In Tombs in Early Modern Rome (1400–1600), Jan L. de Jong reveals how funerary monuments, far from simply marking a grave, offered an image of the deceased that was carefully crafted to generate a laudable memory and prompt meditative... more
In Tombs in Early Modern Rome (1400–1600), Jan L. de Jong reveals how funerary monuments, far from simply marking a grave, offered an image of the deceased that was carefully crafted to generate a laudable memory and prompt meditative reflections on life, death, and the hereafter. This leads to such questions as: which image of themselves did cardinals create when they commissioned their own tomb monuments? Why were most popes buried in a grandiose tomb monument that they claimed they did not want? Which memory of their mother did children create, and what do tombs for children tell about mothers? Were certain couples buried together so as to demonstrate their eternal love, expecting an afterlife in each other’s company?
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Focusing on a turbulent time in the history of the Roman Catholic Church, The Power and the Glorification considers how, in the fifteenth and sixteenth centuries, the papacy employed the visual arts to help reinforce Catholic power... more
Focusing on a turbulent time in the history of the Roman Catholic Church, The Power and the Glorification considers how, in the fifteenth and sixteenth centuries, the papacy employed the visual arts to help reinforce Catholic power structures. All means of propaganda were deployed to counter the papacy’s eroding authority in the wake of the Great Schism of 1378 and in response to the upheaval surrounding the Protestant Reformation a century later. In the Vatican and elsewhere in Rome, extensive decorative cycles were commissioned to represent the strength of the church and historical justifications for its supreme authority. Replicating the contemporary viewer’s experience is central to De Jong’s approach, and he encourages readers to consider the works through fifteenth- and sixteenth-century eyes. De Jong argues that most visitors would only have had a limited knowledge of the historical events represented in these works, and they would likely have accepted (or been intended to accept) what they saw at face value. With that end in mind, the painters’ advisors did their best to “manipulate” the viewer accordingly, and De Jong discusses their strategies and methods.
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Bijbelse verhalen leveren prachtige kunst op, die mensen diep kan ontroeren. Maar voegen de beelden iets toe aan de uitleg van de Bijbel? Jan L. de Jong oefent de lezer van dit boek in kijken. Hij laat zien hoe kunstwerken de... more
Bijbelse verhalen leveren prachtige kunst op, die mensen diep kan ontroeren. Maar voegen de beelden iets toe aan de uitleg van de Bijbel? Jan L. de Jong oefent de lezer van dit boek in kijken. Hij laat zien hoe kunstwerken de betekenisrijkdom van de bijbelse verhalen ontdekken en vermeerderen.
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Geheel herz. ed., door J.L. de Jong, E.. de Jong-Crane D.F. Lunsingh Scheurleer jr., op basis van: Het schilder-boek van Carel van Mander : het leven der doorluchtige nederlandsche en hoogduitsche schilders / in hedendaagsch nederlandsch... more
Geheel herz. ed., door J.L. de Jong, E.. de Jong-Crane D.F. Lunsingh Scheurleer jr., op basis van: Het schilder-boek van Carel van Mander : het leven der doorluchtige nederlandsche en hoogduitsche schilders / in hedendaagsch nederlandsch overgebracht door A.F. Mirande en G.S. Overdiep. - 1936
Met literatuur opgave en register.
Met literatuur opgave en register.
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Ph.D., University of Leiden, 1987). 514 pp., Summary in English
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List of articles and book chapters, 1982 - 2021
The tomb monument of Pope Adrian VI in S. Maria dell’Anima in Rome should be seen in connection with the tomb monument of Cardinal van Enckenvoirt, the commissioner of both sepulchers. Originally, the two monuments stood opposite each... more
The tomb monument of Pope Adrian VI in S. Maria dell’Anima in Rome should be seen in connection with the tomb monument of Cardinal van Enckenvoirt, the commissioner of both sepulchers. Originally, the two monuments stood opposite each other in the choir of the church, more or less mirroring each other, but Van Enckenvoirt’s monument was purposely a sobered down version of Adrian’s monument, conveying the cardinal’s position with respect to his superior. More importantly, however, Van Enckenvoirt wanted to salvage the memory of Pope Adrian, creating an image of him as a virtuous Pontiff who reigned at the wrong moment. This virtuousness would reflect on Van Enckenvoirt himself, who was the only cardinal Pope Adrian VI created during his short pontificate.
