Maria Aresin
Curator prints and drawings until 1800 at Kunsthalle Bremen.
Studied in Leipzig, Heidelberg, Siena and Frankfurt prior to completing her PhD at the University of Frankfurt Main in March 2020 (supervisors: Hans Aurenhammer, Alessandro Nova). Pre-doctoral assistant at the KHI Florence (2015), Gerda Henkel PhD-Fellow (2016-2018), curatorial assistant at the Bayerische Staatsgemäldesammlungen (2019-May 2021), Staatliche Graphische Sammlung.
Post-doc Project on Palma il Giovane's drawings (supported by fellowships from the DAAD, Bella Maniera Asso., RSA Kress Fellowship at Centro Branca, KHI Florence, Fritz Thyssen Fellowship at Centro Tedesco di Studi Veneziani).
January 2022–April 2023 Head of Prints and Drawings at Landesmuseum Mainz. Since May 2023 curator for works on paper until 1800 at the Kupferstichkabinett at the Kunsthalle Bremen.
Studied in Leipzig, Heidelberg, Siena and Frankfurt prior to completing her PhD at the University of Frankfurt Main in March 2020 (supervisors: Hans Aurenhammer, Alessandro Nova). Pre-doctoral assistant at the KHI Florence (2015), Gerda Henkel PhD-Fellow (2016-2018), curatorial assistant at the Bayerische Staatsgemäldesammlungen (2019-May 2021), Staatliche Graphische Sammlung.
Post-doc Project on Palma il Giovane's drawings (supported by fellowships from the DAAD, Bella Maniera Asso., RSA Kress Fellowship at Centro Branca, KHI Florence, Fritz Thyssen Fellowship at Centro Tedesco di Studi Veneziani).
January 2022–April 2023 Head of Prints and Drawings at Landesmuseum Mainz. Since May 2023 curator for works on paper until 1800 at the Kupferstichkabinett at the Kunsthalle Bremen.
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Papers by Maria Aresin
Amongst the drawings by Tintoretto and his workshop there are some twenty sheets showing figure studies on the recto and tracings made with reddish brown oil paint of the same figure on the verso. Sometimes these tracings appear again on the recto, covering the black chalk contour lines of the body shapes with pasty paint. Only the outlines are rendered or copied as if to create a plain stencil of the figures position without highlighting or adding also the inner body volumes or muscles. It seems that no other artist at the time in Venice used this particular technique. Until now, its function has been unclear, particularly because although these drawings are kept in famous drawing collections (Uffizi, Morgan Library, Museo Capodimonte), they have yet to be studied. This paper will shed light on Tintoretto’s use of oil paint on blue or buff brown paper as a method of mirroring the figure to create new possibilities and adapt the postures to many paintings at the same time, thus recycling his figure studies for different purposes. Understanding that process of tracing, reversing and adapting the figure helps to better understand the process of preparing a painting in the Tintoretto workshop.
This article sheds light on the meaning of the motif of the dog on coins and medals by Gaspare Moro- ne (G. MORON) and Giacomo Ozegni (I.O.F.) minted in 1627 for Vincenzo II Gonzaga. Vincenzo’s dog-impresa with its motto Feris Tantum Infensus (“Hostile only against the feral”) goes back to a story in Pliny’s Natural History (VIII 149–150) in which he speaks of two very wild dogs that were gifted from the King of Albania to Alexander the Great. Those dogs, just as the motto of the coins explains, were only hunting much bigger ferocious animals such as elephants, while reacting rather unimpressed when confronted with the usual game. The article discusses the different versions of the coins and medals with dog-motifs by Morone and Ozegni. Furthermore, the paper presents previous- ly unpublished documents on the Zecca in Mantua during the reign of Vincenzo II.
Zusammenfassung
Der vorliegende Beitrag beleuchtet erstmalig die Bedeutung des Hundemotivs der Münzen und Me- daillen, die von Gaspare Morone (G. MORON) und Giacomo Ozegni (I.O.F.) entworfen und welche 1627 für die nur ein Jahr währende Amtszeit Vincenzos II. Gonzaga geprägt wurden. Die Imprese Vincenzos II., die einen Hund mit dem Motto Feris Tantum Infensus („Nur den Wilden feindlich“) zeigt, geht auf eine Erzählung nach Plinius (Nat. hist. VIII 149–150) zurück, der über die unnatürlich starken Hunde berichtet, die Alexander der Große vom König von Albanien geschenkt bekam. Ne- ben ikonographischen Hintergründen bespricht der Beitrag hier erstmals publizierte Dokumente zur Zecca von Mantua unter Vincenzo II. sowie die unterschiedlichen Versionen der Hundemünzen der beiden Stempelschneider Morone und Ozegni.
