2024 №4
Куртизанка в искусстве итальянского Возрождения: портреты Барбары Салютати кисти Доменико Пулиго
УДК 7.034, 75.041.5
ББК 85.03, 85.147.5
DOI: 10.51678/2073-316X-2024-4-110-143
Назарова Ольга Алексеевна
Кандидат искусствоведения, доцент Национального исследовательского
университета «Высшая школа экономики». Москва.
ORCID ID: 0000-0003-1143
Гайнуллина Регина Равильевна
Аспирант кафедры всеобщей истории искусства исторического факультета МГУ
им. М.В. Ломоносова. Москва.
ORCID ID: 0000-0002-1127-0351.
rrgaynullina@gmail.com
Аннотация
Статья обращается к давнему вопросу о том, были ли и как могли быть представлены куртизанки в живописи итальянского Возрождения. Первая часть представляет историографический обзор научной литературы, демонстрирующий, какие группы произведений ренессансной живописи ранее считались связанными с куртизанками, и как радикально изменились подходы к интерпретации этих произведений в последние годы. Во второй части анализируется уникальный ансамбль портретных образов — единственный, который можно связать с исторической фигурой конкретной куртизанки — флорентийки Барбары Салютати, состоявшей в связи с Никколо Макиавелли. Анализ этих произведений в контексте женского портрета начала XVI века дает возможность сделать предположения о стратегиях репрезентации куртизанок в портретной живописи.
Ключевые слова: искусство Возрождения, женский портрет, портреты куртизанок, Доменико Пулиго, Барбара Салютати.
Список литературы
1. Алексеева В.И. История интерпретации женских образов Тициана в искусствознании XIX–XXI веков. Выпускная квалификационная
работа НИУ ВШЭ, 2022. URL: https://www.hse.ru/edu/vkr/635734109.
2. Арасс Д. Взгляд улитки. Описания неочевидного. М.: Ad
Marginem, 2019.
3. Бокаччо Д. Флора, блудница, богиня цветов и жена Зефира //
Бокаччо Д. О знаменитых женщинах. М.: Касталия, 2022. С. 243–245.
4. Вазари Д. Жизнеописания наиболее знаменитых живописцев,
ваятелей и зодчих. В 5т. Т. 3 / Пер. с итал. М. Глобачева. М.: Книжный клуб
Книговек, 2011.
5. Верлигий П. Буколики, Героики, Энеида/ Пер.М. Гаспарова; ком.
Н. Старостиной и Е. Рабинович. М.: Художественная литература, 1979.
6. Ворагинский И. Золотая легенда / Пер. с лат И.И. Аникьева,
И.В. Кувшинской. Т. 2. М.: Издательство францисканцев, 2017.
7. Кустодиева Т.К. Итальянская живопись XIII–XVI веков. Каталог
коллекции. СПб.: Изд-во Гос. Эрмитажа, 2011.
8. Маркова В.Э. Oт истоков Возрождения до эпохи барокко. Атрибуция и исследования произведений итальянской живописи XIV–XVIII веков в советских собраниях. Дис. ... доктора искусствоведения. М., 1991.
9. Овидий П. Метаморфозы. Кн. I / Пер. с лат. С. Шерфинского. М.:
Художественная литература, 1977.
10. Петрарка Ф. Сонеты и канцоны на жизнь мадонны Лауры. СПб.:
Азбука-Аттикус, 2023.
11. Яйленко E.В. Венецианская палитра. Мир частного человека
в искусстве Венеции эпохи Возрождения. М.: БуксМарт, 2019.
12. Anderson J. Giorgione, Titian and the Sleeping Venus // Tiziano
e Venezia. Convegno internazionale di studi/Ed.N. Pozza. Venezia, 1980.
Pp. 334–342.
13. Anderson J. Giorgione: The Painter of “Poetic Brevity”. Paris–New
York: Flammarion, 1997.
14. Arasse D. La femme dans le coffre // Arasse D. On n’y voit rien. Paris:
Denoël, 2000.
15. Bakker N., Pludermacher I., Robert M. Splendeurs & misères: images
de la prostitution, 1850–1910. Paris: Flammarion, 2015.
16. Barri G. Viaggio pittoresco d’Italia. Venice: Gio. Giacomo Hertz, 1671.
17. Bassanese A.F. Private Lives and Public Lies: Texts by Courtesans
of the Italian Renaissance // Texas Studies in Literature and Language. 1988.
Vol. 30. No. 3. Pp. 295–319.
18. Bernocchi I. Italian Heroic Portraits in the Sixteenth Century. PhD
diss. University of Cambridge, 2020.