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‘Paintings in Palaces: Descriptions and Inscriptions’, in: Palazzi del Cinquecento a Roma, a cura di Claudia Conforti e Giovanna Sapori (volume speciale del Bollettino d’Arte), 2016 [2018] (Serie VII), “Palazzi del Cinquecento a Roma”),... more
‘Paintings in Palaces: Descriptions and Inscriptions’, in: Palazzi del Cinquecento a Roma, a cura di Claudia Conforti e Giovanna Sapori (volume speciale del Bollettino d’Arte), 2016 [2018] (Serie VII), “Palazzi del Cinquecento a Roma”), pp. 101-110
This paper explores the relationship between the accessibility of Roman palazzi and the visibility of their painted decorations on the one hand, and the subject matter of these painted decorations on the other. It is observed that sites such as the Palazzo dei Conservatori (or parts thereof) and the Vatican Palace, with a markedly public function and of relatively easy access, were in both cases decorated with paintings of a propagandistic nature in order to communicate a message as directly as possible. These paintings are accompanied by inscriptions intended to guide the beholders understanding of the depicted subjects in a very specific way, namely in accordance with the propagandistic intentions of the patron(s). Private palaces, on the contrary, accessible only to relatives and other persons from the owner’s inner circle, present a set of painted decorations that, though sometimes with uncanonical subjects, did not necessarily require explanatory inscriptions. Visitors to the palace were likely to have been familiar with the owner’s history and interests, and were therefore able to identify and understand the iconography. Otherwise the visitor’s puzzlement would have provided the palace owner with the opportunity to explain the painted subjects and impress the visitor with his knowledge.
Dipinti nei palazzi: descrizioni e iscrizioni
L’articolo indaga la relazione tra accessibilità dei palazzi romani e visibilità delle loro decorazioni dipinte, da un lato, e l'oggetto delle relative decorazioni dipinte, dall'altra. Se ne desume che palazzi come quello dei Conservatori (parte di esso) e del Palazzo Vaticano, con spiccata funzione pubblica e relativamente facilmente accessibili, sono stati decorati con dipinti di natura propagandistica. Per rendere chiaro il messaggio propagandistico, inoltre, le decorazioni dipinte sono accompagnate da iscrizioni con funzione di guida per gli osservatori a capire i soggetti raffigurati in modo molto specifico, in particolare in base alle intenzioni propagandistiche del committente. I palazzi privati, al contrario, accessibili solo ai parenti e a persone provenienti dalla cerchia familiare, presentano, invece, un apparato decorativo dipinto, che, se anche difficile da identificare, non sembra necessitare delle iscrizioni esplicative, in quanto i visitatori del palazzo, grazie alla familiarità con la storia e gli interessi del proprietario, possono facilmente identificare e comprendere i soggetti raffigurati. Se ciò non fosse, invece, si creerebbe una buona opportunità per il proprietario del palazzo di spiegare i soggetti dipinti, impressionando i visitatori con la sua personale cultura.
This paper explores the relationship between the accessibility of Roman palazzi and the visibility of their painted decorations on the one hand, and the subject matter of these painted decorations on the other. It is observed that sites such as the Palazzo dei Conservatori (or parts thereof) and the Vatican Palace, with a markedly public function and of relatively easy access, were in both cases decorated with paintings of a propagandistic nature in order to communicate a message as directly as possible. These paintings are accompanied by inscriptions intended to guide the beholders understanding of the depicted subjects in a very specific way, namely in accordance with the propagandistic intentions of the patron(s). Private palaces, on the contrary, accessible only to relatives and other persons from the owner’s inner circle, present a set of painted decorations that, though sometimes with uncanonical subjects, did not necessarily require explanatory inscriptions. Visitors to the palace were likely to have been familiar with the owner’s history and interests, and were therefore able to identify and understand the iconography. Otherwise the visitor’s puzzlement would have provided the palace owner with the opportunity to explain the painted subjects and impress the visitor with his knowledge.
