Marie Louise Lillywhite
University of Oxford, Keble College, Oxford, Faculty Member
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Middlebury College, Middlebury-CMRS Oxford Humanities Programme, Faculty Member add
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I am Research Associate at Keble College, University of Oxford and Senior Tutor and History of Art Lecturer at the Mi... moreI am Research Associate at Keble College, University of Oxford and Senior Tutor and History of Art Lecturer at the Middlebury College Oxford Humanities Program. My research interests include censorship of imagery in the early-modern period; iconoclasm; the material culture of the global missions (particularly in south-east Asia); and family and friendship networks in artists’ workshops. I am currently finishing a book on the ramifications of the Reformations on art in Venice during the late sixteenth and early seventeenth centuries (under contract with Cambridge University Press). The first half of this monograph looks at the extent to which devotional imagery was controlled or censored by the Catholic Church after the Council of Trent, and the impact that this had upon artists and patrons. The second half explores the more generative aspects of reform on the visual arts in Venice through a series of thematic case studies. Prior to teaching in Oxford, I was a lecturer at Warwick University, where I taught students of History of Art and Renaissance Studies during the term spent in Venice. My research has been funded by various bodies, including the Gladys Krieble Delmas Foundation, the Kunsthistorisches in Florence, the RSA and the Andrew W. Mellon Foundation. edit
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As early as 1557 Ludovico Dolce foresaw the end of the great Venetian painting tradition that he believed had reached the apex of innovation and quality with the achievements of Titian. At the conclusion of Dolce's Dialogo della Pittura... more
As early as 1557 Ludovico Dolce foresaw the end of the great Venetian painting tradition that he believed had reached the apex of innovation and quality with the achievements of Titian. At the conclusion of Dolce's Dialogo della Pittura Aretino gives voice to this worry: " E di presente io temo, che la Pittura non torni a smarrirsi un'altra volta: percioche de' giovani non si vede risorgere alcuno, che dia speranza di dover pervenire a qualche honesta eccelllenza… " Dolce's proclamation of the end of what later became known as the golden period of Venetian Renaissance painting was also expressed by a number of writers after him, cementing the idea that subsequent to the deaths of Titian (1576), Veronese (1588) and Tintoretto (1594), Venetian painting fell into sharp decline. The panel seeks to break with the rhetorical trope of the death or Crisis of the Venetian Renaissance Tradition (Rosand) by focusing on the group of seven artists active in the first half of the Seicento described by the art critic Marco Boschini in his Breve Instruzione of the 1674 edition of Le ricche minere: " Da questi gran Maestri dell'Arte sono poi derivati infiniti Pittori di moltissima stima, ed in particolare ce ne sono al numero di sette, che hanno osservate le pedate di tre, cioè di Tiziano, del Tintoretto e di Paolo Veronese, e per questa cagione tengono molta simpatia fra di loro. Il Primo è Giacomo Palma il Giovine (così chiamato a distinzione del Vecchio); il secondo Leonardo Corona da Murano; il terzo Andrea Vicentino; il quarto Santo Peranda; il quinto Antonio Aliense; il sesto Pietro Malombra; il settimo Girolamo Pilotto. Molte volte, chi non è pratico del loro operare non è così pronto a farne di essi la distinzione. " Almost completely neglected by art history, Boschini coined the term Sette Maniere for these painters, grouping these individuals together due to the fact that their works were very difficult to distinguish from one another. The panel will consider counter-arguments to the accepted judgment of the abrupt end of the Venetian painting legacy at the end of the Cinquecento, and seeks to instead promote the idea of a continuity in the Venetian tradition in the Seicento. By focusing on the understudied, yet prolific group of artists of the Sette Maniere, we wish to shed new light on the artistic contributions they made to Venetian painting in the seventeenth century. This panel will also pose questions relating to the domination of the production of paintings in Venice by these artists in the Seicento, as well as considering artistic quality as the basis for art historical study. To put it bluntly, despite their ubiquity in Venice, have Palma il Giovane and his contemporaries been underrated, or are they simply not very good artists? Papers can address topics such as:-The life and works of each of the Sette Maniere artists: Palma il Giovane, Leonardo Corona, Andrea Vicentino, Sante Peranda, Antonio Vassilacchi (l'Aliense), Pietro Malombra and Girolamo Pilotto-The Sette Maniere artists as collectors-The Sette Maniere artists and the workshop-The Sette Maniere artists within the landscape of the Seconda Accademia Veneziana (founded 1593)-The Sette Maniere artists and the stylistic legacies of Tintoretto, Veronese and Titian-Counter-arguments to the art historical trope of the crisis in the Venetian tradition-New archival documents on any of the seven artists Please send an abstract (max. 150 words) and a short CV (max. 300 words) in a single PDF to M.Lillywhite.1@warwick.ac.uk and maria.aresin@googlemail.com by May 25, 2017.
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Over the past twenty years or so it has finally been understood that Jacopo Tintoretto (1518/19-1594) is an old master of the very highest calibre, whose sharp visual intelligence and brilliant oil technique provides a match for any... more
Over the past twenty years or so it has finally been understood that Jacopo Tintoretto (1518/19-1594) is an old master of the very highest calibre, whose sharp visual intelligence and brilliant oil technique provides a match for any painter of any time. Based on papers given at a conference held at Keble College, Oxford, to mark the quincentenary of Tintoretto’s birth, this volume comprises ten new essays written by an international range of scholars that open many fresh perspectives on this remarkable Venetian painter. Reflecting current ‘hot spots’ in Tintoretto studies, and suggesting fruitful avenues for future research, chapters explore aspects of the artist’s professional and social identity; his graphic oeuvre and workshop practice; his secular and sacred works in their cultural context; and the emergent artistic personality of his painter-son Domenico. Building upon the opening-up of the Tintoretto phenomenon to less fixed or partial viewpoints in recent years, this volume reveals the great master’s painting practice as excitingly experimental, dynamic, open-ended, and original.