Access the full text.
Sign up today, get DeepDyve free for 14 days.
M. Juneja (2019)
A very civil idea
(1929)
On their relationship, see Lionello Venturi
(1974)
Vasari , Le vite , 5 : 55 , adapting Aretino ’ s letter to Giulio Romano ; and Doni , Foglie della Zucca , 149 , adapting the phrase to Vasari ’ s own work
All references that follow are to the handwritten foliation on the exemplar in Paris: RESERVE 4-LH-2
A. Schutte (1991)
Irene di Spilimbergo: The Image of a Creative Woman in Late Renaissance ItalyRenaissance Quarterly, 44
K. Lowe (2013)
Visible Lives: Black Gondoliers and Other Black Africans in Renaissance Venice*Renaissance Quarterly, 66
(2004)
From the Prophet to Postmodernism? New World Orders and the End of Islamic Art
Esemplario di lavori (Venice, 1529), 21.98, fol. 2r, Metropolitan Museum of Art
(1992)
Poetry, Geometry and the Arabesque: Notes on Timurid Aesthetics,
(1993)
CostantiniLachat, “Moorish Tracery,” in The History of Decorative Arts, ed
B. Karl (2008)
“Galanterie di cose rare…”: Filippo Sassetti's Indian Shopping List for the Medici Grand Duke Francesco and His Brother Cardinal FerdinandoItinerario, 32
(1992)
Countering ‘the Turk’: Papal and Genoese Naval Policy, 1535–1536,
Pierette Kulpa (2021)
:Sofonisba’s Lesson: A Renaissance Artist and Her WorkThe Sixteenth Century Journal
(1974)
Campi, Bartolomeo
J. Tracy (2010)
The grand vezir and the small republic: Dubrovnik and Rüstem Paşa, 1544-1561Turkish Historical Review, 1
(2016)
Zu einigen Gewerbebezeichnungen orientalischer Herkunft
Venice: Gabriel Giolito di Ferrarii, 1550), fol. 59v; cf. Ariosto, Orlando Furioso, 37.23.1-6. The phrasing of Terracina
C. Blair (1999)
Heroic Armor of the Italian Renaissance: Filippo Negroli and his Contemporaries. By Stuart W. Pyhrr and José-A. GodoyThe Archaeological Journal, 156
(2013)
For the word as a name for the Arabic language, see, for example, Gasparo Balbi, Viaggio dell'Indie orientali (Venice: Borgominieri, 1590), fol. 20v; and Ramusio
Foglie della Zucca (Venice: Marcolini, 1552), 166; and "Relazione anonima della guerra di Persia dell'anno 1553
G. Neci̇poğlu (1989)
Süleyman the Magnificent and the Representation of Power in the Context of Ottoman-Hapsburg-Papal RivalryArt Bulletin, 71
(1984)
Pietro Aretino e Giorgio Vasari,
Patricia Emison (2004)
Creating the "divine" Artist: From Dante to Michelangelo
(1980)
Dürer, and the Oriental Mode (London: Sotheby Publications
Others acknowledge this synonymy but criticize it in favor of a distinction based on the presence or absence of figuration. For examples of the latter, see The Works in Architecture of
A. Jones (2014)
Labor and Lace: The Crafts of Giacomo Franco’s Habiti delle donne venetianeI Tatti Studies in the Italian Renaissance, 17
(1940)
For Italian knowledge of Timurid carpets in these decades, which has sometimes been doubted, see, for example, the group sent by Hersekzade Ahmed Pasha to Andrea Gritti in 1503
F. Flood (2017)
Picasso the Muslim: Or, How the Bilderverbot became modern (Part 1)Res: Anthropology and aesthetics, 67
(1995)
Textual accounts of embroidery simultaneously begin to reference “moresque knots,
Opera nuova, fol. 2r, cf. 31r. 111. For glasswork, see note 14 above. For bookbinding, see, for example, Contadini
Ergo ita novi mores coegerunt, uti inertiae mali iudices convincerent artium virtutes"; and Spini, I tre primi libri, 59. 129. Spini, I tre primi libri
Jean Loop (2021)
Useful Enemies: Islam and the Ottoman Empire in Western Political Thought, 1450–1750. By Noel Malcolm. Oxford: Oxford University Press, 2019. Pp. xiv+488. $34.95.The Journal of Modern History
59-62), these principles are also stated in the technical introduction to the Lives, which includes the chapter on damascening. See Paula Barocchi
(2009)
Da Pietro Aretino a Giorgio Vasari: Contagio epistolare come prima palestra di stile
Opera nuova, fol. 27r-v, 29r
N. Malcolm (2019)
Useful Enemies: Islam and The Ottoman Empire in Western Political Thought, 1450-1750
(1979)
Persian Metal Technology, 700–1300
(1988)
Un paio di pianelle cinquecentesche delle Civiche Raccolte di Arte Applicata di Milano
F. Trivellato (2010)
Renaissance Italy and the Muslim Mediterranean in Recent Historical Work*The Journal of Modern History, 82
(2007)
Venice and the Islamic World
Aretino was the son of a cobbler. See Larivaille, Pietro Aretino