19. Bernson B. Italian Pictures of the Renaissance: A List of the Principal
Artists and Their Works with an Index of Places: Central Italian and North
Italian Schools. Vol. 1. London: Phaidon, 1963.
20. Borghini R. Il riposo di Raffaello Borghini, in cvi della pittvra, e della
scultura si fauella, de’ piu illustri pittori, e scultori, e delle piu famose opere
loro si fa mentione; e le cose principali appartenenti à dette arti s’insegnano.
Vol. 3. 1584. Milano: Appresso Giorgio Marescotti, 1807.
21. Brown D.A., Ferino-Pagden S. Bellini, Giorgione, Titian, and the
Renaissance of Venetian Painting. Washington: National Gallery of Art,
2006. Pp. 189–236
22. Brown D.A., Oberhuber K. Monna Vanna and the Fornarina: Leonardo
and Raphael in Rome // Essays Presented to Myron P. Gilmore. Vol. II/Ed. by
S. Bertelli and G. Ramakus. Florence: La Nuova Italiana, 1978. Pp. 25–86.
23. Capretti E. Padovani S. Domenico Puligo, 1492–1527: un protagonista
dimenticato della pittura fiorentina. Livorno: Sillabe, 2002.
24. Christiansen K. Lorenzo Lotto and the Tradition of Epithalamic
Painting // Apollo. 1986. №124. Pp. 166–173.
25. Cohen B.M. Saint Mary Magdalen as a Cultural Symbol in the Low
Countries, c. 1450–1530. PhD diss. Binghamton University, 2001.
26. Cohen S.E. Seen and Known: Prostitutes in the Cityscape of Late Sixteenth-century Rome // Renaissance Studies. 1998. Vol. 12. No. 3. Pp. 392–409.
27. Cropper E. On Beautiful Women, Parmigianino, Petrarchismo, and
the Vernacular Style // The Art Bulletin. 1976. №3. Vol. 58. Pp. 374–394.
28. Crowe J.A., Cavalcaselle G.B. The Life and Times of Titian: With Some
Account of His Family. Vol. 1. London: John Murray, 1877.
29. Dal Pozzolo E.M. Colori d’amore. Parole, gesti e carezze nella pittura
veneziana del Cinquecento. Treviso: Canova Illustrated edizione, 2008.
30. Davies D.E. On Music Fit for a Courtesan: Representations of the
Courtesan and Her Music in Sixteenth-Century Italy // The Courtesans
Arts/Ed. by M. Feldman, B. Gordon. Oxford: Oxford University Press, 2006.
Pp. 144–158.
31. Fahy E. Lorenzo Lotto, Venus and Cupid // Metropolitan Museum of
Arts. Recent Acquisitions: A Selection, 1986–1987. New York, 1987. Pp. 33–34.
32. Ferino-Pagden S. “Le belle Veneziane”: Poeticized Brides? // Titian’s
Vision of Women: Beauty–Love–Poetry. Milan: Skira, 2021. Pp. 141–173.
33. Frangi F. Savoldo. Catalogo completo dei dipinti. Cantini, 1992.
34. Gardner G.A. The Paintings of Domenico Puligo. Vols. I–II: PhD diss.
The Ohio State University, 1986.
35. Gentili A. Amore e amorose persone: fra miti ovidiani, allegorie
musicali, celebrazioni matrimoniali // Tiziano: Amor sacro e amor profano/
Ed. M. G. Bernardini. Milano: Electa, 1995. Pp. 82–105.
36. Geschwind R.L. Magdalene Imagery and Prostitution Reform in
Early Modern Venice and Rome, 1500–1700. PhD diss. Case Western Reserve
University, 2011.
37. Giusti L.E. The Renaissance Courtesan in Words, Letters and Images.
Social Amphibology and Moral Framing (A Diachronic Perspective). Milano:
LED Edizioni Universitarie, 2014.
38. Glassford S. Emerging From the Shadows: Prostitution in the Italian
States During the Renaissance, 1380–1620 // The Mirror — Undergraduate
History Journal. 2022. №22 (1). Pp. 105–127.
39. Goffen R. Lotto’s Lucretia // Renaissance Quarterly. 1999. Vol. 52.
No. 3. Pp. 742–781.
40. Goffen R. Sex, Space, and Social History in Titian’s Venus of Urbino //
Titian’s Venus of Urbino/Ed.by R. Goffen. New York: Cambridge University
Press, 1997. Pp. 120–144.
41. Goffen R. Titian’s Sacred and Profane Love: Individuality and
Sexuality in a Renaissance Marriage Picture // Studies in the History of
Art. 1993. Vol. 45. Pp. 120–144.
