{TEXTBOOK} Italy at Work : Her Renaissance in Design Today Pdf
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Humanism and Spanish Literary Patronage at the Roman Curia: the Role of the Cardinal of Santa Croce, Bernardino López De Carvajal (1456–1523)
2017 IV Humanism and Spanish Literary Patronage at the Roman Curia: The Role of the Cardinal of Santa Croce, Bernardino López de Carvajal (1456–1523) Marta Albalá Pelegrín Article: Humanism and Spanish Literary Patronage at the Roman Curia: The Role of the Cardinal of Santa Croce, Bernardino López de Carvajal (1456-1523) Humanism and Spanish Literary Patronage at the Roman Curia: The Role of the Cardinal of Santa Croce, Bernardino López de Carvajal (1456-1523)1 Marta Albalá Pelegrín Abstract: This article aims to analyze the role of Bernardino López de Carvajal (1456 Plasencia-1523 Rome) as a literary patron, namely his contributions to humanism in Rome and to Spanish letters, in the period that has been loosely identified as Spanish Rome. Carvajal held the dignities of orator continuus of Isabella of Castile and Ferdinand of Aragon, titular cardinal of Santa Croce in Gerusalemme, and Latin Patriarch of Jerusalem, and was even elected antipope with the name of Martin VI in the Conciliabulum of Pisa (1511) against Julius II. He belonged to the avant-garde of humanists devoted to creating a body of Neo-Latin and Spanish literature that would both foster the Spanish presence at Rome and leave a mark on the Spanish literary canon. He sponsored a considerable body of works that celebrated the deeds of the Catholic Kings and those of the Great Captain, Gonzalo Fernández de Córdoba. He also commissioned literary translations, and was involved in the production of theatrical pieces, such as those of Bartolomé Torres Naharro. Key Words: Benardino López de Carvajal; Literary Patronage; Catholic Kings; Erasmus; Bartolomé Torres Naharro; Gonzalo Fernández de Córdoba. -
Procession in Renaissance Venice Effect of Ritual Procession on the Built Environment and the Citizens of Venice
Procession in Renaissance Venice Effect of Ritual Procession on the Built Environment and the Citizens of Venice Figure 1 | Antonio Joli, Procession in the Courtyard of the Ducal Palace, Venice, 1742. Oil on Canvas. National Gallery of Art Reproduced from National Gallery of Art, http://www.nga.gov/content/ngaweb/Collection/art-object-page.32586.html Shreya Ghoshal Renaissance Architecture May 7, 2016 EXCERPT: RENAISSANCE ARCH RESEARCH PAPER 1 Excerpt from Procession in Renaissance Venice For Venetians, the miraculous rediscovery of Saint Mark’s body brought not only the reestablishment of a bond between the city and the Saint, but also a bond between the city’s residents, both by way of ritual procession.1 After his body’s recovery from Alexandria in 828 AD, Saint Mark’s influence on Venice became evident in the renaming of sacred and political spaces and rising participation in ritual processions by all citizens.2 Venetian society embraced Saint Mark as a cause for a fresh start, especially during the Renaissance period; a new style of architecture was established to better suit the extravagance of ritual processions celebrating the Saint. Saint Mark soon displaced all other saints as Venice’s symbol of independence and unity. Figure 2 | Detailed Map of Venice Reproduced from TourVideos, http://www.lahistoriaconmapas.com/atlas/italy-map/italy-map-venice.htm 1 Edward Muir, Civic Ritual in Renaissance Venice (Princeton, NJ: Princeton University Press, 1981), 87. 2 Muir, Civic Ritual, 80-81. EXCERPT: RENAISSANCE ARCH RESEARCH PAPER 2 The Renaissance period in Venice, lasting through the Quattrocento and Cinquecento, was significant because of the city’s maintenance of civic peace; this was achieved in large part by the rise in number and importance of processional routes by the Doges, the elected leaders of the Republic.3 Venice proved their commitment to these processions by creating a grander urban fabric. -
Feminism and the Staged Uncanny
