[The Tsar’s Style. Art and Fashion between Italy and Russia from the 14th to the 18th Century]. It is the review of Lo stile dello zar. Arte e Moda tra Italia e Russia dal XIV al XVIII secolo. Prato Museo del Tessuto 19 settembre 2009-10 gennaio 2010 (Ginevra-Milano: Skira, 2009). This book is the catalog of an exhibit at Prato shown between September 2009 and January 2010 on the interweaving of textile art, fashion and visual arts resulting from the early modern encounter between Russia and Italy. The accompanying essays are devoted to the relations between Italy and Russia from the fourteenth to the eighteenth centuries which mark the early relations between European merchants and the Black Sea port cities to the opening of the Russian Empire to Western culture under Peter the Great. In the volume, a note by Lisa Goldenberg Stoppato claims that the portrait of a Russian ambassador in Tuscany painted by Giusto Suttermans that appears in the Uffizi catalog as that of Ambassador Chemodanov (arrived in Tuscany in 1656) is actually the portrait of Ambassador Lichachaev (arrived in Tuscany in 1660). In an earlier article, Villani had already cast doubt that Suttermans could have painted Chemodanov from life and in his review points out that the Russian magazine Niva reproduced a painting of Klavdij Stepanov in 1887 in which this Russian artist imagined Suttermans busily painting Chemodanov (identified as so in the title) indicating that this is probably the first known statement for this erroneous identification of Suttermans’ subject, three years before the inventory of the Uffizi (Klavdij Stepanov, “Posol’stvo Chemodanova vo Florencii, vo vremena carja Alekseja Michijlovicha,” 1887, Niva, XVIII, no. 11, 1887, 287-289). The book discusses at length Villani’s research on the subject and in his review he points out that the scholars were right in emphasizing the importance of fur trade and luxury textiles for the commercial relationship between Russia and Western Europe whose extent he had probably undervalued.
Lo stile dello zar. Arte e Moda tra Italia e Russia dal XIV al XVIII secolo
VILLANI, STEFANO
2010-01-01
Abstract
[The Tsar’s Style. Art and Fashion between Italy and Russia from the 14th to the 18th Century]. It is the review of Lo stile dello zar. Arte e Moda tra Italia e Russia dal XIV al XVIII secolo. Prato Museo del Tessuto 19 settembre 2009-10 gennaio 2010 (Ginevra-Milano: Skira, 2009). This book is the catalog of an exhibit at Prato shown between September 2009 and January 2010 on the interweaving of textile art, fashion and visual arts resulting from the early modern encounter between Russia and Italy. The accompanying essays are devoted to the relations between Italy and Russia from the fourteenth to the eighteenth centuries which mark the early relations between European merchants and the Black Sea port cities to the opening of the Russian Empire to Western culture under Peter the Great. In the volume, a note by Lisa Goldenberg Stoppato claims that the portrait of a Russian ambassador in Tuscany painted by Giusto Suttermans that appears in the Uffizi catalog as that of Ambassador Chemodanov (arrived in Tuscany in 1656) is actually the portrait of Ambassador Lichachaev (arrived in Tuscany in 1660). In an earlier article, Villani had already cast doubt that Suttermans could have painted Chemodanov from life and in his review points out that the Russian magazine Niva reproduced a painting of Klavdij Stepanov in 1887 in which this Russian artist imagined Suttermans busily painting Chemodanov (identified as so in the title) indicating that this is probably the first known statement for this erroneous identification of Suttermans’ subject, three years before the inventory of the Uffizi (Klavdij Stepanov, “Posol’stvo Chemodanova vo Florencii, vo vremena carja Alekseja Michijlovicha,” 1887, Niva, XVIII, no. 11, 1887, 287-289). The book discusses at length Villani’s research on the subject and in his review he points out that the scholars were right in emphasizing the importance of fur trade and luxury textiles for the commercial relationship between Russia and Western Europe whose extent he had probably undervalued.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
