Mann - Federico Barocci

Reviewers of a recent exhibition termed Federico Barocci (ca. 15331612), the greatest artist youve never heard of. One of the first original iconographers of the Counter Reformation, Barocci was a remarkably inventive religious painter and draftsman, and the first Italian artist to incorporate extensive color into his drawings. The purpose of this volume is to offer new insights into Baroccis work and to accord this artist, the dates of whose career fall between the traditional Renaissance and Baroque periods, the critical attention he deserves. Employing a range of methodologies, the essays include new ideas on Baroccis masterpiece, the Entombment of Christ; fresh thinking about his use of color in his drawings and innovative design methods; insights into his approach to the nude; revelations on a key early patron; a consideration of the reasons behind some of his most original iconography; an analysis of his unusual approach to the marketing of his pictures; an exploration of some little-known aspects of his early production, such as his reliance on Italian majolica and contemporary sculpture in developing his compositions; and an examination of a key Barocci document, the post mortem inventory of his studio. A translated transcription of the inventory is included as an appendix.

Judith W. Mann is Curator of European Art to 1800 at the Saint Louis Art Museum, USA.

Visual Culture in Early Modernity
Series Editor: Kelley Di Dio, University of Vermont

A forum for the critical inquiry of the visual arts in the early modern world, Visual Culture in Early Modernity promotes new models of inquiry and new narratives of early modern art and its history. The range of topics covered in this series includes, but is not limited to, painting, sculpture and architecture as well as material objects, such as domestic furnishings, religious and/or ritual accessories, costume, scientific/medical apparata, erotica, ephemera and printed matter.

Sebastiano del Piombo and the World of Spanish Rome
Piers Baker-Bates

Early Modern Merchants as Collectors
Edited by Christina M. Anderson

Visual Culture and Mathematics in the Early Modern Period
Edited by Ingrid Alexander-Skipnes

Knowledge and Discernment in the Early Modern Arts
Edited by Sven Dupr, Christine Gttler

Renaissance Porticoes and Painted Pergolas
Nature and Culture in Early Modern Italy
Natsumi Nonaka

Federico Barocci
Inspiration and Innovation in Early Modern Italy
Edited by Judith W. Mann

The Realism of Piero della Francesca
Joost Keizer

Thresholds, Boundaries and Liminality in Netherlandish Art (13851550)
Lynn F. Jacobs

Images of Sex and Desire in Renaissance Art and Culture
Edited by Angeliki Pollali and Berthold Hub

https://www.routledge.com/Visual-Culture-in-Early-Modernity/book-series/ASHSER2107

Inspiration and Innovation in Early Modern Italy

Edited by Judith W. Mann

First published 2018

by Routledge

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Routledge is an imprint of the Taylor & Francis Group, an informa business

2018 The Saint Louis Art Museum

The right of The Saint Louis Art Museum to be identified as the author of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library

Library of Congress Cataloging-in-Publication Data

A catalog record for this book has been requested

ISBN: 978-1-4724-4960-3 (hbk)

ISBN: 978-1-315-11084-4 (ebk)

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BABETTE BOHN AND JUDITH W. MANN

CAROL PLAZZOTTA

CLAUDIO PIZZORUSSO

ALESSANDRA GIANNOTTI

STUART LINGO

BABETTE BOHN

JUDITH W. MANN

RICHARD E. SPEAR

DAVID EKSERDJIAN

Note: Unless otherwise specified, all works are by Federico Barocci.

The biggest thanks and debt of gratitude for this book must go to Babette Bohn, whose initial efforts were critical in getting this project off the ground. She was the one to initiate the proposal process and guide it along to fruition, and we are all in her debt for her energy, high standards, and excellent scholarship.

This volume is the happy culmination of a gathering of friends and colleagues in St. Louis in January of 2013 to talk about Federico Barocci. It was planned together with Babette and Carol Plazzotta, my teammates on the exhibition and my sage advisors on the symposium. I also must extend appreciation to Virginia Napoleone, the McKrindle Fellow at the National Gallery, London, who was also part of our team. The symposium was a huge success, and to that I owe thanks not just to Babette and Carol, but to the other speakers (and now authors) as well. I should also extend my gratitude to Suzanne Folds McCullagh who wasnt able to participate in the volume, but who offered her insights into Baroccis process with us at the conference. Finally, I should thank Claire Barry, who joined us for the panel discussion at the end of the last session, where she shared her deep understanding of the process and materials of Old Master technique.

Appreciation is also due to several people who supported the symposium in various ways, including George Wachter, Christopher Apostle, and Jason Herrick from Sothebys who hosted a lovely dinner. Enormous thanks are also due to Mark Weil and Joan Hall who opened their home and generously welcomed our group. I also want to thank BMO Private Bank, Sothebys, and the Missouri Arts Council, a state agency, who provided support for the exhibition and symposium.

As with any such event, it only happened through the hard work and kind spirits of many wonderful staff people at the Saint Louis Art Museum and Washington University in St. Louis. The symposium took place when the Museum was undergoing a major expansion and renovation project. The Barocci exhibition had the dubious distinction of being the last exhibition to be mounted in the former Special Exhibition Galleries in our venerable Cass Gilbert building. It proved a good thing given the sympathetic proportions and architectural detail that served the pictures quite well. The timing meant, however, that we had no auditorium. We were fortunate to have generously collegial friends at Washington University in St. Louis who allowed us the use of their facilities. For that, we are very appreciative, especially to Carmon Colangelo, Dean of the Sam Fox School of Design & Visual Arts. I must also thank Elizabeth Childs, Etta and Mark Steinberg Professor of Art History, Department of Art History and Archaeology, School of Arts and Sciences, who makes any collaborative effort memorable and rewarding.