Judith Mann

Saint Louis Art Museum, European Art to 1800, Curator & Dept. Head

Followers

101

Following

Co-authors

Public Views

Address: St Louis, Missouri, United States

less

Interests

Uploads

Papers by Judith Mann

Buio versus Luce: approcci contrastanti nell'uso dei supporti lapidei a Verona e Anversa

Meraviglia senza Tempo. Pittura su pietra a Roma tra Cinque e Seicento/Marvels Beyond Time. Painting on stone in Rome in the 15th and 16th Centuries , 2022

La diffusa pratica di dipingere su superfici di pietra, che ha origine nella Roma cinquecentesca,... more La diffusa pratica di dipingere su superfici di pietra, che ha origine nella Roma cinquecentesca, ha riguardato soprattutto pietre scure quali peperino, lavagna e marmo nero. Non è però chiaro per quale ragione. Da un lato potrebbe esserci il fatto che il materiale più diffuso dei tre, la lavagna o ardesia, poteva essere tagliato in lastre relativamente sottili per ottenere un supporto pittorico ideale, anche se fragile. Dall'altro potrebbe esserci l'ampia disponibilità del materiale, anche se non sappiamo come venisse usato normalmente, visto che per il suo impiego più diffuso, ossia la copertura dei tetti, i romani del tempo utilizzavano piastrelle di terracotta e non ardesia. C' è da sottolineare come i primi pittori non usassero marmo bianco nonostante la preminenza visiva di questo materiale nella città di Roma. La scelta di non usare il tale materiale sembra particolarmente degna di nota anche perché, nel periodo in cui stava presumibilmente iniziando i propri esperimenti con la pellicola pittorica su pietra, Sebastiano del Piombo era molto vicino a Michelangelo 2 che in quegli anni, fra il 1515 circa e i primi anni Venti del Cinquecento, stava lavorando a San Lorenzo a Firenze e si recava a Carrara per trovare i blocchi di marmo bianco più adatti. Sembra che Michelangelo non si sia mai interessato alla pittura su superfici lapidee, ma è difficile immaginare che l'idea di dipingere su marmo bianco non sia mai stata presa in considerazione durante le prime riflessioni o i primi tentativi di usare la pietra come supporto pittorico. L'unico artista italiano del XVI secolo a usare marmo bianco è stato Tiziano nel realizzare per Filippo II il pendant dell'Ecce Homo dipinto nel 1554 per Carlo V. Ma il materiale usato per quel dipinto, una Mater Dolorosa, era il frammento di un sarcofago antico e non era quindi stato tagliato per l' occasione. Osservare questo stupefacente fenomeno mi ha suggerito il tema di questo saggio: un'analisi comparativa della pratica della pittura su pietra nelle città di Verona e Anversa. Gli artisti di Verona sono particolarmente noti per la loro maestria su supporti scuri, mentre quelli di Anversa furono i primi a usare regolarmente marmo bianco per le opere su pietra. Nello specifico, il mio interesse si concentrerà sull'utilizzo delle superfici lapidee. Diversi studi si sono occupati dei dipinti su pietra di paragone dei pittori che lavoravano a Verona e Roma negli ultimi decenni del XVI secolo:

Download

Orazio and Artemisia Gentileschi

by keith christiansen and Judith Mann

The Sixteenth Century Journal, 2003

Father and daughter Orazio and Artemisia Gentileschi were unusual and gifted artists. Orazio Gent... more Father and daughter Orazio and Artemisia Gentileschi were unusual and gifted artists. Orazio Gentileschi (1563-1639) was the most talented follower of Caravaggio and a figure of international renown, active at the courts of Marie de' Medici in France, Charles 1 in England, and in Rome, Genoa, and Turin. Artemisia (1593-1652/3) was the first Italian woman artist who was not only praised for her art by her contemporaries but whose paintings influenced the work of later generations. She is today a key figure in gender studies. Essays by an international group of art historians not only explore the development of each of these two painters individually but also compare their work, showing how both were influenced by their times and milieus. The book also includes new transcriptions of key parts of the notorious rape trial of Artemisia. This beautiful book is the catalogue for the first full-scale exhibition of the works of Orazio and Artemisia Gentileschi, held at The Metropolitan Museum of Art from 14th February to 12th May 2002, travelling thereafter to the St Louis Art Museum and to Rome.

