Unit 11 Italy
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Ceremonial Demarcations. the Viceregal Court As Space of Political Communication in the Spanish Monarchy (Valencia, Naples, and Mexico 1621–1635)
Ceremonial Demarcations. The Viceregal Court as Space of Political Communication in the Spanish Monarchy (Valencia, Naples, and Mexico 1621–1635) Christian Büschges In political and political-historical pamphlets of the Enlightenment and the nineteenth century as well as in traditional political history, ceremony has been seen as an embellishing, vain, and superfluous accessory of the ‘real’, rational, political acts that were regulated by legal norms and institutions. Modern historiography, on the other hand, taking into account sociological and ethnological approaches, emphasises the specific rationality and political nature of ceremony, which is, in turn, only a form of expressing the symbolic dimension inherent in every political communication and interaction.1 At the early-modern court the function of ceremony, which stood out from the spontaneous, individual, everyday acts, lay in making visible the system of monarchical rule and the social and political ranks inherent in it. Ceremony granted the courtiers a visible position in the oft-disputed curial ranking and at the same time fitted external visitors into this symbolic representation of hierarchy.2 Using the example of the court of Louis XIV of France, Norbert Elias, in his study on the ‘court society’ (Die höfische Gesellschaft), which sparked the revival of modern court research, considered ceremony as an exclusive instru- ment of power of monarchical absolutism.3 While Elias coined the image of the court as a ‘golden cage’ used by the absolutist ruler to domesticate the nobility, he also pointed out the ‘very specific network of interdependencies’ that connected the king as primus inter pares to the noble court society and 1 Barbara Stollberg-Rilinger, ‘Zeremoniell als politisches Verfahren. -
LOST and BEAUTIFUL (Bella E Perduta) a Film by Pietro Marcello
LOST AND BEAUTIFUL (Bella e Perduta) A film by Pietro Marcello 87 minutes/ DCP/ 1.85:1/ 5.1/ Italy/In Italian with English Subtitles/16 mm Release 9th July 2021 – in conjunction with Martin Eden FOR ALL PRESS ENQUIRIES PLEASE CONTACT: Sue Porter/Lizzie Frith – Porter Frith Ltd Tel. 07940 584066/07825 603705 [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT Robert Beeson – [email protected] Dena Blakeman – [email protected] Unit 9, Bickels Yard 151 – 153 Bermondsey St London SE1 3HA [email protected] SYNOPSIS Despite death threats from the Mafia and his country’s general apathy, a humble shepherd, Tommaso, takes it upon himself to look after the abandoned Bourbon palace of Carditello, north of Naples, deep in the heart of the ‘Land of Fires.’ One day, Tommaso suffers a heart attack and dies: but not before making a final wish. He summons a masked character named Pulcinella to rescue a buffalo calf called Sarchiopone from the forsaken palace. Together, man and beast, embark on a long journey through a lost and beautiful Italy, searching for something which may no longer exist. Shot on expired 16mm stock, Lost and Beautiful is a ravishing work that (after The Mouth of the Wolf) presaged the arrival of an extraordinary new filmmaker. Further information and downloads here Photo sets for download – here CAST Tomasso Tomasso Cestrone Pulcinella Sergio Vitolo Gisuino Gisuino Pittalis Sarchiapone (voice) Elio Germano Teresa Teresa Montesarchio Raffaele Raffaele Montesarchio CREW Director Pietro Marcello Script -
Baccio Bandinelli E Il Primo Progetto Di Una Fontana Per Piazza Della Signoria
