Luca Palozzi
Università di Pisa, Dipartimento di Civiltà e Forme del Sapere, Faculty Member
- Italian Humanism, Medieval Sculpture (XIII-XVth Century), Medieval Studies, Art History, Venice and the Veneto, Gothic Sculpture, and 42 moreRome in the Middle Ages, Franciscan Studies, Art of the Mendicant Orders, Mediterranean Studies, History of Sculpture, Petrarch, Gothic, Venice, Late Middle Ages, History of the Franciscan Order, Armanno da Pioraco (sculptor, 13th century), Travelling artists, Epigraphy (Archaeology), Tombs (Medieval Studies), Medieval Art History, Gothic Art, Medieval Art, Christian Iconography, Church History, Papacy (Medieval Church History), MIlan under Visconti and Sforza, Funerary Practices, Portraits, Marco Romano (Sculptor), Adriatic Sea, Medieval Sculpture, Portraiture, Sculpture, Restoro D'arezzo, Giovanni Dondi, Bonino da Campione, Rethoric and Aesthetics, Quarrel Between Ancients and Moderns, The Quarrel between Ancients and Moderns, Trecento sculpture, Michael Ann Holly, Art Theory, Drawing, Precariousness in Art Since the 1960s, Andriolo De Santi, Trogir, and Iacopo da Camerinoedit
- https://unimap.unipi.it/cercapersone/dettaglio.php?ri=177715edit
WEBINAR
Giovedì 8 aprile 2021 ore 17.00
«Sculpsit Johannes»: Giovanni Pisano dentro e fuori il Museo
(Luca Palozzi, Kunsthistorisches Institut in Florenz)
LINK:
https://www.youtube.com/watch?v=URbTWjMD0aI&t=428s
Giovedì 8 aprile 2021 ore 17.00
«Sculpsit Johannes»: Giovanni Pisano dentro e fuori il Museo
(Luca Palozzi, Kunsthistorisches Institut in Florenz)
LINK:
https://www.youtube.com/watch?v=URbTWjMD0aI&t=428s
Research Interests:
Research Interests:
Research Interests:
English alabasters played a seminal role in the artistic development of late medieval and early modern Europe. Carvings made of this lustrous white stone were sold throughout England and abroad, and as a result many survived the... more
English alabasters played a seminal role in the artistic development of late medieval and early modern Europe. Carvings made of this lustrous white stone were sold throughout England and abroad, and as a result many survived the iconoclasm that destroyed so much else from this period. They are a unique and valuable witness to the material culture of the Middle Ages.
This volume incorporates a variety of new approaches to these artefacts, employing methodologies drawn from a number of different disciplines. Its chapters explore a range of key points connected to alabasters: their origins, their general history and their social, cultural, intellectual and devotional contexts.
This volume incorporates a variety of new approaches to these artefacts, employing methodologies drawn from a number of different disciplines. Its chapters explore a range of key points connected to alabasters: their origins, their general history and their social, cultural, intellectual and devotional contexts.
Research Interests: Material Culture Studies, Medieval England, Materiality (Anthropology), Piety (Religion), Materiality of Art, and 10 moreEngland, Gothic Sculpture, Medieval Devotional Culture, Material Culture & Materiality, Devotion, Medieval Sculpture, Alabaster Sculpture, Northern European Sculpture 1330-1550; Alabaster, English Alabasters, and Medieval Materiality
The full book is available to download in high-resolution here: http://courtauld.ac.uk/research/courtauld-books-online/revisiting-the-monument Revisiting the Monument pays tribute to Erwin Panofsky’s Tomb Sculpture: Four Lectures on Its... more
The full book is available to download in high-resolution here: http://courtauld.ac.uk/research/courtauld-books-online/revisiting-the-monument
Revisiting the Monument pays tribute to Erwin Panofsky’s Tomb Sculpture: Four Lectures on Its Changing Aspects from Ancient Egypt to Bernini, which remains the most influential and comprehensive survey of funerary monuments to be published in the last fifty years. While Panofsky wrote a single, epic narrative charting the development of tomb sculpture from Antiquity to the Baroque, Revisiting the Monument is more akin to a series of short stories. The contributors are art historians with a keen interest in funerary monuments, whose research extends from the eleventh to sixteenth centuries and covers England, France, Germany, Italy, the Netherlands and Portugal. Each chapter represents a cross-section through the history of tomb sculpture, examining a particular tomb, group of tombs, or theme with wider implications for our understanding of funerary monuments. The methodologies extend close iconographic study of monuments to place them in their historic and social contexts, as well as in dialogue with other media. Recurring themes include monuments as sites of liminality, the reception and visibility of tombs, the relationship between corpse and monument, and the symbolic significance of materials. This collection of essays examines the great contribution made by Tomb Sculpture to the field, extends the debates begun by Panofsky, and suggests new avenues of enquiry within a rapidly expanding field.
