History, origins, recovery : Michelangelo and the politics of art Keizer, J.P.

History, origins, recovery : Michelangelo and the politics of art

Keizer, J.P.

Citation

Keizer, J. P. (2008, June 12). History, origins, recovery : Michelangelo and the politics of art. Retrieved from https://hdl.handle.net/1887/12946

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Proefschrift



terverkrijgingvan

degraadvanDoctoraandeUniversiteitLeiden

opgezagvandeRectorMagnificusprof.mr.P.F.vanderHeijden,

volgensbesluitvanhetCollegevoorPromoties

teverdedigenopdonderdag12juni2008

klokke10.00uur

door



JoostPieterKeizer



GeborenteWinschoten

op15december1978

Promotiecommissie:



Promotores:

Prof.dr.R.L.Falkenburg

Prof.dr.H.Th.vanVeen(RijksuniversiteitGroningen)



Referent:

Dr.E.Grasman



Overigeleden:

Prof.S.J.Campbell(JohnsHopkinsUniversity,Baltimore,VS)

Mwprof.dr.C.A.vanEck

Prof.dr.B.Kempers(UniversiteitvanAmsterdam)

Prof.dr.G.J.vanderSman(UniversiteitLeiden

enNederlandsInteruniversitairKunsthistorisch

InstituutinFlorence) ȱ



































Voor     Eva

&      Chris(I.M.)

C

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ListofIllustrations       vii



Acknowledgements       xv





Introduction: THEPOLITICSOFART    1

 



Chapter1:  HISTORYȱ ȱ ȱ    23



   BrokenHistory     23

   TheMaterialofMemory   37

   TheAntiquityofSculpture   58

   ComparisonandContrast   73

   APoliticalIcon     83

  



Chapter2:  ORIGINSȱ      87

  

   MarksofInvention    87

   NewDavid     94

   What’sinaName?    105

   TheAbsentHand    113

   GiftsofLiberty     116

  





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Chapter3:  RECOVERY      135



   TheTimeofPainting    135

   TheTimeoftheWorld   143

   TheGaze      158

   NottheThingsofThisWorld  163

   ANewVision     174

   TheRestorationofPainting   181

   Michelangelo’sParergon,or:The   

   CultureofExcess    187

   Doni’sPossession    193

   PostscripttoaCertainEnd   206





Chapter4:  A^M^ODELFORH^ISTORY    211



   TheSubjectofHistory   216

   Art’sFutureHistory    227

   DrawingasEnd     234

   NotHistoryProper,ButaTheory

      ofHistory   239

   TheSubjectofArt    244

   ThePoliticsofEducation   252





Coda         257





AbbreviationsandBibliographyofFrequently

CitedSources        267



NederlandseSamenvatting      283



CurriculumVitae        295



Illustrations        297



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1 Domenico Ghirlandaio, Birth of the Virgin. Fresco. Florence,

TornabuoniChapel,SantaMariaNovella.



2 Michelangelo,David.Marble.Florence,Galleriadell’Accademia.



3 DetailFig.2



4 Michelangelo, Study for the Right arm of the David and Copy after

Donatello’sbronzeDavid.Drawing.Paris,Louvre.



5 SantaMariadelFiore,Florence.



6 BertoldodiGiovanni,PazziConspiracyMedal.Bronze.London,British

Museum.



7 Domenico Ghirlandaio, David. Fresco. Florence, Sassetti Chapel,

SantaTrinità.



8 Donatello,David.Bronze.Florence,MuseoNazionaledelBargello.



9 Bartolomeo Bellano, David. Bronze. New York, Metropolitan

MuseumofArt.



10 Donatello,David.Marble.Florence,MuseoNazionaledelBargello.



11 Verrocchio,David.Bronze.Florence,MuseoNazionaledelBargello.



12 DetailFig.8



13 Spinario.Bronze.Rome,PalazzodeiConservatori.



14 DetailofFig.8



15 Michellozzo(?),FallofIcarus.Stuccorelief.Florence,PalazzoMedici.



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16 Benedetto da Maiano, Commemorative Portrait of Giotto. Marble.

