Lomazzo’s Aesthetic Principles Reflected in the Art of his Time

With a Foreword by Paolo Roberto Ciardi, an Introduction by Jean Julia Chai, and an Afterword by Alexander Marr

Lomazzo's Aesthetic Principles Reflected in the Art of his Time explores the work of the Milanese artist-theorist Giovanni Paolo Lomazzo (1538–92) and his influence on the circle of the Accademia della Val di Blenio and beyond. Following reflections on Lomazzo's fortuna critica, the accompanying essays examine his admiration of Gaudenzio Ferrari; Lomazzo’s painted oeuvre; his influence on printmaking with Giovanni Ambrogio Brambilla; on drawing and painting with Aurelio Luini; on the decorative arts and the embroideress Caterina Cantoni; his pupils Giovanni Ambrogio Figino and Girolamo Ciocca; grotesque sculpture outside Milan; and Lomazzo in England with Richard Haydocke’s translation of the Trattato. In doing so, this book takes an innovative approach—one which aims to bridge the scholarship, hitherto disjoined, between Lomazzo the artist and Lomazzo the theorist—while expanding our knowledge of a protagonist of Renaissance and early modern art theory.

Contributors: Alessia Alberti, Federico Cavalieri, Jean Julia Chai, Roberto Paolo Ciardi, Alexander Marr, Silvia Mausoli, Mauro Pavesi, Rossana Sacchi, Paolo Sanvito, and Lucia Tantardini.

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Rebecca Norris, Ph.D. (2014, University of Cambridge) is Adjunct Professor at Claremont Graduate University. She has published articles on North-Italian Renaissance art including “Women on the Edge: The Saletta delle Dame of the Palazzo Salvadego in Brescia” in The Music Room in Early Modern France and Italy (Oxford University Press, 2012).

Lucia Tantardini, Ph.D. (2014, University of Cambridge) is a Department Lecturer in History of Art at the University of Cambridge and a Fellow of Clare Hall, Cambridge. She has published articles on Renaissance Milan and is working on two books: Aurelio Luini (ca. 1530–93). The Complete Paintings and Drawings (Bozzi, 2021), and Drawing in Renaissance Milan (Routledge, 2021).
Preface
Lucia Tantardini
Foreword: Lomazzo's Temple
Roberto Paolo Ciardi
Acknowledgements
List of Figures and Maps
List of Abbreviations
Notes on Contributors
Notes
Chronology of Lomazzo’s Life and Career

Introduction: Lomazzo Studies: Getting the Whole Picture
Jean Julia Chai

1 ‘Oh blessed, excellent mind and hands!’: Lomazzo’s Admiration for Gaudenzio Ferrari
Rossana Sacchi

2 New Light on Lomazzo’s Artistic Career
Mauro Pavesi

3 Giovanni Ambrogio Brambilla: Poet, Painter, Draughtsman, and Printmaker between Milan and Rome
Alessia Alberti

4 Lomazzo vs. Luini: Comparative Aesthetics
Lucia Tantardini

5 ‘De la gran Cantona i chiari honori’: Caterina Cantoni, Lomazzo, and the Accademia della Val di Blenio
Silvia Mausoli

6 Lomazzo’s Two Pupils: ‘first is Figino, and then Ciocca’
Federico Cavalieri and Mauro Pavesi

7 Lomazzo’s Influence on Decorative Patterns in Sculptural Workshops Before and After 1600
Paolo Sanvito

Afterword: Lomazzo's Shadow
Alexander Marr
Appendices
Bibliography
Index of Proper Names
Index of Places
All interested in Lomazzo and sixteenth-century Milanese art and, more widely, Italian Renaissance art and theory. Keywords: sixteenth-century Milan, Leonardo’s legacy, Rabisch, Italian Renaissance art, early-modern art history, Carlo Borromeo, Carolus Borromeus, Aurelio Luini, Ambrogio Brambilla, Caterina Cantoni, Ambrogio Figino, Girolamo Ciocca, Gaudenzio Ferrari, Renaissance art theory, Renaissance painting, Renaissance drawing.