Articles by Tamara Dominici
Arte Marchigiana, 2022
Raphael’s great attention to detail is evident right from his earliest works. His careful descrip... more Raphael’s great attention to detail is evident right from his earliest works. His careful description of features in some portraits reveals his capacity for acute observation tellingly expressed in the tiniest details. The literature, with a few exceptions (especially Fischel 1948, Volpe 1956 and Lane 2007), has not yet focused sufficiently on this aspect stemming from the influence of Flemish art on the young Raphael. This paper thus aims to shed more light on the subject by adopting an overall approach. The importance of the Urbino milieu with its interest in Flemish art and the influence of his father Giovanni’s “Flemishness” on his training have not been adequately considered. This influence combined with Raphael’s knowledge of Hans Memling’s paintings in Florence, acquired first-hand or through Peugino and others, enabled him to achieve a profound pathos in some sacred subjects, demonstrating that he had fully understood and assimilated the Flemish maniera devota.
Il capitale culturale, 2021
This essay aims to fill a gap in current scholarship on the Netherlandish paintings present in th... more This essay aims to fill a gap in current scholarship on the Netherlandish paintings present in the Southern Marche by furnishing a catalogue of these works of art which are preserved in peripheral areas of the region, taking into consideration several institutions, from parish churches to local museums – many of them are still closed due the last earthquake (2016). The article continues the work undertaken in 2019, which however was addressed only to those Netherlandish paintings that are currently owned by the main public museums of the principal cities of the Southern Marche: Ancona, Ascoli Piceno, Fermo and Macerata.
In effect, while doing that first catalogue, the author has felt the necessity to pay attention also to the peripheral areas of the region to show the strong connection in 16th and 17th century between the Southern Marche countryside and the Netherlandish artists, among whom Ernst van Schayck was the most important and prolific – precisely for this reason many pages of this essay are focused on him. This catalogue, liable of future emendations and additions, is therefore a testimony of the artistic richness of the Southern Marche, a richness which shall not be forgotten.
Oud Holland, 2020
This article deals with the presence of a specific type of a metal brazier, the fire wagon, in Fl... more This article deals with the presence of a specific type of a metal brazier, the fire wagon, in Flemish and Brabantine art of the fifteenth and sixteenth centuries. These works help us to understand the meaning and use of a curious object, that in the archival records is often referred to in Dutch as ‘vierwagen’ or ‘vuurwagen’. It usually describes a portable brazier on four wheels, that was easy to move from one place to another. Among the most relevant paintings in this context is the Ordeal by fire (ca. 1470), the right panel of The justice of Emperor Otto III, painted by Dieric Bouts (ca. 1415-1475). The archivist Edward van Even (1821-1905) was the first scholar to mention this motif. In particular, he associated the brazier with a similar fire pan mentioned in the Leuven Town Hall in 1470, which was made by the blacksmith Anthonysse Bruynincks.
Former scholars have generally concluded that these objects were relatively rare and unique at the time. In contrast to this, the author will show that the mobile brazier was, in fact, used as a tool in daily life, often to warm up large rooms in castles, abbeys, churches and workshops. Besides Bouts’ painting, the ‘vierwagen’ can also be recognized in Jacob Cornelisz van Oostsanen’s Saul and the witch of Endor (1526), and in the engraving The invention of book printing by Jan Collaert I (ca. 1530-1581). Moreover, the ‘vierwagen’ was also painted outside the Low Countries, mainly in Spain and Italy, as testified, for instance, by Pedro García de Benavarre’s Birth of the Virgin (ca. 1445) and Garofalo’s Holy Family (1515-1520). This suggests an international diffusion, at least on an artistic level, thanks to the presence of imported works of art or by Northern artists who had emigrated to the South.
