Speciális kollégium, 2007/8. I. félév - MÜN-302.02.06
Zenei témák az újkori
művészetben
Ágoston Julianna
Bibliográfia
I–II.
Wind, E.: Pagan Mysteries int he Renaissance, Oxford Univ. Press, 1980. (bővített új kiadás)
Walker: Studies in Musical Science in the Late Renaissance, Studies of the Warburg Institute, London, 1978
Lowinsky, E. E.: Epilogue: The
Music in „St. Jerome’s Study2, in: AB, 1959
Lowinsky, E.E.: Adrian Willart’s
Chromatic „Duo” Re-Examined, in:Tijdschrift
voor Muziekwetenschap 18, 1956.
Lowinsky E.E.: Origin and History of the Canon per Tonos, in: Titian. His World and His Legacy, ed. By D. Rosand, New York 1982.
Shinnemann, D.: Appendix IV. The Canon in Titian’s Andrians:
A Reinterpretation, in: Studies int he History of Art, 1974
Winternitz,E: A Lyra da Braccio in:
Giovanni Bellini’s Feast of the Gods, in: AB,
1946
Winternitz,E: Leonardo’s Invention
of the viola organista, in: Raccolta
Vinciana, XX, Milano, Castello Sforzesco, MCMLXIV
Winternitz,E: Melodic, chordal, and other drums invented by Leonardo da Vinci, in: Raccolta Vinciana, XX, Milano, Castello Sforzesco, MCMLXIV
Winternitz,E: Leonardo’s invention
of key-mechanisms for wind instruments, in:
Raccolta Vinciana, XX, Milano, Castello Sforzesco, MCMLXIV
Winternitz,E: Musical Instruments and their Symbolism in Western Art, New Haven- London, 1979
Wind. E: Bellini’s Feast of the Gods, Cambridge-Mass. 1948
Walker: Bellini and Titian in Ferrara, London, 1956
Fehl, Ph.: The Worship of Bacchus
and Venus in Bellini’s and Titian’s Bacchanals for Alfonso d’Este in: Studies in the History of Art, 1974
Marutes, H.: Personifications of
Laughter and Drunken Sleep in Titian’s Andrians,
in:BM 115, no.845, aug. 1973
Seznec, J.: Le survvivance des dieux Antiques, Studies of the Warburg Institute, vol.XI, London, 1940
Fehl, Ph.: The Hidden Genre. A Study of the Concert Champetre int he Louvre, in: Journal of Aesthetics and Art Criticism, 1957. dec., de elérhető Fehl gyűjteményes kötetében is: Decorum and Wit: The Poetry of Venetian Painting, Vienna, 1992
Dipingere
The Hoogsteder Exhibition of Music and Painting in the Golden Age, eds. Buijsen, E. – Grjip,L., Deen Haag, 1994
Colori della Musica. Dipinti, strumenti e concerti tra Cinquecento e Seicento, a cura di Annalisa Bini, Claudio Strinati, Rosella Vodret, Milano, 2000
III–IV – Apollo és
Marsyas
Winternitz, E: Musical Instruments and their Symbolism in Western Art, New Haven- London, 1979
Wind, E.: Pagan Mysteries int he Renaissance, Oxford Univ. Press, 1980. (bővített új kiadás)
Frölich-Bum, L.: Andrea Meldolla,
genannt Schiavone, in. Jahrbuch der
Kunsthistorischen Sammlungen der Allerhöchsten Kaiserhauses, 1913-14
Tietze, H.: Titians Paintings and Drawings, Vienna, 1937
Wethey, H.: Titian, London, 1969-1975
Panofsky, E.: Problems in Titian, mostly Iconographic, New York, 1969
Neuman, J.: Titian: Die Schindung des Marsyas, Praga, 1962
Fehl, Ph.: Realism and Classicism in the Representation of a Painful Scene: Titian’s Flaying of Marsyas (1968), in Fehl, Ph: Decorum and Wit: The Poetry of Venetian Painting, Vienna, 1992
Gentili, A.: Da Tiziano a Tiziano. Mito e allegoria nella cultura veneziana del Cinquecento, Milano, 1980
Kauffmann,G.: Peruzzis Musenreigen,
in: Mitteilungen des Kunsthistoorischen
Instituts in Florenz, XI 1963
Dollmayr, H.: Giulio Romano’ und das Classische Altertum in: Jahrbuch der Kunsthistorischen Sammlungen der Allerhöchsten Kaiserhauses, 1901
Hartt, F.: Giulio Romano, New Haven 1958
Rapp, J.: Titians Marsyas in Kremsier, in: Pantheon, 1987
Trapp, J.B.: The Owl’s Ivy and the Poet’s Bays. An inquiery into Poetic Garlands, in: JWCI 1958
Titian, Prince of Painters, Palazzo Ducale, Venezia – National Gallery, Washington, 1990
V–VI. – Parnasszus
The Works of Marcantonio Raimondi and his School, ed, by Oberhuber, New York 1978
Bologna e l’umanesimo 1490–1510. Bologna, Pinacoteca Nazionale, 1988
Fischel, O.: Raphael, London, 1962
Panofsky, E.: Renaissance and Renascences in Western Art, New York 1960
Winternitz,E: Musical Instruments and their Symbolism in Western Art, New Haven- London, 1979
Bober – Rubinstein: Renaissance Artists and Antique Sculpture. Oxford univ. Press, 1986
d’Este, Fallay: Un symbole neoplatonicien: le devise: le
devise du silence au Studiolo d’Isabella d’Este, in: Symboles de la renaissance, Paris, 1980. (2. ed.)
