Inter Cultural Studies of Architecture (ICSA) in Rome 2019
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Between Modernization and Preservation: the Changing Identity of the Vernacular in Italian Colonial Libya
Between Modernization and Preservation: The Changing Identity of the Vernacular in Italian Colonial Libya BRIAN MCLAREN Harvard University This paper concerns the changing identity of the vernacular The architecture of this tourist system balanced a need to project architecture of the Italian colony of Libya in architectural discourse, an image of a modern and efficient network of travel, with the desire and the related appropriation of this re-configured vernacular by to preserve and even accentuate the characteristic qualities of the architects working in thls region. In this effort, I will describe the indigenous culture of each region. In the first instance, the tourist system difference between an abstract assimilation of these influences in the in Libya offered an experience of the colonial context that was early 1930s and a more scientific interest in the indlgenous culture of fundamentally modern-facilities like the dining room at the Albergo Libya in the latter part of this decade. In the first case, the work of "alle Gazzelle" in Zliten conveying an image of metropolitan comfort. architects like Sebastiano Larco and Carlo Enrico Rava subsumed In the second, a conscious effort was made to organize indigenous cultural references to vernacular constructions into modern aesthetic practices. manifestations that would enhance the tourist experience. One In the second, archtects llke Florestano Di Fausto evinced the material prominent example were the musical and dance performances in the qualities of these buildings in works that often directly re-enacted CaffeArabo at the Suq al-Mushr, which were made in a setting that was traditional forms. However, rather than dlscuss the transformation of intended to enact the mysteries of the East. -
Rome: a Pilgrim’S Guide to the Eternal City James L
Rome: A Pilgrim’s Guide to the Eternal City James L. Papandrea, Ph.D. Checklist of Things to See at the Sites Capitoline Museums Building 1 Pieces of the Colossal Statue of Constantine Statue of Mars Bronze She-wolf with Twins Romulus and Remus Bernini’s Head of Medusa Statue of the Emperor Commodus dressed as Hercules Marcus Aurelius Equestrian Statue Statue of Hercules Foundation of the Temple of Jupiter Optimus Maximus In the Tunnel Grave Markers, Some with Christian Symbols Tabularium Balconies with View of the Forum Building 2 Hall of the Philosophers Hall of the Emperors National Museum @ Baths of Diocletian (Therme) Early Roman Empire Wall Paintings Roman Mosaic Floors Statue of Augustus as Pontifex Maximus (main floor atrium) Ancient Coins and Jewelry (in the basement) Vatican Museums Christian Sarcophagi (Early Christian Room) Painting of the Battle at the Milvian Bridge (Constantine Room) Painting of Pope Leo meeting Attila the Hun (Raphael Rooms) Raphael’s School of Athens (Raphael Rooms) The painting Fire in the Borgo, showing old St. Peter’s (Fire Room) Sistine Chapel San Clemente In the Current Church Seams in the schola cantorum Where it was Cut to Fit the Smaller Basilica The Bishop’s Chair is Made from the Tomb Marker of a Martyr Apse Mosaic with “Tree of Life” Cross In the Scavi Fourth Century Basilica with Ninth/Tenth Century Frescos Mithraeum Alleyway between Warehouse and Public Building/Roman House Santa Croce in Gerusalemme Find the Original Fourth Century Columns (look for the seams in the bases) Altar Tomb: St. Caesarius of Arles, Presider at the Council of Orange, 529 Titulus Crucis Brick, Found in 1492 In the St. -
AP Art History Chapter 24 Questions: the Baroque in Italy and Spain
AP Art History Chapter 24 Questions: The Baroque in Italy and Spain 1. Gianlorenzo Bernini was _____, _____, ______, _______, and stage designer. It was one of the most important and ______ artists of the _____ era in Italy. He had been the favorite sculpture of ____ who spent so much on art that he nearly bankrupted the Vatican treasury. (659) 2. Who were the patron and sculptor for the Fountain of Four Rivers? How did he win this commission?) (669) 3. What is typical of Baroque art? (670) 4. Describe how Santa Susanna stands as one of the earliest manifestation of Baroque artistic spirit? (670‐671) 5. Describe Bernini’s new design for Saint Peter’s (672) 6. How does Bernini’s baldacchino serve as function and symbolic purpose? It was created in the lost‐wax process. Define the lost wax process. (page 130) Define chasing. (673) 7. Compare Bernini’s David to Donatello’s, Michelangelo’s, and Verrocchio’s David. Discuss the similarities and differences. How is this typical of the Baroque style? (674) 8. How does Bernini incorporate architecture, sculpture, and painting in his Ecstasy of Saint Teresa in the Cornaro chapel? (675) 9. Describe Borromini innovative Baroque style in the façade of San Carol alle Quattro Fontane, Rome, Italy. (676) 10. Describe Borromini’s plan for the Chapel of Saint Ivo? (678) 11. What was the Bolognese academy and who established it? (679) 12. Describe how Carracci’s, Flight into Egypt, was an idealize landscape and idealize life? (679) 13. How were the patron and artist of the Loves of the Gods ceiling frescos? How does this compare to the ceiling of the Sistine Chapel by Michelangelo? (680) 14. -
