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Baldi-Mini-Book-Classic.Pdf
Firenze 1867 CLASSIC COLLECTIONS 2 3 BALDI HOME JEWELS THE GUESTS WERE CHattinG IN THE FLICKERING LIGHT OF THE CANDELABRAS. THEY LAUGHED ALL NIGHT UNTIL SUNRISE, WHEN YOU LEFT THE GLASS AND YOUR FeatHER MASK ON THE AMETHYST CONSOLLE AND THEY TOOK LEAVE. THE BRIGHT MORNING LIGHTENS UP THE GOLD AND THE CRYstal COLUMNS, YOU LEAN ON THE CHISELLED BRONZE LEAVES ON THE staiRS AND LOOK BACK: IT IS YOUR WORLD. THE ALLURE OF THE HOME JEWELS IS PERVADING THE atMOSPHERE. THE JEWEL IS THE CENTRE OF THE attention, IT RADiates EMOTIONS, IT IS THE MOST VALUABLE, HYPNOTIZING DESIRABLE OBJECT. AS THE UltiMate STEP OF BALDI PRODUCT EVOLUTION, IT COMPRISES ONE AND A HALF CENTURY OF CRAFTSMANSHIP, CReatiVITY AND PRECIOUSNESS, IT IS A Detail CAPABLE OF GIVING LIFE TO THE WHOLE INTERIORS - IT CANNOT JUST BE BOUGHT, YOU MUST FALL IN LOVE WITH IT. 4 5 CRYSTAL - GOLD CRYSTAL - SILVER FURNITURE 8 110 AMBER 154 CLEAR 108 TABLES, CONSOLLES AND SIGNATURE PIECES 116 AMBER/BLUE 160 FUME’ 122 CLEAR 166 CLEAR/TURQUOISE CONTENTS 128 AQUAMARINE 170 PINK 132 GREEN 174 VIOLET LIGHTINGS 48 136 RED 180 BLACK 5048 CANDLESTICKS/CANDELABRAS 138 PINK 184 CLEARCLEAR/BLACK / BLACK 60 TABLE LAMPS 142 LILAC 62 TORCHERES 146 VIOLET 150 BLACK DECORATIVE & FURNISHING ACCESSORIES 66 CLOCKS TRAYS - MINIATURES 186 BALDI’S FRAGRANCES 68 CLOCKS 102 TRAYS CORPORATE 188 106 MINIATURES 188 FIRENZE 1867, HISTORY OF TRADITION 190 BALDI ETHOS SEMI PRECIOUS STONES/MARBLES 76 MALACHITE 192 BALDI, THE artistic CRAFTSMANSHIP IN THE 21ST century 84 ROCK CRYSTAL 194 COLOURS, DESIGNS AND materials 88 -
The Umbrian and Roman School of Art - Raphael
Howard University Digital Howard @ Howard University Manuscripts for the Grimke Book Life and Writings of the Grimke Family October 2017 The mbrU ian and Roman School of Art Follow this and additional works at: http://dh.howard.edu/ajc_grimke_manuscripts Recommended Citation "The mbrU ian and Roman School of Art" (2017). Manuscripts for the Grimke Book. 36. http://dh.howard.edu/ajc_grimke_manuscripts/36 This Book is brought to you for free and open access by the Life and Writings of the Grimke Family at Digital Howard @ Howard University. It has been accepted for inclusion in Manuscripts for the Grimke Book by an authorized administrator of Digital Howard @ Howard University. For more information, please contact [email protected]. The "mbrian c.r.d Honan School of Art RAPHAEL The Umbrian School of Art originated in Umbria, a province on the Tiber, and v;aa distinguished for the fervent religious feeling of its painters. It was in this province that St. Francis, of Assissi, the most famous saint of the middle ages, was born and lived, and it was owing to his presence and influence that the people were more deeply and strongly religious than those of the neighboring provinces. "Their painters," says a distinguished critic," strove above all things to express the mystic beauty of the Christian soul. Their art was the expression of the purest and holiest aspirations of Christian life." Kicolo Alunno, of Toligno - born in 1453, died in 1499 - is the first master in whom the distinct Umbrian' characteristics became apparent. His works have a dreamy, religious feeling; are superior in purity and brightness of color, and have much natural beauty. -
