Bernini disegnatore

The proceedings of the conference Bernini disegnatore: nuove prospettive di ricerca – held in Rome in April 2015 – have now been published. The collection includes initial results of my collaboration with Tod Marder on his new edition of Heinrich Brauer and Rudolf Wittkower, Die Zeichnungen des Gianlorenzo Bernini, 2 vols. (Berlin: Keller, 1931). Our essay examines the historiography of Brauer and Wittkower’s classic catalogue of Bernini’s drawings, and situates it within the intellectual biographies of its authors. Other contributions consider the history of the various repositories of Bernini’s drawings, the typologies of Bernini’s drawings, and case studies of drawings for specific projects by the artist.

From the publisher’s description:

I disegni del Bernini offrono una prospettiva privilegiata, un’opportunità di affrontare l’arte del cavaliere nella sua universalità come scultore, pittore e architetto, ma anche come inventore per le arti decorative, e ci permettono uno sguardo intimo nel laboratorio del genio, capace di adattare le sue invenzioni a circostanze in continua evoluzione e alle domande pressanti dei suoi committenti. Mentre l’esecuzione dei grandi progetti era delegata sempre più a una schiera di collaboratori altamente specializzati, il tratto personalissimo dei disegni ci riporta alla mano e al pensiero del Bernini. Sono disegni preparatori che fanno trasparire l’iter concettuale di occasioni grandi e piccole, ma anche studi di struggente naturalismo, ritratti parlanti di straordinaria vivacità e quei grandi disegni autonomi dell’ultimo Bernini, ormai non più semplice segno grafico ma strumento di contemplazione mistica.

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Sybille Ebert-Schifferer, Tod A. Marder, Sebastian Schütze, editors, Bernini disegnatore: nuove prospettive di ricerca, Storia dell’Arte (Rome: Campisano Editore, 2017).

C O N T E N T S

Prefazione – Sybille Ebert-Schifferer, Tod A. Marder, Sebastian Schütze

1. STORIOGRAFIA E STORIA DEI FONDI BERNINIANI

Brauer and Wittkower and the Corpus Berninianum – Susan Klaiber, Tod A. Marder

Wittkower, Bernini e il Gran Teatro del Barocco: il «progettar disegnando», la Verità e l’esempio del Pantheon – Marcello Fagiolo

I disegni di Giovan Lorenzo Bernini nelle collezioni dell’Istituto Centrale per la Grafica: considerazioni sul volume Gualtieri-Corsini – Rita Bernini

I disegni di Bernini e della sua scuola nella Biblioteca Apostolica Vaticana – Barbara Jatta

Il disegno nell’epistolario di Giovan Lorenzo Bernini – Giovanni Morello

2. TIPOLOGIA DEI DISEGNI

Bernini and the Creative Process: The Presentation Drawings – Louise Rice

I disegni del Cavaliere: l’arte del dono e i suoi rituali tra amicizia, familiarità e grande diplomazia – Sebastian Schütze

Le fontane di Bernini: disegni e bozzetti – Maria Grazia Bernardini

Bernini e il disegno di architettura – Elisabeth Kieven

Die ›fehlenden‹ Architekturzeichnungen Berninis. Kunstgeschichtliche Probleme und Verallgemeinerungen: Berninis ›kursierende Gedanken‹ – Werner Oechslin

Bernini per Parigi: disegnare progetti «dal vero» – Daniela Del Pesco

3. PROGETTO E PROGETTAZIONE

«Quatuor columnis non plus ultra»: Giovan Lorenzo Bernini e i disegni per il baldacchino di San Pietro a Roma (1624-1633) – Maria Grazia D’Amelio

Bernini inventore. Disegni berniniani per arti decorative – Francesco Petrucci

A Proposal for Two Drawings by Bernini in Leipzig – Ann Sutherland Harris

Giovan Lorenzo Bernini e l’elefante della Minerva: la storia e i personaggi attraverso i disegni della Biblioteca Apostolica Vaticana – Manuela Gobbi

Building Trades in Seventeenth-Century Bologna

Francesco Curti, Virtù et arti essercitate in Bologna (Trades Practiced in Bologna), Plate 6 (Building Trades), mid-17th century.
Los Angeles County Museum of Art (LACMA), M.69.7.1g / public domain
CLICK IMAGE TO ENLARGE

This print – one of a group of twenty depicting various trades – provides an excellent overview of the different kinds of workers found at an early modern construction site. Here, the specific context is mid-seventeenth-century Bologna, and the artist Francesco Curti illustrates around a dozen specific jobs, most conveniently labeled.

