A Day in Venice"
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San Geminiano Bib.Pdf
Helena Anderson, Oliver Cano, Catherine Scluzacek, Doris Zhao ART 294: Art & Architecture of Early Modern Venice San Geminiano Group Project Preliminary Bibliography Text: Boucher, Bruce and Donata Battilotti. "Sansovino." Grove Art Online. Oxford Art Online. 21 Feb. 2010 <http://www.oxfordartonline.com/subscriber/article/grove/art/T075803pg1>. Boucher, Bruce, and Iacopo Sansovino. The sculpture of Jacopo Sansovino. New Haven, CT: Yale University Press, 1991. Howard, Deborah. Jacopo Sansovino: Architecture and Patronage in Renaissance Venice. New Haven, CT: Yale University Press, 1987. Howard, Deborah. The Architectural History of Venice. Rev. New Haven, CT: Yale University Press, 2002. Huguenaud, Karine. "Ala Napoleonica in Piazza San Marco - Venice." Places, Museums, and Monuments. 31 Dec 2008. The Fondation Napoleon, Web. 21 Feb 2010. <http://www.napoleon.org/en/magazine/museums/files/Ala_Napoleonica_in_Piazza1.asp >. Lotz, Wolfgang. "The Roman Legacy in Sansovino's Venetian Buildings." The Journal of the Society of Architectural Historians. 22. 1 (1963): 3-12. Martin, Thomas. Alessandro Vittoria and the portrait bust in Renaissance Venice: remodelling antiquity. Clarendon studies in the history of art. Oxford [England]: Clarendon Press, 1998. McAndrew, John. "Sant'Andrea Della Certosa." The Art Bulletin 51.1 (1969): 15-28. McCarthy, Mary. Venice Observed. Art and places, 1. Paris: G. & R. Bernier, 1956. Munk, Judith, and Walter Munk. "Venice Hologram." Proceedings of the American Philosophical Society 116.5 (1972): 415-42. Milizia, Francesco, and Eliza Taylor tr Cresy. The lives of celebrated architects, ancient amd modern: with historical and critical observations on their works, and on the principles of the art. London: J. Taylor, 1826. Vasari, Giorgio, Betty Burroughs, and Jonathan Foster. -
Curriculum Vitae PERSONAL INFORMATION Family Name, First Name: Hopkins, Andrew James Nationality: Australian/Italian Date Of
Curriculum vitae PERSONAL INFORMATION Family name, First name: Hopkins, Andrew James Nationality: Australian/Italian Date of birth: 26/09/1965 URL for web site: http://www.univaq.it/rubrica.php?id=650&docente=on http://univaq.academia.edu/AndrewHopkins · EDUCATION 1995 PhD Courtauld Institute of Art, University of London, UK, 1995 1989 Bachelor of Arts, Fine Arts, University of Melbourne, Australia, 1989 · CURRENT POSITION 2004–present Tenured Associate Professor (Professore Associato) University of l’Aquila, Italy (with ‘Abilitazione Scientifico Nazionale’ for Full Professor 2014) · PREVIOUS POSITIONS 2003 – 2004 Fellow, Harvard University, Villa I Tatti Florence, Italy 2002 – 2003 Editor, The Burlington Magazine, London, UK 1998 – 2002 Assistant Director, The British School at Rome, Italy (on secondment) 1995 – 2002 Lecturer in Architectural History, Mackintosh School of Architecture, Glasgow, UK · FELLOWSHIPS AND AWARDS 2014 – St John’s College, Cambridge, UK, Overseas Visiting Scholar, Lent and Easter Terms 2013 – Getty Research Institute, Los Angeles, USA, Visiting Scholar 2012 – DAAD Deutscher Akademischer Austauschdienst, Research Fellow, Munich, Germany 2009 – Paul Mellon Senior Visiting Fellow, Center for Advanced Studies in the Visual Arts, National Gallery of Art, Washington D.C., USA 2004 – Visiting professor: University of Rome Tor Vergata, Italy 2003 – 2004 Harvard University, Villa I Tatti, Florence, Italy, Fellow 1996 – Society of Architectural Historians of Great Britain, Essay Medal 1996 – Royal Institute of British Architects -
The Organ with Paper Pipes of the Correr Museum in Venice: a Review and New Insights Emanuele Marconi, Jean-Philippe Échard
