DOCSLIB.ORG

Adjunct Module B

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Adjunct Module B 1 1 AREZZO Basilica di San Francesco • Annunciation of the Virgin by Matteo Lappoli [2] Casa di Giorgio Vasari • Room of Apollo and the Muses (Sala delle Muse) [9] * • Expulsion of Envy and Fortune by Virtue (ceiling fresco), 1548 [31] * ASSISI Basilica of Saint Francis of Assisi Upper Church • Legend of Saint Francis (28 Scenes) attributed to Giotto [48] * • Legend of Saint Francis (28 Scenes) attributed to Giotto, General Views [12] BOLOGNA Palazzo Comunale (Palazzo d’Accursio) Cappella Farnese – Life of the Virgin frescoes attributed to Prospero Fontana • Life of the Virgin – General Views [3] • Annunciation of the Virgin [7] • Visitation of the Virgin [3] • Birth of the Virgin [6] • Circumcision of Christ [4] • Presentation of the Virgin in the Temple [4] • Assumption of the Virgin [4] 2 2 Pinocoteca • Birth of Venus by Pelagio Palagi [1] • Madonna Adoring Christ Child with Saints by unknown (Bolognese) [2] • San Ludovico and Donor by unknown (Bolognese) [1] • Theseus and Pirithous Abducting Helen by Pelagio Palagi [1] • Theseus is recognized by his father Aegeas by Pelagio Palagi [1] (Studies for Theseus frescoes for Palazzo Torlonia in Rome, destroyed in 1901) • Vigilanza e Silenzio (Vigilance and Silence) by Orazio Samacchini [2] • Madonna del Terremoto (Madonna of the Earthquake) by Francesco Francia, ca. 1505 [8] * • Three Children in the Furnace of Babylon by Bartolomeo Cesi [4] Pinacoteca Nazionale di Bologna • Assumption with Choir of the Angels by Lorenzo Costa [1] • Christ Child Adored by the Virgin and Saints by Francesco Francia [3] • Death of the Virgin (Morte della Madonna) by Michele Coltellini [4] • Eternal Father by Ludovico Mazzolino [4] * • Mary Magdalene Weeping (fresco fragment) by Ercole de’ Roberti [1] • Madonna and Child Enthroned with Saints by Francesco Francia [3] • Madonna and Child Enthroned by ‘Maestro della Pala dei Muratori’ [3] • Madonna in Adoration of the Christ Child by Giovanni Francesco da Rimini [1] • Madonna in Glory with Saints by Perugino [7] • Heaven and Hell (Paradiso e Inferno) by ‘Maestro dell'Avicenna’ (ca. 1410-1445) [4] 3 3 • Polyptych by Giotto [11] * • Saint Sebastian by Antonio Maineri [4] * • Saint George and the Dragon by Vitale da Bologna [2] • Ecstasy of St. Cecilia with Saints Paul, John the Evangelist, Augustine and Mary Magdalene by Raphael [8] • Story of Christ and the Saints by Maestro di San Nicolò degli Albari (Master of the Church of St. Nicholas of Albari)[3] • Two Male Faces (Due volti maschili) by Francesco Francia [2] • Samson Victorious by Guido Reni [3] • Vision of St. Augustine by Francesco Francia [3] Pseudo Jacopino di Francesco • Death of the Virgin [1] • Martydom of Saint Christina [1] • Saint Gregory in his Study [1] • Altarpiece with the Dormition of the Virgin and the Coronation of the Virgin [1] • Vision of St. Romuald [1] FLORENCE Church of Badìa Fiorentina • Virgin Appearing to St Bernard by Filippino Lippi [9] Casa Buonarroti – works by Michelangelo • Crucifixion (sculpture) [1] • Dio Fluviale (River God) [3] • Deposition [4] 4 • Due Lottatori (Two Wrestlers) [7] • Erythraean Sibyl [3] • Female Nudes [5] • Madonna della Scala (Madonna of the Stairs) [4] • Virile Nude [9] • Virile Torso [3] Cenacolo (Refectory) of Santo Spirito and Fondazione Salvatore Romano • Adoring Angel by Tino di Camaino [3] • Architectural Fragment from Bonomi House Verona [1] (12th century) • Caryatid (or Virtue) by Tino di Camaino [2] * • Crucifixion and Last Supper by Andrea Orcagna [16] • Madonna