Renaissance Florence

Posted in Art, J. Paul Getty Museum, Manuscripts and Books, Research

Revisiting a Florentine Master

Left: A Bust of a Pope-Saint, about 1310-1315, Pacino di Bonaguida.  Pot-metal and clear glass, black and brown vitreous paint, 35 13/16 x 26 3/8 in. Museo dell’Opera di Santa Croce, Fondo Edifici di Culto, Ministero dell’Interno, Florence. Center: Saint Francis in Antiphonary, about 1320, Pacino di Bonaguida.  Tempera colors and gold leaf on parchment, 20 ½ x 13 15/16in.  Archivio di Santa Croce, Florence, Corale Q, fol. 121v (Photo: Bryan C. Keene). Right: Chiarito Tabernacle (detail), 1340s, Pacino di Bonaguida. Gilded gesso and tempera on panel, 39 7/8 x 44 11/16 in. The J. Paul Getty Museum, 85.PB.311
Left: A Bust of a Pope-Saint, about 1310-1315, Pacino di Bonaguida. Pot-metal and clear glass, black and brown vitreous paint, 35 13/16 x 26 3/8 in. Museo dell’Opera di Santa Croce, Fondo Edifici di Culto, Ministero dell’Interno, Florence. Center: Saint Francis in Antiphonary, about 1320, Pacino di Bonaguida. Tempera colors and gold leaf on parchment, 20 ½ x 13 15/16in. Archivio di Santa Croce, Florence, Corale Q, fol. 121v (Photo: Bryan C. Keene). Right: Chiarito Tabernacle (detail), 1340s, Pacino di Bonaguida. Gilded gesso and tempera on panel, 39 7/8 x 44 11/16 in. The J. Paul Getty Museum, 85.PB.311

New research on Pacino di Bonaguida, a central figure in the rise of the Renaissance in Florence. More»

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Posted in Behind the Scenes, Exhibitions and Installations, J. Paul Getty Museum, Prints and Drawings, Voices

Researching the Renaissance

Julian Brooks in Florence with reproductions of Andrea del Sarto's Renaissance drawings
Florence, del Sarto, and I.

“It’s amazing to be immersed in Andrea del Sarto’s home city, his drawings, paintings, frescoes, and his life, normally all so far away when I’m in L.A.” More»

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      ROSE

      This milky pink boomed into popularity because of a marketing ploy, a mistress, and its ambiguous origins.

      In an effort to compete with the renowned Meissen porcelain factory, the French Sèvres manufactory recruited the glamorous Madame de Pompadour (mistress to King Louis XV). Like a smart sponsorship deal, Sèvres gave her all the porcelain she requested. 

      Introduced in 1757, this rich pink exploded on the scene thanks to favoritism by Madame Pompadour herself. 

      The glaze itself had a weird history. To the Europeans it looked Chinese, and to the Chinese it was European. It was made based on a secret 17th-century glassmaker’s technique, involving mixing glass with flecks of gold.

      For more on colors and their often surprising histories, check out The Brilliant History of Color in Art.

      12/19/14

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