The Organ with Paper Pipes of the Correr Museum in Venice: a Review and New Insights Emanuele Marconi, Jean-Philippe Échard To cite this version: Emanuele Marconi, Jean-Philippe Échard. The Organ with Paper Pipes of the Correr Museum in Venice: a Review and New Insights. Journal of the American Musical Instrument Society, American Musical Instrument Society, 2014, 39, pp.89-142. hal-01884094 HAL Id: hal-01884094 https://hal.archives-ouvertes.fr/hal-01884094 Submitted on 29 Sep 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. The Organ with Paper Pipes of the Correr Museum in Venice: a Review and New Insights* Emanuele Marconi and Jean-Philippe Echard Introduction n 2007, the Direzione Regionale began a series of studies on the musical Iinstruments in the Correr Museum in Venice, whose main aim was the preservation of the collection.1 In 2011 a joint project was set up be- tween the Italian Ministry for Cultural Heritage and the Musée de la Musique, for organological and scientific studies on selected instruments of the collection. This included the organ with paper pipes dated 1494, made in Venice by Lorenzo Gusnasco “da Pavia” (fig. -
Best of ITALY
TRUTH IN TRAVEL TRUTH IN TRAVEL Best of ITALY VENICE & THE NORTH PAGE S 2–9 Venice Milan VENICE NORTHERN The Prince of Venice ITALY Viewing Titian’s paintings in their original basilicas and palazzi reveals a Venice of courtesans and intrigue. Pulitzer Prize—winning critic Manuela Hoelterhoff’s walking guide to the city amplifies the experience of reliving the tumultuous times of Florence the Old Master—and finds some aesthetically pleasing hotels and restaurants along the way. TUSCANY (Trail of Glory map on page 5) FLORENCE & TUSCANY PAGE S 10 –1 5 Best of ITALYCENTRAL ITALY TUSCAN COAST Rome Tuscany by the Sea Believe it or not, Tuscany has a shoreline—145 miles of it, with ports large and small, hidden beaches, a rich wildlife preserve, and, of course, the blessings of the Italian table. Clive Irving Naples discovers a sexy combo of coast, cuisine, and Pompeii Caravaggio—and customizes a beach-by-beach, Capri harbor-by-harbor map for seaside fun. SARDINIA SOUTHERN ITALY ROME & CENTRAL ITALY PAGE S 16–2 0 ROME Treasures of the Popes You’re in Rome, but the Vatican is a city in itself. (In fact, a nation.) What should you see? John Palermo Julius Norwich picks his masterpieces, and warns of the potency of Vatican hospitality. SICILY VENICE & THE NORTH PAGE 2 Two miles long, spanned by three bridges and six gondola ferries, the Grand Canal is an avenue of palaces built between the fourteenth and eigh- teenth centuries. A rich, luminous city, her beauty reflected at every turn, Venice was the perfect muse for an ambitious Renaissance artist. -
Introducing Venice
INTRODUCING VENICE A fleet of gondoliers, among others, navigates the riches of the Grand Canal (p125) From the look of it, you'd think Venice spent all its time primping. Bask in the glory of Grand Canal pal- aces, but make no mistake: this city's a powerhouse. You may have heard that Venice is an engineering marvel, with marble cathedrals built atop ancient posts driven deep into the barene (mud banks) – but the truth is that this city is built on sheer nerve. Reasonable people might blanch at water approaching their doorsteps and flee at the first sign of acqua alta (high tide). But reason can’t compare to Venetian resolve. Instead of bailing out, Venetians have flooded the world with voluptuous Venetian-red paintings and wines, music, Marco Polo spice-route flavours, and bohemian-chic fashion. And they’re not done yet. VENICE LIFE With the world’s most artistic masterpieces per square kilometre, you’d think the city would take it easy, maybe rest on its laurels. But Venice refuses to retire from the inspiration business. In narrow calli (alleyways), you’ll glimpse artisans hammering out shoes crested like lagoon birds, cooks whipping up four-star dishes on single-burner hotplates, and musicians lugging 18th-century cellos to riveting baroque concerts played with punk-rock bravado. As you can see, all those 19th-century Romantics got it wrong. Venice is not destined for genteel decay. Billion- aire benefactors and cutting-edge biennales are filling up those ancient palazzi (palaces) with restored masterpieces and eyebrow-raising contemporary art and architecture, and back-alley galleries and artisan showrooms are springing up in their shadows. -