Revisiting the Monument pays tribute to Erwin Panofsky’s Tomb Sculpture: Four Lectures on Its Changing Aspects from Ancient Egypt to Bernini, which remains the most influential and comprehensive survey of funerary monuments to be published in the last fifty years. While Panofsky wrote a single, epic narrative charting the development of tomb sculpture from Antiquity to the Baroque, Revisiting the Monument is more akin to a series of short stories. The contributors are art historians with a keen interest in funerary monuments, whose research extends from the eleventh to sixteenth centuries and covers England, France, Germany, Italy, the Netherlands and Portugal. Each chapter represents a cross-section through the history of tomb sculpture, examining a particular tomb, group of tombs, or theme with wider implications for our understanding of funerary monuments. The methodologies extend close iconographic study of monuments to place them in their historic and social contexts, as well as in dialogue with other media. Recurring themes include monuments as sites of liminality, the reception and visibility of tombs, the relationship between corpse and monument, and the symbolic significance of materials. This collection of essays examines the great contribution made by Tomb Sculpture to the field, extends the debates begun by Panofsky, and suggests new avenues of enquiry within a rapidly expanding field.
Research Interests:
Research Interests:
This article contends that a modern discourse about sculpture as an art originated in the thirteenth and the fourteenth centuries in Italy. It suggests that sculpture's specificity, e.g. its merits and limitations, came to be defined... more
This article contends that a modern discourse about sculpture as an art originated in the thirteenth and the fourteenth centuries in Italy. It suggests that sculpture's specificity, e.g. its merits and limitations, came to be defined mainly through a comparison with painting that was at once practical and theoretical. People in Italy at the time understood their encounters with artistic objects aesthetically and strived to acquire knowledge of art. Drawing and visual note-taking played fundamental roles in their connoisseurial training. Connoisseurs and artists alike talked, wrote and polemicized about art. They did so in their own terms, though often they borrowed ancient writers' words, concepts and biases. They also believed that ancient painting had been totally obliterated and could only be read about in books. Conversely, ancient sculpture had survived and thus provided a touchstone against which to measure the skills of coeval sculptors, albeit one that – it is argued herein – condemned them to anonymity.
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Research Interests: Aesthetics, Portraits, Art Theory, Death Studies, Italian Studies, and 39 morePetrarch, Italian Literature, History of Sculpture, Portraiture, Memory Studies, Cultural Memory, Funeral Practices, Commemoration and Memory, Sculpture, Latin Epigraphy, Italian Renaissance Art, Virtues and Vices, Theory and Practice of Visual Arts, Anthropology of Death, Medieval Art, Tomb Sculpture, Tombs (Medieval Studies), Angevin Kings, Rethoric, Memory, Medieval Sculpture (XIII-XVth Century), Embalming, Tombs, Ut Pictura Poesis, Erwin Panofsky, The Use of Marble and Other Stones, Visual Rethoric, Petrarca, Medieval Embalming, Roman Portraiture, Ceroplastics - Wax modelling - Moulages, Wax sculpture, Effigies, Medieval Marble, Angevine Naples, Andriolo De Santi, Portraiture and the Problematic of Representation, Pacio and Giovanni Bertini, and Robert of Anjou King of Naples
Full text available from: https://www.journals.uchicago.edu/doi/abs/10.1086/699963 Giovanni Pisano carved animal tracks on the base of one of two lions bearing columns in his pulpit for Pisa Cathedral (1302-1310). Overlooked for... more
Full text available from:
https://www.journals.uchicago.edu/doi/abs/10.1086/699963
Giovanni Pisano carved animal tracks on the base of one of two lions bearing columns in his pulpit for Pisa Cathedral (1302-1310). Overlooked for more than seven centuries, these may be the first naturalistic paw prints carved in marble in post-Classical Western art. This article presents the results of a joint art historical and anatomical study of the Pisa paw prints. In so doing, it tackles the much-debated issue of Medieval 'naturalism' (and its means) from an unusual perspective. A cross-disciplinary approach, that is, may help us find new answers to long-standing questions.
https://www.journals.uchicago.edu/doi/abs/10.1086/699963
Giovanni Pisano carved animal tracks on the base of one of two lions bearing columns in his pulpit for Pisa Cathedral (1302-1310). Overlooked for more than seven centuries, these may be the first naturalistic paw prints carved in marble in post-Classical Western art. This article presents the results of a joint art historical and anatomical study of the Pisa paw prints. In so doing, it tackles the much-debated issue of Medieval 'naturalism' (and its means) from an unusual perspective. A cross-disciplinary approach, that is, may help us find new answers to long-standing questions.