Bernini Breaking Barriers – Sensuality Sculpted in Stone
Bernini Breaking Barriers – Sensuality Sculpted in Stone Sandra Mifsud Bonnici [email protected] Abstract This paper will attempt to demonstrate that with his virtuosity, the Baroque sculptor, Gian Lorenzo Bernini managed to challenge the barriers which the medium he worked with, namely stone (marble) offered, to produce dynamic, lifelike and realistic works that also managed to express a previously unknown element in sculpture, that of sensuality. It will try to highlight how the spiritual and physical could come together in his works. The first masterpiece that will be focused upon will be the portrait bust of Bernini’s lover Costanza Piccolomini, a private work Bernini sculpted when he was thirty-nine years of age, chosen to represent the passion and worldly love that he felt for this woman. By way of contrast, the second masterpiece studied in this paper is the figure of the Blessed Ludovica Albertoni, one of his last works, chosen to represent Bernini’s concept of the culmination of spiritual love that also incorporated a sensual element. The third and final masterpiece is the ecstasy of St. Teresa of Avila found in the Cornaro Chapel in the Church of Santa Maria della Vittoria, considered by many as his greatest work, as an example of how mysticism also has a sensual element to it. Keywords: Baroque sculpture, Gian Lorenzo Bernini, sensuality, Costanza Piccolomini, Ludovica Albertoni, St Teresa d’Avila. No one can deny that Gian Lorenzo Bernini had the extraordinary technical skill and expertise to sculpt anything that he visualised or saw. The numerous works of art that he continued to create into his maturity and almost up to his death are evidence of this. -
Gardens of Genoa, the Italian Riviera & Florence
American Horticultural Society Travel Study Program GARDENS OF GENOA, THE ITALIAN RIVIERA & FLORENCE September 5 – 14, 2017 WITH AHS HOST KATY MOSS WARNER AND TOUR LEADER SUSIE ORSO OF SPECIALTOURS American Horticultural Society Announcing an 7931 East Boulevard Drive Alexandria, VA 22308 American Horticultural www.ahsgardening.org/travel Society Travel Study Program GARDENS OF GENOA, THE ITALIAN RIVIERA & FLORENCE September 5 – 14, 2017 WITH AHS HOST KATY MOSS WARNER AND TOUR LEADER SUSIE ORSO OF SPECIALTOURS Designed with the connoisseur of garden travel in mind, GARDENS OF GENOA, THE ITALIAN RIVIERA & FLORENCE the American Horticultural Society Travel Study Program Join us for unforgettable experiences including: offers exceptional itineraries that include many exclusive • Boboli Gardens, created by Cosimo I de’ Medici experiences and unique insights. Your participation benefits the work of the American Horticultural Society • Museum of the Park – the International Centre and furthers our vision of “Making America a Nation of of Open-Air Sculpture, an open air “botanical art Gardeners, a Land of Gardens.” gallery” • Uffizi Gallery, with work by masters including Botticelli, Michelangelo, da Vinci and Raphael • Villa Gamberaia and many other villas and palaces with wonderfully designed and tended gardens • The Italian city of Genoa, with its restored waterfront; Santa Margherita and Portofino, with their colorful charm; and Florence, the beloved Renaissance city Look inside for more details about this remarkable program… Please refer to the enclosed reservation form for pricing and instructions to reserve your place on this AHS Travel Study Program tour. For more information about AHS Travel Study Program tours, please contact development@ahsgardening. -
Florence Florence Can Boast Many Histories – Artistic, Financial, Religious, the Central Point of the City’S Political and Cultural Development