Dipinti nei palazzi: descrizioni e iscrizioni
L’articolo indaga la relazione tra accessibilità dei palazzi romani e visibilità delle loro decorazioni dipinte, da un lato, e l'oggetto delle relative decorazioni dipinte, dall'altra. Se ne desume che palazzi come quello dei Conservatori (parte di esso) e del Palazzo Vaticano, con spiccata funzione pubblica e relativamente facilmente accessibili, sono stati decorati con dipinti di natura propagandistica. Per rendere chiaro il messaggio propagandistico, inoltre, le decorazioni dipinte sono accompagnate da iscrizioni con funzione di guida per gli osservatori a capire i soggetti raffigurati in modo molto specifico, in particolare in base alle intenzioni propagandistiche del committente. I palazzi privati, al contrario, accessibili solo ai parenti e a persone provenienti dalla cerchia familiare, presentano, invece, un apparato decorativo dipinto, che, se anche difficile da identificare, non sembra necessitare delle iscrizioni esplicative, in quanto i visitatori del palazzo, grazie alla familiarità con la storia e gli interessi del proprietario, possono facilmente identificare e comprendere i soggetti raffigurati. Se ciò non fosse, invece, si creerebbe una buona opportunità per il proprietario del palazzo di spiegare i soggetti dipinti, impressionando i visitatori con la sua personale cultura.
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Studies painted friezes in palaces in Rome, 1400-1600; addresses the issue that their themes are often hard to identify and tries to give an explanation.
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This study discusses the gap between the arrangements that two prominent persons made for their own tombs, ordering them already while alive, and the changes wrought to them by others after their deaths, (re)shaping their memory for... more
This study discusses the gap between the arrangements that two prominent persons made for their own tombs, ordering them already while alive, and the changes wrought to them by others after their deaths, (re)shaping their memory for specific purposes. Focusing on two important cardinals, the two central questions to be answered are: what did Francesco Todeschini-Piccolomini, who was to become Pope Pius III, and Michele Ghislieri, future Pope Pius V, want their tombs to look like and why? And how and why did others afterwards reshape the way these popes would be remembered?
Monumenti di meditazione e propaganda
Le tombe di Pio III e Pio V
Questo articolo si interroga sulle caratteristiche dei monumenti funebri di due cardinali, che sarebbero poi divenuti papi, Francesco Todeschini-Piccolomini (Pio III, 1503) e Michele Ghislieri (Pio V, 1566-1572), e le loro motivazioni nella scelta dei rispettivi monumenti funerari. Il saggio, inoltre, analizza come e perché i due pontefici sono stati successivamente ricordati in modo diverso da quello che essi avevano scelto. Da vivi, ambedue i cardinali avevano fatto allestire il proprio monumento tombale in modo tale da veicolare due messaggi: in primo luogo, il concetto dell’umiltà nei confronti della morte; in secondo luogo, l’idea che la tomba non era soltanto un luogo in attesa della resurrezione del corpo, ma anche uno spazio di meditazione che avrebbe ispirato pensieri sulla vita, la morte e l’oltretomba. Tuttavia, una volta deceduti, ambedue i pontefici furono deposti in monumenti funebri che celebravano principalmente il loro ruolo di capi della Chiesa. La loro volontà venne pertanto sacrificata per esigenze di propaganda papale, di carattere esclusivamente terreno, senza alcun richiamo spirituale alla morte, la salvezza celeste e la speranza della resurrezione.
