Barolsky Festschrift Source 2017

The Two Michelangelos, 2021

Introduction to book, establishing links between Michelangelo Buonarroti and Michelangelo Merisi da Caravaggio. Argues for the crucial support and patronage of Costanza Colonna Sforza that sustained Caravaggio throughout his career.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

Journal of Art Historiography, 2021

It has been shown that it was Max Dvořák who introduced into art-historical research the concept of Mannerism as an independent style that dominated the second half of the 16th century. Dvořák described the art of Raphael’s pupils and of Florentine painters such as Rosso Fiorentino or Jacopo Pontormo not as a decline in artistic development, but as an expression of a change in the cultural mood that needed to be voiced in artistic form. However, the historiography of Dvořák’s conception of Mannerism has to date neglected to devote any attention to how Mannerism actually emerged: what in Dvořák’s conception of art generated the need to describe the art of the late 16th century as a separate artistic style distinct from the Renaissance? As the study shows, the answer to this question may be found in Max Dvořák’s interpretation of the late art of Michelangelo Buonarroti.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

1! Vat. Lat. 3211: Michelangelo's spiritual aesthetics? Recently analyzed by Leonard Barkan for what its autograph folios reveal about Michelangelo's approach to composing poetry, 1 codex Vat. Lat. 3211 is among the most important manuscript sources of the artist's later literary production. Michelangelo did not personally assemble the codex. The Italian humanist Fulvio Orsini prepared it from sheets in Michelangelo's possession. Alluring for the kaleidoscopic display of poetic iterations dispersed throughout its autograph folios, the Vatican manuscript is of equal scholarly importance for the copies of Michelangelo's poems transcribed by four different hands on the first twenty-two sheets of the codex, and placed in numbered order by his friend and unofficial editorial consultant Luigi del Riccio. 2 These fiftyeight poems, all but one of which were originally composed by Michelangelo, constitute approximately two-thirds of the verses destined for inclusion in the projected lyric collection, or canzoniere, on which Michelangelo worked between 1542 and 1546. To scholars well versed in current debates on Michelangelo's projected canzoniere, or on the attendant scholarly push for a new critical edition of his poetry, the title of this talk might seem curious. Firstly, Michelangelo's unfinished canzoniere is only partially contained in the Vatican manuscript. Secondly, the verses comprising the projected collection are notable for

Let every man who is here understand this well: design, which by another name is called drawing, and consists of it, is the fount and body of painting and sculpture and of architecture and of every other kind of painting, and the root of all sciences.

2019, Art and Politics in the Modern Period. Conference Proceedings, Faculty of Humanities and Social Sciences, University of Zagreb, 2019, 17-24. ISBN 978-953-175-643-3, 2019

The main issue addressed in this paper is the strategy used by Giorgio Vasari, as a striving young artist from the Medici circle, to establish himself as court painter. This ambition can be discerned from the letters he wrote to Ottaviano de’ Medici in 1534, and to Pietro Aretino in 1536, in which he solicited the position of the Medici court artist. He used flattery, self-praise, and the notion of competition between the artists in which he proved superior to others working alongside him on important state commissions. In order to disengage himself from other artists, and to establish his position in an unstable social context, in these letters he compared himself to Apelles and his patron and lord Alessandro de’ Medici to Alexander the Great.

The Art Bulletin, 2000

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.