Leonardo Da Vinci Tour
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Michelangelo Pistoletto Mostre Collettive
Michelangelo Pistoletto Mostre collettive 1955 Torino, Circolo degli artisti, 7 - 28 dicembre, “95ª Esposizione Annuale della Società d’incoraggiamento alle Belle Arti”. Cat. 1956 Torino, Galleria della Gazzetta del Popolo, 23 dicembre 1956 - 6 gennaio 1957, “96ª Esposizione Annuale della Società d’incoraggiamento alle Belle Arti”. Cat. 1957 Torino, Promotrice delle Belle Arti, 18 maggio - 30 giugno, “114ª Esposizione Nazionale di Belle Arti”. Cat. 1958 Torino, Galleria Gazzetta del Popolo, 18 gennaio - 9 febbraio, “Pittura e scultura dei giovani in Piemonte”. Cat. Torino, Galleria Gazzetta del Popolo, 20 marzo - 7 aprile, “Mostra dell’autoritratto”. Cat. Torino, Saletta d’arte Malavolti, 19 aprile - 5 maggio, “Otto pittori contemporanei”. Cat. Torino, Galleria Gazzetta del Popolo, 26 aprile - 18 maggio, “I fiori nell’arte”. Cat. Torino, Promotrice delle Belle Arti, 15 maggio - 29 giugno, “115ª Esposizione Nazionale di Belle Arti”. Cat. Casale Monferrato, Accademia Filarmonica, 31 maggio - 8 giugno, “I fiori nell’arte”. Cat. Milano, Centro San Fedele, 8 - 25 novembre, “Premio San Fedele”. Cat. 1959 Torino, Saletta d’arte Malavolti, 31 gennaio - 15 febbraio, “11 Pittori Contemporanei”. Cat. Torino, Galleria Gazzetta del Popolo, 31 gennaio - 16 febbraio, “Seconda Mostra di Arti Figurative dei Giovani”. Cat. Torino, Galleria Gazzetta del Popolo, 4 - 18 giugno, “Piazze e monumenti del Piemonte”. Cat. Rimini, Palazzo dell’Arengo, 15 luglio - 30 agosto, “Premio Morgan’s Paint”. Cat. San Marino, Palazzo del Kursaal, luglio - settembre, “II Biennale internazionale d’arte contemporanea”. Cat. San Marino, Palazzo del Turismo, 20 agosto - 30 settembre, “Premio Repubblica di San Marino”. Cat. Biella, Sala Comunale, 19 settembre - 18 ottobre, “Premio Lorenzo Delleani”. Cat. -
Towards the Expo 2015
Towards the Expo 2015 1 Towards the Expo 2015 An Expo is a large international event that aims at the enrichment of human knowledge and technological progress, to promote cooperation and dialogue with international press. Given the importance of these major events, for almost a century now the need has arisen to standardise some aspects, such as duration, frequency and above all quality. The Bureau International des Expositions (BIE), established in 1928 with the International Convention of Paris is the international organisation responsible for establishing the parameters that control the Expo; the objective of the BIE is therefore to guarantee continuity of these events and maintain the level of international prestige earned over the years, selecting venues and dates and organising new Expos. The members of this organisation, with official headquarters in Paris, are all the States that have signed the convention. There are two different types of Expo: "Universal Expositions" (World Expo) and "International Expositions" (International Expo). The Expositions in the first category involve topics that concern the whole of humanity and therefore are global in nature. States, International Organisations, NGOs, Companies and other institutions can participate in these events, there is no limit to the size of the Exposition venue, and participants arrange the set-up of their own pavilions. Since 1996 these events have lasted six months and take place every five years. A Universal Expo will take place in Milan in 2015. 122 On the other hand the “International Expositions" take place in the period between the two Universal Expos and last for three months. The possible participants are the same as for a Universal Expo while the theme is more specific. -
Sources of Donatello's Pulpits in San Lorenzo Revival and Freedom of Choice in the Early Renaissance*
! " #$ % ! &'()*+',)+"- )'+./.#')+.012 3 3 %! ! 34http://www.jstor.org/stable/3047811 ! +565.67552+*+5 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org THE SOURCES OF DONATELLO'S PULPITS IN SAN LORENZO REVIVAL AND FREEDOM OF CHOICE IN THE EARLY RENAISSANCE* IRVING LAVIN HE bronze pulpits executed by Donatello for the church of San Lorenzo in Florence T confront the investigator with something of a paradox.1 They stand today on either side of Brunelleschi's nave in the last bay toward the crossing.• The one on the left side (facing the altar, see text fig.) contains six scenes of Christ's earthly Passion, from the Agony in the Garden through the Entombment (Fig. -
