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Il Tempo Di Caravaggio. Capolavori Della Collezione
COMUNICATO STAMPA Prorogata al 10 gennaio 2021 la mostra “Il tempo di Caravaggio. Capolavori della collezione di Roberto Longhi” ai Musei Capitolini Altri 4 mesi per ammirare il famoso Ragazzo morso da un ramarro di Caravaggio e oltre quaranta dipinti di artisti della sua cerchia, provenienti dalla raccolta del grande storico dell’arte e collezionista Roberto Longhi Roma, 08 settembre 2020 – È stata prorogata fino al 10 gennaio 2021 la mostra “Il tempo di Caravaggio. Capolavori della collezione di Roberto Longhi”, allestita nelle sale espositive di Palazzo Caffarelli ai Musei Capitolini e aperta al pubblico il 16 giugno. L’esposizione, accolta con grande favore dal pubblico e dalla critica, è promossa da Roma Capitale, Assessorato alla Crescita culturale - Sovrintendenza Capitolina ai Beni Culturali e dalla Fondazione di Studi di Storia dell’Arte Roberto Longhi. Curata da Maria Cristina Bandera, Direttore scientifico della Fondazione Longhi, la mostra è organizzata da Civita Mostre e Musei e Zètema Progetto Cultura. Il catalogo è di Marsilio Editori. L’ingresso è gratuito per i possessori della MIC card. L’esposizione è aperta al pubblico nel rispetto delle linee guida formulate dal Comitato Tecnico Scientifico per contenere la diffusione del Covid-19 consentendo, al contempo, lo svolgimento di una normale visita museale. L’esposizione è dedicata alla raccolta dei dipinti caravaggeschi del grande storico dell’arte e collezionista Roberto Longhi (Alba 1890 – Firenze 1970), una delle personalità più affascinanti della storia dell’arte del XX secolo, di cui ricorre quest’anno il cinquantenario della scomparsa. Nella sua dimora fiorentina, villa Il Tasso, oggi sede della Fondazione che gli è intitolata, raccolse un numero notevole di opere dei maestri di tutte le epoche che furono per lui occasione di ricerca. -
London and Middlesex in the 1660S Introduction: the Early Modern
London and Middlesex in the 1660s Introduction: The early modern metropolis first comes into sharp visual focus in the middle of the seventeenth century, for a number of reasons. Most obviously this is the period when Wenceslas Hollar was depicting the capital and its inhabitants, with views of Covent Garden, the Royal Exchange, London women, his great panoramic view from Milbank to Greenwich, and his vignettes of palaces and country-houses in the environs. His oblique birds-eye map- view of Drury Lane and Covent Garden around 1660 offers an extraordinary level of detail of the streetscape and architectural texture of the area, from great mansions to modest cottages, while the map of the burnt city he issued shortly after the Fire of 1666 preserves a record of the medieval street-plan, dotted with churches and public buildings, as well as giving a glimpse of the unburned areas.1 Although the Fire destroyed most of the historic core of London, the need to rebuild the burnt city generated numerous surveys, plans, and written accounts of individual properties, and stimulated the production of a new and large-scale map of the city in 1676.2 Late-seventeenth-century maps of London included more of the spreading suburbs, east and west, while outer Middlesex was covered in rather less detail by county maps such as that of 1667, published by Richard Blome [Fig. 5]. In addition to the visual representations of mid-seventeenth-century London, a wider range of documentary sources for the city and its people becomes available to the historian. -
Female Wits” Controversy: Gender, Genre, and Printed Plays, 1670–16991
