The "Madonna Barberini", dated to the end of the 1430s, is one of only three signed works of Mich... more The "Madonna Barberini", dated to the end of the 1430s, is one of only three signed works of Michele Giambono known today. In a very unique iconography, Mary holds the Child not only in her mantle, but foremost in her white veil, one corner of which points to the signature, that is placed on a letter band at the lower border of the picture. It reads: „MICHAEL . IOHANNIS . BONO . VENETVS . PINXIT“. The "Madonna Barberini", with its extraordinary painterly quality, is a showpiece of Michele’s art. In its highly sophisticated invenzione and a signature written in an attempt of the new Renaissance majuscles, it must have been conceived with the consultation of a humanist. This paper explores the different levels of meaning of the signature.
In diesem Beitrag wird ein Gemälde Rocco Marconis, Christus und die Ehebrecherin, in seinem monas... more In diesem Beitrag wird ein Gemälde Rocco Marconis, Christus und die Ehebrecherin, in seinem monastischen Kontext untersucht. Marconis Adultera wurde speziell und als einzige bildliche Dekoration für den Kapitelsaal des renommierten venezianischen Klosters S. Giorgio Maggiore konzipiert. Abgesehen davon, daß es vielfach als Vorlage für Kopien diente, war es auch maßgebend für die malerische Ausstattung von Kapitelsalen, in denen bis dahin lediglich Kreuzigungsszenen oder Kreuzabnahmen Eingang gefunden hatten. Es wird der Stifter benannt und die zentrale Aufgabe rekonstruiert, die dem Gemälde beim täglichen Zeremoniell der Fratres, dem capitola delle colpe, zukam.
Luther – zeitgenössisch, historisch, kontrovers, ed. Richard Faber, Uwe Puschner, Frankfurt a.M.: Lang Verlag , 2017
While the motif of the adulteress in "Christ and the Adulteress" by Lucas Cranach can be regarded... more While the motif of the adulteress in "Christ and the Adulteress" by Lucas Cranach can be regarded in the context of his "Protestant educational pictures", this motif could also be found frequently in 16th century Venice, where it sometimes also conveyed a message of church reform. This was the case with the painting by Jacopo Tintoretto, which is rooted in Erasmus von Rotterdam's writings, among other things. Furthermore, an "Adulteress" (Adultera) by Daniel Hopfer - and not by Lucas Cranach - also served as a decisive model for the relief on the pulpit of the castle chapel in Torgau, and a criticism of the church can be found in corresponding representations by Niklaus Manuel Deutsch. Finally, the "Adulteress" was also interesting for Catholics like Albrecht von Brandenburg.
Jacob Burckhardt, in his Cicerone (1855), was the first to characterize "Christ and the Adulteres... more Jacob Burckhardt, in his Cicerone (1855), was the first to characterize "Christ and the Adulteress" as “the most favourite Venetian subject”. We do not know whether he realized that more than 60 easel paintings survived from the first half of the Cinquecento, whereas in the rest of Italy at the same time the subject is not to be found, or only extremely rarely. "Christ and the Adulteress" admits of many different interpretations, as is shown in this book by analyzing paintings of Titian, Tintoretto, Jacopo Bassano, Rocco Marconi, Nicolò de' Barbari and others, as well as the monumental mosaic in San Marco.
The "Madonna Barberini", dated to the end of the 1430s, is one of only three signed works of Mich... more The "Madonna Barberini", dated to the end of the 1430s, is one of only three signed works of Michele Giambono known today. In a very unique iconography, Mary holds the Child not only in her mantle, but foremost in her white veil, one corner of which points to the signature, that is placed on a letter band at the lower border of the picture. It reads: „MICHAEL . IOHANNIS . BONO . VENETVS . PINXIT“. The "Madonna Barberini", with its extraordinary painterly quality, is a showpiece of Michele’s art. In its highly sophisticated invenzione and a signature written in an attempt of the new Renaissance majuscles, it must have been conceived with the consultation of a humanist. This paper explores the different levels of meaning of the signature.
In diesem Beitrag wird ein Gemälde Rocco Marconis, Christus und die Ehebrecherin, in seinem monas... more In diesem Beitrag wird ein Gemälde Rocco Marconis, Christus und die Ehebrecherin, in seinem monastischen Kontext untersucht. Marconis Adultera wurde speziell und als einzige bildliche Dekoration für den Kapitelsaal des renommierten venezianischen Klosters S. Giorgio Maggiore konzipiert. Abgesehen davon, daß es vielfach als Vorlage für Kopien diente, war es auch maßgebend für die malerische Ausstattung von Kapitelsalen, in denen bis dahin lediglich Kreuzigungsszenen oder Kreuzabnahmen Eingang gefunden hatten. Es wird der Stifter benannt und die zentrale Aufgabe rekonstruiert, die dem Gemälde beim täglichen Zeremoniell der Fratres, dem capitola delle colpe, zukam.
Luther – zeitgenössisch, historisch, kontrovers, ed. Richard Faber, Uwe Puschner, Frankfurt a.M.: Lang Verlag , 2017
While the motif of the adulteress in "Christ and the Adulteress" by Lucas Cranach can be regarded... more While the motif of the adulteress in "Christ and the Adulteress" by Lucas Cranach can be regarded in the context of his "Protestant educational pictures", this motif could also be found frequently in 16th century Venice, where it sometimes also conveyed a message of church reform. This was the case with the painting by Jacopo Tintoretto, which is rooted in Erasmus von Rotterdam's writings, among other things. Furthermore, an "Adulteress" (Adultera) by Daniel Hopfer - and not by Lucas Cranach - also served as a decisive model for the relief on the pulpit of the castle chapel in Torgau, and a criticism of the church can be found in corresponding representations by Niklaus Manuel Deutsch. Finally, the "Adulteress" was also interesting for Catholics like Albrecht von Brandenburg.
Jacob Burckhardt, in his Cicerone (1855), was the first to characterize "Christ and the Adulteres... more Jacob Burckhardt, in his Cicerone (1855), was the first to characterize "Christ and the Adulteress" as “the most favourite Venetian subject”. We do not know whether he realized that more than 60 easel paintings survived from the first half of the Cinquecento, whereas in the rest of Italy at the same time the subject is not to be found, or only extremely rarely. "Christ and the Adulteress" admits of many different interpretations, as is shown in this book by analyzing paintings of Titian, Tintoretto, Jacopo Bassano, Rocco Marconi, Nicolò de' Barbari and others, as well as the monumental mosaic in San Marco.
Uploads
The "Madonna Barberini", with its extraordinary painterly quality, is a showpiece of Michele’s art. In its highly sophisticated invenzione and a signature written in an attempt of the new Renaissance majuscles, it must have been conceived with the consultation of a humanist. This paper explores the different levels of meaning of the signature.
The "Madonna Barberini", with its extraordinary painterly quality, is a showpiece of Michele’s art. In its highly sophisticated invenzione and a signature written in an attempt of the new Renaissance majuscles, it must have been conceived with the consultation of a humanist. This paper explores the different levels of meaning of the signature.