Rome - Location Guide
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Factsheet St. Peter's Basilica
www.osram.com 1/3 Facts and figures – St. Peter's Basilica and other lighting projects in The Vatican at a glance LED technology from Osram already has proven its worth for lighting The Sistine Chapel, St. Peter's Square and Raphael’s Rooms. From now on, the unique beauty of St. Peter's Basilica will amaze visitors more than ever. St. Peter’s Basilica o One of the largest and most important Catholic churches in the world o About 27,000 visitors per day o The illumination was digitally simulated on the computer in advance and then implemented without complex test installations in St. Peter's Basilica. o Lighting concept comprises 780 LED luminaires specially developed and manufactured in Wipperfürth, equipped with 100,000 light-emitting diodes from Regensburg and an Osram lighting management system. o Energy savings of up to 90 percent, with a reduction in the number of luminaires by 80 percent o Some domes shine 10 times brighter than before o The highest luminaire was installed at a height of about 110 meters, the lowest at a height of about 12 meters. o St. Peter's Basilica contains the largest mosaic in the world, with an area of approximately 10,000 square meters. This mosaic now shines in a previously unseen beauty. o Various lighting scenarios, from basic lighting to gala lighting, can be digitally controlled, depending on the occasion. o The newly created brightness enables television broadcasts from St. Peter's Basilica in a quality of VHD 4K and UHD 8K without any flickering or bias noise OSRAM Licht AG Marcel-Breuer-Strasse 6, -
1-Day Rome City Guide a Preplanned Step-By-Step Time Line and City Guide for Rome
1 day 1-day Rome City Guide A preplanned step-by-step time line and city guide for Rome. Follow it and get the best of the city. 1-day Rome City Guide 2 © PromptGuides.com 1-day Rome City Guide Overview of Day 1 LEAVE HOTEL Tested and recommended hotels in Rome > Take Metro Line A to Ottaviano San Pietro station 09:00-10:10 St. Peter's Basilica Largest Christian Page 5 church in the world 10:10-10:40 Piazza di San Pietro One of the best known Page 5 squares in the world Take Metro Line A from Ottaviano San Pietro station to Termini station (Direction: Anagnina) Change to Metro Line B from Termini station to Colosseo station (Direction: Laurentina) - 30’ in all 11:10-12:40 Colosseum Iconic symbol of Page 6 Imperial Rome Take a walk to Arch of Constantine - 5’ 12:45-12:55 Arch of Constantine Majestic monument Page 6 Lunch time Take a walk to Piazza Venezia 14:30-14:50 Piazza Venezia Focal point of modern Page 7 Rome Take a walk to the Pantheon - 15’ 15:05-15:35 Pantheon The world's largest Page 7 unreinforced concrete Take a walk to Piazza Navona - 10’ dome 15:45-16:15 Piazza Navona One of the most Page 7 beautiful squares in Take a walk to Trevi Fountain - 25’ Rome 16:40-17:10 Trevi Fountain One of the most familiar Page 8 sights of Rome Take a walk to Spanish Steps - 20’ 17:30-18:00 Spanish Steps Rome's most beloved Page 8 Rococo monument END OF DAY 1 © PromptGuides.com 3 1-day Rome City Guide Overview of Day 1 4 © PromptGuides.com 1-day Rome City Guide Attraction Details 09:00-10:10 St. -
Rome: Portrait of a City 2019
Rome: Portrait of a City 2019 28 OCT – 9 NOV 2019 Code: 21941 Tour Leaders Em. Prof. Bernard Hoffert Physical Ratings Explore the treasures of the Eternal City, from the Etruscans through to the 21st century, with art history expert Emeritus Professor Bernard Hoffert. Overview Join Emeritus Professor Bernard Hoffert in Rome on a program that explores the enduring yet ever- changing nature of this extraordinary city. In Tarquinia, north of Rome, discover the exquisite beauty of Etruscan wall painting at the UNESCO site of the Necropoli dei Monterozzi and view fine Etruscan sculpture at the Villa Giulia. Marvel at the extraordinary ancient Roman architectural and engineering feats like the Pantheon and the revolutionary Roman documentary realism in the sculpture of Augustus’ Ara Pacis Augustae. Admire the glistening Early Christian and medieval mosaics that convey a sense of a transcendent world in churches such as Santa Prassede, Santa Maria Maggiore, San Clemente and Santa Maria in Trastevere. View Michelangelo’s awesome God of Creation on the Sistine Ceiling and his terrifying Just Christ of the Last Judgement, as well as Raphael’s superb frescoes in the Vatican Stanze and the Villa Farnesina. Outside Rome, wander through the exquisite pentagonal Villa Farnese at Caprarola with its extensive park adorned with fountains, walled gardens and a casino; and explore the garden masterpiece of the Renaissance, Vignola’s Villa Lante at Bagnaia. Contemplate Caravaggio’s portrayal of deep spiritual awakening in his St Matthew cycle in the church of San Luigi dei Francesi, and his Crucifixion of Saint Peter and Conversion of St Paul at Santa Maria del Popolo, and witness the revolutionary illusionism and high drama of Gian Lorenzo Bernini’s sculptures at the Villa Borghese. -
On the Spiritual Matter of Art Curated by Bartolomeo Pietromarchi 17 October 2019 – 8 March 2020
on the spiritual matter of art curated by Bartolomeo Pietromarchi 17 October 2019 – 8 March 2020 JOHN ARMLEDER | MATILDE CASSANI | FRANCESCO CLEMENTE | ENZO CUCCHI | ELISABETTA DI MAGGIO | JIMMIE DURHAM | HARIS EPAMINONDA | HASSAN KHAN | KIMSOOJA | ABDOULAYE KONATÉ | VICTOR MAN | SHIRIN NESHAT | YOKO ONO | MICHAL ROVNER | REMO SALVADORI | TOMÁS SARACENO | SEAN SCULLY | JEREMY SHAW | NAMSAL SIEDLECKI with loans from: Vatican Museums | National Roman Museum | National Etruscan Museum - Villa Giulia | Capitoline Museums dedicated to Lea Mattarella www.maxxi.art #spiritualealMAXXI Rome, 16 October 2019. What does it mean today to talk about spirituality? Where does spirituality fit into a world dominated by a digital and technological culture and an ultra-deterministic mentality? Is there still a spiritual dimension underpinning the demands of art? In order to reflect on these and other questions MAXXI, the National Museum of XXI Century Arts, is bringing together a number of leading figures from the contemporary art scene in the major group show on the spiritual matter of art, strongly supported by the President of the Fondazione MAXXI Giovanna Melandri and curated by Bartolomeo Pietromarchi (from 17 October 2019 to 8 March 2020). Main partner Enel, which for the period of the exhibition is supporting the initiative Enel Tuesdays with a special ticket price reduction every Tuesday. Sponsor Inwit. on the spiritual matter of art is a project that investigates the issue of the spiritual through the lens of contemporary art and, at the same time, that of the ancient history of Rome. In a layout offering diverse possible paths, the exhibition features the works of 19 artists, leading names on the international scene from very different backgrounds and cultures. -
Zaha Hadid the MAXXI Museum of 21St Century Arts, Rome David
Auditorium (2002) which has become a centre for music in Rome, with its three beetle-shaped concert halls arranged around an open-air amphitheatre. The other major architectural intervention in Rome is Richard Meier’s controversial Ara Pacis Museum (2006). So the MAXXI is the third post-Jubilee Year building to make it to construction. Quite an event. They are the first new public works in Rome for over sixty years. “The Eternal City” is the eternal nightmare for anyone trying to build in Rome, unless you are Mussolini, tearing up the housing between Colosseum and Piazza Venezia to make space for your triumphalist military parades, or flattening the huddle of medieval dwellings around St. Peter’s to make way for a road to symbolise reconciliation between Catholicism and Fascism and spoil Bernini’s Baroque surprise: the embrace of his twin colonnades suddenly opening out from crowded buildings. Building anything in Rome is a challenge because the city is a palimpsest of overlapping cities, like an ancient manuscript with layers and layers of inscriptions scratched off its skin, written over or crowded with marginal notes made by different scribes in different centuries. Just imagine: baroque façades, Egyptian obelisks, Renaissance domes, early Christian mosaics, post-unification palazzi and the chaos of noisy traffic everywhere. If you have been to the basilica of San Clemente you will have seen a twelfth-century church built over a fourth-century basilica, above a Roman domus and Zaha Hadid Mythraic temple at street level, ending abruptly at The MAXXI Museum of 21st Century the edge of the excavation where, many feet below Arts, Rome ground level, a wall of rubble at the end of a barrel vault denies the view of the rest of the second David Brancaleone century city. -
