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The Umbrian and Roman School of Art - Raphael
Howard University Digital Howard @ Howard University Manuscripts for the Grimke Book Life and Writings of the Grimke Family October 2017 The mbrU ian and Roman School of Art Follow this and additional works at: http://dh.howard.edu/ajc_grimke_manuscripts Recommended Citation "The mbrU ian and Roman School of Art" (2017). Manuscripts for the Grimke Book. 36. http://dh.howard.edu/ajc_grimke_manuscripts/36 This Book is brought to you for free and open access by the Life and Writings of the Grimke Family at Digital Howard @ Howard University. It has been accepted for inclusion in Manuscripts for the Grimke Book by an authorized administrator of Digital Howard @ Howard University. For more information, please contact [email protected]. The "mbrian c.r.d Honan School of Art RAPHAEL The Umbrian School of Art originated in Umbria, a province on the Tiber, and v;aa distinguished for the fervent religious feeling of its painters. It was in this province that St. Francis, of Assissi, the most famous saint of the middle ages, was born and lived, and it was owing to his presence and influence that the people were more deeply and strongly religious than those of the neighboring provinces. "Their painters," says a distinguished critic," strove above all things to express the mystic beauty of the Christian soul. Their art was the expression of the purest and holiest aspirations of Christian life." Kicolo Alunno, of Toligno - born in 1453, died in 1499 - is the first master in whom the distinct Umbrian' characteristics became apparent. His works have a dreamy, religious feeling; are superior in purity and brightness of color, and have much natural beauty. -
III. RAPHAEL (1483-1520) Biographical and Background Information 1. Raffaello Santi Born in Urbino, Then a Small but Important C
III. RAPHAEL (1483-1520) Biographical and background information 1. Raffaello Santi born in Urbino, then a small but important cultural center of the Italian Renaissance; trained by his father, Giovanni Santi. 2. Influenced by Perugino, Leonardo da Vinci, and Michelangelo; worked in Florence 1504-08, in Rome 1508-20, where his chief patrons were Popes Julius II and Leo X. 3. Pictorial structures and concepts: the picture plane, linear and atmospheric perspective, foreshortening, chiaroscuro, contrapposto. 4. Painting media a. Tempera (egg binder and pigment) or oil (usually linseed oil as binder); support: wood panel (prepared with gesso ground) or canvas. b. Fresco (painting on wet plaster); cartoon, pouncing, giornata. Selected works 5. Religious subjects a. Marriage of the Virgin (“Spozalizio”), 1504 (oil on roundheaded panel, 5’7” x 3’10”, Pinacoteca de Brera, Milan) b. Madonna of the Meadow, c. 1505 (oil on panel, 44.5” x 34.6”, Kunsthistorisches Museum, Vienna) c. Madonna del Cardellino (“Madonna of the Goldfinch”), 1506 (oil on panel, 3’5” x 2’5”, Uffizi Gallery, Florence) d. Virgin and Child with St. Sixtus and St. Barbara (“Sistine Madonna”), 1512-13 (oil on canvas, 8’8” x 6’5”, Gemäldegalerie, Dresden) 6. Portraits a. Agnolo Doni, c.1506 (oil on panel, 2’ ¾” x 1’5 ¾”, Pitti Palace, Florence) b. Maddalena Doni, c.1506 (oil on panel, 2’ ¾” x 1’5 ¾”, Pitti Palace, Florence) c. Cardinal Tommaso Inghirami, c. 1510-14 (oil on panel, 2’11 ¼” x 2’, Pitti Palace, Florence) d. Baldassare Castiglione, c. 1514-15 (oil on canvas, 2’8” x 2’2”, Louvre Museum, Paris) e. -
MADONNA a Fordítás Az Alábbi Kiadás Alapján Készült: Discovering the Zodiac in the Raphael Madonna Series