of Mercy by unknown [9] Convent of San Marco Works by Fra Angelico Dormitory • Man of Sorrows (cell 39) [20] • Agony in the Garden [5] • Annunciation [8] * • Baptism of Christ [6] • Crucifixion with Dominican Saints [2] • Crucifixion with Virgin and Saints Cosmas and John the Evangelist [1] • Institution of the Eucharist [5] • Kiss of Judas [7] • Lamentation over the Dead Christ [5] • Sacra Conversazione [6] • Saint Dominic Adoring Crucifixion [2] 5 Pilgrim Room • Tabernacle of the Linen-Drapers (Tabernacle of the Linaioli) [35] * • Bosco ai Frati Alarpiece [4] • Deposition from the Cross [8] * Library • San Domenico Missal [3] Work by Benozzo Gozzoli: Dormitory • Adoration of the Magi (cell 39) [20] Works by Lorenzo Monaco: Pilgrim Room • Nativity Scene [1] • Saint Nicholas Saving the Sailors [1] Work by Giovanni Antonio Sogliani: Large Refectory • St. Dominic and His Friars Served by Angels (1536) [10] Work by Francesco Botticini: Lavabo Room • Saint Antoninus of Florence in Adoration of the Crucifixion [2] Works by Fra Bartolommeo: Lavabo Room • Christ Carrying the Cross [2] • Portrait of Savonarola [1] Work by Fra Paolino: Lavabo Room • Pieta with Saints [1] Work by Zanobi Strozzi: Library • School of Saint Thomas Aquinas, ca. 1450 [8] Marino Marini Museum • Cavaliere 1 (1947) [5] • Cavaliere 2 (1953) [3] * • Cavaliere 3 (1953) [8] • Guerriero (1959) [3] • Pomona (bronze 1945) [10] 6 La Specola Anatomical Collection • Study Figures [5] Museum of the Ospedale degli Innocenti • Madonna del Carmine (tabernacle) by unknown [1] • Madonna dei Coralli (tabernacle) by unknown [1] • Infant in Swaddling Clothes (in situ) by Andrea della Robbia [11] • Infant in Swaddling Clothes (restored) by Andrea della Robbia [23] • Madonna and Child with an Angel by Mariotto Albertinelli, workshop of [6] • Penitent St. Mary Magdalen by Agnolo di Polo [5] Opera dell Duomo (Florence) Works by Donatello • Prophet Habakkuk (west side) [8] • Sacrifice of Isaac [2] • Thoughtful Prophet (east side) [3] Work by Nino Pisano • Prophet [3] Piazza della Signoria • Perseus Beheading Medusa by Benvenuto Cellini [51] San Lorenzo • Glory of Florentine Saints by Vincenzo Meucci [11] • Martyrdom of Saint Lawrence by Agnolo Bronzino [17] * Santa Croce • Madonna with Child and Saints by Andrea della Robbia (altarpiece in Cappella Medici) [9] Santa Felicita Cappella Capponi (or Barbadori) by Jacopo Pontormo • Annunciation [14] • Deposition [22] • Roundels [5] 7 Santa Maria Novella Works in the church • Annunciation by Neri di Bicci (1455) [3] • Annunciation by Pietro di Miniato (1366) [8] • Chapel of Filippo Strozzi by Filippino Lippi, Ghirlandaio and others o Back wall [17] o Left wall [8] o Ceiling [2] o Stained Glass by Alessandro Agolanti (to a design by Ghirlandaio) [2] • Holy Trinity by Masaccio [14] • Pulpit by Benedetto da Maiano [9] • Spanish Chapel (Chapter House) by Andrea da Firenze o Allegory of the Active and Triumphant Church and the Dominican Order [46] o Vault (5 Scenes) [20] Works in the museum • Vestments of St. Dominic - Humeral Veil (recreated ca. 1800-1830) [1] • Reliquary Bust of two of the 11,000 Virgins of Cologne (late 14th century) [3] • Painted Silk Taffeta Altar Cloth (antependium) 'paliotto fiorito' attr. to G. Garzoni [4] • Madonna and Child with Saints by Agnolo Gaddi (school of) [2] • Story of Moses fresco by Alessandro Allori [16] Old Testament Scenes (Life of Noah) in the Green Cloister by Paolo Uccello 1 - Creation of the Animals - Garden of Eden [10] 2 - Expulsion from Garden of Eden [6] * 3 - Lamech Kills His Father [3] 4 - Flood and Sacrifice of Noah [9] * 