Misuratore and architetto: detail of above image

The range runs from the foppish architect – identified as “architetto” on the sheet of paper he holds – through the masons (“muratori”), painter (“imbianchitore”), stonecutter (“tagliapietre”), and unskilled manual laborer (“manouale”) apparently mixing mortar. Other figures include donkey drivers (“asinari”), a sawyer (“segantino”), a kiln operator (“fornasaro“), a plaster maker (“gessaruolo”), and a carpenter (“falegname”). Many of these vocational designations varied regionally – for instance, the “tagliapietre” was elsewhere known as a “scalpellino” – but the jobs performed were similar all across Italy.

The man standing to the left of the architect is most likely a misuratore, a building surveyor who measures the completed work for calculating the materials used and thus the costs. He holds his attribute, the measuring rod, but is not explicitly labeled with his occupation. Nonetheless, his role was central to the successful practical and financial administration of the building site.

The image gives an unusual glimpse into an active cantiere in Seicento Italy, and can serve as a valuable illustrated glossary for countless construction documents of the period.

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Do note the related plate with artists – painter, sculptor, relief carver, and engraver – but also merchants, soldiers, artillery specialists, and a letter carrier!

Entangled Histories, Multiple Geographies Proceedings Published

Papers from EAHN 2015, Belgrade

Most of the papers presented in October 2015 at the European Architectural History Network regional thematic conference Entangled Histories, Multiple Geographies are now available in the conference proceedings. At just over 300 pages, the proceedings include thirty-seven papers, many with numerous illustrations.

Contributions consider chronologies from ancient, medieval, and early modern through modern and contemporary, with topics examining issues such as cultural transfer, historiography, restoration, identity, and the politics of conflict. The conference featured a distinct emphasis on central and eastern Europe, as well as the eastern Mediterranean region, although other geographies were also represented.

Click here to download the EAHN 2015 proceedings.

Another Crumbling Facade – This Time in Turin

Minor Damage to Facade of San Lorenzo

Last week, the Turin newspaper La Stampa reported that some stucco fell off a rusticated quoin-like corner pilaster of the facade of San Lorenzo. Fortunately no one was injured when the debris landed on Piazza Castello below. The incident recalls the one in Modena last year, when portions of a corner capital at Guarino Guarini’s Theatine casa of San Vincenzo (now a courthouse) broke off and landed on the Canal Grande street below.

The photo gallery below takes advantage of La Stampa‘s generous Creative Commons CC BY-NC-ND 4.0 licensing for local reporting to share some images of the damage.

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The San Lorenzo facade predates Guarini’s arrival in Turin in late 1666. It is already visible in close to its current form in a fresco in the Stanza delle Magnificenze (c. 1662-65) at the Castello del Valentino. Originally an open portico on the ground floor with rooms above, the openings to the piazza were walled up in 1661, creating what now serves as the church’s narthex. Guarini’s church thus rose behind this preexisting portico block when it was constructed from 1670-1680.

Guarini’s own plans for the facade called for covering the existing structure with a kind of sheathing of pilasters, columns, and rich ornaments, possibly inspired by an unexecuted design (c. 1643) by Antonio Maurizio Valperga for the facade of the adjacent Palazzo Ducale, now Palazzo Reale. When Guarini’s design, too, remained unexecuted, and with few other intervening changes, the church facade still essentially corresponds to the state seen in the fresco at Valentino (view the fresco in the video at the bottom of this post).

