Illustration list

Artibus et Historiae, 13 (26.) 52.

101 Cennini, 1943, LXX: ‘…lascio stare, perché non ha nessuna perfetta misura.’

102 Polmer-Schmidt, 2013, 123.

103 Nead, L. (1992) The Female Nude: art, obscenity and sexuality. 18.

104 Polmer-Schmidt, 2013, 123.

105 Panofsky, 1955, Meaning in the Visual Arts, 104.

106 Pollmer-Schmidt, 2013, 164.

107 Lambert, S. (1981) Drawing: Technique and Purpose. 24.

108 Bolten, 1985, 233.

109 Ghiberti, L. I Commentari. Morisani, O. (ed. 1947) I.II: ‘lo scultore sappi quante ossa sono nel corpo umano…e sapere i muscoli [che] sono nel corpo dell’uomo e così tutti [i] nervi e [le] legature che sono in esso.’

110 Alberti, 1975, II.36: ‘…come a vestire l’uomo prima si disegna ignudo, poi il circondiamo di panni, così dipignendo il nudo, prima pogniamo sue ossa e muscoli, quali poi così copriamo con sue carni che non sia difficile intendere ove sotto sia ciascuno muscolo.’

111 Armenini, 1977, 128.

112 Petherbridge, 2010, 246.

113 Condivi, A. The Life of Michelangelo. Sedgwick Wohl, A. (trans. 1999) 97-9.

114 Petherbridge, 2010, 247.

115 Goldstein, C. (1988) Visual Fact over Verbal Fiction: a study of the Carracci and the criticism, theory, and practice of art in Renaissance and Baroque Italy. 62-4.

116 Petherbridge, 2010, 245.

117 Vesalius. Cited in and translated by: Santing, 2007, 59.

118 Santing, 2007, 58.

119 Harcourt, G. (1987) ‘Andreas Vesalius and the Anatomy of Antique Sculpture.’ In: Representations, 17 (special issue.) 43.

120 Santing, 2007, 66.

121 Bolten, 1985, 233.

122 Goldstein, 1988, 62.

123 Santing, 2007, 54.

124 Kornell, M. (2007) ‘Drawings for Bartolomeo Passarotti’s Book of Anatomy.’ In: Netherlands Yearbook for the History of Art. 58. 173.

125 Santing, 2007, 63.

126 Ibid, 60-61.

127 Harcourt, 1987, 29.

128 Santing, 2007, 78.

129 Harcourt, 1987, 53.

130 Ibid, 37.

131 Harcourt, 1987, 39.

132 Bolten, 1985, 282.

133 Hollander, A. (1993) Seeing Through Clothes. 86: This fascinating book gives an overview of the Renaissance changes in fashion throughout the North and South and their correlation to depictions of the nude.

134 Ibid, 86.

135 Ibid, 92.

136 Ibid, 97-100.

137 Breazeale, 2008, ‘Introduction,’ 14.

138 Gombrich, E. (1972) Art and Illusion: a study in the psychology of pictorial representation. 144.

139 Wood, 2005, 54.

140 Petherbridge, 2010, 229.

141 Sluijter, E. (2006) Rembrandt and the Female Nude. 293.

142 Pels, A. Cited in: Houbraken, 2007, 83.

143 Cadagon J. K. ‘From Relief to Mimesis: drawing the human figure from life and from antique sculpture in the Renaissance.’ In: Kwakkelstein, M. K; Melli, L. (eds 2012) From Pattern to Nature in Italian Renaissance Drawing: Pisanello to Leonardo. 196.

144 Feigenbaum, G. ‘Practice in the Carracci Academy.’ In: Lukehart, P. M. (ed. 1993) The Artist’s Workshop. 59: The earliest reference to the Academy can be found in the account books of the father of the Carracci’s first recorded pupil, Giovampaolo Bonconti.

145 Lewine, M. J. ‘The Carracci: a family academy.’ In: Hess, T; Ashberry, J. (eds 1967) The Academy: five centuries of grandeur and misery from the Carracci to Mao Tse-tung. 23.