Florence,SantaMariadelFiore.



17 Donatello,Judith.Bronze.Florence,PalazzoVecchio.



18 Donatello,Jeremiah.Marble.Florence,Museodell’OperadelDuomo.



19 Donatello,Habakkuk.Marble.Florence,Museodell’OperadelDuomo.



20 DetailFig.2



21 DetailFig.8



22 Donatello,ChristbeforePilatus(detail).Bronze.Florence,SanLorenzo.



23 Filippino Lippi (?), Story of Lucrezia. Panel. Boston, Isabella Stewart

GardnerMuseum.



24 Filippino Lippi,SaintPhilipbefore theAltarofMars.Fresco.Florence,

StrozziChapel,SantaMariaNovella.



25 Michelangelo, Bacchus. Marble. Florence, Museo Nazionale del

Bargello.



26 Maarten van Heemskerck, The Gallo Sculpture Garden. Drawing.

Berlin,StaatlicheMuseen.



27 NudewithGenitalsErased.Illumination.London,BritishLibrary(The

OscottPsalter).



28 The Abominations Witnessed by Ezekiel and their Interpretations.

Illumination.Paris,BibliothèqueNationale(BibleMoralisée).



29 Attributed to Francesco Granacci, Portrait of a Man (detail). London,

NationalGallery.



30 Bellini, Transfiguration. Panel. Naples, Museo Nazionale di

Capodimonte.



31 DetailFig.17

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32 Michelangelo,Pietà(detail).Marble.Vatican,SaintPeter’s.



33 Michelangelo,StudiesforanApostleStatue.Drawing.London,British

Museum.



34 Giorgione, Selfportrait as David. Panel. Braunschweich, Herzog

AntonUlrichMuseum.



35 Michelangelo, Saint Matthew. Marble. Florence, Galleria

dell’Accademia.



36 Ciuffagni, Saint Matthew. Marble. Florence, Museo Nazionale del

Bargello.



37 Donatello, Saint Matthew. Stucco relief. Florence, Old Sacristy, San

Lorenzo.



38 Ghirlandaio, Saint Matthew. Florence, Tornabuoni Chapel, Santa

MariaNovella.



39 Michelangelo,Ignudo.Fresco.Vatican,SistineChapel.



40 Laocoön.Marble.Vatican,VaticanMuseums.



41 Vincenzode’Rossi,SaintMatthew.Marble.Florence,SantaMariadel

Fiore.



42 Ridolfo del Ghirlandaio, Saints Peter and Paul. Panel. Florence,

GalleriaPalatina.



43 Fra Bartolommeo, Saint Anne, the Virgin and Saints. Panel. Florence,

MuseodiSanMarco.



44 Andrea Sansovino, Baptism of Christ. Marble. Florence, Museo

dell’OperadelDuomo.



45 Michelangelo, Holy Family with Saint John (The Doni Tondo). Panel.

Florence,GalleriadegliUffizi.



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46 Leonardo,SaintAnne.Cartoon.London,NationalGallery.



47 Andrea del Brescianino, Copy after Leonardo’s Saint Anne Cartoon.

Panel.Madrid,Prado.



48 Copy after Leonardo’s Saint Anne Cartoon. Panel. Formerly Berlin,

KaiserFriedrichMuseum(destroyed).



49 Michelangelo,SaintAnne.Drawing.Oxford,AshmoleanMuseum.



50 Michelangelo,SaintAnne.Drawing.Paris,Louvre.



51 DetailFig.45



52 Ambrogio Lorenzetti, Madonna Lactans. Panel. Siena, Palazzo

Arcivescovile.



53 Leonardo,MadonnaoftheYarnwinder.Panel.CollectionoftheDukeof

Buccleuh.



