Doni's Recycled Illustrations PP1.pptx

Doni was known as a plagiarist, a heretic, and an indiscriminate compiler frequently lacking originality, but also capable of creative imitation. His professional success was largely dependent on his ability to produce numerous works in a short period of time, profiting, not without guile, from the print industry in Venice, His eclecticism and recycling was not exceptional in the circle of the poligrafi. Doni's reuse of old woodcut illustrations in seemingly unrelated contexts was merely one aspect of his practice of recycling, borrowing, readapting, and plagiarism. But alongside pragmatic considerations and deceptive strategies, Doni's recycling of emblematic allegories in the Filosofia Morale served to express his disillusionment with contemporary society and its corruptions, a function that reflected the fundamental moralizing objectives of the Indian Panchatantra. (Lecture presented at the international conference: Rivalries, Social Networks, and Cultural Production in Early Modern Italy, May 30-31, 2016, at Tel-Aviv University.

Immediations, 2007

Myth-making in Versailles: the French 'liberating mission' in Algeria and Horace Vernet's Prise de fa Smala d'Abd el~ Kader MELANIE VANDENBROUCK no ]ens Haaning. The Relational Aesthetics of a Danish Artist and the Politics of Decerritorialism BILL ROBERTS 126 Research Forum: Boris Grays In Conversation jOHN-PAUL STONARD 6 Bdlori, G. P .• Till• Iii' <".< <?l rile M<>dau l'.riJJI<"rS, Smlprors<llrdArdrirw.<. A. Scdf:wick \Vobl, H. Wohl ami T. Mom~uJri (cd,.). C:nnbridg~. 200~. p.J~7: 'Carlo rhcre is no need for me to leave you my drawiug< <i11ce)"Otl know 50 well how to complete your.< 10 pcrfenion, 50 b~ content to let these oth~r.< who need them bav~ the benefit of them"_ 7 Sec Surherb11d Harris at "•4 above. p.117.

Renaissance Quarterly, 2013

Andrea Palladio e l'architettura della battaglia: con le illustrazioni inedite alle storie di Polibio. Venezia, Marsilio 2009. 330 pp.

The Burlington Magazine, 2010

Portraying the Prince in the Renaissance. The Humanist Depiction of Rulers in Historiographical and Biographical Texts , 2016

Recent scholarship has produced a revisionist interpretation of the Sphortias, an encomiastic epic poem written in the middle of the fifteenth century by the Italian humanist Francesco Filelfo, claiming that Filelfo criticized his hero under the guise of flattering praise. This paper argues that a closer reading of the passages upon which this new interpretation is based proves it untenable. In fact, the portrayal of Francesco Sforza and his antagonists in the Sphortias is a telling illustration of the modus operandi of a poet who was working in a precarious environment and who, in his search for patronage in the complex, multi-polar political landscape of Quattrocento Italy, felt the need to balance his manifold loyalties without endangering his employment prospects. The question should not be to what extent a poet in Filelfo’s position was “sincere” in praising or criticizing his hero or the latter’s enemies, but rather which message he wanted to convey, and which image he wanted to promote of himself as a producer of encomiastic literature. An examination of the Sphortias from this angle, reckoning also with Filelfo’s other writings about Sforza, illustrates the tension between the author’s declared intention to offer a true presentation of historical facts and the needs of panegyric literature. * Die Forschung hat erst jüngst eine Neuinterpretation der Sphortias vorgelegt, eines enkomiastischen Gedichtes, das vom italienischen Humanisten Francesco Filelfo Mitte des 15. Jahrhunderts verfasst wurde. Darin kritisiere, so der Grundtenor der Neuinterpretation, Filelfo seinen Helden unter dem Deckmantel eines schmeichelhaften Lobes. Der vorliegende Beitrag zeigt allerdings, dass dieser interpretatorische Ansatz bei genauerer Betrachtung der entsprechenden Passagen überhaupt nicht haltbar ist. Vielmehr spiegelt die Darstellung Francesco Sforzas und seines Gegenspielers in der Sphortias den modus operandi eines Poeten wider, der in prekären Verhältnissen arbeitete und sich deshalb in der multipolaren politischen Landschaft Italiens des 15. Jahrhunderts um Patronage bemühen musste, sich gleichzeitig aber auch gezwungen sah, seinen vielfältigen Verpflichtungen nachzukommen, ohne dabei seine Beschäftigungsaussichten zu gefährden. Vor diesem Hintergrund sollte also nicht danach gefragt werden, inwieweit ein Dichter in Filelfos Position ›aufrichtig‹ dabei war, seinen Helden oder dessen Feinde zu loben und zu kritisieren, sondern vielmehr welche Aussage er damit vermitteln und welches Bild er von sich als Enkomiasten befördern wollte. Eine Untersuchung der Sphortias unter einem solchen Blickwinkel, der darüber hinaus auch Filelfos andere Schriften über Sforza miteinbezieht, verdeutlicht die Spannung zwischen dem vom Autor verkündeten Vorhaben, historische Fakten wahrheitsgetreu darzustellen, und den Anforderungen panegyrischer Literatur.

Tutto è santo. Il corpo veggente - Everything is Sacred. The Seeing Body - Exhibition Catalogue, ed. by Michele Di Monte, Milano, 5Continents, 2022

Introductory essay of the exhibition catalogue "Tutto è santo. Il corpo veggente - Everything is Sacred. The Seeing Body", held at Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, 28 October 2022–12 February 2023

2018

The monumental editorial initiative to publish a National Edition of De prospectiva pingendi by Piero della Francesca (Sansepolcro c. 1410-1492) has recently been completed. The initiative is sponsored by the Ministry of Cultural Heritage and Activities and Tourism (MiBACT) and the Fondazione Piero della Francesca [1]. The book, published by the State Mint and Polygraphic Institute, is the third volume in the epic series –the National Edition of Writings by Piero della Francesca– established by Presidential Decree 26.2.1974 and initiated in 1985 (read more).