“QUESTA OPERA ADDUNQUE TOLSE A LUI LA MORTE”. BACCIO BANDINELLI E IL PRIMO PROGETTO DI UNA FONTANA PER PIAZZA DELLA SIGNORIA di Francesco Vossilla A detta del Vasari, Baccio Bandinelli convinse il duca Cosimo ad affidargli la commissione di una fontana per l’esterno di Palazzo Vecchio solo grazie ad abili maneggi: “e fu tanto intorno al duca, che per mezzo della duchessa ottenne di farne un gigante, il quale dovesse mettersi in piazza sul canto dove era il lione; nel quale luogo si facesse una gran fonte che gittasse acqua, nel mezzo della quale fusse Nettunno sopra il suo carro tirato da cavagli marini”.1 In realtà, già negli anni Cinquanta del XVI secolo lo scultore non solo preparò il progetto di una fontana coronata da una gigantesca figura di Poseidone, ma venne a intercettare il desiderio di Cosimo de’ Medici di ornare la piazza ducale con una mostra d’acqua proprio nel luogo dove nel 1565 fu collocata la vasca, seppur realizzata da Bartolomeo Ammannati (fig. 1). In quel sito centralissimo, una fontana dedicata a Nettuno padrone del mare, dei fiumi e delle sorgenti diveniva paradigma di dominio per il Duca, visto che il monumento era il segno eclatante di una nuova rete idrica per Firenze. Cosimo avrebbe portato acqua salubre dove prima mancava e sarebbe apparso come un imperatore romano, vero signore del mare e del territorio. Per il Duca — che amava leggere Svetonio — l’opera evocava l’esempio di Ottaviano Augusto e soprattutto di Claudio che avevano potenziato gli acquedotti romani, mentre il Bandinelli pensava soprattutto all’impiego di un colosso sopra un dispendioso gioco idrico: invenzione che incarnava in corpo moderno il concetto pliniano dello “audaciae exemplum”.2 Grazie a questo progetto, gli edifici della piazza medioevale perdevano parte della loro austera imponenza nel confronto con un landmark fantasioso, dove la grandezza del colosso veniva animata dal provvido getto d’acqua, dono del governante ai fiorentini. -
Geolithology and Provenance of Materials of Some Historical Buildings and Monuments in the Centre of Florence (Italy)
250 by Piergiorgio Malesani1, Elena Pecchioni1, Emma Cantisani1, and Fabio Fratini2 Geolithology and provenance of materials of some historical buildings and monuments in the centre of Florence (Italy) 1 Earth Sciences Department - University of Florence, Via G. La Pira, 4, 50121 Florence, Italy. 2 C.N.R.- I.C.V.C.B., Via degli Alfani, 74, 50121 Florence, Italy. Two very important historical areas have been consid- more diversified aspect. The façades of the latter generally reached ered in this work. Piazza della Signoria with the Palazzo the third floor, were symmetrical and concentrated on a single entrance, leading to the inside; their covering was stone carved such Vecchio and many other outstanding buildings, is a typi- as ashlar or plaster; these two types of styles were often used cal example of the use of sandstone materials character- together to point out the differences between the storeys of the build- istic of the Florentine area; Piazza del Duomo with the ing. These mansions stood along the narrow streets of the medieval Cathedral of Santa Maria del Fiore standing in the mid- town and almost none of them faced the already existing squares. At the beginning of the 16th century, the concentration of build- dle is, on the other hand, an example of other equally ings in some streets had increased to the point of changing the mor- typical lithotypes such as the “white” marble and the phology of the quarter. “red” and “green” “marbles” that decorate the Cathe- From the 12th century the main stone materials used in Floren- dral. -
OVERLOOKING a WORK of ART Tuscany Portraits on Show at Forte Di Belvedere
