By Cordelia Warr, Janis Elliott
Usually overshadowed by means of the towns of Florence and Rome in art-historical literature, this quantity argues for the significance of Naples as an inventive and cultural centre, demonstrating the breadth and wealth of inventive event in the city.* Generously illustrated with a few illustrations in particular commissioned for this publication* Questions the normal definitions of 'cultural centres' that have ended in the overlook of Naples as a centre of creative value* an important addition to the English-language scholarship on paintings in Naples
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Extra resources for Art and Architecture in Naples, 1266-1713: New Approaches (Art History Special Issues)
77 It is extremely unlikely that this oversight was due to a lack of information. From the period he spent in Naples, Vasari would have been familiar with the great fame of Polidoro in the city. 78 By recounting only the sojourn in 1527, Vasari does not have to explain why Polidoro would wish to return to an artistic backwater. More than this, Polidoro’s journey to Naples is presented as forced on him by necessity. 79 Vasari invents his own beginning for Polidoro’s work in Naples recounting that although Polidoro came to the city in hope of ﬁnding patrons, instead he found Neapolitans indifferent to his talents.
Vasari, Le vite, vol. 4, 525. The exact dates of Vasari’s sojourn in Naples are not clear. It appears that he arrived in the autumn of 1544 and stayed until September 1545. Studies of Vasari’s work at Sant’Anna dei Lombardi include Pierluigi Leone De Castris, ‘Napoli 1544: Vasari e Monteoliveto’, Bollettino d’Arte, 66, 1981, 59–88; and Liana De Girolami Cheney, ‘Vasari and the Monteolivetan Order’, in Jeanne Chenault Porter and Susan Scott Munshower, eds, Parthenope’s Splendor: Art of the Golden Age in Naples, University Park, PA, 1993, 49– 80.
The Renaissance Artist, Architect and Antiquarian, University Park, PA, 2004, 1, 5. Antonio Rossellino’s Nativity of 1475 was carved in Florence and subsequently sent to Naples and installed in the Piccolomini Chapel in Santa Mario di Monteoliveto. Vasari, Le vite, vol. 3, 393. The tomb of Cardinal Rinaldo Brancacci was carved in Pisa by Michelozzo and Donatello and sent to Naples, where it was installed in the church of Sant’Angelo a Nido. Vasari, Le vite, vol. 3, 213. ‘[S]e bene indrizzato aveva il camino per venir sene a Roma, et in quella ultimare il ﬁne che si cava dallo studio della pittura.
Art and Architecture in Naples, 1266-1713: New Approaches (Art History Special Issues) by Cordelia Warr, Janis Elliott