Brian Gray MADONNA A fordítás az alábbi kiadás alapján készült: Discovering the Zodiac in the Raphael Madonna Series Copyright © 2013 by Brian Gray and Wynstones Press. All rights reserved. Brian Gray Published by Wynstones Press 2013 A fordítás és a kiadás a kiadó engedélyével történt. Fordítás és magyar változat © Casparus Kiadó Kft. 2017. Minden jog fenntartva. Hungarian translation and edition © Casparus Kiadó Kft. 2017. All rights reserved. MADONNA A könyv – a kiadó írásos engedélye nélkül – sem egészében, sem részleteiben nem sokszorosítható vagy közölhető, semmilyen formában és értelemben, elektronikus vagy mechanikus módon, beleértve a nyilvános előadást vagy tanfolyamot, a hangoskönyvet, bármilyen internetes közlést, a fénymásolást, a rögzítést vagy az információrögzítés bármilyen formáját. Felelős kiadó: a Casparus Kiadó Kft. ügyvezetője. © 2017 Casparus Kiadó Kft. 2083 Solymár, Külső Vasút utca 3368/3. A zodiákus felfedezése Raffaello Madonna-sorozatában www.casparus.hu madonna.casparus.hu Első kiadás Discovering the Zodiac in the Raphael Madonna Series Szerkesztette és magyarra fordította: Balázs Árpád Magyar nyelvi lektor: Dankovics Atilla Német fordítás: Filinger Szilárd Die Entdeckung des Tierkreises in Raffaels Madonnen-Serie Német nyelvi lektor: Harald Kallinger A német nyelvű szöveg gondozásában részt vettek: Juhász Zsanett, Malomsoky Ildikó, Márta-Tóth Jolán Orosz fordítás: Olga Knyazeva Az orosz szöveget gondozta: Dmitry Dzyubenko Проявление Зодиака в ряде Мадонн Рафаэля Tördelés és tipográfia: Korcsmáros Gábor Képek jegyzéke: 25. oldal: Sixtus-Madonna (Photo by VCG Wilson/Corbis via Getty Images) 31. oldal: A szép kertésznő (Photo by Fine Art Images/Heritage Images/Getty Images) 35. oldal: Alba herceg Madonnája (Photo by VCG Wilson/Corbis via Getty Images) 39. oldal: Alba herceg Madonnája (részlet) (Photo by VCG Wilson/Corbis via Getty Images) 43. -
RAFFAELLO SANZIO Una Mostra Impossibile
RAFFAELLO SANZIO Una Mostra Impossibile «... non fu superato in nulla, e sembra radunare in sé tutte le buone qualità degli antichi». Così si esprime, a proposito di Raffaello Sanzio, G.P. Bellori – tra i più convinti ammiratori dell’artista nel ’600 –, un giudizio indicativo dell’incontrastata preminenza ormai riconosciuta al classicismo raffaellesco. Nato a Urbino (1483) da Giovanni Santi, Raffaello entra nella bottega di Pietro Perugino in anni imprecisati. L’intera produzione d’esordio è all’insegna di quell’incontro: basti osservare i frammenti della Pala di San Nicola da Tolentino (Città di Castello, 1500) o dell’Incoronazione di Maria (Città del Vaticano, Pinacoteca Vaticana, 1503). Due cartoni accreditano, ad avvio del ’500, il coinvolgimento nella decorazione della Libreria Piccolomini (Duomo di Siena). Lo Sposalizio della Vergine (Milano, Pinacoteca di Brera, 1504), per San Francesco a Città di Castello (Milano, Pinacoteca di Brera), segna un decisivo passo di avanzamento verso la definizione dello stile maturo del Sanzio. Il soggiorno a Firenze (1504-08) innesca un’accelerazione a tale processo, favorita dalla conoscenza dei tra- guardi di Leonardo e Michelangelo: lo attestano la serie di Madonne con il Bambino, i ritratti e le pale d’altare. Rimonta al 1508 il trasferimento a Roma, dove Raffaello è ingaggiato da Giulio II per adornarne l’appartamento nei Palazzi Vaticani. Nella prima Stanza (Segnatura) l’urbinate opera in autonomia, mentre nella seconda (Eliodoro) e, ancor più, nella terza (Incendio di Borgo) è affiancato da collaboratori, assoluti responsabili dell’ultima (Costantino). Il linguaggio raffaellesco, inglobando ora sollecitazioni da Michelangelo e dal mondo veneto, assume accenti rilevantissimi, grazie anche allo studio dell’arte antica. -
A Few Typographical Errors Have Been Corrected. They Are Shown in the Text with Mouse-Hover Popups
A few typographical errors have been corrected. They are shown in the text with mouse-hover popups. Preface, Itineraries and List of Maps (separate file) Paris to Marseilles (separate file) The Riviera: Itineraries The Riviera: Maps The Riviera: Text Italy and the Alps and General Index (separate file) ITINERARY (pages 107–280) THE RIVIERA. The Riviera. Hotels, productions, climate 107 Marseilles. Hotels, trams, sights, excursions 111 MARSEILLES to MENTON. The French Riviera 122 Marseilles to Toulon, passing several pretty little towns, of which the most important is La Seyne (p. 123). From Toulon