School of Culture and Communication - Research Publications
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ItemRepresenting the Piazza del Quirinal in the reign of Clement XII: Panini's 'View of the Piazza del Quirinale'( 2002)By the eighteenth century some subjects for Roman view-paintings already had a long pictorial tradition, while others only came to prominence as a result of a site acquiring a new significance in the wake of papal building programs. One of the most important of these new subjects was the Piazza del Quirinale.
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ItemCarpaccio, Saint Stephen, and the topography of Jerusalem( 1984)Those buildings and topographical motifs in Jerusalem represented by Carpaccio in his Saint Stephen cycle are discussed, as are the ways in which they were represented by artists before Carpaccio. It can be deduced that Carpaccio's sole source for his renderings was in the woodcuts by Reuwich in the 1486 book by Breydenbach on the Holy Land. Suggestions of other sources and of a visit by Carpaccio may be discarded. Conclusions can be drawn about Carpaccio's approach to the representation of real landscape.
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ItemPiranesi, Juvarra, and the triumphal bridge tradition( 2003)This article examines the idea of the triumphal bridge from the Renaissance to Piranesi, by way of Flavio Biondo, Onofrio Panvinio, Pirro Ligorio, Nicolas Poussin, Fischer von Erlach, and Filippo Juvarra, in order to explore attitudes toward the reception and representation of ancient architecture. It shows how the eighteenth-century theme of the "magnificent (triumphal) bridge" had its roots in topographical inquiry and examines the contribution that Piranesi's interest in the archaeological problem of the triumphal bridge made to the creative process that resulted in the "Ichnographia", the large map of the ancient Campus Martius in his 1762 "Campo Marzio".
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ItemLa tentation néoclassique: les plafonds peints romains de Panini à Mengs(Musee Fesch, 2002)The following is the original English text of: Marshall, David R., ‘La tentation néoclassique: les plafonds peints romains de Panini à Mengs’, in Jean-Marc Olivesi (ed.), ‘Les Cieux en Gloire’. Bozzetti et modelli pour les eglises et les palais de la Rome Baroque, Musee Fesch, 2002, pp. 377-386. In 1711 Giovanni Paolo Panini arrived in Rome from Piacenza; fifty years later in 1761 Anton Raphael Mengs left Rome for Madrid. The former, better known as a painter of architectural capricci and vedute, was the heir to the Bolognese Baroque tradition of quadratura, or illusionistic architectural painting; the latter at the Galleria Albani rejected Baroque illusionism for the strict quadro riportato, or fictive framed easel painting, and so produced the first Neoclassical ceiling. Their paths seem hardly to have crossed, yet both worked for Cardinal Alessandro Albani, and both had to accommodate themselves to the mainstream of Roman ceiling painting, the illusionistic tradition stemming from Pietro da Cortona and reformulated in the last quarter of the seventeenth century in terms of an opposition between Carlo Maratta and G.B. Gaulli, Il Baciccio. Common to the masterpieces of these artists—the ceiling of the Salone of the Palazzo Altieri and the vault of the Gesù—is the ceiling cartouche, or rectangular field with semicircular ends, a framing motif that played so conspicuous a part in subsequent Roman ceilings that the history of the eighteenth-century Roman ceiling can be written in terms of the history of the relationship between the cartouche and the rest of the ceiling.