42. Golden L. A fantasia of Pagan myth in the Villa Farnesina:
Agostino Chigi’s homage to his lover, Imperia // Pagans and Christians —
from Antiquity to the Middle Ages. Papers in honour of Martin Henig, presented on the occasion of his 65th birthday/Ed. by L. Gilmour. Oxford:
BAR Publishing, 2007. Pp. 319–326.
43. Haskins S. Mary Magdalen and the Burgundian Question // Journal
of the Warburg and Courtauld Institutes. 2010. Vol. 73. Pp. 99–135.
44. Held J. Flora, Goddess and Courtesan // De Artibus Opuscula XL:
Essays in Honor of Ervin Panofsky/Ed.by M. Meiss. New York: New York
University Press, 1961. Pp. 201–218.
45. Henry C. Courtesans as Collectors and Tastemakers in Renaissance
Italy // When Michelangelo Was Modern. Collecting, Patronage, and the Art
Market in Italy, 1450–1650/Ed. by I. Reist. Liden: Brill, 2022. Pp. 76–97.
46. Herlihy D. Popolazione e strutture sociali dal XV al XVI secolo //
Tiziano e Venezia. Convegno internazionale di studi. Vicenza: Neri Pozza,
1980. Pp. 71–74.
47. Hope C. Problems of Interpretation in Titian’s Erotic Paintings //
Tiziano e Venezia. Convegno internazionale di studi. Vicenza: Neri Pozza,
1980. Pp. 111–124.
48. Hope C. Titian. New York: Harper & Row, 1980.
49. Junkerman A.C. The Lady and the Laurel: Gender and Meaning in
Giorgione’s Laura// Oxford Art Journal. 1993. Vol. 16. No. 1. Pp. 49–58.
50. Junkerman. A.C. Bellissima Donna: An Interdisciplinary Study of
Venetian Sensuous Half Length Images of the Early Sixteenth Century. PhD
diss. Berkeley, University of California, 1988.
51. King C. Renaissance Women Patrons: Wives and Widows in Italy,
c. 1300–1550. Manchester: Manchester University Press, 1998.
52. Lawner L. Lives of the Courtesans: Portraits of the Renaissance. New
York: Rizzoli International Publications, 1987.
53. Litvin B. Authoring Machiavelli: Barbera Salutati, La Mandragola,
and the Performance of Political Theory // The Wives of Western Philosophy:
Gender Politics in Intellectual Labor/Ed.BY J. Forestal, M. Philips. New York
and London: Routledge, 2020. Pp. 56–72.
54. Ludwig G., Molmenti P. Vittore Carpaccio, La vita e le opere. Milano:
Hoepli, 1906.
55. Masson G. Courtesans of the Italian Renaissance. London: Secker
and Warburg, 1975.
56. Mellencamp E.H. A Note on the Costume of Titian’s Flora // The Art
Bulletin. 1969. Vol. 51. No.2. Pp. 174–177.
57. Morse M.A. Domestic Portraiture in Early Modern Venice: Devotion
to Family and Faith // Domestic Devotions in Early Modern Italy/Ed.by
M. Corry, M. Faini, A. Meneghin. Boston: Brill, 2018. Pp. 117–138.
58. National Gallerу. Sebastiano del Piombo. Judith (or Salome?) // National
Gallerу. URL: https://www.nationalgallery.org.uk/paintings/sebastiano-delpiombo-judith-or-salome.
59. Niccoli O. Machiavelli e Barbera: un amore attraverso il canto //
Labirinti del cuore. Giorgione e le stagioni del sentimento tra Venezia e Roma/
A cura di E.M. Dal Pozzolo Napoli: Artem, 2017. Pp. 107–118.
60. Northcote J. The Life Of Titian: With Anecdotes Of The Distinguished
Persons Of His Time. Vol. 2. London: Henry Colburn and Richard Bentley,
1830.
61. Pardo M. The Subject of Savoldoʼs Magdalene // The Art Bulletin.
1989. Vol. 71. No. 1. Pp. 67–91.
62. Petrarca F. Il canzoniere. Т. 18. Leipzig : F.A. Brockhaus, 1883.
63. Phillips C. The Later Works of Titian. London: Seeley and Co., 1897.
64. Pisani G. Le Veneri di Raffaello (Tra Anacreonte e il Magnifico, il
Sodoma e Tiziano) // Studi di storia dell’arte. 2015. Vol. 26. Pp. 97–122.