8 Santa Trinita Sassetti Chapel by Domenico Ghirlandaio • Adoration of the Shepherds [15] Uffizi Gallery • Adoration of the Christ Child by Lorenzo di Credi (workshop) [4] • Portinari Altarpiece by Hugo van der Goes [15] • Adoration of the Magi by Botticelli [23] * • Allegory of Fecundity and Abundance by Luca Signorelli [1] • Baptism of Christ by Verrocchio with Leonardo di Vinci [14] • Battle of San Romano by Paolo Uccello [17] • Coronation of the Virgin by Fra Angelico [4] • Hercules and the Hydra; Hercules and Antaeus by Antonio del Pollaiolo [3] • Holy Family by Luca Signorelli [4] • Madonna and Child with male figures in the background and two Prophets in roundels by Luca Signorelli [6] • Madonna with Child, Saint Justus, Saint Zenobius, and the Archangels Michael and Raphael by Domenico Ghirlandaio [7] • Madonna della Loggia by Botticelli • Moses Defending the Daughters of Jethro by Rosso Fiorentino [4] • Musical Angel by Rosso Fiorentino [1] • Madonna and Child, the Trinity, St. Augustine and St. Athanasius of Alexandria by Luca Signorelli [7] * • View of Villa Medici by Paolo Anesi [3] • Relief with Dancing Maenads [4]) • Relief with Dionysiac Scene [2] • Relief with Nikai Leading a Bull to Altar [5] 9 GUBBIO Palazzo dei Consoli • Madonna and Child with Saints John the Baptist and Ubaldus [1] • Altarpiece from SS Trinita depicting Noli me tangere above and Saints Francis and Clare below by unknown [4] • Gonfalon (Banner) of Saint Ubald of Gubbio (1503) by Sinibaldo Ibi [5] • Pentecost (1563) by Benedetto Nucci [5] MANTUA Ducal Palace Camera degli Sposi by Mantegna • Court Scene [30] * • Meeting Scene [49] • Ceiling [16] * • Architecture [10] MILAN Pinacoteca di Brera • Annunciation by Giovanni Santi [5] NAPLES Museo Archeologico Nazionale Frescoes • Lararium [3] • Mars and Venus [3] • Perseus and Andromeda Seated in Amorous Abandon [1] • Scene from Cult of Harpocrates [3] • The Lararium (or Lares & Genius) [3] • Workshop of Efesto (Hephaestus) (from the House of Quadrighe) [1] 10 Temple of Isis • Portico Frescos [28] * • Sacrarium [4] • Sacrarium: Discovery of Boat with Coffin of Osiris (east wall) [5] • Sacrarium: Osiris-Serapis Enthroned between Cobras (west wall) [2] Mosaics • Agamemnon and Achilles Quarrel [3] • Birds Drinking from Bird Bath with Cat [2] • Choirmaster and Actors [4] • Circus Mosaic [1] • Cock-fight between personifications of Victory and Defeat [3] • Ducks and Fish [2] • Dwarf and Rooster
Load more

Recommended publications
  • Canova's George Washington
    CANOVA’S GEORGE WASHINGTON EXHIBITION ADDRESSES CANOVA’S ONLY WORK FOR UNITED STATES May 23 through September 23, 2018 In 1816, the General Assembly of North Carolina commissioned a full-length statue of George Washington to stand in the rotunda of the State Capitol, in Raleigh. Thomas Jefferson, believing that no American sculptor was up to the task, recommended Antonio Canova (1757– 1822), then one of Europe’s most celebrated artists. The first and only work Canova created for the United States, the statue depicted the nation’s first president in ancient Roman garb—all’antica armor—per Jefferson’s urging, drafting his farewell address to the states. It was unveiled to great acclaim in 1821. Tragically, a decade later, a fire swept through the State Capitol, reducing the statue to a few charred fragments. On May 23, The Frick Collection presents Canova’s George Washington, an exhibition that examines the history of the artist’s lost masterpiece. The show brings together for the first time all of the objects connected to the creation of the sculpture— including a remarkable