Tietze-Conrat, E.: Zur höfischen Allegorie der Renaissance, in: Jahrbuch der Kunsthistorischen Sammlungen in Wien, 1918
Tietze-Conrat, E.: Mantegna, London, 1955
Tietze-Conrat, E.: Mantegna’s Parnassus. A Discussion of a Recent Interpretation, in: AB, 1949
Wind. E: Bellini’s Feast of the Gods, Cambridge-Mass. 1948
Wind, E.: Mantegna’s Parnassus. A Reply to some recent Reflections, in: AB 1949
Gombrich, E.: An Interpretation of
Mantegna’s Parnassus, in: JWCI 1963
Tátrai Vilmos: Osservazioni circa due allegorie del
Mantegna. In: AHA 18, 1972
Lightbown, D.: Mantegna, 1986
Schröter, E: Die Ikonographie des Themas Parnass vor Raphael, Hildesheim-New York, 1977
Brown, M.: Comus. Dieu des Fêtes: Allegorie de Mantegna et de Costa pour le Studiolo d’Isabella d’Este- Gonzaga, in: Revue du Louvre, 1969
Boyancé, P.: Le Culte des Muses chez les Philosophes Grecs, Paris, 1937
„La prima donna del Mondo”. Isabella d’Este. Fürtsin und mäzenatin der Renaissance. Sylvia Ferino-Pagden, Kunsthistorisches Museum Wien, 1994
Ph. W.- Lehman, Karl: The sources and meaning of Mantegna’s Parnassus, in: Samothracian Reflections, Bollingen Series, Princeton Univ. 1973
Jones, Roger: ’What Venus did with Mars’. Battista Fiera and Mantegna’s Parnassus, JWCI, 1981
Campbell, Stephen J.: Mantegna’s Parnassus: reading, collecting and the studiolo, in: Revealing Renaissance Art, ed. By Gabriele Neher and Rupert Shepherd, Cambridge University Press, 2000
Andrea Mantegna, ed. By Jane Mrtineau, Metropolitan Museum of Art, New York – Royal Academy of Art, London, 1992
Ettlinger L.D.: Muses and Liberal Arts, in: Essays int he History of Art presented to Rudolf Wittkower, London, 1967
Barolsky, P.: Raphael’s Parnassus Scaled by embo, in: Source, vol. XIX, no.2. Winter 2000
VII-VIII-IX – Szférák
zenéje
Hammerstein, : Die Musik der Engel, Bern – München 1962
Tolnay, Ch: The Music of the Universe, in:Journal of the Walters Art Gallery 1943
Tolnay, K.: Tintoretto Paradicsoma in: Tolnay K.: Teremtő géniuszok, Van Eycktől Cézanne-ig, Budapest, 1987.
Katzenellenbogen: Virtues and Vices. The Sculptural Programs of the Chartres Cathedral. Baltimore, 1959
Cames: Allegories et Symboles dans l’Hortus Deliciarium, Leiden, 1971
Saxl, F.: Macrocosm and Microcosm in Medieval Pictures, in: Saxl: Lectures, London, 1957
Lightbown, D.: Botticelli. Life and Work, London, 1978
Walker: Studies in Musical Science in the Late Renaissance, Studies of the Warburg Institute, London, 1978
Cocke,: Veronese and Daniele Barbaro: The Decoration of Villa Maser, in: JWCI, 1972
Wind, E.: Pagan Mysteries in the Renaissance, Oxford Univ. Press, 1980.
Hinks, R.: Myth and Allegory in Ancient Art, London, The Warburg Institute, 1939
Winternitz, E: On Angelconcerts in the 15th century, in: Winternitz,E: Musical Instruments and their Symbolism in Western Art, New Haven- London, 1979
Kristeller, P.: Music and Learning in the Early Italian Renaissance, in: Kristeller: Renaissance Thought and the Arts, Princeton, Nrw Jersey, 1980
Walker, D.P.: Orpheus the
theologian and the Renaissance Platonists, in: JWCI, 1953
Mussakowski, S.: Raphael’s „St.
Cecilia”. An Iconographical Study, in: Zeitschrift
für Kunstgeschichte, 1968/1
Stefaniak, R.: Raphael’s Sta Cecilia: A Fine and Private Vision of virginity, in: AH, 1991/sept.
Indagini per un
dipinto.