III. RAPHAEL (1483-1520) Biographical and Background Information 1. Raffaello Santi Born in Urbino, Then a Small but Important C
III. RAPHAEL (1483-1520) Biographical and background information 1. Raffaello Santi born in Urbino, then a small but important cultural center of the Italian Renaissance; trained by his father, Giovanni Santi. 2. Influenced by Perugino, Leonardo da Vinci, and Michelangelo; worked in Florence 1504-08, in Rome 1508-20, where his chief patrons were Popes Julius II and Leo X. 3. Pictorial structures and concepts: the picture plane, linear and atmospheric perspective, foreshortening, chiaroscuro, contrapposto. 4. Painting media a. Tempera (egg binder and pigment) or oil (usually linseed oil as binder); support: wood panel (prepared with gesso ground) or canvas. b. Fresco (painting on wet plaster); cartoon, pouncing, giornata. Selected works 5. Religious subjects a. Marriage of the Virgin (“Spozalizio”), 1504 (oil on roundheaded panel, 5’7” x 3’10”, Pinacoteca de Brera, Milan) b. Madonna of the Meadow, c. 1505 (oil on panel, 44.5” x 34.6”, Kunsthistorisches Museum, Vienna) c. Madonna del Cardellino (“Madonna of the Goldfinch”), 1506 (oil on panel, 3’5” x 2’5”, Uffizi Gallery, Florence) d. Virgin and Child with St. Sixtus and St. Barbara (“Sistine Madonna”), 1512-13 (oil on canvas, 8’8” x 6’5”, Gemäldegalerie, Dresden) 6. Portraits a. Agnolo Doni, c.1506 (oil on panel, 2’ ¾” x 1’5 ¾”, Pitti Palace, Florence) b. Maddalena Doni, c.1506 (oil on panel, 2’ ¾” x 1’5 ¾”, Pitti Palace, Florence) c. Cardinal Tommaso Inghirami, c. 1510-14 (oil on panel, 2’11 ¼” x 2’, Pitti Palace, Florence) d. Baldassare Castiglione, c. 1514-15 (oil on canvas, 2’8” x 2’2”, Louvre Museum, Paris) e. -
MADONNA a Fordítás Az Alábbi Kiadás Alapján Készült: Discovering the Zodiac in the Raphael Madonna Series
Brian Gray MADONNA A fordítás az alábbi kiadás alapján készült: Discovering the Zodiac in the Raphael Madonna Series Copyright © 2013 by Brian Gray and Wynstones Press. All rights reserved. Brian Gray Published by Wynstones Press 2013 A fordítás és a kiadás a kiadó engedélyével történt. Fordítás és magyar változat © Casparus Kiadó Kft. 2017. Minden jog fenntartva. Hungarian translation and edition © Casparus Kiadó Kft. 2017. All rights reserved. MADONNA A könyv – a kiadó írásos engedélye nélkül – sem egészében, sem részleteiben nem sokszorosítható vagy közölhető, semmilyen formában és értelemben, elektronikus vagy mechanikus módon, beleértve a nyilvános előadást vagy tanfolyamot, a hangoskönyvet, bármilyen internetes közlést, a fénymásolást, a rögzítést vagy az információrögzítés bármilyen formáját. Felelős kiadó: a Casparus Kiadó Kft. ügyvezetője. © 2017 Casparus Kiadó Kft. 2083 Solymár, Külső Vasút utca 3368/3. A zodiákus felfedezése Raffaello Madonna-sorozatában www.casparus.hu madonna.casparus.hu Első kiadás Discovering the Zodiac in the Raphael Madonna Series Szerkesztette és magyarra fordította: Balázs Árpád Magyar nyelvi lektor: Dankovics Atilla Német fordítás: Filinger Szilárd Die Entdeckung des Tierkreises in Raffaels Madonnen-Serie Német nyelvi lektor: Harald Kallinger A német nyelvű szöveg gondozásában részt vettek: Juhász Zsanett, Malomsoky Ildikó, Márta-Tóth Jolán Orosz fordítás: Olga Knyazeva Az orosz szöveget gondozta: Dmitry Dzyubenko Проявление Зодиака в ряде Мадонн Рафаэля Tördelés és tipográfia: Korcsmáros Gábor Képek jegyzéke: 25. oldal: Sixtus-Madonna (Photo by VCG Wilson/Corbis via Getty Images) 31. oldal: A szép kertésznő (Photo by Fine Art Images/Heritage Images/Getty Images) 35. oldal: Alba herceg Madonnája (Photo by VCG Wilson/Corbis via Getty Images) 39. oldal: Alba herceg Madonnája (részlet) (Photo by VCG Wilson/Corbis via Getty Images) 43. -