65. Polleros F. Das sakrale Identifikationsporträt. Ein höfischer Bildtypus
vom 13. bis zum 20. Worms: Wernersche Verl.-Ges., 1988.
66. Pope-Hennessy J. The Portrait in the Renaissance. Princeton:
Princeton University Press, 1963.
67. Pucci P. Camilla Pisana, la perfetta moglie?: tentativi di affermazione
personale di una cortigiana del Rinascimento // Italica. 2011. Vol. 88. No. 4.
Pp. 565–586.
68. Ranum O. The Refuges of Intimacy // A History of Private
Life. Passions of the Renaissance. Vol. III / Ed. by R. Chartier, trans. by
A. Goldhammer. Cambridge (MA), London: Belknap Press of Harvard
University Press, 1989. Pp. 207–264.
69. Robin D. Courtesans Celebrity and Print Culture in Renaissance
Venice // Italian Women and the City: Essays. Madison: Fairleigh Dickinson
University Press, 2003. Pp. 35–59.
70. Rogers M. Fashioning the Identity for Renaissance Courtesan //
Fashioning Identities in Renaissance Art/Ed.by M. Rogers. London: Ashgate,
2019.
71. Rogers M. The Decorum of Women’s Beauty: Trissino, Firenzuola,
Luigini and the Representation of Women in Sixteenth-century Painting //
Renaissance Studies. 1988. Vol. 2. No. 1. Pр. 47–88.
72. Rosand D. Titian His World and His Legacy. New York: Columbia
University Press, 1982.
73. Rothental M. The Honest Courtesan: Veronica Franco, Citizen and
Writer in Sixteenth-Century Venice. Chicago and London: University of
Chicago Press, 1992.
74. Rothental M. Veronica Franco’s Terze Rime: The Venetian Courtesan’s
Defense // Renaissance Quarterly. 1989. Vol. 42. No. 2. Pp. 227–257
75. Ruggiero G. Machiavelli in Love: Sex, Self, and Society in the Italian
Renaissance. Baltimore: Johns Hopkins University Press, 2007.
76. Rylands Ph. Palma Vecchio. New York: Cambridge University Press,
1992.
77. Santore С. Tools of Venus // Renaissance Studies. 1997. Vol. 11. No. 3.
Pp. 179–207.
78. Schuler C.M. The Courtesan in Art: Historical Fact or Modern
Fantasy? // Women’s Studies: An Inter-disciplinary Journal. 1991. Vol. 19.
No. 2. Pp. 209–222.
79. Selbatico J., Lazari V. Guida di Venezia e delle isole circonvicine.
Venezia: Paolo Ripamonti Carpano, 1852.
80. Smith G. Bronzino’s Portrait of Laura Battiferri // Source: Notes in
the History of Art. 1996. Vol. 15, No. 4. Pp. 30–38.
81. Syson L. Belle: Picturing Beautiful Women // Art and Love in
Renaissance Italy/Ed.by A. Bayer. New York: The Metropolitan Museum of
Art, 2008. Pp. 246–254.
82. Ticozzi S. Vite de’ pittori Vecelli di Cadore. Milano: Presso Antonio
Fortunato Stella, 1817.
83. Tietze H. Tizian: Leben und Werk. Vienna: Phaidon, 1936.
84. Tiеtze H. An Early Version of Titian’s Danae: An Analysis of Titian’s
Replicas // Arte veneta. Rivista di storia dell’arte. 1954. Vol. 8. Pp. 199–208.
85. Vacarro M. Discoveries in the Parma Baptismal Registers, III:
Naming Parmigianino’s Antea // The Burlington Magazine. 2023. Vol. 165.
August. Pp. 829–835.
86. Vasari G., Milanesi G.L. Vite de’piu Eccellenti Pittori, Scultori ed
Architetti. Vol. 4. Firenze: G.C. Sansoni, 1881.
87. Waldmann E. Tizian. Berlin: Propyläen-Verlag, 1922.
88. Wethey E.H. The Paintings of Titian. Vol. 2. London: Phaidon Press,
1969.
89. Wind E. In Defence of Composite Portraits // Journal of the Warburg
Institute. 1937. Vol. 1. No. 2. Pp. 138–142.
90. Witcombe C.L. The Chapel of the Courtesan and the Quarrel of the
Magdalens // The Art Bulletin. 2002. Vol. 84. No. 2. Pp. 273–292.
91. Wolk-Simon L. The Lost Decoration of the Chapel of the Magdalene
by Giulio Romano and Giovanni Francesco Penni in SS. Trinità dei Monti in
Rome: Some New Drawings // Master Drawings. 2011. Vol. 49. No. 2. Pp. 147–
158.
