The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
David Young Kim
David Young Kim carefully explores relevant themes in Giorgio Vasari’s monumental Lives of the Artists, in particular how style was understood to register an artist’s encounter with place. Through new readings of critical ideas, long-standing regional prejudices, and entire biographies, The Traveling Artist in the Italian Renaissance provides a groundbreaking case for the significance of mobility in the interpretation of art and the wider discipline of art history.
departed from Florence. See Merritt 1963; Merriman 1989; Wolk-Simon 1992, 74, 81n39; Parma 2001, 98. 60. VT, 924. 61. VDV, 2: 173–74; Deswarte-Rosa 2004; Sborgi 1976; Parma Armani 1976; Parma Armani 1986, 128–29. 62. VG, 2: 362; Quinci 2004. Giulio Bonasone’s engraving The Shipwreck of Aeneas done after the fresco (Bologna, Gabinetto Nazionale dei Disegni e delle Stampe, inv. 1709) conveys the appearance of the lost work in addition to the drawing of Triumphant Neptune (Oxford, Ashmolean
Jesi: Cassa di Risparmio di Jesi. AHL, DIANE COLE. 1996. Benozzo Gozzoli. New Haven: Yale University Press. AIKEMA, BERNARD. 1989. “Lorenzo Lotto: La pala di Sant’Antonino e l’Osservanza domenicana a Venezia.” Mitteilungen des Kunsthistorischen Institutes in Florenz 33: 127–140. ———. 1999. “The Lure of the North: Netherlandish Art in Venetian Collections.” In Renaissance Venice and the North: Crosscurrents in the Time of Bellini, Dürer and Titian, edited by Bernard Aikema and Beverly Louise
contrast, Cimabue advances upon their work “in a short period of time.” Employing the figurative language of spatial distance (pass÷ di gran lunga, avanzo), Vasari likens Cimabue’s progression in the arts to a journey, a theme that will find more sustained articulation in Part II. Vasari also puts style in the service of stressing ethnic differences and patriotic allegiance: “And although he imitated the Greeks, he executed many works in his patria, honoring it with the deeds he did there, and
Michelangelo Marrelli, formerly in the employ of the renowned print-maker Antoine Lafréry, stood accused of killing his colleague Gerolamo da Modena due to professional jealousy after the latter’s disfigured corpse was found in the Tiber River near the Ponte Sisto. The physical conflict between Andrea and Domenico, however, is best understood not as a matter of historical error. As has often been noted, the fatal altercation is a metaphor for the regional polemic between Florentine disegno and
5.19). And yet, for the Florentine artists and connoisseurs inspecting Perino’s work, Vasari explains, Michelangelo’s cartoon becomes the most salient point of comparison. This may of course be a case of viewing new or strange works of art in terms of others that are more familiar. Nonetheless, the Florentine reaction calls into question just how much romanità Perino’s style contains. What does seem at work is that artists’ mobility, be it Perino’s travel to Florence or Michelangelo’s move to