Nuova Museologia, 2019
“Altri quadri, sempre quadri, santi, uomini e donne con facce che non si capivano, paesaggi tutti... more “Altri quadri, sempre quadri, santi, uomini e donne con facce che non si capivano, paesaggi tutti neri, bestie diventate gialle, una confusione di uomini e di cose che con quel violento tumulto di colori, cominciava a produr loro un forte mal di testa […]. Le sale si succedevano alle sale, senza nulla di interessante”. Con queste parole lo scrittore Émile Zola fornisce un vivace spaccato dell’atteggiamento che ancor oggi anima diversi visitatori quando trascinano la loro noia e la loro stanchezza da una parte all’altra del museo che malauguratamente, per errore o per casualità, si sono trovati a visitare. Questo malessere, che talvolta si tramuta in emicrania e perfino in una sensazione di imbarazzo di fronte alle opere d’arte, deriva spesso non tanto dalla mancanza di attrezzature e servizi, quanto dall’impossibilità per il visitatore di percepire il fenomeno artistico e dall’incapacità del museo di comunicarglielo.
In questi ultimi anni, si è parlato molto di didattica, trascurando però spesso lo spazio dell’opera, la possibile ricostruzione anche in modo visivo del contesto, fondamentale per la comprensione e l’esaltazione delle intrinseche qualità degli oggetti esposti.
Arte Cristiana, 2019
The article aims at stressing the close link between art and theology by analysing Dieric Bouts’ ... more The article aims at stressing the close link between art and theology by analysing Dieric Bouts’ Triptych of the Last Supper requested in 1464 by the Leuven brotherhood of the Most Blessed Sacrament. Indeed, two theologians of the Leuven University developed the precise iconographic program behind Bouts’ work. In particular, the two Leuven theologians, Jan Varenacker and Gielys Bailluwel, suggested certain Old Testament pericopes prefiguring the Eucharist to be painted on the lateral panels of the triptych, so that Bouts’ work could be used as a kind of Biblia pauperum by the faithful.
Arte Marchigiana, 2018
On 30 November 2018, the exibition Giovanni Santi. "Da poi... me dette alla mirabil arte de pictu... more On 30 November 2018, the exibition Giovanni Santi. "Da poi... me dette alla mirabil arte de pictura", opened at Palazzo Ducale in Urbino. The many works by Raphael’s father on show include private devotional paintings, such as the so-called Vir dolorum (Man of Sorrows), which contain explicit allusions to Flemish painting. The exhibition offers three examples of this iconography. Unfortunately, two other examples, in the Alana Collection, Newark (Delaware), and the Budapest Museum of Fine Arts, respectively, could not be shown in the exhibition. The present essay aims to fill this gap by briefly analysing those two Man of Sorrow, not only to make readers aware of them, but in the hope that they may also be encouraged to visit the exhibition on Giovanni Santi.
Il capitale culturale, 2018
Leuven attained fame through the artistic and cultural impulse given by the University, establish... more Leuven attained fame through the artistic and cultural impulse given by the University, established in 1425. Probably, Dieric Bouts was attracted by such milieu, since the Brabantine city grew up with new buildings, which needed the work of artists and artisans. In this context, Bouts achieved an outstanding social status, especially thanks to the commissions for the Leuven city hall. Moreover, this painter is renowned for his Triptych of the Last Supper. This work is very important, since the contract of this painting is available. By contextualizing Bout’s case, this article aims at showing the social condition of the artist in 15th century Brabant, in order to identify the possible economic cause.
Studi Pesaresi, 2017
In this paper the life of the painter Giovanni Santi, born at Colbordolo (Pesaro), is described a... more In this paper the life of the painter Giovanni Santi, born at Colbordolo (Pesaro), is described and assessed in a comparison with Dieric Bouts, a painter born in Harleem. Although apparently with little in common, especially given the distance in geographical terms, both artists managed to acquire a precise social status, in Urbino and Leuven, respectively, two artistically and culturally flourishing cities in the fifteenth century. The comparison made here, although unusual, highlights some interesting elements in the documents concerning the two painters, especially wills and notorial acts, which confirm that they were both fully acknowledged in their own lifetime.