Monumenti di meditazione e propaganda
Le tombe di Pio III e Pio V
Questo articolo si interroga sulle caratteristiche dei monumenti funebri di due cardinali, che sarebbero poi divenuti papi, Francesco Todeschini-Piccolomini (Pio III, 1503) e Michele Ghislieri (Pio V, 1566-1572), e le loro motivazioni nella scelta dei rispettivi monumenti funerari. Il saggio, inoltre, analizza come e perché i due pontefici sono stati successivamente ricordati in modo diverso da quello che essi avevano scelto. Da vivi, ambedue i cardinali avevano fatto allestire il proprio monumento tombale in modo tale da veicolare due messaggi: in primo luogo, il concetto dell’umiltà nei confronti della morte; in secondo luogo, l’idea che la tomba non era soltanto un luogo in attesa della resurrezione del corpo, ma anche uno spazio di meditazione che avrebbe ispirato pensieri sulla vita, la morte e l’oltretomba. Tuttavia, una volta deceduti, ambedue i pontefici furono deposti in monumenti funebri che celebravano principalmente il loro ruolo di capi della Chiesa. La loro volontà venne pertanto sacrificata per esigenze di propaganda papale, di carattere esclusivamente terreno, senza alcun richiamo spirituale alla morte, la salvezza celeste e la speranza della resurrezione.
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Introduction to Incontri issue on tombs of popes and cardinals in Renaissance Rome
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Studies the tomb monuments of Pope Adrian VI (r. 1522-23) and Cardinal van Enckenvoirt (d. 1534) in S. Maria dell'Anima, Rome
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Devotion through Death : The Tomb Monument of Cardinal Everhard de la Marck in Liege. Study of the tomb monument that Cardinal Everhard de la Marck erected for himself in the St Lambert Cathedral in Liege, in 1527, and that was... more
Devotion through Death : The Tomb Monument of Cardinal Everhard de la Marck in Liege.
Study of the tomb monument that Cardinal Everhard de la Marck erected for himself in the St Lambert Cathedral in Liege, in 1527, and that was destroyed during the French Revolution. The main question is: how was this large and expensive monument, made of gilded bronze, perceived and appreciated? As a monument to the cardinal's vanity or as a monument leading to contemplation and devotion, as it reminded everyone - both the cardinal while he was alive as well as all other observers- of the fact that no one can escape Death?
Study of the tomb monument that Cardinal Everhard de la Marck erected for himself in the St Lambert Cathedral in Liege, in 1527, and that was destroyed during the French Revolution. The main question is: how was this large and expensive monument, made of gilded bronze, perceived and appreciated? As a monument to the cardinal's vanity or as a monument leading to contemplation and devotion, as it reminded everyone - both the cardinal while he was alive as well as all other observers- of the fact that no one can escape Death?
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Study of tombs erected for mothers by their child(ren) and/or husband, and tombs erected by mothers for their child(ren), in Rome, between 1400-1600. Both the sculpture and the epitaphs of the tombs are discussed. Translated title of the... more
Study of tombs erected for mothers by their child(ren) and/or husband, and tombs erected by mothers for their child(ren), in Rome, between 1400-1600. Both the sculpture and the epitaphs of the tombs are discussed.
Translated title of the contribution Mothers and Monuments : Tombs Erected for and by Mothers in Rome between 1400 and 1600
Translated title of the contribution Mothers and Monuments : Tombs Erected for and by Mothers in Rome between 1400 and 1600
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Paper published in: Quellen und Forschungen aus italienischen Archiven und Bibliotheken 94 (2015), pp. 94-128
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Paper published in: Celeste Brusati, Karl A.E. Enenkel and Walter S. Melion (eds.), The Authority of the Word. Reflecting on Image and Text in Northern Europe, 1400–1700 (Intersections. Interdisciplinary Studies in Early Modern Culture,... more
Paper published in: Celeste Brusati, Karl A.E. Enenkel and Walter S. Melion (eds.), The Authority of the Word. Reflecting on Image and Text in Northern Europe, 1400–1700 (Intersections. Interdisciplinary Studies in Early Modern Culture, vol. 20), Leiden / Boston (Brill Publishers), 2012, 534-558