FLORENCE CITY GUIDE ® OCTOBER 2020 WWW.WHEREITALIA.COM/FLORENCE AUTUMN TIPS ON LUXURY SHOPPING, DINING AND SIGHTSEEING HOW TO ENJOY YOUR WINE TASTING IN ITALY OVERLOOKING A WORK OF ART Tuscany portraits on show at Forte di Belvedere SIGHTSEEING | MUSEUMS | SHOPPING | DINING | ENTERTAINMENT | MAPS Florence October 2020 VIA SESTESE WINE EXPERIENCE CASTELLO SESTO 14 the guide apertura SIGHTSEEING FIORENTINO SVINCOLO SESTO FIORENTINO V I A 18 SHOPPING S AUTOSTRADA FIRENZE-MARE E S VI VIA XXV APRILE T A E VIA DEL CHIUSO DEI PAZZI G S E At the Officina . DUPRÈ VIA REGINALDO GIULIANI VIA DELLE PANCHE Profumo-Farmaceutica VIA ANDREA COSTA Santa Maria Novella you VIA ANDREA COSTA VIA G. DUPRÈ Teatro Romano can discover products VIA FAENTINA VIA DE' PERFETTI RICASOLI VIA CARLO DEL GRECO Museo Bandini VIA MARINI VIA PORTIGIANI for personal care with Cattedrale di San Romolo BO SCONI STRAD A PROV INCIALE 54 DEI PIAZZA PIAZZA G.GARIBALDI MINO DA FIESOLE a Florentine spirit VIA MASSICINI V. LUCCHESE A VIALE XI AGOSTO LUC V VIA SANT’APPOLINAR AUTOSTRADA FIRENZE-MARE I VIA S.CHIARA A E VIA SALVADOR ALLENDE F R À VIALE SAN G VIA GI VIALE 30GAETANO PIERACCINIDINING I O ULI AENTINA V O CACCIN A N I N VIA F SOLANA I PONTE D A Today, as over 130 F VIA DELLA BADIA DEI ROCCETTINI I NUOVO E VIA REGINALDO GIULIANI S H I A F I E VIA DELLE PANCHE O FIESOLE L ALLA CC E D PIAZZA E years ago, the most T Aeroporto Amerigo V I A V E T ENRICO O Vespucci PIGNONE BADIA L MATTEI VIA MANTELLINI ' A N G E VIA PRATESE L I C authentic cuisine of PIZZERIA O V I A U G O C O R S I SAN DOMENICO V. -
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Powers of Divergence Emphasises Its Potential for the Emergence of the New and for the Problematisation of the Limits of Musical Semiotics
ORPHEUS What does it mean to produce resemblance in the performance of written ORPHEUS music? Starting from how this question is commonly answered by the practice of interpretation in Western notated art music, this book proposes a move beyond commonly accepted codes, conventions, and territories of music performance. Appropriating reflections from post-structural philosophy, visual arts, and semiotics, and crucially based upon an artistic research project with a strong creative and practical component, it proposes a new approach to music performance. This approach is based on divergence, on the difference produced by intensifying Powers of the chasm between the symbolic aspect of music notation and the irreducible materiality of performance. Instead of regarding performance as reiteration, reconstruction, and reproduction of past musical works, Powers of Divergence emphasises its potential for the emergence of the new and for the problematisation of the limits of musical semiotics. Divergence Lucia D’Errico is a musician and artistic researcher. A research fellow at the Orpheus Institute (Ghent, Belgium), she has been part of the research project MusicExperiment21, exploring notions of experimentation in the performance of Western notated art music. An Experimental Approach She holds a PhD from KU Leuven (docARTES programme) and a master’s degree in English literature, and is also active as a guitarist, graphic artist, and video performer. to Music Performance P “‘Woe to those who do not have a problem,’ Gilles Deleuze exhorts his audience owers of Divergence during one of his seminars. And a ‘problem’ in this philosophical sense is not something to dispense with, a difficulty to resolve, an obstacle to eliminate; nor is it something one inherits ready-made. -
Florence City Guide ®
FLORENCE CITY GUIDE ® SEPTEMBER 2019 WWW.WHEREITALIA.COM/FLORENCE The Grandof Art Gala st Kick-off for the 31 Biennial Antiques Fair SIGHTSEEING | MUSEUMS | SHOPPING | DINING | ENTERTAINMENT | MAPS Florence September 2019 VIA SESTESE 14 INSIDER TIPS 32 DINING CASTELLO SESTO the guide apertura SIGHTSEEING FIORENTINO SVINCOLO SESTO FIORENTINO V I A 20 SHOPPING S AUTOSTRADA FIRENZE-MARE E S VI VIA XXV APRILE T A E VIA DEL CHIUSO DEI PAZZI G S E In The Merchant of . DUPRÈ VIA REGINALDO GIULIANI VIA DELLE PANCHE Venice boutique you can VIA ANDREA COSTA immerse yourself in the VIA ANDREA COSTA VIA G. DUPRÈ Teatro Romano brand’s new, enveloping VIA FAENTINA VIA DE' PERFETTI RICASOLI VIA CARLO DEL GRECO Museo Bandini VIA MARINI VIA PORTIGIANI Cattedrale di San Romolo fragrance, which draws SCONI BO STRAD A PROV INCIALE 54 DEI PIAZZA PIAZZA G.GARIBALDI