Architectural Temperance: Spain and Rome, 1700-1759
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Roman Architecture Roman of Classics at Dartmouth College, Where He Roman Architecture
BLACKWELL BLACKWELL COMPANIONS TO THE ANCIENT WORLD COMPANIONS TO THE ANCIENT WORLD A COMPANION TO the editors A COMPANION TO A COMPANION TO Roger B. Ulrich is Ralph Butterfield Professor roman Architecture of Classics at Dartmouth College, where he roman architecture EDITED BY Ulrich and quenemoen roman teaches Roman Archaeology and Latin and directs Dartmouth’s Rome Foreign Study roman Contributors to this volume: architecture Program in Italy. He is the author of The Roman Orator and the Sacred Stage: The Roman Templum E D I T E D B Y Roger B. Ulrich and Rostratum(1994) and Roman Woodworking James C. Anderson, jr., William Aylward, Jeffrey A. Becker, Caroline k. Quenemoen (2007). John R. Clarke, Penelope J.E. Davies, Hazel Dodge, James F.D. Frakes, Architecture Genevieve S. Gessert, Lynne C. Lancaster, Ray Laurence, A COMPANION TO Caroline K. Quenemoen is Professor in the Emanuel Mayer, Kathryn J. McDonnell, Inge Nielsen, Roman architecture is arguably the most Practice and Director of Fellowships and Caroline K. Quenemoen, Louise Revell, Ingrid D. Rowland, EDItED BY Roger b. Ulrich and enduring physical legacy of the classical world. Undergraduate Research at Rice University. John R. Senseney, Melanie Grunow Sobocinski, John W. Stamper, caroline k. quenemoen A Companion to Roman Architecture presents a She is the author of The House of Augustus and Tesse D. Stek, Rabun Taylor, Edmund V. Thomas, Roger B. Ulrich, selective overview of the critical issues and approaches that have transformed scholarly the Foundation of Empire (forthcoming) as well as Fikret K. Yegül, Mantha Zarmakoupi articles on the same subject. -
Villa Albani Torlonia , Roma (RM) - Lazio
Villa Albani Torlonia , Roma (RM) - Lazio Indirizzo Via Salaria, 92 Roma (RM) - Lazio Telefono 06 683 3703 Sito Web //www.fondazionetorlonia.org/it/villa-albani-torlonia Accessibilità sì - aperto al pubblico Orari Apertura Solo su prenotazione Costo ingresso A pagamento Descrizione Villa Albani Torlonia e la sua celebre collezione, circondate da un paesaggio al contempo libero e formale, è una sublime testimonianza di unità di ragione e natura. L’iscrizione a lettere in bronzo sulla facciata ne racconta la storia: «Alexander Albani vir eminentissimus instruxit et ornavit / Alexander Torlonia vir princeps in melius restituit» (L'eminentissimo Alessandro Albani costruì e adornò / il principe Alessandro Torlonia restaurò ed abbellì). Otto ettari di parco disegnati da “percorsi emozionali”: tra il Casino Nobile e, dalla parte opposta del giardino all’Italiana, l’emiciclo della Kaffeehaus, statue, bassorilievi e fontane incastonate tra i vari edifici della villa che si sviluppa come un vasto complesso architettonico, in una comprensione corale di per la sistemazione del giardino, Giovanni Battista Piranesi (1720-1778) ed ‘il padre’ della storia dell’arte moderna, Johann Joachim Winckelmann (1717-1768), bibliotecario e ambienti, paesaggi e opere d’arte che qui ‘vivono’ come se possano essere eternamente riscoperte. Attento mecenate e abile diplomatico, il cardinale Alessandro Albani (1692-1779) fu tra i maggiori collezionisti di antichità, protagonista di campagne di scavo e promotore, con il “Cenacolo di Villa Albani” il circolo di intellettuali di cui amava circondarsi, del nascente movimento neoclassico. La Villa, tra le più alte espressioni del gusto antiquario, nella Roma meta privilegiata del Grand Tour, fu realizzata tra il 1747 e il 1763, su disegno dell’architetto Carlo Marchionni (1702-1786) un progetto nato dal dialogo con il grande incisore e cartografo Giovanni Battista Nolli (1701-1756) consigliere del cardinale per la collezione. -
The American University of Rome Religious Studies Program
