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The Business Organisation of the Bourbon Factories
The Business Organization of the Bourbon Factories: Mastercraftsmen, Crafts, and Families in the Capodimonte Porcelain Works and the Royal Factory at San Leucio Silvana Musella Guida Without exaggerating what was known as the “heroic age” of the reign of Charles of Bourbon of which José Joaquim de Montealegre was the undisputed doyen, and without considering the controversial developments of manufacturing in Campania, I should like to look again at manufacturing under the Bourbons and to offer a new point of view. Not only evaluating its development in terms of the products themselves, I will consider the company's organization and production strategies, points that are often overlooked, but which alone can account for any innovative capacity and the willingness of the new government to produce broader-ranging results.1 The two case studies presented here—the porcelain factory at Capodimonte (1740-1759) and the textile factory in San Leucio (1789-1860)—though from different time periods and promoted by different governments, should be considered sequentially precisely because of their ability to impose systemic innovations.2 The arrival of the new sovereign in the company of José Joaquin de Montealegre, led to an activism which would have a lasting effect.3 The former was au fait with economic policy strategy and the driving force of a great period of economic modernization, and his repercussions on the political, diplomatic and commercial levels provide 1 For Montealegre, cf. Raffaele Ajello, “La Parabola settecentesca,” in Il Settecento, edited by Giovanni Pugliese Carratelli (Naples, 1994), 7-79. For a synthesis on Bourbon factories, cf. Angela Carola Perrotti, “Le reali manifatture borboniche,” in Storia del Mezzogiorno (Naples, 1991), 649- 695. -
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 -
Returns to Pompeii Eddy.Indb 3 2016-11-07 16:11 !""#$%!&'#()#!"*#&(+,-!+'(.(-)/(0#*#&)1
Observations made on the museums in Portici and on the Vesuvian sites by two Swedish professionals in 1756 and 1768, respectively Leander Touati, Anne-Marie; Cederlöf, Ulf Published in: Returns to Pompeii 2016 Document Version: Publisher's PDF, also known as Version of record Link to publication Citation for published version (APA): Leander Touati, A-M., & Cederlöf, U. (2016). Observations made on the museums in Portici and on the Vesuvian sites by two Swedish professionals in 1756 and 1768, respectively. In S. Hales, & A-M. Leander Touati (Eds.), Returns to Pompeii: Interior space and decoration documented and revived 18th-20th century (pp. 151-166). (Skrifter utgivna av de svenska institutet i Rom 4o / Acta Instituti Romani Regni Suecia in 4o; No. 62). Svenska institutet i Rom. Total number of authors: 2 Creative Commons License: Unspecified General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. -
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 !"#$#%&"'('$)!$!%*%"#$')'%+'$)!,#$'
!%./0"1.)2"3/456)64)!415!%6)/5!"/"2"1")/).#(7)897)-*)) 6$"6)/5!"/"2"/).#(65/).135/)!21$/617)!1./1!)/5)897)-*)) .:;<=>?);@)A@BC:DD)) />;:=D@=)?CEF:)E>G)G:F@=E;D@>) 1GD;:G)IJ)!K:LL:J)&EL:?)M)) G@F<B:>;:G)E>G)=:HDH:G) 6>>:N(E=D:)':E>G:=)"@<E;D) ,O;K)))P*+;K)F:>;<=J !"#$%&#'()*+,-) Returns to Pompeii_eddy.indb 3 2016-11-07 16:11 !"#$#%&"'('$)!$!%*%"#$')'%+'$)!,#$' "-./01234.2506%7%841-48%502-35/39%% ):-%;7<7==/%"-7<-%50%;/325.5 Te exhibition project realized in the Palazzo Reale at Por- new museum in the very building which was at the centre of tici (May 2009) represents a complex “Return to Pompeii” by the events that it wants to describe. Te original museum was creating a new museum that recollects the experience of visit- located in close proximity to the excavations. Both shared the ing the 18th-century museum housing the fnds from the frst same physical setting, and visits to the site and to the museum excavations in the Vesuvian sites. In building this museum, the were part of the same experience for 18th-century visitors. In project used a series of reconstruction techniques to model fact, the rooms of the piano nobile of the Palazzo Reale seemed the environment in which artists, such as the Swedish sculp- to be the ideal space in which to chronicle—through an exper- tor Johan Tobias Sergel, and Grand Tourists, such as Sergel’s imental museum—the inspiring intellectual adventure that, king, Gustav III, frst encountered objects from Pompeii and starting with the Herculanense Museum in Portici, spread Herculaneum. -
Strategic Plan 2016 2019 National Archaeological Museum of Naples