This article examines the pet squirrel’s role as part of this gift culture by means of an analysis of visual and textual sources on squirrels as pets from the Middle Ages to the Early Modern. Squirrels were popular pets for women and children. They were kept in specific cages and chained with leashes to their owners garment. The article furthermore explains some symbolic meanings the squirrel obtained due to its physical features, namely sexual connotations that were expressed in images and texts alike. This cultural-historical study is part of a larger book project on Squirrels in Art.
Book Reviews by Maria Aresin
Reviewessay: Guth, Doris/Priedl, Elisabeth (eds) (2012): Bilder der Liebe. Liebe, Begehren und Geschlechterverhältnisse in der Kunst der Frühen Neuzeit, Bielefeld: transcript. (Images of Love. Love, Desire and Gender Relations in Early Modern Art). Maria Aresin reviews a volume on images of love in the early modern period, focusing on the media of literature and creative art. The author particularly emphasizes the importance of queer theory research for images of love in the early modern period.
Amongst the drawings by Tintoretto and his workshop there are some twenty sheets showing figure studies on the recto and tracings made with reddish brown oil paint of the same figure on the verso. Sometimes these tracings appear again on the recto, covering the black chalk contour lines of the body shapes with pasty paint. Only the outlines are rendered or copied as if to create a plain stencil of the figures position without highlighting or adding also the inner body volumes or muscles. It seems that no other artist at the time in Venice used this particular technique. Until now, its function has been unclear, particularly because although these drawings are kept in famous drawing collections (Uffizi, Morgan Library, Museo Capodimonte), they have yet to be studied. This paper will shed light on Tintoretto’s use of oil paint on blue or buff brown paper as a method of mirroring the figure to create new possibilities and adapt the postures to many paintings at the same time, thus recycling his figure studies for different purposes. Understanding that process of tracing, reversing and adapting the figure helps to better understand the process of preparing a painting in the Tintoretto workshop.
This article sheds light on the meaning of the motif of the dog on coins and medals by Gaspare Moro- ne (G. MORON) and Giacomo Ozegni (I.O.F.) minted in 1627 for Vincenzo II Gonzaga. Vincenzo’s dog-impresa with its motto Feris Tantum Infensus (“Hostile only against the feral”) goes back to a story in Pliny’s Natural History (VIII 149–150) in which he speaks of two very wild dogs that were gifted from the King of Albania to Alexander the Great. Those dogs, just as the motto of the coins explains, were only hunting much bigger ferocious animals such as elephants, while reacting rather unimpressed when confronted with the usual game. The article discusses the different versions of the coins and medals with dog-motifs by Morone and Ozegni. Furthermore, the paper presents previous- ly unpublished documents on the Zecca in Mantua during the reign of Vincenzo II.
Zusammenfassung
Der vorliegende Beitrag beleuchtet erstmalig die Bedeutung des Hundemotivs der Münzen und Me- daillen, die von Gaspare Morone (G. MORON) und Giacomo Ozegni (I.O.F.) entworfen und welche 1627 für die nur ein Jahr währende Amtszeit Vincenzos II. Gonzaga geprägt wurden. Die Imprese Vincenzos II., die einen Hund mit dem Motto Feris Tantum Infensus („Nur den Wilden feindlich“) zeigt, geht auf eine Erzählung nach Plinius (Nat. hist. VIII 149–150) zurück, der über die unnatürlich starken Hunde berichtet, die Alexander der Große vom König von Albanien geschenkt bekam. Ne- ben ikonographischen Hintergründen bespricht der Beitrag hier erstmals publizierte Dokumente zur Zecca von Mantua unter Vincenzo II. sowie die unterschiedlichen Versionen der Hundemünzen der beiden Stempelschneider Morone und Ozegni.
This article examines the pet squirrel’s role as part of this gift culture by means of an analysis of visual and textual sources on squirrels as pets from the Middle Ages to the Early Modern. Squirrels were popular pets for women and children. They were kept in specific cages and chained with leashes to their owners garment. The article furthermore explains some symbolic meanings the squirrel obtained due to its physical features, namely sexual connotations that were expressed in images and texts alike. This cultural-historical study is part of a larger book project on Squirrels in Art.
