Giacobbe Giusti, PARRI SPINELLI: Christ on the Cross With the Virgin and Saint John

Giacobbe Giusti, PARRI SPINELLI: Christ on the Cross With the Virgin and Saint John

 

 

Giacobbe Giusti, PARRI SPINELLI: Christ on the Cross With the Virgin and Saint John

 

Christ on the Cross With the Virgin and Saint Johnby Parri Spinelli, 1445

Parri Spinelli (c. 1387 – 1453) was an Italian (Tuscan) painter of the early renaissance who was born in the Province of Arezzo. His father and teacher was Spinello Aretino (1350–1410), who was active throughout Tuscany. Parri Spinelli lived in Florence from 1411 or 1412 to 1419, and was a member of the workshop of Lorenzo Ghiberti. He became the most important painter in Arezzo upon his return. Spinelli died in 1453 in Arezzo Province. His paintings are notable for their bold colors and figures that are more elongated than those of his predecessors.

References

• Encyclopedia of World Art, New York, McGraw-Hill, 1959–1987.
• Siren, Osvald, ‘Pictures by Parri Spinelli’, The Burlington Magazine, vol. 49, No. 282 (Sep., 1926), pp. 117–25.
• Vasari, Giorgio, Le Vite delle più eccellenti pittori, scultori, ed architettori, many editions and translations.
• Zucker, Mark J., Parri Spinelli’s Lost Annunciation to the Virgin and Other Aretine Annunciations of the Fourteenth and Fifteenth Centuries, The Art Bulletin, vol. 57, No. 2 (Jun., 1975), pp. 186–95.

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

http://www.giacobbegiusti.com

Giacobbe Giusti, Cylinder seal

 

Giacobbe Giusti, Cylinder seal

 

Giacobbe Giusti, Cylinder seal

 

Giacobbe Giusti, Cylinder seal

 

Giacobbe Giusti, Cylinder seal

 

Giacobbe Giusti, Cylinder seal

Old Babylonian cylinder seal, c.1800 BCE, hematite. The robed king makes an animal offering to Shamash. This seal was probably made in a workshop at Sippar.^[1]

Giacobbe Giusti, Cylinder seal

Old Babylonian cylinder seal, c.1800 BCE, hematite. Linescan camera image of seal above (reversed to resemble an impression).

Giacobbe Giusti, Cylinder seal

Mesopotamian limestone cylinder seal and impression—worship of Shamash, (Louvre)

A cylinder seal is a small round cylinder, typically about one inch (2 to 3 cm) in length, engraved with written characters or figurative scenes or both, used in ancient times to roll an impression onto a two-dimensional surface, generally wet clay. Cylinder seals were invented around 3500 BC in the Near East, at the contemporary sites of Susa in south-western Iran and Uruk in southern Mesopotamia. They are linked to the invention of the latter’s cuneiform writing on clay tablets.^[2][3][4] They were used as an administrative tool, a form of signature, as well as jewelry and as magical amulets; later versions would employ notations with Mesopotamian cuneiform. In later periods, they were used to notarize or attest to multiple impressions of clay documents. Graves and other sites housing precious items such as gold, silver, beads, and gemstones often included one or two cylinder seals, as honorific grave goods.

The cylinder seals themselves are typically made from hardstones, and some are a form of engraved gem. They may instead use glass or ceramics, like Egyptian faience. Many varieties of material such as hematite, obsidian, steatite, amethyst, lapis lazuli and carnelian were used to make cylinder seals. As the alluvial country of Mesopotamia lacks good stone for carving, the large stones of early cylinders were imported probably from Iran.^[5] Most seals have a hole running through the centre of the body, and they are thought to have typically been worn on a necklace so that they were always available when needed.

Giacobbe Giusti, Cylinder seal

Size comparison of seals, with their impression strips
(modern/current impressions)

While most Mesopotamian cylinder seals form an image through the use of depressions in the cylinder surface (see lead photo above), some cylinder seals print images using raised areas on the cylinder (see San Andrés image, below, which is not related to Mesopotamian cylinder seals). The former are used primarily on wet clays; the latter, sometimes referred to as roller stamps, are used to print images on cloth and other similar two dimensional surfaces.