Baroque Architecture
'"" ^ 'J^. rfCur'. Fig. I. — Venice. S. Maria della Salute. (See pp. 88-90.) BAROQUE ARCHITECTURE BY MARTIN SHAW BRIGGS A.K.I. B. A. " iAulhor of " In the Heel of Italy WITH 109 ILLUSTRATIONS NEW YORK ; ' McBRIDE, NAST & COMPANY ^ y 1914 ,iMvMV NA (^Ay n^/i/j reserved) In all ages there have been some excellent workmen, and some excellent work done.—Walter Pater. PREFACE is commonly supposed that the purpose of a preface is to IT explain the scope of a book to those who do not read so far as the first page. There is a touch of cynicism in such an opinion which makes one loth to accept it, but I prefer to meet my troubles half way by stating at the outset what I have emphasized in my last chapter—that this book is not in any way an attempt to create a wholesale revival of Baroque Architecture in England. It is simply a history of a complex and neglected period, and has been prepared in the uncertain intervals of an architectural practice. The difficulty of the work has been increased by the fact that the subject has never been dealt with as a whole in any language previously. Gurlitt in his Geschichte des Barockstiles, published in 1887, covered a considerable part of the ground, but his work is very scarce and expensive. To students his volumes may be recommended for their numerous plans, but for details and general views they are less valuable. In recent years several fine mono- graphs have appeared dealing with Baroque buildings in specific districts, and very recently in a new international series the principal buildings of the period in Germany and Italy have been illustrated. -
The Magical Light of Venice
The Magical Light of Venice Eighteenth Century View Paintings The Magical Light of Venice Eighteenth Century View Paintings The Magical Light of Venice Eighteenth Century View Paintings Lampronti Gallery - London 30 November 2017 - 15 January 2018 10.00 - 18.00 pm Catalogue edited by Acknowledgements Marcella di Martino Alexandra Concordia, Barbara Denipoti, the staff of Itaca Transport and staff of Simon Jones Superfright Photography Mauro Coen Matthew Hollow Designed and printed by De Stijl Art Publishing, Florence 2017 www.destijlpublishing.it LAMPRONTI GALLERY 44 Duke Street, St James’s London SW1Y 6DD Via di San Giacomo 22 00187 Roma On the cover: [email protected] Giovanni Battista Cimaroli, The Celebrations for the Marriage of the Dauphin [email protected] of France with the Infanta Maria Teresa of Spain at the French Embassy in www.cesarelampronti.com Venice in 1745, detail. his exhibition brings together a fine selection of Vene- earlier models through their liveliness of vision and master- T tian cityscapes, romantic canals and quality of light ful execution. which have never been represented with greater sensitivity Later nineteenth-century painters such as Bison and Zanin or technical brilliance than during the wondrous years of reveal the profound influence that Canaletto and his rivals the eighteenth century. had upon future generations of artists. The culture of reci- The masters of vedutismo – Canaletto, Marieschi, Bellot- procity between the Italian Peninsula and England during to and Guardi – are all included here, represented by key the Grand Siècle, epitomised by the relationship between works that capture the essence and sheer splendour of Canaletto and Joseph Consul Smith, is a key aspect of the Venice. -
Museo Correr
Fondazione Musei Civici di Venezia — The neo-classical rooms and the Canova collection Museo Correr ENG The neo-classical rooms and the Canova collection The Correr Museum is laid out in various sections that offer a fascinating insight into the art and history of Venice. The first section occupies the Napoleonic Wing, a 19th century kings and emperors’ palace; here the sumptuous Neoclassical Rooms house a noteworthy collection of works by the great Antonio Canova Museo Correr sculptor (1757-1822). Venice, St. Mark’s Square LAYOUT AND COLLECTIONS BALLROOM This sumptuous and opulent ballroom is unique in the palace for the thoroughness and refinement of its