54 Leonardo,Anamorphosis ofaBaby’sFaceandanEye.Drawing.Milan,

Ambrosiana(CodexAtlanticus,fol.35v).



55 Leonardo, Studies for a Saint Anne and a Leda. Drawing. Windsor,

RoyalLibrary.



56 ReconstructionbyJonathanNathanofFig.55.



57 Raphael,PortraitofBindoAltoviti.Panel.London,NationalGallery.



58 Michelangelo, Study for the Face of Mary. Drawing. Florence, Casa

Buonarroti.



59 Alexandrianhead.Marble.Florence,GalleriadegliUffizi.



60 Benozzo Gozzoli, Adoration of the Magi. Fresco. Florence, Palazzo

Medici.



61 Masaccio,Trinity.Florence,SantaMariaNovella.



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62 Titian, Jacopo Pesaro Being Presented to the Madonna. Canvas. Venice,

SantaMariaGloriosadeiFrari.



63 DetailFig.45



64 Michelangelo,Crucifixion(detail).Wood.Florence,SantoSpirito.

65 Giotto,MadonnaandSaints.Panel.Florence,GalleriadegliUffizi.



66 DetailofFig.45



67 DetailofFig.65



68 Madonna.Fresco.Florence,SantaMariadelFiore.



69 Neriods and SeaCentaurs. Sarcophagus relief. Siena, Museo dell’

OperadelDuomo.



70 DetailofFig.45



71 Raphael, Portraits of Agnolo Doni and Maddalena Strozzi. Panel.

Florence,GalleriaPalatina.



72 Maestro di Serumido, The flood and Pyrrha and Deucalion (verso’s of

Fig.71).



73 Donatello,Spiritello.Bronze.Florence,MuseoNazionaledelBargello.



74 Michelangelo. Studies after Donatello’s Spiritello. Drawing. London,

BritishMuseum.



75 Michelangelo, Madonna and Child and Saint John the Baptist (Taddei

Tondo).Marble.London,RoyalAcademyofArts.



76 Raphael,HolyFamily(TheCanigianiMadonna).Panel.Munich,Alte

Pinakothek.



77 Raphael,Entombment.Panel.Rome,GalleriaBorghese.



78 Leonardo,MonaLisa.Panel.Paris,Louvre.



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xi

79 Raphael,StudyaftertheMonaLisa.Drawing.Paris,Louvre.



80 AristotiledaSangallo,CopyafterMichelangelo’sCascinaCartoon.Panel.

Norfolk,HolkhamHall.



81 Copy after Michelangelo’s Cascina Cartoon. Drawing. London, British

Museum.



82 Filippo Lippi, Virgin Adoring the Christ Child with Saints Johns and

Bernard.Panel.Berlin,StaatlicheMuseen.



83 Michelangelo, Study for a Battle Scene. Drawing. Oxford, Ashmolean

Museum.



84 DetailofFig.80.



85 Paolo Uccello, Battle at San Romano. Panel. Florence, Galleria degli

Uffizi.



86 SixteenthCentury Italian Artist, Reworked by Peter Paul Rubens,

Copy after Leonardo da Vinci’s Battle of Anghiari. Drawing. Paris,

Louvre.



87 Raphael,StudyafterMichelangelo’sCascinacartoon.Drawing.Vatican,

BibliotecaApostolicaVaticana.



88 Marcantonio Raimondi, Copy after Michelangelo’s Cascina Cartoon.

Engraving.London,BritishMuseum.



89 Marcantonio Raimondi, Copy after Michelangelo’s Cascina Cartoon.

Engraving.London,BritishMuseum.



90 Raphael,SchoolofAthens(detail).Fresco.Vatican,VaticanMuseums.



91 AndreadelSarto,PresentationintheTemple(detail).Fresco.Florence,

SantissimaAnnunziata.



92 Andrea del Sarto, Modello for an Adoration. Drawing. Florence,

GalleriadegliUffizi.