92. Zampetti P. The complete paintings of Giorgione. New York: Abrams,
1968.
ББК 85.03, 85.147.5
DOI: 10.51678/2073-316X-2024-4-110-143
Назарова Ольга Алексеевна
Кандидат искусствоведения, доцент Национального исследовательского
университета «Высшая школа экономики». Москва.
ORCID ID: 0000-0003-1143
Гайнуллина Регина Равильевна
Аспирант кафедры всеобщей истории искусства исторического факультета МГУ
им. М.В. Ломоносова. Москва.
ORCID ID: 0000-0002-1127-0351.
rrgaynullina@gmail.com
Аннотация
Статья обращается к давнему вопросу о том, были ли и как могли быть представлены куртизанки в живописи итальянского Возрождения. Первая часть представляет историографический обзор научной литературы, демонстрирующий, какие группы произведений ренессансной живописи ранее считались связанными с куртизанками, и как радикально изменились подходы к интерпретации этих произведений в последние годы. Во второй части анализируется уникальный ансамбль портретных образов — единственный, который можно связать с исторической фигурой конкретной куртизанки — флорентийки Барбары Салютати, состоявшей в связи с Никколо Макиавелли. Анализ этих произведений в контексте женского портрета начала XVI века дает возможность сделать предположения о стратегиях репрезентации куртизанок в портретной живописи.
Ключевые слова: искусство Возрождения, женский портрет, портреты куртизанок, Доменико Пулиго, Барбара Салютати.
Список литературы
1. Алексеева В.И. История интерпретации женских образов Тициана в искусствознании XIX–XXI веков. Выпускная квалификационная
работа НИУ ВШЭ, 2022. URL: https://www.hse.ru/edu/vkr/635734109.
2. Арасс Д. Взгляд улитки. Описания неочевидного. М.: Ad
Marginem, 2019.
3. Бокаччо Д. Флора, блудница, богиня цветов и жена Зефира //
Бокаччо Д. О знаменитых женщинах. М.: Касталия, 2022. С. 243–245.
4. Вазари Д. Жизнеописания наиболее знаменитых живописцев,
ваятелей и зодчих. В 5т. Т. 3 / Пер. с итал. М. Глобачева. М.: Книжный клуб
Книговек, 2011.
5. Верлигий П. Буколики, Героики, Энеида/ Пер.М. Гаспарова; ком.
Н. Старостиной и Е. Рабинович. М.: Художественная литература, 1979.
6. Ворагинский И. Золотая легенда / Пер. с лат И.И. Аникьева,
И.В. Кувшинской. Т. 2. М.: Издательство францисканцев, 2017.
7. Кустодиева Т.К. Итальянская живопись XIII–XVI веков. Каталог
коллекции. СПб.: Изд-во Гос. Эрмитажа, 2011.
8. Маркова В.Э. Oт истоков Возрождения до эпохи барокко. Атрибуция и исследования произведений итальянской живописи XIV–XVIII веков в советских собраниях. Дис. ... доктора искусствоведения. М., 1991.
9. Овидий П. Метаморфозы. Кн. I / Пер. с лат. С. Шерфинского. М.:
Художественная литература, 1977.
10. Петрарка Ф. Сонеты и канцоны на жизнь мадонны Лауры. СПб.:
Азбука-Аттикус, 2023.
11. Яйленко E.В. Венецианская палитра. Мир частного человека
в искусстве Венеции эпохи Возрождения. М.: БуксМарт, 2019.
12. Anderson J. Giorgione, Titian and the Sleeping Venus // Tiziano
e Venezia. Convegno internazionale di studi/Ed.N. Pozza. Venezia, 1980.
Pp. 334–342.
13. Anderson J. Giorgione: The Painter of “Poetic Brevity”. Paris–New
York: Flammarion, 1997.
14. Arasse D. La femme dans le coffre // Arasse D. On n’y voit rien. Paris:
Denoël, 2000.
15. Bakker N., Pludermacher I., Robert M. Splendeurs & misères: images
de la prostitution, 1850–1910. Paris: Flammarion, 2015.
16. Barri G. Viaggio pittoresco d’Italia. Venice: Gio. Giacomo Hertz, 1671.
17. Bassanese A.F. Private Lives and Public Lies: Texts by Courtesans
of the Italian Renaissance // Texas Studies in Literature and Language. 1988.
Vol. 30. No. 3. Pp. 295–319.
18. Bernocchi I. Italian Heroic Portraits in the Sixteenth Century. PhD
diss. University of Cambridge, 2020.