Studiolo, 2016
The hypothesis that Quentin Metsys went for a trip to Italy has only been suggested by Limentani ... more The hypothesis that Quentin Metsys went for a trip to Italy has only been suggested by Limentani Virdis, who gives the painter the authorship of the fresco in the Oratory of Santa Maria di Rovegnano Abbey. Beyond its Italian features, the master of Antwerp’s artistic production shows proximity to Leonardo’s painting, both in the use of iconography of grotesque and in the sentimentalism expressed in the depictions of the Madonna and Child, hardly explainable since there is not a direct, even short, experience in the peninsula. It is therefore possible that Metsys saw Italy with his own eyes: “Ecce homo” of Venice could corroborate this hypothesis, a trait d’union between Erasmus, Metsys, Cardinal Grimani and Italy.
Studi Pesaresi, 2016
This article analyses writings on Northern European art published in magazines in the Marches for... more This article analyses writings on Northern European art published in magazines in the Marches for the purpose of creating a brief survey of the contributions made by local studies to Netherlandish works found in the region. Flemish-Dutch art has always suffered from a limited interest shown in the literary-critical field and this is also the case in the Marches, despite the presence of Northern European artists in the area. Of the publications considered, “Rassegna Marchigiana” (1922-1934) is the historic periodical that has the largest number of articles on the subject. This is certainly unusual when compared with the contemporary publications much less interested in the theme. Only from 1972 onwards was interest in Flemish art in the Marches rekindled by “Notizie da Palazzo Albani”. The outstanding figures in the writings analysed include the enigmatic Giusto di Gand (acknowledged by most scholars to be Joos van Wassenhove), Pieter Paul Rubens and the Dutch artist Gaspar van Wittel, who painted a number of works for the Albani family.
Conference presentations by Tamara Dominici
Fourth RefoRC Conference 15-17 May, 2014
The aim of this paper presentation is to compare Europe’s foremost humanist Erasmus of Rotterdam ... more The aim of this paper presentation is to compare Europe’s foremost humanist Erasmus of Rotterdam (1466/1469–1536) to the Flemish painter Quentin Metsys (1466–1530). Contact between the painter and Erasmus is well documented, with letters of the latter and the two portraits the artist made of him. The first portrait was painted for Thomas More in 1517, paired in the ‘friendship diptych’ with a likeness of Peter Gillis, who was the secretary of magistrates of Antwerp. Metsys’s portrait, commissioned by Erasmus and Peter Gillis, reveals the importance of Metsys’s growing association with Erasmus and Antwerp’s erasmian circle of humanist scholars. This demonstrates an influence of the artist’s redefinition of his role and profession. His abandonment of the public piety of altarpieces for a more private and personal religious imagery may be attributed to a change in his religious values, which were in part affected by his contact with the humanist.