San Lorenzo facade comparison

Comparison of Guarini’s proposed facade for San Lorenzo, Turin, with the extant building
Sources: Dissegni d’architettura civile, et ecclesiastica (Turin: Per gl’Eredi Gianelli, 1686), plate 5 (Getty Research Institute / Internet Archive /public domain); and Wikimedia Commons / public domain

As in Modena, one hopes that this minor incident serves as a wake-up call for the authorities to invest in necessary maintenance, if for no other reason than to protect the public from falling debris. (They should be well aware of the damage: the office of the relevant Soprintendenza is in the building next door.)

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Further reading:

Henry A. Millon, review of G. M. Crepaldi, La Real Chiesa Di San Lorenzo in Torino, Turin, 1963, in Art Bulletin 47, no. 4 (Dec. 1965): 531-532; here 531.

Susan Klaiber, Guarino Guarini’s Theatine Architecture, Ph.D. dissertation (Columbia University, 1993): 204-207; 216-218; 277-280.

Susan Klaiber, “Le fonti per San Lorenzo,” in G. Dardanello, S. Klaiber, and H. A. Millon, editors, Guarino Guarini (Turin: Umberto Allemandi & C., 2006): 328-337.

Interviewing Historians of Art and Architecture

Sources for Interviews, Conversations, and Oral Histories

This summer, the College Art Association (CAA) launched a new monthly series of interviews with artists, art historians, theorists, and other art professionals. The first interview, in June, was with art historian Linda Nochlin. The second, in July, with the theorist Lev Manovich. I noted the new series with great interest, since one of my current projects involves interviewing distinguished architectural historians and preparing transcripts of the conversations for publication (more on this project in the coming months). The CAA Conversations join a substantial body of interviews and oral histories documenting the disciplines of art history and architectural history, some of which date back a half century. Since I have found no central catalogue for this material, it seemed useful to collect links to relevant resources in this post.

The list presented here is highly subjective and limited to interviews available open access online. The conversations vary greatly in length, scope, and method. With some exceptions, only interviews with transcripts have been included. I ignored promotional interviews for book releases or upcoming events, instead looking for reflections on the history of the discipline, historiography, and other big questions. The selection is skewed to historians of pre-modern and early modern topics, with few conversations focusing purely on contemporary art and architecture. Anglophone sources predominate, only because little seems available in other languages. Some interviews were conducted decades ago, in the 1960s through 1990s, while others record more recent conversations. The links are grouped into interviews conducted by organizations, institutions, journals, and other publications.

Organizations

● College Art Association
The new CAA Conversations include a video and a transcript of the fifteen to twenty-minute interviews.

● Association for Art History (formerly Association of Art Historians)
The British professional organization for art history AAH (currently in the process of changing its name and design identity) has undertaken two interview projects in recent years. The first, AAH Oral Histories, consists of conversations with sixteen scholars involved in establishing and administering the organization from its foundation in 1974 (no transcripts available). The second, entitled Day in the Life of an Art Historian, comprises online interviews with a wide range of art historical professionals, each of whom answers ten standard questions about their day-to-day practice of the discipline.

Institutions

● Archives of American Art
As described on the website of the Smithsonian affiliate, “The Archives of American Art has one of the oldest and most respected oral history collections in the country.” Begun in 1958, the program has interviewed several dozen art historians, with transcripts available for twenty-eight interviews. The site also includes resources for oral history available to download (such as guidelines and sample questions).

● Dumbarton Oaks
The Harvard research center for Byzantine, Pre-Columbian, and Garden and Landscape Studies describes its oral history project as follows: “The Oral History Project at Dumbarton Oaks was begun in 2008 with the mission of interviewing and recording all people who are or have been significantly associated with Dumbarton Oaks and/or its founders, Mildred and Robert Woods Bliss.” Transcripts of over 120 conversations are currently available.

