The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
David Young Kim
Format: PDF / Kindle (mobi) / ePub
David Young Kim carefully explores relevant themes in Giorgio Vasari’s monumental Lives of the Artists, in particular how style was understood to register an artist’s encounter with place. Through new readings of critical ideas, long-standing regional prejudices, and entire biographies, The Traveling Artist in the Italian Renaissance provides a groundbreaking case for the significance of mobility in the interpretation of art and the wider discipline of art history.
BOSCO, FRANCESCA. 1983. “Riflessi del mito di Venezia nella Pala Martinengo di Lorenzo Lotto.” Archivio storico bergamasco 5: 213–238. CORTI, GINO, AND FREDERICK HARTT. 1962. “New Documents Concerning Donatello, Luca and Andrea della Robbia, Desiderio, Mino, Uccello, Pollaiuolo, Filippo Lippi, Baldovinetti and Others.” Art Bulletin 44: 155–167. COSTA, SANDRA. 2000. “II libro dell’arte de Cennino Cennini dans les traités du XVIe siècle.” In Utilis est lapis in structura: Mélanges offerts à Léon
dello Stato, Libreria. ———. 2004. Roma quanta fuit ou l’invention du paysage de ruines. Paris: Somogy Éditions d’Art. ———. 2008. Le logge di Raffaello: L’antico, la Bibbia, la bottega, la fortuna. Translated by Chiara Formis. Milan: Jaca. DAL POGGETTO, PAOLO, AND PIETRO ZAMPETTI. 1981. Lorenzo Lotto nelle Marche: Il suo tempo, il suo influsso. Florence: Centro Di. DAL POZZOLO, ENRICO MARIA. 1995. Lorenzo Lotto ad Asolo: Una pala e i suoi segreti. Venice: Il Cardo. D’AMBRA, FRANCESCO. 1858.
also is the resurrection of the dead. It is sown in corruption; it shall rise in incorruption.” Likewise, the Vocabolario degli Accademici della Crusca (1612) defines death simply as “the separation of the soul from the body,” thus referring to the belief that physical death marks but one stage in the process culminating in eventual resurrection or damnation. “Death (rot, decomposition),” notes Caroline Walker Bynum in her study on the Christian resurrection of the body, “can be a moment of
said (or accused) to have not one, but two or several patrias, one where he was born, trained and works (Florence), others where he achieves further honors (Padua). Citing Cicero, Scardeone declared that this dual allegiance was often seen in distinguished men: Cato was a Roman citizen but also a native son of Tusculum. But the apparent tension between Donatello as a Florentine sculptor active in Padua dissolves upon closer inspection. Unlike Brunelleschi, who peruses and touches the physical
crossing regional and generational boundaries could be interpreted as a call for consensus concerning which models were worthy of study. As Cellini would later declare, these full-size and monumental drawings by Leonardo and Michelangelo were la scuola del mondo—“the school of the world.”6 Vasari had up to this point conceived mobility’s positive effects as replacing or eliminating a style of excess. Giotto’s travels throughout the Italian peninsula result in the demise of the maniera greca;