Poussin's Women: Sex and Gender in the Artist's Works. Troy Thomas. Visual and Material Culture, 1300–1700. Amsterdam: Amsterdam University Press, 2020. 386 pp. €119

Renaissance Quarterly, Dec 31, 2022

Drawing the Virgin

Siting Federico Barocci and the Renaissance Aesthetic

Konsthistorisk tidskrift, Mar 1, 2013

of a spiritual reality indirectly showing in poetry, painting, or sculpture, but it also marks it... more of a spiritual reality indirectly showing in poetry, painting, or sculpture, but it also marks its own logical character as a characteristic of the intellectual nature of the represented spiritual world. The scholarly work often stands to its studied object in a relation of analogy to the proposed meaning. To my mind, the rhetorical apparatus is not enough. Against Lehmann’s conceptual interpretation, I put the meaning structure that I suggest in my recent contribution, ‘‘The Apparition of Faith, The Performative Meaning of Gian Lorenzo Bernini’s Decoration for the Cornaro Chapel,’’ in the anthology Performativity and Performance in Baroque Rome (Ashgate, 2012). The point of this interpretation is to focus on the bodily and appearing aspects of performed meaning opening toward the comprehensions of human life after death a state that is not only of the soul, but occurring in the recreated body that will regain its individual soul. The idea is to become aware of the interplay between the signifying elements: the expressive part, the part carrying the reference act, discloses the meaning or thought implied, but this spiritual element that becomes known through the expression retains or recreates body, in Bernini’s work. Meaning never escapes the appearance and functions of body a dimension that is not fundamentally readable, yet knowable.

Gentileschi family

Oxford Art Online, 2003

Federico Barocci

Federico Barocci and the Oratorians: Corporate Patronage and Style in the Counter-Reformation by Ian F. Verstegen

Catholic Historical Review, 2016

Download

The Annunication Chapel in the Quirinal Palace, Rome: Paul V, Guido Reni, and the Virgin Mary

Art Bulletin, Mar 1, 1993

... und 18.Jahrhunderts, Budapest, 1974, I, 260, lists this painting under the category &amp;... more ... und 18.Jahrhunderts, Budapest, 1974, I, 260, lists this painting under the category &amp;amp;quot;Maria als Mutter, beim Ndihen.&amp;amp;quot; Bellori (as in n. 10), 503, notes that the angel on the left displays &amp;amp;quot;un sciugatore per uso del Bambino ...,&amp;amp;quot; assuming this to be an image of the Virgin after the ...

Identity signs: meanings and methods in Artemisia Gentileschi's signatures*

Renaissance Studies, Feb 1, 2009

pictures differ substantially among scholars. Ward Bissell, the author of the 1999 catalogue rais... more pictures differ substantially among scholars. Ward Bissell, the author of the 1999 catalogue raisonné on the artist, lists fifty-seven autograph works in fifty-two entries, although that includes seven lost pictures, making a total of fifty surviving paintings. The author of the other major monograph on Artemisia, Mary Garrard, attributes thirty-eight paintings to the artist. My list of forty-eight autograph paintings by Artemisia Gentileschi builds upon those pictures presented in the catalogue for the 2001/2002 exhibition 'Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy', (Keith Christiansen and Judith W. Mann (eds.), Orazio and Artemisia Gentileschi (New Haven and London: Yale University Press, 2001), 296-439). Of the thirty-four paintings included in the exhibition, I find that one is not by Artemisia (cat. 64, the Allegory of Painting from Le Mans) and one, presented as entirely autograph (cat. 70, the Sleeping Venus in the Virginia Museum of Fine Arts, Richmond), is probably the result of collaboration in Artemisia's Neapolitan studio. The version of the Penitent Magdalene from the cathedral in Seville was determined to be a copy after a now lost original, and the Lucretia in the Etro Collection, Milan, is an autograph replica, indicating that at least one other version may exist. I would add to these thirty-three a number of works that appear in Bissell's catalogue, including the Bathsheba and Tarquin and Lucrezia in Potsdam, the Minerva in Florence (Fig. 8), the Casa Buonarroti Allegory , the Aurora in a private Roman collection, the Adoration of the Magi in Naples, the Bathsheba in Vienna, and the Saints Proculus and Nicea in Naples. I would also add to them the lost early S elf-Portrait as the Allegory of Painting (Christiansen and Mann (eds.), Orazio and Artemisia Gentileschi , Fig. 97); the lost Suffer the Little Children, formerly in the Metropolitan Museum of Art (Christiansen and Mann (eds.), Orazio and Artemisia Gentileschi , Fig. 132); a newly published Portrait of a Woman in Genoa (first published as an Orazio by Marzia Cataldi-Gallo, 'The Sauli Collection, Two Unpublished Letters and a Portrait by Orazio Gentileschi',

