References of "Bert, Mathilde"
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See detailMETHis VI. Images fixes / Images en mouvement
Bert, Mathilde ULg; Falque, Ingrid ULg; Hagelstein, Maud ULg

Book published by Presses Universitaires de Liège (2014)

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See detailLectures, réécritures et peintures à partir de Pline l’Ancien. La réception de l’Histoire naturelle en Italie, de Pétrarque à Vasari
Bert, Mathilde ULg

Doctoral thesis (2012)

This study examines the way in which the information given by Pliny the Elder in his Natural History concerning classical painting were perceived and exploited in Renaissance Italy, from Petrarch (c. 1350 ... [more ▼]

This study examines the way in which the information given by Pliny the Elder in his Natural History concerning classical painting were perceived and exploited in Renaissance Italy, from Petrarch (c. 1350) until the second edition of Vasari’s Lives (1568). It shows that references to Pliny that are discernible in various texts and works of art are means for us to understand some of the artistic, theoretical, and social issues inherent in pictorial practice at the time. Many different types of sources have been exploited in carrying out this research. In the first instance, information concerning the editorial transmission of the Natural History has been examined. Reception of Book XXXV, dedicated to classical painting, has been given special attention, particularly through the analysis of Renaissance copies of Pliny’s so-called Encyclopaedia, and the annotations, translations, derivations and commentaries to which this work gave rise at the time. Recourse to Pliny in artistic literature and in pictorial practice is then examined. Finally, the emulation of Apelles in artistic practise is considered through a study of the signature in the imperfect. This is, in fact, a way of signing paintings that Pliny attributes to the Greek painter and which artists in the Renaissance would adopt from the end of the fifteenth century. In addition to the substantial consideration given to Petrarch, Alberti, Ghiberti, Castiglione, Pino, Dolce and Vasari, this study also analyses references to Pliny in many other artists and humanists, such as Boccaccio, Guglielmo da Pastrengo, Villani, Guarino, Leonardo Giustiniani, Decembrio, Fazio, Landino, Perotti, Santi, Leonardo, Jacopo de’ Barbari, Bellini, Costa, Macrino d’Alba, Palmezzano, Raphael, Titian, Sebastiano del Piombo, Andrea del Sarto, Giovio, Damiano Zambelli, Aretino, Varchi, Giovio, l’Anonimo Magliabechiano and Giovanni Battista Adriani. Thus, via a series of individual and comparative readings that draw out the many links between art and humanism, this study highlights the various different forms that borrowings from Pliny could take, and the functions they had, as well as emphasising the main themes for which those borrowings were exploited, such as commentary on the cultural and social development of painting, and reflection on genres and pictorial styles (portrait, landscape, female nude, the debate about disegno and colorito, and the paragone of the arts). [less ▲]

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See detailDessin/Couleur : renégocier l’opposition à partir de Pline l’Ancien
Bert, Mathilde ULg

in SIC! Journal en ligne de l'école universitaire de journalisme de Bruxelles (2009)

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See detailLes genres picturaux à la Renaissance et leur modèle antique : émergence d’une classification
Bert, Mathilde ULg

in Journal de la Renaissance (2007), 5

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See detailPline l’Ancien et l’art de la Renaissance. Balises pour une étude de réception entre le Nord et le Sud
Bert, Mathilde ULg

in Revue Belge d'Archéologie et d'Histoire de l'Art (2006), 75

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See detailAlberti et Pline : l’éloge de la peinture
Bert, Mathilde ULg

in Albertiana (2005), 8

The apology of painting opening book II of De pictura contains the only reference to Pliny the Elder’s name by Alberti. From this reference and the study of its context, the present article intends to ... [more ▼]

The apology of painting opening book II of De pictura contains the only reference to Pliny the Elder’s name by Alberti. From this reference and the study of its context, the present article intends to cast light on some of the new theoretical questions Pliny helps to legitimize (valorisation of portraiture, primacy of painting, condemnation of the use of gold, enhancement of the painters’ social status and development of a good patronage) or to reject (biographical form). This work thus constitutes an introduction to a more systematic study of Pliny’s presence in Alberti’s text. [less ▲]

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