Dosso: Zenei
allegória, Museo Horne, Firenze
Gibbons, F.: Dosso and Battista Dossi: Court Painters at Ferrara, Princeton Monograph in Art and Archeology 39. Princeton, 1968
Ballarin, A.: Dosso Dossi: La pittura a Ferrrara negli anni del ducato di Alfonso I. Cittadella 1994-95
Dosson Dossi. Court
Painter in Renaissance Ferrara
Catalucci, Valentina: Dosso e la maniera todesca…. In: Studi di Storia dell’Arte 17, 2006
Della Pergola: Gli inventari Aldobrandini: L’inventario delé 1682, in: Arte antica e moderna, no. 19, 1962. no. 21, no. 22, 1963
Della Pergola: L’inventario Borghese del 1693, in: Arte antica e moderna, no. 26, no. 28 (1964), no. 30 (1965)
Cavalli-Björkman: Camerino d’Alabastro: A Renaissance Room in Ferrara, in: Nationalmuseum Bulletin 11, 1987
Gamba, Carlo: Il palazzo e la raccolta Horne a Firenze, in: Dedalo, I, 1920
Parigi, Luigi: L’allegoria della musica di Dosso Dossi al Museo Horne, in: Rivista d’arte 22 (1940)
Slim, Colin H.: Dosso Dossi’s Allegory at Florence about Music, in: Journal of the American Musicoligical Society 43, 1990
Middeldorf, Ulrich: Die Dossi in Rom, in: Festschrift für Herbert von Einem zum 16. Februar 1965, ed. Gert van der Osten & Georg Kauffmann, Berlin, 1965
Calvesi, Maurizio: Recenzió Gibbons monográfiájáról(1968), in: Storia dell’arte, nos 1-2, 1969
Del Bravo, Carlo: L’Equicola e il Dosso, in: Artibus et Historie no. 30, 1994
Ph. W.- Lehman, Karl: The sources and meaning of Mantegna’s Parnassus, in: Samothracian Reflections, Bollingen Series, Princeton Univ. 1973
X–XI. – Múzsák koncertje – zene és asztrológia
Lindell, Robert: Das Musikleben am Hof Rudolfs II., in: Prag um 1600. Kunst und Kultur am Hofe Rudolfs II, Luca Verlag Freren, 1988
Heming, Michael: Die Tafelbilder Barthol. Sprangers 1546–1611, Essen, 1987
Panofsky, E: Hercules am Scheidewege, Leipzig 1930
Mirimonde, A.P.: Les Concerts des
Muses chez les maitres du Nord, in: GBA 1964,
Mars
Mirimonde, A.P.: Les Allegories politiques de „l’Occasion” de Frans Francken II in: GBA 1966, Mars
Mirimonde, A.P.:
Mirimonde, A.P.: Les Allegories de
Mirimonde, A.P.: Astrologie et Musique, Geneve, 1977
Panofsky, E.: „Good Government” or Fortune in: GBA, 1966, Dec.
D’Ancona, Paolo: Le rappresentazioni allegoriche delle arti liberali…, in: L’Arte, 1902
Van Marle, R.: Iconographie
de l’art prophane…,
Seligman, K.: Mágia és okkultizmus az európai gondolkodásban, Gondolat, Budapest, 1987
Filipczak, Zirka Zaremba: Picturing Art in Antwerp 1550–1700, Princeton University Press, New Jersey, 1987
Speth-Holterhoff, S.: Les Peintres flamands des cabinets d’amateurs au XVII, Bruxelles 1957
XII. – Niccolo
Frangipane zenei allegóriái
Meijer, Bert W.: Esempi del comico figurativo nel rinascimento lombardo, in: Arte Lombarda, XVI, 1971
Meijer, Bert W.: Niccolo Frangipane, in: Saggi e memorie di storia dell’arte 8
Meijer, Bert W.: Harmony and Satire int he work of Niccolo Frangipane: problems of the depiction of Music, in: Simiolus 6. 1972/73, no. 2.
Pagnotta, Laura: Bartolommeo Veneto: L’Opera completa. Cento Di, ………….
Frings, Gabriele: The Allegory of Musical Inspiration by Niccolo Frangipane: A New Evidence in Musical Iconography int he Sixteenth Century Northern Italian painting, in: artibus et historiae no. 28, 1993
Garas, Klára: Zu Einigen Malerbildnissen der Rennaissance
in: AHA 1970
Lynch, J.B.: Giovanni Paolo Lomazzo Self-Portrait int he Brera, GBA 1964
Lynch, J.B.: Lomazzo and the
Accademia dellla Valle di Bregno, in: AB,
1966
G. G. Savoldo: tra Foppa, Giorgioner e Caravaggio, Milano, 1990
The Hoogsteder Exhibition of Music and Painting in tthe Golden Age, ed. Buijjsen, E. – Grjip, L., Deen Haag 1994
Colori della Musica. Dipinti, strumenti e concerti tra Cinquecento e Seicento, ed. Bini – Strinati – Vodret, Milano 2000
Dipingere
Rabisch. Il grottesco nell’arte del Cinquecento. L’Accademia della Val di Blenio, Lomazzo e l’ambiente milanese,Museo Cantonale D’Arte, Lugano, 1998