Papers by Gail Feigenbaum
Carlo Cesare Malvasia's “Felsina pittrice”: Lives of the Bolognese Painters, Vol. 9; Life of Guido Reni. Lorenzo Pericolo, ed. and trans. 2 parts. With Elizabeth Cropper, Stefan Albl, Mattia Biffis, and Elise Ferone. London: Harvey Miller, 2019. 598 (part 1) + 526 (part 2) pp. €350
Renaissance Quarterly
Mitteilungen des Kunsthistorisches Institutes in Florenz, 2021
www.khi.fi.it/publikationen/mitteilungen Die Redaktion dankt den Peer Reviewers dieses Heftes für... more www.khi.fi.it/publikationen/mitteilungen Die Redaktion dankt den Peer Reviewers dieses Heftes für ihre Unterstützung | La redazione ringrazia i peer reviewers per la loro collaborazione a questo numero.
Collecting Art in the Italian Renaissance Court: Objects and Exchanges. Leah R. Clark. Cambridge: Cambridge University Press, 2018. xiv + 326 pp.+ 10 color pls. $99.99
Renaissance Quarterly
The "Kiss of Judas" by Lodovico Carracci
Record of the Art Museum, Princeton University, 1989
Display of art in the Roman palace, 1550-1750
Choice Reviews Online, 2015
Van Dyck as Religious Artist
Renaissance Quarterly, 1980
Gail Feigenbaum. Review of "Annibale Carracci and the Beginnings of Baroque Style" by Charles Dempsey
caa.reviews, 2002
Sacred Possessions: Collecting Italian Religious Art, 1500–1900
Renaissance and Reformation
Clue, Hint, and Game in the Farnese Palace,” in The Art of Ornament: Meanings, Archetypes, Forms and Use, eds. Instituto de História da Arte da Faculdade de Ciências Sociais e Humanas da Universidade NOVA de Lisboa
http://revistaharte.fcsh.unl.pt/rhaw8/RHA_W_8.pdf
Histories of Italian art and literature from the Early Modern period rarely address the widesprea... more Histories of Italian art and literature from the Early Modern period rarely address the widespread phenomenon of negative responses to modern works of art and architecture. This "bad reception" appears in a wide range of written sources, including artistic treatises, letters, poetry, biographies, and archival documents. Until now, the few studies of this topic have focused on individual case histories, or else on the specific inflections of censure in codified literary writings, such as vituperative poems on art. This workshop seeks to advance the current state of scholarship by exploring the intersections of different genres of texts that were used to express disapproval of paintings, sculptures, and architecture, and by seeing the impact these discourses had on the afterlife of the art under discussion. Rather than presenting new examples of bad reception, participants will consider how different cases point to broader thematic patterns that help provide a framework for future research. Topics include the evolution of linguistic conventions used for criticizing works of art, the aspects of art most often cited by critics, and the consequences of the negative evaluations for the artistic product itself or for its author.
Gail Feigenbaum, "Per una storia istituzionale dell'arte bolognese, 1399-1650: nuovi documenti su... more Gail Feigenbaum, "Per una storia istituzionale dell'arte bolognese, 1399-1650: nuovi documenti sulla corporazione dei pittori, i suoi membri, le sue cariche e sull'accademia dei Carracci," Il restauro del Nettuno, la statua di Gregorio XIII e la sistemazione di Piazza Maggiore nel Cinquecento: contributi anche documentari alla conoscenza della prassi e dell'organizzazione delle arti a Bologna prima dei Carracci, Bologna, Minerva, 1999, 353-377
«Non finiremmo mai »,writes Malvasia, « se tutte le copie cavate daglialtri maestri per mano di e... more «Non finiremmo mai »,writes Malvasia, « se tutte le copie cavate daglialtri maestri per mano di essi [Carracci] registrar volessimo ».1 Malvasia's extraordinary remark has been ignored, taken, no doubt, as a typically improbable hyperbole. Though it has often been said that the young Carracci, when they were starting out, did a little copying after Correggio and Titian, Malvasia's declaration goes much further, and here I would like to do the same by suggesting that the scope of their activities as copyists was as extensive as Malvasia's rhetorical figure implies.
Feigenbaum, Gail. "Lodovico Carracci's 'St. Raymond of Peñafort': A Copy 'in Situ'." Paragone. A... more Feigenbaum, Gail. "Lodovico Carracci's 'St. Raymond of Peñafort': A Copy 'in Situ'." Paragone. Arte. Arte. (1985): 96-99
Introductory essay for Display of Art in the Roman Palace, 1550-1750, edited by Gail Feigenbaum ... more Introductory essay for Display of Art in the Roman Palace, 1550-1750, edited by Gail Feigenbaum with Francesco Freddolini.
This book explores the principles of the display of art in the magnificent Roman palaces of the early modern period, focusing attention on how the parts function to convey multiple artistic, social, and political messages, all within a splendid environment that provided a model for aristocratic residences throughout Europe. Many of the objects exhibited in museums today once graced the interior of a Roman Baroque palazzo or a setting inspired by one. In fact, the very convention of a paintings gallery—the mainstay of museums—traces its ancestry to prototypes in the palaces of Rome.
Inside Roman palaces, the display of art was calibrated to an increasingly accentuated dynamism of social and official life, activated by the moving bodies and the attention of residents and visitors. Display unfolded in space in a purposeful narrative that reflected rank, honor, privilege, and intimacy.
With a contextual approach that encompasses the full range of media, from textiles to stucco, this study traces the influential emerging concept of a unified interior. It argues that art history—even the emergence of the modern category of fine art—was worked out as much in the rooms of palaces as in the printed pages of Vasari and other early writers on art.
Cardsharps and gypsy fortune tellers are among Caravaggio's most famous subjects, and for his fol... more Cardsharps and gypsy fortune tellers are among Caravaggio's most famous subjects, and for his followers all over Europe, these subjects became a badge of affiliation with the master. Today their appeal and popularity may seem so obvious as to require no explanation-the actors are attractive, the scenes are gently funny, and as in theater, the spectator enjoys being let in on the joke. No doubt these paintings worked their charm on their original owners for the same reasons. Their very charm, however, makes it easy to forget that these were not somehow natural or conventional subjects for painting. Caravaggio invented them. Iconographic precedents for them that have been adduced by scholars, myself included, serve mainly to demonstrate just how new Caravaggio's compositions were. Tracing the literary sources reveals how painters transformed them by selecting and emphasizing quite different aspects of the subject than writers did. The aim of this chapter is to analyze how Caravaggio exploited the obvious appeal of these subjects in order to thematize critical aspects of the role of the painter and his viewer.
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Papers by Gail Feigenbaum
This book explores the principles of the display of art in the magnificent Roman palaces of the early modern period, focusing attention on how the parts function to convey multiple artistic, social, and political messages, all within a splendid environment that provided a model for aristocratic residences throughout Europe. Many of the objects exhibited in museums today once graced the interior of a Roman Baroque palazzo or a setting inspired by one. In fact, the very convention of a paintings gallery—the mainstay of museums—traces its ancestry to prototypes in the palaces of Rome.
Inside Roman palaces, the display of art was calibrated to an increasingly accentuated dynamism of social and official life, activated by the moving bodies and the attention of residents and visitors. Display unfolded in space in a purposeful narrative that reflected rank, honor, privilege, and intimacy.
With a contextual approach that encompasses the full range of media, from textiles to stucco, this study traces the influential emerging concept of a unified interior. It argues that art history—even the emergence of the modern category of fine art—was worked out as much in the rooms of palaces as in the printed pages of Vasari and other early writers on art.