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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.
Genel Türk Tarihi Araştırmaları ve Günümüzdeki Durumu
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"Apprendere da Raffaello. Modelli, funzione e ricezione nelle Accademie e nella teoria dell'arte", a cura di V. Rotino, S, Ventra, F. Moschini
O. Selvafolta, "Ispirandosi a Raffaello: Neorinascimento e arti decorative nel XIX secolo, pp. 225-2412023 •
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