Book chapters by Tamara Dominici
E. FREI, E. RAI (a cura), Profiling Saints. Understanding the Theological and Cultural Foundations of Catholic Hagiographical Models (1500s–1900s), 2023
G. DALL'OLIO, S. PIVATO (a cura), Urbino fra età moderna e contemporanea, 2019
P. FORESTA, F. MELONI (a cura), Arts, Portraits and Representation in the Reformation Era. Proceedings of the Fourth Reformation Research Consortium Conference, 2019
Catalogue entries by Tamara Dominici
"Giovanni Santi", cat. mostra a cura di M.R. Valazzi (Urbino, Palazzo Ducale, 30 novembre 2018 – 17 marzo 2019), 2018
Il volume ripercorre la vita e le opere di Giovanni Santi (Colbordolo, 1439, ante? -Urbino, 1 ago... more Il volume ripercorre la vita e le opere di Giovanni Santi (Colbordolo, 1439, ante? -Urbino, 1 agosto 1494), personaggio poliedrico e dotato di molti talenti, nonché padre e primo maestro di Raffaello. Attraverso i saggi del volume e il ricco apparato iconografico, viene indagata la sua attività, strettamente legata alla città di Urbino e alla committenza del potente duca Federico da Montefeltro, la cui azione politica e militare fu rivolta alla creazione di una città ideale fondata sulla cultura. Fortemente partecipe di questo clima stimolante, ma anche arricchitosi dalla frequentazione di altri importanti centri italiani, Giovanni Santi fu leader di una bottega che monopolizzò la produzione artistica del territorio, realizzando opere di grande qualità. La sua fama fu presto oscurata da quella dal figlio, Raffaello, il quale, rimasto orfano a soli undici anni, divenne tuttavia l'espressione più alta della temperie artistica che nel giro di pochi anni avrebbe completamente mutato il corso della storia della pittura. Raffaello sentì tuttavia fortemente il legame con la famiglia e con la terra d'origine, e volle sempre mantenere il ricordo del nome paterno e della città che lo generò.
"Giovanni Santi", cat. mostra a cura di M.R. Valazzi (Urbino, Palazzo Ducale, 30 novembre 2018 – 17 marzo 2019), 2018
Il volume ripercorre la vita e le opere di Giovanni Santi (Colbordolo, 1439, ante? -Urbino, 1 ago... more Il volume ripercorre la vita e le opere di Giovanni Santi (Colbordolo, 1439, ante? -Urbino, 1 agosto 1494), personaggio poliedrico e dotato di molti talenti, nonché padre e primo maestro di Raffaello. Attraverso i saggi del volume e il ricco apparato iconografico, viene indagata la sua attività, strettamente legata alla città di Urbino e alla committenza del potente duca Federico da Montefeltro, la cui azione politica e militare fu rivolta alla creazione di una città ideale fondata sulla cultura. Fortemente partecipe di questo clima stimolante, ma anche arricchitosi dalla frequentazione di altri importanti centri italiani, Giovanni Santi fu leader di una bottega che monopolizzò la produzione artistica del territorio, realizzando opere di grande qualità. La sua fama fu presto oscurata da quella dal figlio, Raffaello, il quale, rimasto orfano a soli undici anni, divenne tuttavia l'espressione più alta della temperie artistica che nel giro di pochi anni avrebbe completamente mutato il corso della storia della pittura. Raffaello sentì tuttavia fortemente il legame con la famiglia e con la terra d'origine, e volle sempre mantenere il ricordo del nome paterno e della città che lo generò.
"Giovanni Santi", cat. mostra a cura di M.R. Valazzi (Urbino, Palazzo Ducale, 30 novembre 2018 – 17 marzo 2019), 2018
Il volume ripercorre la vita e le opere di Giovanni Santi (Colbordolo, 1439, ante? -Urbino, 1 ago... more Il volume ripercorre la vita e le opere di Giovanni Santi (Colbordolo, 1439, ante? -Urbino, 1 agosto 1494), personaggio poliedrico e dotato di molti talenti, nonché padre e primo maestro di Raffaello. Attraverso i saggi del volume e il ricco apparato iconografico, viene indagata la sua attività, strettamente legata alla città di Urbino e alla committenza del potente duca Federico da Montefeltro, la cui azione politica e militare fu rivolta alla creazione di una città ideale fondata sulla cultura. Fortemente partecipe di questo clima stimolante, ma anche arricchitosi dalla frequentazione di altri importanti centri italiani, Giovanni Santi fu leader di una bottega che monopolizzò la produzione artistica del territorio, realizzando opere di grande qualità. La sua fama fu presto oscurata da quella dal figlio, Raffaello, il quale, rimasto orfano a soli undici anni, divenne tuttavia l'espressione più alta della temperie artistica che nel giro di pochi anni avrebbe completamente mutato il corso della storia della pittura. Raffaello sentì tuttavia fortemente il legame con la famiglia e con la terra d'origine, e volle sempre mantenere il ricordo del nome paterno e della città che lo generò.