● UCLA / Getty Art History Oral Documentation Project
As described on the project webpage: “This series, a cooperative venture between the [UCLA] Oral History Program and the Getty Center for the History of Art and the Humanities, documents a generation of scholars who developed and elaborated paradigms of art history established in the late nineteenth century to forge a twentieth-century discipline.” Transcripts of eighteen interviews conducted between 1991 and 1995 are available.

● Getty Art History Oral Documentation Project
Twenty-two additional interviews conducted by the Getty Center for the History of Art and the Humanities between 1994 and 2001. The scope is comparable to that of its joint project with UCLA (above).

Journals

Architectural Histories
The open-access journal of the European Architectural History Network (EAHN) has published two interviews with scholars: James S. Ackerman and Kenneth Frampton. Future conversations will be included in the journal’s interview rubric.

Journal of Art Historiography
To date, the Journal of Art Historiography has published two interviews with scholars: Michael Baxandall and Donald Preziosi.

Perspective
The in-house journal of the Institut national d’histoire de l’art (INHA), Paris, has published seven interviews with scholars: Hubert Damisch, James Elkins, Tonio Hölscher, Jean-Paul Leclercq, Michel Melot, Jennifer Montagu, and Linda Nochlin.

Miscellaneous Publications

Brooklyn Rail
The arts journal published an interview with Barbara Novak in April 2007, and a particularly fascinating interview with Willibald Sauerländer in February 2010.

Enfilade
The serial newsletter of the Historians of Eighteenth-Century Art and Architecture published an interview with Mary Sheriff in July 2010.

Forma de Vida
This online journal published by the program in literary theory at the University of Lisbon presented a conversation with Jennifer Montagu in its issue no. 5, January 2015.

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Have I missed something? Please use the contact form to send ideas for future updates to this list.

Call for Papers: EAHN 2018 in Tallinn

European Architectural History Network Fifth International Meeting, 13-16 June 2018

Tallinn, Toompea moat
Source: Europeana Collections / Harjumaa Muuseum / Public Domain (CC0 1.0)

Although I am not involved with planning the next biennial EAHN conference, I am delighted to note the rich and stimulating Call for Papers for the Fifth International Meeting in Tallinn next year. The conference website describes the twenty-seven panels in detail. If you prefer a PDF, download it here. Take a look, there’s something for (almost) everybody!

Submission deadline: 30 September 2017

Abstracts are invited for the fifth European Architectural History Network International Meeting, in Tallinn, June 2018. Please submit your abstract by 30 September 2017 to one of the sessions and round tables listed below. Abstracts of no more than 300 words should be submitted straight to the session convenor(s). Include your name, affiliation, title of paper or position, a C.V. of no more than five pages, home and work addresses, e-mail addresses and telephone numbers.

Sessions will consist of either five papers or of four papers and a respondent with time for questions and dialogue at the end. Each paper should take no more than 20 minutes to present. Abstracts for session presentations should define the subject and summarize the argument to be made in the presented paper. The content of that paper should be the product of well-documented original research that is primarily analytical and interpretive rather than descriptive.

Round tables will have no more than six participants plus chairs and an extended time for dialogue, debate and discussion among participants and their public. Each discussant will have 10 minutes to present a position. Abstracts for round tables should summarize the position to be taken.

Papers may not have been previously published, nor presented in public. Only one submission per author will be accepted. All abstracts will be held in confidence during the selection process.

Session and roundtable chairs will notify all persons submitting abstracts of the acceptance or rejection of their proposals and comment upon accepted ones no later than 31 October 2017. Authors of accepted paper proposals must submit the complete text of their papers to their chairs by 15 February 2018. Chairs may suggest editorial revisions to a paper or position in order to make it satisfy session or round table guidelines and will return it with comments to the speaker by 15 March 2018. Chairs reserve the right to withhold a paper or discussion position from the program if the speaker has refused to comply with these guidelines. It is the responsibility of the chair(s) to inform speakers of these guidelines, as well as of the general expectations for both a session and participation in this meeting. Each speaker is expected to fund his or her own registration, travel and expenses to Tallinn, Estonia.

Consult the EAHN 2018 conference website for full details about deadlines, venue, and other conference information.

