Abstract
Pisanello was born in 1397. We owe our knowledge of this date to the discoveries of Signor Biadego, because formerly it was thought that this painter was born about twenty years earlier, that is to say about 1380.
C. Cavattoni, The Carmini latini composti a mezzo il secolo XV in lode di Vittore Pisano, Verona, 1861; Bernasconi, Il Pisano, grand artefice veronese, Verona, 1862; Vasari-Milanesi, Le Vite, III, Florence, 1878, pp. 5, 23; Ch. Ephrussi,Vittore Pisano, Gazette des Beaux Arts, 2nd periode, XXIV. 1881, p. 106; J. Friedländer, Die Italienische Schaumünzen des fünfzehnten Jahrhunderts, Jahrb. de K. Preus. Kunstsamml., I–III, 1880–1882; A. Heiss, Les médaillons de la Renaissance, Vittore Pisano, Paris, 1881; L. Both de Tauzia, Vittore Pisano, L’Arte, 1882, p. 224; A. Venturi, La data della morta di Vittore Pisano, Alba Nazionale Rovighi—Valcavi, Modena, 1883; A. Armand, Les médailleurs italiens du quinzième et seizième siècle, 2nd ed., Paris, 1883; Bode u. v. Tschudi, Anbetung der Königen von Vittor Pisano und die Madonna mit Heiligen aus dem Besitz des C. Dal Pozzo, Jahrb. der K. Preus, Kunstsamml., VI, 1885; A. Venturi, Jac. Bellini, Pisanello e Mantegna in den Sonetten des Dichters Ulysse, Kunstfreund, Berlin, 1885, No. 19; The Same, Documenti sul Pisanello, 1433, Archivio Storico dell’ Arte, 1888, p. 424; M. Rossi, Il Pisanello e i Gonzaga, idem, p. 453; The Same, Il Pisanello graziato, idem. 1889, p 38; A. Venturi, Scoperto di un ritratto estense del P., idem, 1889, p. 165; D. Gnoli, Passaporto di P., Arch. Stor. dell’ Arte, 1890, p. 402; F. Ravaisson, Une oeuvre de P., Mem. de l’Ac. des Inscr. et B. Lettres, 1893 (wooden bust of woman in the Louvre); A. Gruyer, Vittorio Pisanello, Gazette des Beaux Arts, X, 1893, p. 353; C. Dodgson, Ein Studiënblatt des Vittore Pisano zu dem Fresko in Senastasia a Verona, Jahrb. der K. Preus. Kunstsamml., XV, 1894, p. 259 (reproduction reversed); E. Müntz, A propos de la nouvelle édition de Vasari, publiée par M. Milanesi, Revue de l’Art, 1894, pp. 98, 412; A. Venturi, Gentile da Fabriano u. Vittore Pisano, Jahrb. der K. Kunstsamml., XVI, 1895; The Same, Le Vite (del Vasari), Gentile da Fabriano e il Pisanello, Rome, 1896; E. Müntz, Pisanello, Revue de l’Art, 1897, p 67; A. Gruyer, L’art ferrarais à l’époque des Princes d’Este, 2 vols., Paris, 1897; E. Müntz, An Italian realist of the fifteenth century, Art Journal, 1898; Courajod, Leçons du Louvre, II, Paris, 1900; G. Zippel, Artisti alla corte degli Estensi nel Quattrocento, L’Arte, 1902, p. 406; G. Biadego, Discorsi e profili, Milan, 1903; C. von Fabriczy, Die Medaillen der Italienische Renaissance, Leipzig, 1903; A. Alexandre, P., L’Art et les Artistes, Jany 1904; G. F. Hill, P., London, 1905; Criticisms on Hill’s book, Burlington Magazine, VIII, 1905. p. 104; L’Arte, 1907, p. 82; F. Burger, Francesco Laurana, Strasbourg, 1907, p. 67; L. Ricci, Come debba chiamarsi il Pisanello, L’Arte, 1907, p. 376; Biadego, Pisanus Pictor, Atti del R. Ist. di Sc. Lett. e Arti di Venezia, LXVII2, 1908, p. 37; 1909, p. 229; A. Ventura, On Biadego’s discovery, L’Arte, 1908, pp. 318 and 467; 1910, p. 74; J. de Foville, idem, Revue de l’Art, 1908, p. 315; F. Burger, idem, Kunstchronik, 1908, p. 65; v Hadeln, idem, idem, 1908, p. 