Didactics by Tamara Dominici
Intervento tenutosi durante la visita al Palazzo Ducale di Urbino nell’ambito della Summer School... more Intervento tenutosi durante la visita al Palazzo Ducale di Urbino nell’ambito della Summer School Barocco Mediterraneo. I fiamminghi. Edizione speciale in memoria di Caterina Virdis Limentani (Università degli Studi di Urbino “Carlo Bo”, 9-13 settembre 2019)
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Articles by Tamara Dominici
In effect, while doing that first catalogue, the author has felt the necessity to pay attention also to the peripheral areas of the region to show the strong connection in 16th and 17th century between the Southern Marche countryside and the Netherlandish artists, among whom Ernst van Schayck was the most important and prolific – precisely for this reason many pages of this essay are focused on him. This catalogue, liable of future emendations and additions, is therefore a testimony of the artistic richness of the Southern Marche, a richness which shall not be forgotten.
Former scholars have generally concluded that these objects were relatively rare and unique at the time. In contrast to this, the author will show that the mobile brazier was, in fact, used as a tool in daily life, often to warm up large rooms in castles, abbeys, churches and workshops. Besides Bouts’ painting, the ‘vierwagen’ can also be recognized in Jacob Cornelisz van Oostsanen’s Saul and the witch of Endor (1526), and in the engraving The invention of book printing by Jan Collaert I (ca. 1530-1581). Moreover, the ‘vierwagen’ was also painted outside the Low Countries, mainly in Spain and Italy, as testified, for instance, by Pedro García de Benavarre’s Birth of the Virgin (ca. 1445) and Garofalo’s Holy Family (1515-1520). This suggests an international diffusion, at least on an artistic level, thanks to the presence of imported works of art or by Northern artists who had emigrated to the South.
In questi ultimi anni, si è parlato molto di didattica, trascurando però spesso lo spazio dell’opera, la possibile ricostruzione anche in modo visivo del contesto, fondamentale per la comprensione e l’esaltazione delle intrinseche qualità degli oggetti esposti.
Conference presentations by Tamara Dominici
Book chapters by Tamara Dominici
Catalogue entries by Tamara Dominici
Didactics by Tamara Dominici
In effect, while doing that first catalogue, the author has felt the necessity to pay attention also to the peripheral areas of the region to show the strong connection in 16th and 17th century between the Southern Marche countryside and the Netherlandish artists, among whom Ernst van Schayck was the most important and prolific – precisely for this reason many pages of this essay are focused on him. This catalogue, liable of future emendations and additions, is therefore a testimony of the artistic richness of the Southern Marche, a richness which shall not be forgotten.
Former scholars have generally concluded that these objects were relatively rare and unique at the time. In contrast to this, the author will show that the mobile brazier was, in fact, used as a tool in daily life, often to warm up large rooms in castles, abbeys, churches and workshops. Besides Bouts’ painting, the ‘vierwagen’ can also be recognized in Jacob Cornelisz van Oostsanen’s Saul and the witch of Endor (1526), and in the engraving The invention of book printing by Jan Collaert I (ca. 1530-1581). Moreover, the ‘vierwagen’ was also painted outside the Low Countries, mainly in Spain and Italy, as testified, for instance, by Pedro García de Benavarre’s Birth of the Virgin (ca. 1445) and Garofalo’s Holy Family (1515-1520). This suggests an international diffusion, at least on an artistic level, thanks to the presence of imported works of art or by Northern artists who had emigrated to the South.
In questi ultimi anni, si è parlato molto di didattica, trascurando però spesso lo spazio dell’opera, la possibile ricostruzione anche in modo visivo del contesto, fondamentale per la comprensione e l’esaltazione delle intrinseche qualità degli oggetti esposti.