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Early Bolognese Painting, Felsina Pittrice: Volume I:
Turnhout, Brepols, 2012 Hardback, XXVI+536 p., 7 b/w ill. + 150 colour ill., 220 x 280 mm. ISBN 9781905375844.
This richly illustrated volume provides a translation and critical edition of the opening part of the Felsina pittrice, which focuses on the art of late medieval Bologna. The text is unusual in the context of the Felsina pittrice as a whole in that it seeks to record what survives in the city, rather than focusing on individual artists. In response to Vasari?s account of the Renaissance of painting in Florence, Malvasia offers a colorful and valuable portrait of Trecento painting in Bologna, noting the location and condition of destroyed or whitewashed frescoes, dismantled polyptychs, and paintings for which no other record survives. Malvasia provides crucial information on works by important fourteenth-century painters such as Lippo di Dalmasio, Simone dei Crocefissi, and Vitale da Bologna. Included in the volume are historical notes to the text and to the transcriptions of the Scritti originali, published here in their entirety for the first time. The notes enrich our understanding of individual works and identify the sources Malvasia used. Elizabeth Cropper?s introductory essay serves to establish the significance of Malvasia as a historian of art, while Carlo Alberto Girotto?s bibliographical essay analyses the production and reception of the Felsina pittrice as a whole. Language : English, Italian.
Felsina Pittrice: Volume I: Early Bolognese Painting,
Turnhout, Brepols, 2012 Hardback, XXVI+536 p., 7 b/w ill. + 150 colour ill., 220 x 280 mm. Language : English, Italian. ISBN 9781905375844.
This richly illustrated volume provides a translation and critical edition of the opening part of the Felsina pittrice, which focuses on the art of late medieval Bologna. The text is unusual in the context of the Felsina pittrice as a whole in that it seeks to record what survives in the city, rather than focusing on individual artists. In response to Vasari?s account of the Renaissance of painting in Florence, Malvasia offers a colorful and valuable portrait of Trecento painting in Bologna, noting the location and condition of destroyed or whitewashed frescoes, dismantled polyptychs, and paintings for which no other record survives. Malvasia provides crucial information on works by important fourteenth-century painters such as Lippo di Dalmasio, Simone dei Crocefissi, and Vitale da Bologna. Included in the volume are historical notes to the text and to the transcriptions of the Scritti originali, published here in their entirety for the first time. The notes enrich our understanding of individual works and identify the sources Malvasia used. Elizabeth Cropper?s introductory essay serves to establish the significance of Malvasia as a historian of art, while Carlo Alberto Girotto?s bibliographical essay analyses the production and reception of the Felsina pittrice as a whole.
Felsina Pittrice: , Lives of Domenichino and Francesco Gessi, The Lives of the Bolognese Painters C. C. Malvasia.
, Brepols - Harvey Miller, 2012 Hardback, XXIV+414 p., 151 colour ill., 220 x 280 mm, Languages: English, Italian . ISBN 9781909400009.
Richly illustrated, 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. Review "Thanks to the Center for Advanced Study in the Visual Arts, Washington, DC, and above all to the publisher, Harvey Miller, these are volumes of the very highest quality, featuring large type, illustrations of all pictures, profound and extensive scholarship, and a translation on facing pages that makes Malvasia a pleasure to read. Harvey Miller has already set the bar high with its many volumes of the Corpus Rubenianum. The Malvasia is even more lavish (...)" (Theodore K. Rabb, in: The Art Newspaper, N 262, November 2014)