strategic plan 2016 2019 national archaeological museum of naples Piazza Museo 19, 80135, Napoli, Italy t +39 081 4422203 • f +39 081 440013 [email protected] www.museoarcheologiconapoli.it follow the Museum on strategic plan 2016 2019 national archaeological museum of naples introduction MANN at a glance the museum history and identity structures and building today human capital mission the collections 7 resources our online presence governance internal regulation #accessibility the museum’s #observing values #listening 39 #connecting #transparency #sustainability vision MANN in strategic objectives the future building and collections financial resources services audience development 59 digital solutions introduction In this document, we have set out the main areas for The structure and content of the Strategic Plan were development at the National Archaeological Museum elaborated with the continuous support of Professor of Naples (MANN) over the next four years. Ludovico Solima, who teaches Management for Cultural Enterprises in the Department of Economics The importance of our Strategic Plan is linked to our at the Second University of Naples. The final document need to plan forwards very carefully when embarking is also the outcome of a careful review of the upon the many operations that we intend to carry out bibliographical works elaborated by the international at MANN between 2016 and 2019. It is, therefore, community on this topic, alongside the scrupulous a programming tool that is intrinsically linked to analysis of similar documents drawn up by other the identity and history of the museum, and so will museums abroad. contribute towards outlining our vision of what MANN will be by the end of my tenure. -
Great Pompeii Project
Archaeological Area of Pompeii, Herculaneum and Torre Annunziata, Italy, n. 829 1. Executive summary of the report Soon after the collapse of the Schola Armaturarum, UNESCO carried out several missions, involving ICOMOS and UNESCO experts, at the sites of Pompeii, Herculaneum and Torre Annunziata, specifically on 2-4 December 2010 and 10 – 13 January 2011, on 7-10 January 2013 and 8-12 November 2014. These inspections led to the formulation of a set of recommendations, which have ultimately been summarised in decision 39 COM 7B, adopted at the 39th meeting of the World Heritage Committee, to which this report is a reply. Over the years, many steps forward have been made in the conservation and management of the property. Regarding the Grande Progetto Pompeii (Great Pompeii Project), the State Party has ensured its continuation with a further European financing of 45 M€ and by maintaining the General Project Management organisation and the Great Pompeii Unit until 31 December 2019. A further two items of funding have been received: 40 M€ from the Italian government and 75 M€ from the Special Superintendency of Pompeii, which has been granted financial, administrative and management autonomy. The more recent inspection by UNESCO/ICOMOS identified 5 buildings at risk in the site of Pompeii: Casa dei Casti Amanti, Casa delle Nozze d’argento, Schola Armaturarum, Casa di Trebius Valens and Casa dei Ceii. Conservation interventions were then planned for all these buildings, which, to date, are either still underway or have been completed, or which will soon start. Almost all the legal problems that prevented the start of the works have been solved and now it will be possible to carry out the safety works on and restore the structures of the Schola Armaturarum; open the Antiquarium to the public; and continue the improvement works on the Casina dell’Aquila. -
A Scenographic Solution for a Neapolitan Bridge in the Beginning of Nineteenth Century
A scenographic solution for a Neapolitan bridge in the beginning of nineteenth century C. Ceraldi, V. Mormone and E.R. Ermolli University of Naples, Department of Construction and Mathematical Methods in Architecture, Naples, Italy M. Lippiello Second University of Naples, Department of Civil Engineering, Aversa, Italy V. Tempone Second University of Naples, Department of History of Architecture and Anthropic Environment, Aversa Italy ABSTRACT: Object of the present study is the masonry bridge, still standing, built for King Ferdinand I of Bourbon, in 1818, by the court scenographer and architect Antonio Niccolini, in the Villa Floridiana Park in Naples. The original drawing, plan and front view, of Niccolini’s design is kept in the Archive of the Saint Martin Museum in Naples. The bridge, made of Nea- politan tuff and bricks, with a single polycentric arch, spanning thirty metres, can be ascribed to the typology of lightened tympanum bridges, in which continuum masonry in the backfills is substituted by a system of vaults leaning upon the extrados of the underlying arch. The static behaviour of the bridge will be studied, basing upon a detailed survey and an accurate examina- tion of the historical sources, also employing the graphical methods known at the age of its re- alization. 1 INTRODUCTION 1.1 Antonio Niccolini, scenographer and architect Notices about the life and first education of the scenographer and architect Antonio Niccolini, born in Tuscany (at San Miniato in the district of Pisa), the 21 April 1772, can be deduced by his autobiography, “Memories of my life”, written in 1847, now kept in the Neapolitan National Library, Mancini (1964). -
THAISZIA the Botanical Garden of Portici, Italy