Plotting the “Female Wits” Controversy: Gender, Genre, and Printed Plays, 1670–16991 Mattie Burkert Utah State University [email protected] At the end of the 1694–95 theatrical season, a group of actors defected from the United Company, housed at the Theatre Royal in Drury Lane, to begin their own cooperative. The split of London’s theatrical monopoly into two rival playhouses—Christopher Rich’s “Patent Company” at Drury Lane and Thomas Betterton’s “Actors’ Company” at Lincoln’s Inn Fields—generated demand for new plays that might help either house gain the advantage. This situation cre- ated opportunities for novice writers, including an unprecedented number of women. Paula Backscheider has calculated that more than one-third of the new plays in the 1695–96 season were written by, or adapted from work by, women, including Delarivier Manley, Catherine Trotter, and Mary Pix (1993, 71). This group quickly became the target of a satirical backstage drama, The Female Wits: or, the Triumvirate of Poets at Rehearsal, modeled after George Vil- liers’s 1671 sendup of John Dryden, The Rehearsal. The satire, which was likely performed at Drury Lane in fall 1696, was partially the Patent Company’s re- venge on Manley for withdrawing her play The Royal Mischief during rehearsals the previous spring and taking it to Betterton. However, The Female Wits was also a broader attack on the pretensions of women writers, whom it portrayed as frivolous, self-important upstarts reviving the overblown heroic tragedy of the 1660s and 1670s with an additional layer of feminine sentimentality.2 1 This research was made possible by a grant from the Andrew W. -
(King Philip's War), 1675-1676 Dissertation Presented in Partial
Connecticut Unscathed: Victory in The Great Narragansett War (King Philip’s War), 1675-1676 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Major Jason W. Warren, M.A. Graduate Program in History The Ohio State University 2011 Dissertation Committee: John F. Guilmartin Jr., Advisor Alan Gallay, Kristen Gremillion Peter Mansoor, Geoffrey Parker Copyright by Jason W. Warren 2011 Abstract King Philip’s War (1675-1676) was one of the bloodiest per capita in American history. Although hostile native groups damaged much of New England, Connecticut emerged unscathed from the conflict. Connecticut’s role has been obscured by historians’ focus on the disasters in the other colonies as well as a misplaced emphasis on “King Philip,” a chief sachem of the Wampanoag groups. Although Philip formed the initial hostile coalition and served as an important leader, he was later overshadowed by other sachems of stronger native groups such as the Narragansetts. Viewing the conflict through the lens of a ‘Great Narragansett War’ brings Connecticut’s role more clearly into focus, and indeed enables a more accurate narrative for the conflict. Connecticut achieved success where other colonies failed by establishing a policy of moderation towards the native groups living within its borders. This relationship set the stage for successful military operations. Local native groups, whether allied or neutral did not assist hostile Indians, denying them the critical intelligence necessary to coordinate attacks on Connecticut towns. The English colonists convinced allied Mohegan, Pequot, and Western Niantic warriors to support their military operations, giving Connecticut forces a decisive advantage in the field. -
Ribera's Drunken Silenusand Saint Jerome
99 NAPLES IN FLESH AND BONES: RIBERA’S DRUNKEN SILENUS AND SAINT JEROME Edward Payne Abstract Jusepe de Ribera did not begin to sign his paintings consistently until 1626, the year in which he executed two monumental works: the Drunken Silenus and Saint Jerome and the Angel of Judgement (Museo di Capodimonte, Naples). Both paintings include elaborate Latin inscriptions stating that they were executed in Naples, the city in which the artist had resided for the past decade and where he ultimately remained for the rest of his life. Taking each in turn, this essay explores the nature and implications of these inscriptions, and offers new interpretations of the paintings. I argue that these complex representations of mythological and religious subjects – that were destined, respectively, for a private collection and a Neapolitan church – may be read as incarnations of the city of Naples. Naming the paintings’ place of production and the artist’s city of residence in the signature formulae was thus not coincidental or marginal, but rather indicative of Ribera inscribing himself textually, pictorially and corporeally in the fabric of the city. Keywords: allegory, inscription, Naples, realism, Jusepe de Ribera, Saint Jerome, satire, senses, Silenus Full text: http://openartsjournal.org/issue-6/article-5 DOI: http://dx.doi.org/10.5456/issn.2050-3679/2018w05 Biographical note Edward Payne is Head Curator of Spanish Art at The Auckland Project and an Honorary Fellow at Durham University. He previously served as the inaugural Meadows/Mellon/Prado Curatorial Fellow at the Meadows Museum (2014–16) and as the Moore Curatorial Fellow in Drawings and Prints at the Morgan Library & Museum (2012–14). -
