From the variety of types of portraiture,there evolved the imaging of a self-portrait as we see in Saint Catherine of Alexandria by Barbara Longhi of Ravenna(1552-1638).The self-portrait is a unique work of art,an int...From the variety of types of portraiture,there evolved the imaging of a self-portrait as we see in Saint Catherine of Alexandria by Barbara Longhi of Ravenna(1552-1638).The self-portrait is a unique work of art,an intimate record of a sitter’s personality.It is an acknowledgment of worth,an exercise in technique,and a designator of era,style,and likeness.The self-portrait can be a study in expression,an impersonation of a virtue,or a document in a history of aging.As William Shakespeare noted in Hamlet,“[The self-portrait is]to show virtue her own feature,scorn her own image,and the very age and body of the time his form and pressure.”In the sixteenth-century in Italy,artists often included themselves or their self-portraits in religious and secular scenes as a type of signature,as seen in the paintings of the Longhi family.In their many depictions of Saint Catherine of Alexandria,the Longhis composed two types of such images:a single-solo-image of the saint;and also her presence in a group with saints-a theme known as holy conversation.In her paintings,Barbara Longhi preferred to depict the solo image of Saint Catherine of Alexandria,using herself as a model for the figure of the saint or as a muse impersonating or personifying the saint’s virgo virtue.This essay is composed of two parts:(1)a brief explanation of the meaning of self-portraits in sixteenth-century Italy;and(2)a study of Barbara Longhi’s self-portraits as Saint Catherine of Alexandria.展开更多
In 1569,Giorgio Vasari(1511-1574)completed a painting of the Madonna of the Rosary for the private chapel of the Capponi family in the church of Santa Maria Novella in Florence.In his Ricordanze(Book of Records),Vasar...In 1569,Giorgio Vasari(1511-1574)completed a painting of the Madonna of the Rosary for the private chapel of the Capponi family in the church of Santa Maria Novella in Florence.In his Ricordanze(Book of Records),Vasari explained the commission as well as documenting the assistance of his Florentine pupil,Jacopo Zucchi(1541-1590),in the completion of this painting.This essay discusses Vasari’s symbolism of the rosary as a reflection of the Tridentine Reform in Florence as well as a visual interpretation of Italian Mannerist painters on this devotional subject.展开更多
文摘From the variety of types of portraiture,there evolved the imaging of a self-portrait as we see in Saint Catherine of Alexandria by Barbara Longhi of Ravenna(1552-1638).The self-portrait is a unique work of art,an intimate record of a sitter’s personality.It is an acknowledgment of worth,an exercise in technique,and a designator of era,style,and likeness.The self-portrait can be a study in expression,an impersonation of a virtue,or a document in a history of aging.As William Shakespeare noted in Hamlet,“[The self-portrait is]to show virtue her own feature,scorn her own image,and the very age and body of the time his form and pressure.”In the sixteenth-century in Italy,artists often included themselves or their self-portraits in religious and secular scenes as a type of signature,as seen in the paintings of the Longhi family.In their many depictions of Saint Catherine of Alexandria,the Longhis composed two types of such images:a single-solo-image of the saint;and also her presence in a group with saints-a theme known as holy conversation.In her paintings,Barbara Longhi preferred to depict the solo image of Saint Catherine of Alexandria,using herself as a model for the figure of the saint or as a muse impersonating or personifying the saint’s virgo virtue.This essay is composed of two parts:(1)a brief explanation of the meaning of self-portraits in sixteenth-century Italy;and(2)a study of Barbara Longhi’s self-portraits as Saint Catherine of Alexandria.
文摘In 1569,Giorgio Vasari(1511-1574)completed a painting of the Madonna of the Rosary for the private chapel of the Capponi family in the church of Santa Maria Novella in Florence.In his Ricordanze(Book of Records),Vasari explained the commission as well as documenting the assistance of his Florentine pupil,Jacopo Zucchi(1541-1590),in the completion of this painting.This essay discusses Vasari’s symbolism of the rosary as a reflection of the Tridentine Reform in Florence as well as a visual interpretation of Italian Mannerist painters on this devotional subject.