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Winter 1-5-2020 Feminism and the Staged Uncanny Jessica C. Mensch CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/538 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Feminism and the Staged Uncanny by Jessica Mensch Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Painting, Hunter College The City University of New York 2020 12/16/2019 Andrea Blum Date Thesis Sponsor 12/16/2019 Lisa Corinne Davis Date Second Reader i Table of Contents List of Illustrations ii I. Introduction 1 II. Uncanny 2 III. Uncanny Theater 5 IV. Thesis 9 Bibliography 19 Image list for Thesis show images 21 Thesis show installation images 22 ii List of Illustrations Hecate's Palladio 9 2019, jacquard dye on muslin, video projection, wood, 6 shelf brackets, 108" x 148" x 12" She 12 2019, LCD screen, plexiglass pyramid, video, hair extensions, masks, acrylic paint, wire, hotglue, wood table, spray paint, 2 fake candles, pleiglass mirror, 54” x 48” x 48” She (detail) 13 2019, LCD screen, plexiglass pyramid, video, hair extensions, masks, acrylic paint, wire, hotglue, wood table, spray paint, 2 fake candles, pleiglass mirror, 54” x 48” x 48” 15 Astronomical Loop 2018, acrylic on canvas, plinth, humidifier, -
Bramante's Tempietto, the Roman Renaissance, and the Spanish Crown / Jack Freiberg
Cambridge University Press 978-1-107-04297-1 - Bramante’s Tempietto, the Roman Renaissance, and the Spanish Crown Jack Freiberg Frontmatter More information Bramante’s Tempietto, the Roman Renaissance, and the Spanish Crown The Tempietto, the embodiment of the Renaissance mastery of classical architecture and its Christian reinvention, was also the preeminent commission of the Catholic monarchs, Ferdinand of Aragon and Isabel of Castile, in papal Rome. This groundbreaking book situates Bramante’s time-honored memorial dedicated to Saint Peter and the origins of the Roman Catholic Church at the center of a coordinated program of the arts exalting Spain’s leadership in the quest for Christian hegemony. The innovations in form and iconography that made the Tempietto an authoritative model for Western architecture were fortifi ed in legacy monuments created by the popes in Rome and the kings in Spain from the later Renaissance to the present day. New photographs expressly taken for this study capture comprehensive views and focused details of this exemplar of Renaissance art and statecraft. Jack Freiberg is Professor of Art History at Florida State University. He has been awarded fellowships by the Institute for Advanced Study, the American Academy in Rome, and the Samuel H. Kress Foundation. He is the author of The Lateran in 1600: Christian Concord in Counter-Reformation Rome (Cambridge, 1995) and the coeditor of Medieval Renaissance and Baroque: A Cat’s Cradle for Marilyn Aronberg Lavin . © in this web service Cambridge University Press -
Palladio's Religious Architecture in Venice Katherine Fresina Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2012 Palladio's religious architecture in Venice Katherine Fresina Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Fresina, Katherine, "Palladio's religious architecture in Venice" (2012). LSU Master's Theses. 3335. https://digitalcommons.lsu.edu/gradschool_theses/3335 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. PALLADIO’S RELIGIOUS ARCHITECTURE IN VENICE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts In The School of Art by Katherine Fresina B.ID. Louisiana State University, 2009 May 2012 Table of Contents ABSTRACT……………………………………………………………………………………………………………..iii CHAPTER 1 INTRODUCTION…………………………………………………………………………………………1 2 VENETIAN ARCHITECTURE………………………………………………………………………..5 3 PALLADIO’S LIFE……………………………………………………………………………………...18 4 SAN FRANCESCO DELLA VIGNA………………………………………………………………...30 5 SAN GIORGIO MAGGIORE…………………………………………………………………………..40 6 IL REDENTORE …………………………………………………………………………………………52 BIBLIOGRAPHY……………………………………………………………….………………………………..…….67 -
Reconstructing the Image of the Ideal City in Renaissance Painting and Theatre: Its Influence in Specific Urban Environments