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Discussion of the prints and drawings Aernour van Buchel used and included in the description of his stay in Italy, esp. Rome, 1587-88
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Paper published in: Fragmenta. Journal of the Royal Netherlands Institute in Rome 5 (2011), pp. 63-100
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Paper published in: A. de Vries (ed.), Cultural Mediators. Artists and Writers at the Crossroads of Tradition, Innovation and Reception in the Low Countries and Italy 1450 – 1650, Leuven/Paris/Dudley (Ma.), 2008, 109 – 125
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Paper published in: T. Weddigen, S. de Blaauw, B. Kempers & A. Roth (eds.), Functions and Decorations: Art and Ritual at the Vatican Palace in the Middle Ages and the Renaissance (Capellae Apostolicae Sixtinaeque Collectanea Acta... more
Paper published in: T. Weddigen, S. de Blaauw, B. Kempers & A. Roth (eds.), Functions and Decorations: Art and Ritual at the Vatican Palace in the Middle Ages and the Renaissance (Capellae Apostolicae Sixtinaeque Collectanea Acta Monumenta, 9), Rome (Bibl. Apostolica Vaticana) / Turnhout (Brepols) 2003, 153 – 168
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Paper published in: Visual Resources. An International Journal of Documentation XIX (December 2003), nr 4. Special Issue: ‘Describing Depictions vs. Depicting Descriptions’, Guest Editor: Jan L. de Jong, 259 – 281
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Paper published in: H. Walter and H.-J. Horn (ed.), Die Rezeption der ‘Metamorphosen’ des Ovid in der Neuzeit: der antike Mythos in Text und Bild (Ikonographische Repertorien zur Rezeption des antiken Mythos in Europa. Beihefte 1), Berlin... more
Paper published in: H. Walter and H.-J. Horn (ed.), Die Rezeption der ‘Metamorphosen’ des Ovid in der Neuzeit: der antike Mythos in Text und Bild (Ikonographische Repertorien zur Rezeption des antiken Mythos in Europa. Beihefte 1), Berlin 1995, 161 – 172
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Discussion on the various interpretations of Titian's Poesie
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Paper published in: Acta Conventus Neo-Latini Hafniensis. Proceedings of the Eighth International Congress of Neo-Latin Studies, Copenhagen 12 August to 17 August 1991 (Medieval & Renaissance Texts & Studies, Binghamton, New York, 1994),... more
Paper published in: Acta Conventus Neo-Latini Hafniensis. Proceedings of the Eighth International Congress of Neo-Latin Studies, Copenhagen 12 August to 17 August 1991 (Medieval & Renaissance Texts & Studies, Binghamton, New York, 1994), 239 – 247
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Paper published in: M. van Egmond, B. Jaski & H. Mulder (eds.), Bijzonder onderzoek. Een ontdekkingsreis door de bijzondere collecties van de Universiteitsbibliotheek Utrecht (Utrecht: Universiteitsbibliotheek, 2009), 48-55
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Visitors to the Eternal City: Knowledge, Guides and Descriptions of Rome in the Early Modern Period
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In the 1440’s, the famous Italian scholar Lorenzo Valla disproved the authenticity of the so-called Donation of Constantine, arguing that this document was a falsification. This was a serious challenge of papal authority, as the pope’s... more
In the 1440’s, the famous Italian scholar Lorenzo Valla disproved the authenticity of the so-called Donation of Constantine, arguing that this document was a falsification. This was a serious challenge of papal authority, as the pope’s claim to being the successor to the Roman emperors was based on this Donation. When Valla's text finally appeared in print, in 1519 or -20, some 70 years after his death, it caused an enormous stir. The papacy refused to acknowledge Valla’s arguments and insisted on the Donation’s authenticity. Ironically, in 1457 Valla had been buried in the gallery behind the apse of St John Lateran in Rome, the papal cathedral. In 1576 Pope Gregory XIII grabbed the occasion of work on that gallery to have Valla’s tomb silently destroyed. A fragment of it survives in the church’s ambulatory.
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The main question of this paper is: did Michelangelo consider himself a genius? Did he consciously contribute to our notion of him as a genius?
