Abstract
In 1490, in a chapel of the Duomo, the city of Florence inaugurated a monument in praise of Giotto , adorned with a sculpted portrait by Benedetto da Maiano of the artist painting an icon of Christ.
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Notes
- 1.
On this point see Alexander Nagel, “Authorship and Image-Making in the Monument to Giotto in Florence Cathedral,” RES: Anthropology and Aesthetics, no. 53/54 (Spring–Autumn 2008): 143–51.
- 2.
See Antoine Quatremère de Quincy, Histoire de la vie et des ouvrages de Michel-Ange Bonarroti (Paris: F. Didot, 1835), 356. For a broader perspective, see Bruno Contardi, “La memoria dell’ artista. Morte dignitosa e dignità accademica,” Ricerche di storia dell’ arte, “Il mestiere dell’ artista,” no. 55 (1995): 29–39.
- 3.
Jules Salles, Les fêtes de Florence à l’occasion du IVe centenaire de Michel-Ange (Nîmes: Clavel-Ballivet, 1876), 40–41.
- 4.
Anna Lisa Genovese, La tomba del divino Raffaello (Rome: Gangemi Editore, 2015).
- 5.
“The Raphael Celebration at Rome,” Scientific American Supplement no. 385 (May 19, 1883): 6136.
- 6.
Emile Dilis, Le caveau sépucral de Rubens. Relation de son ouverture en 1855 d'après des documents authentiques inédits (Antwerp: Van Hille-DeBacher, 1913).
- 7.
Francis Haskell, “The Old Masters in Nienteenth Century French Painting,” The Art Quarterly 34 (1971): 55–85; M. Levey, The Painter Depicted. Painter as a Subject in Painting (London: Thames and Hudson, 1981).
- 8.
Alain Bonnet, Artistes en groupe. La représentation de la communauté des artistes dans la peinture du XIXe siècle (Rennes: Presses universitaires de Rennes, 2007).
- 9.
Theodore R. Bowie, The Painter in French Fiction. A Critical Essay. Studies in the Romance Languages and Literatures, no. 15 (Chapel Hill: University of North Carolina, 1950).
- 10.
Rachel Esner, “Nos artistes chez eux. L’image des artistes dans la presse illustrée,” in Alain Bonnet, ed., L'artiste en représentation. Images des artistes dans l’art du XIXe siècle (Lyon: Fages Editions, 2012), 151–56.
- 11.
On these different monuments see E. de Busscher, Jean-Robert Calloigne, sculpteur statuaire, Annales de la Société royale des beaux-arts et de littérature de Gand XIII (1873–1877): 4; A. Petre, Le sculpteur brugeois Jean-Robert Calloigne (1775–1830). Etude monographique, mémoire de licence (Brussels: Free University of Brussels, 1988); M. Rooses, Levensschets van Joseph-Jacob Ducaju (Brussels: Annuaire de l’Académie royale de Belgique, 1900), 121–30; E. Marchal, Essai sur la vie et les œuvres de Guillaume Geefs , membre de l’Académie (Brussels: Annuaire de l’Académie royale de Belgique, 1886), 185–228; E. Bartholeyns, Guillaume Geefs , Sa vie et ses œuvres (Schaarbeek, 1900); K. Pickery, Hendrik en Gustafs Pickery, Bruggse beeldhouvers (Bruges, 1892–1900), 2 vols. On the commemoration of artists in Belgium, see the extensive exhibition catalogue, Après & d’après Van Dyck—La récupération romantique au XIXe siècle (Antwerp, 1999), and particularly B. Stroobants, “L’école flamande en pierre et en bronze,” 25–33.
- 12.
See M. Mende, “Das Dürer-Denkmal in Nürnberg,” in H.E. Mittig and V. Plageman, eds., Denkmäler im 19. Jahrhundert. Deutung und Kritik (Munich: Prestel Verlag, 1972), 163–81.
- 13.
On Magni’s monument, see G.B. Brambilla, Il monumento a Leonardo da Vinci dello scultore prof. Cav. Pietro Magni, inaugurato il 4 settembre 1872. Notizie storiche (Milan, 1872); Memorie nel Bronzo e nel Marmo—Monumenti celebrativi e targhe nelle piazze e nelle vie di Milano (Milan: Federico Motta Editore, 1997), 224–25.
- 14.