RECONSTRUCTING THE IMAGE OF THE IDEAL CITY IN RENAISSANCE PAINTING AND THEATRE: ITS INFLUENCE IN SPECIFIC URBAN ENVIRONMENTS. DIGITAL TECHNOLOGY AND VISUAL CULTURE* CARMEN GONZÁLEZ-ROMÁN** ISABEL SOLÍS ALCUDIA*** INTRODUCTION Te virtual reconstruction that we propose in this study aims to provide a model that allows visualizing how, in specifc urban projects or reforms carried out since the Renaissance, the image of the ideal city represented in pictures and scenery still persists. Paraphrasing Foucault, our purpose is directed towards an «archaeology of the imagi- nary» or perhaps, more accurately, a «virtual» archaeology of the imaginary. From this point of view, we consider it necessary to begin with a brief refection on an idea that has been latent throughout the preparation of this work, a concern that has to do with what some researchers with a well-established trajectory in the feld of Digital Humanities, and in particular, in the area of spatial analysis and reconstruction, have been proposing in recent years. We refer to the critical refection on the part of fantasy and uncertainty that all virtual reconstruction entails. From this approach, it is accepted that most digital projects dedicated to the reconstruction of historical monu- ments, archaeological sites, or collections of museums, contain an element of deception, and require, therefore, the will and complicity of the viewer to accept the reality that is ofered to them. * Tis paper is an outcome of the Research Project: Apropiaciones e hibridaciones entre las artes plásticas y las artes escé- nicas en la Edad Moderna (HAR2015-70089-P), funded by the Spanish Ministry of Economy and Competitiveness/ /FEDER. -
Papal Policy: the Planning of Rome During
Originalveröffentlichung in: Rotberg, Robert I. ; Rabb, Theodore K. (Hrsgg.): Art and history : images and their meaning, Cambridge 1988, S. 39-65 Christoph L. Frommel Papal Policy: The Planning of Rome during the Renaissance The investigation of patronage and town plan ning has become increasingly important for our understanding of the history of architecture and in particular for the history of Roman Renaissance architecture. The projects of individual popes have been thoroughly analyzed, but no attempt has been made to look at papal building policy during the Renaissance as a whole, to find out its principal motives, or to distinguish between con tinuous and discontinuous forces. This article suggests that much of the unique beauty of Renaissance Rome is the result of the particular character of papal government.1 The center of the old city of Rome differs from that of other Italian towns in that it has two centers of gravity: the Vatican and the Capitol. Until too years ago both were situated on the pe riphery of the city. The Capitol, which since the Middle Ages had been the seat of the communal administration, only attained its present representative character during the sixteenth and sev enteenth centuries and earlier was anything but impressive. Even before its recent isolation from the rest of the city was achieved by archaeologists and patriots seeking to preserve its character, it did not play a role comparable to that of the urban centers of Venice, Florence, Siena, or other smaller towns. The Vatican, at Christoph L. Frommel is Director of the Bibliotheca Hertziana in Rome. -
The Theatre-Amphitheatre of the Sanctuary of Apollo in Cyrene
THE THEATRE-AMPHITHEATRE OF THE SANCTUARY OF APOLLO IN CYRENE. Master Conservation Plan Director: Serenella Ensoli THE THEATRE-AMPHITHEATRE OF THE SANCTUARY OF APOLLO AT CYRENE Made possible with the support of: Picture on front cover Cyrene, the Terrace of Myrtousa, seat of the Sanctuary of Apollo, seen from north-west. In the foreground, the Theatre- Amphitheatre (aerial photo of ‘900: from S. Ensoli [and.], Cyrene, Milano 2000, p. 14) THE THEATRE-AMPHITHEATRE OF THE SANCTUARY OF APOLLO IN CYRENE INDEX 1. Introduction p. 6 2. Cyrene and Apollo’s Sanctuary on the Terrace of Myrtousa p. 13 2.1. Cyrene: historical and topographical profile of the ancient polis 2.2. The Sanctuary of Apollo in Greek and Roman times and the history of the excavations 3. The Theatre-Amphitheatre: studies and investigations carried out by the MAIC in 2005 and 2006 p. 21 3.1. The recovery of the photographic documentation of the ’30s in the Archive of the Department of Antiquities of Cyrene and the bibliographical research 3.2. The database of the architectonical elements located in the areas adjacent to the monument. For the virtual 3D rendering of the Theatre-Amphitheatre 3.3. The “re-discovery” of the rocky level of the orchestra and of the scaenae 3.4. The planimetry and the elevations of the Theatre-Amphitheatre: the direct survey on the field and the computerised indirect one (laser scanner laser, photogrammetry, GPS). For the completion of the documentation 3.5 The stratigraphic soundings 3.6 The database of the epigraphic material in situ and out of situ 4. -
