Papers by Anita Moskowitz
Journal of Modern Italian Studies, Aug 8, 2019
Giovanni Freppa (1795-1870), a well-known antiquarian, was instrumental in propelling the Ginori ... more Giovanni Freppa (1795-1870), a well-known antiquarian, was instrumental in propelling the Ginori maiolica firm to reinvent the technique of Renaissance lustreware. The so-called 'Freppa Scandal' resulted after he sold as authentic Renaissance pieces a number of plates made by Ginori. Freppa was also famous, or rather infamous, for his exploitation of the young sculptor Giovanni Bastianini, whose remarkable neo-Renaissance portrait busts were sometimes sold as authentic Renaissance works. The Louvre purchased for an enormous price a bust believed to be a Renaissance masterpiece; but it was actually executed by Bastianini in 1864 on commission from Freppa, resulting in 'the Benivieni Affair'. But this article is not primarily intended to expand on Freppa's transactions in the art world; rather, it highlights his activities in many other spheres, including a failed publishing project with Giacomo Leopardi, among other activities. Freppa was a more complex individual than indicated merely by the two above-mentioned scandals. RIASSUNTO Giovanni Freppa (1795-1870), un noto antiquario, fu determinante nello spingere la ditta maiolica Ginori a reinventare la tecnica del lustro rinascimentale. Il cosiddetto "Scandalo Freppa" ebbe avuto come risultato dopo aver venduto come autentici pezzi rinascimentali qualche piatto realizzato da Ginori. Il Freppa fu anche famoso, o piuttosto famigerato, per la sua sfruttamento del giovane scultore Giovanni Bastianini, i cui straordinari busti neorinascimentale furono venduti a volte come autentiche opere del Rinascimento. Il Louvre acquistò per un prezzo enorme un busto che si crederono fosse un capolavoro del Rinascimento; ma fu modellato da Bastianini nel 1864 su commissione di Freppa, con il risultato di "l'affare Benivieni". Ma questo articolo non è destinato principalmente ad espandersi sulle transazioni di Freppa nel mondo dell'arte; piuttosto, mette in evidenza le sue attività in molti altri ambiti, tra cui un progetto editoriale fallito con Giacomo Leopardi, tra le altre attività. La freppa era un individuo più complesso di quanto indicato semplicemente dai suddetto scandali.
A Sienese Crucifix: Context and Attribution
Bulletin of the Detroit Institute of Arts, Feb 1, 1989
A Madonna and Child Statue: Reversing a Reattribution
Bulletin of the Detroit Institute of Arts, Feb 1, 1984
Arnolfo, Non-Arnolfo: New (And Some Old) Observations on the Ciborium in San Paolo fuori le mura
Gesta, 1998
ABSTRACT
A Venetian Wellhead in Toledo
Source-notes in The History of Art, 1995
that fill the four sides: an eagle clutching a small animal (a cat?) in its claws and dis playing... more that fill the four sides: an eagle clutching a small animal (a cat?) in its claws and dis playing an escutcheon on its breast; a grif fon grasping a small animal (a dog or wea sel?); a pair of rampant lions embracing, with two small animals (lambs?) between them; and two peacocks drinking from a vase. Floral and zoomorphic motifs also em bellish the spandrels of the arches. The in scription, only partially decipherable, reads: "[. . . ?]IAP . QUESTO P0Z[Z]0 . FO . FATO . PER COM . PADO
A Late Dugento Male Nude Studied from Life
Source-notes in The History of Art, Jul 1, 1997
Jacopo della Quercia.James Beck
Speculum, Oct 1, 1993
David H. Friedman, Julian Gardner, and Margaret Haines, eds. Arnolfo's Moment: Acts of an International Conference (Florence, Villa I Tatti, May 26–27, 2005). Villa I Tatti, The Harvard University Center for Italian Renaissance Studies 23. Florence: Leo S. Olschki, 2009. xxxv + 297 pp. + 10 color...
Renaissance Quarterly, 2010
Nicola Pisano's Arca di San Domenico and its legacy
Choice Reviews Online, Nov 1, 1994
Page 1. Nicola Pisano's Arca di San Domenico and Its Legacy Page 2. ... more Page 1. Nicola Pisano's Arca di San Domenico and Its Legacy Page 2. f Domenico Arca Nicola Pisano's di San and Its Legacy An1ta F1derer Moskow1tz The remarkable evolution of Italian Gothic and Renaissance sepulchral ...
