Journal | Venezia Arti
Monographic journal issue | 26 | 2017
Research Article | Correggio, Anselmi and Rondani
Correggio, Anselmi and Rondani
Artist Signatures in the Parma Scuola
- Elisabetta Fadda - Università degli Studi di Parma, Italia - email
Abstract
Antonius Laetus, Hirundo: these are the latinized signatures of Antonio Allegri called Correggio and his assistant from Parma Francesco Maria Rondani. Michelangelo Anselmi instead, signed one of his altarpiece with a cabalistic writing method. That was one of the encrypted alphabet used by Cornelio Agrippa. According to previous studies, often the artist name matches with his portrait. On the contrary this essay analyzes signatures, words and their variant spelling as a signifiant, as images translating a message, in the same way as in a calligram or a rebus.
Submitted: July 13, 2017 | Published Dec. 20, 2017 | Language: it
Copyright © 2017 Elisabetta Fadda. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.
Permalink http://doi.org/10.14277/2385-2720/VA-26-17-9
Introduction
-
The ‘Signature’ in the Art
Authorship, Self-Awareness, Identity and Memory of Artists. Introduction - Stefano Riccioni, Giovanni Maria Fara, Nico Stringa
- Dec. 20, 2017
Middle Ages
-
Artists in North-Central Puglia Between the 11th and 13th Centuries
Artistic Production Between Style, Identity and Self-Awareness - Marida Pierno
- Dec. 20, 2017
- The Artist's Signature, the Vasari Myths and Wolvinus magister phaber
- Ivan Foletti
- Dec. 20, 2017
-
The Artist's Signature in Romanesque France
Problems, Forms, Functions - Emilie Mineo
- Dec. 20, 2017
- For a Project on the Signed Paintings of Venice in the Gothic and Late Gothic Periods
- Stefano Riccioni
- Dec. 20, 2017
-
«De Zavatarijs hanc ornavere capellam»
Historical Details on the Epigraph in the Teodolinda Chapel in the Light of the Restoration Work - Roberta Delmoro, Anna Lucchini
- Dec. 20, 2017
-
Manifestations of Authorship
Artists’ signatures in Byzantium - Maria Lidova
- Dec. 20, 2017
Modern Age
-
Why Was Jan van Eyck here?
The Subject, Sitters, and Significance of The Arnolfini Marriage Portrait - Benjamin Binstock
- Dec. 20, 2017
-
Set in Stone
Signing Carlo Crivelli of Venice - Amanda Hilliam
- Dec. 20, 2017
-
Correggio, Anselmi and Rondani
Artist Signatures in the Parma Scuola - Elisabetta Fadda
- Dec. 20, 2017
- Light on Titian's ‘Hidden’ Signature
- Marco Tagliapietra
- Dec. 20, 2017
-
Gio. Bapt. Paggius Genuensis F.
The Very Noble Science of Painting by Giovanni Battista Paggi - Valentina Frascarolo
- Dec. 20, 2017
- Signatures of Seventeenth-Century Woodcutters in the Wooden Matrices of the Galleria Estense in Modena
- Chiara Travisonni
- Dec. 20, 2017
The Twentieth Century
- Edvard Munch’s Toponymic Codes
- Patricia G. Berman
- Dec. 20, 2017
- Signing merci (Duchamp Against Himself)
- Nico Stringa
- Dec. 20, 2017
-
The Artist's Signature in the Context of the happening
Joseph Pascali fecit anno in Pino Pascali’s Requiescat in Pace Corradinus at the Subject Exhibition of the La Salita Gallery - Martina Rossi
- Dec. 20, 2017
- Alighiero & Boetti: About the Signature as Identity and Duplication
- Stefania Portinari
- Dec. 20, 2017
Collectanea
-
Memories of a Film
Ross Lipman’s Notfilm - Martina Zanco
- Dec. 20, 2017
-
The Setting up of the Ancient Seat of the Naval History Museum of Venice
An Unpublished Photo Album - Silvia Peressutti
- Dec. 20, 2017
| DC Field | Value |
|---|---|
|
dc.identifier |
ECF_article_1306 |
|
dc.title |
Correggio, Anselmi and Rondani. Artist Signatures in the Parma Scuola |
|
dc.contributor.author |
Fadda Elisabetta |
|
dc.publisher |
Edizioni Ca’ Foscari - Digital Publishing |
|
dc.type |
Research Article |
|
dc.language.iso |
it |
|
dc.identifier.uri |
http://edizionicafoscari.it/en/edizioni4/riviste/venezia-arti/2017/1/correggio-anselmi-e-rondani/ |
|
dc.description.abstract |
Antonius Laetus, Hirundo: these are the latinized signatures of Antonio Allegri called Correggio and his assistant from Parma Francesco Maria Rondani. Michelangelo Anselmi instead, signed one of his altarpiece with a cabalistic writing method. That was one of the encrypted alphabet used by Cornelio Agrippa. According to previous studies, often the artist name matches with his portrait. On the contrary this essay analyzes signatures, words and their variant spelling as a signifiant, as images translating a message, in the same way as in a calligram or a rebus. |
|
dc.relation.ispartof |
Venezia Arti |
|
dc.relation.ispartof |
Vol. 26 | December 2017 |
|
dc.issued |
2017-12-20 |
|
dc.dateSubmitted |
2017-07-13 |
|
dc.identifier.issn |
|
|
dc.identifier.eissn |
2385-2720 |
|
dc.rights |
Creative Commons Attribution 4.0 International Public License |
|
dc.rights.uri |
http://creativecommons.org/licenses/by/4.0/ |
|
dc.identifier.doi |
10.14277/2385-2720/VA-26-17-9 |
|
dc.peer-review |
no |
|
dc.subject |
Parma |
|
dc.subject |
Parma |
|
dc.subject |
Rebus |
|
dc.subject |
Rebus |
| Download data |
-
file_download 40
-
search 370
-
format_quote 0