Download

Salvator Rosa: His Life and Times

The Sixteenth century journal, 1996

An academic directory and search engine.

6 Federico Barocci’s Faithful Fidos: A Study in the Efficacy of Counter-Reformation Imagery

BRILL eBooks, 2016

This chapter examines four of Barocci’s altarpieces that effectively and resourcefully employ dog... more This chapter examines four of Barocci’s altarpieces that effectively and resourcefully employ dogs to reveal new levels of meaning in their subjects. These include The Martyrdom of St. Sebastian, where a dog curls up on Sebastian’s abandoned cloak; The Martyrdom of St. Vitalis, where a dog reacts to the arrival of a lizard; The Last Supper, where a dog considers drinking from a wine cooler; and The Institution of the Eucharist, with a dog who accompanies the foreground servants as they depart the scene. An examination of the ingenious incorporation of a dog in these four pictures underscores Barocci’s importance as one of the first original iconographers of the Counter-Reformation.

Gentileschi, Artemisia

Oxford Art Online, 2003

My Dearest Heart: The Artist Mary Beale (1633–1699). Penelope Hunting. London: Unicorn Publishing Group, 2019. 208 pp. $35

Renaissance Quarterly, 2022

Artemisia Gentileschi: taking stock

Gentileschi, Artemisia

Oxford Art Online

Drawing the Virgin

Federico Barocci, 2017

Artemisia Gentileschi in a Changing Light

Early Modern Women-an Interdisciplinary Journal, 2019

&quot;Introduction: What is True About Artemisia?&quot; by Sheila Barker; &quot;Ident... more &quot;Introduction: What is True About Artemisia?&quot; by Sheila Barker; &quot;Identifying Artemisia: The Archive and the Eye&quot; by Mary D. Garrard; &quot;Mary Magdalene in Ecstasy and the Madonna of the Svezzamento: Two Masterpieces by Artemisia&quot; by Gianni Papi &quot;Deciphering Artemisia: Three New Narratives and How They Expand our Understanding&quot; by Judith W. Mann &quot;Unknown Paintings by Artemisia in Naples, and New Points Regarding Her Daily Life and Bottega&quot; by Riccardo Lattuada &quot;Artemisia Gentileschi’s Susanna and the Elders (1610) in the Context of Counter-Reformation Rome&quot; by Patricia Simons &quot;Artemisia’s Money: A Woman Artist’s Financial Strategies in Seventeenth-Century Florence&quot; by Sheila Barker &quot;Artemisia Gentileschi: The Literary Formation of an Unlearned Artist&quot; by Jesse Locker &quot;Women Artists in Casa Barberini: Plautilla Bricci, Maddalena Corvini, Artemisia Gentileschi, Anna Maria Vaiani, and Virginia da Vezzo&quot; by Consuelo Lollobrigida &quot;‘Il Pennello Virile’: Elisabetta Sirani and Artemisia Gentileschi as Masculinized Painters?&quot; by Adelina Modesti &quot;Allegories of Inclination and Imitation at the Casa Buonarroti&quot; by Laura Camille Agoston &quot;Mary Magdalene in Ecstasy by Artemisia Gentileschi. A Technical Study&quot; by Christina Currie, Livia Depuydt, Valentine Henderiks, Steven Saverwyns, and Ina Vanden Berghe

CANCELLED: Roundtable: Artemisia Gentileschi and the Ethics of Scholarship

Federico Barocci

Federico Barocci, 2017

Judith Mann

Uploads

Papers by Judith Mann

Log In