Empire-style decor. Lorenzo Santi began work on the design in 1822, and Giuseppe Borsato completed the decoration in 1837/38. At either end, the room is bound by loggias intended to house the orchestra; above the gilded Corinthian capitals of these fluted columns in polished stucco are two small apses that make the upper area of the ballroom into an oval. The centre of the ceiling is frescoed with Peace surrounded by the Virtues and the Geni of Olympus. Painted by Odorico Politi, the work is a clear reference to the restoration of the Hapsburgs after the period of Napoleon. The door on the right at the end of the room leads to the beginning of the new itinerary of the Imperial rooms. — ROOM I - CANOVA COLLECTION Sala del Trono Lombardo–Veneto Canova, from the drawing to the model: Ballroom from an idea to the form in space Museo Correr The museum houses a large nucleus of autograph drawings from the collections of illustrious figures that knew Canova (Leopoldo Cicognara, Bartolomeo Gamba, Francesco Aglietti etc.). -
Private Palaces, Villas, and Gardens of Venice and the Veneto
Private Palaces, Villas, and Gardens of Venice and the Veneto Sponsored by Institute of Classical Architecture & Art ƒ Arranged by Pamela Huntington Darling, Exclusive Cultural Travel Programs Sunday, October 9 to Sunday, October 16, 2011 7 days and 7 nights Fascinating Venice and Veneto, priding a rich heritage of art, architecture, and décor, are ultimately unique. Beyond the usual tourist ventures, there is a secret Venice and Veneto, known to Venetians of nobility and the privileged few. As a participant of this exclusive program, you will have the opportunity to join an intimate group of discerning travelers and be invited by members of the esteemed cultural and social world of the Veneto and Venice to private visits, luncheons, cocktail receptions, and dinners in magnificent villas and palazzi of Venetian nobility, rarely opened to outside visitors, accompanied by a historian of the Venetian community. Following the 500th anniversary of the birth of the great Italian classical architect Andrea Palladio, we will enjoy seven days of private visits and receptions in the most important Palladian villas in the Veneto and in palazzi in Venice, with their proprietors, specially organized for you. We will observe the development of Venetian art, décor and architecture through its beginnings to the emergence of the Renaissance and the peak of Venetian heritage in the 16th and the 18th centuries. Countess Giuliana di Thiene, expert lecturer and member of Venetian nobility, will guide us throughout this unique cultural travel program to the Veneto region and to Venice. For the first three nights, we will stay in the picturesque, medieval town of Asolo, “city of a thousand landscapes”, set on gentle hills that inspired Titian and Giorgione, offering stunning views of the countryside. -
Ecstasy of Saint Theresa P/S: Southern Baroque Art A: Gianlorenzo Bernini Pa: Cornaro Family L: Santa Maria Della Vittoria, Rome
Ecstasy of Saint Theresa DT: Sexual exhaustion, skin in c. 1645-1652 C.E. high gloss, feathers=rougher; drapery=fluid, clouds=roughly P/S: Southern Baroque Art cut, tactile textures A: Gianlorenzo Bernini Ideas: Stage like setting; from Pa: Cornaro Family Saint There’s diary w/ L: Santa Maria della Vittoria, descriptions of this scene Rome M/T: Marble/ High-relief sculpting F: Sculptural interpretation depicting S.T.’s vision of God and an angel plunging an arrow into her C: Natural light; figures float in space, God’s light illuminate scene Fountain of the Four Rivers c. 1648-1651 C.E. P/S: Southern Baroque Art A: Gianlorenzo Bernini Pa: Pope Innocent X L: In Piazza Novona M/T: Travertine; Marble/ H-R sculpting F: Political Allegory; lots of movement it’s an allegory C: Occupies center of fountain DT: Masterpiece of spectacle Ideas: Rock-form at bottom depicts a horse, palm tree and lion; caved in situ; also each person depicted in this work has a separate meaning to themselves representing Asia and Mexico Apollo and Daphane c. 1622-1625 C.E. P/S: