Papers by Cathleen Hoeniger
Arts, 13/2, 2024
This article compares the safeguarding of monuments and immoveable works of art in Italy in the f... more This article compares the safeguarding of monuments and immoveable works of art in Italy in the first years of World War II to the on-site protection undertaken in Ukraine during the Russian invasion and explores whether traditional or more innovative methods are being employed in Ukraine. Both the planning in advance of war and the implementation of protective measures amidst substantial obstacles are considered. The focus is placed on fixed works of art in churches and public statues. Special attention is given to the vulnerability of churches and their ornamentation during war.
Text & Image: Essential Problems in Art History, 2022
Захист рухомої спадщини під час війни: порівняльний аналіз підходів в Італії під час Другої світо... more Захист рухомої спадщини під час війни: порівняльний аналіз підходів в Італії під час Другої світової війни та в Україні під час російського вторгнення 2022 року Кетлін Гьоніґер
Journal of Art Historiography, 2021
Review of: Jennifer Cooke, Millard Meiss, American Art History, and Conservation: From Connoisseu... more Review of: Jennifer Cooke, Millard Meiss, American Art History, and Conservation: From Connoisseurship to Iconology and Kulturgeschichte (New York and London: Routledge, 2021), 219 pp., 11 b. & w. illus., ISBN 978-0-367-13834-9
Inganno -- The Art of Deception: Imitation, Reception, and Deceit in Early Modern Art, eds. S. Gregory and S. Hickson (Ashgate Publishers, 2012), chapter 5, pp. 99-121.
The Long Lives of Medieval Art and Architecture (AVISTA Studies in the History of Medieval Technology, Science, and Art), eds. J. Feltman and S. Thompson (London and New York: Routledge, 2019), 2019
Art and Experience in Trecento Italy, eds. Holly Flora and Sarah Wilkins (Turnhout: Brepols, 2019), 2019
The British Museum Occasional Paper (Past Practice-Future Prospects, ed. A. Oddy and S. Smith), 2001
“The Illuminated Tacuinum sanitatis Manuscripts from Northern Italy c. 1380-1400: Sources, Patron... more “The Illuminated Tacuinum sanitatis Manuscripts from Northern Italy c. 1380-1400: Sources, Patrons, and the Creation of a New Pictorial Genre,” chapter in book: Visualizing Medieval Medicine and Natural History, 1200-1550, AVISTA Studies in the History of Medieval Technology, Science, and Art, eds. J. Givens, K. Reeds, and A. Touwaite (Ashgate Publishers, 2006), pp. 51-81.
This chapter will investigate the gradual establishment of restoration principles during the Earl... more This chapter will investigate the gradual establishment of restoration principles during the Early Modern period in Europe by focusing on the treatment of paintings by Raphael. The High Renaissance artist Raphael (1483 -1520), who flourished under the patronage of Popes Julius II and Leo X in Rome, became even more famous after death than he had been during his lifetime. Influential theorists championed Raphael as the modern painter who had captured the spirit of the ancients most fully and whose art, therefore, should be emulated. The great value attached to Raphael's art meant that his works were typically owned by the wealthiest individuals and institutions. When they required restoration, exceptional trouble was taken. Sometimes this led to overly-ambitious treatments, while at other times new and improved standards were set. Often the treatments were documented with unusual care. The most notable advances in principled and ethical restoration occurred in institutional contexts and less so when Raphael's paintings were controlled by private patrons.
This essay will consider aspects of the reception of Raphael during the nineteenth century. Focus... more This essay will consider aspects of the reception of Raphael during the nineteenth century. Focus will be placed on two of the Roman altarpieces, the Madonna di Foligno and the Transfi guration, in the period of the Napoleonic confi scations and after Napoleon's fall from power (fi gs. 1 and 2). Under Napoleon, these altarpieces were taken as war booty to Paris in 1797, and there they were subjected to substantial restorations in order to prepare the pictures for exhibition at the Louvre. After Napoleon's fall in 1814, both altarpieces were returned to Italy. However, there followed a critical outcry from prominent intellectuals in response to the way the paintings had been treated in Paris. One goal of the essay will be to explore how the reception of the pictures was complicated by several factors including politics and taste.
Journal of the American Institute for Conservation, 1999
... In 1881, when Bardini acquired the Florentine deconse-crated church and convent of SanGregori... more ... In 1881, when Bardini acquired the Florentine deconse-crated church and convent of SanGregorio, transforming them into his magnificent private gallery, the Palazzo Bardini, he set aside a large studio space that functioned as a ... Courtesy of Fotografia di Fabio Lensini, Siena ...
Journal of the American Institute for Conservation, 1991
... For instance, the azurite mantle of the Virgin in Duccio's Rucellat Madonna (Uff... more ... For instance, the azurite mantle of the Virgin in Duccio's Rucellat Madonna (Uffizi, Florence, 1285) appeared dark with little trace of modeling, before the recent cleaning, as the Virgin's mantle in Simone Martini's 1333 Annunciation (Uffizi, Florence) does still. ...
Reviews by Cathleen Hoeniger
Conference Presentations by Cathleen Hoeniger
marked the quincentenary of the death of Raffaello Sanzio (1483-1520), one of the most brilliant ... more marked the quincentenary of the death of Raffaello Sanzio (1483-1520), one of the most brilliant and consequential artists in the western tradition. Praised during his lifetime as "Prince of Painters" (pictorum princeps), a description rendered indelible by Giorgio Vasari, this characterization long served to obscure Raphael's artistic achievements in other modes. He was in reality an impresario in many media: revered in his own day as Rome's chief architect, Raphael was also an urbanist and a designer of landscape, as well as of sculpture, silver, prints, and tapestries. A series of international conferences and exhibitions held in 1983-84, the quincentenary of the artist's birth, was a watershed in Raphael studies, and in the intervening years, building on those events and publications, new understandings of Raphael have begun to take form, not only as a designer in an array of media, but also in terms of his collaboration with other artists, patrons, advisors, and literati. This conference dedicated to Raphael brings together established and emerging scholars to take stock of what has been accomplished in the past 37 years, to assess current approaches to his astonishingly innovative, diverse and influential body of work, to present new research, and to chart directions for further study. Expanding upon well-established lines of inquiry, the program reflects new approaches to the quintessential old master.
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Papers by Cathleen Hoeniger
Reviews by Cathleen Hoeniger
Conference Presentations by Cathleen Hoeniger