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xii

93 Rosso Fiorentino, Assumption of the Virgin (detail). Florence,

SantissimaAnnunziata.



94 Michelangelo,CopyafterMasaccio’sTributeMoney.Drawing.Munich,

GraphischeSammlung



95 Masaccio, Tribute money (detail). Fresco. Florence, Brancacci Chapel,

SantaMariadelCarmine.



96 Michelangelo,CopyafterGiotto’sAscensionofSaintJohntheEvangelist.

Drawing.Florence,GalleriadegliUffizi.



97 Giotto,AscensionofSaintJohntheEvangelist.Fresco.Florence,Peruzzi

Chapel,SantaCroce.



98 Michelangelo, Study for the Battle of Cascina. Drawing. Florence,

GalleriadegliUffizi.



99 Michelangelo,Nudestudy.Drawing.Haarlem,TeylersMuseum.



100 Michelangelo,Nudestudy.Drawing.Haarlem,TeylersMuseum.



101 Michelangelo,Nudestudy.Drawing.Vienna,Albertina.



102 Michelangelo,Nudestudy.Drawing.London,BritishMuseum.



103 Horse’shead.Bronze.Florence,PalazzoMediciRiccardi.



104 Baccio Bandinelli, Hercules and Cacus. Marble. Florence, Piazza della

Signoria.



105 Michelangelo,StudyforaHerculesandAntaeus.Drawing.Washington

(DC),NationalGalleryofArt,O’NealCollection.



106 Michelangelo, Model for Samson and two Philistines. Clay. Florence,

CasaBuonarroti.



107 Michelangelo, Brutus. Marble. Florence, Museo Nazionale del

Bargello.

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This dissertation would have looked completely different without the

stimulating intellectual environment and support of the Universiteit

Leiden. Protocol prevents me from mentioning the senior faculty

members who have guided me. In the almost four years I spent at

Leiden, I had the pleasure of sharing an office with Todd Richardson,

firstcriticofmyideas.Pallas,theuniversity’sInstituteforArtHistorical

and Literary Studies, furnished the necessary interdisciplinary

intellectual environment that my research demanded and provided

furtherfinancialsupport.

 Much of the research presented here was done in Florence, while

staying at the Nederlands Interuniversitair Kunsthistorisch Instituut. I

thank the institute’s director Bert Meijer for his hospitality and its

librarian.ItwouldbehardtoforgetTjardaVermeyden’spracticalhelpat

the Instituut, but impossible to forget her loving care and sense of

humor.

 In Florence, I also benefited from the sources at the Archivio di

Stato, the Archivio dell’Opera di Santa Maria del Fiore, the Archivio

ArciconfraternitàdellaMissericordia,theBibliotecaNazionaleCentrale,

the Biblioteca Riccardiana, the Kunsthisorisches Institut, the library of

the Istituto Nazionale di Studi sul Rinascimento at Palazzo Strozzi and

the Biblioteca Berenson at Villa I Tatti, the Harvard Center for Italian

Renaissance Studies. I thank the staff of all these institutions. In

Amsterdam, I exploited the collection of the Rijksmuseum Research

Library.Iamgratefultoitsstafffortheirassistance. 

Manyoftheideasforwardedinthisdissertationwerefirsttriedout

ininformalresearchgroupmeetingsatLeidenandconferencesthereand

inFlorence,Nijmegen,SanFrancisco,Toronto,andChicago.

JessicaBuskirkcheckedmyEnglishwithaccuracyandintelligence.

Gratitudetomyparentsknowslittlebounds:IfirstexploredItaly

with them and my brother and sister. Their support has been a

stimulatingforcethroughoutthewritingofthedissertation.

Two months before I started this dissertation, my uncle, Chris,

died. But much rather than showing him the completed dissertation, I

would have liked to introduce him to Eva – not just supportive but

critical,andabletopullmeoutofmyusualselfinvolvement.Idedicate

thisstudytothemboth.

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