Cylinder seals are a form of impression seal, a category which includes the stamp seal and finger ring seal. They survive in fairly large numbers and are often important as art, especially in the Babylonian and earlier Assyrian periods. Impressions into a soft material can be taken without risk of damage to the seal, and they are often displayed in museums together with a modern impression on a small strip.

Uses

Cylinder seal impressions were made on a variety of surfaces:

• amulets
• bales of commodities
• bricks
• clay tablets
• cloth
• components of fabricated objects
• doors
• envelopes
• storage jars

Theme-driven, memorial, and commemorative nature

Giacobbe Giusti, Cylinder seal

This cylinder seal from Cyprus shows two nude female figures. Each holds a flower, a symbol of fertility.^[6] The Walters Art Museum.

Giacobbe Giusti, Cylinder seal

This Neo-Assyriancylinder seal shows a ritual with winged protective deities. Walters Art Museum.

The images depicted on cylinder seals were mostly theme-driven, often sociological or religious. Instead of addressing the authority of the seal, a better study may be of the thematic nature of the seals, since they presented the ideas of the society in pictographic and text form. In a famous cylinder depicting Darius I of Persia: he is aiming his drawn bow at an upright enraged lion impaled by two arrows, while his chariot horse is trampling a deceased lion. The scene is framed between two slim palm trees, a block of cuneiform text, and above the scene, the Faravahar symbol of Ahura Mazda, the god representation of Zoroastrianism.

Enki as portrayed in various cylinder seals, British Museum

Cylinder seals

Assyria. Seals showing method of mounting; Brooklyn Museum Brooklyn Museum Archives, Goodyear Archival Collection

The reference below, Garbini, covers many of the following categories of cylinder seal. Dominique Collon’s book First Impressions, which is dedicated to the topic, has over 1000 illustrations.

A categorization of cylinder seals:

• Akkadian cylinder seals.
  • Akkadian seal, ca. 2300 BC, stone seal w/ modern impression. See National Geographic Ref. The glyptic (the Scenes) shows « God in barge« , people, and offerings.
• Assyrian cylinder seals.
• Cypriote Cylinder Seals.
• Egyptian cylinder seals.
  • Predynastic Egyptian Naqada era tombs and graves (imported).
  • Egyptian Faience; see Pepi I ext link.
• Hittite cylinder seals.
  • Clay envelope usage, etc.; see Kultepe.
• Kassite (the Kassites), cylinder seals.
• Mittanian cylinder seals.
• Old Babylonian cylinder seals.
• Persian cylinder seals; see Darius I, Robinson ref.
• Proto-Elamite cylinder seals.
• Sumerian cylinder seals.
  • Seals of the « Moon-God »; see Sin.
  • see Ref. (Robinson), Seal of Ur-Nammu, 2112-2095 BC. Close-up picture of Seal, and adjacent ‘modern impression’, high resolution, 2X-3X natural size.
  • « Shamash pictographic seals« ; see Mari, Syria.
• Neo-Sumerian cylinder seals.
  • see Ref (Garbini), « Seated God, and Worshippers », Cylinder seal, and a modern Impressin, p. 40, (British Museum, London).
• Syrian cylinder seals.

Giacobbe Giusti, Cylinder seal

A roll-out of the San Andresceramic cylinder seal containing what has been proposed as evidence of the earliest writing system in Mesoamerica. This cylinder seal is dated to approximately 650 BC and is unrelated to the Mesopotamian cylinder seals.

• Ancient Near East portal

• Ancient Near Eastern seals and sealing practices
• Seal (device)
• Impression seal
• Stamp seal
• LMLK seal
• Mudbrick stamp
• Scaraboid seal

References

1. ^ Al-Gailani Werr, L., 1988. Studies in the chronology and regional style of Old Babylonian Cylinder Seals. Bibliotheca Mesopotamica, Volume 23.
2. ^ Mesopotamian cylinder seals, British Museum
3. ^ Why Cylinder Seals? Engraved Cylindrical Seal Stones of the Ancient Near East, Fourth to First Millennium B.C., by Edith Porada © 1993 College Art Association., The Art Bulletin, Vol. 75, No. 4 (Dec., 1993), pp. 563-582, JSTOR
4. ^ Ancient cylinder seal found in Iran, 2 March 2009, Press TV
5. ^ Why Cylinder Seals? Engraved Cylindrical Seal Stones of the Ancient Near East, Fourth to First Millennium B.C., by Edith Porada © 1993 College Art Association., The Art Bulletin, Vol. 75, No. 4 (Dec., 1993), pp. 563-582, JSTOR
6. ^ « Cylinder Seal with a Nude Goddess ». The Walters Art Museum.