Research Interests: Animal Science, Medieval Science, Animals in Art, Naturalism, Medieval Art, and 15 moreAnimals in Culture, Medieval Bestiaries, Menageries, Medieval Sculpture (XIII-XVth Century), Lions in art, Medieval Art History, Realism, Arts and Sciences, African Lions, Italian Gothic sculpture, Giovanni Pisano, Medieval Menageries, Imprints, Renaissance Menageries, and Medieval naturalism
Research Interests: Sculpture, Medieval Architecture, Medieval Art, Travelling artists, Medieval Sculpture (XIII-XVth Century), and 10 moreSiena, Architectural Drawing, Orvieto, Church Building, Marble Carving Techniques, Iacopo da Camerino, Marco Romano (Sculptor), Artistic Networks, Medieval Drawing, and Orvieto Cathedral
In questo capitolo della mia tesi di dottorato (Scuola Normale Superiore di Pisa, a.a. 2011-2012) attribuisco allo scultore Marco Romano alcune nuove opere, tra cui: il Crocifisso della basilica di San Paolo fuori le Mura a Roma; e le... more
In questo capitolo della mia tesi di dottorato (Scuola Normale Superiore di Pisa, a.a. 2011-2012) attribuisco allo scultore Marco Romano alcune nuove opere, tra cui: il Crocifisso della basilica di San Paolo fuori le Mura a Roma; e le sculture della facciata della collegiata di San Venanzio a Camerino, nelle Marche. Le nuove attribuzioni permettono a mio avviso una riconsiderazione generale del catalogo dell'artista, e della sua traiettoria biografica, che anche si articola in questa sede. Un più ampio contributo con lo stesso titolo - Due momenti di Marco Romano e l'introduzione del Gotico in Italia - è di prossima pubblicazione.
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Research Interests: Franciscan Studies, Patronage (Medieval Studies), Medieval Sculpture (XIII-XVth Century), Franciscans, Gothic Art, and 9 moreGothic Sculpture, History of the Franciscan Order, Cosmati, Medieval Franciscans, Arnolfo Di Cambio, Mobility of Artists, Motivi Ornamentali Mosaici Cosmateschi, Iacopo da Camerino, and Armanno da Pioraco (sculptor, 13th century)
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Since at least 1976 and the publication of Wolfgang Wolters’ La scultura veneziana gotica (1300-1460), art historians and the general public have been familiar with the label ‘Venetian sculpture’. As often happens with winning paradigms,... more
Since at least 1976 and the publication of Wolfgang Wolters’ La scultura veneziana gotica (1300-1460), art historians and the general public have been familiar with the label ‘Venetian sculpture’. As often happens with winning paradigms, however, even this ostensibly straightforward label risks being misused. We might in fact succumb to the paradox of interpreting most of the sculptural production of the late-medieval period in the Northern and Central Adriatic Basin as ‘Venetian’ or as ‘influenced by Venice’. Yet, this is not always the case. By discussing four lesser-known Central Adriatic case studies, this article highlights the need to begin to speak of an ‘Adriatic sculpture’ of the late-medieval period.
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Research Interests: Art History, Art Conservation, Medieval Art, Medieval Sculpture (XIII-XVth Century), Technical Art History, Conservation, and 7 morePolychromy in Ancient Art, Art Conservation, Technical Art History, Medieval Polychromy, Trecento and Quattrocento Italian Art, Sculptural polychromy, Santa Caterina Gualino, Riccardo Gualino, and Medieval Abruzzi
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Research Interests: Portraits, Lombardy (Late Middle Ages), Portraiture, Lombard Art, Lombard Italy, and 9 moreGothic Art, Gothic Sculpture, Marble, Arte Lombarda, MIlan under Visconti and Sforza, Arte Lombarda In Età Viscontea E Sforzesca, Oreficeria, Miniatura Medievale Francese, Bernabò Visconti in MIlan, Arte lombarda in età Viscontea e Sforzesca, and Bonino da Campione
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Full text available from
http://www.burlington.org.uk/current-issue?tab=book
http://www.burlington.org.uk/current-issue?tab=book
Research Interests:
An interdisciplinary research workshop and a multi-authored book
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Casting the Real: Reproduction, Translation and Interpretation in Petrach's Time The History of Art department of the University of York is pleased to sponsor 'Casting the Real: Reproduction, Translation, and Interpretation in Petrarch's... more
Casting the Real: Reproduction, Translation and Interpretation in Petrach's Time
The History of Art department of the University of York is pleased to sponsor 'Casting the Real: Reproduction, Translation, and Interpretation in Petrarch's Time', an international workshop that explores the ways fourteenth-century poets, intellectuals, doctors, and artists engaged with issues of casting, embalming, and quantification.