The European Garden I :
The European Garden I : ............................................ I ............................................ Progetto editoriale: Angelo Pontecorboli Tutti i diritti riservati Angelo Pontecorboli Editore, Firenze www.pontecorboli.com – [email protected] ISBN 978-88-00000-00-0 2 Mariella Zoppi e European Garden ANGELO PONTECORBOLI EDITORE FIRENZE 3 4 C 5 Introduction As with all written histories of the garden, this one begins with the most ancient civilizations and thus dedicates much attention to the Roman Empire. is way, the ordinary has little that is ritual or can be foreseen and one can witness the true origins of gardens which arrived from western culture. ese origins were not lost in the centuries which passed by each other, but were a constant source of inspiration for the civilizations which came and went in the Mediterranean Basin. e Mediterranean, for an extremely long period stretching from 2000 BC to the late fourteenth century, was almost exclusively the scenery of western culture. Diverse peoples acquired economic and political hegemony, they imposed laws, customs and artistic models which merged with pre-existing backgrounds and styles which then expanded throughout Northern European and African countries. Ideas from the East, such as science, religion and artistic models, fil- tered throughout the Mediterranean. Nomadic populations reached Mediterranean shores and so cultures and customs were brought to- gether for several centuries in a relatively small circle. It was on the edges of the Mediterranean where the two fundamental ideas of gar- den design, the formal and the informal, were created and confronted each other. Here, the garden became the idealization of a perfect and immutable world, the mimesis of nature. -
RAFFAELLO SANZIO Una Mostra Impossibile
RAFFAELLO SANZIO Una Mostra Impossibile «... non fu superato in nulla, e sembra radunare in sé tutte le buone qualità degli antichi». Così si esprime, a proposito di Raffaello Sanzio, G.P. Bellori – tra i più convinti ammiratori dell’artista nel ’600 –, un giudizio indicativo dell’incontrastata preminenza ormai riconosciuta al classicismo raffaellesco. Nato a Urbino (1483) da Giovanni Santi, Raffaello entra nella bottega di Pietro Perugino in anni imprecisati. L’intera produzione d’esordio è all’insegna di quell’incontro: basti osservare i frammenti della Pala di San Nicola da Tolentino (Città di Castello, 1500) o dell’Incoronazione di Maria (Città del Vaticano, Pinacoteca Vaticana, 1503). Due cartoni accreditano, ad avvio del ’500, il coinvolgimento nella decorazione della Libreria Piccolomini (Duomo di Siena). Lo Sposalizio della Vergine (Milano, Pinacoteca di Brera, 1504), per San Francesco a Città di Castello (Milano, Pinacoteca di Brera), segna un decisivo passo di avanzamento verso la definizione dello stile maturo del Sanzio. Il soggiorno a Firenze (1504-08) innesca un’accelerazione a tale processo, favorita dalla conoscenza dei tra- guardi di Leonardo e Michelangelo: lo attestano la serie di Madonne con il Bambino, i ritratti e le pale d’altare. Rimonta