Carlo Dolci (1616–1687), arguably the greatest painter in 17th-century Florence, was admired and patronized by the city’s leading families. Best known for his half-length and single-figure devotional pictures, Dolci was also a gifted painter of altarpieces and portraits.
Written by a team of distinguished scholars, The Medici’s Painter offers new archival discoveries and insights and features cross-disciplinary approaches to Dolci’s life and art and the cultural and political contexts in which he worked. The volume sheds new light on Dolci’s significant and impressive body of work. The painter understood the power of his paintings to inspire contemporaries, and his works continue to compel individuals to look closely and feel deeply about art.
Eve Straussman-Pflanzer is head of the European Art Department and Elizabeth and Allan Shelden Curator of European Paintings, Detroit Institute of Arts.
Enhancing our understanding of early Italian female painters including Sofonisba Anguissola and introducing new ones such as Costanza Francini and Lucrezia Quistelli, this volume studies women artists, their patrons, and their collectors, in order to trace the rise of the social phenomenon of the woman artist.
In ten chapters spanning two centuries, this collection of essays examines the relationships between women artists and their publics, both in early modern Italy as well as across Europe. Drawing upon archival evidence, these essays afford abundant documentary information about the diverse strategies that women found for carrying out their artistic careers, from Sofonisba Anguissola’s role as a lady-in-waiting at the court of Felipe II of Spain, to Lucrezia Quistelli’s avoidance of the Florentine market in favor of upholding the prestige of her family, to Costanza Francini’s preference for the steady but humble work of candle painting for a Florentine confraternity.
Type : soutenance de thèse. Date : 14 novembre 2015 à partir de 14h30. Lieu : Institut National d’Histoire de l’Art, Galerie Colbert, 2 rue Vivienne, 75002, Paris.
Soutenance de thèse en Histoire de l’art de Kira d’Alburquerque,”Giovanni Battista Foggini et la sculpture à Florence à l’époque des derniers Médicis (1670-1737) : la condition sociale de l’artiste et la pratique du dessin“, sous la direction de Michel Hochmann.
Le jury sera composé de :
Mme Marion Boudon-Machuel, Professeure à l’Université François-Rabelais de Tours/CESR.
Mme Emmanuelle Brugerolles, Directeur d’études à l’École pratique des hautes études, Conservateur général du patrimoine responsable de la collection de dessins à l’École nationale supérieure des beaux-arts.
Mme Elena Fumagalli, Professore Associato, Università degli Studi di Modena e Reggio Emilia.
M. Michel Hochmann, Directeur d’études à l’École pratique des hautes études.
Mme Catherine Monbeig Goguel, Anc. Directeur de recherche, CNRS, musée du Louvre, département des Arts graphiques.
M. Philippe Sénéchal, Professeur à l’Université de Picardie-Jules Verne.