#Baccio baldini

[lux-vitae]

Theseus and Ariadne at the Cretan Labyrinth by Baccio Baldini (c. 1460-70)

[rhianna]

Bachannalian Scenes, Mythology, Mantegna, & Tarok Cards

APA Citation

Eckenstein, L. (1902). Albrecht Dürer.London: Duckworth & Co..

[centuriespast]

BALDINI, Baccio Mercury on a Triumphal Car 1465 Engraving Graphische Sammlung Albertina, Vienna

[mysterious-secret-garden]

Anonymous, attributed to Baccio Baldini - Theseus and Ariadne, 1460.

[alexislegallo]

Baccio Baldini, Thésée et Ariane, XV

[bones-ivy-breath]

Samuel Profeta Engraving by Baccio Baldini, 1470

From The New York Public Library.

[cma-prints]

The Prophets: Amos, Baccio Baldini, c. 1470-1475, Cleveland Museum of Art: Prints

Medium: engraving

https://clevelandart.org/art/1954.562

[harvard-art-museums-prints]

Solomon, Baccio Baldini, 15th-16th century, Harvard Art Museums: Prints

Harvard Art Museums/Fogg Museum, Gray Collection of Engravings Fund

https://www.harvardartmuseums.org/collections/object/276630

[italianartsociety]

Reviving the Sibyls in 15th-Century Rome

Throughout the development of Renaissance Rome a flourishing revival of the Eternal City’s classical origins took place. A notable symptom of this is the renewed interest in the pagan sibyls in Rome’s visual culture from 1400. These prophetesses, having received little attention from patrons and artists throughout the Middle Ages, suddenly appeared widespread across Rome in various domestic and ecclesiastical buildings. More significantly still, this was the first time these women were given a secure iconography and identifiable attributes, breaking with the tradition practiced by artists such as Giovanni Pisano and Benozzo Gozzoli to only identify, sometimes only depict, the Erythraean Sibyl.

In Rome one can find monumental images of the sibyls by such artists as Pintoricchio, Filippino Lippi, Raphael and Michelangelo, all emerging in the 15th or 16th centuries. This sudden re-emergence has caused scholars to question the reasons why these women were subject to such enthusiastic resurgence. Robin Raybould recently commented that this came about as a result of the rise in interest in the sanctity of Marian cults following a series of disasters which shook Rome in the 14th century: ‘What better servants and icons of the Mother of God than the women who, according to St. Jerome (Adversus Jovianum 1.41), because of their own virginity, were worthy to receive and communicate the word of God.’

The emergence of a solid, humanist iconography for the sibyls can be dated back to a commission of Cardinal Giordano Orsini. In the 1420s the cardinal ordered for the camera paramenti of his palace in Rome to be decorated with frescoes of the twelve sibyls, as described by Lactantius and Augustine after the writings of ancient Roman scholar Varro (116-27 BC). Although these frescoes no longer survive, they were faithfully copied by Baccio Baldini in a set of engravings. It was these sibyls which formed the basis for subsequent depictions across Rome. In Santa Maria del Popolo, Santa Maria Sopra Minerva, Santa Maria della Pace, the Sistine Chapel and many other spaces one can encounter diverse approaches to painting the sibyls, from the delicate feminine forms of Filippino Lippi to the weighty muscularity of Michelangelo. Renaissance images of sibyls can read as wonderful case studies in the differing styles of artists, in the navigation of gender issues in images of women, and in the careful consideration of pagan images in Christian contexts.

Reference: Robin Raybould, The Sibyl Series of the Fifteenth Century, Leiden: Brill, 2016.

Baccio Baldini, Tiburtine Sibyl, c.1470-80, engraving, British Museum.

Filippino Lippi, Delphic Sibyl, 1489-91, fresco, Carafa Chapel, Santa Maria del Popolo, Rome.

Raphael, Sibyls, c.1514, fresco, Santa Maria della Pace, Rome.

Giovanni Pisano, Sibyl and Angel, 1301, marble, Sant’Andrea, Pistoia.

Michelangelo, Libyan Sibyl, 1511, fresco, Sistine Chapel, Rome.

(Images: Web Gallery of Art)

Further Reading: Charles Dempsey, The Early Renaissance and Vernacular Culture, Cambridge: Harvard University Press, 2012.

Posted by: Matthew Whyte

[stefanoavvisati69]

Da Batman a Wonder Woman, i supereroi conquistano la capitale

Una collettiva di artisti legati al mondo del fumetto e della nuova arte Pop: la mostra organizzata da Arte e Città a Colori e curata da Craving Art, sarà visitabile fino al 12 Gennaio L’appuntamento è a Roma presso il Wire Coworking Space, Via Baccio Baldini n. 12, in zona Piazzale della Radio, la mostra SUPERARTE – Il Supereroe diventa Arte. Una collettiva di artisti legati al mondo del…

[plmq]

Circle of Baccio Baldini or Maso Finiguerra, Hercules and Anteaus, c. 1470–75. Pen and brown ink and brown wash over black chalk, 32.6 22.6 cm. London: British Museum (1889,0527.33). Photo: Trustees of the British Museum.

“Hercules is placed behind his opponent but in a more equal embrace, resulting in heads and knees being on roughly the same level. The entwined, sodomitical couple, of a beardless youth and a fully bearded, mature adult, seems to share the same torso and the same genitals. Antaeus’s genitals hang between Hercules’s legs as though the bodies have merged at the physical source of lust. Hercules now battles his own ‘generic vice’ within himself but the self-reflexivity of the action also brings into pictorial form a case of physical and sexual union.”

https://pdfs.semanticscholar.org/5c6f/d5bf9a4988b3eaaab00802e5f6bf36f1e01a.pdf

[magictransistor]

Baccio Baldini (after Botticelli), Inferno I, c. 1481.

[jeannepompadour]

"Children Of The Planets" by Baccio Baldini, c. 1460

[cma-prints]

The Prophets: Jeremiah, Baccio Baldini, c. 1470-75, Cleveland Museum of Art: Prints

Medium: engraving

https://clevelandart.org/art/1949.416

[aleyma]

Attributed to Baccio Baldini, The Cruelty of Love, c.1465-80 (source).