ITALIAN ART SOCIETY NEWSLETTER XXIX, 3, Fall 2018
ITALIAN ART SOCIETY NEWSLETTER XXIX, 3, Fall 2018 An Affiliated Society of: College Art Association Society of Architectural Historians International Congress on Medieval Studies Renaissance Society of America Sixteenth Century Society & Conference American Association of Italian Studies President’s Message from Sean Roberts Rosen and I, quite a few of our officers and committee members were able to attend and our gathering in Rome September 15, 2018 served too as an opportunity for the Membership, Outreach, and Development committee to meet and talk strategy. Dear Members of the Italian Art Society: We are, as always, deeply grateful to the Samuel H. Kress Foundation for their support this past decade of these With a new semester (and a new academic year) important events. This year’s lecture was the last under our upon us once again, I write to provide a few highlights of current grant agreement and much of my time at the moment IAS activities in the past months. As ever, I am deeply is dedicated to finalizing our application to continue the grateful to all of our members and especially to those lecture series forward into next year and beyond. As I work who continue to serve on committees, our board, and to present the case for the value of these trans-continental executive council. It takes the hard work of a great exchanges, I appeal to any of you who have had the chance number of you to make everything we do possible. As I to attend this year’s lecture or one of our previous lectures to approach the end of my term as President this winter, I write to me about that experience. -
Of Painting and Seventeenth-Century
Concerning the 'Mechanical' Parts of Painting and the Artistic Culture of Seventeenth-CenturyFrance Donald Posner "La representation qui se fait d'un corps en trassant making pictures is "mechanical" in nature. He understood simplement des lignes, ou en meslant des couleurs, est proportion, color, and perspective to be mere instruments in consider6e comme un travail m6canique." the service of the painter's noble science, and pictorial --Andre F61ibien, Confirences de l'Acadimie Royale de Pezn- elements such as the character of draftsmanship or of the ture et de Sculpture, Paris, 1668, preface (n.p.). application of paint to canvas did not in his view even warrant notice-as if they were of no more consequence in les Connoisseurs, ... avoir veus "... apr6s [les Tableaux] judging the final product than the handwriting of an author d'une distance s'en en raisonnable, veiiillent approcher setting out the arguments of a philosophical treatise.3 Paint- suite pour en voir l'artifice." ers who devoted their best efforts to the "mechanics of the de Conversations sur connoissance de la -Roger Piles, la art" were, he declared, nothing more than craftsmen, and 300. peinture, Paris, 1677, people who admired them were ignorant.4 Judging from Chambray's text, there were a good many A of Champion French Classicism and His Discontents ignorant people in France, people who, in his view seduced ca. 1660 by false fashion, actually valued the display of mere craftsman- In Roland Freart de his 1662 Chambray published IdMede la ship. Chambray expresses special -
GALLERIA GIAMBLANCO DIPINTI ANTICHI Venticinque Anni Di Attività
