Friday 13 November, 2015
2.00pm - 5.30pm
Old Arts - 129 (Theatre B)
The Duchess in the Library: the print albums of Elizabeth Seymour Percy, 1st Duchess of Northumberland (1716-1776)
The Baillieu Library, University of Melbourne, houses nine albums of over 1200 early modern prints once owned by English arts patron and collector, Elizabeth Seymour Percy, 1st Duchess of Northumberland (1716-1776). The albums exhibit features of particular interest to print scholarship, including a unique approach to mounting not seen in other print collections; and original bindings which suggest a connection with the library of Robert Harley, Earl of Oxford (1661-1724). Unlike Northumberland prints in other international collections, the Baillieu prints are preserved in their original form - as albums - rather than as disbound, individual sheets. Evidence from her diaries indicates the Duchess herself may have arranged several of the Baillieu albums. The survival of the Duchess' own diaries and collection inventories provide a unique insight into the collecting, arrangement and display of prints by an aristocratic female collector. This paper will discuss initial research on the Baillieu Northumberland albums, the focus of doctoral studies from 2016.
Louise Box works in executive education at Melbourne Business School and serves on several arts boards and committees focusing on rare books, libraries, and the humanities. Her research interests include the collection and display of prints and illustrated books, architectural and design history and the connections between the arts and business. Her Master of Art Curatorship (University of Melbourne) minor thesis discussed the links between Dürer's commercial practices and contemporary marketing theory. She has also studied book history at the London Rare Books School (University of London) and the Bodleian Library Centre for the Study of the Book Summer School (University of Oxford).
Ottoman Turks in central Italian painting, 1453-1500: Matteo di Giovanni's "Massacre of the Innocents" series
This paper discusses the representation of Ottoman Turks in central Italian painting between 1453 and 1500 by using Matteo di Giovanni's "Massacre of the Innocents" series in Siena and Naples as a case study. The Turks conquered the city of Constantinople in 1453 and captured the town of Otranto in southern Italy in 1480. It has been argued that Matteo's paintings express a fear of the Turks by giving King Herod and his soldiers Turkish characteristics. After describing the relationship between the Italian Peninsula and the Ottoman Empire, Matteo's paintings are examined in the context of Massacre scenes more generally, as well as the tradition of depicting Muslim or otherwise Eastern figures. The depiction of Turkish figures and Turkish textiles is also discussed, suggesting a complex relationship between the two. Although Matteo's Turkish figures do not appear to have significantly influenced subsequent artists who depicted similar subjects, the artist's response to the Turks as expressed in his Massacre paintings offers insights into Sienese painting at the end of the quattrocento.
Adam Bushby is a lawyer and art history graduate. He has degrees in commerce and law from the University of Melbourne, a degree in art history with first class honours from the University of Melbourne, and a master's degree in art history from the Courtauld Institute of Art. Adam's research interests include the representation of Ottoman Turks and other foreign people in Italian Renaissance painting.
Mercantile parochial patronage in fifteenth-century Gloucestershire
The success of wool manufacture in fifteenth-century England created previously unattainable disposable wealth for the mercantile class. The Cotswolds was one of the principle regions for producing wool, and it was during this time that the region attained its greatest prosperity and international importance. An outcome of this increase in wealth was the rebuilding of many parish churches, the majority of which were funded solely by wool merchants. The interior of the church of SS Peter and Paul in Northleach was transformed by the heightening of the nave, widening of the aisles, an inclusion of a clerestory, and finely wrought concave moulded piers. The funds that enabled this were from a bequest made in the will of John Fortey (d. 1458) for £300 to complete the work 'already by me begun'. The fabric of Northleach, and John Fortey's will and memorial brass, provide an exceptional opportunity to understand the motives behind an individual's donation to the form and function of the parish church.
Susie Chadbourne is a recent graduate from The Courtauld Institute of Art, completing a Masters of Arts in European gothic architecture in July. Susie previously studied History of Art and English at the University of St Andrews and interested in the social and religious meaning attributed to gothic architecture in the Middle Ages. This talk is based on the research topic I undertook for my MA dissertation.