19. Bernson B. Italian Pictures of the Renaissance: A List of the Principal
Artists and Their Works with an Index of Places: Central Italian and North
Italian Schools. Vol. 1. London: Phaidon, 1963.
20. Borghini R. Il riposo di Raffaello Borghini, in cvi della pittvra, e della
scultura si fauella, de’ piu illustri pittori, e scultori, e delle piu famose opere
loro si fa mentione; e le cose principali appartenenti à dette arti s’insegnano.
Vol. 3. 1584. Milano: Appresso Giorgio Marescotti, 1807.
21. Brown D.A., Ferino-Pagden S. Bellini, Giorgione, Titian, and the
Renaissance of Venetian Painting. Washington: National Gallery of Art,
2006. Pp. 189–236
22. Brown D.A., Oberhuber K. Monna Vanna and the Fornarina: Leonardo
and Raphael in Rome // Essays Presented to Myron P. Gilmore. Vol. II/Ed. by
S. Bertelli and G. Ramakus. Florence: La Nuova Italiana, 1978. Pp. 25–86.
23. Capretti E. Padovani S. Domenico Puligo, 1492–1527: un protagonista
dimenticato della pittura fiorentina. Livorno: Sillabe, 2002.
24. Christiansen K. Lorenzo Lotto and the Tradition of Epithalamic
Painting // Apollo. 1986. №124. Pp. 166–173.
25. Cohen B.M. Saint Mary Magdalen as a Cultural Symbol in the Low
Countries, c. 1450–1530. PhD diss. Binghamton University, 2001.
26. Cohen S.E. Seen and Known: Prostitutes in the Cityscape of Late Sixteenth-century Rome // Renaissance Studies. 1998. Vol. 12. No. 3. Pp. 392–409.
27. Cropper E. On Beautiful Women, Parmigianino, Petrarchismo, and
the Vernacular Style // The Art Bulletin. 1976. №3. Vol. 58. Pp. 374–394.
28. Crowe J.A., Cavalcaselle G.B. The Life and Times of Titian: With Some
Account of His Family. Vol. 1. London: John Murray, 1877.
29. Dal Pozzolo E.M. Colori d’amore. Parole, gesti e carezze nella pittura
veneziana del Cinquecento. Treviso: Canova Illustrated edizione, 2008.
30. Davies D.E. On Music Fit for a Courtesan: Representations of the
Courtesan and Her Music in Sixteenth-Century Italy // The Courtesans
Arts/Ed. by M. Feldman, B. Gordon. Oxford: Oxford University Press, 2006.
Pp. 144–158.
31. Fahy E. Lorenzo Lotto, Venus and Cupid // Metropolitan Museum of
Arts. Recent Acquisitions: A Selection, 1986–1987. New York, 1987. Pp. 33–34.
32. Ferino-Pagden S. “Le belle Veneziane”: Poeticized Brides? // Titian’s
Vision of Women: Beauty–Love–Poetry. Milan: Skira, 2021. Pp. 141–173.
33. Frangi F. Savoldo. Catalogo completo dei dipinti. Cantini, 1992.
34. Gardner G.A. The Paintings of Domenico Puligo. Vols. I–II: PhD diss.
The Ohio State University, 1986.
35. Gentili A. Amore e amorose persone: fra miti ovidiani, allegorie
musicali, celebrazioni matrimoniali // Tiziano: Amor sacro e amor profano/
Ed. M. G. Bernardini. Milano: Electa, 1995. Pp. 82–105.
36. Geschwind R.L. Magdalene Imagery and Prostitution Reform in
Early Modern Venice and Rome, 1500–1700. PhD diss. Case Western Reserve
University, 2011.
37. Giusti L.E. The Renaissance Courtesan in Words, Letters and Images.
Social Amphibology and Moral Framing (A Diachronic Perspective). Milano:
LED Edizioni Universitarie, 2014.
38. Glassford S. Emerging From the Shadows: Prostitution in the Italian
States During the Renaissance, 1380–1620 // The Mirror — Undergraduate
History Journal. 2022. №22 (1). Pp. 105–127.
39. Goffen R. Lotto’s Lucretia // Renaissance Quarterly. 1999. Vol. 52.
No. 3. Pp. 742–781.
40. Goffen R. Sex, Space, and Social History in Titian’s Venus of Urbino //
Titian’s Venus of Urbino/Ed.by R. Goffen. New York: Cambridge University
Press, 1997. Pp. 120–144.
41. Goffen R. Titian’s Sacred and Profane Love: Individuality and
Sexuality in a Renaissance Marriage Picture // Studies in the History of
Art. 1993. Vol. 45. Pp. 120–144.
