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This article examines Pompeo Batoni's two Sforza Cesarini portraits: the portrait of Duke Gaetano II in Melbourne and that of a woman traditionally identified as Gateano's wife, which hangs today in Birmingham. It argies that the sitter in the Birmingham portrait is not Gaetano's wife but is in fact his sister-in-law, Anna Maria Barberini Colonna di Sciarra. It also discusses the social function of portraiture within the Sforza Cesarini's extensive art collection and the likely place of Batoni's two portraits within it.
Renaissance Quarterly 58/4 (Winter 2005), pp. 1321-22.
Carl B. Strehlke, ed. Pontormo, Bronzino, and the Medici: The Transformation of the Renaissance Portrait in Florence (Pennsylvania State University Press and Philadelphia Museum of Art, 2004)Eassy in Warsaw's exhibition "Botticelli tells a story" (2022)
Facture: Conservation, Science, Art History / Vol. IV: Series, Multiples, Replicas
The Portraits of Giuliano de' Medici by Sandro Botticelli2019 •
The National Gallery of Art's painting of Giuliano de' Medici by Sandro Botticelli (Samuel H. Kress Collection, 1952.5.56) is arguably the most well-known portrait from Quattrocento Florence. Commissioned, in all likelihood, shortly after Giuliano's assassination, the panel comprises the public image that Lorenzo the Magnificent sought to establish for his younger brother in the wake of the infamous Pazzi Conspiracy. Two other versions of the panel exist, yet, despite centuries of scholarly attention, the precise nature of the relationship between the three portraits remains unclear. While it is now generally acknowledged that the panels share a common prototype, few scholars agree upon which - if any - is indeed that prototype. At various times, each panel has been heralded as the genesis piece of the series, only to have that status rejected in subsequent connoisseurial studies. Despite the high amount of interest, no publication has put forth a definitive and comprehensive discussion of the relationship between the panels that includes both technical study and art historical research. Furthermore, there are no discussions or illustrations of how the panels - though distinct in size, handling of paint, and iconography - match perfectly along Giuliano's profile when overlaid, suggesting a standardized form of reproduction. The series of portraits is pivotal for understanding both the nature of replication in Botticelli's workshop as well as the dissemination of propagandistic images under Medici rule. This article comprises the first investigative study to consider all three panels together through extensive technical and art historical analysis, brining the dynamic relationship of the portraits to light.
Zenodo (CERN European Organization for Nuclear Research)
The Psalms Project - discovering the spiritual awareness in the Psalms - Psalm 462022 •
جامعة جنوب الوادي بقنا
واقع التخطيط الاستراتيجي للتعليم قبل الجامعي في مصر2018 •
Repositório Unifesp
Arte queer no Brasil: 31ª e 32ª bienais de São Paulo2017 •
Documenta Praehistorica XXVI, Neolithic Studies, University of Ljubljana, pp. 71-87.
Neither person nor beast – dogs in the burial practice in the Iron gates Mesolithic1999 •
Frontiers in Cellular Neuroscience
Loss of maturity and homeostatic functions in Tuberous Sclerosis Complex-derived astrocytes2023 •
Cuadernos de Economía Crítica
Brenta, Noemí, Historia de la deuda externa argentina: de Martínez de Hoz a Macri: 1.a ed., Ciudad Autónoma de Buenos Aires: Capital Intelectual, 2019, 240 páginas, 22 x 15 cm, ISBN 978-987-614-568-82020 •
… et Cosmochimica Acta …
How iron and arsenic reduction pathways in metal-reducing bacteria influence arsenic fate and transport2009 •
arXiv (Cornell University)
From Text to Map: A System Dynamics Bot for Constructing Causal Loop Diagrams2024 •
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Get Sexiest girls●─── 9953189442 ≽ Call Girls In Munirka | DELHI NCR2024 •
Child Autonomy and Child Governance in Children's Literature
Finding the Spaces Within: Picturebooks and Child Agency