life-sized Antonio Canova, Modello for George Washington (detail), 1818, modello that has never before left Italy—and tells the extraordinary plaster, Gypsotheca e Museo Antonio Canova, Possagno, Italy; photo Fabio Zonta, Fondazione Canova onlus, Possagno transatlantic story of this monumental work. The life-size modello, above, provides the closest idea of what the destroyed marble would have looked like. It is shown in the Frick’s Oval Room—alone—to replicate the effect it would have had in the rotunda of North Carolina’s State Capitol.
    [Show full text]
  • The Master of the Unruly Children and His Artistic and Creative Identities
    The Master of the Unruly Children and his Artistic and Creative Identities Hannah R. Higham A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham May 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines a group of terracotta sculptures attributed to an artist known as the Master of the Unruly Children. The name of this artist was coined by Wilhelm von Bode, on the occasion of his first grouping seven works featuring animated infants in Berlin and London in 1890. Due to the distinctive characteristics of his work, this personality has become a mainstay of scholarship in Renaissance sculpture which has focused on identifying the anonymous artist, despite the physical evidence which suggests the involvement of several hands. Chapter One will examine the historiography in connoisseurship from the late nineteenth century to the present and will explore the idea of the scholarly “construction” of artistic identity and issues of value and innovation that are bound up with the attribution of these works.
    [Show full text]
  • Dep MUSEO Di ROMA Dic19
    Questo palazzo rappresenta uno degli esempi più belli di architettura civile Palazzo Braschi represents one of the finest examples of civil architecture in a Roma tra Sette e Ottocento. Rome between the 18th and 19th centuries. Fu costruito per il nipote di papa Pio VI, Luigi Braschi Onesti che vi abitò con It was built for the nephew of Pope Pius VI, Luigi Braschi Onesti, who lived here sua moglie Costanza Falconieri fino al 1816, esercitando qui anche le sue with his wife Costanza Falconieri until 1816, exercising also his functions as funzioni di Sindaco di Roma durante il breve governo napoleonico. L’edificio Mayor of Rome during the short-lived Napoleonic government. The building chiude simbolicamente la lunga stagione del nepotismo papale a Roma, di symbolically concludes the long season of papal nepotism in Rome, of which is MUSEO cui è espressione piena nello sfarzo e nell’eleganza dei dettagli e delle a full expression for the splendour and elegance of the details and formal soluzioni formali. Lo scalone monumentale che conduce ai piani nobili è solutions. The monumental staircase that leads to the piano nobile is finely finemente decorato di stucchi con i simboli araldici dei proprietari e decorated with DI ROMA riquadri con storie dell’epica omerica, secondo il gusto antiquariale e la cifra stuccoes, bearing the stilistica del Neoclassicismo. Ciò che l’occhio non può vedere, invece, è coat of arms of the l’ottima acustica di questo invaso, progettato come l’intero edificio da owners and square Cosimo Morelli (1732-1812), ma con la supervisione di Giuseppe Valadier, frames with stories of principe degli architetti del the Homeric epics in the ultimo aggiornamento ottobre 2018 ottobre ultimo aggiornamento 30.000 - 09/10/2018 Srl stampa: Gemmagraf - copie tempo, che molto probabilmente antiquarian taste and ispirò anche la realizzazione Neoclassical style.