42. Golden L. A fantasia of Pagan myth in the Villa Farnesina:
Agostino Chigi’s homage to his lover, Imperia // Pagans and Christians —
from Antiquity to the Middle Ages. Papers in honour of Martin Henig, presented on the occasion of his 65th birthday/Ed. by L. Gilmour. Oxford:
BAR Publishing, 2007. Pp. 319–326.
43. Haskins S. Mary Magdalen and the Burgundian Question // Journal
of the Warburg and Courtauld Institutes. 2010. Vol. 73. Pp. 99–135.
44. Held J. Flora, Goddess and Courtesan // De Artibus Opuscula XL:
Essays in Honor of Ervin Panofsky/Ed.by M. Meiss. New York: New York
University Press, 1961. Pp. 201–218.
45. Henry C. Courtesans as Collectors and Tastemakers in Renaissance
Italy // When Michelangelo Was Modern. Collecting, Patronage, and the Art
Market in Italy, 1450–1650/Ed. by I. Reist. Liden: Brill, 2022. Pp. 76–97.
46. Herlihy D. Popolazione e strutture sociali dal XV al XVI secolo //
Tiziano e Venezia. Convegno internazionale di studi. Vicenza: Neri Pozza,
1980. Pp. 71–74.
47. Hope C. Problems of Interpretation in Titian’s Erotic Paintings //
Tiziano e Venezia. Convegno internazionale di studi. Vicenza: Neri Pozza,
1980. Pp. 111–124.
48. Hope C. Titian. New York: Harper & Row, 1980.
49. Junkerman A.C. The Lady and the Laurel: Gender and Meaning in
Giorgione’s Laura// Oxford Art Journal. 1993. Vol. 16. No. 1. Pp. 49–58.
50. Junkerman. A.C. Bellissima Donna: An Interdisciplinary Study of
Venetian Sensuous Half Length Images of the Early Sixteenth Century. PhD
diss. Berkeley, University of California, 1988.
51. King C. Renaissance Women Patrons: Wives and Widows in Italy,
c. 1300–1550. Manchester: Manchester University Press, 1998.
52. Lawner L. Lives of the Courtesans: Portraits of the Renaissance. New
York: Rizzoli International Publications, 1987.
53. Litvin B. Authoring Machiavelli: Barbera Salutati, La Mandragola,
and the Performance of Political Theory // The Wives of Western Philosophy:
Gender Politics in Intellectual Labor/Ed.BY J. Forestal, M. Philips. New York
and London: Routledge, 2020. Pp. 56–72.
54. Ludwig G., Molmenti P. Vittore Carpaccio, La vita e le opere. Milano:
Hoepli, 1906.
55. Masson G. Courtesans of the Italian Renaissance. London: Secker
and Warburg, 1975.
56. Mellencamp E.H. A Note on the Costume of Titian’s Flora // The Art
Bulletin. 1969. Vol. 51. No.2. Pp. 174–177.
57. Morse M.A. Domestic Portraiture in Early Modern Venice: Devotion
to Family and Faith // Domestic Devotions in Early Modern Italy/Ed.by
M. Corry, M. Faini, A. Meneghin. Boston: Brill, 2018. Pp. 117–138.
58. National Gallerу. Sebastiano del Piombo. Judith (or Salome?) // National
Gallerу. URL: https://www.nationalgallery.org.uk/paintings/sebastiano-delpiombo-judith-or-salome.
59. Niccoli O. Machiavelli e Barbera: un amore attraverso il canto //
Labirinti del cuore. Giorgione e le stagioni del sentimento tra Venezia e Roma/
A cura di E.M. Dal Pozzolo Napoli: Artem, 2017. Pp. 107–118.
60. Northcote J. The Life Of Titian: With Anecdotes Of The Distinguished
Persons Of His Time. Vol. 2. London: Henry Colburn and Richard Bentley,
1830.
61. Pardo M. The Subject of Savoldoʼs Magdalene // The Art Bulletin.
1989. Vol. 71. No. 1. Pp. 67–91.
62. Petrarca F. Il canzoniere. Т. 18. Leipzig : F.A. Brockhaus, 1883.
63. Phillips C. The Later Works of Titian. London: Seeley and Co., 1897.
64. Pisani G. Le Veneri di Raffaello (Tra Anacreonte e il Magnifico, il
Sodoma e Tiziano) // Studi di storia dell’arte. 2015. Vol. 26. Pp. 97–122.
65. Polleros F. Das sakrale Identifikationsporträt. Ein höfischer Bildtypus
vom 13. bis zum 20. Worms: Wernersche Verl.-Ges., 1988.