A Tale of Two Cities: Pavia, Milan, and the Arca DI Sant' Agostino
Source-notes in The History of Art, 1992
Stefano Bardini’s Photographic Archive, “il Bel Paese”, and the Golden Age of Italian Art
Visual Resources, Apr 28, 2022
Donatello's Reliquary Bust of Saint Rossore
Art Bulletin, Mar 1, 1981
... 1909. Donatello's Reliquary Bust of Saint Rossore Anita Moskowitz The gilt-bronz... more ... 1909. Donatello's Reliquary Bust of Saint Rossore Anita Moskowitz The gilt-bronze reliquary bust of Saint Rossore (Figs. 1 ... figures. Examples are Donatello's marble David in the Museo Nazionale and Nanni di Banco's Isaiah. In ...
The Pistoia Pulpit's Uneven Supports: The Bases for a Hypothesis
Source-notes in The History of Art, 2003
In 1301, Giovanni Pisano completed his pulpit for the church of Sant'Andrea, Pis toia (Fig. 1... more In 1301, Giovanni Pisano completed his pulpit for the church of Sant'Andrea, Pis toia (Fig. 1). In form and conception, the pulpit followed, but altered in significant ways, his father, Nicola's, innovative pulpits in the Pisa baptistery and Siena Cathedral, dated 1260 and 1267, respectively. Shortly thereafter, in 1302-1310, Giovanni was to create the last of the four Pisano pulpits— that of the cathedral of Pisa. The Pistoia pul pit, like the other three monuments, was eventually moved from its original location, entailing the loss of some parts and alter ations to its original form. Such changes have led some scholars to suggest hypothet ical reconstructions.1 This paper will limit itself to a consideration of the shape of the original platform on which the pulpit stood and the platform's relationship to the columnar supports. The paper will also sug gest that aesthetic, structural, and theologi cal motivations led to that choice.
Janson's Leaping Monkey: Monkey See, Monkey Do
Source-notes in The History of Art, Apr 1, 2007
Twenty-five years ago, H. W. Janson wrote a delightful introductory essay for the inau gural issu... more Twenty-five years ago, H. W. Janson wrote a delightful introductory essay for the inau gural issue of this journal.1 Taking his title from Polonius's statement in Shakespeare's Hamlet (Il.ii), "brevity is the soul of wit," he expressed the hope that the new journal would publish "the results of scholarly serendipity: sudden insights or unexpected encounters that ... are sufficiently intrigu ing to invite presentation in brief prelimi nary form." As an example of the type of problem the editors of SOURCE hoped might be presented, Janson cited a recent
The fac̦ade reliefs of Orvieto Cathedral
Harvey Miller eBooks, 2009
A Newly Discovered Canvas by Stefano Bardini
Source-notes in The History of Art, Sep 1, 2019
Stefano Bardini (1836, Pieve Santo Stefano–1922, Florence), the wellknown Florentine antiquarian,... more Stefano Bardini (1836, Pieve Santo Stefano–1922, Florence), the wellknown Florentine antiquarian, began his early career as a painter, having studied at the Accademia di Belle Arti in Florence from around 1854 until 1859. For the next six years, he attempted to establish himself as an artist and received a number of commissions for frescoes and oil paintings, as well as one for the design of a theater curtain. But rather than rebel against the academic modes of representation taught at the Accademia—as did his peers among the Macchiaioli painters—he worked within the limits of the traditional precepts promoted by Pietro Benvenuti (1769–1844), which continued to hold sway in the 1850s. Trained
The Photographic Archive of Stefano Bardini: A Few Case Studies of Its Utility
Source-notes in The History of Art, Jun 1, 2018
The aim of this article is to advocate for the complete cataloguing, publication, and digitizatio... more The aim of this article is to advocate for the complete cataloguing, publication, and digitization of the great legacy of Stefano Bardini’s photographic archive, a project that was aborted after the year 2000, with the publication by Alberto Bruschi of two volumes devoted to images of ancient sculpture and of Renaissance paintings, prints, and drawings. Bardini (1836–1922), a Florentine antiquarian and art dealer, accumulated thousands of negatives and prints of objects in his collection as well as installation views, some purchased from commercial firms, such as the Alinari, and others—possibly most—taken by Bardini himself, or under his direct supervision. Unfortunately, after those first two
Emendation: The Pistoia Pulpit's Uneven Supports: The Bases for a Hypothesis
Source-notes in The History of Art, Jul 1, 2003
Forging authenticity. Giovanni Bastianini and the Neo-Renaissance in Nineteenth-Century Florence
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Papers by Anita Moskowitz