دوسو دوسی: نقاش دربار در رنسانس فرارا

From 1514 to 1542, Dosso Dossi was official painter to the court of Ferrara, one of the most enlightened centers of the Italian High Renaissance. His accomplished allegorical works and landscapes were very highly regarded--in 1568, Vasari, the leading critic of the time, described him as the greatest landscape painter in northern Italy. This book catalogs almost all of Dosso's surviving paintings, brought together in exhibitions by the Metropolitan Museum in New York and the Getty Museum in L.A. The authors use Dosso's work to demonstrate changing ideas during the Renaissance about the nature of art and the creative process of the individual artist. A wonderful example is Dosso's painting __Jupiter, Mercury, and Virtue__, in which Mercury ensures that Jupiter is not disturbed as he paints butterfly wings. Dosso was controversial in his time for painting directly onto a canvas without preparatory drawings; the catalog includes x-rays of the paintings that show how Dosso changed his compositions. It is fascinating to see his thought processes revealed directly in the layers of paint themselves. While recognizing that Dosso was a "slightly lesser genius" than Raphael or Michelangelo, or even Titian, who also worked at Ferrara, the catalog is an enchanting window on a highly cultured artistic community in 16th-century Italy. Like so many publications by the Met, this will be the standard work on its subject for a long time to come. __--John Stevenson__ Imagination, Sensual Delight, A Sharp Wit - These Qualities Were Enormously Prized In Sixteenth-century Ferrara, Where One Of The Most Cultured And Powerful Courts Of The High Renaissance Held Sway, Dosso Dossi Was The Idiosyncratic, Brilliant Painter Most Responsible For Turning Those Values Into A Glorious Artistic Reality. Dosso's Rich Color Schemes Are Akin To Those Of His Fellow North Italian Titian; He Learned Something About Innovative Composition From Raphael And About The Force Of The Body From Michelangelo. But His Paintings Have A Very Individual Appeal. In Leafy Natural Surroundings Containing An Array Of Animals And Heavenly Bodies, Events Unfold That Are Often Enigmatic, Enacted By Characters Whose Interrelationships Elude Definition. For This Exhibition, Almost All The Surviving Paintings Have Been Brought Together; In The Catalogue Entries Each One Receives A Fresh And Comprehensive Scholarly Discussion. The Catalogue Also Contains Essays That Describe Dosso's Artistic Career And The Highly Charged World Of The Court At Ferrara And That Probe The Visual Poetry And Subtle Wit Of His Work. The Illuminating Results Of An Extensive Campaign Of Technical Examination, Undertaken In Connection With The Exhibition, Are Discussed And Illustrated In Additional Essays And In Observations That Accompany The Catalogue Entries Throughout.--jacket. Dosso Dossi: His Life And Works / Peter Humfrey -- Fantasy, Wit, Delight: The Art Of Dosso Dossi / Mauro Lucco -- Dosso's Public: The Este Court At Ferrara / Andrea Bayer -- The Technique Of Dosso Dossi. Poetry With Paint / Andrea Rothe And Dawson W. Carr ; Dosso's Works In The Galleria Estense, Modena, And The Pinacoteca Nazionale, Ferrara / Jadranka Bentini ; Dosso's Works In The Galleria Borghese: New Documentary, Iconographical, And Technical Information / Anna Coliva. Peter Humfrey And Mauro Lucco ; With Contributions By Andrea Rothe ... [et Al.] ; Edited By Andrea Bayer. Catalog Of An Exhibition Held At The Galleria D'arte Moderna E Contemporanea, Ferrara, Sept. 26-dec. 14, 1998, The Metropolitan Museum Of Art, New York, Jan. 14-mar. 28, 1999, And The J. Paul Getty Museum, Los Angeles, Apr. 27-july 11, 1999. Includes Bibliographical References (p. 289-302) And Index. From 1514 to 1542, Dosso Dossi was official painter to the court of Ferrara, one of the most enlightened centers of the Italian High Renaissance. His accomplished allegorical works and landscapes were very highly regarded--in 1568, Vasari, the leading critic of the time, described him as the greatest landscape painter in northern Italy. This book catalogs almost all of Dosso's surviving paintings, brought together in exhibitions by the Metropolitan Museum in New York and the Getty Museum in L.A. The authors use Dosso's work to demonstrate changing ideas during the Renaissance about the nature of art and the creative process of the individual artist. A wonderful example is Dosso's painting Jupiter, Mercury, and Virtue , in which Mercury ensures that Jupiter is not disturbed as he paints butterfly wings. Dosso was controversial in his time for painting directly onto a canvas without preparatory drawings; the catalog includes x-rays of the paintings that show how Dosso changed his compositions. It is fascinating to see his thought processes revealed directly in the layers of paint themselves. While recognizing that Dosso was a "slightly lesser genius" than Raphael or Michelangelo, or even Titian, who also worked at Ferrara, the catalog is an enchanting window on a highly cultured artistic community in 16th-century Italy. Like so many publications by the Met, this will be the standard work on its subject for a long time to come. --John Stevenson