Write to the booksellers
Theiler, Esther
Painters and Sitters in Early-Seventeenth Century Rome. Portraits of the Soul
Theiler, Esther: Painters and Sitters in Early-Seventeenth Century Rome. Portraits of the Soul. Turnhout: 2023. 336 pages, 6 black & white and 146 colour illustrations. Hardback. 28 x 22cms. Focusing on 17th century Roman works, four chapters discuss the relationship between artist and sitter (such as that between Annibale Carracci and Giovan Battista Agucchi), the disruption of portrait convention and the new focus on movement and affetti, the buffoon portrait, and self-potraiture and portraits of artists. Features portraits of Raffaello Menicucci, Giambattista Marino, Virginio Cesarini, and Cardinal Girolamo Agnucchi by artists like Simon Vouet, Caravaggio, and Gian Lorenzo Bernini. Three appendices of excerpts from letters and writings, including Marino's 'La Galeria'.
Reference : 124973
ISBN : 9782503590837
Focusing on 17th century Roman works, four chapters discuss the relationship between artist and sitter (such as that between Annibale Carracci and Giovan Battista Agucchi), the disruption of portrait convention and the new focus on movement and affetti, the buffoon portrait, and self-potraiture and portraits of artists. Features portraits of Raffaello Menicucci, Giambattista Marino, Virginio Cesarini, and Cardinal Girolamo Agnucchi by artists like Simon Vouet, Caravaggio, and Gian Lorenzo Bernini. Three appendices of excerpts from letters and writings, including Marinoâs âLa Galeriaâ. Text in English
Bookseller's contact details
Thomas Heneage Art Books
Thomas Heneage
42 Duke Street St James's
SW1Y 6DJ Londres
United Kingdom
+44(0)20 7930 9223
Payment mode
Sale conditions
Thomas Heneage and Co. Limited is a company that was founded in 1977 doing business as Thomas Heneage Art Books. It is Registered in England Number 657656 The Registered office and shop is 42 Duke Street St James’s, London SW1Y 6DJ. Our shop in London's gallery district of St. James's is open Monday to Friday 9.30am to 6pm (otherwise by appointment). Our VAT Number is: GB 242 1045 14 and the responsible director is T. P. W. Heneage. Thomas Heneage and Co. Limited has a fully paid share capital of £37,789. All prices are net. Postage is extra. Payment by Credit Card, PayPal, Cheque in GBP on a UK bank or in USD on a US bank or bank transfer All books are offered subject to prior sale. Books listed will normally be available as our computer updates the database automatically every 24 hours. Shipping: Orders are usually shipped within 2 days of payment Shipping costs are based on books weighing 2.2 LB, or 1 KG. If your book order is heavy or oversized, we may contact you to let you know extra shipping is required. Our Distance-Selling Cancellation Policy Right to cancel You have the right to cancel your orders within 14 days without giving any reason. The cancellation period will expire after 14 days from the day on which you acquire, or a third party other than the carrier and indicated by you acquires, physical possession of the last delivered goods that are covered by this contract. To exercise the right to cancel, you must inform us, Thomas Heneage Art Books of 42 Duke Street St. James’s, London, SW1Y 6DJ, United Kingdom (Our telephone number: 0044 (0)207 930 9223; E-mail address: artbooks@heneage.com) of your decision to cancel this contract by a clear statement (e.g. a letter sent by post, fax or e-mail). You may use the model cancellation form below, but it is not obligatory To meet the cancellation deadline, it is sufficient for you to send your communication concerning your exercise of the right to cancel before the cancellation period has expired. You shall send back the goods or hand them over to us without undue delay and in any event not later than 14 days from the day on which you communicate your cancellation from this contract to us. Books must be returned in the same condition as supplied, unused. The deadline is met if you send back the goods before the period of 14 days has expired. You will have to bear the direct cost of returning the goods. Effects of cancellation If you cancel this contract, we will reimburse to you all payments received from you, including the costs of delivery (except for the supplementary costs arising if you chose a type of delivery other than the least expensive type of standard delivery offered by us). We may make a deduction from the reimbursement for loss in value of any goods supplied, if the loss is the result of unnecessary handling by you. We will make the reimbursement without undue delay, and not later than – (a) 14 days after the day we receive back from you any goods supplied, or (b) (if earlier) 14 days after the day you provide evidence that you have returned the goods, or (c) if there were no goods supplied, 14 days after the day on which we are informed about your decision to cancel this contract. We will make the reimbursement using the same means of payment as you used for the initial transaction, unless you have expressly agreed otherwise; in any event, you will not incur any fees as a result of the reimbursement. We may withhold reimbursement until we have received the goods back or you have supplied evidence of having sent back the goods, whichever is the earliest. Please find our cancellation form in PDF format on our website : http://www.heneage.com/contact.htm Our Complaint Handling Policy We hope that you are happy with our services, but should you wish to make a complaint please feel free to do so in writing to artbooks@heneage.com, and we will address your concerns as swiftly as possible. We are a member of LAPADA and have access to their conciliation services.