MINO DA FIESOLE its inspiration from a VIA MASSICINI V. LUCCHESE A VIALE XI AGOSTO LUC V VIA SANT’APPOLINAR AUTOSTRADA FIRENZE-MARE fascinating animal. I VIA S.CHIARA A E VIA SALVADOR ALLENDE F R À VIALE SAN G VIALE GAETANO PIERACCINI I VIA GI O ULI AENTINA V O CACCIN A N I N VIA F SOLANA I PONTE D A 32 FOOD&WINE VIA DELLA BADIA DEI ROCCETTINI F I NUOVO E VIA REGINALDO GIULIANI S H I A F I E VIA DELLE PANCHE O FIESOLE L ALLA CC E D PIAZZA E Aeroporto A stay at Eataly Firenze T Amerigo V I A V E T ENRICO O Vespucci PIGNONE BADIA L MATTEI VIA MANTELLINI ' A N G E VIA PRATESE L I C is the ideal solution for PIZZERIA O TOP BRANDS V I A U G O C O R S I SAN DOMENICO V. -
Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494
ABSTRACT Title of Dissertation: KING OF THE RENAISSANCE: ART AND POLITICS AT THE NEAPOLITAN COURT OF FERRANTE I, 1458-1494 Nicole Riesenberger, Doctor of Philosophy, 2016 Dissertation directed by: Professor Meredith J. Gill, Department of Art History and Archaeology In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture. -
Returns to Pompeii Eddy.Indb 3 2016-11-07 16:11 !"#$#%&"'('$)!$!%*%"#$')'%+'$)!,#$'
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Vision, Touch, and the Poetics of Bernini's Apollo and Daphne Author(S): Andrea Bolland Source: the Art Bulletin, Vol
Desiderio and Diletto: Vision, Touch, and the Poetics of Bernini's Apollo and Daphne Author(s): Andrea Bolland Source: The Art Bulletin, Vol. 82, No. 2 (Jun., 2000), pp. 309-330 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3051379 Accessed: 29/10/2009 07:49 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 service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. College Art Association is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin. http://www.jstor.org Desiderio and Diletto: Vision, Touch, and the Poetics of Bernini's Apollo and Daphne AndreaBolland The gods, that mortal beauty chase, Daphne and to the subtleties of Bernini's statue. -
Bernini's Bust of Medusa
Comune di Rorna Assessorato alle Politiche Culturali Sovraintcndenza ai Beni Culturali musei ® omune Musei Capitolini La Medusa di Gian Lorenzo Bernini ..._9tudi e reslauri a cura di Elena Bianca Di Gioia Indice Presentazioni ,~ p. 9 Eugenio La Rocca n Anna Mura Sommella 13 Giovanni R.isso r5 Luis Egidio Galvez IMAGO MEDUSAE 19 Imago Medusae. Miti c immagini dal mondo antico Maddalena Cima 61 ll Busto di Medusa di Bernini: un doppio sense terrificante Irving Lavin 120 Bernini's Bust of the Medusa: An Awful Pun Irving Lavin 133 Bibliografia 137 ll dono segreto di Francesco Bichi: Raffaello, Michelangelo e il fantasma di Bernini Elena Bianca Di Gioia 157 Testamenti e Inventari di casa Bichi Elena Bianca Di Gioia 209 Uno sguar<lo su Medusa Araldo De Luca lL RESTAURO 243 Le ragioni del restauro Elena Bianca Di Gioia, Sante Guido, Giuseppe Mantella 155 ll Busto di Medusa. Tecnologia, conservazione e restauro Sante Guido, Giuseppe Mantella 305 Il Busto di Medusa. Il rilievo e le elaborazioni grafiche Monica Cola 311 La testa di Medusa dei Musei Capitolini. Alcune note suJla tecnica della scultura Peter Rockwell 325 lndagini multispertrali e di comrollo non distruttivo dellc superfici del Busto di Medusa dci Musei Capitolini Maurizio e Giuseppe Fabretti 353 Studio non-invasivo in situ tramite spcttroscopia rnid-FTIR a fibre ottiche per J'identificazione e la mappatura di patine c contaminanti e peril controllo delle operazioni di pulitura Costanza Milian:; Manuela Vagnim; Brunetto Giovanni Brunettz; Antonio Sgameliotti 358 Bibliografia 375 Referenze fotografiche " ' Il Busto di Medusa di Bernini: un doppio senso terrificante Irving Lavin Sulla storia dell'arte in quanro disciplina di carattere in dito in Roma e raccontasi che essendogli una volta stato I\0 rellettuale grava, al memento di tradurre in parole idee visi <lomandato da un oltramontano qual fusse la piu bella sta- ve, una sorta di handicap endemico.