    [Show full text]
  • The Della Robbia Frames in the Marche *
    ZUZANNA SARNECKA University of Warsaw Institute of Art History ORCID: 0000-0002-7832-4350 Incorruptible Nature: The Della Robbia Frames in the Marche * Keywords: the Marche, Italian Renaissance, Sculpture, Della Robbia, Frames, Terracotta INTRODUCTION In the past the scholarly interest in the Italian Renaissance frames often focused on gilded wooden examples.1 Only more recently the analysis has expanded towards materials such as marble, cartapesta, stucco or glazed terracotta.2 In her recent and extensive monograph on Italian Renaissance frames, Alison Wright has argued that frames embellished and honoured the images they encompassed.3 Due to the markedly non-materialistic perspective, Wright has mentioned the Della Robbia work only in passim.4 Building on Wright’s theoretical framework, the present study discusses the Della Robbia frames in the Marche in terms of the artistic and cul- tural significance of tin-glazed fired clay for the practice of framing Renaissance images. In general, the renewed interest in the Della Robbia works is partially linked to the re-evaluation of terracotta as an independent sculptural medium, with import- ant contributions to the field made by Giancarlo Gentilini.5 Moreover, exhibitions such as La civiltà del cotto in Impruneta, Tuscany in 1980 or Earth and Fire. Italian Terracotta Sculpture from Donatello to Canova at the Victoria and Albert Museum, London in 2002 illustrated the significance of terracotta sculptures in the wider context of the early modern art and culture.6 Importantly for the present study, in 2014 Marchigian authorities and local historians organised an exhibition focused on the artworks of the Della Robbia family surviving in the territory.
    [Show full text]
  • Rethinking Savoldo's Magdalenes
    Rethinking Savoldo’s Magdalenes: A “Muddle of the Maries”?1 Charlotte Nichols The luminously veiled women in Giovanni Gerolamo Savoldo’s four Magdalene paintings—one of which resides at the Getty Museum—have consistently been identified by scholars as Mary Magdalene near Christ’s tomb on Easter morning. Yet these physically and emotionally self- contained figures are atypical representations of her in the early Cinquecento, when she is most often seen either as an exuberant observer of the Resurrection in scenes of the Noli me tangere or as a worldly penitent in half-length. A reconsideration of the pictures in connection with myriad early Christian, Byzantine, and Italian accounts of the Passion and devotional imagery suggests that Savoldo responded in an inventive way to a millennium-old discussion about the roles of the Virgin Mary and Mary Magdalene as the first witnesses of the risen Christ. The design, color, and positioning of the veil, which dominates the painted surface of the respective Magdalenes, encode layers of meaning explicated by textual and visual comparison; taken together they allow an alternate Marian interpretation of the presumed Magdalene figure’s biblical identity. At the expense of iconic clarity, the painter whom Giorgio Vasari described as “capriccioso e sofistico” appears to have created a multivalent image precisely in order to communicate the conflicting accounts in sacred and hagiographic texts, as well as the intellectual appeal of deliberately ambiguous, at times aporetic subject matter to northern Italian patrons in the sixteenth century.2 The Magdalenes: description, provenance, and subject The format of Savoldo’s Magdalenes is arresting, dominated by a silken waterfall of fabric that communicates both protective enclosure and luxuriant tactility (Figs.
