THE SIGNIFICANCE OF SHAPE AND COLOUR. ESSAYS ON ART, MOSTLY OF THE ITALIAN RENAISSANCE
THE SIGNIFICANCE OF SHAPE AND COLOUR. ESSAYS ON ART, MOSTLY OF THE ITALIAN RENAISSANCE
Józef Grabski

Cracow 2016

222 × 285 mm, 423 pages

485 colour and b&w illustrations

hardbound, with jacket

ISBN 978-83-89831-27-9

 


 

119 EURO
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JÓZEF GRABSKI — Director of the IRSA Institute for Art Historical Research. Born in Warsaw (Poland) in 1950. He graduated from the Department of Art History of the University of Warsaw with a master’s thesis written under supervision of Jan Białostocki about iconography of Venetian Renaissance painting. In 1971 and 1972 he held research scholarships at the Fondazione Cini in Venice. In 1973 he participated in the CIHA International Congress of Art History in Granada (Spain), assisting Charles Sterling and Jan Białostocki. In 1976 he received doctorate from the University of Vienna with the dissertation on Leon Chwistek and his “zones theory” in painting: the influence of the Renaissance art on the Cubist and Abstract painting. In 1975 and 1976 he continued his research at the Fondazione Roberto Longhi and the Villa I Tatti (Harvard University) in Florence. The main area of Józef Grabski’s scholarly interest is early modern European art. He has dealt particularly with the work of Donatello, Giorgione, Titian, Lorenzo Lotto, Paris Bordon, Tintoretto, Padovano (Giovanni Maria Mosca), Caravaggio, Angelo Caroselli, Artemisia Gentileschi and Alessandro Algardi. After the CIHA International Congress of Art History in Bologna in 1979, together with an international group of scholars (André Chastel, Jan Białostocki, Federico Zeri, Giuliano Briganti, W. Roger Rearick, Hermann Fillitz), he founded the International Institute for Art Historical Research, IRSA (Istituto per le Ricerche di Storia dell’Arte), with headquarters in Venice, and became its director. The following year, in 1980, he started publishing a scholarly art-historical journal entitled Artibus et Historiae, of which he has been the editor-in-chief ever since.

 

 

' (...) the studies presented here offer in many aspects a new and deepened view of the Italian Renaissance. They combine a stylistic and iconographic analytical procedure with numerous facts or relevant connotations taken from the realm of cultural history and the history of ideas. In London, the art historians at the Courtauld Institute were traditionally characterized – though of course in a cum grano salis manner – as the “eye people”, those at the Warburg as the “mind people”. Grabski obviously belongs to both groups.'

From the Preface of Prof. Sergiusz Michalski

 

 

 

 

CONTENTS


Preface
Introduction


Amor-Pantheos by Donatello


Dignitas Figurae. Andrea Mantegna: the Relationship Between Sculpture and Painting


The Medals of the Polish Royal Family by G. M. Mosca (il Padovano)

in the Former Collection of the Dukes d’Este in Modena


On the Relations Between the Portraits and Symbols in the Portrait Painting of Lorenzo Lotto:
Portrait of a Young Man with a Lamp, Triple Portrait of a Goldsmith and Portrait of a Thirty-seven Years Old Man


The Portrait of Caterina Cornaro in Lorenzo Lotto’s Adoration of the Christ Child in the National Museum in Cracow


The Madonna della Rovere: Raphael in the Workshop of Pietro Perugino


The Lost Portrait of a Young Man (Attributed to Raphael)

from the Collection of the Princes Czartoryski Family in Cracow.

A Contribution to Studies on the Typology of the Renaissance Portrait

 

The Role of Portraiture in the Narrative and Religious Works of Sebastiano del Piombo:

his Possible Self-Portraits and Artistic Dialogue with Michelangelo and Raphael


The Rhymes of Love of Paris Bordon: Visual Structures and Renaissance Poetry


Mundus amoris – amor mundus: Titian’s Allegory of Love in the Louvre


Victoria Amoris: Titian’s Venus of Urbino. A Commemorative Allegory of Marital Love


The Contribution of Collaborators in Titian’s Late Works


The Group of Paintings by Tintoretto in the Sala Terrena in the Scuola di San Rocco in Venice

and their Relationship to the Architectural Structure


Angelo Caroselli’s Alchemical Painting in the Fondazione Roberto Longhi in Florence


On Seicento Painting in Naples: Some Observations on Bernardo Cavallino, Artemisia Gentileschi and Others


The Corsini Flagellation Group by Alessandro Algardi


“Perfectionis Vanitas”


Original places of publication


Index