In keeping with Dominic Olariu’s 'La genèse de la représentation ressemblante de l’homme. Reconsidérations du portrait à partir du XIIIe siècle' (Bern 2014), this symposium discusses contaminations between ideas of measuring, judging, and representation while considering the similarities between concepts of truth, virtue, and likeness.
The goal of the workshop is threefold.
First it re-examines drawing as a practice that served to understand the real and construct a sense of truth.
Second, it looks at medieval doctors' engagement with embalming, casting, and sculpting techniques.
Finally, it intends to break away with the idea of rhetoric as an arid, formalistic ritual, but rather a practice that often drew from practical experiences and changed their significance in return.
This is why 'Casting the Real' is framed around the figure of Petrarch, composer of funerary inscriptions, poet of inner realities, master of the art of memory, and avid commentator of scientific texts.
The History of Art department of the University of York is pleased to sponsor 'Casting the Real: Reproduction, Translation, and Interpretation in Petrarch's Time', an international workshop that explores the ways fourteenth-century poets, intellectuals, doctors, and artists engaged with issues of casting, embalming, and quantification.
In keeping with Dominic Olariu’s 'La genèse de la représentation ressemblante de l’homme. Reconsidérations du portrait à partir du XIIIe siècle' (Bern 2014), this symposium discusses contaminations between ideas of measuring, judging, and representation while considering the similarities between concepts of truth, virtue, and likeness.
The goal of the workshop is threefold.
First it re-examines drawing as a practice that served to understand the real and construct a sense of truth.
Second, it looks at medieval doctors' engagement with embalming, casting, and sculpting techniques.
Finally, it intends to break away with the idea of rhetoric as an arid, formalistic ritual, but rather a practice that often drew from practical experiences and changed their significance in return.
This is why 'Casting the Real' is framed around the figure of Petrarch, composer of funerary inscriptions, poet of inner realities, master of the art of memory, and avid commentator of scientific texts.
Research Interests: Death Studies, History of Medicine, Medieval Studies, History of Science, Petrarch, and 15 moreDrawing, Naturalism, Anthropology of Death, Anatomy, Funerary Practices, Realism, Medieval Medicine, Plants, Funeral Monuments, Trecento and Quattrocento Italian Art, Wax sculpture, Plaster Casts, Botanical illustration as portrait of an individual plant or as image of a species, Anatomical Waxworks, and Erbario
This one-day international research seminar on 'Artist and Authorship' is designed to take stock of the field, showcase award-winning, original research and discuss different methodologies, thus charting new avenues for future research.... more
This one-day international research seminar on 'Artist and Authorship' is designed to take stock of the field, showcase award-winning, original research and discuss different methodologies, thus charting new avenues for future research. While the research seminar's main focus of attention is the Italian Trecento, contributions reach well beyond it to investigate different geographical areas - both East and West (Portugal, France, Spain, Byzantium) - across a broader timespan, including contemporary perspectives on the topic.
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Session: Material Processes and Making in Medieval Art and Architecture II, International Congress on Medieval Studies, Kalamazoo, Friday 13th May, 3.30 p.m.
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Trecento Italian writers (e.g. Petrarch, Boccaccio, Giovanni Dondi) can be seen as first having attempted to revive art criticism since Antiquity. But while they celebrated coeval painters (e.g. Giotto, Simone Martini), they also refused... more
Trecento Italian writers (e.g. Petrarch, Boccaccio, Giovanni Dondi) can be seen as first having attempted to revive art criticism since Antiquity. But while they celebrated coeval painters (e.g. Giotto, Simone Martini), they also refused to name modern sculptors in their published works. Petrarch even referred to the latter as 'artists of minor renown'. However, despite such trenchant value judgement, Trecento writers often used sculptural metaphors for harnessing concepts and ideas such as fame, durability, solidity or stability. Mostly borrowed from Classical authors (e.g. Pliny, Virgil), such sculptural metaphors only too often betray Trecento writers' first-hand experience and understanding of actual sculptural works (including unfinished works) and practices. What can we learn by looking at the technical aspects of Trecento sculpture-making through the eyes of coeval writers and 'intellectuals'?