Disclaimer: This is an indicative syllabus only and may be subject to changes. The final and official syllabus will be distributed by the Instructor during the first day of class. The American University of Rome Religious Studies Program Department or degree program mission statement, student learning objectives, as appropriate Course Title: Sacred Space: Religious Architecture of Rome Course Number: AHRE 106 Credits & hours: 3 credits – 3 hours Pre/Co‐Requisites: None Course description The course explores main ideas behind the sacral space on the example of sacral architecture of Rome, from the ancient times to the postmodern. The course maximizes the opportunity of onsite teaching in Rome; most of the classes are held in the real surrounding, which best illustrates particular topics of the course. Students will have the opportunity to learn about different religious traditions, various religious ideas and practices (including the ancient Roman religion, early Christianity, Roman Catholicism, Orthodoxy and Protestantism, as well as the main elements of religion and sacred spaces of ancient Judaism and Islam). Students will have the opportunity to experience a variety of sacred spaces and learn about the broader cultural and historical context in which they appeared. Short study trips outside of Rome may also take place. Recommended Readings (subject to change) (Only selected chapters must be read, according to weekly schedule) Erzen, Jale Nejdet. "Reading Mosques: MeaningSyllabus and Architecture in Islam," in: The Journal of Aesthetics and Art Criticism. Winter, 2011, Vol. 69, 125‐131. Kilde, Jeanne Halgren. Sacred Power, Sacred Space: An Introduction to Christian Architecture and Worship. Oxford: Oxford University Press, 2008. -
Irish Gothic Fiction
THE ‘If the Gothic emerges in the shadows cast by modernity and its pasts, Ireland proved EME an unhappy haunting ground for the new genre. In this incisive study, Jarlath Killeen shows how the struggle of the Anglican establishment between competing myths of civility and barbarism in eighteenth-century Ireland defined itself repeatedly in terms R The Emergence of of the excesses of Gothic form.’ GENCE Luke Gibbons, National University of Ireland (Maynooth), author of Gaelic Gothic ‘A work of passion and precision which explains why and how Ireland has been not only a background site but also a major imaginative source of Gothic writing. IRISH GOTHIC Jarlath Killeen moves well beyond narrowly political readings of Irish Gothic by OF IRISH GOTHIC using the form as a way of narrating the history of the Anglican faith in Ireland. He reintroduces many forgotten old books into the debate, thereby making some of the more familiar texts seem suddenly strange and definitely troubling. With FICTION his characteristic blend of intellectual audacity and scholarly rigour, he reminds us that each text from previous centuries was written at the mercy of its immediate moment as a crucial intervention in a developing debate – and by this brilliant HIST ORY, O RIGI NS,THE ORIES historicising of the material he indicates a way forward for Gothic amidst the ruins of post-Tiger Ireland.’ Declan Kiberd, University of Notre Dame Provides a new account of the emergence of Irish Gothic fiction in the mid-eighteenth century FI This new study provides a robustly theorised and thoroughly historicised account of CTI the beginnings of Irish Gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland. -
Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism -
Heim Gallery Records, 1965-1991