75. Sistine Chapel Ceiling and Altar Wall Frescoes Vatican City, Italy
75. Sistine Chapel ceiling and altar wall frescoes Vatican City, Italy. Michelangelo. Ceiling frescoes: c. 1508-1510 C.E Altar frescoes: c. 1536-1541 C.E., Fresco (4 images) Video on Khan Academy Cornerstone of High Renaissance art Named for Pope Sixtus IV, commissioned by Pope Julius II Purpose: papal conclaves an many important services The Last Judgment, ceiling: Book of Genesis scenes Other art by Botticelli, others and tapestries by Raphael allowed Michelangelo to fully demonstrate his skill in creating a huge variety of poses for the human figure, and have provided an enormously influential pattern book of models for other artists ever since. Coincided with the rebuilding of St. Peters Basilica – potent symbol of papal power Original ceiling was much like the Arena Chapel – blue with stars The pope insisted that Michelangelo (primarily a sculpture) take on the commission Michelangelo negotiated to ‘do what he liked’ (debateable) 343 figures, 4 years to complete inspired by the reading of scriptures – not established traditions of sacred art designed his own scaffolding myth: painted while lying on his back. Truth: he painted standing up method: fresco . had to be restarted because of a problem with mold o a new formula created by one of his assistants resisted mold and created a new Italian building tradition o new plaster laid down every day – edges called giornate o confident – he drew directly onto the plaster or from a ‘grid’ o he drew on all the “finest workshop methods and best innovations” his assistant/biographer: the ceiling is "unfinished", that its unveiling occurred before it could be reworked with gold leaf and vivid blue lapis lazuli as was customary with frescoes and in order to better link the ceiling with the walls below it which were highlighted with a great deal of gold’ symbolism: Christian ideals, Renaissance humanism, classical literature, and philosophies of Plato, etc. -
Ist. Arts & Culture Festival First Global Edition Kicks
IST. ARTS & CULTURE FESTIVAL FIRST GLOBAL EDITION KICKS OFF IN ROME, ITALY ON MAY 31 ISTANBUL ’74 C o - Founders Demet Muftuoglu Eseli & Alphan Esel i to Co - curate IST.FEST.ROME With Delfina Delettrez Fendi and Nico Vascellari Demet Muftuoglu Eseli & Alphan Eseli , Co - Founders of ISTANBUL’74 launch the first global edition of IST. Arts & Culture Festival i n the city of Rome , the artistic an d cultural center of the world that has played host to some of the most impressive art and architecture achieved by human civilization , on May 31 st - June 2 nd 2019. Co - c urated by Demet Muftuoglu Eseli, Alphan Eseli, with Delfina Delettrez Fendi and Nico Vascellari , the IST.FEST. ROME will bring together some of the world’s most talented and creative minds , and leading cultural figures around an inspiring program of panels, talks, exhibitions, performances, screenings and workshops while maintaining its admission - free format. IST. FEST. ROME will focus on the theme: “Self - Expression in the Post - Truth World.” This edition of IST. F estival sets out to explore the ways in which constant changes in our surrounding habitats affect crea tive minds and artistic output. The core mission of the theme is to invoke lively debate around the struggle between reality and make - believe while acknow ledging digital technology and its undeniable power and vast reach as the ultimate tool for self - expression. IST.FEST.ROME will be presented in collaboration with MAXXI, the National Museum of 21st Century Arts , the first Italian national institution dev oted to contemporary creativity designed by the acclaimed architect Zaha Hadid , and Galleria Borghese , one the most respected museums over the world with masterpieces by Bernini and Caravaggio in its collection. -
Download Document