Lorenzo Ghiberti, Gates of Paradise (East Doors), Baptistry of San Giovanni, Florence, 1425–52
Lorenzo Ghiberti, Gates of Paradise (East Doors), Baptistry of San Giovanni, Florence, 1425–52 Florence Baptistery, constructed between 1059 and 1128 -renowned for its three sets of bronze doors with relief sculptures (south doors created by Andrea Pisano; north and east doors by Lorenzo Ghiberti) Figure from the 1804 edition of De Pictura (1435) of Leon Battista Alberti, showing the vanishing point Alberti’s treatise was the first surviving European treatise on painting. Book I is a geometry of perspective. Book II describes the good painting. Book III discusses the education and life-style of the artist “Masaccio in painting “Masaccio was a very expressed the likeness of good imitator of everything in nature so well nature, with great and that with our eyes we seemed comprehensive to see not the images of rilievo, a good things but things componitore and puro, themselves.” without ornato, because he devoted himself only to the Alamanno Rinuccini, 1472 imitation of truth and to the rilievo of his figures.” Cristoforo Landino, 1481 Masaccio, The Holy Trinity, 1427. Santa Maria Novella Church, Florence Interior of the Brancacci Chapel, Church of Santa Maria del Carmine, Florence. Frescoes by Masaccio and Masolino (c. 1423–28) and Filippino Lippi (c. 1482–84) Masaccio. Tribute Money, fresco in the Brancacci Chapel, c. 1427. (2.3x 6 m) “And since he had excellent judgment, he reflected that all the figures that did not stand firmly with their feet in foreshortening on the level, but stood on tip-toe, were lacking in all goodness of manner in the essential points, and that those who make them thus show that they do not understand foreshortening.” Vasari, Lives of Artists Raphael, Madonna of the Meadows, 1505–6, The Annunciation to the Shepherds, Cotton Kunsthistorisches Museum, Vienna MS Caligula A VII/1, fol. -
Foro Buonaparte International Design Competition Piazza Castello
InternationalConcorso Internazionale Design Competition di Progettazione Pi PiazzaCastello Castello - Foro Buonaparte- Foro Buonaparte PRELIMINARY DESIGN DOCUMENT InternationalConcorso Internazionale Design Competition di Progettazione Pi PiazzaCastello Castello - Foro Buonaparte- Foro Buonaparte PRELIMINARY DESIGN DOCUMENT Organizing Body and the technical contribution of Mayor Giuliano Pisapia Riccardo Gusti, Agricultural Engineer and Dr. Salvatore Sindoni City Department of Urban Planning, Private Building and Agriculture Dr. Roberto Munarin City Councilor Alessandro Balducci Dr. Francesco Amato Innovation and Economic and Social Development Area City Department of Public Works and Urban Furnishings – Central Division for Industry and Local Marketing – City Councilor Maria Carmela Rozza Business Sector, Help Desk for Business and Industry City Department of Traffic, Environment, Subways, Public Arch. Paolo Savio Water, Energy Ministry for Cultural Heritage and the Arts - City Councilor Pierfrancesco Maran Superintendence for Architecture and Landscape, Milan City Department of Health, Quality of Life, Sports and Engineer Annapaola De Lotto Leisure, Human Resources, Animal Protection, Parks, Territory Area – Central Division of Development of the General Services Territory – General Urban Planning Sector City Councilor Chiara Bisconti and the technical contribution of Giorgio Solimene, Surveyor City Department of Trade, Industry, Tourism, Local Marketing, Civic Services City Councilor Franco D’Alfonso Administrative Assistant Mr. Angelo -
To the City Contents