Turning a Figure in the Mind: examining the artistic practice of Battista Naldini
Like many Florentine draughtsmen of his generation, Battista Naldini (1535-1591) copied extensively, undertaking an intense study of the most famous antique and contemporary visual sources. The drawings of Naldini reveal that he adhered to a broad theory of imitation, first encouraged around 1560, when Battista studied in Rome. The small-scale figurative model (modello) was an essential heuristic device of the sixteenth century workshop and remained so for the Accademia del Disegno. Naldini approached the life model through his experience of modelli, sculptural fragments, and postural schemata such as contrapposto, double or chiastic contrapposto, and the figura serpentinata. This paper will examine how Naldini used sculpture for his figure studies, and responded to the work of his near contemporaries.
Marco Quabba is a PhD candidate in Art History at the University of Melbourne. His research centres on connoisseurship, Mannerism, and imitation, together with the technique and charm of drawings. He was a research intern at the Civico Gabinetto dei Disegni, Castello Sforzesco in 2011 under the Gandioli Fumagalli Foundation Milan Internship. He recently published three new drawings by Naldini and discussed the draughtsman's scrutiny of Albrecht Dürer's printed line.
Angelo Lo Conte:
Controlling the market: Camillo Procaccini's business strategy in Milan.
'Who changes country, changes his fortune' thus begins Malvasia's account of the Procaccini family in the second volume of the Felsina Pittrice, a 17th century history of Bolognese painting. In 1667 Malvasia travelled to Milan to collect information about Camillo (1561–1629), Carlo Antonio (1574–1630) and Giulio Cesare (1574–1625), three Emilian painters who in 1587 left Bologna to find better opportunities in Lombardy where, throughout three decades, they transformed the local artistic tradition, inaugurating an extraordinary season of artistic production characterized by the spiritual patronage of Cardinal Federico Borromeo and represented by a generation of painters known as pestanti: the painters of the plague. Read in modern terms, the Procaccini's story can be understood as an example of 17th century migration characterized by sudden success, remarkable achievements and precise business organization. In Milan the family developed a successful workshop organized halfway between a bottega familiare and a private art school, following a tradition already exemplified by the Carracci's Bolognese activity. By employing different specializations, excellent contacts with local patrons and join–ventures with smaller workshops, the Procaccini rapidly controlled the Milanese art market, renovating the Lombard artistic tradition with the pictorial novelties drawn from the art of Correggio and the Carracci as well as from the characteristic developments of contemporary Flemish painters such as Jan Soens, Paul Brill and Jan Brueghel the Elder. Starting from these premises, my paper investigates the business strategy adopted by the Procaccini, highlighting the fundamental role played by the bottega familiare in the development of the brothers' individual careers as well as in the transition of Lombard art from late Mannerism to early Baroque.
Angelo Lo Conte Graduated magna cum laude from the University of Milan, Angelo Lo Conte is completing a PhD in art history at the University of Melbourne with a dissertation on 17th century Lombard art. Angelo has presented the outcome of his researches in Oxford, Melbourne, Brisbane and Milan. He has published four peer-reviewed articles and recently completed his first book on Medieval Finnish Art.
Twenty magnificent temples of the arts: geographic schools in the Uffizi Gallery
In the final decade of the 18th century, the Uffizi Gallery took important strides forward towards the museum that we recognise today. Part of this was the introduction of a program of display based on artistic schools, which saw new rooms of French, Dutch, Flemish and German painting as well as Venetian, Tuscan and broadly Italian-school rooms. In 1794, 25 years after opening the doors to the wider public, the new director Tommaso Puccini set about fulfilling the Grand Duke's "sovereign intentions to arrange the pictures which had first been distributed according to their respective sizes, by school and era." Rather than a simple matter of reshuffling the existing collections, the rooms of geographic schools were assembled amidst a series of strategic exchanges with the Belvedere Gallery in Vienna, a broad shift in public taste and with the looming threat of Napoleonic invasion. This paper will explore the construction of these rooms, the challenges faced, the important objects that would enter and the reception received at the turn of the 19th century.
Callum Reid is a PhD Candidate at the University of Melbourne. His research fields include museology, printmaking, Renaissance and Baroque art and decorative arts, with a particular focus on the formation of collections and their reception. Alongside teaching in these fields, his research interests involve the history and provenance of objects, having spent several years working in the art market. He has recently published an article in The Burlington Magazine on the provenance of Annibale Carracci's Holy Family at the NGV. Callum is currently employed as the acting Curator of the University of Melbourne's Print Collection and he is soon to complete his thesis in Art History, examining the programs of display at the Uffizi Gallery in Florence during the Grand Ducal era.