66. Pope-Hennessy J. The Portrait in the Renaissance. Princeton:
Princeton University Press, 1963.
67. Pucci P. Camilla Pisana, la perfetta moglie?: tentativi di affermazione
personale di una cortigiana del Rinascimento // Italica. 2011. Vol. 88. No. 4.
Pp. 565–586.
68. Ranum O. The Refuges of Intimacy // A History of Private
Life. Passions of the Renaissance. Vol. III / Ed. by R. Chartier, trans. by
A. Goldhammer. Cambridge (MA), London: Belknap Press of Harvard
University Press, 1989. Pp. 207–264.
69. Robin D. Courtesans Celebrity and Print Culture in Renaissance
Venice // Italian Women and the City: Essays. Madison: Fairleigh Dickinson
University Press, 2003. Pp. 35–59.
70. Rogers M. Fashioning the Identity for Renaissance Courtesan //
Fashioning Identities in Renaissance Art/Ed.by M. Rogers. London: Ashgate,
2019.
71. Rogers M. The Decorum of Women’s Beauty: Trissino, Firenzuola,
Luigini and the Representation of Women in Sixteenth-century Painting //
Renaissance Studies. 1988. Vol. 2. No. 1. Pр. 47–88.
72. Rosand D. Titian His World and His Legacy. New York: Columbia
University Press, 1982.
73. Rothental M. The Honest Courtesan: Veronica Franco, Citizen and
Writer in Sixteenth-Century Venice. Chicago and London: University of
Chicago Press, 1992.
74. Rothental M. Veronica Franco’s Terze Rime: The Venetian Courtesan’s
Defense // Renaissance Quarterly. 1989. Vol. 42. No. 2. Pp. 227–257
75. Ruggiero G. Machiavelli in Love: Sex, Self, and Society in the Italian
Renaissance. Baltimore: Johns Hopkins University Press, 2007.
76. Rylands Ph. Palma Vecchio. New York: Cambridge University Press,
1992.
77. Santore С. Tools of Venus // Renaissance Studies. 1997. Vol. 11. No. 3.
Pp. 179–207.
78. Schuler C.M. The Courtesan in Art: Historical Fact or Modern
Fantasy? // Women’s Studies: An Inter-disciplinary Journal. 1991. Vol. 19.
No. 2. Pp. 209–222.
79. Selbatico J., Lazari V. Guida di Venezia e delle isole circonvicine.
Venezia: Paolo Ripamonti Carpano, 1852.
80. Smith G. Bronzino’s Portrait of Laura Battiferri // Source: Notes in
the History of Art. 1996. Vol. 15, No. 4. Pp. 30–38.
81. Syson L. Belle: Picturing Beautiful Women // Art and Love in
Renaissance Italy/Ed.by A. Bayer. New York: The Metropolitan Museum of
Art, 2008. Pp. 246–254.
82. Ticozzi S. Vite de’ pittori Vecelli di Cadore. Milano: Presso Antonio
Fortunato Stella, 1817.
83. Tietze H. Tizian: Leben und Werk. Vienna: Phaidon, 1936.
84. Tiеtze H. An Early Version of Titian’s Danae: An Analysis of Titian’s
Replicas // Arte veneta. Rivista di storia dell’arte. 1954. Vol. 8. Pp. 199–208.
85. Vacarro M. Discoveries in the Parma Baptismal Registers, III:
Naming Parmigianino’s Antea // The Burlington Magazine. 2023. Vol. 165.
August. Pp. 829–835.
86. Vasari G., Milanesi G.L. Vite de’piu Eccellenti Pittori, Scultori ed
Architetti. Vol. 4. Firenze: G.C. Sansoni, 1881.
87. Waldmann E. Tizian. Berlin: Propyläen-Verlag, 1922.
88. Wethey E.H. The Paintings of Titian. Vol. 2. London: Phaidon Press,
1969.
89. Wind E. In Defence of Composite Portraits // Journal of the Warburg
Institute. 1937. Vol. 1. No. 2. Pp. 138–142.
90. Witcombe C.L. The Chapel of the Courtesan and the Quarrel of the
Magdalens // The Art Bulletin. 2002. Vol. 84. No. 2. Pp. 273–292.
91. Wolk-Simon L. The Lost Decoration of the Chapel of the Magdalene
by Giulio Romano and Giovanni Francesco Penni in SS. Trinità dei Monti in
Rome: Some New Drawings // Master Drawings. 2011. Vol. 49. No. 2. Pp. 147–
158.
92. Zampetti P. The complete paintings of Giorgione. New York: Abrams,
1968.