guide to the city contents Comune di Milano Published by Settore Politiche del Turismo Iniziative Speciali e Marketing Territoriale De Agostini Libri S.p.A. Via Dogana, 2 20121 Milano Director Andrea Pasquino Director Massimiliano Taveggia Product Manager Licia Triberti, Davide Gallotti Development and monitoring of tourism Editorial project Sergio Daneluzzi Federica Savino Local promotional portal Editing and Patrizia Bertocchi Iconographic Research Marco Torriani with Content supervision Alessandra Allemandi Mauro Raimondi Graphic Design and Layout Sandra Luzzani with Vando Pagliardini Text by Monica Berno Technical Prepress Services Andrea Campo Technical Coordination Guido Leonardi Download the App “Milan. Guide to the City” for: In the Guide, activate the QR codes on your smartphone: each itinerary has a code offering access to the Guide’s special content. Photo credits DeAgostini Picture, Archivio Alinari, Alessandro Casiello, Marco Clarizia, Contrasto, Corbis, Gianni Congiu, Marka, Mauro Ranzani, Andrea Scuratti, Vando Pagliardini, Michela Veicsteinas Updated in December 2015 contents Introduction 2 Map of the city/Center of the city 4 Milan and its History 8 1 Exploring the City Centre 10 2 Ancient Roman and Medieval Milan 12 3 The Renaissance and the Baroque 14 4 The Neoclassical Age and the 19th-Century 16 5 The Great Churches of Milan 18 6 The Buildings of Milan 22 7 The Museums of Milan 26 8 Contemporary Art in Milan 30 9 Milan: a City of Science 36 10 Parks and Canals 38 11 Shopping in Milan 42 12 Entertainment, Sports and Leisure 44 13 Outside Milan 46 Useful Information 48 Welcome Dealing with a great city like Milan demands a comprehensive overview, which is why we have prepared this handy, complete guidebook, offering the key to the treasures of the city and its surroundings. -
HOTEL PRINCIPE DI SAVOIA Two Day Itinerary: Parks & Gardens for Such a Busy City, Milan Is Home to a Surprisingly Large Variety of Tranquil Gardens
MILAN HOTEL PRINCIPE DI SAVOIA Two day itinerary: Parks & Gardens For such a busy city, Milan is home to a surprisingly large variety of tranquil gardens. Take a break from exploring Milan’s grand sites and luxury shopping galleries, and spend some time wandering the historic public gardens, botanical havens and hidden cloisters that bring a dose of greenery to the city. From the famous to the lesser-known, uncover the best parks and gardens in Milan with this two-day itinerary. Day One Start the day with a 10-minute walk to Indro Montanelli Public Gardens. INDRO MONTANELLI PUBLIC GARDENS Bastioni di Porta Venezia, 20121 Milan Indro Montanelli Public Gardens was the first purpose-built public park in the city, created in the late 1700s. As well as beautiful geometric flower beds, tree-lined avenues, water features and play areas, visitors can also discover two major Milan attractions: The Civic Museum of Natural History and the Ulrico Hoepli Planetarium. Next, take a five-minute walk to the Galleria d’Arte Moderna Milano. IL GIARDINO DI VILLA REALE T: 002 8844 5947 | Galleria d’Arte Moderna Milano, Via Palestro 16, 20121 Milan The Galleria d’Arte Moderna Milano is best known for its modern art collection, but surrounding the striking museum is a beautiful garden that deserves as much attention as the art. Il Giardino di Villa Reale is a classic English-style garden that’s full of character, where sweeping lawns surrounding a calm lake are peppered with ancient ruins. Then, take a 10-minute drive or a 20-minute walk to Parco Sempione. -
Enit Guide T O the Regions of It Al Y Guide to the Regions of Italy
GUIDE TO THE REGIONS OF ITALY ENIT GUIDE TO THE REGIONSOF GUIDE TO ITALY ENIT Aosta Valley Alto Adige South-Tyrol Veneto Friuli-Venezia Giulia Aosta Lombardy Bolzano Belluno Gorizia Bergamo Trento Padova Pordenone Brescia Rovigo Trieste Piedmont Como Treviso Udine Alexandria Cremona Venice Alto Asti Lecco Adige Verona Friuli Biella South-Tyrol Vicenza Lodi Venezia e Marches Cuneo Aosta Mantova Giulia Ancona Novara Valley Milan Lombardy Ascoli Piceno Turin Veneto Monza and Brianza Emilia Romagna Fermo Verbano-Cusio-Ossola Piedmont Pavia Bologna Macerata Vercelli Sondrio Ferrara Emilia Romagna Pesaro and Urbino Varese Liguria Forlì-Cesena Liguria Modena Genoa Tuscany Parma Abruzzo Imperia Arezzo Piacenza Tuscany e Marches Chieti La Spezia Florence Ravenna L'Aquila Savona Grosseto Umbria Reggio Emilia Pescara Livorno Rimini Teramo Lucca Abruzzo Massa and Carrara Latium Pisa Latium Frosinone Molise Pistoia Molise Latina Prato Campobasso Rieti Siena Campania Apulia Isernia Rome Viterbo Basilicata Umbria Sardinia Apulia Perugia Bari Terni Barletta-Andria-Trani Sardinia Calabria Brindisi Cagliari Foggia Carbonia-Iglesias Campania Lecce Medio Campidano Avellino Calabria Taranto Nuoro Benevento Sicily Catanzaro Ogliastra Caserta Agrigento Cosenza Olbia-Temple Naples Sicily Basilicata Caltanissetta Crotone Oristano Salerno Matera Catania Reggio Calabria Sassari Potenza Enna Vibo Valentia Messina Palermo Ragusa Siracusa Trapani CONTENTS Enit for Italy throughout the world ............. p. 3 Italy, the land of art and history ..................... p. 3 Italy, the land of wellness .............................. p. 4 Italy, the land of excellence ........................... p. 4 Italy, the land of culture ................................ p. 5 Italy, the land of the Spirit ............................. p. 5 Italy the land of lakes ................................... p. 6 Italy, the land of the Riviera ......................... -
Cultural Encounters HUM 102
Cultural Encounters HUM 102 Renaissance Art February 18 Michelangelo Buonarroti, The Last Judgment, 1536–41, Sistine Chapel, Vatican “Besides every beautiful detail, it is extraordinary to see such a work painted and executed so harmoniously that it seems to have been done in a single day and with the type of finish that no illuminator could ever have achieved it…Although this was a marvellous and enormous undertaking, it was not impossible for this man…And how truly happy are those who have seen this truly stupendous wonder of our century! Most happy and fortunate Paul III, for God granted that under his patronage the glory that that writers’ pens will accord to his memory! Certainly his birth has brought a most happy fate to the artists of this century, for they have seen him tear away the veil from all the difficulties that can be encountered or imagined in the arts of painting, sculpture, and architecture. Michelangelo labored on this work for eight years and unveiled it in the year 1541 on Christmas Day, to the wonder and amazement of all of Rome, or rather, of the entire world, and that year, when I was living in Venice, I went to Rome to see it, and I was stupefied by it!” First edition (1550) Published in Florence Dedicated to Cosimo I de Medici, Grand Duke of Tuscany Second, enlarged edition (1568) Giovanni Vasari, Lives of The Most Excellent Painters, Sculptors, and Architects, 1568 Lives of The Most Excellent Painters, Sculptors, and Architects Three prefaces 1) “Creation of man” / design / sculpture and painting as “sister arts” / the rise of the arts to perfection, their decline and their restoration (rinascita) / to perpetuate knowledge of artists 2) Discussion of architecture, sculpture, painting / division of the book into three parts 3) Discussion of the origins and nobility of the arts / surpassing the ancients / perfection of “rule, order, proportion, draughtsmanship, manner” Organized into three periods: Trecento (1300s) Quattrocento (1400s) Cinquecento (1500s) Giotto, Meeting at the Golden Gate, Arena (Scrovegni) Chapel, Padua, c. -
Chapter 21 HUMANISM and the ALLURE of ANTIQUITY 15Th Century Italian Art
Chapter 21 HUMANISM AND THE ALLURE OF ANTIQUITY 15th Century Italian Art Summary: This chapter acquaints the student with the scope of the renaissance or rebirth as this period is labeled. This chapter also develops the argument that the renaissance was born in the 14th century. Much of the artistic formulations had been developed in the fourteenth century, the focus on humanism and its expansion into education and rediscovering the works of ancient Greece and Rome. Humanism also emphasized commitment, responsibility and moral duty. This in turn became the foundation for civic leadership, which also promoted commissions to extol the virtues of the city and the individual. It was during this century that the German, Johann Guttenberg developed movable type that streamlined the printing press and made books more readily available. There was a concerted effort to acquire information in a very diversified range of topics from geology and optics to engineering and medicine. The economic fluctuations in Italy also forwarded the development of artists and schools, the condottieri became power brokers and set individual cities as centers of humanism and learning which was reflected in the art commissions. I. Lecture Model The social and iconographic methodologies can be useful in gaining an understanding of the work commissioned. These approaches can help to establish the importance of the religious commissions and the alignment of the secular patron with the religious interpretation as a tool to fix political authority. Patronage would be a very useful approach, as well, to explain the diversity of the representational work. 1) While religion had been the focus of much of medieval thought, the Italians of the fifteenth century were very much interested in humanity. -