omnibuses and diligences run to the neighbouring villages and to the more distant towns in the interior. The most start from the Place d’Italie (pp. 124 and 129). Toulon to Dardenne from the “Place” to the W. of the Place Puget (p. 128), to Hyères from the Place Puget (pp. 124, 133), Cap Brun and Ste. Marguerite from the Place d’Italie (p. 128), to Le Pradet from the Place d’Italie (p. 128). Toulon to Meounes and Brignoles by Belgentier, by diligence. As far as Meounes the road traverses a picturesque country (p. 129), to Collobrières by La Crau and Pierrefeu (p. 130). Steamer to La Seyne (pp. 124, 127), to St. Mandrier (p. 127), to the Iles d’Hyères or d’Or (pp. 124, 131). The Iles d’Or. Porquerolles, Port-Cros, Ile du Levant 131 Toulon to Hyères 132 Hyères. Hotels, cabs, drives, stage-coaches, excursions, productions, climate 133 Hyères to Les Salins, La Plage and the peninsula of Giens (p. 140); to Carqueyranne by Pomponiana (p. -
The Word Made Visible in the Painted Image
The Word made Visible in the Painted Image The Word made Visible in the Painted Image: Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller The Word made Visible in the Painted Image: Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Stephen Miller All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8542-8 ISBN (13): 978-1-4438-8542-3 For Paula, Lucy and Eddie CONTENTS List of Illustrations ..................................................................................... ix Acknowledgements .................................................................................... xi Introduction ................................................................................................. 1 Chapter One ................................................................................................. 3 Setting the Scene The Rise of Humanism and the Italian Renaissance Changing Style and Attitudes of Patronage in a Devotional Context The Emergence of the Altarpiece in -
Raffaelloraffaello
RAFFAELLORAFFAELLO Autoritratto, 1506 ca Vol II, pp. 446-459 1483-1520 LA VITA 1483 nasce a Urbino figlio di un pittore Va a bottega dal padre e si educa alla corte dei Montefeltro Allievo del Perugino 1504-1508 soggiorno fiorentino 1508 va a Roma invitato da Giulio II e con l’aiuto di Bramante Lavora per Giulio II e Leone X 1520 muore a Roma Raffaello 2 1483-1520 LE OPERE 1500-1502 Studio di nudo maschile (disegno) Urbino 1502 Cristo benedicente 1505 San Giorgio e il drago (disegno) Firenze 1504 Lo sposalizio della Vergine (olio su tavola) 1505 Ritratto di Agnolo Doni 1506 Ritratto di Maddalena Doni 1506 Madonna del cardellino 1506 Madonna del prato (o del Belvedere) 1507 Sacra famiglia Canigiani (olio su tavola) 1507-1509 Trasporto di Cristo al sepolcro (pala Baglioni) 1509-1510 Scuola d’Atene (affresco) Roma 1512 Ritratto di Giulio II 1513 Madonna della seggiola 1513 La velata 1513-1514 altri affreschi nelle Stanze vaticane 1518 Leone X 1518-1519 Due uomini nudi in piedi (disegno) 1518-1520 Trasfigurazione (olio su tavola) Raffaello 3 1500-1502 STUDIO DI NUDO MASCHILE All’inizio della sua carriera si dedica al disegno, soprattutto agli studi sulla figura umana Non disegna un contorno netto ma una serie di linee affiancate I corpi vengono presentati scarni, con muscoli e tendini in evidenza Michelangelo, Studio di figura nuda, 1504-06 Raffaello 4 1502 CRISTO BENEDICENTE Opera giovanile È ancora a Urbino Raffaello 5 1505 SAN GIORGIO E IL DRAGO Influssi leonardeschi – Il cavallo impennato – Lo slancio del cavaliere – La lunga testa del -
Corsetti-Tour Raffaello-2B
