Italian Painting

Miziolek Jerzy

Year: 2018
Edizione: L'ERMA di BRETSCHNEIDER
ISBN: 978-88-913-1278-5
Binding: Hardcover with dustjacket
Pages: 440, 298 ill. B/N, 1 ill. Col.
Size: 24 x 28 cm
Jerzy Miziolek, Renaissance Weddings and the Antique. Italian secular Paintings from the Lanckoroñski Collection

March 2015
The book discusses some thirty Italian Renaissance domestic paintings from the Viennese collection of Count Karol Lanckoroñski (1848-1933), which since 1994 have belonged to the Wawel Royal Castle in Kraków. The majority of them depict mythological subjects and scenes from Greek and Roman history; they once served as decorations on the walls of nuptial chambers (spalliere) or the fronts of painted wedding chests, usually referred to as cassoni. The domestic paintings amassed by Lanckoroñski in the last quarter of the 19th century in an exemplary way reflect the Renaissance fascination with classical literature, archaeology, and the classical tradition in the visual arts. Above all the book provides an explorative study of the subject matter of the paintings in the context of weddings, although stylistic analysis is also discussed.

JERZY MIZIOLEK is professor of the visual arts and the classical tradition at the University of Warsaw (Institute of Archaeology). He studied art history and classical archaeology at the Jagiellonian University, Kraków and Christian archaeology at the Pontificio Istituto di Archeologia, Rome. He received his Ph.D. in 1987 and habilitation in 1996. He has been awarded a Saxl Fund fellowship at the Warburg Institute (1990), a Getty Grant Program postdoctoral fellowship (1991), a Mellon fellowship at Villa I Tatti (Harvard University Center for Italian Renaissance Studies, 1994), a fellowship at the Kunsthistorisches Institut, Florence (1995), a Paul Mellon fellowship at the Center for Advanced Study in the Visual Arts at the National Gallery of Art, Washington (1996, 1997, 1998, 2001) and a Getty Research Institute fellowship (2006). Since 1992 he has been teaching courses in Italian Renaissance art and the classical tradition in the visual arts of the 18th and 19th centuries. He is the author of more than 150 papers and reviews published, among others, in the Journal of the Warburg Institute, Mitteilungen des Kunsthistorischen Intitutes in Florenz, Arte Cristiana, Prospettiva, Fontes, Renaissance Studies, I Tatti Studies, Fontes, Iconographica, Pegassus and Arte Lombarda. Several of them deal with Italian Renaissance domestic paintings. He has published seven books, including: Sol verus: Studies in the Iconography of Christ in the Art of the First Christian Millennium (1991), Soggetti classici sui cassoni fiorentini alla vigilia del Rinascimento (1996), Falsifications in Polish Collections and Abroad (2001), The Artistic Culture of Warsaw' s University (2003) and Muse, bacchanti e centauri. La pittura pompeiana e la loro fortuna in Polonia (2010). Since 1991 he has delivered more than forty papers and lectures at foreign universities and international symposia concerning Early Christian, Renaissance and neoclassical art.

Si on connaît assez bien les sentiments des Français du xviii e siècle sur la production des peintres italiens de leur temps grâce aux écrits artistiques, aux guides de voyages et aux collections de tableaux, on ne s'est pas interrogé sur l'utilisation de la gravure par les Français dans la diffusion de cette production. Quels sont les artistes italiens du xviii e siècle dont les graveurs français, amateurs et profession-nels, ont retranscrit les oeuvres ? Pour qui et pourquoi les ont-ils interprétées ? Quelle vision ou quelle connaissance de l'art italien du Settecento ressortent de cette production et que révèle-elle du goût des amateurs pour les créations ultra-montaines ? Telles sont les questions abordées dans cette étude. Le corpus comprend 472 gravures d'après 81 artistes 1 , dont 33 ne sont représentés que par une pièce, 13 par deux, 20 par trois à huit gravures et 14 par neuf ou plus. La disparité est considérable. On compte 9 gravures d'après Amigoni, 11 d'après Creti (11), et pour S. Ricci 12, Cignani 13, Zuccarelli 14, Tiepolo 18, Marco Ricci 20, Cipriani 27, Rosalba 23, Giordano 37, Pannini 30, Solimena 37, Maratti 63. Parmi eux, deux artistes du xvii e siècle : Maratti et Luca Giordano ; exclure le premier obligerait à supprimer le second, mais l'interprétation de son oeuvre par les Français commence au xviii e siècle, et c'est avec lui que prend naissance l'école napolitaine du xviii e siècle dont les amateurs furent si friands. Les inclure permet de juger de l'importance de la réception des oeuvres du xvii e et du xviii e siècle, puisqu'à eux deux Maratti et Giordano totalisent 100 gravures. Amputé de leurs créations, ce corpus ne monte plus qu'à 372 estampes, exécutées par des Français travaillant en Italie, en France et en Angleterre.

This special issue of Humanities Research offers a selection of papers presented at  the  international conference ‘The  World  and  World-Making  in  Art: Connectivities  and Differences’  held  at  The Australian  National  University (ANU) from 11–13 August 2011. The conference inspired significant interest nationally and internationally and attracted  scholars  from  the  United  States,  Europe,  Asia,  the  Pacific  and  South America. It formed part of the program organised by the Humanities Research Centre  (HRC)  at  ANU  under  the  overarching  theme:  ‘The  World  and  World-Making in the Humanities and the Arts’ and complemented other conferences relating to the concept of ‘world-making’ in history and literature.