GALLERIA GIAMBLANCO GALLERIA GIAMBLANCO DIPINTI ANTICHI Venticinque anni di attività La GALLERIA GIAMBLANCO, fondata a Torino nel 1993 La Galleria Giamblanco di Torino festeggia da Deborah Lentini e Salvatore Giamblanco, da oltre venticinque anni offre ai suoi clienti dipinti di grandi maestri italiani e stranieri con questo catalogo i suoi primi venticinque anni dal Cinquecento al primo Novecento, attentamente selezionati per qualità e rilevanza storico-artistica, avvalendosi di attività, proponendo al pubblico un’ampia selezione della consulenza dei migliori studiosi. di dipinti dal XV al XIX secolo. Tra le opere più importanti si segnalano inediti di Nicolas Régnier, Mattia Preti, Joost van de Hamme, Venticinque anni di attività Gioacchino Assereto, Cesare e Francesco Fracanzano, Giacinto Brandi, Antonio Zanchi e di molti altri artisti di rilievo internazionale. Come di consueto è presentata anche una ricca selezione di autori piemontesi del Sette e dell’Ottocento, da Vittorio Amedeo Cignaroli a Enrico Gamba, tra cui i due bozzetti realizzati da Claudio Francesco Beaumont per l’arazzeria di corte sabauda, che vanno a completare la serie oggi conservata al Museo Civico di Palazzo Madama di Torino. Catalogo edito per la Galleria Giamblanco da 2017-2018 In copertina UMBERTO ALLEMANDI e 26,00 Daniel Seiter (Vienna, 1647 - Torino, 1705), «Diana e Orione», 1685 circa. GALLERIA GIAMBLANCO DIPINTI ANTICHI Venticinque anni di attività A CURA DI DEBORAH LENTINI E SALVATORE GIAMBLANCO CON LA COLLABORAZIONE DI Alberto Cottino Serena D’Italia Luca Fiorentino Simone Mattiello Anna Orlando Gianni Papi Francesco Petrucci Guendalina Serafinelli Nicola Spinosa Andrea Tomezzoli Denis Ton Catalogo edito per la Galleria Giamblanco da UMBERTO ALLEMANDI Galleria Giamblanco via Giovanni Giolitti 39, Torino tel. -
Winter Dialogue-Final-2
Docent Council Dialogue Winter 2013 Published by the Docent Council Volume XLIIl No 2 From Ethereal to Earthy The Legacy of Caravaggio 1 Inside the Dialogue Reflections on a Snowy Morning.......................Diane Macris, President, Docent Council Page 3 Winter Message..................................................Charlene Shang Miller, Docent and Tour Programs Manager Page 3 A Docent’s Appreciation of Alona Wilson........................................................JoAn Hagan, Docent Page 4 An Idea whose Time had Come................................Sandy Voice Page 5 Presentations:Works of Art from Burst of Light ......Docent Contributors Pages 7-20 The Transformative Genius of Caravaggio...............JoAn Hagan Page10 Flicks: The Dialogue Goes to the Cinema....................................................Sandy Voice Page 10 A Docent’s Guide to the Saints..................................Beth Malley Page 11 From the Sublime to the Ridiculous and Back..........Hope Vath Page 13 The Bookshelf: A Book Review.................................BethMalley Page 15 A Passion for Stickley ...............................................Laura Harris Page 20 From the Collection of Stephen Gray Docent Council Dialogue The Dialogue is created by and for docents and provides a forum for touring ideas and techniques, publishing information that is vital to docent interests such as museum changes, and recording docent activities and events. The newsletter is published in Fall, Winter, and Spring editions. Editorial Staff Sandy Voice Co-Editor -
ARTEMISIA GENTILESCHI ARTEMISIA ARTEMISIA GENTILESCHI E Il Suo Tempo
ARTEMISIA GENTILESCHI ARTEMISIA GENTILESCHI e il suo tempo Attraverso un arco temporale che va dal 1593 al 1653, questo volume svela gli aspetti più autentici di Artemisia Gentileschi, pittrice di raro talento e straordinaria personalità artistica. Trenta opere autografe – tra cui magnifici capolavori come l’Autoritratto come suonatrice di liuto del Wadsworth Atheneum di Hartford, la Giuditta decapita Oloferne del Museo di Capodimonte e l’Ester e As- suero del Metropolitan Museum di New York – offrono un’indagine sulla sua carriera e sulla sua progressiva ascesa che la vide affermarsi a Firenze (dal 1613 al 1620), Roma (dal 1620 al 1626), Venezia (dalla fine del 1626 al 1630) e, infine, a Napoli, dove visse fino alla morte. Per capire il ruolo di Artemisia Gentileschi nel panorama del Seicento, le sue opere sono messe a confronto con quelle di altri grandi protagonisti della sua epoca, come Cristofano Allori, Simon Vouet, Giovanni Baglione, Antiveduto Gramatica e Jusepe de Ribera. e il suo tempo Skira € 38,00 Artemisia Gentileschi e il suo tempo Roma, Palazzo Braschi 30 novembre 2016 - 7 maggio 2017 In copertina Artemisia Gentileschi, Giuditta che decapita Oloferne, 1620-1621 circa Firenze, Gallerie degli Uffizi, inv. 1597 Virginia Raggi Direzione Musei, Presidente e Capo Ufficio Stampa Albino Ruberti (cat. 28) Sindaca Ville e Parchi storici Amministratore Adele Della Sala Amministratore Delegato Claudio Parisi Presicce, Iole Siena Luca Bergamo Ufficio Stampa Roberta Biglino Art Director Direttore Marcello Francone Assessore alla Crescita -