    [Show full text]
  • Analecta Romana Instituti Danici Xxxv/Xxxvi
    ANALECTA ROMANA INSTITUTI DANICI XXXV/XXXVI ANALECTA ROMANA INSTITUTI DANICI XXXV/XXXVI 2010/11 ROMAE MMX-MMXI ANALECTA ROMANA INSTITUTI DANICI XXXV-XXXVI © 2011 Accademia di Danimarca ISSN 2035-2506 Published with the support of a grant from: Det Frie Forskningsråd / Kultur og Kommunikation SCIENTIFIC BOARD Ove Hornby (Bestyrelsesformand, Det Danske Institut i Rom) Jesper Carlsen (Syddansk Universitet) Astrid Elbek (Det Jyske Musikkonservatorium) Karsten Friis-Jensen (Københavns Universitet) Helge Gamrath (Aalborg Universitet) Maria Fabricius Hansen (Ny Carlsbergfondet) Michael Herslund (Copenhagen Business School) Hannemarie Ragn Jensen (Københavns Universitet) Kurt Villads Jensen (Syddansk Universitet) Mogens Nykjær (Aarhus Universitet) Gunnar Ortmann (Det Danske Ambassade i Rom) Bodil Bundgaard Rasmussen (Nationalmuseet, København) Birger Riis-Jørgensen (Det Danske Ambassade i Rom) Lene Schøsler (Københavns Universitet) Poul Schülein (Arkitema, København) Anne Sejten (Roskilde Universitet) EDITORIAL BOARD Marianne Pade (Chair of Editorial Board, Det Danske Institut i Rom) Erik Bach (Det Danske Institut i Rom) Patrick Kragelund (Danmarks Kunstbibliotek) Gitte Lønstrup Dal Santo (Det Danske Institut i Rom) Gert Sørensen (Københavns Universitet) Birgit Tang (Det Danske Institut i Rom) Maria Adelaide Zocchi (Det Danske Institut i Rom) Analecta Romana Instituti Danici. — Vol. I (1960) — . Copenhagen: Munksgaard. From 1985: Rome, «L’ERMA» di Bretschneider. From 2007 (online): Accademia di Danimarca ANALECTA ROMANA INSTITUTI DANICI encourages scholarly contributions within the Academy’s research fields. All contributions will be peer reviewed. Manuscripts to be considered for publication should be sent to: [email protected]. Authors are requested to consult the journal’s guidelines at www.acdan.it. Contents STINE BIRK Third-Century Sarcophagi from the City of Rome: A Chronological Reappraisal 7 URSULA LEHMANN-BROCKHAUS Asger Jorn: Il grande rilievo nell’Aarhus Statgymnasium 31 METTE MIDTGÅRD MADSEN: Sonne’s Frieze versus Salto’s Reconstruction.
    [Show full text]
  • ETTORE SANNIPOLI Curriculum
    Ettore Sannipoli Nato a Gubbio il 30 aprile 1956. Diplomato nel 1975 al Liceo Classico di Gubbio. Ha frequentato i corsi di Scienze Geologiche all’Università degli Studi di Firenze (1975-1979) e di Discipline delle Arti, Musica e Spettacolo all’Università degli Studi di Bologna (1980-1986). Specializzato in Ricerca Storica nel Corso per Operatori del Restauro Architettonico organizzato dalla Regione dell’Umbria e dal Comune di Gubbio (1980-1981). Autore della monografia L’Incoronazione della Vergine. Opera inedita di Ottaviano Nelli (?) a Gubbio , Città di Castello 1981. Ricercatore archivistico nell’ambito della mostra Federico da Montefeltro e il suo tempo (Gubbio, 1981-1982). Esperto di storia dell’arte eugubina all’Istituto Statale d’Arte di Gubbio, nel corso per il restauro di dipinti e arredi lignei, dal 1982 al 1996. Esperto eugubino per l’elaborazione e l’effettuazione degli Itinerari Guidati del Territorio organizzati dal Provveditorato agli Studi di Perugia e dalla Regione dell’Umbria (1983 e anni seguenti). Ricercatore archivistico in preparazione della mostra su Mastro Giorgio Andreoli promossa dall’Azienda di Promozione Turistica di Gubbio in collaborazione con l’Archivio di Stato di Perugia e con il Museo Internazionale della Ceramiche di Faenza (1984-1985). Presidente della sezione eugubina di Italia Nostra dal 1985 al 1991. Esperto di storia dell’arte nel Corso per Accompagnatori ed Animatori del Turismo Sociale organizzato a Fossato di Vico dalla Comunità Montana dell’Alto Chiascio nel 1988. Autore del contributo “Sulle Pitture in Majolica del Ducato d’Urbino, e specialmente di Gubbio” (1756) di Gian Girolamo Carli , apparso in C.
