Petrography and Persuasion by Luca Palozzi
WEBINAR
Giovedì 8 aprile 2021 ore 17.00
«Sculpsit Johannes»: Giovanni Pisano dentro e fuori il M... more 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
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Multi-authored Books by Luca Palozzi
by Fabio Coden, Giulia Arcidiacono, Ivan Basić, Vlad Bedros, Alberto Crosetto, Zaruhi Hakobyan, Wilfried E. Keil, Justin E A Kroesen, Elisabetta Scirocco, Angeliki Mexia, Silvia Muzzin, Luca Palozzi, Antonino Tranchina, Αντιγόνη Τζιτζιμπάση / Antigoni Tzitzibassi, and Maddalena Vaccaro Cinisello Balsamo, Silvana editoriale, 2021 (Minima medievalia), pp. 1-560. (isbn 9788836649211), 2021
Bookmarks Related papers MentionsView impact
Z. Murat (ed.), English Alabaster Carvings and their Cultural Contexts, 2019
English alabasters played a seminal role in the artistic development of late medieval and early m... 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.
Bookmarks Related papers MentionsView impact
The full book is available to download in high-resolution here: http://courtauld.ac.uk/research/c... 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.
Bookmarks Related papers MentionsView impact
Theory and Practice of Art in the Trecento by Luca Palozzi
L' artista medievale. Contesti, mestieri, famiglie (secc. XI-XIII), M. Collareta, L. Violi (a cura di), Rome, Carocci, 2022
Bookmarks Related papers MentionsView impact
Sculpture Journal, 2017
This article contends that a modern discourse about sculpture as an art originated in the thi... 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.
Bookmarks Related papers MentionsView impact
New Horizons in Trecento Art, edited by Bryan Keene and Karl Whittington, Turnhout, Brepols, 2020
Bookmarks Related papers MentionsView impact
Revisiting the Monument: Fifty Years Since Panofsky's Tomb Sculpture, Ann Adams and Jessica Barker (eds), London, Courtauld Books On-Line, 2016.
Bookmarks Related papers MentionsView impact
Source: Notes in the History of Art, 2018
Bookmarks Related papers MentionsView impact
Source: Notes in the History of Art, 2018
Full text available from:
https://www.journals.uchicago.edu/doi/abs/10.1086/699963
Giov... 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.
Bookmarks Related papers MentionsView impact
Chest: Journal of the American College of Chest Physicians, 2019
Bookmarks Related papers MentionsView impact
Marco Romano / Sculpture in Central Italy by Luca Palozzi
Bookmarks Related papers MentionsView impact
Tra Roma e L'Adriatico. Scultura monumentale e relazioni artistiche nella Marca d'Ancona alla fine del Medioevo, Tesi di Perfezionamento in Discipline Storico-Artistiche, Scuola Normale Superiore di Pisa, 2012
In questo capitolo della mia tesi di dottorato (Scuola Normale Superiore di Pisa, a.a. 2011-2012)... 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.
Bookmarks Related papers MentionsView impact
Porticvm. Revista d'Estudis Medievals, 2012
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Civiltà urbana e committenze artistiche al tempo del Maestro di Offida (secoli XIV-XV), S. Maddalo and I. Lori Sanfilippo (eds), Rome, Instituto Storico Italiano per il Medioevo, 2013
Bookmarks Related papers MentionsView impact
Adriatic/Mediterranean by Luca Palozzi
Per Omnia Litora. Interazioni artistiche, politiche e commerciali lungo le rotte del Mediterraneo tra XIV e XV secolo, A. Diana and C. Fioravanti (eds), Pisa, Edizioni della Normale, 2021 (forthcoming)
Bookmarks Related papers MentionsView impact
English Alabaster Carvings and their Cultural Contexts, Z. Murat (ed.), London, Boydell&Brewer , 2019
Bookmarks Related papers MentionsView impact
Uploads
Petrography and Persuasion by Luca Palozzi
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
Multi-authored Books by Luca Palozzi
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.
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.
Theory and Practice of Art in the Trecento by Luca Palozzi
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.
Marco Romano / Sculpture in Central Italy by Luca Palozzi
Adriatic/Mediterranean by Luca Palozzi
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
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.
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.
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.
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.