Laura Marks (2015)
The Taming of the Haptic Space, from Málaga to Valencia to Florence, 32
Aretino likely would have known him through Titian. See Pyhrr and Godoy, Heroic Armor of the Italian Renaissance
Ananda Cohen-Aponte (2017)
Decolonizing the Global Renaissance: A View from the Andes
Eva-Maria Troelenberg (2015)
Arabesques, Unicorns and Invisible Masters. The Art Historian's Gaze as symptomatic Action?Muqarnas, 32
B. Agosti (2011)
Intarsi dell'Aretino nella Torrentiniana
D. Roxburgh (2000)
Prefacing the Image: The Writing of Art History in Sixteenth-Century Iran
(1993)
Al suono d'una suave viola': Convenzione letteraria e pratica musicale in ambienti accademici veneziani di metà Cinquecento
Prefacing the Image, 171; and Necipoğlu
A. Schutte (1986)
Teaching Adults to Read in Sixteenth-Century Venice: Giovanni Antonio Tagliente's Libro MaistrevoleThe Sixteenth Century Journal, 17
Esemplario di lavori, che insegna alle donne il modo e ordine di lavorare
(2015)
77-82 on the role of embroidery in Sofonisba's early paintings. 90. For overviews of the genre, see Arthur Lotz
Howard Deborah, F. Bianchi (2003)
Life and Death in Damascus : the Material Culture of Venetians in the Syrian Capital in the Mid-Fifteenth Century
(1991)
For his relation to Aretino, see Melania Mazzucco
Yves Porter (2000)
FROM THE “THEORY OF THE TWO QALAMS” TO THE “SEVEN PRINCIPLES OF PAINTING”: THEORY, TERMINOLOGY, AND PRACTICE IN PERSIAN CLASSICAL PAINTINGMuqarnas, 17
(2013)
For an overview, see Alessandro Nova
(2008)
Paternal Tyranny, ed
M. Juneja (2018)
“A very civil idea …” Art History, Transculturation, and World-Making – With and Beyond the NationZeitschrift für Kunstgeschichte, 81
S. Morison, Nicola Barker, British Library (1990)
Early Italian Writing-Books: Renaissance to Baroque
(1991)
A standard point of reference is Leonardo's famous set of engraved knots. See Carmen Bambach Cappel
Laura Cereta, D. Robin (1997)
Collected Letters of a Renaissance Feminist
(1981)
L'ornamento nel mondo ottomano e nell'Italia del Rinascimento: trasmissione e congiunzione
(1966)
più eccellenti pittori, scultori, e architettori [1550], ed
A. Huppert (2014)
The Architectural Treatise in the Italian Renaissance: Architectural Invention, Ornament, and Literary Culture by Alina A. Payne (review)University of Toronto Quarterly, 70
Julie Campbell, Anne Larsen (2016)
Letters and Lace: Arcangela Tarabotti and Convent Culture in Seicento Venice
Barbarossa and Sinan: A Portrait of Two Ottoman Corsairs from the Collection of Paolo Giovio
(2015)
On the gendered connotations of needlework, which was also practiced by male professionals and female nuns, see Tiziana Plebani
Appunti per servire alla biografia d'Irene di Spilimbergo
D. Kim (2014)
The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
groppi moreschi, et arabeschi"; cf. Zoppino, Esemplario di lavori, fol. 2v: "groppi moreschi"; and Guadagnino, Esemplario di lavori
(1985)
See also Christopher Cairns, Pietro Aretino and the Republic of Venice
(1923)
Because the influence of Islamic metalwork was inconsistent with [Vasari's] theory about the sources of Italian Renaissance art, he disingenuously called the technique antique
G. Neci̇poğlu (2016)
Early Modern Floral: The Agency of Ornament in Ottoman and Safavid Visual Cultures
arte del vasaio, ca. 1557, MSL/1861/7446, fol. 66r, Victoria and Albert Museum, London. 17
Opera nuova che insegna alle donne a cusire, a racammare & a disegnar a ciascuno
A. Gajewski, Stefanie Seeberg (2016)
Having her hand in it? Elite women as ‘makers’ of textile art in the Middle AgesJournal of Medieval History, 42
(2018)
Lightbown, “L’esotismo,
); and Andrea Calmo, Il rimanente de le piacevole
(2010)
For arguments over provenance, see, for example, Auld, Renaissance Venice, Islam, and Mahmud the Kurd, 41; and Marco Spallanzani
I tre primi libri sopra l'instituzioni de' greci et latini architettori
R. Mack (2001)
Bazaar to Piazza: Islamic Trade and Italian Art, 1300-1600
E. Kuhnel, R. Ettinghausen (1976)
The arabesque : meaning and transformation of an ornament
(1966)
Nanny von Schulthess-Ulrich
A. Nova (2013)
“Vasari" versus Vasari: la duplice attualità delle "Vite"Mitteilungen Des Kunsthistorischen Institutes in Florenz
On the synonymy of the two terms, see, for example, Antoine Furetière
See the letter cited in note 48 above
