By Cordelia Warr, Janis Elliott
Frequently overshadowed through the towns of Florence and Rome in art-historical literature, this quantity argues for the significance of Naples as an inventive and cultural centre, demonstrating the breadth and wealth of inventive adventure in the urban.
- Generously illustrated with a few illustrations particularly commissioned for this ebook
- Questions the conventional definitions of 'cultural centres' that have ended in the overlook of Naples as a centre of creative significance
- A major addition to the English-language scholarship on paintings in Naples
Chapter 1 advent: Reassessing Naples 1266–1713 (pages 1–15): Cordelia Warr and Janis Elliott
Chapter 2 The North seems to be South: Giorgio Vasari and early smooth visible tradition within the country of Naples (pages 16–37): Aislinn Loconte
Chapter three the increase of the court docket Artist: Cavallini and Giotto in Fourteenth?Century Naples (pages 38–61): Cathleen A. Fleck
Chapter four The neighborhood Eye: Formal and Social differences in past due Quattrocento Neapolitan Tombs (pages 62–82): Tanja Michalsky
Chapter five construction in neighborhood All'Antica variety: The Palace of Diomede Carafa in Naples (pages 83–100): Bianca de Divitiis
Chapter 6 From Social advantage to Revetted inside: Giovanni Antonio Dosio and Marble Inlay in Rome, Florence, and Naples (pages 101–124): John Nicholas Napoli
Chapter 7 ‘The Face is a reflect of the Soul’: Frontispieces and the construction of Sanctity in Post?Tridentine Naples (pages 125–151): Helen Hills
Chapter eight Patronage, criteria and Transfert Culturel: Naples among paintings historical past and Social technological know-how idea (pages 152–175): Nicolas Bock
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Additional resources for Art and Architecture in Naples, 1266-1713
86 Vasari, Le vite, vol 6, 385–6; Karl Frey, Der literarische Nachlass Giorgio Vasaris, vol. 2, Munich, 1930, 862. 87 Vasari, Le vite, vol. 6, 385–6. 88 Frey, Der literarische Nachlass, vol. 1, letter 73, 155–6. ` scandolosa e vituperossima’. Frey, Der 89 ‘[N]ovita literarische Nachlass, vol. 1, letter 73, 155. 90 Vasari sent twenty-four paintings for the church of San Giovanni a Carbonara, as well as works to Naples from Rome for the Florentine merchant Tommaso Cambi. Vasari, Le vite, vol. 6, 386.
For Perugino, see vol. 3, 605; for Raphael, see vol. 4, 184–5. Perugino painted The Assumption of the Virgin with St Januarius and Cardinal Oliviero Carafa for the Neapolitan Oliviero Carafa. In the Life of Perugino, Vasari confuses the subject matter of this painting (describing it as including a tomb) and refers to it as being in Carafa’s palace. Scholars remain uncertain about the specific circumstances surrounding the commission for the painting by Raphael. In his famous letter to Marcantonio Michiel, Pietro Summonte places it in San Domenico.
78 By recounting only the sojourn in 1527, Vasari does not have to explain why Polidoro would wish to return to an artistic backwater. More than this, Polidoro’s journey to Naples is presented as forced on him by necessity. 79 Vasari invents his own beginning for Polidoro’s work in Naples recounting that although Polidoro came to the city in hope of finding patrons, instead he found Neapolitans indifferent to his talents. ’81 28 T H E N O R T H L O O K S S O U T H : G I O R G I O VA S A R I A N D E A R L Y M O D E R N V I S U A L C U L T U R E As he did in the Life of Giotto, Vasari uses an animal as a device with which to indicate the circumstances of the city of Naples and its inhabitants.