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Reprinted in: Winnaars en verliezers. Een bundel artikelen over het werk van P. Vergilius Maro, ed. R. van der Paardt, Leiden 1995, 281 – 299
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Study of the decoration of the bathrooms of Pops Clement VII (Castel Sant'Angelo) and Cardinal Bibbiena (Vatican Palace) in Rome
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Paintings as a help for spiritual meditation
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In: E. Noort & E. Tigchelaar (eds.), The sacrifice of Isaac. The Aqedah(Genesis 22) and its Interpretations, Leiden 2002, pp. 152 – 165
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Review of: K.D. Botke & H.T. van Veen (eds.), A Cultural Symbiosis. Patrician Art Patronage and Medicean Cultural Politics in Florence (1530-1610), Leuven, Leuven University Press, 2021
Review of: José van der Helm, Roos Hamelink en Geertje Wilmsen (eds.), Delitiae Italiae. Een reis door het zeventiende-eeuwse Italië, Hilversum, Verloren, 2021.
Aernout van Buchel’s Iter Italicum on-line. Review of: Arnoldus Buchellius (Aernout van Buchel), Diarium (Commentarius rerum quotidianarum, including Iter Italicum). Transcription with preface and annotations of Hs. 798 (parts I... more
Aernout van Buchel’s Iter Italicum on-line. Review of: Arnoldus Buchellius (Aernout van Buchel), Diarium (Commentarius rerum quotidianarum, including Iter Italicum). Transcription with preface and annotations of Hs. 798 (parts I and II), in the University Library of Utrecht.
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Review of: Jean Hiernard (ed.). Les voyages de Seyfried Rybisch, étudiant silésien. Itinéraire (1548–1554). Pessac: Ausonius Éditions 2017 (= Scripta Receptoria 9).
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Books edited by Jan L. de Jong in cooperation with others
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Research Interests: Art and The Renaissance
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Practically all Roman tomb monuments from the fifteenth and sixteenth century are based on a standard model, intended to arouse the viewers to meditate on the transience of life, death, and the hereafter. Van Buchel's main interests... more
Practically all Roman tomb monuments from the fifteenth and sixteenth century are based on a standard model, intended to arouse the viewers to meditate on the transience of life, death, and the hereafter. Van Buchel's main interests were history and inscriptions. Consequently, he appreciated the monuments he saw mainly for their historical value and/or lettering, and not in the first place for their aesthetic qualities. The reconstruction of 1621 made the monument quite different from the way it appeared when Van Buchel saw it. Van Buchel examined the tomb monuments in the church of S. Maria in Trastevere in Rome. Hosius's tomb monument has its counterpart in a monument on the left side of the choir's entrance. The propaganda that Van Buchel noticed in Rome was not in the first place meant to convince or convert Protestants or other non-Catholics. Keywords:church; Protestants; Roman tomb monuments; Van Buchel
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... 31. Ch. Marty-Laveaux, Oeuvres poetiques de Remy Belleau, Geneva, 1965, II, pp. 138151; the lines quoted in translation are on 141143. View all notes. Right awayBathsheba begins. To feel the divine presence of this god of Love. ...
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difficult, it is up to the specialists to make suggestions. Unfortunately, this concentra tion on stylistic problems sometimes leads to a neglect of iconographic matters. In this paper, I will discuss two examples and will try to show via... more
difficult, it is up to the specialists to make suggestions. Unfortunately, this concentra tion on stylistic problems sometimes leads to a neglect of iconographic matters. In this paper, I will discuss two examples and will try to show via these works how icono graphical analysis may be helpful in solv ing problems of dating and attribution. In 1984, a lavishly illustrated volume on the Palazzi Cenci and Giustiniani appeared; in 1989, the section on Palazzo Cenci was published as a separate book, with some additions to the text.1 Situated on the piaz za S. Eustachio in Rome, Palazzo Cenci, originally called Palazzo Stati, was built for Cristoforo Stati (c. 1498/1499-c. 1550/ 1551) by Giulio Romano. The sala grande and the adjoining salotto on the piano nobile have both been decorated with a
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This paper explores the relationship between the accessibility of Roman palazzi and the visibility of their painted decorations on the one hand, and the subject matter of these painted decorations on the other. It is observed that sites... more
This paper explores the relationship between the accessibility of Roman palazzi and the visibility of their painted decorations on the one hand, and the subject matter of these painted decorations on the other. It is observed that sites such as the Palazzo dei Conservatori (or parts thereof) and the Vatican Palace, with a markedly public function and of relatively easy access, were in both cases decorated with paintings of a propagandistic nature in order to communicate a message as directly as possible. These paintings are accompanied by inscriptions intended to guide the beholders understanding of the depicted subjects in a very specific way, namely in accordance with the propagandistic intentions of the patron(s). Private palaces, on the contrary, accessible only to relatives and other persons from the owner’s inner circle, present a set of painted decorations that, though sometimes with uncanonical subjects, did not necessarily require explanatory inscriptions. Visitors to the p...