Further reading

• Bahn, Paul. Lost Treasures, Great Discoveries in World Archaeology, Ed. by Paul G. Bahn, (Barnes and Noble Books, New York), c 1999. Examples of, or discussions of Stamp seals, cylinder seals and a metal stamp seal.
• Collon, Dominique. First Impressions, Cylinder Seals in the Ancient Near East, (British Museum Press, London), 1987, 2005. Very comprehensive and up to date account, with many illustrations. The author has compiled several of the volumes cataloging the collection of cylinder seals in the British Museum.
• Collon, Dominique. Near Eastern Seals, (British Museum, London), 1990. Shorter account which also includes stamp seals . Part of the BM’s Interpreting the Past series
• Frankfort, H. Cylinder Seals, 1939, London. A classic, though obviously doesn’t reflect later research.
• Garbini, Giovanni. Landmarks of the World’s Art, The Ancient World, by Giovanni Garbini, (McGraw-Hill Book Company, New York, Toronto), General Eds, Bernard S. Myers, New York, Trewin Copplestone, London, c 1966. « Discussion, or pictures of about 25 cylinder seals »; also lists the « Scaraboid seal », an impression seal (needs to be a mirror/reverse to be an impression seal).
• Metropolitan Museum of Art. Cuneiform Texts in the Metropolitan Museum of Art: Tablets, Cones, and Bricks of the Third and Second Millennia B.C., vol. 1 (New York, 1988). The final section (Bricks) of the book concerns cylinder Seals, with a foreword describing the purpose of the section as to instigate Research into cylinder Seals. The ‘cylinder sealing’ on the bricks, was done multiple times per brick. Some are of high quality, and some are not. (Also contains the only 2 el Amarna letters, in the USA, with Analysis.)
• Metropolitan Museum of Art. Ancient Near Eastern Art, (Reprint), Metr. Mus. of Art Photograph Studio, Designed, Alvin Grossman, Photography, Lynton Gardiner, (Metropolitan Museum of Art Bulletin (Spring 1984)), c 1984. 56pgs.
• Metropolitan Museum of Art. Beyond Babylon, Art, Trade and Diplomacy in the Second Millennium BC, ed. Joan Aruz. 2008. Many cylinder seals of the period illustrated in color with impressions and descriptions.
• National Geogr. Soc. Wonders of the Ancient World; National Geographic Atlas of Archeology, Norman Hammond, Consultant, Nat’l Geogr. Soc., (Multiple Staff authors), (Nat’l Geogr., R.H.Donnelley & Sons, Willard, OH), 1994, 1999, Reg. or Deluxe Ed. Origins of Writing, section, pp 68–75. Akkadian Cylinder seal, with its modern seal impression. p. 71.
• Robinson, Andrew. The Story of Writing, Andrew Robinson, (Thames and Hudson), c 1995, paperback ed., c 1999. (Page 70, Chapter 4: Cuneiform) Ur-Nammu cylinder seal (and impression), with 2095 BCE hieroglyphs, 2X-3X; Darius I, impression only, of chariot hunting scene, 2X, ca 500 BCE

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

http://www.giacobbegiusti.com

 

Giacobbe Giusti, BERLINGHIERO BERLINGHIERI: Madonna and child, Metropolitan Museum of Art

Giacobbe Giusti, BERLINGHIERO BERLINGHIERI: Madonna and child, Metropolitan Museum of Art

 

 

Giacobbe Giusti, BERLINGHIERO BERLINGHIERI: Madonna and child, Metropolitan Museum of Art

Madonna and child, c. 1230, tempera on wood, now at the Metropolitan Museum of Art.

