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School of History, Philosophy and Culture
Faculty of Humanities and Social Sciences
+44 (0)1865 483571
Marika studied art history at the Courtauld Institute (MA) and gained a PhD from the Warburg Institute. She was a Henry Moore Foundation Postdoctoral Research Fellow in the History of Art Department at the University of Oxford and a lecturer at Christie's Education (University of Glasgow) until coming to Oxford Brookes in 2012. Previously she worked as a Specialist in European Sculpture at Christie's, the auction house. In spring 2014 Marika was the Craig Hugh Smyth Research Fellowship at the Harvard Centre for Renaissance Studies at Villa i Tatti, Florence.
Dr Leino is Principal Investigator on an AHRC funded Collaborative Doctoral Award The Imagined Made Real: the interaction between sculpture and painting in the work of Carlo Crivelli, co-supervised with Dr Caroline Campbell from the National Gallery.
She welcomes applications from students interested in Renaissance sculpture, the history of collecting and portraiture.
Italian Renaissance 'plaquettes' are often stored and displayed as a homogeneous category or genre in museum collections due to their apparently uniform small relief format. This has resulted in a scholarly literature that has concentrated largely on connoisseurship and taken the form of catalogues, thereby both responding to and propagating the myth of this classification. However, what is often forgotten, or buried deep in scattered catalogue entries, is that during the Renaissance this small relief format was regularly mass-produced and employed extensively in a variety of different contexts. Far from being a homogeneous category, plaquettes were originally viewed as many separate types of object, including pieces for personal adornment, liturgical objects, domestic artefacts, and models for architecture and painting. For the Renaissance consumer, the commission of a hat badge with a personal motto, the purchase of an off-the-shelf inkwell or the acquisition of a small relief for his study were separate concerns. The aim of this book is to redress the balance by examining these reliefs in terms of their use, alongside broader issues regarding the status of such objects within visual, scholarly and artistic culture from the fifteenth century to the early sixteenth.
Giacomo Francesco Arpino (1607–1684), physician to the community of Poirino (near Turin) and to members of the House of Savoy, assembled a widely admired and uniquely documented collection of fine and decorative arts. Arpino’s manuscript catalogues were never published in his own lifetime and are now held in Turin’s Biblioteca Reale. The self-conscious labelling of his collection as a gabinetto or museo followed the contemporary fashion for cabinets of curiosities and included objects as diverse as ancient and modern sculptures, maiolica, plaquettes and medals, paintings, drawings and prints, scientific instruments and natural history specimens. This article will provide an introduction to Arpino and his collection, focusing in particular on his Italian Renaissance bronze plaquettes, which are listed in great detail in the gabinetto. His manuscript catalogues provide evidence of one of the earliest systematic collections of plaquettes anywhere: they demonstrate that these small reliefs were already divorced from their functional origins by the mid-seventeenth century, having become instead objects sought after by collectors. Issues of display and acquisition will also be considered within the wider ambit of Arpino’s collection and interests. An online appendix provides a transcription and translation of the manuscript list of Arpino’s plaquettes, together with an identification of the reliefs, along with a transcription of the manuscript lists of his scientific instruments and clocks.
The self-portrait of Baccio Bandinelli shows the sculptor pointing to an object that he has placed on a kind of pedestal. Among the most remarkable aspects of this object is that it is not a sculpture but a design in red chalk, a medium that few other Renaissance sculptors used. Bandinelli was particularly proud of his skills as a draughtsman, and he produced hundreds of drawings, many of them as striking and unusual as the one his portrait depicts. His talent and productivity set him apart from other sculptors of his day, most of whom left little evidence of having worked extensively on paper. This publication, which accompanies an important exhibition at the Isabella Stewart Gardner Museum, puts Bandinelli's portrait in context by looking broadly at the practice of drawing by Renaissance sculptors, including such luminaries as Donatello, Verrocchio, Michelangelo, Cellini and Giambologna. The book surveys two centuries of material, considering rough sketches and more finished sheets, isolated studies and sequences of ideas. Comparing designs on paper to related three-dimensional works by the same artists, the book directly confronts the question of the importance drawing held for sculptors in the period. The authors, who include specialists in the history of sculpture and drawing, among other fields, pose new questions about the creative process and the relation between the arts in Renaissance Italy.
Editorial Board of the Sculpture Journal (see http://www.liverpooluniversitypress.co.uk/index.php?option=com_content&view=article&id=56&catid=8).