On the Monument to Murillo, see J. Gallego, “Sevilla y el monumento a Murillo, 1834–1868,” Goya no. 169–171 (1982): 51–55; M.S. Garcia Felguera, La fortuna de Murillo (1682–1900) (Sevilla: Diputacion Provincial, 1989); M.S. Salavador, “Sabino de Medina y el monumento a Murillo en Madrid,” Archivo Espanol de Arte no. 253 (1991): 97–101. On the Monument à Ribera, C. Quevedo Pessana, Vida artistica de Mariano Benlliure (Madrid, 1947), 78–81; P. Tuero O’Donnell, Mariano Benlliure o Recuerdos de una familia (Barcelona, 1962), 112. On the Monument to Vélasquez and on the Monument to Goya, M.S. Salvador, La escultura monumental en Madrid: Calles, plazas y jardines publicos (Madrid: Editorial Alpuerto, 1990), 115 et passim, 220 et passim. For a general study on Spanish monuments, see C. Reyero, “La imagen del artista en la escultura monumental espanol (1864–1905),” Boletin del Museo e Instituto “Camon Aznar,” LXIV (1996): 21–43; J.P. Lorente, “Pintura y escultura de Historia: los grandes artistas a las puertas de los museos,” Historia y politica a través de la escultura pùblico, 1820–1920 (Saragosse, 2003), 145–172.
- 15.
Chris Brooks, The Albert Memorial: The Prince Consort National Memorial: Its History, Contexts and Conservation (New Haven: The Paul Mellon Centre for Studies in British Art, Yale University Press, 2000).
- 16.
See Alain Bonnet, “Le peintre statufié. Réflexions sur la représentation monumentale des peintres dans la sculpture du XIXe siècle,” Revue de l’Art (December 2008).
- 17.
P. de Chennevières, Inauguration de la statue de Poussin aux Andelys (Argentan, 1851).
- 18.
M. Albert, “Le Salon des Champs-Elysées—II—La sculpture,” Gazette des Beaux-Arts (1890/04): 64–65.
- 19.
Frederick C. Thomas sculpted the portraits of the most eminent portraitists on the façade of the London National Portrait Gallery at the end of the nineteenth century. See Graham Hulme, B. Buchanan and K. Powell, The National Portrait Gallery—An Architectural History (London: The National Portrait Gallery, 2000), 118–26.
- 20.
Thus from 1836, the façade of the Uffizi Gallery received the full-scale effigies of Michelangelo (by Emilio Santarelli), Leonardo da Vinci (Luigi Pampaloni), Andrea Orcagna (Niccolo Bazzanti), Donatello (Girolamo Torrini), Giotto (Giovanni Dupré), Nicola Pisano (Pio Fedi). See S. Iacopozzi, Le statue degli “Illustri Toscani” nell loggiato degli Uffizi (Florence: Alinea, 2000). For a general study of nineteenth-century artistic pantheons in the framework of museum institutions, see P. Hetherington, “Pantheons in the Mouseion—An Aspect of the History of Taste,” Art History 1, no. 2 (June 1978): 214–28.
- 21.
Alain Bonnet, “Ces Messieurs les Gros Bonnets: l’image des artistes officiels au XIXe siècle,” 48/14, La Revue du musée d’Orsay no. 31 (2011): 34–43.
- 22.
Alain Bonnet and H. Jagot, “L’hommage au grand peintre. Les commémorations sculptées de Paul Baudry ,” Paul Baudry , 1828–1886. Les portraits et les nus (Paris: Somogy, 2008), 302–18.
- 23.
On these issues, see, for example, Antoine Liliti, Figures publiques. L’invention de la célébrité 1750–1850 (Paris: Fayard, 2014).
- 24.
On this point see the anthology edited by Patricia-Laure Thivat, Biographies de peintres à l’écran (Rennes: Presses universitaires de Rennes, 2011). Also see Tom Holert, “La ruine du génie: rêves et traumatismes d’artistes dans le cinéma américain des années 1940,” Les « Vies » d’Artistes (Paris: ENSBA, Louvre Museum, 1996), 271–93; Steven Jacobs, Framing Pictures: Film and the Visual Arts (Edinburgh: Edinburgh University Press, 2011). I have drawn up a non-exhaustive filmography of films on this theme in the exhibition catalogue L’artiste en représentation, 265–66.
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Bonnet, A. (2018). The Glory of the Artist. In: Esner, R., Kisters, S. (eds) The Mediatization of the Artist. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-66230-5_16
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