al 1508 il trasferimento a Roma, dove Raffaello è ingaggiato da Giulio II per adornarne l’appartamento nei Palazzi Vaticani. Nella prima Stanza (Segnatura) l’urbinate opera in autonomia, mentre nella seconda (Eliodoro) e, ancor più, nella terza (Incendio di Borgo) è affiancato da collaboratori, assoluti responsabili dell’ultima (Costantino). Il linguaggio raffaellesco, inglobando ora sollecitazioni da Michelangelo e dal mondo veneto, assume accenti rilevantissimi, grazie anche allo studio dell’arte antica. -
Patronage and Dynasty
PATRONAGE AND DYNASTY Habent sua fata libelli SIXTEENTH CENTURY ESSAYS & STUDIES SERIES General Editor MICHAEL WOLFE Pennsylvania State University–Altoona EDITORIAL BOARD OF SIXTEENTH CENTURY ESSAYS & STUDIES ELAINE BEILIN HELEN NADER Framingham State College University of Arizona MIRIAM U. CHRISMAN CHARLES G. NAUERT University of Massachusetts, Emerita University of Missouri, Emeritus BARBARA B. DIEFENDORF MAX REINHART Boston University University of Georgia PAULA FINDLEN SHERYL E. REISS Stanford University Cornell University SCOTT H. HENDRIX ROBERT V. SCHNUCKER Princeton Theological Seminary Truman State University, Emeritus JANE CAMPBELL HUTCHISON NICHOLAS TERPSTRA University of Wisconsin–Madison University of Toronto ROBERT M. KINGDON MARGO TODD University of Wisconsin, Emeritus University of Pennsylvania MARY B. MCKINLEY MERRY WIESNER-HANKS University of Virginia University of Wisconsin–Milwaukee Copyright 2007 by Truman State University Press, Kirksville, Missouri All rights reserved. Published 2007. Sixteenth Century Essays & Studies Series, volume 77 tsup.truman.edu Cover illustration: Melozzo da Forlì, The Founding of the Vatican Library: Sixtus IV and Members of His Family with Bartolomeo Platina, 1477–78. Formerly in the Vatican Library, now Vatican City, Pinacoteca Vaticana. Photo courtesy of the Pinacoteca Vaticana. Cover and title page design: Shaun Hoffeditz Type: Perpetua, Adobe Systems Inc, The Monotype Corp. Printed by Thomson-Shore, Dexter, Michigan USA Library of Congress Cataloging-in-Publication Data Patronage and dynasty : the rise of the della Rovere in Renaissance Italy / edited by Ian F. Verstegen. p. cm. — (Sixteenth century essays & studies ; v. 77) Includes bibliographical references and index. ISBN-13: 978-1-931112-60-4 (alk. paper) ISBN-10: 1-931112-60-6 (alk. paper) 1. -
Alberto Aringhieri and the Chapel of Saint John the Baptist: Patronage, Politics, and the Cult of Relics in Renaissance Siena Timothy B
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2002 Alberto Aringhieri and the Chapel of Saint John the Baptist: Patronage, Politics, and the Cult of Relics in Renaissance Siena Timothy B. Smith Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE ALBERTO ARINGHIERI AND THE CHAPEL OF SAINT JOHN THE BAPTIST: PATRONAGE, POLITICS, AND THE CULT OF RELICS IN RENAISSANCE SIENA By TIMOTHY BRYAN SMITH A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2002 Copyright © 2002 Timothy Bryan Smith All Rights Reserved The members of the Committee approve the dissertation of Timothy Bryan Smith defended on November 1 2002. Jack Freiberg Professor Directing Dissertation Mark Pietralunga Outside Committee Member Nancy de Grummond Committee Member Robert Neuman Committee Member Approved: Paula Gerson, Chair, Department of Art History Sally McRorie, Dean, School of Visual Arts and Dance The Office