Jallier de Savault, 1762: Some Italian Drawings Rediscovered

Getty Research Journal, 2021

Of the three arti del disegno (arts of drawing)-painting, sculpture, and architecture-architecture was without doubt the quickest to free itself from the constraints of mimesis, which had held sway over the arts since antiquity. At the time of neoclassicism, architecture was ruled by a bundle of conventions that needed to be sufficiently constrictive to protect the art that seemed most prone to the idiosyncrasy and subjectivity of its practitioners. 1 However, on the eve of the appearance in 1838 of photography, which would rapidly redefine the concept of objectivity, an emerging generation of architects, influenced by recent developments in the historical and natural sciences, began out of a growing concern with objectivity to experiment with new graphic forms. The most prominent of these were Félix Duban, Joseph-Louis Duc, Henri Labrouste, and Léon Vaudoyer, who were active in Rome during the 1820s and 1830s as pensionnaires (boarding scholars) at the Académie de France, housed in the Villa Medici. They were heirs to a long academic tradition, insiders favored by the system of the École des Beaux-Arts, 2 and future civil servants mindful of their teaching obligations; nevertheless, in parallel with their official responsibilities, this generation of architects would redefine the social and formal demands on architectural drawing and renew architectural, archaeological, and historical practices. For almost four decades now, this generation-"Romantic" contrary to all expectations-has been the subject of nothing less than a rehabilitation, not always free from ideological implications, 3 undertaken mostly by American architectural historians, with Neil Levine, David Van Zanten, and Barry Bergdoll in the vanguard. All have noted the founding role of these artists' sojourn in Italy. Typically focused on a few major figures in architecture and a small number of their most impressive graphic works (the famous envois, or submissions to Paris, to which we will return), this history can be enriched by taking into consideration some of the less commanding artists along with the less monumental (though ultimately more diffuse and numerically greater; perhaps also more radically new and influential) graphic production. This work consists of countless studies of monuments executed by the architects in the years on either side of 1830 during their stay in Italy. 4

2016

Art and Experience in Trecento Italy, 2018

This study investigates the changing understanding of the role of the 'architect' in Italy during the sixteenth century by examining frontispieces to published architectural treatises. From analysis of these illustrations four attributes emerge as important to new societal understandings of the role of 'architect.' The first attribute is the desire to delineate the boundaries of knowledge for architecture as a discipline, relevant to sixteenth-century society. The second is the depiction of the 'architect,' as an intellectual engaged in the resolution of practical, political, economic and philosophical considerations of his practice. The third represents the 'architect' having a specific domain of activity in the design of civic spaces of magnificence not only for patrons but also for the city per se. The fourth represents the 'architect' and society as perceiving a commonality of an architectural role beyond the boundary of individual locations and patrons. Five treatises meet the criteria set for this study: Sebastiano Serlio's Regole generali di architetura sopra le Cinque maniere de gli edifici cioè, Toscano, Dorico, Ionico, Corinthio, et Composito, con gli essempi dell'antiquita, che, per la magior parte concordano con la dottrina di Vitruvio, 1537, his, Il Terzo libro nel qual si figurano, e descrivono le antichita di Roma, 1540, Cosimo Bartoli's translation of Alberti's De re aedificatoria titled L'architettura di Leonbattista Alberti, tradotta in lingua fiorentina da Cossimo Bartoli, Gentilhuomo, & Academico Fiorentino, 1550; Daniele Barbaro's translation and commentary on Vitruvius' De'architetura titled, I dieci libri dell'architettura di M. Vitruvio tradutti et commentati da monsignor Barbaro eletto Patriarca d'Aquileggia, 1556; and Andrea Palladio's I quattro libri dell'architettura,

The artist as reader: On education and non-education of early modern artists, eds Heiko Damm, Michael Thimann, e Claus Zittel (Leiden: Brill, 2013), 2013

With the overriding question of whether collectors purchased strategically or amassed drawings by accident, the Gernsheim Study Days at the Bibliotheca Hertziana in May 2023 will examine the full breadth of this early moment in the history of collecting works on paper.

This volume, number 13 in the Melbourne Art Journal series, brings together nine scholars who each explore an aspect of the art and architecture of Rome situated within the topography-or map-of Rome in the Renaissance and Early Modern periods, with several studies focusing on the eighteenth century. These are studies of sight and site: about how the appearance of different regions or aspects of the city intersect with complex systems of political, economic, social and artistic institutions and customs. Associate Professor David R. Marshall FAHA Is Principal Fellow, Art History, School of Culture and Communication, the University of Melbourne, and a fellow of the Australian Academy of the Humanities. He is a specialist in seventeenth and eighteenth century landscape and view painting, particularly the work of Giovanni Paolo Panini, Piranesi and Filippo Juvarra. His interest in architectural view painting was initiated by his research into the seventeenth-century architectural painters, Viviano and Niccolò Codazzi, resulting in his publication Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy (Rome: Jan di Sapi Editori, 1993). He has published widely since on architectural view painting and landscape painting in seventeenth- and eighteenth-century Rome in such journals as Art Bulletin, Burlington Magazine, Journal of the History of Collections, Artibus et Historiae, Storia dell' Arte and Journal of the History of Gardens and Designed Landscapes. He was the founder and editor of Melbourne Art Journal from 1997 to 2015, and in this role he edited (and contributed chapters to) monographs that include The Italians in Australia: Studies in Renaissance and Baroque Art (Florence: Centro Di, 2004), Art, Site and Spectacle: Studies in Early Modern Visual Culture (Melbourne, 2007), and most recently The Site of Rome: Studies in the Art and Topography of Rome 1400-1750, (Rome: L' Erma di Bretschneider, 2014). With Susan Russell and Karin Wolfe he was the editor of Roma Britannica: Art Patronage and Cultural Exchange in Eighteenth-century Rome, British School at Rome, London, 2010. Complementary to this monograph on the Villa Patrizi is his edition of the letters of Cardinal Patrizi (David R. Marshall (ed.), The Letters of Cardinal Patrizi 1718-1727' , Collectanea Archivi Vaticani (Dall'Archivio Segreto Vaticano. Miscellanea di Testi, Saggi e Inventari VIII , pp. 143-520.).