111; G. F. Hill, idem, Burlington Magazine, XVI, 1908. p. 288; G. Frizzoni, I nostri grandi maestri in relazione al quinto fascicolo dei disegni di Oxford, L’Arte, 1908, p. 81; K. Zoege v. Manteuffel, Die Gemälde u. Zeichnungen der A. Pisano in Verona, Halle, 1909; L. Testi, La Storia della pittura veneziana, I, Bergamo, 1909, p. 372; The Same, V. P. o. Pisanus Pictor, Rassegna d’Arte, 1910, p. 131; Criticism on K. Zoege v. Manteuffel’s book, L’Arte, 1910, p. 160; L. Testi, Quando nacque il P., Rassegna d’Arte, July 1911, p. 1; Les dessins de P. et de son école, conservés au Musée du Louvre, 4 vols., publiés par J. Guiffrey, Paris, 1911; G. Biscaro. Pisanus pictor alla corte di F. M. Visconti, Milan, 1911; C. Cipolla, Ricerchi intorno alla rhiesa di S. Anastasia in Verona, L’Arte, 1914, p. 396 (412); Nocq, Les médailles d’Antonio Pisano, Paris, 1914; A. Venturi, Un ritratto del P., L’Arte, 1918, p. 277 (man’s profile in the Capitol Museum); M. Krasceninnikova. Catalogo dei disegni del P., L’Arte, 1920, pp. 5,125, 226; J. de Foville, P. et les médailleurs italiens, Paris, no date; G. F. Hill, Gallows Studies by P, Burlington Magazine, XXXVI, 1920, p 305; A. Venturi, Per il Pisanello, Disegni inediti etc., L’Arte, 1921, p. 80; The Same. Del quadretto attribuito a Bono da Ferrara nella Galleria Nazionale di Londra, L’Arte, 1922, p. 105; A. Venturi, Un disegno inedito del Pisanello, Miscellanea per le Nozze Brenzoni-Giacometti, Verona, 1924; The Same, Per il Pisanello, L’Arte, 1925, p. 36 (portrait of a lady belonging to Duveen and a drawing in the Lugt collection).
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References
G. Ludwig, Archevalische Beiträge zur Geschichte der Venezianische Kunst (Italienische Forschungen, IV), Berlin, 1911, p. 120.
G. F. Hill, Burlington Magazine, May, XVI, 1908, p. 288. (9) Gaye, Carteggio.
G. Vallardi, Disegni originali di Leonardo da Vinci posseduti da G. V., Milan, 1875.
Reiset, Gazette des Beaux Arts, Vol. XV, 1877, p. 119. Both de Tauzin, Notice des dessins de la collection His de la Salle, Paris, 188r, p. 60.
Th. Frimmel, Der Anonimo Morelliano, Quellenschriften der Kunstgeschichte und Kunsttecknik etc., Neue Folge, I, Vienna, 1888, p. 30. It may be that Signor Da Strada had in his possession some of Pisanello’s medals because Michiel speaks as well of many “modern” medals in bronze, an adjective which he uses as opposed to the word “antique” which he employs in a description a few lines before. On the other hand it seems likely that if the medals he refers to were really by Pisanello he would have mentioned the name of the engraver whose signature is never missing.
Wickho jf, Der Saal des grossen Rathes in altem Schmucke. Repertor. f. Kunstw., VI, 1883, p. zo. A. Venturi, Le Vite, p. 5.
G. Lorenzi, Monumenti per servire alla storia del Palazzo Ducale di Venezia etc., Venice, 1861, p. 61.
F. Sansovino, Venetia citta nobillissima et singolare, Venice, 1591, P. 124.
Sloane 5226–57 pen and bistre on red paper. S. Colvin. Academy, XXVI, 1884, p. 338. E. Müntz, Revue de l’art, I, 1894, p. 70. Hill, op. cit., p. 32. Müntz is of opinion that several heads in the Vallardi collection and in that of the Duke of Devonshire at Chatswick were executed as rough drafts for some of the figures in this fresco.