146 Feigenbaum, 1993, 65.

147 Lewine, 1967, 20.

148 Feigenbaum, 1993, 59.

149 Anderson, S. ‘International Currents; the Nude in the Low Countries.’ In: Anderson et al., 2008, 49.

150 Chapman, 2007, 194.

151 Armenini, 1977, 158.

152 Ibid, 159.

153 Houbraken, 2007, 74.

154 Cennini, 1943, XXVIII: ‘la trionfal porta.’

155 Ibid, LXX.

156 Bellori, G. P. Sedgwick Wohl, A. (trans. 2005) The Lives of the Modern Painters, Sculptors and Architects. 179.

157 Houbraken, 2007, 71.

158 Feigenbaum, 1993, 61.

159 Malvasia, C. C. ‘Life of the Carracci.’ Summerscale, A. (trans. 2000) Malvasia’s Life of the Carracci: commentary and translation. 118.

160 Houbraken, 2007, 74.

161 Da Vinci. Cited and translated in: Bernstein, 1992, 51.

162 Ibid, 60.

163 For the argument that neither Dürer nor Rubens ever worked from the live female nude see: Kok, E. ‘The Female Nude from Life: on studio practice and beholder fantasy.’ In: De Clippel et al., 2011, 42

164 Ibid, 41.

165 Malvasia, 2000, 120.

166 Ibid, 120.

167 Feigenbaum, 1993, 68.

168 Kok, 2011, 36.

169 Ovid. Metamorphoses. Melville, A. D. (trans. 2008) 232.

170 Da Vinci, L. The Literary Works of Leonardo Da Vinci. Richter, J. P. (ed. 1970) I.22.

171 De Lairesse, G. Cited and translated in: Sluijter, 2006, 144.

172 Dolce, 2000, 113.

173 For detail on specific authors and their texts see: Sluijter, 2006, 143-163.

174 See: ibid, 146 & 316.

175 Dolce, 2000, 163.

176 Sluijter, 2006, 155.

177 Williams, 1997, 74-5.

178 Houbraken, 2007, 56.

179 Ibid, 56.

180 Manuth, V. “As stark naked as someone could possibly be painted…’ the representation of the female model in the age of Rembrandt.’ In: Williams, J. L. (ed. 2001) Rembrandt’s Women. 48.

181 For details of particular cases see: Manuth, 2001, 48-53.

182 For examples see: Tinagli P. (1997) Women in Italian Renaissance Art: gender, representation, and identity. 99-103.

183 Ibid, 99

184 Storey, T. ‘Courtesan culture: manhood, honour and sociability.’ In: Matthews-Grieco, S. F. (2010) Erotic Cultures of Renaissance Italy. 250.

185 Ibid, 257.

186 See: Vasari, 1568, Life of Fra Filippo Lippi. I.388-9.

187 Joannides, P. (2001) Titian to 1518: the assumption of genius. 264.

188 Kok, 2011, 376-7.

189 Berger, 1972, 60.

190 Ibid, 61.

191 Kok, 2011, 42.

192 Manuth, 2001, 48.

193 Kok, 2011, 43.

194 Malvasia, 2000, 92.

195 Gay, 2014, 11.

196 Alberti, 1975, II.40.

197 For further details see: Kok, 2011, 44.

198 Ibid, 44.

199 Hollander, 1993, 136.

200 Ibid,146.

201 Ibid, 144.

202 Cummings, B. (2013) Mortal Thoughts: religion, secularity and identity in Shakespeare and early modern culture. 41.

203 Sawday, J. ‘Self and Selfhood in the Seventeenth Century.’ In: Porter, R. (ed. 1997) Rewriting the Self. 39.

204 Cadagon, 2012, 196.

205 Lewine, 1967, 24.

206 Cadogan, 2012, 202.

207 Kok, 2011, 44.

208 Sluijter, 2006, 323.

209 Angel, P. Cited and translated in: Sluijter, E. J. ‘The Nude, the Artist and the Model: the case of Rembrandt.’ In: De Clippel et al., 2011, 15. (Italics authors own.)

210 Chapman, 2007, 195.

211 Hollander, 1993, 160.

212 Sluijter, 2006, 272.

213 Clarke, K. (1966) Rembrandt and the Italian Renaissance. 11.

214 Sluijter, 2006, 271.

215 Hollander, 1993, 159.

216 Sluijter, 2006, 274.

217 Ibid, 274.

218 Sluijter, 2011, 23.

219 Williams, J. L. ‘Catalogue’ In: Williams, J. L. (2001) Rembrandt’s Women. 79.

220 Clarke, 1966, 11.

221 Seymour, S. (1953) Rembrandt and his Critics. 30.

222 De Jongh, E. ‘The Model Woman and the Women of Flesh and Blood.’ In: Williams, 2001, 31.

223 De Bisschop, 1985, 228.

224 Hollander, 1993, 98.

225 Sluijter, E. ‘Horrible Nature, Incomparable Art: Rembrandt and the depiction of the female nude.’ Williams, 2001, 38.

