By Cordelia Warr, Janis Elliott
Usually overshadowed via 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 creative event in the city.* Generously illustrated with a few illustrations particularly commissioned for this ebook* Questions the conventional definitions of 'cultural centres' that have ended in the forget of Naples as a centre of creative value* an important addition to the English-language scholarship on paintings in Naples
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Additional info for Art and Architecture in Naples, 1266-1713: New Approaches (Art History Special Issues)
Prior to his arrival in Naples Vasari had developed close ties to the Olivetans through the work he had completed for them in a number of their other houses on the Italian peninsula. His initial connection with the Neapolitan monastery of Santa Maria di Monteoliveto was made through his early patron and friend, Don Miniato Pitti, the abbot of the Olivetan house in Pistoia, together with Don Ippolito of Milan, both of whom helped to facilitate the commission. 53 Vasari was asked to paint the refectory of the monastery and to decorate the walls and the ceiling of the room with scenes appropriate for the space as the monks’ primary dining hall.
95 The political stability and longevity of the Vene tian state was celebrated by panegyrists from the late medieval period onwards in what came to be known as the ‘myth’ of Venice. See John Martin and Dennis Romano, eds, Venice Reconsidered: The History and Civilization of an Italian City-State, 1297– 1797, Baltimore, 2000, 2. 37 3 THE RISE OF THE COURT ARTIST: CAVALLINI AND GIOTTO IN FOURTEENTH-CENTURY NAPLES C AT H L E E N A . F L E C K [. ] fu dottissimo infra tutti gli altri maestri. Lorenzo Ghiberti, 1455 In this quotation from his Commentaries on the work of earlier artists, the ﬁfteenth-century artist and historian Lorenzo Ghiberti presents a high opinion of the Roman painter and mosaicist Pietro Cavallini (c.
And Filippo was free of domestic cares and he gave himself over to the study of them, so that he cared neither to eat or to sleep . . having two great ideas in his mind: the one to restore the knowledge of good architecture . . the other to ﬁnd a way, if it were possible, of raising the cupola of S. 40 Vasari considered a sojourn in Rome as a sine qua non for a truly successful artist. In addition to the classical remains available in Rome, the city was the centre of the Catholic Church. It therefore offered numerous opportunities for obtaining patronage from the princes of the Church.
Art and Architecture in Naples, 1266-1713: New Approaches (Art History Special Issues) by Cordelia Warr, Janis Elliott