Giulia Bordignon, Monica Centanni The nymph unveiled (1485-1520)
The iconographic theme of the sleeping nymph unveiled by a satyr that appears
in Florence during the 1480's has, in all probablility, an allegorical and philosophical
valence in keeping with the coincidentia oppositorum between virtus
(the nymph), and voluptas (the satyr), embraced by Neoplatonism. The
theme soon migrates from Florence to Venice, Mantova and Ferrara. In the courts
in Northern Italy, the theme assumes a moralising bias: the satyrs become representations
of primary and animal instincts, of vitium and no longer voluptas
with a positive meaning. Finally, the theme becomes an iconographic topos
in which the myth is little more than a pretext, gradually becoming the commonplace
genre of 'bacchanals', and providing the repertory of ludic and erotic games
en plein air between the nymphs and satyrs.
Essays
Lorenzo Bonoldi Mercury and the Nymph: the theme and models
The combination of various elements from works originating from the School
of Mantegna (the engraving Virtus deserta, the monochrome The Nymph
Amymone), extrapolated from their original context and used as formal models,
are combined in a new composition by Lorenzo Leonbruno, a pupil of Mantegna.
The result is a new allegorical mythological scene - Mercury leaning to awaken
a sleeping nymph.
Lorenzo Bonoldi Sofonisba or Artemisia? Observations on a monochrome by Mantegna
The subject of a monochrome by Andrea Mantegna at the National Gallery in London
has been identified as Sophonisba, a virtuous Carthaginian princess who killed
herself with poison to preserve her honour. Some critics, however, maintain
that the woman in the painting could also be Artemisia, queen of Caria, as by
artistic convention the two women were depicted in similar ways - caught in
the act of drinking poison from a chalice.
In other works by Mantegna depicting heroines - Dido, Judith, Tuccia - the
female protagonists are always identified by several iconographic attributes
- every detail is significant and never casual, thereby helping to understand
the work. Not even the tree behind Sophonisba/Artemisia in the painted panel
in the National Gallery, therefore, can be considered merely an insignificant
part of the background, but as part of the heroine's story.
Whereas no plant features in the story of Sophonisba, Artemisia's name is connected
with a botanical species. Pliny the Elder includes the princess in the list
of women who gave their names to a plant. The tree behind the heroine could
therefore be a detail that can remove all doubt surrounding the identity of
the subject, suggesting that she is "Artemisia".
P&M
Giulia Bordignon, Katia Mazzucco, Federica Pellati The classics in motion
A Dadaist and Warburghian approach to analysing two icons "made in Italy"
Two symbolic images (the Gioconda and Giuseppe Verdi - belonging
respectively to the Renaissance and italian opera) are animated by windblown
hair: the advertising device recalls the dynamism of the car, the product being
advertised, and offers a contemporary expressive force for these iconic images.
The irreverent handling, under the influence of Dadaism, of images considered
untouchable by dint of their significant place in the history of art, (The
Gioconda with a moustache by Duchamp), has unexpected sanction in Renaissance
writings. For both Leon Battista Alberti and Leonardo himself windblown hair
is a rhetorical device - the portrayal of life is made more intense by movement,
without the need for automobiles.
Federica Pellati Anorexic model or eviscerated saint?
Fashion claims another victim is the motto of a new campaign to
sensitise the public to the problem of anorexia. Photographed 'mannequins' clearly
hint at the tradition of the so-called "simulacri da vestire", the
devotional sculptures of saints now frequently found in antique shops outside
any ritual context and literally stripped of their sacred attributes (fabrics
and valuable jewels).
News
Andrea Mantegna: one artist, three cities Mantegna e Padova 1445/1460 (Padua, Eremitani Museum), Mantegna e
le arti a Verona (Verona, Palazzo della Gran Guardia), Mantegna a Mantova
1460/1506 (Mantova, Fruttiere and Te Palace) 16 september 2006 - 14 january
2007
(Giulia Bordignon, Claudia Daniotti, Lorenzo Bonoldi)