The Carracci Postille to Vasari's Lives

Dempsey, Charles

doi:10.1080/00043079.1986.10788313

Cited by 16 publications

(3 citation statements)

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“…Despite difficult conditions in residential schools, he sent his children to his own alma mater St. Paul's. 29 For her part, Macphail took "biblical injunctions against undo concern with material wealth seriously," and was known to be "charitable to a fault." 30 Late in life, she became active in the local United Church, teaching Sunday School, and recalling how many a time as she stood in the House of Commons, she "prayed for direction on how to vote.…”

Section: IIImentioning

confidence: 99%

Reflections on the Necessity of Canadian Church History

Marr¹

2017

HP:CSCH

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Section: IIImentioning

confidence: 99%

Reflections on the Necessity of Canadian Church History

Marr¹

2017

HP:CSCH

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“…When asked who was responsible for the decorations in the Palazzo Magnani, the artists who worked collaboratively on the project answered together: ella è de' Carracci: l'abbiamo fatta tutti noi ("it's by the Carracci: we all did it") (Malvasia, 1676;Summerscale, 2000). The three Carracci-Annibale (1560-1609), Agostino (1557-1602), and Ludovico (1555-1619) were themselves trained in the previous workshop model and aware of the Vasarian construct of lone authorship (Dempsey, 1986). Such was the misalignment with the established expectations for artists' education and contribution/collaboration that the three founded their own institution in Bologna in 1582 to prepare artists for the state of the field with a new method for stylistic development in the Accademia degli'Incamminati.…”

Section: Introductionmentioning

confidence: 99%

L’abbiam Fatta Tutti Noi: Collaboration and Originality in Early Modern Art

Hutson¹

2020

ADR

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This article seeks a reevaluation of the collaborative efforts and critical valuation of the Carracci in the frescoes of the Palazzo Magnani. While the significance of the cycle for the development of the nascent baroque style is demonstrable, criticism has focused on attributional issues and the works remain understudied. Since their original biographers struggled over identifying which Carracci was responsible for which scene in the frieze, efforts have been made to carefully dissect the contributions of each. Yet, the collaborative working process of the Carracci, which was recently developed to reform the medieval workshop model of artistic education, was at odds with the newly fashioned author function whereby authorship was granted to a sole originary "genius." As a result, the full significance of the suppression of individual artistic characteristics to the goal of a collective enterprise was overlooked. In order to elucidate the importance of the overlooked frescoes, a reconsideration of modernist notions of "originality" anachronistically applied to the premodern era must be undertaken; in fact, the authorless discourse espoused by the Carracci has much in common with postmodernist creative strategies and criticism, especially with regards to pastiche.

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“…See Fanti;Dempsey;Keazor; Hochmann, 1988; De Salas and Marías; Collavo.10 For the annotation in the biography of Carpaccio, see Beinecke Vite, 541.RENAISSANCE QUARTERLY…”

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Sixteenth-Century Paduan Annotations to the First Edition of Vasari'sVite(1550)^*

Ruffini¹

2009

Renaiss. Q.

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The discovery of annotations to a copy of Vasari'sVite(1550) in the Beinecke Library at Yale University gives us a rare insight into how the book and contemporary art literature were read and how the information they provided circulated in the Veneto. This article traces the origin of the annotations to the circle of artists and amateurs around the painter Domenico Campagnola in Padua. In polemical reaction to the Florentinism of theVite,the annotations repeat the major anti-Vasarian arguments elaborated by art writers, but also offer new information about Veneto art. There is also a biographical note on Titian, which precedes the publication of the artist's biography in the second edition of theVite(1568).

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The Carracci Postille to Vasari's Lives

Cited by 16 publications

References 0 publications

Reflections on the Necessity of Canadian Church History

Reflections on the Necessity of Canadian Church History

<i>L’abbiam Fatta Tutti Noi</i>: Collaboration and Originality in Early Modern Art

Sixteenth-Century Paduan Annotations to the First Edition of Vasari'sVite(1550)^*

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The Carracci Postille to Vasari's Lives

Cited by 16 publications

References 0 publications

Reflections on the Necessity of Canadian Church History

Reflections on the Necessity of Canadian Church History

&lt;i&gt;L’abbiam Fatta Tutti Noi&lt;/i&gt;: Collaboration and Originality in Early Modern Art

Sixteenth-Century Paduan Annotations to the First Edition of Vasari'sVite(1550)*

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<i>L’abbiam Fatta Tutti Noi</i>: Collaboration and Originality in Early Modern Art

Sixteenth-Century Paduan Annotations to the First Edition of Vasari'sVite(1550)^*