Evidence That Leonardo Da Vinci Had Strabismus
Confidential: Embargoed Until 11:00 am ET, October 18, 2018. Do Not Distribute Research JAMA Ophthalmology | Brief Report Evidence That Leonardo da Vinci Had Strabismus Christopher W. Tyler, PhD, DSc Supplemental content IMPORTANCE Strabismus is a binocular vision disorder characterized by the partial or complete inability to maintain eye alignment on the object that is the target of fixation, usually accompanied by suppression of the deviating eye and consequent 2-dimensional monocular vision. This cue has been used to infer the presence of strabismus in a substantial number of famous artists. OBJECTIVE To provide evidence that Leonardo da Vinci had strabismus. DESIGN, SETTING, AND PARTICIPANTS In exotropia, the divergent eye alignment is typically manifested as an outward shift in the locations of the pupils within the eyelid aperture. The condition was assessed by fitting circles and ellipses to the pupils, irises, and eyelid apertures images identified as portraits of Leonardo da Vinci and measuring their relative positions. MAIN OUTCOMES AND MEASURES Geometric angle of alignment of depicted eyes. RESULTS This study assesses 6 candidate images, including 2 sculptures, 2 oil paintings, and 2 drawings. The mean relative alignments of the pupils in the eyelid apertures (where divergence is indicated by negative numbers) showed estimates of −13.2° in David,−8.6° in Salvator Mundi,−9.1° in Young John the Baptist,−12.5° in Young Warrior, 5.9° in Vitruvian Man, and −8.3° in an elderly self-portrait. These findings are consistent with exotropia (t5 = 2.69; P = .04, 2-tailed). Author Affiliation: Division of Optometry and Vision Sciences, School of Health Sciences, City CONCLUSIONS AND RELEVANCE The weight of converging evidence leads to the suggestion University of London, London, that da Vinci had intermittent exotropia with the resulting ability to switch to monocular United Kingdom. -
COVER NOVEMBER Prova.Qxd
52-54 Lucy Art March-Aprilcorr1_*FACE MANOPPELLO DEF.qxd 2/28/21 12:12 PM Page 52 OIfN B TooHksE, AErYt EaSn dO PFe oTpHle E BEHOLDERS n BY LUCY GORDAN (“The NIl eMwo nWdoor lNd”o)v bo y Giandomenico Tiepolo, from the Prado, Madrid. Below , bTyh eR eGmirlb irna na dt, fFroramm te he Royal Castle Museum, Warsaw affeo Barberini (1568-1644) became Pope Urban the help of Borromini, Bernini took over. The exterior, in - VIII on August 6, 1623. During his reign he ex - spired by the Colosseum and similar in appearance to the Mpanded papal territory by force of arms and advan - Palazzo Farnese, which had been constructed between 1541 tageous politicking and reformed church missions. But he and c. 1580, was completed in 1633. is certainly best remembered as a prominent patron of the When Urban VIII died, his successor Pamphili Pope In - arts on a grand scale. nocent X (r. 1644-1655) confiscated the Palazzo Barberini, Barberini funded many sculptures from Bernini: the but returned it in 1653. From then on it continued to remain first in c. 1617 the “Boy with a Dragon” and later, when the property of the Barberini family until 1949 when it was Pope, several portrait busts, but also numerous architectural bought by the Italian Government to become the art museum works including the building of the College of Propaganda it is today. But there was a problem: in 1934 the Barberinis Fide, the Fountain of the Triton in today’s Piazza Barberini, had rented a section of the building to the Army for its Offi - and the and the in St.