Architectural History of Western Civilization
RAIC SYLLABUS Thesis Submission ARCHITECTURAL HISTORY OF WESTERN CIVILIZATION CURRICULUM DEVELOPMENT SECTION 1.0 Kurt Dietrich SK85ON23 Architectural Curriculum Kurt Dietrich Course Outline HISTORY SK85ON23 INDEX: Page: I. Abstract 2 II. Preamble 2 III. Component Initiative 4 IV. Component Course Materials 4 V. Instructional Strategy 9 VI. Student Activities 10 VII. Assessment Method 10 VIII. Common Essential Learnings 11 IX. Environment 12 X. Materials and Resources Required 12 XI. Summary of Architectural Periods 13 XII. Course Text Outline • The Ancient World 16 • Egyptian Architecture 20 • Greek Architecture 26 • Roman Architecture 36 • Early Christian Architecture 45 • Byzantine Architecture 51 • Romanesque Architecture 56 • Gothic Architecture 66 • Renaissance Architecture 82 • Baroque Architecture 96 • The Eighteenth Century 112 • The Nineteenth Century 124 • The Twentieth Century 148 XIII. New Text Definitions 193 XIV. Appendix 'A': List of Illustrations 194 XV. Appendix 'B': Bibliography 201 - 1 - Architectural Curriculum Kurt Dietrich Course Outline HISTORY SK85ON23 ABSTRACT: The study of architectural history provides an understanding of the cultural forces that shaped architectural development. The history of architecture chronicles the formation of the architectural profession through the experience of guilds and formal education. The philosophies and design thrusts of relative periods and practitioners are reviewed as the profession changes through time. PREAMBLE: This section provides an overview of the history of architecture in Western Civilization. It includes an outline of architecture covering the major periods of development. The section provides opportunities for discussion relative to the influence of society and context on architectural design. Figure 1: Chateaux de Chenonceaux, France Historical study is a process of selection and interpretation. -
The Theatres of Pompeii
FRANCIS REID VISITS THE THEATRES OF POMPEII Roman theatre remains are to be found all waves, contained virtually every phenom that one is reminded of the theatres which around the mediterranean. As far as I can enon ever associated with the wrath of the were constructed as ruins in eighteenth ascertain, the ones which are most complete gods-an event over which Vesuvius century gardens by noble ladies who liked to (or perhaps it would be more accurate to say maintained a grumbling presence through play shepherdess. less incomplete) are those at Sabratha in out subsequent centuries. The Odeon is a beautifully proportioned Libya and Merida in Spain. Until Libya One of the joys of Italy is that their archi space, scaled for music, mime and reci becomes a less traumatic area for tourism, tectural heritage is so extensive that they tation. It was roofed whereas the larger Sabratha will have to remain but a tantalis have no alternative but to treat it casually. theatre had only an enormous velarium ing hope for a future journey; however I Somehow the general unkempt air of canopy which protected the seating area have positive plans to combine Roman Pompeii, the weeds, even the occasional from sun and rain . (It was supported by Merida with eighteenth century Almagro. fugitive squashed coke can, promotes a poles fastened in rings which can still be Meanwhile my feeling for Roman perform feeling of reality. Imagination completes the seen behind the topmost seating row .) The ance conditions slowly builds up as I sit on picture in a way that a full restoration never Odeon is a purely Roman theatre whereas a series of tiered stones that have known could. -