Southern Baroque Art A: Gianlorenzo Bernini Pa: Unspecified L: Galleria Borghese in Rome M/T: Marble/ H-R sculpting F: Depiction of a story of Love and deception; Apollo pleads Daphne to fulfill his desires; pursuing love in vain C: Life-size sculpture; inspired by one of Ovid’s paintings DT: Intense emotion and drama; fidelity Ideas: Interlocking components, chiaroscuro Baldacchino patrons; Symbol of counter- c. 1624-1633 C.E. reformation spirit; feat of bronze casting P/S: Southern Baroque Art A: Gianlorenzo Bernini Pa: Barberini Family L: Saint Peter’s, Rome M/T: Bronze casting technique F: Place over the main altar, 4 corkscrew columns that spiral upward C: Directs viewers vision down the nave DT: Shrine canopy over the grave Ideas: Bees and suns appear on top corners=symbols of the Cathedra Petri c. -
Venetian Waterways by Gondola
Venetian waterways by gondola TOURS BY venetian waterways The gondola is a traditional boat, by gondola flat-bottomed, used also for the Venetian rowing, well suited to the conditions of the Venetian Lagoon. For centuries the gondolas were the main means of transportation and most common watercraft in Venice. In modern times these particular boats still have a role in public transport in the city, serving as traghetti (ferries) over the Grand Canal. They are also used in special Regattas (rowing races) held amongst gondoliers. The ornament on the front of the boat is called the ferro (iron) and can be made from brass, stainless steel, or aluminium. It serves as decoration and as counterweight for the gondolier standing near the stern. The Gondolas are hand made using 8 different types of wood (fir, oak, cherry, walnut, elm, mahogany, larch and lime) and are composed of 280 pieces. Gondola It’s about 11 metres long with an asymmetric shape, having its left side wider than the right. The asymmetry is a late development and of course a deliberate one, to compensate for being rowed by just one oar. It may however be rowed by up to four people if they wish to practice the voga veneta style, that is standing and facing the prow with just one oar each. The long oar is manoeuvred by resting it on a rowlock called forcola, which has its own slot from which it can be easily removed after rowing. The typical comb or ferro da prua at the prow (which translates in fact to prow iron) is designed to protect the gondola from collision, although it is now more of an ornamental piece than anything else. -
Antonio Zanchi and the Dynamics of Spectatorship at the Scuola Grande Di San Rocco in Venice
Renaissance Studies Vol. 32 No. 5 DOI: 10.1111/rest.12360 Performing plague: Antonio Zanchi and the dynamics of spectatorship at the Scuola Grande di San Rocco in Venice Jennifer Gear INTRODUCTION In the lowest register of The Virgin Appears to the Plague-Stricken, a painting by Antonio Zanchi that spans two canvases on the grand stairway of the Scuola Grande di San Rocco in Venice, a disturbing tableau unfolds (Figs. 1–3). Out of the gloom materialize the corpses of a woman and infant, greying and still clasped in an embrace. The darkened spots on their skin signal that they are vic- tims of a plague. Their bodies are foreshortened, with the effect that they seem to project from the canvas, the woman’s lifeless, empty face and the child’s toes pressing toward the viewer at eye level when seen from the bottom of the stairs. Framing these corpses are a large pilaster and the muscular calves of a body clearer – pizzigamorto in Venetian dialect – who stands in the shallow boat in which the bodies lie. He is collecting the dead for transport to a mass grave on the Lido. The viewer’s gaze is assaulted by a third corpse, hanging in the open air off the side of a bridge, moments from being heaved by another sanitation worker into the boat below. Atop the bridge, more infected bodies have been heaped for disposal, the wooden supports of the stretcher used to carry them jutting into the air. An onlooker dressed in black plugs his nose against the pol- luted air, staring at the grisly spectacle taking place at his feet.