Public Painting and Visual Culture in Early Republican Florence

Bent, George R.

doi:10.1017/9781316488973

Cited by 3 publications

(3 citation statements)

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“…The church of Orsanmichele is located in the center of Florence along the Via dei Calziauoli, a major urban avenue that links the civic center of city (the Palazzo della Signoria, once occupied by its publicly elected governors) to its spiritual center (the cathedral and baptistery). Originally used as a monastery, the three-story rectangular building was converted into a grain loggia in the middle of the thirteenth century [41]. But when a painting affixed to one of the loggia's columns began to work miracles in 1292, the space was quickly transformed into a popular cult center [42].…”

Section: Case Studymentioning

confidence: 99%

“…3) [44]. The earliest of these, dedicated to the figure of Saint Bartholomew, was painted by an artist named Jacopo del Casentino on behalf of the Delicatessen Owners Guild and installed in Orsanmichele sometime around the year 1340 [45]. Andrea di Cione and his brother, Jacopo, painted a triptych for the Bankers Guild that was dedicated to Saint Matthew and installed in 1369 on a pier near the cult image of the Madonna and Child.…”

Section: Case Studymentioning

confidence: 99%

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A practical workflow for the 3D reconstruction of complex historic sites and their decorative interiors: Florence As It Was and the church of Orsanmichele

et al. 2022

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The Digital Humanities project Florence As It Was (http://florenceasitwas.wlu.edu) seeks to reconstruct the architectural and decorative appearance of late Medieval and early Modern buildings by combining 3D point cloud models of buildings (i.e. extant structures such as chapels, churches, etc.) with 3D rendered models of artworks that were installed inside them during the fourteenth and fifteenth centuries. This paper documents a novel bifurcated workflow that allows the construction of such integrated 3D models as well as an example case study of a church in Florence, Italy called Orsanmichele (https://3d.wlu.edu/v21/pages/orsanmichele2.html). The key steps worked out in the optimized workflow include: (1) art historical research to identify the original artworks in each building, (2) the use of LiDAR scanners to obtain 3D data (along with associated color information) of the interiors and exteriors of buildings, (3) the use of high resolution photogrammetry of works of art (i.e. paintings and sculptures) which have been removed from those buildings and are now in public collections, (4) the generation of point clouds from the 3D data of the buildings and works of art, (5) the editing and cojoining of a textured polygon model of artworks with a reduced size (using novel algorithms) point cloud model of the buildings in an open-source software tool called Potree so that artworks can be embedded in their original architectural settings, and (6) the annotation of these models with scholarly art historical texts that present viewers immediate access to information, archival evidence, and historical descriptions of these spaces. The integrated point cloud and textured models of buildings and artworks, respectively, plus annotations are then published with Potree. This process has resulted in the development of highly accurate virtual reconstructions of key monuments from the Florentine Middle Ages and Renaissance (like the fourteenth century building of Orsanmichele and the multiple paintings that were once inside it) as they originally appeared. The goal of this project is to create virtual models for scholars and students to explore research questions while providing key information that may assist in generating new projects. Such models represent a significant tool to allow improved teaching of art and architectural history. Furthermore, since the assigned location of some of the historic artworks within these sites are not always firmly known, the virtual model allows users to experiment with potential arrangements of objects in and on the buildings they may have originally decorated.

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Section: Case Studymentioning

confidence: 99%

Section: Case Studymentioning

confidence: 99%

A practical workflow for the 3D reconstruction of complex historic sites and their decorative interiors: Florence As It Was and the church of Orsanmichele

et al. 2022

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“…The first meeting organised within the scope of the Project was a two-day conference Communities of Print: Using Books in Early modern Europe in June 2016 3 . It investigated two related questions: how books created communities of readers, and what were the implications of this work for practitioners who store, catalogue and exhibit annotated rare books.…”

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confidence: 99%

Research Project “Communities of Print in Early Modern Europe”

Oates¹,

Эдуардовна²,

Baryshnikov³

2017

PTHA

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Research project "Communities of Print in Early Modern Europe"Over the last few decades, art history has been growing into a multidisciplinary field of research. One of its dimensions is visual culture studies 1 , which bring art history together with anthropology, social history, philosophy, psychology, geography and other disciplines. This approach extends the understanding of the objects of art by embedding them into contemporary outlook and practices. Regarding Renaissance Europe, the perspective of visual culture complements existing knowledge by including social, visual, economic dimensions of art in the whole picture. Such an approach seems to be especially valuable for this period, as the early modern Europe experienced a tremendous expansion of visual objects and constant change of the patterns of viewership. These changes developed new attitudes and practices of perceiving and using the objects of art and preconditioned the early mass production of these objects 2 .The printing press was one of these significant Renaissance innovations. It gave an impetus for the multiplication and dissemination of the books as the visual culture objects. Early modern books were not just a medium to reproduce the text, they also functioned as a commodity in domestic and international trade. They were also an object to collect, a product of a craft involving skilful artisans and artists. Books created communities of producers, owners, and readers; they increased the flow of texts in vernacular, sometimes across social, national and cultural borders [5, p. 1]. Books often included illustrations with their own aesthetical value, which sometimes influenced other types of applied arts, for example, painting, carving, and embroidery [3, p. 80; 7]. There were, however, limits to this "printing revolution". The printing press did not eradicate handwritten manuscripts, and for a long time printed books coexisted with the manuscript culture. Furthermore, printed texts could not replace traditional oral and visual media [3, pp. 78-79; 5, pp. 97-121].There was a powerful tension at the heart of early modern print culture. While the new printing presses allowed the creation of hundreds of uniform copies of different texts, in reality by the time those texts had been bound, bought and read each book became a unique artefact. Readers wrote in the margins or paid for expensive or cheap binding. Sometimes booksellers bound different texts together, creating unexpected (and unique) versions of the original works. Readers were also writers, annotating and changing their books in light of their unique experiences of life and their own reading patterns. So, in the face of mass production, the book 1 For visual culture studies, see: [4]; for changes in the art history and its connection to the studies in material culture, see: [6, pp. 3-28]. Критические обзоры и рецензии 691 reasserted its individuality through its existence as an artefact as well as a carrier of ideas. Nowadays, a scholar can hardly find two identical copies of early moder...

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Paradoxes of Inequality in Renaissance Italy

Cohn

2021

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This Element explores the longest spell that can be computed from quantifiable fiscal records when the gap between rich and poor narrowed. It was the post-Black-Death century, c. 1375 to c. 1475. Paradoxically, with economic equality and prosperity on the rise, peasants, artisans and shopkeepers suffered losses in political representation and status within cultural spheres. Threatened by growing economic equality after the Black Death, elites preserved and then enhanced their political, social, and cultural distinction predominantly through noneconomic means and within political and cultural spheres. By investigating the interactions between three 'elements'-economics, politics, and culture-this Element presents new facets in the emergence of early Renaissance society in Italy.

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Public Painting and Visual Culture in Early Republican Florence

Cited by 3 publications

References 82 publications

A practical workflow for the 3D reconstruction of complex historic sites and their decorative interiors: Florence As It Was and the church of Orsanmichele

A practical workflow for the 3D reconstruction of complex historic sites and their decorative interiors: Florence As It Was and the church of Orsanmichele

Research Project “Communities of Print in Early Modern Europe”

Paradoxes of Inequality in Renaissance Italy

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