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Review of: K.D. Botke & H.T. van Veen (eds.), A Cultural Symbiosis. Patrician Art Patronage and Medicean Cultural Politics in Florence (1530-1610), Leuven, Leuven University Press, 2021, p. 320, ISBN 9789462702967, € 59.50.
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Bespreking van: José van der Helm, Roos Hamelink en Geertje Wilmsen (eds.), Delitiae Italiae. Een reis door het zeventiende-eeuwse Italië, Hilversum, Verloren, 2021, p. 264, ISBN 9789087049225, € 35.
Rezension zu: Paola Picardi; Perino del Vaga, Michele Lucchese e il Palazzo di Paolo III al Campidoglio. Circolazione e uso dei modelli dall'antico nelle decorazioni farnesiane a Roma; Rome: De Luca 2012; 181 S., 117 s/w-Abb., 47... more
Rezension zu: Paola Picardi; Perino del Vaga, Michele Lucchese e il Palazzo di Paolo III al Campidoglio. Circolazione e uso dei modelli dall'antico nelle decorazioni farnesiane a Roma; Rome: De Luca 2012; 181 S., 117 s/w-Abb., 47 farb. Abb.; ISBN 978-88-6557-113-2
Rezension zu: Florian Weiland-Pollerberg: Amor und Psyche in der Renaissance. Medienspezifisches Erzahlen im Bild (Studien zur internationalen Architektur- und Kunstgeschichte, 20); Petersberg: Michael Imhof Verlag 2004; 144 pages, 78 +... more
Rezension zu: Florian Weiland-Pollerberg: Amor und Psyche in der Renaissance. Medienspezifisches Erzahlen im Bild (Studien zur internationalen Architektur- und Kunstgeschichte, 20); Petersberg: Michael Imhof Verlag 2004; 144 pages, 78 + 32 illustrations in black and white; ISBN 3-937251-16-2
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Studies the tomb monuments of Pope Adrian VI (1522-23) and Willem Cardinal van Enckenvoirt (d. 1534) in the church of S. Maria dell'Anima in Rome
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Paper published in: H. Walter and H.-J. Horn (ed.), Die Rezeption der ‘Metamorphosen’ des Ovid in der Neuzeit: der antike Mythos in Text und Bild (Ikonographische Repertorien zur Rezeption des antiken Mythos in Europa. Beihefte 1), Berlin... more
Paper published in: H. Walter and H.-J. Horn (ed.), Die Rezeption der ‘Metamorphosen’ des Ovid in der Neuzeit: der antike Mythos in Text und Bild (Ikonographische Repertorien zur Rezeption des antiken Mythos in Europa. Beihefte 1), Berlin 1995, 161 – 172
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Page 1. 173 Abstract Ever since Giorgio Vasari's Vite was published, Pintoricchio has been considered a minor painter from the Early Renaissance, in spite of the prominence that he enjoyed during his lifetime. This paper... more
Page 1. 173 Abstract Ever since Giorgio Vasari's Vite was published, Pintoricchio has been considered a minor painter from the Early Renaissance, in spite of the prominence that he enjoyed during his lifetime. This paper argues ...
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This article investigates the extent to which painters in Renaissance Italy attempted to render literally the textual sources they illustrated, and writers tried to describe accurately the pictures they saw. It argues that both painters... more
This article investigates the extent to which painters in Renaissance Italy attempted to render literally the textual sources they illustrated, and writers tried to describe accurately the pictures they saw. It argues that both painters and writers consciously aimed at a depiction/description that was not an accurate, neutral rendition, but rather a creative response in their own, specific medium. It