Berlinghiero Berlinghieri, also known as Berlinghiero of Lucca(fl. 1228 – between 1236 and 1242), was an Italian painter of the early thirteenth century. He was the father of the painters Barone Berlinghieri, Bonaventura Berlinghieri, and Marco Berlinghieri.^[1]

Biography

His actual name is unknown, as he is known from the inscription « Berlingerius me pinxit » on the crucifix which is the basis of attributing other works to him. But the name « Berlinghiero Berlinghieri » is certainly not his name (according to Edward B. Garrison) and he should be called Berlinghiero. He is also mentioned in a parchment of 22 March 1228 among the names of the residents of Lucca who swore to keep the peace with Pisa after a five-year war. The original document has been lost since the mid-19th century and only a somewhat garbled 17th-century transcription exists today, giving rise to the mistaken interpretation of attributing him an incorrect name and an incorrect Lombardic origin.^[2]

Since his two adult sons were also mentioned in that document, it can be argued that Berlinghiero was then between 35 and 40 years old. This puts his birthday between 1188 and 1193.^[2]

Style and works

Giacobbe Giusti, BERLINGHIERO BERLINGHIERI

Mosaic at the facade of the Basilica di San Frediano in Lucca.

His style was late Romanesque, mainly line-based, with neohellenistic and Byzantine influences.^[3] He is considered to be one of the main artists of the Tuscan art of the period. He is also one of the few artists who painted in what is considered the Italo-Byzantine style to whom work can be attributed with certainty, though distinguishing his work from that of his sons is sometimes difficult.^[4][5]

His earliest work, or at least that attributed to him, is the « Madonna di sotto gli organi » in the cathedral of Pisa and dates not earlier than 1210.

One of his most famous works, Madonna and Child, is currently on display at the Metropolitan Museum of Art. It exemplifies several key elements that typify it as quintessentially Byzantine, but it also contains later Italian elements. One can begin with the most recognizable attributes, for example, the halos, the flat and uncrowded gold background, and the blue and red robes of the Virgin and her long features. The golden background and halos surrounding the heads of the Virgin and Child are common in Byzantine representation of divine or holy figures, as are the colors used throughout the composition. These golden halos differ between the two figures in the painting—Christ’s is articulated by an inlaid cruciform to distinguish his divine status. The Madonna boasts timeless stylized features of the Virgin. Her fingers, nose, and neck are exaggeratedly long and slender and her face itself is elongated and narrow. Her soulful eyes are large and intensely focused, lending her visage a particular elegance. Upon seeing the painting in person, one can observe a red tint in the cheeks of both Jesus and Mary that gives the flesh a life-like quality – more vivacious, in fact, than its Byzantine predecessors. The particular depth created by the shading of the faces, Mary’s in particular – an attribute of early Italian painting – also gives it an air of naturalism that Byzantine figures often lacked.^[4]

Works by Berlinghieri can be found at the San Matteo National Museum in Pisa, the National Museum of Villa Guinigi in Lucca, the North Carolina Museum of Art in Raleigh, the Cleveland Museum of Art, and the Metropolitan Museum of Art in New York City.

Giacobbe Giusti, BERLINGHIERO BERLINGHIERI

Crucifix, ca. 1220, now at the National Museum of Villa Guinigi in Lucca.

Notes

1. Jump up^ Berlinghieri – Berlinghiero, Berlinghieri, Barone, Bonaventura, Marco, Crucifix, St Francis and Scenes from his Life
2. ^ Jump up to:^a b Toward a New History of Lucchese Painting, by Edward B. Garrison, The Art Bulletin, Vol. 33, No. 1 (Mar., 1951), pp. 11-31.
3. Jump up^ Berlinghiero biography
4. ^ Jump up to:^a b Lasareff, Victor (1927-08-01). « Two Newly-Discovered Pictures of the Lucca School ». The Burlington Magazine for Connoisseurs. 51 (293): 56–67. JSTOR 863242.
5. Jump up^ Offner, Richard (1933-08-01). « The Mostra del Tesoro di Firenze Sacra-I ». The Burlington Magazine for Connoisseurs. 63 (365): 76. JSTOR 865582.

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

http://www.giacobbegiusti.com

Giacobbe Giusti, GIAMPIETRINO: Magdalena Penitente, Hermitage

Giacobbe Giusti, GIAMPIETRINO: Magdalena Penitente, Hermitage

 

 

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

http://www.giacobbegiusti.com