This year the Center for Advanced Study in the Visual Arts welcomed fellows from Australia, Austria, China, Spain, the United Kingdom, and the United States. The topics of their research ranged from the architectural revolution of circa 1500 to painting and place in China during the mid-Ming period, from amatory tenderness in the early Roman Empire to fashion and costume in nineteenth-century art, from the art of Jusepe de Ribera to that of Albert Pinkham Ryder, and from visual culture in socialist Ethiopia to the origin and function of mirrors in ancient Greece. Read more
Modernism and Landscape Architecture, 1890–1940
Studies in the History of Art, Volume 78
Edited by Therese O'Malley and Joachim Wolschke-Bulmahn, 2015
The study of modernism in landscape architecture was long centered on well-known works of a few master designers and architects following War World II. This latest volume in Studies in the History of Art documents the broader cultural contribution of landscape architecture in the crucial period from 1890 to 1940. During these decades landscape architects organized as a profession distinct from art and architecture and brought a variety of theories and aspirations to designing for new lifestyles, urban growth, reinforcement of national identity, natural conservation, land use planning, and other challenges posed by rapid change. Twelve essays seek to identify the definition and significance of landscape modernism in examples from Germany, Belgium, Switzerland, Italy, Spain, England, the Czech Republic, Slovenia, Argentina, and the United States.
The Edmond J. Safra Visiting Professorship was created in 2002 to bring to the National Gallery of Art and CASVA for a period of months a colleague of international reputation whose presence inspires collaboration in research efforts across the Gallery, forging new relationships. Each of these distinguished visitors contributes to the passing on of knowledge and experience to an emerging generation of scholars, curators, and conservation scientists through meetings, both formal and informal, designed by the Edmond J. Safra Visiting Professor and CASVA in collaboration with Gallery staff. This publication celebrates the first twelve years of the professorship and profiles the professors in residence from 2003–2014.
This year the Center for Advanced Study in the Visual Arts welcomed fellows from Canada, France, Germany, Italy, the Netherlands, Switzerland, the United Kingdom, and the United States. The topics of their research ranged from effects of the electric illumination of Paris in the nineteenth century to gardens in the early Qing Dynasty, from plastic surgery after World War I to outsider art in New Orleans, from Persian gardens to the architecture of India’s Deccan region, and from medieval manuscripts to outliers in contemporary art.
Carlo Cesare Malvasia’s Felsina pittrice: Lives of the Bolognese Painters (PDF 845KB)
Volume 13, Lives of Domenichino and Francesco Gessi
Critical edition by Lorenzo Pericolo; translation by Anne Summerscale; essay by Elizabeth Cropper; historical notes by Anne Summerscale, Alexandra Hoare, Lorenzo Pericolo, and Elizabeth Cropper, 2013
This critical edition and English translation of Malvasia’s lives of Domenichino and Francesco Gessi from his Felsina pittrice offer access to the life and work of two great masters of seventeenth-century Bologna. Domenichino’s life plays a seminal role in Malvasia’s definition of the "fourth age" of painting in Italy. From the very beginning, Malvasia pits against each other Guido Reni and Domenichino, the two champions of the vanguard style that emerged from the Carracci reform of painting. If Guido becomes the idol of the Lombard and Bolognese school, "more attuned to tenderness and audacity," Domenichino embodies an ideal of perfection more in keeping with the Florentine and Roman school, "fond of finish and diligence."
Malvasia reports that he did not know Domenichino, and his reconstruction of the career of the master as he moved among Rome, Naples, and Bologna stands in stark contrast to Giovan Pietro Bellori’s more sympathetic account, published in 1672. If, to redeem the supremacy of the Bolognese school, Malvasia downplays the problem of Domenichino’s "erudition" and "fertility" of invention, he does so with hesitation and among unresolvable contradictions. His assimilation of Domenichino’s art to the Roman and Tuscan canon is, then, profoundly polemical. In this light, Malvasia’s life of Domenichino can be defined as the most tormented and ultimately unsuccessful eulogy in the Felsina pittrice: a great piece of art-historical criticism about an artist whose greatness Malvasia could not deny.
Malvasia’s assessment of the artistic personality of Francesco Gessi turns upon the painter’s rivalry with his master, Guido Reni, whose perfection in painting nevertheless remains unmatchable. In relating how Domenichino snatched away the highly talented Giovan Battista Ruggeri from his previous master, Francesco Gessi, Malvasia turns the conflicts inherent in Domenichino’s life into a generational struggle between artistic factions. In the process, Malvasia provides important biographical information about Giovan Giacomo Sementi, another of Guido’s disciples and Gessi’s lifelong rival. Copublished by the National Gallery of Art and Harvey Miller Publishers.