1 book(s) with the same title
Painters and Sitters in Early-Seventeenth Century Rome. Portraits of the Soul
, Brepols, 2023 Hardback, 336 pages, Size:220 x 280 mm, Illustrations:6 b/w, 146 col., Language: English. ISBN 9782503590837.
Summary Significant innovations in portraiture occurred during the transitional period from the end of the sixteenth-century to the early seventeenth-century in Rome. Portraits by Annibale Carracci, Valentin de Boulogne, Anthony van Dyck, Simon Vouet and Gianlorenzo Bernini display a loosening of formality and a trend towards movement. These artists produced a portrait type that was more inclusive of the viewer, more communicative, more revealing of a private face. The portraits in this study were less likely to celebrate achievements, family or social standing, titles, rank or station. Instead they portray individuals who exist apart from their professional personae. They reveal unique and characteristic traits of their subjects captured at a particular moment in time. They used subtle affetti, painting technique and colour to express mood and atmosphere and evoke the presence of the sitter. The sitters include poets, courtiers, buffoons and the artists themselves, and each composition is attentive to the thoughts, emotions and imaginative life of the individuals. TABLE OF CONTENTS Acknowledgements List of Illustrations Introduction The image breathes Rhetorical devices in portraiture The ?motions of the mind?: painting the soul From the Renaissance to the Baroque Chapter One A portrait ?most rarely done full face? of a learned prelate Early seicento portraiture in Rome Venice and colorito Caravaggio and Annibale: ?the new baroque illusionism? The ?proximity and close association of the Monsignore and Annibale? Domenichino and Agucchi Agucchi's imprese: textual expressions of identity Erminia and the Shepherds Venere Dormiente - The Sleeping Venus The portrait of Giovanni Battista Agucchi Annibale Carracci as portraitist Annibale's illness Domenichino and portrait painting Del Mezzo: yearning for the middle Il Trattato della Pittura A portrait by Annibale Carracci or Domenichino? Chapter Two Painting as silent poetry: portraits of Giambattista Marino From decorum to modernit Ut pictura poesis Dicerie Sacre La Galeria Rome: ?with trembling feet, I leave behind myself? Early Roman portraits Caravaggio's portrait: ?another me . . . in two divided? Paris: the portrait by Frans Pourbus ?is very dear to me? Marino's triumphant return to Rome: ?music always, and always poetry, morning and evening? Ottavio Leoni's portraits of writers Maffeo Barberini's circle of poets portraits of the soul ?There are thousands of portraits of me in Rome?: Simon Vouet's lost portrait The ?speaking portrait? in Rome Virginio Cesarini: Fenice degl'ingegni Portrait of a buffoon Chapter Three The upside-down world The parasite The buffoon portrait in the Renaissance: the ?good-natured fool? The sixteenth century: ?the princely tables are cluttered with buffoons? Gabriele Paleotti: ?deformity not deformedly rendered? The seventeenth century: the individual in buffoon portraits Hairy Harry, Mad Peter, and Tiny Amon: court mascots and servants in an urban Arcadia Giangiovetta and the dwarf of the duke of Cr qui Raffaello Menicucci: the buffoon count of Monte San Savino Celeberrimus in utroque Orbe Terrarum: the printed portraits of Raffaello Menicucci Valentin de Boulogne Il Cassero: Rocca del Conte Valentin, il Babuino and Menicucci Tristano Martinelli: from buffoon to actor Bernardino Ricci: Il Tedeschino The ?self? portrait: the life makes the age Chapter Four Artist as virtuoso ?Done with the aid of a mirror? Narcissus: ?as he drank, he chanced to spy the image of his face? The reflection of the Creator Why paint self-portraits? Annibale Carracci's Self-portrait on an Easel Artemisia Gentileschi: ?the soul of this woman? Simon Vouet: absolute absorption Gian Lorenzo Bernini: showing that which does not exist Vel zquez in Rome: brushwork and the blur The expressive power of the brush Conclusion ?Here I am? Appendix I Appendix II Appendix II Bibliography Abbreviations Primary and Secondary Sources Photographic Credits Notes Index Key Subjects and Concepts