A 500 anni dalla morte di Raffaello Sanzio, una proposta imperdibile: un viaggio alla ricerca delle sue migliori opere Raffaello nacque nel 1483 a Urbino , all’epoca centro della cultura rinascimentale, dove passò l’infanzia. Il padre di Raffaello, Giovanni Santi, era pittore ad aveva una bottega dove faceva opere per la corte del Duca della città. Conobbe a Urbino le opere di artisti rinascimentali come . A sedici anni, Raffaello avviò una sua bottega a Città di Castello con degli aiutanti del padre. Grazie alla bellezza delle prime opere, la fama del giovane Raffaello iniziò a diffondersi nella regione e nuove commissioni cominciarono a pervenire anche da altre città umbre. Intorno al 1503 Raffaello intraprese una serie di viaggi, di breve durata, verso le città dell’Italia centrale, nelle quali l’arte rinascimentale aveva i suoi principali esponenti. Visitò alcune città umbre, inclusa la sua Urbino , e si recò a Roma , Siena e Firenze . A Roma, Raffaello vide le opere antiche dell’età classica, dalle quali rimase affascinato, e assistette all’elezione di Giulio II. A Siena si recò su invito del Pinturicchio, pittore già molto noto e sensibilmente più anziano di Raffaello, con il quale coltivò un’amicizia densa di stima e rispetto reciproco Tra il 1504 e il 1508 Raffaello soggiornò a Firenze La permanenza a Firenze fu di fondamentale importanza per la formazione artistica di Raffaello. Oltre a stringere rapporti con molti colleghi, poté ammirare le opere di artisti suoi contemporanei, primi tra tutti Leonardo e Michelangelo, ed ebbe anche occasione di studiare da vicino le opere dei maestri quattrocenteschi del primo Rinascimento, come Masaccio e Donatello. -
JOURNAL of the FRIENDS of the UFFIZI GALLERY No
Free publication on www.friendsoftheuffizigallery.org Polistampa - Firenze JOURNAL OF THE FRIENDS OF THE UFFIZI GALLERY No. 76 - December 2019 Homage to the Greatest In the words of 1483–1520, these are the Raphael walking through the Venetian order that through chronological boundaries of poetically entitled palace cham- perspective unveils the visible Antonio Paolucci, the Raphael’s existence. His earli- bers (the Throne Room, Jole’s truth. phases of the brief but est period was spent in Urbino Room, the Sweet Orange Room, The foundations of Rapha- intense life of Raphael. el’s training are Urbino and the artistic and literary culture The fleeting years of his of the court of the Montefel- glorious youth, filled with tro. Urbino taught the son of masterpieces Giovanni Santi two fundamen- tal concepts. First, the omni- presence and pervasiveness of aphael died on April 6, beauty found everywhere and R1520, shortly after his within everything. Still today, thirty-seventh birthday, having few other places in Italy give as come down some days earlier clear a demonstration of this with an “acute and continuous concept as the city of the Mon- fever”, probably malaria, en- tefeltro. Urbino taught the boy, demic and often fatal in Rome heir to his father’s workshop at the time. His funeral was held and trade, that beauty must be in the Pantheon. All Rome was modulated and represented present and all Rome cried – following a codified selection, as Vasari tells us – also because within protocols that find their the Transfiguration, today in the origins and justification within Vatican Pinacoteca, was placed the Court itself. -
Raffaello Sanzio
turismo Un itinerario tra i luoghi di Roma alla scoperta dei capolavori di Raffaello Sanzio 1. GALLERIA BORGHESE 2. CHIESA DI SANTA MARIA DEL POPOLO 3. PALAZZO BARBERINI 4. ACCADEMIA DI SAN LUCA 5. GALLERIA DORIA PAMPHILJ 6. CHIESA DI SANT’AGOSTINO 7. CHIESA DI SANTA MARIA DELLA PACE 8. SANT’ELIGIO DEGLI OREFICI 9. VILLA FARNESINA 10. VATICANO 11. VILLA MADAMA Raffaello a Roma Roma per te Collana di informazioni del Comune di Roma Realizzazione a cura: Cosmofilm s.p.a. - Elio de Rosa Editore Direttore editoriale: Paolo Galeotti Testi: Sofia Barchiesi Organizzazione: Emanuela Bosi Planimetrie: Antonio D’Alessandro Progetto grafico e impaginazione: Marco C. Mastrolorenzi Foto: Archivio Reverenda Fabbrica di San Pietro: 6, 7, 8 Archivio Roma Sacra: 21, 22 Eleonora La Vella/Soriani f.c.v.: 17, 18, 19, 20, 23, 28, 30, 31, 32 Musei Vaticani: 10, 12 Comune di Roma: 24 Paolo Soriani: 6, 7, 16, 35 na serie di guide specialistiche che vogliono es- sere un invito a prolungare il soggiorno a Roma; U un suggerimento per chi già disponga di qualche giorno “in più” e desideri approfondire la conoscenza della nostra città. Itinerari appositamente studiati per accompagnare il visita- tore nella scoperta del grande patrimonio del Rinascimento a Roma attraverso la testimonianza di artisti sommi quali Caravaggio, Raffaello, Michelangelo. Passeggiate nell’arte barocca, per ammirare le splendide architetture di Bernini e Borromini. Un consiglio per tutti, turisti e romani, per scoprire e gode- re in tutta tranquillità le testimonianze di epoche che tanta parte hanno avuto nel costruire la straordinaria immagine presente della nostra città. -