P. Toesca, La pittura e la miniatura nella Lombardia, Milan, 1912, p. 448. Zoege von Mantea ffel, finds that they are executed in the artist’s manner.
O. Sirén, Dessins et tableaux de la Renaissance italienne dans les collections de Suède, Stockholm, 1902. p. 34; pen on paper. ()n the same page there are two other deer’s heads, hastily sketched and a fragment of a putto. The attribution has been doubted v. Hill, op. cit., p. 69’. I am more inclined to think that it is the work of Pisanello.
A. Venturi, Storia dell’ arte italiana, VII’, Milan, 1911, p. 248. (a) Hill. op. cit., p, 18.
verso (200) pen on pink paper. In the Albertina there is a page with two very similar sketches of the Child Christ; on the same page we see three studies of a young lady in profile with an immense coiffure, two showing the half-length figure, the third the head alone, and a bearded saint sitting on the ground (fig. 54) resembling similar figures on page 173 with which we shall deal presently. It may be that this is a copy made by a pupil. A. Stix u. L. Fröhlich-Bein, Beschreibender Katalog der Handzeichnungen in der Albertina, I, Venezianischen Schule, Vienna, 1926, No. io, attribute it to Pisanello himself. On the verso two hermits are represented.
J. Meder, Die Handzeichnung, Vienna, 1919, p. 394. In the same col lection there is still another drawing showing a nude figure with a boar and two dogs and another sketch of two female figures. In my opinicn these are copies made after Pisanello. An ornamental design of no great importance is. also attributed to Pisanello.
P. Nanin, Disegni di varie dipinture a fresco the sono in Verona, Verona, 1864, Hill, op. cit., pl. 7.
A. Venturi. Peril Pisanello, L’Arte, 1925, p. 36. The portrait was loaned to the Fogg Art Museum v. Report of the President of Harvard University, 1922–23.
A. Venturi, Un disegno inedito del Pisanello; the Same, L’Arte, 1925, p. 36.
Reprods. 71 and 72 v. H. Lavoix, Gazette des Beaux Arts, XVI, 1887, p. 24.
The historical facts have been published by C. Cippola, Ricerche storiche intorno alla chiesa di S. Anastasia in Verona, L’Arte, 1914, pp. 91, 181, 396.
B. C. Dal Pozzo, Le Vite de’ Pittori Veronesi etc., Verona, 1718, p.8, tells us that this fresco adorned the vault of the chapel.
Sold in public auction in London, May 1924. The drawing (No. 14) was attributed to Castagno who, according to Vasari, was once charged to make a sketch of a similar public execution.
G. B. L. G. Seroux d’Agincourt, Storia dell’ Arte etc. (Italian edition), IV, Prato, 1827, p. 425, and plate 144 of the “Pittura”.
Campori, Raccolta di cataloghi ed inventari inediti, Modena, 1870, p. 309. A. Venturi, II Pisanello a Ferrara.
F. Ravaisson, Une oeuvre de Pisanello, Memoires de l’Ac. des Inscr. et Belles Let., XXXIV, 2, Paris, 1895.
A. Venturi, L’Arte, 1925, p. 51. For attributions made without any grounds v. A. Venturi in his edition of Le Vite by Vasari, p. 7o.
Raimond van Marie, L’Iconographie de la décoration profane des demeures princières en France et en Italie au XIVe et XVe siècles, Gazette des Beaux-Arts, Sept.—Oct. and Nov.—Dec. 1926.
H. Martin, La miniature française du XIII au XV siècle, Paris-Brussels, 1923, pls. 47 and 48.
G. Fogolari, Un manoscritto perduto della biblioteca di Torino, L’Arte, p. 159.
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van Marle, R. (1927). Pisanello. In: The Development of the Italian Schools of Painting. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-2790-3_2
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