of Graduate Studies has verified and approved the abovenamed committee members. ACKNOWLEDGEMENTS First I must thank the faculty and staff of the Department of Art History, Florida State University, for unfailing support from my first day in the doctoral program. In particular, two departmental chairs, Patricia Rose and Paula Gerson, always came to my aid when needed and helped facilitate the completion of the degree. I am especially indebted to those who have served on the dissertation committee: Nancy de Grummond, Robert Neuman, and Mark Pietralunga. -
The Word Made Visible in the Painted Image
The Word made Visible in the Painted Image The Word made Visible in the Painted Image: Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller The Word made Visible in the Painted Image: Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Stephen Miller All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8542-8 ISBN (13): 978-1-4438-8542-3 For Paula, Lucy and Eddie CONTENTS List of Illustrations ..................................................................................... ix Acknowledgements .................................................................................... xi Introduction ................................................................................................. 1 Chapter One ................................................................................................. 3 Setting the Scene The Rise of Humanism and the Italian Renaissance Changing Style and Attitudes of Patronage in a Devotional Context The Emergence of the Altarpiece in -
Raffaelloraffaello
RAFFAELLORAFFAELLO Autoritratto, 1506 ca Vol II, pp. 446-459 1483-1520 LA VITA 1483 nasce a Urbino figlio di un pittore Va a bottega dal padre e si educa alla corte dei Montefeltro Allievo del Perugino 1504-1508 soggiorno fiorentino 1508 va a Roma invitato da Giulio II e con l’aiuto di Bramante Lavora per Giulio II e Leone X 1520 muore a Roma Raffaello 2 1483-1520 LE OPERE 1500-1502 Studio di nudo maschile (disegno) Urbino 1502 Cristo benedicente 1505 San Giorgio e il drago (disegno) Firenze 1504 Lo sposalizio della Vergine (olio su tavola) 1505 Ritratto di Agnolo Doni 1506 Ritratto di Maddalena Doni 1506 Madonna del cardellino 1506 Madonna del prato (o del Belvedere) 1507 Sacra famiglia Canigiani (olio su tavola) 1507-1509 Trasporto di Cristo al sepolcro (pala Baglioni) 1509-1510 Scuola d’Atene (affresco) Roma 1512 Ritratto di Giulio II 1513 Madonna della seggiola 1513 La velata 1513-1514 altri affreschi nelle Stanze vaticane 1518 Leone X 1518-1519 Due uomini nudi in piedi (disegno) 1518-1520 Trasfigurazione (olio su tavola) Raffaello 3 1500-1502 STUDIO DI NUDO MASCHILE All’inizio della sua carriera si dedica al disegno, soprattutto agli studi sulla figura umana Non disegna un contorno netto ma una serie di linee affiancate I corpi vengono presentati scarni, con muscoli e tendini in evidenza Michelangelo, Studio di figura nuda, 1504-06 Raffaello 4 1502 CRISTO BENEDICENTE Opera giovanile È ancora a Urbino Raffaello 5 1505 SAN GIORGIO E IL DRAGO Influssi leonardeschi – Il cavallo impennato – Lo slancio del cavaliere – La lunga testa del -
Imagines-Number-2-2018-August