http://oac.cdlib.org/findaid/ark:/13030/kt5779r8sb No online items Finding aid for the Heim Gallery records, 1965-1991 Finding aid prepared by Isabella Zuralski. Finding aid for the Heim Gallery 910004 1 records, 1965-1991 Descriptive Summary Title: Heim Gallery records Date (inclusive): 1965-1991 Number: 910004 Creator/Collector: Heim Gallery Physical Description: 120.0 linear feet(271 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: London gallery directed by Andrew Ciechanowieck. Records include extensive correspondence with museums, galleries, collectors, and other colleagues in Europe and the United States. Photographs document paintings, drawings, sculptures, and decorative art sold and exhibited by, and offered to the gallery. Stock and financial records trace acquisitions and sales. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note Heim Gallery London began in June 1966 with François Heim (from Galerie Heim, Paris, begun 1954) and Andrew S. Ciechanowiecki as partners. Ciechanowiecki served as director in London while Heim remained in France. The emphasis of the gallery was Old Master paintings, especially French of the 15th - 18th century, Italian paintings of all periods, and sculpture (marble, terracotta and bronze) from the Renaissance to the 19th century. The gallery was known for its scholarly exhibitions and catalogs. Between 1966 and 1989 the gallery presented exhibitions two to three times a year. The gallery did business with museums and individual clients in Europe and the United States. -
DID JOSHUA REYNOLDS PAINT HIS PICTURES? Matthew C
DID JOSHUA REYNOLDS PAINT HIS PICTURES? Matthew C. Hunter Did Joshua Reynolds Paint His Pictures? The Transatlantic Work of Picturing in an Age of Chymical Reproduction In the spring of 1787, King George III visited the Royal Academy of Arts at Somerset House on the Strand in London’s West End. The king had come to see the first series of the Seven Sacraments painted by Nicolas Poussin (1594–1665) for Roman patron Cassiano dal Pozzo in the later 1630s. It was Poussin’s Extreme Unction (ca. 1638–1640) (fig. 1) that won the king’s particular praise.1 Below a coffered ceiling, Poussin depicts two trains of mourners converging in a darkened interior as a priest administers last rites to the dying man recumbent on a low bed. Light enters from the left in the elongated taper borne by a barefoot acolyte in a flowing, scarlet robe. It filters in peristaltic motion along the back wall where a projecting, circular molding describes somber totality. Ritual fluids proceed from the right, passing in relay from the cerulean pitcher on the illuminated tripod table to a green-garbed youth then to the gold flagon for which the central bearded elder reaches, to be rubbed as oily film on the invalid’s eyelids. Secured for twenty-first century eyes through a spectacular fund-raising campaign in 2013 by Cambridge’s Fitzwilliam Museum, Poussin’s picture had been put before the king in the 1780s by no less spirited means. Working for Charles Manners, fourth Duke of Rutland, a Scottish antiquarian named James Byres had Poussin’s Joshua Reynolds, Sacraments exported from Rome and shipped to London where they Diana (Sackville), Viscountess Crosbie were cleaned and exhibited under the auspices of Royal Academy (detail, see fig. -
Revised Final MASTERS THESIS
UNIVERSITY OF CALIFORNIA RIVERSIDE Carlo Fontana and the Origins of the Architectural Monograph A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Juliann Rose Walker June 2016 Thesis Committee: Dr. Kristoffer Neville, Chairperson Dr. Jeanette Kohl Dr. Conrad Rudolph Copyright by Juliann Walker 2016 The Thesis of Juliann Rose Walker is approved: Committee Chairperson University of California, Riverside Acknowledgements I would first like to start by thanking my committee members. Thank you to my advisor, Kristoffer Neville, who has worked with me for almost four years now as both an undergrad and graduate student; this project was possible because of you. To Jeanette Kohl, who was integral in helping me to outline and finish my first chapter, which made the rest of my thesis writing much easier in comparison. Your constructive comments were instrumental to the clarity and depth of my research, so thank you. And thank you to Conrad Rudolph, for your stern, yet fair, critiques of my writing, which