    [Show full text]
  • Resurrecting Della Robbia's Resurrection
    Article: Resurrecting della Robbia’s Resurrection: Challenges in the Conservation of a Monumental Renaissance Relief Author(s): Sara Levin, Nick Pedemonti, and Lisa Bruno Source: Objects Specialty Group Postprints, Volume Twenty-Four, 2017 Pages: 388–412 Editors: Emily Hamilton and Kari Dodson, with Tony Sigel Program Chair ISSN (print version) 2169-379X ISSN (online version) 2169-1290 © 2019 by American Institute for Conservation of Historic and Artistic Works 727 15th Street NW, Suite 500, Washington, DC 20005 (202) 452-9545 www.culturalheritage.org Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation (AIC). It is a conference proceedings volume consisting of papers presented in the OSG sessions at AIC Annual Meetings. Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the American Institute for Conservation. Unless otherwise noted, images are provided courtesy of the author, who has obtained permission to publish them here. This article is published in the Objects Specialty Group Postprints, Volume Twenty-Four, 2017. It has been edited for clarity and content. The article was peer-reviewed by content area specialists and was revised based on this anonymous review. Responsibility for the methods and materials described herein, however, rests solely with the author(s), whose article should not be considered an official statement of the OSG or the AIC. OSG2017-Levin.indd 1 12/4/19 6:45 PM RESURRECTING DELLA ROBBIA’S RESURRECTION: CHALLENGES IN THE CONSERVATION OF A MONUMENTAL RENAISSANCE RELIEF SARA LEVIN, NICK PEDEMONTI, AND LISA BRUNO The Resurrection (ca.
    [Show full text]
  • Challenges Old and New
    Issue no. 23 - December 2015 CHALLENGES OLD AND NEW Our association was founded in defiance of the violent destruction of the Via dei Georgofili bombing. Twenty-two years have now passed since that initial collective reaction of civic pride and compensation, and over the years the kinship and solidarity between the Amici degli Uffizi and the Gallery’s executives has grown ever stronger. A unity matured in the last eight years also thanks to the presence and the essential, precious encouragement of director Antonio Natali. With him the Amici degli Uffizi’s patronage has become bold, to say the least: each and every restoration, exhibition, renovation, donation and intervention within the museum has always been a path of knowledge and enrichment, of shared visions and affections, a continuous challenge for new projects for the betterment of the museum. Natali involved us in the most arduous undertakings for a patron: from the past seemingly hopeless restorations of the Madonna della Gatta by Federico Barocci and of the Adoration of the Shepherds by Gerrit van Honthorst -reduced even today to a mere flash of light on the canvas – to the current restoration of the masterpiece Adoration of the Magi by Leonardo, we continue our mission to support the museum with unwavering determination, without any vanity nor expecting honors or returns, true to our vocation to support the artistic heritage of our museum. I could make a long list of accomplishments, a series of happy occasions and achievements attained by the profitable cooperation with our friend Natali. I prefer instead to remember our brief meetings stolen to the work routine to discuss projects and exhibit ideas; our trip to the United States in 2006 when our strong core of Florentine members was supplemented by the branch “Friends of the Uffizi Gallery”, that has since been gathering resources among generous American donors: our long discussions that have always resulted in a positive outcome, further acquisitions and enrichment of the artistic wealth of our museum.
