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n° 29 Figure

Un trittico di Niccolò di Pietro Gerini a Pienza

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di Gabriele Fattorini
Direttore del Museo Diocesano di Pienza

ABSTRACT: Recently the Diocesan Museum di Pienza presented the restoration of the triptych by the Florentine painter Niccolò di Pietro Gerini (doc. 1368 - 1414/1416) representing the Madonna and Child with the saints Anthony abbot and Francis. The painting was given to the museum in 2003 by two citizens of Pienza (Bruno Stefanelli and his wife Maria Grazia Chechi) and is typically "out of context": it comes from the little chapel of Piecorto, near Poggibonsi in the Elsa Valley (an area where the Florentine painters of the late Trecento worked), but its original destination was surely different and most prestigious. The triptych  was heavily repainted and "riquadrato" probably in the 18th century and only in the 1970s it was revealed by a restoration commissioned by Stefanelli to Paolo Gori. Thanks to the last restoration by Mary Lippi its appearance looks much better and the attribution to Niccolò di Pietro Gerini can be confirmed. It was probably painted in the last decade of the 14th Century.

 

La conclusione di un intervento di restauro, presentato al Museo Diocesano di Pienza il 17 aprile 2011, offre l’occasione per dedicare un breve contributo a un tipico esempio di opera fuori contesto. In effetti la presenza di un trittico del fiorentino Niccolò di Pietro Gerini (documentato dal 1368 – 1414/1416) nella città di Pio II è decisamente inaspettata, tanto più che sul finire del Trecento, molto tempo prima di essere trasformato da Enea Silvio Piccolomini in un gioiello urbanistico rinascimentale, il villaggio di Corsignano era in tutto e per tutto una colonia artistica senese, assai distante dal pur vasto campo di diffusione di un portavoce dell’“accademia” giottesca come Niccolò1.

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Lithography and the Ethics of Mapping in Early America

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di Scott Palmer

ABSTRACT: The representation of early nineteenth-century national identities in Europe and America was deeply affected by the emergent visual economy of the lithograph.  Although the technology was first applied to the reproduction of artworks and sheet music, the process was also quickly adopted for the representation of space and movement in cartography, particularly in America, where it offered a reliable and inexpensive method for reproducing visual representations of newly surveyed land.  Lithography thus became an integrated component of an image of America that effectively insulated viewers from the ethical consequences of expansion, from the policies of Indian removal to the radical commodification of nature. 

 

The representation of early nineteenth-century national identities in Europe and America was deeply affected by the emergent visual economy of the lithograph. Although the technology was first applied to the reproduction of artworks and sheet music, the process was also quickly adopted for the representation of space and movement in cartography. Fittingly, the erstwhile surveyor, farmer, and travel writer Hector St. John de Crèvecoeur (1735-1813) was among the first to hear of this new method of reproduction and to imagine how it might be used to facilitate the representation and expansion of American territory.

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