The Courtyard of Honour the Courtyard
The Courtyard of Honour The Courtyard of Honour of the Quirinale Palace appears to be a large arcaded piazza, unified and harmonious in shape, but it is in fact the result of four separate phases of construction which were carried out between the end of the 1500s and next century. The oldest and most easily distinguishable section forms the backdrop to the courtyard with the tower rising above it. This part of the palace was originally an isolated villa, whose construction was begun in 1583 by Pope Gregory XIII who wished to pass the hot Roman summers on the Quirinal Hill, a fresher and airier location than the Vatican. The architect who designed this first building was Ottaviano Mascarino, from Bologna. The next pope, Sixtus V, decided to enlarge the structure with a long wing running down the piazza and a second building directly in front of the older villa; Domenico Fontana was in charge of these projects. The palace and the Courtyard were completed under Pope Paul V by the architect Flaminio Ponzio, who designed the wing on the side of the gardens, and Carlo Maderno, who rebuilt the Sixtus V structure in order that it could accommodate larger and more solemn ceremonial spaces. The clock-tower was originally a simple viewing tower crowning the 16th Century villa. At the beginning of the 17th Century it was fitted with a clock and bell, and towards the end of that century a mosaic of the Madonna and Child was carried out, based on a design by Carlo Maratta. Above the tower fly the Italian and European flags as well as the presidential standard, which is lowered when the Head of State is not in Rome. -
Colourless Powdered Glass As an Additive in Fifteenth- and Sixteenth-Century European Paintings
National Gallery Technical Bulletin volume 33 National Gallery Company London Distributed by Yale University Press 001-003 TB33 16.8.indd 1 17/08/2012 07:37 This edition of the Technical Bulletin has been funded by the American Friends of the National Gallery, London with a generous donation from Mrs Charles Wrightsman Series editor: Ashok Roy Photographic credits © National Gallery Company Limited 2012 All photographs reproduced in this Bulletin are © The National Gallery, London unless credited otherwise below. All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including CHICAGO photocopy, recording, or any storage and retrieval system, without The Art Institute of Chicago, Illinois © 2012. Photo Scala, Florence: prior permission in writing from the publisher. fi g. 9, p. 77. Articles published online on the National Gallery website FLORENCE may be downloaded for private study only. Galleria dell’Accademia, Florence © Galleria dell’Accademia, Florence, Italy/The Bridgeman Art Library: fi g. 45, p. 45; © 2012. Photo Scala, First published in Great Britain in 2012 by Florence – courtesy of the Ministero Beni e Att. Culturali: fig. 43, p. 44. National Gallery Company Limited St Vincent House, 30 Orange Street LONDON London WC2H 7HH The British Library, London © The British Library Board: fi g. 15, p. 91. www.nationalgallery. co.uk MUNICH Alte Pinakothek, Bayerische Staatsgemäldesammlungen, Munich British Library Cataloguing-in-Publication Data. © 2012. Photo Scala, Florence/BPK, Bildagentur für Kunst, Kultur und A catalogue record is available from the British Library. Geschichte, Berlin: fig. 47, p. 46 (centre pinnacle); fi g.