were an invaluable reminder that you can never proofread enough. A special thank you to Malcolm Baker, who offered so much of his time and energy to me in my undergraduate career, and for being a valuable and vast resource of knowledge on early modern European artwork as I researched possible thesis topics. And the warmest of thanks to Alesha Jeanette, who has always left her door open for me to come and talk about anything that was on my mind. I would also like to thank Leigh Gleason at the California Museum of Photography, for giving me the opportunity to intern in collections. -
Cover Page the Handle Holds Various Files of This Leiden University Dissertation. Author: Krahe
Cover Page The handle http://hdl.handle.net/1887/28741 holds various files of this Leiden University dissertation. Author: Krahe, Cinta Title: Chinese porcelain and other orientalia and exotica in Spain during the Habsburg dynasty Issue date: 2014-09-18 Chinese Porcelain and other Orientalia and Exotica in Spain during the Habsburg Dynasty GENEALOGY OF THE SPANISH HABSBURG ROYAL HOUSE ROYAL HABSBURG OF THE SPANISH GENEALOGY 279 Cinta Krahe 280 Chinese Porcelain and other Orientalia and Exotica in Spain during the Habsburg Dynasty BIBLIOGRAPHY Abad Zardoya 2005 Carmen Abad Zardoya, La casa y los objetos. Espacio doméstico y cultura material en la Zaragoza de la primera mitad del Siglo XVIII, Zaragoza, 2005. Abad Zardoya 2009 Carmen Abad Zardoya, ‘ Por el bien y beneficios que de su mano hemos recibido: estudio documental de una donación de bienes muebles hecha por Tomás de Borja a su sobrino el duque de Lerma en 1608’ in Artigrama, no. 24, 2009, pp. 341-71. Addis 1970 John M. Addis, ‘Chinese Porcelain Found in the Philippines’, in Transactions of the Oriental Ceramic Society, vol. 37, 1970, pp. 17–36. Adhyatman and Ridho1984 Sumarah Adhyatman and Abu Ridho, Tempayan Martavans in Indonesia, Jakarta, 1984. (2nd ed.) Adhyatman 1987 Sumarah Adhyatman, Kendi, Jakarta, 1987. Adhyatman 1999 Sumarah Adhyatman, Zhangzhou (Swatow) Ceramics: Sixteenth to Seventeenth Centuries found in Indonesia, Jakarta, 1999. Aguado de los Reyes 1994 Jesús Aguado de los Reyes, Riqueza y Sociedad en la Sevilla del Siglo XVII, Seville, 1994. Aguado de los Reyes 1996 Jesús Aguado de los Reyes, Fortuna y miseria en la Sevilla del siglo XVII, Seville, 1996. -
Map As Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: http://www.tandfonline.com/loi/rcab20 Map as Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid Jesús Escobar To cite this article: Jesús Escobar (2014) Map as Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid, The Art Bulletin, 96:1, 50-69, DOI: 10.1080/00043079.2014.877305 To link to this article: http://dx.doi.org/10.1080/00043079.2014.877305 Published online: 25 Apr 2014. Submit your article to this journal Article views: 189 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Download by: [Northwestern University] Date: 22 September 2016, At: 08:04 Map as Tapestry: Science and Art in Pedro Teixeira’s 1656 Representation of Madrid Jesus Escobar “Mantua of the Carpentana, or Madrid, Royal City” reads the attributed to the overreach of Philip IV’s royal favorite and Latin inscription on the banderole that hovers above Pedro prime minister, Gaspar de Guzman, the count-duke of Teixeira’s monumental map of the Spanish capital, the Topo- Olivares (1587–1645). In 1640, in the midst of the Thirty graphia de la Villa de Madrid (Topography of the town of Years’ War, rebellions arose in Catalonia and Portugal, com- Madrid) (Fig. 1). The text refers to a place from the distant pounding the monarchy’s ongoing financial crises and lead- Roman past, the purported origin of Madrid, as well as the ing to Olivares’s ouster. -
Historia Del Arte De La Antigüedad De Diego Antonio Rejón De Silva» / Alejandro Martínez Pérez