The J. Paul Getty Trust 1200 Getty Center Drive, Suite 400 Tel 310 440 7360 Communications Department Los Angeles, California 90049-1681 Fax 310 440 7722 www.getty.edu [email protected] NEWS FROM THE GETTY DATE: September 14, 2007 FOR IMMEDIATE RELEASE GETTY EXHIBITION HIGHLIGHTS THE TRIALS AND TRIBULATIONS OF A YOUNG ARTIST’S JOURNEY AS TOLD BY HIS BROTHER Taddeo and Federico Zuccaro: Artist-Brothers in Federico Zuccaro Renaissance Rome Italian, about 1541 - 1609 Taddeo Rebuffed by Francesco Il Sant'Agnolo, about 1590 Pen and brown ink and brown wash over black chalk The J. Paul Getty Museum At the J. Paul Getty Museum, Getty Center 99.GA.6.5 October 2, 2007 – January 6, 2008 LOS ANGELES—The journey to becoming an artist in Renaissance Rome during the 16th century was fraught with daily hardships and struggles. These tribulations are best exemplified in the tale of Taddeo Zuccaro, a young lad who left his home on the eastern coast of Italy at the tender age of 14 to pursue a career as an artist in the great metropolis of Rome. His tenuous journey of starvation, deprivation, sickness, and ultimately triumph—sensitively recounted by his younger brother, Federico, who would himself become an artist of great significance—will be celebrated in a major international loan exhibition organized by the J. Paul Getty Museum. On view at the Getty Center, October 2, 2007 through January 6, 2008, Taddeo and Federico Zuccaro: Artist-Brothers in Renaissance Rome is the first exhibition devoted to the artist-brothers that focuses on their relationship and brings together some of their greatest drawings. -
Ancient Cities: the Archaeology of Urban Life in the Ancient Near East, Egypt, Greece and Rome, Second Edition
ART 2311: Art and Architecture in Rome Fall 2016 A Days (Mondays and Wednesdays), 11:30am-1:00pm Aula Magna (plus site visits on some Wednesday afternoons) COURSE DESCRIPTION: This course gives students the unique opportunity to immerse themselves in the development of the city of Rome through a study of its art, architecture and urban transformation. It focuses on the major artistic and architectural movements occurring primarily in Italy (as well as their Greek antecedents) from roughly the 8th century BCE to the 20th century CE. In the study of each period we will strive to understand Rome’s artistic and architectural works within the contexts in which they were created. Our study of art, architecture and urban planning will therefore take into account the historical, political, social, religious and cultural contexts of the patrons, artists and viewers. Particular emphasis will be placed on ancient Greece and Rome, early Christianity, the Renaissance and the Baroque periods. We will also explore the reuse, borrowing and revival of ancient artistic and architectural themes in later periods. Instructor: Office Hours: Dr. Elizabeth Robinson Monday 4:00-6:00pm, or by appointment. [email protected] If you cannot make it to these office hours, Office: 560 please let me know and we can work out Office Phone: extension 560 another time to meet. REQUIRED TEXTS: (G) Gates, C.F. Ancient Cities: The archaeology of Urban Life in the Ancient Near East, Egypt, Greece and Rome, second edition. (Routledge, 2011). (C) Claridge, A. Rome. An Oxford Archaeological Guide. (Oxford 1998). (CP) Coursepack (consisting of several different readings assembled specifically for this course) ADDITIONAL READINGS: Occasionally texts, articles and handouts that will supplement the texts listed above may be assigned. -
9781107013995 Index.Pdf
Cambridge University Press 978-1-107-01399-5 — Rome Rabun Taylor , Katherine Rinne , Spiro Kostof Index More Information INDEX abitato , 209 , 253 , 255 , 264 , 273 , 281 , 286 , 288 , cura(tor) aquarum (et Miniciae) , water 290 , 319 commission later merged with administration, ancient. See also Agrippa ; grain distribution authority, 40 , archives ; banishment and 47 , 97 , 113 , 115 , 116 – 17 , 124 . sequestration ; libraries ; maps ; See also Frontinus, Sextus Julius ; regions ( regiones ) ; taxes, tarif s, water supply ; aqueducts; etc. customs, and fees ; warehouses ; cura(tor) operum maximorum (commission of wharves monumental works), 162 Augustan reorganization of, 40 – 41 , cura(tor) riparum et alvei Tiberis (commission 47 – 48 of the Tiber), 51 censuses and public surveys, 19 , 24 , 82 , cura(tor) viarum (roads commission), 48 114 – 17 , 122 , 125 magistrates of the vici ( vicomagistri ), 48 , 91 codes, laws, and restrictions, 27 , 29 , 47 , Praetorian Prefect and Guard, 60 , 96 , 99 , 63 – 65 , 114 , 162 101 , 115 , 116 , 135 , 139 , 154 . See also against permanent theaters, 57 – 58 Castra Praetoria of burial, 37 , 117 – 20 , 128 , 154 , 187 urban prefect and prefecture, 76 , 116 , 124 , districts and boundaries, 41 , 45 , 49 , 135 , 139 , 163 , 166 , 171 67 – 69 , 116 , 128 . See also vigiles (i re brigade), 66 , 85 , 96 , 116 , pomerium ; regions ( regiones ) ; vici ; 122 , 124 Aurelian Wall ; Leonine Wall ; police and policing, 5 , 100 , 114 – 16 , 122 , wharves 144 , 171 grain, l our, or bread procurement and Severan reorganization of, 96 – 98 distribution, 27 , 89 , 96 – 100 , staf and minor oi cials, 48 , 91 , 116 , 126 , 175 , 215 102 , 115 , 117 , 124 , 166 , 171 , 177 , zones and zoning, 6 , 38 , 84 , 85 , 126 , 127 182 , 184 – 85 administration, medieval frumentationes , 46 , 97 charitable institutions, 158 , 169 , 179 – 87 , 191 , headquarters of administrative oi ces, 81 , 85 , 201 , 299 114 – 17 , 214 Church. -