Thaiszia - J. Bot., Košice, 28 (2): 093-102, 2018 http://www.bz.upjs.sk/thaiszia T H A I S Z I A JOURNAL OF BOTANY The Botanical Garden of Portici, Italy: a note from 1865 on its first botanical collections RICCARDO MOTTI1 1Department of Agriculture, University of Naples Federico II, Via Università 100, 80055 Portici, Italy; [email protected] Motti R. (2018): The Botanical Garden of Portici, Italy: a note from 1865 on its first botanical collections. – Thaiszia – J. Bot. 28 (2): 093- 102. – ISSN 1210-0420. Abstract: A document held at the State Archives in Naples entitled “Notamento dei vasi e piante esistenti nei vari giardini né due boschi Superiore ed Inferiore in Portici” dated June 3, 1865, contains a census of the botanical assets of the Royal Palace of Portici gardens and park. The list includes 118 identifiable species, 59 of which are still present in the Botanical Garden of Portici. This valuable document lists the plants present in the collections at that time, allowing us to trace the origin of some species currently grown in the Botanical Garden of Portici. Keywords: botany, botanic garden, history, Bourbon, Naples Preface The historical reconstruction of the plant collections grown in the oldest botanical gardens often presents major difficulties due to the lack of useful archival documents. In 1865 the Royal Palace of Portici and its gardens were sold by King Victor Emmanuel II as state property and on that occasion the solidity and nature of the assets were assessed. A document entitled Notamento dei vasi e piante esistenti nei vari giardini né due boschi Superiore ed Inferiore in Portici dated June 3, 1865, was found at the State Archives of Naples, in which a census of the botanical assets at the time of the sale is reported. -
'The System of This Court': Elizabeth Farnese, the Count of Santiesteban
The Court Historian ISSN: 1462-9712 (Print) 2056-3450 (Online) Journal homepage: https://www.tandfonline.com/loi/ycou20 ‘The System of This Court’: Elizabeth Farnese, the Count of Santiesteban and the Monarchy of the Two Sicilies, 1734–1738 PABLO VÁZQUEZ-GESTAL To cite this article: PABLO VÁZQUEZ-GESTAL (2009) ‘The System of This Court’: Elizabeth Farnese, the Count of Santiesteban and the Monarchy of the Two Sicilies, 1734–1738, The Court Historian, 14:1, 23-47, DOI: 10.1179/cou.2009.14.1.002 To link to this article: https://doi.org/10.1179/cou.2009.14.1.002 Published online: 03 Nov 2014. Submit your article to this journal Article views: 20 View related articles Citing articles: 1 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=ycou20 (The SysteITlof This Court': Elizabeth Farnese, the Count of Santiesteban and the Monarchy of the Two Sicilies, 1734-1738 BY PABLO VAZQUEZ-GESTALl The new kingdom of the Two Sicilies was set up in 1734 under the direct supervision of the Spanish crown, since the young Don Carlos, first-born son of Philip V and l Elizabeth Farnese, was thought to be too young to· rule it by himself. Before its conquest and subsequent independence in that year, the kingdom of Naples had belonged to the Spanish king for more than two centuries until. 1707, when the viceroyalty was conquered and ruled by the Emperor. However, the city of Naples was still one of the most significant capitals of eighteenth-century Europe and the new kingdom wasa distinct political territory that was strategically important to both the Italian peninsula and the wider Mediterranean. -
Museo Di Capodimonte
Museo di Capodimonte Laboratorio di restauro Sala per la didattica Audioguide Ristorazione Guardaroba Visite guidate Bookshop Sala convegni Guide e cataloghi Spazi espositivi Altro Nel 1738 Carlo di Borbone affidò a Giovanni Antonio Medrano la costruzione della nuova reggia sulla collina di Capodimonte, nella quale sistemare il grande patrimonio artistico ereditato dalla madre, Elisabetta Farnese. Ferdinando II, salito al trono nel 1830, portò a termine l’edificio affidandone l’incarico ad Antonio Niccolini. Agli inizi del XX secolo il palazzo divenne residenza dei duchi d’Aosta, quindi, nel 1920, fu trasferito al demanio nazionale. Dopo la guerra, ne fu sancita la destinazione a museo che fu inaugurato, nel 1957, a seguito di lavori di ristrutturazione ed al trasferimento delle raccolte d'arte medievale e moderna precedentemente esposte nel Museo Archeologico Nazionale di Napoli. Nell’austero edificio a pianta rettangolare, con tre cortili interni, le collezioni - circa 20.00 Veduta dall'alto oggetti - sono distribuite su tre piani. Il piano nobile ospita, nell’ ala meridionale, l’Appartamento storico, riflesso del gusto dei sovrani avvicendatisi sul trono di Napoli - da Carlo di Borbone al figlio Ferdinando, inclusa la parentesi napoleonica con i coniugi Murat, che lo arredarono con mobili francese - articolato in sale monumentali (la Sala della Culla, il Salone delle Feste, il Salone Camuccini) e più intimi ambienti (il Salottino di Porcellana, realizzato fra il 1757 e il 1759 per la Reggia di Portici dalla Real Fabbrica di Capodimonte e qui trasferito nel 1866 e la Camera da letto alla pompeiana). Nell’opposta ala, la Galleria Farnese ospita la straordinaria collezione iniziata da Paolo III, accresciuta a Parma e Piacenza dal ramo ducale della famiglia quindi ereditata da Carlo di Borbone.