Michelangelo's Double Self-Portraits (review)
that of Pordenone and Titian. Hochmann identifies 1527 (the Sack of Rome) through the 1540s — the years that shaped the development of Tintoretto and Veronese — as the most active period of exchange between Venetian and Roman artists and patrons. Part 3 traces the Venetian sojourns of Roman and Tuscan painters including Salviati and Vasari, whose fresco decorations in Ca’ Grimani at Santa Maria Formosa and Ca’ Corner were facilitated by their connections with Venetian nobles. In the same years, Venetian artists such as Battista Franco and Girolamo Muziano journeyed to Rome to study with Michelangelo’s pupils, and Titian made his famous Roman sojourn (1545). Although Venetian artists would learn much from their Roman contemporaries, their travels were also instrumental in the dissemination of Venetian naturalism, which would shape what Hochmann calls the “reform of painting” in the second half of the sixteenth century. The final part of Hochmann’s book bears on this “reform,” a reaction against mannerism defined by the search for an “alternative to Michelangelo” (436). The first chapter in part 4 is dedicated to the spread of the landscape poesia in Roman painting. Hochmann points out that Venetian landscapes, such as those of Girolamo Muziano, a central figure in the Accademia di San Luca in Rome, played a crucial role. The success of Muziano’s sacred landscapes not only reflects the growing taste for Venetian painting in Rome at the end of the century, but also shaped Annibale Caracci’s lyrical landscapes. In the last chapter, Hochmann explores how the careers of Muziano, Federico Zuccaro, and Scipione Pulzone perpetuated the spread of Venetian style in central Italy and “codified” Titian’s sensual color and free brushwork (pittoresco), along with Tintoretto’s dynamic spatial compositions. As a whole, Hochmann’s refreshingly broad study, filled with compelling ideas that emerge from his synthetic approach to the visual culture of the sixteenth century, is a delight to read and a valuable contribution to our thinking about the foundations of Baroque painting and art theory. APRIL OETTINGER University of Hartford