AGENZIA PER IL TURISMO FIRENZE florence Florence can boast many histories – artistic, financial, religious, the central point of the city’s political and cultural development. cultural, political. These are so rich that it is impossible to sum By virtue of its geographic position and social climate, Florence them up in a few short lines. One word, however, has always dis- exercised a function of equilibrium in the history and art of the pe- tinguished the city in the eyes of the world: the Renaissance. riod known as the Renaissance. After various vicissitudes involving the Florentine Republic and history Medici restorations, another historic era started for Florence in a brief 1530 with the establishment of the Grand Duchy of Tuscany. The The early Etruscan settlements sprang up on the hill of Fiesole, power of the city grew, reaching a peak with the defeat of arch-ri- while the Romans established themselves (in 59 BC) on the plain val Siena in 1555. The House of the Medici died out in the 18th around the Arno. The Forum of Roman Florentia was situated where century, giving way to the rule of the Habsburg-Lorraine, under Piazza della Republica stands today, and the inner circle of walls whom Florence also conquered Lucca (1847). Finally, the Duchy ran along today’s Via Tornabuoni, Via Cerretani and Via del Pro- entered the Kingdom of Italy in 1859 following a plebiscite. consolo. Florence was the capital of unified Italy from 1865 to 1870, dur- Miniato and Reparata were the first patron saints of Florence, ing which time Giuseppe Poggi produced an urban planning proj- which became an episcopal see in the 4th century. -
Italian Villas and Their Gardens
Italian Villas and Their Gardens By Edith Wharton INTRODUCTION ITALIAN GARDEN-MAGIC Though it is an exaggeration to say that there are no flowers in Italian gardens, yet to enjoy and appreciate the Italian garden-craft one must always bear in mind that it is independent of floriculture. The Italian garden does not exist for its flowers; its flowers exist for it: they are a late and infrequent adjunct to its beauties, a parenthetical grace counting only as one more touch in the general effect of enchantment. This is no doubt partly explained by the difficulty of cultivating any but spring flowers in so hot and dry a climate, and the result has been a wonderful development of the more permanent effects to be obtained from the three other factors in garden-composition—marble, water and perennial verdure—and the achievement, by their skilful blending, of a charm independent of the seasons. It is hard to explain to the modern garden-lover, whose whole conception of the charm of gardens is formed of successive pictures of flower-loveliness, how this effect of enchantment can be produced by anything so dull and monotonous as a mere combination of clipped green and stonework. The traveller returning from Italy, with his eyes and imagination full of the ineffable Italian garden-magic, knows vaguely that the enchantment exists; that he has been under its spell, and that it is more potent, more enduring, more intoxicating to every sense than the most elaborate and glowing effects of modern horticulture; but he may not have found the key to the mystery. -
Wines Come Together in Perfect Harmony
Where we are How - exits from the A21, A26 and A7 motorways - railway stations at Acqui Terme, Alessandria, Casale www.alexala.it to find us Monferrato, Novi Ligure, Ovada, Tortona and Valenza www.provincia.alessandria.it Alessandria is at the crossroads between regions, cultures and culinary Distances: cities traditions that have different origins but the same prestige. We have taken all 95km from Milan the most precious elements of these different sources and have melded them 90km from Turin together in a cradle of tastes, aromas and sensations that is rare, even for Italy. 85km from Genoa We are in the south-east corner of Piedmont, at the centre of a triangle formed Distances: airports by the cities of Turin, Milan and Genoa, all three being easily reached by car, 150km from Bergamo Orio al Serio our district being criss-crossed by the A21 Turin-Piacenza, A26 Santhià-Genoa 120km from Milan Malpensa and A7 Milan-Genoa motorways. 110km from Milan Linate 105km from Turin Caselle 80km from Genoa Cristoforo Colombo 1 The region Alessandria - 3560km2 surface area, 435,000 inhabitants www.alexala.it and Province - Mediterranean climate www.provincia.alessandria.it The Province of Alessandria has a surface area of 3,560km2 and some Our district 435,000 inhabitants. Its Mediterranean climate and geographic make up of plain (35%), hill (53%) and mountain (12%), gives visitors an ample choice 12% when they come to experience the natural beauty of this special corner of Piedmont. The pleasant weather of spring and summer makes this the ideal spot for people who are keen on sporting activities, whilst the autumn and winter are for those who enjoy the pleasures of the table, where good food and splendid 35% wines come together in perfect harmony. -
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. -
Architectural Propaganda at the World's Fairs
