Some Observations on the Education of Artists in Florence and Bologna during the Later Sixteenth Century

Dempsey, Charles

doi:10.2307/3050053

Cited by 7 publications

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“…With the original purposes for foundation of the two organizations so closely aligned; with the uniform governance of each city in the region and religious figures dominating life both in Bologna, home to Paleotti, and Borromeo involved in each institution, the ideas of the Carracci would inevitably find their way to Rome. Dempsey noted that: "the Carracci attempt to join with the Accademia di San Luca would show [that] they perceived their academic purposes as aligned" (Dempsey, 1980). Despite critical consensus that the two institutions had much in common, the extant sources continue to thwart efforts at arriving at an accord.…”

Section: Discussion: the Carracci Successionmentioning

confidence: 99%

“…Hence, though the appearance of their works differs greatly, there did not seem to exist a conscious antipathy between the Carraccesque academic approach and the Zuccaresque or Muzianesque. Charles Dempsey observed, in fact, that: "it does not follow that in opposing [Zuccaro's style], they [the Carracci] were therefore opposing the idea of academic training and methods, any more than were the artists of the Florentine reform, who were themselves the first products of the Accademia del Disegno" (Dempsey, 1980).…”

Section: Gli Incamminati: Carracci Reformed Accademiamentioning

confidence: 99%

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<i>Le Accademie Bolognese e Romana</i>: Reconsidering Center-Periphery Pedagogy

Hutson¹

2019

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This article seeks a reevaluation of the relationship between the Carracci Accademia degli'Incamminati and the Accademia di San Luca in Rome with regards to structure, goals and pedagogy. For although the perceived pedagogical goals of the Carracci, especially the prosaic Annibale, and the most well-known Scholastic academician associated with the Roman Accademia, Federico Zuccaro, have traditionally been viewed as conflicting, the early history of the academy in Rome can be seen to parallel the Bolognese. Each was established to address the uncertain and evolving nature of the profession seen in each city, leading to a demand for a new type of educational institution for the studiosi giovani; the curricula developed were designed to meet the new andragogical challenges of these new "open" art academies; and, finally, their foundations were designed with reformatory goals in mind due to their association with the same educatori riformanda. Though the documentary evidence has previously thwarted critical discourse on the nature of exchanges between the accademie, their institutional histories, members' biographies and new archival research reveal how the direct involvement of their pupils continued to shape not only the Roman Accademia, but the art world in seicento Rome.

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Section: Discussion: the Carracci Successionmentioning

confidence: 99%

Section: Gli Incamminati: Carracci Reformed Accademiamentioning

confidence: 99%

<i>Le Accademie Bolognese e Romana</i>: Reconsidering Center-Periphery Pedagogy

Hutson¹

2019

ADR

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“…Upon leaving grammar school, one would have achieved a firm foundation for reading and writing in Latin, as well as an extensive repertoire of ancient rhetoricians and poets. 119 The canonicity of such syllabi is demonstrable through a quick review of the bibliography utilized in later treatises, such as Gallucci's. Every author mentioned above is called upon to support various assertions.…”

Section: Ut Pictura Poesis: Sister Artsmentioning

confidence: 99%

“…The eyes are imploring, though watery and fat; the legs are thin, nervous and hairy, but the belly is fat. 119 His beard is withdrawn from the nose and chin, and the veins in his arms protrude in a noticeable fashion; mainly on the thighs, there are thick, horrible hairs, [and he has] curved feet like that of a bear. In general, the upper body is larger than the lower, such that the skinny legs convey that he is a lustful man, as Suetonius wishes to describe Nero.…”

Section: The Figure Of a Libidinous Manmentioning

confidence: 99%

On the Symmetry of Human Bodies

Gallucci¹

2020

Gallucci's Commentary on Dürer’s 'Four Books on Human Proportion'

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#copyright I assisted in the paleographical transcription and translation for Orfeo Boselli's Osservationi della Scoltura antica [Observations on Antique Sculpture]. It was Colantuono who first recommended that I translate Giovanni Paolo Gallucci's Della simmetria dei corpi humani [On the Symmetry of Human Bodies] many years ago at the conclusion of my doctoral study. This present translation, however, came about more recently. After investigating the shifting landscape of art theory relating to pictorial stylistics, I turned to the more practical application of manuals for artists in their education (thanks to a reader's comments on my first book). I'm indebted to the earlier work elucidating the impact and context of Charles Le Brun's pathognomics by Jennifer Montagu, as well as Jean Julia Chai and her related translation of Giovan Paolo Lomazzo's Idea del tempio della pittura [The Idea of the Temple of Painting]. Within my own university, I would like to thank the previous president and provost, James Evans and Jann Weitzel, for allocating resources and funds that allow such publications to exist, as well as the current administration for their continued efforts in advancing scholarship and research. In my own school, I would like to express appreciation for the support of the dean of Arts, Media, and Communications, Joe Alsobrook, and the previous chair of the Art and Design department, John Troy. Their efforts ensured that I had the necessary course release to complete the current manuscript. Finally, several talented students assisted in reviewing the translation as part of their own research and scholarship and should be credited here; their contributions were immeasurable-Cristiano Pennisi, Mattia Forigiani, and Serena Rossi.

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