The Collecting, Dealing and Patronage Practices of Gaspare Roomer
ART AND BUSINESS IN SEVENTEENTH-CENTURY NAPLES: THE COLLECTING, DEALING AND PATRONAGE PRACTICES OF GASPARE ROOMER by Chantelle Lepine-Cercone A thesis submitted to the Department of Art History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (November, 2014) Copyright ©Chantelle Lepine-Cercone, 2014 Abstract This thesis examines the cultural influence of the seventeenth-century Flemish merchant Gaspare Roomer, who lived in Naples from 1616 until 1674. Specifically, it explores his art dealing, collecting and patronage activities, which exerted a notable influence on Neapolitan society. Using bank documents, letters, artist biographies and guidebooks, Roomer’s practices as an art dealer are studied and his importance as a major figure in the artistic exchange between Northern and Sourthern Europe is elucidated. His collection is primarily reconstructed using inventories, wills and artist biographies. Through this examination, Roomer emerges as one of Naples’ most prominent collectors of landscapes, still lifes and battle scenes, in addition to being a sophisticated collector of history paintings. The merchant’s relationship to the Spanish viceregal government of Naples is also discussed, as are his contributions to charity. Giving paintings to notable individuals and large donations to religious institutions were another way in which Roomer exacted influence. This study of Roomer’s cultural importance is comprehensive, exploring both Northern and Southern European sources. Through extensive use of primary source material, the full extent of Roomer’s art dealing, collecting and patronage practices are thoroughly examined. ii Acknowledgements I am deeply thankful to my thesis supervisor, Dr. Sebastian Schütze. -
2 FEBBRAIO 2015 Palazzo Dell'istruzione
2 FEBBRAIO 2015 Palazzo dell’istruzione The building which hosts the head offices of the Italian Ministry of Education was designed by the architect Cesare Bazzani, well known in those days for having built also Palazzo delle Belle Arti (Palace of Fine Arts), which now hosts the National Gallery of Modern Art. The construction of the Palace, started in 1912, was completed only in 1928. The building recalls the style and the eclectic taste of the beginning of the Twentieth Century. Its monumental architectural forms, inspired by Classicism, are softened by the baroque lines which liven up the facade, enriched in the front as well as in the internal spaces by an important series of ornaments and symbolic decorations with book-shaped capitals, grotesque caryatids, battering- ram heads, flower garlands. From the monumental Hall which introduces to the Palace, you can access the Courtyard of Honour, currently used for commemorative and prize-giving ceremonies at the end of the school year. On the sides of the Hall, two Honour Staircases, made of white marble, lead to the Minister’s Offices and to the Ministry representative rooms (Ministers’ Hall, Minister’s and Head of Cabinet’s Offices) decorated by Antonino Calcagnadoro, Paolo Paschetto and Rodolfo Villani in the year 1928. The paintings, made with the cold encaustic and the casein glue poster paint, two of the oldest and most traditional techniques of Italian Art, depict some allegorical figures: Literature, Science, Wisdom, History, Genius and Art. The series, painted by Calcagnodoro for the decoration of the Ministers’ Hall, is particularly valuable. It is a sequence which illustrates Education and 1 Knowledge in the various stages of Italian history with the depiction of some of its most important representatives: Dante Alighieri, San Francesco and Santa Chiara, Leonardo da Vinci, Raffaello Sanzio, Benvenuto Cellini, Michelangelo Merisi.