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Additional Guidelines for Paper Sessions:

No paper may have more than two authors. Final presented papers should be no more than 2500 words, although texts of up to 4000 words, including notes, may be included in the proceedings (submission to the proceedings is optional).

Additional Guidelines for Roundtables:

Initial position statements should be no more than 1250 words. Position statements of up to 2500 words including notes will be accepted for the proceedings (submission to the proceedings is optional).

Deadlines:

Submissions of paper proposals and roundtable discussions to session chairs:
30 September 2017

Communication by session chairs of acceptance or rejection and comments on accepted abstracts:
31 October 2017

Submission of Final Edited Abstracts to Session and Conference Chairs:
30 November 2017

Submission of Complete Draft of Paper or Position Statement to Session Chairs:
15 February 2018

Comments on Papers and Position Statements to be Returned by Session Chairs:
15 March 2018

Submission of Final Paper or Position Statement to Chair and, if to be included in Conference Proceeding, to Conference Chair:
1 April 2018

Download CFP
Click here to download this CFP in PDF form.

San Nicolò da Tolentino: Study Day in Venice

14 June 2017
Fulvio Lenzo has organized the upcoming study day I Tolentini da convento a università at the IUAV in Venice. The event will examine the history of the church and convent of San Nicolò da Tolentino from its origins as a Theatine church designed by Vincenzo Scamozzi to its current incarnation as the IUAV School of Architecture.

I am looking forward to participating with my talk “‘The First of the Congregation’: From the Tolentini toward a Theatinerarchitektur.” Other speakers will offer detailed looks at key episodes in the history of the church, the convent, and the restorations by Daniele Calabi and Carlo Scarpa.

Download the complete program here or view it on the IUAV website.

San Nicolò da Tolentino, Venice, facade by Andrea Tirali, begun 1706
Photo: Susan Klaiber / Creative Commons License

Open Access Sources on Guarini and Piedmontese Baroque Architecture

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Three Free Downloads
Birthdays are for celebrating and for birthday presents. So to mark the birthday of Guarino Guarini (born 17 January 1624), this post highlights three useful publications on the architect that are freely available online. The first two are traditionally included in any bibliography on Guarini and Piedmontese Baroque architecture, and the third one should be more widely known. Two of the items date to the heyday of studies on Piedmontese Baroque in the 1960s, while the third represents the state of Guarini scholarship at the turn of the millennium. All are hosted by generous institutional repositories: two at universities, and the third at the National Gallery of Art in Washington DC. As for language, there’s something for everyone, take your pick of German, Italian, or English.

1. Maria Anderegg-Tille, Die Schule Guarinis (Winterthur: P. G. Keller, 1962).
andereggtilleThis study originated as a dissertation at the ETH Zürich. It focuses primarily on architects operating and buildings constructed in Guarini’s wake in late seventeenth- and early eighteenth-century Piedmont. Some projects discussed, however, are directly tied to Guarini himself. Wittkower deemed it a “somewhat pedantic work, based on the categories developed by A. E. Brinckmann half a century before.” Yet it remains useful as one of the few publications to consider neglected projects such as the model for San Giacomo Maggiore in Campertogno or the chapel in Gerbido.

Download (17 MB)

2. Carlo Brayda, Laura Coli, and Dario Sesia, “Specializzazioni e vita professionale nel sei e settecento in Piemonte” and “Ingegneri e architetti del Sei e Settecento in Piemonte,” Atti e Rassegna Tecnica / Società Degli Ingegneri e Degli Architetti in Torino n.s. 17:3 (1963): 73-174.
brayda-coli-sesiaWittkower described this lengthy article as “731 names with brief biographies and chronological oeuvre catalogues. Extremely useful.” Although some of the information here is outdated (or was inaccurate to begin with, such as the specious attribution of Sant’Andrea in Bra to Bernini and Guarini, based on campanilismo), the catalogue remains the only convenient source of information on many minor architects of the Piedmontese Baroque. On Guarini, see pp. 113-114.