Regis University ePublications at Regis University All Regis University Theses Spring 2016 Architectural Propaganda at the World’s Fairs Jason C. Huggins Regis University Follow this and additional works at: https://epublications.regis.edu/theses Recommended Citation Huggins, Jason C., "Architectural Propaganda at the World’s Fairs" (2016). All Regis University Theses. 707. https://epublications.regis.edu/theses/707 This Thesis - Open Access is brought to you for free and open access by ePublications at Regis University. It has been accepted for inclusion in All Regis University Theses by an authorized administrator of ePublications at Regis University. For more information, please contact [email protected]. Regis University Regis College Honors Theses Disclaimer Use of the materials available in the Regis University Thesis Collection (“Collection”) is limited and restricted to those users who agree to comply with the following terms of use. Regis University reserves the right to deny access to the Collection to any person who violates these terms of use or who seeks to or does alter, avoid or supersede the functional conditions, restrictions and limitations of the Collection. The site may be used only for lawful purposes. The user is solely responsible for knowing and adhering to any and all applicable laws, rules, and regulations relating or pertaining to use of the Collection. All content in this Collection is owned by and subject to the exclusive control of Regis University and the authors of the materials. It is available only for research purposes and may not be used in violation of copyright laws or for unlawful purposes. The materials may not be downloaded in whole or in part without permission of the copyright holder or as otherwise authorized in the “fair use” standards of the U.S. -
Appunti Bernabei Su Palazzo Vecchio
ITINERARI A TEMA PER VISITARE FIRENZE con la storica dell’arte e pittrice ELISA MARIANINI Mezza giornata (circa 3 ore, massimo 4 ore) Itinerario 1 Sulle tracce dei Medici Visita del quartiere mediceo partendo da Palazzo Medici Riccardi, prima residenza della famiglia Medici dove possiamo ammirare il palazzo, la Cappella dei Magi di Benozzo Gozzoli e la Galleria degli specchi con gli straordinari affreschi barocchi di Luca Giordano. Segue la visita della Basilica di San Lorenzo, dove lavorarono Brunelleschi e Michelangelo, che ospita importanti capolavori, di Donatello, del Verrocchio, del Bronzino, del Rosso Fiorentino, oltretutto luogo di sepoltura del capostipite dei Medici nella stupenda Sagrestia vecchia, capolavoro rinascimentale del Brunelleschi. Itinerario 2 Alla scoperta del cuore religioso di Firenze Visita all’interno del Duomo fiorentino di Santa Maria del Fiore e della antica Cripta di Santa Reparata dove è sepolto anche il Brunelleschi. Salita sulla Cupola, punto più alto della città e visita del Battistero di San Giovanni. L’itinerario continua nel Museo dell’opera del Duomo recentemente restaurato e rinnovato con un allestimento innovativo, dove è possibile ammirare gli originali delle famose Porte bronzee del Battistero e le sculture di Arnolfo e di molti altri importanti artisti che ornavano l’originale facciata prima che fosse distrutta per costruire quella attuale da De Fabris a metà Ottocento in forme neogotiche. Presenti all’interno del Museo opere quali la Maddalena di Donatello, la Pietà di Michelangelo, e le Cantorie di Donatello e Luca della Robbia. 1 Itinerario 3 Alla scoperta del cuore civile e politico di Firenze Partenza da Piazza della Repubblica, il cuore della Florentia romana per conoscere le antiche origini di Firenze. -
Italian Art Nouveau Architecture
MATEC Web of Conferences 5 3, 02004 (2016) DOI: 10.1051/matecconf/201653002 04 C Owned by the authors, published by EDP Sciences, 2016 The Liberty Style - Italian Art Nouveau Architecture Vasilii Goriunov1,a 1St. Petersburg State University of Architecture and Civil Engineering, 2-Krasnoarmejskaja, 4, Saint-Petersburg, 190005, Russia Abstract. This article refers the architecture of Italy of the end of the 19- the beginning of the 20 centuries. It shoes the origin of the term “Italian Liberty architecture”, its main centers, its peculiarities and the buildings of its leading representatives. The assessment of importance of such studies provide the right understanding of the processes in European architecture of this time. 1 Introduction All historians of architecture know very well that the term Art Nouveau has a lot of synonyms, accepted by researches of different countries. Most of these terms do not reflect the essence of the things and they are used conditionally. The exception is the term “ Liberty Stile” although its origin also seems accidental like the origin of the majority of its synonyms. This term came from the name of the founder of British trading company which specialized on artworks from Japan and China. This was the reason for the fact that many researchers are not quite accurately called this company one of the conductors of Japanese influence on European art. This was true as long as the company was engaged in the export of the works of art only. Soon, however the company began to cooperate with young British artists of applied art who created company s own style, which brought it European s fame.