Reviewessay: Guth, Doris/Priedl, Elisabeth (eds) (2012): Bilder der Liebe. Liebe, Begehren und Geschlechterverhältnisse in der Kunst der Frühen Neuzeit, Bielefeld: transcript. (Images of Love. Love, Desire and Gender Relations in Early Modern Art). Maria Aresin reviews a volume on images of love in the early modern period, focusing on the media of literature and creative art. The author particularly emphasizes the importance of queer theory research for images of love in the early modern period.
The drawings will be published in the catalogue of the venetian drawings and prints (upcoming 2022)
Amongst the drawings by Tintoretto and his workshop there are some twenty sheets showing figure studies on the recto and tracings made with reddish brown oil paint of the same figure on the verso. Sometimes these tracings appear also on the recto, covering the black chalk contour lines of the body shapes with pasty paint. Only the outlines are rendered or copied as if to create a plain stencil of the figures position without highlighting or adding also the inner volumes of the portly body or muscular silhouette. It seems that no other artist of the time in Venice used this particular technique and its function remains unclear until today as these drawings while being kept in famous drawing collections (Uffizi, Morgan Library, British Museum, Royal Collection) have yet to be studied.
The talk will focus exclusively on these drawings and seeks to explore their appearance and making from a practical as well as from a theoretical point of view. In the practical part the handling of the drawings in the workshop from which these kind of renderings surely must derive will be discussed. The second step will allow a confrontation of the first results of the practical examination with the art theoretical literature especially concerning methods of tracing and copying of compositions, to arrive at a conclusion on how red colored tracings can be interpreted in terms of their function.
This paper will be published with the conference proceedings.
From the Middle Ages until the 19th century squirrels were popular pets especially for woman and children. In order to keep them, they first needed to be caught and tamed. This 20-minutes paper aims to shed light on the practice of squirrel keeping by explaining strategies of catching and taming squirrels by means of hunting treatises such as the Livres du Roy Modus from the 14th century. Herein three types of squirrel traps and hunting methods are explained in lengthy passages and illustrated by small miniatures. The instructions given do serve not only to catch squirrels for pet keeping, but also to control overpopulation. The texts will be compared to images of squirrel catching from the Middle Ages to the Early Modern times. After catching the squirrel, the small creature needed to be tamed to become a suitable pet. Natural history treatises such as Conrad Gessner’s Thierbuch do provide information about rather unrealistic taming methods, which should be discussed in the second part of the presentation. As beloved pets, squirrels were kept in small cages and huts in the household and mostly in the chamber of their holders. The final part of the presentation will be dedicated to these material items – such as cages, huts, leashes and collars – related to squirrel keeping, that are documented in surviving objects, portrait paintings and other imagery.
These reproductions were executed with the help of workshop assistants of which unfortunately only one, Dirck de Vries, is today known by name.
Despite this little evidence the talk seeks to explore the workshop practice starting from the material opening up to questions of Fiammingo’s technique [how are the reproductions made: role of cartoons and (squared) preparatory drawings, canvas sizes, etc.] and questions of the art market for which these paintings were made (clients in Venice and Oltralpe and their specific needs and requests) as well as Paolo Fiammingo’s Flemish/German-Venetian network (assistants, artists, committenti …).
I’d like to discuss a lot of newly found paintings, a cartoon and a new drawing. This material is part of an on-going project on Paolo Fiammingo’s workshop practice that derived from a chapter in my dissertation but should future wise result in a revision of Stefania Mason’s monographic article on Fiammingo, not only by adding a lot of works recently found in museum collections and on the art market, but also by going beyond the classical biographic examination and by analysing and contextualizing the artistic practice of Paolo Fiammingo.
Jacques Callot, der mit der Échoppe ein völlig neues Radierinstrument erfand; Stefano della Bella, der es als Erster wagte, bloße Skizzen im Druck zu vervielfältigen; und Giovanni Benedetto Castiglione, der mit der Monotypie ein neues Druckverfahren entwickelte. Die Radierung und ihre drei maßgeblichen Protagonisten stehen im Zentrum dieses Bandes.
Ein Jahrhundert nach ihrer Erfindung erlebt die Radierung im 17. Jahrhundert ihre barocke Blüte. Ihren wenngleich späten Erfolg verdankt die Drucktechnik der Freiheit der Linie. Anders als in der mühsamen Manier des Kupferstichs kann die Hand des Künstlers oder der Künstlerin
die Zeichnung beim Radieren spielerisch leicht umsetzen. Die Publikation gewährt gewährt faszinierende Einblicke in die Arbeitsprozesse und Ästhetik barocker Druckgraphik.
Mit Beiträgen von Ad Stijnman, Marion Heisterberg und Stefan Morét.