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Francesco Vanni (1563/64–1610) was the most important artist in Siena at the turn of the 17th century. His works combine dazzling technical virtuosity and brilliant coloring with the naturalistic approach employed by his more famous contemporaries Annibale Carracci and Caravaggio. He painted altarpieces for every significant church in Siena, as well as for Saint Peter’s and other churches in Rome.
Beautifully illustrated and featuring new research, Francesco Vanni: Art in Late Renaissance Siena is the definitive resource on the artist. John Marciari investigates Vanni’s career, including his connections with patrons and his adaptation of traditional subject matter to serve the Counter-Reformation. Suzanne Boorsch explores Vanni’s engagement with printmakers and the dissemination of his compositions through prints. The catalogue examines more than 80 paintings, drawings, and prints, including the Madonna della Pappa, one of Vanni’s masterpieces, acquired by the Yale University Art Gallery in 2003.
- Sales Rank: #2237532 in Books
- Published on: 2013-10-22
- Original language: English
- Number of items: 1
- Dimensions: 11.50" h x 9.25" w x 1.25" l, 3.15 pounds
- Binding: Hardcover
- 256 pages
Review
“The handsome catalogue not only illuminates the works exhibited, but serves as an accessible monograph on the artist, illustrating most, if not all, of Vanni’s alterpieces in colour.”—Robert B. Simon, Burlington Magazine (Robert B. Simon Burlington Magazine 2013-12-01)
“Illuminating . . . richly informative . . . the best comprehensive study of Vanni in English.”—Babette Bohn, CAA Reviews (Babette Bohn CAA Reviews)
About the Author
John Marciari is the curator of European art and head of provenance research at the San Diego Museum of Art. Suzanne Boorsch is the Robert L. Solley Curator of Prints, Drawings, and Photographs at the Yale University Art Gallery.
Most helpful customer reviews
4 of 4 people found the following review helpful.
A Definitive Look at Francesco Vanni
By Kenneth Hughes
This is the catalogue accompanying the exhibition of the same name organized by the Art Gallery of Yale University and mounted there from September 2013 to January 2014. Francesco Vanni (1563-1610) was without doubt the most prominent and successful artist in Siena and its environs at the end of the sixteenth century. He made altarpieces and decorations for virtually every church in and around the city, and his renown and reputation was enough for him to be called by Pope Clement VIII to Rome to work on several churches and even to create an altarpiece for Saint Peter's. It is surprising, then, that this is apparently the first exhibition to be dedicated solely to his work, and it is an extensive one, bringing together objects from almost thirty lenders internationally. The catalogue is also the first monographic study of his oeuvre, and so we must be all the more thankful for its being an excellent one. The occasion for the show was the Gallery's acquisition, in 2003, of Vanni's canvas "The Rest on the Flight into Egypt" (ca. 1599; the cover image is a detail), generally known as the "Madonna della Pappa," a work widely held to have been among Vanni's most important paintings, but which was long thought to have been lost in the eighteenth century. (Unfortunately, we are not told any of what must be the fascinating story of its rediscovery and the University's acquisition of it.) It thus joined Yale's already impressive collection of early Italian paintings, at that time under the curatorship of John Marciari, who was well acquainted with these works from his graduate studies and 2000 dissertation on Girolamo Muziano. Until very recently the Curator of European Art and Head of Provenance Research at the San Diego Museum of Art, he was the chief organizer of the exhibition and major editor of its catalogue, and, along with some former Yale colleagues, has produced an excellent study of this unduly neglected artist.
The catalogue is introduced by two scholarly essays. In the first, Dr. Marciari traces Vanni's life and work, paying particular attention to the influence on him of other painters (especially Barocci and the Carracci), his role as an exemplar of the behests of the Counter-Reformation, and his connections to the Church hierarchy and his work in Rome. In the second essay, Suzanne Boorsch, Curator of Prints, Drawings and Photographs at Yale, and the volume's co-editor, discusses the proliferation of Vanni's designs through the wide dissemination of etchings, engravings and woodcut prints made after his images, largely with his collaboration. Both these essays are scrupulously informed and meticulous in their scholarly annotation and incorporate a good deal of new information and original research. The catalogue itself presents eighty-three numbered works, ranging from the two large oil paintings that are the only Vanni paintings owned in the Western Hemisphere to the many print works and preparatory studies for the paintings. Most of Vanni's paintings are in the Tuscan churches for which they were commissioned and do not travel, but reproductions of them are included in the many companion illustrations in the essays and catalogue. (The jacket text tells us that there are over 200 illustrations, and they are almost all in very good color. I do wish, though, that more of the original paintings had been reproduced in larger format, even though they were not themselves exhibited.) Each of the entries is extensively commented by one or more of the curators. The book concludes with a selected bibliography and a comprehensive index. Given that there has been so little literature available on Vanni, especially in English, this is a very welcome publication, and it has been very well done. Vanni was a remarkably gifted painter, in substance, style and coloration quite reminiscent of Barocci, and arguably not much less accomplished; it is high time that he has been given a comprehensive examination worthy of his stature. Obviously, this volume has immediate scholarly value, but it will appeal also to the general reader with an interest in late Renaissance, Mannerist or early Baroque art. Highly recommended.
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