226 Ibid, 37.

227 Ovid, 2008, 58.

228 Sluijter, 2006, 287.

229 Houbraken. Cited in and translated in ibid, 291.

230 Genesis. 1.26.

231 Sluijter, 2006, 289.

232 For an overview of Renaissance meanings of exposed breasts in art see the introduction of: Ashton, A. (PHD thesis, 2006) ‘Interpreting breast iconography in Italian art, 1250-1600.’ 17-42.

233 Firenzuola, A. On the beauty of Women. Eisenbichler, K. & Murray, J. (trans 1992) 3.

234 Houbraken, 2008, 70.

235 Ficino, II.7 in ibid, 15.

236 For examples and a detailed overview of use of the nude in cassoni see: Randolph, A. W. B. (2014) Touching Objects: intimate experiences of Italian fifteenth-century art. 151-67.

237 For examples of Renaissance literature on this subject see: Sluijter, 2006, 158-160

238 Mancini, G. Considerazioni sulla pittura. Marucchi, A. (ed. 1956) 143.

239 Hope, C. ‘Classical antiquity and Venetian Renaissance subject matter.’ In: Ames-Lewis, F. (ed. 1994) New Interpretations of Venetian Renaissance Painting. 56.

240 Houbraken, 2008, 91.

241 Ames-Lewis, F. (1981) Drawing in Early Renaissance Italy. 17.

242 Latour, A. (1949) ‘Paper, a Historical Outline.’ In: CIBA Review no. 72: Paper. 2638.

243 Ibid, 2636.

244 Ames-Lewis, 1981, 9.

245 De Girolami Cheny, L. ‘Giorgio Vasari: Artist, Designer, Collector.’ In: Cast, D. (ed. 2014) The Ashgate Research Companion to Giorgio Vasari. 42.

246 De Tolnay, C. (1943) History and Technique of Old Master Drawings: a handbook. 5-6: Chapter one gives a good overview on theories of drawing from the beginning of the fifteenth-century.

247 Aristotle, Politics. VIII.III.

248 Apelles. Cited in: Pliny the Elder. Natural History. IX. Rackham, H. (trans. 1938-63) 323.

249 Petherbridge, 2010, 212.

250 Ridolfi, 1984, 72.

251 Armenini, 1988, 126.

252 Williams, 2001, 76.

253 Ames-Lewis, F. (1983) Drawing in the Italian Renaissance Workshop. 180.

254 Williams, 2001, 77.

255 Sluijter, 2011, 18.

256 Gell, A. (1998) Art and Agency: an anthropological theory. 17-18.

257 See Vasari’s Il Libro de’Disegni for an example of this. Although the original book has been split up and dispersed, a sound attempt at reconstruction can be found in: Ragghianti Collobi, L. (1974) Il Libro de’Disegni del Vasari.

258 See Michiel, M. (1520-43) Notizie d’Opere del Disegno.

259 Belli, V. ‘Testamenta.’ Cited in: Burns, H; Collareta, M; Gasparotto, D. (eds 2000) Valerio Belli vicentino 1486c.-1546. 437: ‘…tutti li disegni che sono nei libri et altrove.’

260 Vincenzo Borghini’s letters to Vasari on the subject of drawing collection evidence to this. See in particular: Frey, H. W. (1930) Der Literarische Nachlass Giorgio Vasaris. II, letter CDLVI.93.

261 Held, J. S. (1961) The Early Appreciation of Drawings.78-9.

262 See: Guerzoni, Guido, A. ‘The erotic fantasies of a model clerk: amateur pornography at the beginning of the Cinquecento.’ In: Matthews-Grieco, S. F. (2010) Erotic Cultures of Renaissance Italy. 61-89.

263 Ajmar-Wollheim, M. ‘’The spirit is ready, but the flesh is tired’: erotic objects and marriage in early modern Italy.’ In: Matthews-Grieco, S. F., 2010, 148.

264 De Tolnay, 1943, 15.