    [Show full text]
  • Sacred Image, Civic Spectacle, and Ritual Space: Tivoli’S Inchinata Procession and Icons in Urban Liturgical Theater in Late Medieval Italy
    SACRED IMAGE, CIVIC SPECTACLE, AND RITUAL SPACE: TIVOLI’S INCHINATA PROCESSION AND ICONS IN URBAN LITURGICAL THEATER IN LATE MEDIEVAL ITALY by Rebekah Perry BA, Brigham Young University, 1996 MA, University of Massachusetts Amherst, 2006 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts & Sciences This dissertation was presented by Rebekah Perry It was defended on October 28, 2011 and approved by Franklin Toker, Professor, History of Art and Architecture Anne Weis, Professor, History of Art and Architecture Bruce Venarde, Professor, History Alison Stones, Professor, History of Art and Architecture ii Copyright © by Rebekah Perry 2011 iii SACRED IMAGE, CIVIC SPECTACLE, AND RITUAL SPACE: TIVOLI’S INCHINATA PROCESSION AND ICONS IN URBAN LITURGICAL THEATER IN LATE MEDIEVAL ITALY Rebekah Perry, PhD University of Pittsburgh, 2011 This dissertation examines the socio-politics of urban performance and ceremonial imagery in the nascent independent communes of late medieval Lazio. It explores the complex manner in which these central Italian cities both emulated and rejected the political and cultural hegemony of Rome through the ideological and performative reinvention of its cult icons. In the twelfth century the powerful urban center of Tivoli adopted Rome’s grandest annual public event, the nocturnal Assumption procession of August 14-15, and transformed it into a potent civic expression that incorporated all sectors of the social fabric. Tivoli’s cult of the Trittico del Salvatore and the Inchinata procession in which the icon of the enthroned Christ was carried at the feast of the Assumption and made to perform in symbolic liturgical ceremonies were both modeled on Roman, papal exemplars.
    [Show full text]
  • Core Knowledge Art History Syllabus
    Core Knowledge Art History Syllabus This syllabus runs 13 weeks, with 2 sessions per week. The midterm is scheduled for the end of the seventh week. The final exam is slated for last class meeting but might be shifted to an exam period to give the instructor one more class period. Goals: • understanding of the basic terms, facts, and concepts in art history • comprehension of the progress of art as fluid development of a series of styles and trends that overlap and react to each other as well as to historical events • recognition of the basic concepts inherent in each style, and the outstanding exemplars of each Lecture Notes: For each lecture a number of exemplary works of art are listed. In some cases instructors may wish to discuss all of these works; in other cases they may wish to focus on only some of them. Textbooks: It should be possible to teach this course using any one of the five texts listed below as a primary textbook. Cole et al., Art of the Western World Gardner, Art Through the Ages Janson, History of Art, 2 vols. Schneider Adams, Laurie, A History of Western Art Stokstad, Art History, 2 vols. Writing Assignments: A short, descriptive paper on a single work of art or topic would be in order. Syllabus created by the Core Knowledge Foundation 1 https://www.coreknowledge.org/ Use of this Syllabus: This syllabus was created by Bruce Cole, Distinguished Professor of Fine Arts, Indiana University, as part of What Elementary Teachers Need to Know, a teacher education initiative developed by the Core Knowledge Foundation.
    [Show full text]
  • The History of Painting in Italy, Vol. V
    The History Of Painting In Italy, Vol. V By Luigi Antonio Lanzi HISTORY OF PAINTING IN UPPER ITALY. BOOK III. BOLOGNESE SCHOOL. During the progress of the present work, it has been observed that the fame of the art, in common with that of letters and of arms, has been transferred from place to place; and that wherever it fixed its seat, its influence tended to the perfection of some branch of painting, which by preceding artists had been less studied, or less understood. Towards the close of the sixteenth century, indeed, there seemed not to be left in nature, any kind of beauty, in its outward forms or aspect, that had not been admired and represented by some great master; insomuch that the artist, however ambitious, was compelled, as an imitator of nature, to become, likewise, an imitator of the best masters; while the discovery of new styles depended upon a more or less skilful combination of the old. Thus the sole career that remained open for the display of human genius was that of imitation; as it appeared impossible to design figures more masterly than those of Bonarruoti or Da Vinci, to express them with more grace than Raffaello, with more animated colours than those of Titian, with more lively motions than those of Tintoretto, or to give them a richer drapery and ornaments than Paul Veronese; to present them to the eye at every degree of distance, and in perspective, with more art, more fulness, and more enchanting power than fell to the genius of Coreggio. Accordingly the path of imitation was at that time pursued by every school, though with very little method.
    [Show full text]