For scissors damascened with Islamicizing motifs, see, for example, the pair in Palazzo Madama, Turin, inv. 0101/OV; cf. the scissors in Domenico Ghirlandaio's Saint Jerome in His Study
F. Jacobs (1998)
Defining the Renaissance virtuosa : women artists and the language of art history and criticismThe Eighteenth Century, 29
(1961)
Vasari at Venice,
The stirrups are signed "ACF
(2014)
Pietro Pictore Arretino": Una parola complice per l'arte del Rinascimento
F. Flood (2018)
Picasso the Muslim: Or, How the Bilderverbot became modern (Part 2)Res: Anthropology and aesthetics, 69-70
(1992)
Le voyage de Tunis et d'Italie de Charles Quint ou l'exploitation politique du mythe de la croisade
For the impact of this teleology on the way Vasari sees earlier art, see Brennan, Painting as a Modern Art
Ursula Fanning (2002)
WOMEN'S WRITING IN ITALYItalian Studies, 57
On the Origins and Meanings of Levantine Objects in Early Modern Venice
Teresa Gialdroni, A. Ziino (2001)
New light on Ottaviano Petrucci's activity, 1520–38: An unknown print of the Motteti dal fioreEarly Music, 29
284-85; and Speelberg
(1986)
Practices of course varied according to institution
(1949)
Foundations for a History of Ornament (1893), trans
(1908)
Vasari,” in Studi Vasariani: atti del convegno internazionale per il IV centenario della prima edizione delle “Vite
Pier Tommasino (2006)
Approfondimenti sull'arabo della "Zingana" di Gigio Artemio GiancarliLingua E Stile, 41
(2001)
Aretino e Michelangelo: Annessi e connessi per un ripensamento
1: 147, mentioning arabeschi in a discussion of gilding techniques
(2001)
Geometry and the Arabesque,
(1959)
On the textiles, see Lisa Monnas, Merchants, Princes and Painters: Silk Fabrics in Italian and Northern Paintings
A. Shalem (2012)
Dangerous Claims: On the "Othering" of Islamic Art History and How It Operates within Global Art History
(1978)
Norm and Form: The Stylistic Categories of Art History and Their Origins in Renaissance Ideals
(2014)
On figurative Islamic art in Italy, see, for example, Laura U. Marks
(2012)
Lat. 1270, fol. 3r, Vatican Library, Rome. 118. Against the argument that printed media themselves served to "fix" standard forms and thus limit invention, see Michael Waters
A. Contadini (2016)
Threads of Ornament in the Style World of the Fifteenth and Sixteenth Centuries
(1908)
239, 244. With reference to the Pocopagni letter specifically, see Marco Collareta
A. Nagel (2011)
Twenty-five notes on pseudoscript in Italian artRES: Anthropology and Aesthetics, 59-60
(1995)
The Topkapı Scroll: Geometry and Ornament in Islamic Architecture
(2017)
Christiani Wecheli, 1535), 58–67; and The Arts of Ornamental Geometry: A Persian Compendium on Similar and Complementary Interlocking Figures—A Volume Commemorating Alpay Özdural, ed
(1972)
Il primo libro de' ragionamenti delle regole del disegno
J. Darlington (2020)
The beauty and the terror: an alternative history of the Italian renaissanceVisual Studies, 38
(2019)
Venetian Conical Goblets of the Renaissance,
(1992)
Repertorio di fonti documentarie, vol. 1 (Rome: Ministero per i beni culturali e ambientali
(2020)
‘De la gran Cantona i chiari honori’: Caterina Cantoni, Lomazzo, and the Accademia della Val di BlenioLomazzo’s Aesthetic Principles Reflected in the Art of his Time
Marcolini, 1539), fol. 30v. 77. Over thirty copies of Bellini's Circumcision survive
(2000)
149, adapting the phrase to Vasari’s own work. Vasari generally describes the “abundance” and “variety
(1984)
Pour l’histoire des rapports de l’Arétin avec les puissants de son temps: Deux lettres inédites au Pacha Ibrahim et au Roy François 1er,
Abstract “Arabesques” (arabeschi) took shape as a term and concept in sixteenth-century Italy to describe motifs deriving from Islamic art. The formation of the concept reflects a complex interplay between art making and art theory, which played out differently across different media. In metalwork, the arabesque was conceptualized in tandem with conscious projects of imperialist appropriation, whereas in needlework it furnished a theoretical basis for a highly conflicted affirmation of female artists. In the long term, these countervailing developments laid the groundwork for increasingly racialized identifications between the arabesque and the grotesque.
The Art Bulletin – Taylor & Francis
Published: Jan 2, 2023
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.