Historia de las artes_maqueta.indd 2 07/01/14 20:25 HISTORIA DE LAS ARTES ENTRE LOS ANTIGUOS Historia de las artes_maqueta.indd 3 07/01/14 20:25 Historia de las artes_maqueta.indd 4 07/01/14 20:25 HISTORIA DE LAS ARTES ENTRE LOS ANTIGUOS por Johann Joachim Winckelmann Obra traducida del alemán al francés y de este al castellano en 1784 e ilustrado con algunas notas por Diego Antonio Rejón de Silva Académico de Honor de la Real de San Fernando Edición de Alejandro Martínez Pérez � Madrid � RABASF � 2014 Historia de las artes_maqueta.indd 5 07/01/14 20:25 Geschichte der Kunst des Altertums Única edición: enero de 2014 Colaboran: Copyright de la introducción © Antonio Bonet Correa, 2014 Copyright del texto y el estudio preliminar © Alejandro Martínez Pérez, 2014 Copyright de la presente edición © Real Academia de Bellas Artes de San Fernando, 2014 (Alcalá, 13. 28014 Madrid) Coordinación editorial: Alejandro Martínez Pérez Edición, diseño y revisión: Bárbara Avezuela Aristu Susana Delgado Ibáñez Cristina Martínez Delgado Alejandro Martínez Pérez ISBN: 978-84-96406-29-2 Depósito Legal: M-501-2014 Impreso en España: Imprenta Kadmos S. L. Todos los derechos reservados. Esta publicación no puede ser reproducida, ni en todo ni en parte, ni registrada en, o transmitida por, un sistema de recuperación de información, en ninguna forma ni por ningún medio sin el permiso previo por escrito de los editores. Historia de las artes_maqueta.indd 6 07/01/14 20:25 Sumario x Agradecimientos xi Introducción / Antonio Bonet Correa xiii «Winckelmann en la España de la Ilustración: la traducción de Historia del arte de la Antigüedad de Diego Antonio Rejón de Silva» / Alejandro Martínez Pérez 31 HISTORIA DE LAS ARTES ENTRE LOS ANTIGUOS 33 Prólogo del traductor 37 Primera parte Las Bellas Artes consideradas en su naturaleza 347 Segunda parte Suerte de las artes entre los griegos 457 Notas del traductor 465 Bibliografía Historia de las artes_maqueta.indd 7 07/01/14 20:25 Primera parte 39 Prefacio 51 § I. -
Vasari Als Paradigma the Paradigm of Vasari
Vasari als Paradigma Rezeption, Kritik, Perspektiven The Paradigm of Vasari Reception, Criticism, Perspectives hrsg. von / edited by Fabian Jonietz Alessandro Nova Marsilio - Author's Copy - vasari als paradigma rezeption, kritik, perspektiven the paradigm of vasari reception, criticism, perspectives Kongreßakten, 14.-16. Februar 2014 Florenz, Kunsthistorisches Institut, Max-Planck-Institut Conference Proceedings, February 14-16, 2014 Florence, Kunsthistorisches Institut, Max-Planck-Institut Redaktionelle Koordination Editorial coordination Fabian Jonietz Redaktion, Lektorat und Namensindex Editing, copyediting and index of names Fabian Jonietz, Linda Olenburg, Mandy Richter unter Mitarbeit von / in collaboration with Maria Aresin, Eugenia Beller, Lorenz Orendi, Linus Rapp, Ferdinand Schachinger Entsprechend einer freien Entscheidung der Autoren folgen die deutschsprachigen Beiträge den Regeln der etablierten oder der reformierten deutschen Rechtschreibung. According to the authors’ free decision, contributions in the German language follow either established or reformed spelling and orthography. Lektorat der italienischen Texte Copyediting of Italian texts Manuela Bonura Lektorat der englischen Texte Copyediting of English texts Rebecca Milner Umschlagabbildung / Cover Livio Mehus, Die Personifikation der Malerei diktiert Giorgio Vasari die Lebensbeschreibungen der Künstler, München, Staatliche Graphische Sammlung, Inv.-Nr. Z 2397 Graphische Gestaltung / Graphic Design Tapiro, Venezia © 2016 by Marsilio Editori® s.p.a. in Venezia ISBN 978-88-317-2661-0 - Author's Copy - THE CONTROVERSY OVER VASARI AND THE BEGINNING OF THE ART HISTORICAL DISCIPLINE IN SPAIN. 1775–1829 David García López Giorgio Vasari’s writing on the lives of artists was widely end of the century various authors had begun to assert read in Golden Age Spain and was extremely influential that Spanish painters were equally sophisticated, if not in the perception of art, and even artists’ self perception.