Download (75 MB)
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This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 2.5 Generic License.

 

3. Martha Pollak, “Guarino Guarini (1624-1683),” in The Mark J. Millard Architectural Collection, Volume IV: Italian and Spanish Books, Fifteenth through Nineteenth Centuries (Washington DC: National Gallery of Art, 2000): 178-183.
pollak-millardAn interesting account of Guarini’s career centered on his architectural treatise Architettura civile, published posthumously in 1737. Martha Pollak is one of the leading scholars of Piedmontese Baroque architecture and urbanism, and she provides valuable personal interpretive accents.
As a bonus, do take a look at the other three volumes cataloging the Mark Millard Architectural Collection at the National Gallery of Art in Washington: Vol. I: French Books; vol. II: British Books; and vol. III: Northern European Books.

Download (177 MB)

Fortuna del Barocco in Italia

Historiography of Baroque Art in Twentieth-Century Exhibitions

conference-poster

As part of its Programma di studi sull’Età e la Cultura del Barocco, the Fondazione 1563 per l’Arte e la Cultura has organized the upcoming conference Fortuna del Barocco in Italia: Le grandi mostre del Novecento (Turin, 28-29 November 2016).

The conference, based on a related research project headed by Michela di Macco and Giuseppe Dardanello, will examine issues concerning the reception of Baroque painting, sculpture, and architecture in twentieth-century exhibitions. The first day of the conference features a special emphasis on the exhibitions of Piedmontese Baroque art and architecture in 1937, 1963, and 1989, as well as exhibitions of Baroque sculpture and architecture in general. The entire second day of the conference will be devoted to exhibitions of Italian Baroque painting as reflected in shows focusing on the various regional schools in places like Bologna or Naples.

Speakers include Tomaso Montanari and Joseph Connors, and special appearances will be made by the grandes dames of Piedmontese Baroque studies, Andreina Griseri and Mercedes Viale Ferrero. I am delighted to be participating as a respondent for the discussion of architectural exhibitions.

Download the conference program for full information about schedule and venue, as well as the contact for RSVP (by 23 November).


Newsreel clip showing the eighteenth-century Peota Bucintoro gondola of the Savoy being transported to the Palazzo Carignano, Turin, for the 1937 exhibition Mostra del Barocco Piemontese
Source: Cinecittà Luce / YouTube

Histories in Conflict: Cities | Buildings | Landscapes

Jerusalem: panoramic view taken from the Mount of Olives, photograph by Joseph Philibert Girault de Prangey Source: Gallica / Bibliothèque nationale de France

Jerusalem: panoramic view taken from the Mount of Olives, photograph by Joseph Philibert Girault de Prangey
Source: Gallica / Bibliothèque nationale de France

EAHN 2017, Jerusalem: Call for Papers

Van Leer Jerusalem Institute, Jerusalem
13-15 June 2017

The European Architectural History Network is pleased to announce its Third Thematic Conference Urban Histories in Conflict. On the 50th anniversary of the Israeli occupation of East Jerusalem and the contentious unification it legislated, the conference aims to open up questions about the purpose of writing histories of urban conflicts. We ask how can historians account for the predicaments of violence and uneven distributions of power in the built environment, particularly in the face of current worldwide geo-political crises.

Download the full call for papers or consult the EAHN website for the latest conference updates.

Key Dates: abstract submission by 2 December 2016, full papers due by 1 May 2017.

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Reminder:

The EAHN Fifth International Meeting (Tallinn, 13-16 June 2018) Call for Session Proposals deadline is 12 December 2016. Download the call for sessions, or visit the conference website for more information.

Tallinn (Reval), by Matthäus Merian, 1640Source: ETH-Bibliothek Zürich, Bildarchiv / Fotograf: Unbekannt / Fel_038335-RE / Public Domain Mark

Tallinn (Reval), by Matthäus Merian, 1640
Source: ETH-Bibliothek Zürich, Bildarchiv / Fotograf: Unbekannt / Fel_038335-RE / Public Domain Mark