Examines the commission of the Vatican tomb of Pope Alexander VIII Ottoboni by his great-nephew Cardinal Pietro Ottoboni. Although neglected for centuries, the Ottoboni monument occupies the most strategic liturgical position in the complex of tombs in the Vatican basilica. It is impressive in scale, & offers a commanding presence on the path from the papal entryway to the apse & main altar, with a majestic papal effigy, a visually compelling narrative relief carving, & symbolically important allegories. Using unpublished archival documents in the Vatican & Lateran archives, this study discusses in detail the 30-year campaign for the construction of the tomb & identifies the artists & artisans responsible for the project. The monograph is comprehensive in its stylistic analysis, exploration of iconography, discussion of liturgical practice, & consideration of studio procedures beginning with patron & artist, architect & sculptors, & sculptor & artisans. reveals why the project required three decades to complete. "A well-written, informative, & important monograph. And, in the process, he has expanded our understanding of contemporary workshop practice and art making in the Rome of the later Baroque period. There are sections where the author's meticulous care & insightful reconstruction of events gives the reader a sense of ""being there"" in the day-to-day process of work on the site. These parts make for especially exciting and engaging reading." -- "An absolutely wonderful piece of work."
In 1985, the Sohio oil company commissioned Claes Oldenburg and Coosje van Bruggen to design and construct a large outdoor sculpture for its new corporate headquarters in Cleveland, Ohio. The result was Free Stamp, a bold and distinctive installation that captured both a Pop Art sensibility and a connection to the city's industrial past. Sohio executives approved the design, and work was already underway, when British Petroleum acquired the company. The new owners quickly decided that the sculpture was "inappropriate" for their building and attempted to rid themselves of Free Stamp by donating it to the city of Cleveland--a gift that the city initially had no desire to accept. After much debate and public protest, the sculpture found a home in Willard Park, where it stands today. This is the first study of any sculpture by Oldenburg and van Bruggen to examine the genesis of their art from conception to installation. Edward J. Olszewski has put together a fascinating narrative based on interviews with the artists, archival material from city records, and in-house corporate memoranda, as well as letters to the editor and political cartoons. He traces the development of the sculpture from the artists' first sketches and models to the installation of the completed work in its urban environment.
"Drawing is the basic form of expression in the visual arts and the foundation of an artist's training. This study considers the function of draftsmanship in the studios of the great Italian Renaissance masters, based on examples of approximately 120 drawings from the Cleveland Museum of Art and other collections, with many works examined and published for the first time."
Unique and fragile objects, old master drawings are kept in storage, their access limited to knowing scholars, other artists, and dedicated collectors. Now, through the sponsorship of the Midwest Art History Society and the commendable efforts of Burton Dunbar and Edward Olszewski, the drawings will be readily accessible to everyone. This first volume of Drawings in Midwestern Collections offers a full listing of old master drawings from collections throughout the Midwest. Thoroughly researched, this important reference book introduces a corpus of the rarest of European drawings through the year 1500, a time when artists had just begun to value drawings as works of art, and from which only a limited number of drawings have survived. Each of the thirty entries in this volume is written by a scholar who has immediate access to the artwork itself and who is a specialist in the art of that period. In addition to basic information about the work, the authors have commented on each drawing's artistic significance and on problems surrounding it. Included also are reproductions of the drawings as well as numerous illustrations of comparable works from other American and European collections. Drawings in Midwestern Collections presents previously unpublished technical information on many of the drawings, argues for the new attribution of several of them, provides an up-to- date summary of scholarship on each work, and, taken as a whole, provides insight into the diversity of the holdings of midwestern museums. The first in a series of books that will include all drawings in more than seventy midwestern collections, Drawings in Midwestern Collections: Volume I, Early Works is certain to enrich the lives of students, scholars, museum personnel, and the general public.
This is the first study to characterize the architectural patronage of Cardinal Pietro Ottoboni (1667-1740), and to identify twelve architects during his half century of patronage in his Ecclesiastical court of the Cancelleria. Most eminent among them were Filippo Juvarra and Domenico Gregorini. Commercial and private theaters in the palace are located from archival data, room measurements, drawings, diary accounts, Correspondence of the French Academy, and palimpsests of architectural details. The size, shape, appearance, capacity, and location of Filippo Juvarra's theater are discussed. Archival documents are cited to reveal why, how, and when it vanished. Detailed analysis is devoted to Juvarra's stage construction with its elaborate sets and moving apparatus. In his official function as Vice-Chancellor of the Church, it is well known that Ottoboni was positioned as a major patron of music, theater, and painting in late Baroque Rome. He was a librettist for oratorios performed by his resident composer, Arcangelo Corelli, and by Alessandro Scarlatti in venues in the palace, and in his basilica of San Lorenzo in Damaso, located in the palace grounds. His resident painters included Francesco Trevisani and Sebastiano Conca. He completed the construction of Bernini's Confessione in the nave of his basilica. As the sponsor of the Arcadian Academy, Ottoboni dictated taste in Roman cultural circles. His involvement in the competition for the fa#65533;ade of St. John Lateran is amplified. A grand overview is provided for the cardinal's commission of devotional machine constructed to rival the Lenten carnivals. As ephemeral constructions, and normally ignored liturgical phenomena, these are explored in detail for the first time. Late Baroque architecture, architectural patronage, Roman palace architecture Edward J. Olszewski, Case Western Reserve University, Cleveland, Ohio, U.S.A.
The Inventory of Paintings of Cardinal Pietro Ottoboni (1667-1740) is the study of the inventory of more than 500 art works, assembled on the death of Cardinal Pietro Ottoboni who had been vice-chancellor of the Church for fifty years. The cardinal's commissions are distinguished from the 387 paintings inherited from his great-uncle, Pope Alexander VIII, in 1691. The cardinal's taste and patronage are characterized from approximately 100 works identified in modern collections. Other archival information, diary accounts, artists' biographies, testaments, and guidebooks are consulted for insights into the cardinal's collecting habits.
This study is the first to offer a comprehensive overview of Parmigianino's 'enigmatic painting of The Madonna of the Long Neck in the Uffizi Gallery. It expands previous formalistic discussions to treat the subject in terms of iconography, semiotics, studio practice, and art theory. It is argued that the painting is not merely an example of mannerist extravagance, but that the Virgin in her extraordinary distension can be explained by a litany in Ecclesiasticus, with her enlargement read as a signifier of her mercy (Misericordia). Parmigianino's panel is interpreted as an Immaculate Conception. Because the magisterium had not fully defined the belief as dogma, the theological debate confused the artist and his contemporaries, but also gave them flexibility in their depictions of this abstract doctrine. The painting is situated with others of the subject from Leonardo and Giovanni Bellini to Federico Barocci and El Greco. The subject s genesis as a theological exercise is traced through the artist s drawings. Illus.