Imagines è pubblicata a Firenze dalle Gallerie degli Uffizi Direttore responsabile Eike D. Schmidt Redazione Dipartimento Informatica e Strategie Digitali Coordinatore Gianluca Ciccardi Coordinatore delle iniziative scientifiche delle Gallerie degli Uffizi Fabrizio Paolucci Hanno lavorato a questo numero Andrea Biotti, Patrizia Naldini, Marianna Petricelli Traduzioni: Eurotrad con la supervisione di Giovanna Pecorilla ISSN n. 2533-2015 2 august 2018 index n. 2 (2018, August) 6 EIKE SCHMIDT Digital reflexions 10 SILVIA MASCALCHI School/Work programmes at the Uffizi Galleries. Diary of an experience in progress 20 SIMONE ROVIDA When Art Takes Centre Stage. Uffizi Live and live performance arts as a means to capitalise on museum resources 38 ELVIRA ALTIERO, FEDERICA CAPPELLI, LUCIA LO STIMOLO, GIANLUCA MATARRELLI An online database for the conservation and study of the Uffizi ancient sculptures 52 ALESSANDRO MUSCILLO The forgotten Grand Duke. The series of Medici-Lorraine busts and their commendation in the so-called Antiricetto of the Gallery of Statues and Paintings 84 ADELINA MODESTI Maestra Elisabetta Sirani, “Virtuosa del Pennello” 98 CARLA BASAGNI PABLO LÓPEZ MARCOS Traces of the “Museo Firenze com’era in the Uffizi: the archive of Piero Aranguren (Prato 1911- Florence 1988), donated to the Library catalog 107 FABRIZIO PAOLUCCI ROMAN ART II SEC. D. C., Sleepimg Ariadne 118 VINCENZO SALADINO ROMAN ART, Apoxyomenos (athlete with a Scraper) 123 DANIELA PARENTI Spinello Aretino, Christ Blessing Niccolò di Pietro Gerini, Crocifixion 132 ELVIRA ALTIERO Niccolò di Buonaccorso, Presentation of the Virgin in the Temple n.2 | august 2018 Eike Schmidt DIGITAL REFLEXIONS 6 n Abbas Kiarostami’s film Shirin (2008), sing questions of guilt and responsibility for an hour and a half we see women – would have been superimposed upon Iin a theatre in Iran watching a fictio- its famous first half, the action-packed nal movie based on the tragic and twi- Nibelungenlied (Song of the Nibelungs). -
Classical Mythology in Florence
Tom Sienkewicz Monmouth College [email protected] Classical Mythology in Florence Museo Archeologico especially the Chimaera, and the François Vase Minos and Scylla, Theseus and the Minotaur (Ovid 8.1-185) Calydonian Boar Hunt (Ovid 8.260-546) Homer. Iliad XXIII (Funeral Games of Patroclus) Ulysses and Polyphemus (Ovid 14.160-220) Classical Mythology at the Duomo Porta della Mandorla, Campanile and Opera del Duomo Orpheus/Eurydice (Ovid 10.1-80) Daedalus/Icarus (Ovid 8.185-260) Public sculpture Piazza della Signoria and Loggia Dei Lanzi. Hercules and Cacus (Ovid. Fasti.1.540ff) Perseus and Medusa (Ovid 4.610-803) Classical Mythology in the Palazzo Vecchio Circe (Ovid 14.240-310) Rape and Intervention of Sabine Women (Livy 1.9-10) Hercules and Nessus (Ovid 9.1-150) Classical Mythology in the Studiolo di Francesco Primo Classical Mythology in the Palazzo Medici-Riccardi Rape of Persephone (Ovid 5.380-500) The Mythology in the Public Sculpture of Florence Apollo and Daphne 1.450-570 Classical Mythology in the Bargello Classical Mythology in the Uffiizi Classical Mythology in the Pitti Palace Classical Mythology in the Boboli Gardens especially the Grotta of Buontalenti Classical Mythology in the Medici Villa at Poggio a Caiano Hercules in Florence The François Vase c.570 B.C. found in tomb at Fonte Rotella near Chiusi in 1844-45 Made by Ergotomos Painted by Kleitias Side A Side B Calydonian Boar Hunt Theseus' Crane Dance The Funeral Games of Patroclus Battle of Lapiths and Centaurs The Marriage of Peleus and Thetis The Marriage