Research Interests: Aesthetics, Art History, Rhetoric, Medieval Literature, Medieval Studies, and 17 moreRenaissance Humanism, Visual Rhetoric, Petrarch, Italian Humanism, History of Sculpture, Sculpture, Medieval Art, Ancient Greek and Roman Art, Roman Marble trade and distribution, Medieval Sculpture (XIII-XVth Century), Polychromy of Ancient Sculpture, The Use of Marble and Other Stones, Ancient Roman Marbles, Medieval Sculpture, Ancient Greek Sculpture, Rethoric and Aesthetics, and Trecento sculpture
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The National Museums Scotland Madonna and Child project sought to uncover and document the history of a fine polychrome wood carving attributed to The Master of the Gualino St Catherine and to prepare it for display. A new body of... more
The National Museums Scotland Madonna and Child project sought to uncover and document the history of a fine polychrome wood carving attributed to The Master of the Gualino St Catherine and to prepare it for display. A new body of knowledge has been assembled by the interdisciplinary team. The conservation treatment was informed by this work and led to further discoveries: the removal of overpaint exposing a previously hidden underdrawing. The ethics of the treatment decisions, including the removal of the Christ Child’s 1960s’ fingers required team dialogue and was opened up for the public to respond to in a series of blogs. The discovery of a rich polychromy including gold and glazed tin has led to further plans to produce a 3-D colour reconstruction. The collaborations developed during this project will facilitate future joint ventures for polychrome sculpture in Scottish collections.
Research Interests: Art History, Art, Conservation, History of Sculpture, Art Conservation, and 14 moreSculpture, Medieval Art, Visual Arts, Medieval Sculpture (XIII-XVth Century), Polychromy in Ancient Art, Carving, Altarpiece, Trecento and Quattrocento Italian Art, Sculptural polychromy, Santa Caterina Gualino, Polychrome, Riccardo Gualino, Medieval Abruzzi, and Council of Museums
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Research Interests: Aesthetics, Art, Art Theory, Death Studies, Italian Studies, and 15 moreItalian Literature, History of Sculpture, Cultural Memory, Funeral Practices, Commemoration and Memory, Latin Epigraphy, Italian Renaissance Art, Anthropology of Death, Medieval Art, Angevin Kings, Embalming, Erwin Panofsky, Effigies, Angevine Naples, and Andriolo De Santi
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Research Interests: Humanities and Electa
Research Interests: Animal Science, Art, Medieval Science, Animals in Art, Naturalism, and 15 moreMedieval Art, Animals in Culture, Medieval Bestiaries, Menageries, Lions in art, Medieval Art History, Realism, Arts and Sciences, Art Theory and Criticism, African Lions, Italian Gothic sculpture, Giovanni Pisano, Medieval Menageries, Imprints, and Medieval naturalism
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Research Interests: Art, Franciscan Studies, Sculpture, Patronage (Medieval Studies), Medieval Sculpture (XIII-XVth Century), and 13 moreFranciscans, Gothic Art, Gothic, Gothic Sculpture, Scultura, History of the Franciscan Order, Cosmati, Medieval Franciscans, Gotico, Arnolfo Di Cambio, Mobility of Artists, Motivi Ornamentali Mosaici Cosmateschi, and Iacopo da Camerino
Since at least 1976 and the publication of Wolfgang Wolters’ La scultura veneziana gotica (1300-1460), art historians and the general public have been familiar with the label ‘Venetian sculpture’. As often happens with winning paradigms,... more
Since at least 1976 and the publication of Wolfgang Wolters’ La scultura veneziana gotica (1300-1460), art historians and the general public have been familiar with the label ‘Venetian sculpture’. As often happens with winning paradigms, however, even this ostensibly straightforward label risks being misused. We might in fact succumb to the paradox of interpreting most of the sculptural production of the late-medieval period in the Northern and Central Adriatic Basin as ‘Venetian’ or as ‘influenced by Venice’. Yet, this is not always the case. By discussing four lesser-known Central Adriatic case studies, this article highlights the need to begin to speak of an ‘Adriatic sculpture’ of the late-medieval period.