Wright³. Il faut également mentionner sa collection d’armes et d’armures antiques d’Europe, mais aussi du Japon, des États-Unis et du Moyen-Orient⁴.

• This article incorporates text from a publication now in the public domain: Rossetti, William Michael (1911). « Mantegna, Andrea« . In Chisholm, Hugh. Encyclopædia Britannica. 17 (11th ed.). Cambridge University Press. pp. 602–603.
• Janson, H.W., Janson, Anthony F.History of Art. Harry N. Abrams, Inc., Publishers. 6 edition. January 1, 2005. ISBN 0-13-182895-9
• Early Italian Engravings from the National Gallery of Art; J.A. Levinson (ed); National Gallery of Art, 1973, LOC 7379624
• Martineau, Jane (ed.), Suzanne Boorsch (ed.). Andrea Mantegna (New York: Metropolitan Museum of Art; London: Royal Academy of Arts, 1992) Exhibition Catalog: Metropolitan Museum of Art; Royal Academy of Arts
•  Herbermann, Charles, ed. (1913). « Andrea Mantegna« . Catholic Encyclopedia. New York: Robert Appleton Company.
• Berger, John and Katya, Lying Down to Sleep. Corraini Edizioni. 2010

 

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