Florence: Renaissance Art History Johns Hopkins University Intersession in Florence 7 January – 28 January, 2017
Florence: Renaissance Art History Johns Hopkins University Intersession in Florence 7 January – 28 January, 2017 Instructor: Elizabeth Bernick ([email protected]) Teaching Assistant: Christopher Daly ([email protected]) Course Description: This course will introduce students to the architecture, painting and sculpture produced in Central Italy over a period of three centuries, that is, roughly from 1280-1550. The course will consist of intensive daily lectures for which the students will prepare from assigned readings. Students should come to class prepared with questions and ready to engage in discussion through which they will develop an understanding of visual analysis as well as artistic style and development. Emphasis will be placed on understanding artworks within their original cultural and historical contexts. This approach will necessarily include careful consideration of the relationship between artworks and the original architectural spaces within which they were housed. Students will be evaluated according to class participation, group presentations, and written assignments. Readings: Course textbook: Stephen J. Campbell and Michael W. Cole, Italian Renaissance Art, 1st ed. (New York, New York: Thames & Hudson, 2011) – students should order this prior to departure via a vendor like Amazon.com. Electronic copies are available. Additional readings will be made available on a USB stick given to each student. The daily class meetings will include questions and discussion concerning the assigned readings. The students' participation will be evaluated partially based on their demonstration of having read and comprehended the assignments. Writing: Students will write two short papers. The first paper will involve the visual analysis of an object. The second will consist of a critical comparison of two substantial articles about a single work of art or group of works. -
Michelangelo's 'David'" Human Studies 10, No
©COPYRIGHT by Joshua Kamins 2015 ALL RIGHTS RESERVED 1 In the room the women come and go Talking of Michelangelo. –T.S. Eliot. 2 AMONG THE PROPHETS: MICHELANGELO’S DAVID. BY Joshua Kamins ABSTRACT This thesis argues that Michelangelo employed the grammar of the Cathedral and Prophet program in the making of his David with particular reference to Lorenzo Ghiberti’s Gates of Paradise, Donatello’s Jeremiah, Nanni di Banco’s Isaiah, and Assumption of the Virgin above the Porta della Mandorla. Emphasizing Christological prophecy as the lynchpin of the overall sculptural program, it likewise applies humanist and Christian exegesis in order to reposition the David into its intended religious context. Raised on top of the Duomo, the David would have embodied the ancestral bloodline—emanating from the Tree of Jesse, carried through the womb of the Virgin Mary, and culminating in the incarnation of Christ. The incarnation—prophesied by Jeremiah, Isaiah, and the Minor Prophets—fulfills the thematic program—both in form and in hermeneutics—of the sculptural ensemble gracing the cathedral and baptistery architectural complex. The tree-stump is considered crucial to the istoria of Michelangelo’s David, akin to the importance of Goliath’s head in previous depictions of David; here it symbolizes the genealogy of Christ as derivative of the Davidic bloodline. Moreover, the employment of masculinity studies and the philosophies of Gilles Deleuze and Félix Guattari lends new insight into the interconnectedness between the David, the viewer, and site. 3 ACKNOWLEDGMENTS This project would not have been possible without the advice of Dr. Kim Butler and Joanne Allen.