Elizabeth Rodini – författare

Delve into Rome's lost history through the stories of a single city block.Cutting through the heart of Rome is Via delle Botteghe Oscure, a time-worn street named for the mysterious “shops” said to run beneath it. History lies thick here, a museum atop a convent atop ancient ruins; layered in are the traces of artisans and poets, pilgrims and saints, a Fascist deportation, a communist coffee bar, a political assassination, and shopkeepers, too. These stories all rest upon a single city block, the same place where, in 13 BCE, the triumphal Roman general Lucius Cornelius Balbus built a monumental theater complex in his own honor.Elizabeth Rodini’s On the Street of the Hidden Shops digs deep into this corner of the city, uncovering a set of surprising, often poignant narratives that range across two thousand years. For as the walls of Balbus’s compound decayed and the neighborhood was rebuilt, this block would come to shelter Romans from all walks of life: the daughters of local prostitutes, an earnest young man in search of a bride, an entrepreneur determined to preserve the city’s colorful dialect, a Jewish family recently liberated from the nearby Ghetto, a band of idealistic archaeologists unearthing a long-forgotten past, as well as a gifted baker, a medieval donkey, and a Renaissance ghost. Their stories survive in archives and artifacts, but also in the enduring power of rumor and legend.On the Street of the Hidden Shops invites us on a captivating journey to one place across many centuries. Its tight urban focus reveals a Rome most visitors miss, while uncovering some of the many Romes that have been largely lost to history.

In 1479, the Venetian painter Gentile Bellini arrived at the Ottoman court in Istanbul, where he produced his celebrated portrait of Sultan Mehmed II. An important moment of cultural diplomacy, this was the first of many intriguing episodes in the picture’s history.Elizabeth Rodini traces Gentile’s portrait from Mehmed’s court to the Venetian lagoon, from the railway stations of war-torn Europe to the walls of London’s National Gallery, exploring its life as a painting and its afterlife as a famous, often puzzling image.Rediscovered by the archaeologist Austen Henry Layard at the height of Orientalist outlooks in Britain, the picture was also the subject of a lawsuit over what defines a “portrait”; it was claimed by Italians seeking to hold onto national patrimony around 1900; and it starred in a solo exhibition in Istanbul in 1999. Rodini’s focused inquiry also ranges broadly, considering the nature of historical evidence, the shifting status of authenticity and verisimilitude, and the contemporary political resonance of Old Master paintings.Told as an object biography and imagined as an exploration of art historical methodologies, this book situates Gentile’s portrait in evolving dialogues between East and West, uncovering the many and varied ways that objects construct meaning.

Fashion - the question of what to wear and how to wear it - is a centuries-old obsession. Beyond superficial concerns with personal appearance, the history of dress points to deep preoccupations surrounding the social order, national identity, and moral decency. Produced in conjunction with an exhibition at the David and Alfred Smart Museum of Art (running from October 23, 2001 through April 28, 2002), A Well-Fashioned Image investigates clothing and the representation of clothing from these various perspectives. This richly illustrated catalogue, the fourth in a series sponsored by the Andrew W. Mellon Foundation, features an introduction by co-curators Elizabeth Rodini and Elissa B. Weaver, which is followed by essays addressing the topic from a variety of perspectives. Also included are a substantial bibliography on the topic of costume in art and an exhibition checklist.

In 1479, the Venetian painter Gentile Bellini arrived at the Ottoman court in Istanbul, where he produced his celebrated portrait of Sultan Mehmed II. An important moment of cultural diplomacy, this was the first of many intriguing episodes in the picture’s history.Elizabeth Rodini traces Gentile’s portrait from Mehmed’s court to the Venetian lagoon, from the railway stations of war-torn Europe to the walls of London’s National Gallery, exploring its life as a painting and its afterlife as a famous, often puzzling image.Rediscovered by the archaeologist Austen Henry Layard at the height of Orientalist outlooks in Britain, the picture was also the subject of a lawsuit over what defines a “portrait”; it was claimed by Italians seeking to hold onto national patrimony around 1900; and it starred in a solo exhibition in Istanbul in 1999. Rodini’s focused inquiry also ranges broadly, considering the nature of historical evidence, the shifting status of authenticity and verisimilitude, and the contemporary political resonance of Old Master paintings.Told as an object biography and imagined as an exploration of art historical methodologies, this book situates Gentile’s portrait in evolving dialogues between East and West, uncovering the many and varied ways that objects construct meaning.

In 1479, the Venetian painter Gentile Bellini arrived at the Ottoman court in Istanbul, where he produced his celebrated portrait of Sultan Mehmed II. An important moment of cultural diplomacy, this was the first of many intriguing episodes in the picture's history.Elizabeth Rodini traces Gentile's portrait from Mehmed's court to the Venetian lagoon, from the railway stations of war-torn Europe to the walls of London's National Gallery, exploring its life as a painting and its afterlife as a famous, often puzzling image.Rediscovered by the archaeologist Austen Henry Layard at the height of Orientalist outlooks in Britain, the picture was also the subject of a lawsuit over what defines a “portrait”; it was claimed by Italians seeking to hold onto national patrimony around 1900; and it starred in a solo exhibition in Istanbul in 1999. Rodini's focused inquiry also ranges broadly, considering the nature of historical evidence, the shifting status of authenticity and verisimilitude, and the contemporary political resonance of Old Master paintings.Told as an object biography and imagined as an exploration of art historical methodologies, this book situates Gentile's portrait in evolving dialogues between East and West, uncovering the many and varied ways that objects construct meaning.