Inventario Fondo Fotografico Airoldi
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Illustrated and Descriptive Catalogue and Price List of Stereopticons
—. ; I, £3,v; and Descriptive , Illustrated ;w j CATALOGUE AND PRICE LIST- t&fs — r~* yv4 • .'../-.it *.•:.< : .. 4^. ; • ’• • • wjv* r,.^ N •’«* - . of . - VJ r .. « 7 **: „ S ; \ 1 ’ ; «•»'•: V. .c; ^ . \sK? *• .* Stereopticons . * ' «». .. • ” J- r . .. itzsg' Lantern Slides 1 -f ~ Accessories for Projection Stereopticon and Film Exchange W. B. MOORE, Manager. j. :rnu J ; 104 to no Franlclin Street ‘ Washington . (Cor. CHICAGO INDEX TO LANTERNS, ETC. FOR INDEX TO SLIDES SEE INDEX AT CLOSE OF CATALOGUE. Page Acetylene Dissolver 28 Champion Lantern 3g to 42 “ Gas 60 Check Valve S3 •* 1 • .• Gas Burner.... ; 19 Chemicals, Oxygen 74, 81 ** < .' I j Gas Generator.. ; 61 to 66 Chirograph 136 “ Gas Generator, Perfection to 66 64 Chlorate of Potash, tee Oxygen Chemicals 74 Adapter from to sire lenses, see Chromatrope.... 164 Miscellaneous....... 174 Cloak, How Made 151 Advertising Slides, Blank, see Miscellaneous.. 174 ** Slides 38010,387 " Slides 144 Color Slides or Tinters .^140 “ Slides, Ink for Writing, see Colored Films 297 Miscellaneous, 174 Coloring Films 134 “ Posters * *...153 " Slides Alcohol Vapor Mantle Light 20A v 147 Combined Check or Safety Valve 83 Alternating.Carbons, Special... 139 Comic and Mysterious Films 155 Allen Universal Focusing Lens 124, 125 Comparison of Portable Gas Outfits 93, 94 America, Wonders cf Description, 148 “Condensing Lens 128 Amet's Oro-Carbi Light 86 to 92, 94 " Lens Mounting 128 •Ancient Costumes ....! 131 Connections, Electric Lamp and Rheostat... 96, 97 Approximate Length of Focus 123 " Electric Stage 139 Arc Lamp 13 to 16 Costumes 130 to 152, 380 to 3S7 ** Lamp and Rheostat, How to Connect 96 Cover Glasses, see Miscellaneous ,....174 Arnold's Improved Calcium Light Outfit. -
Raffael Santi | Elexikon
eLexikon Bewährtes Wissen in aktueller Form Raffael Santi Internet: https://peter-hug.ch/lexikon/Raffael+Santi MainSeite 63.593 Raffael Santi 3'315 Wörter, 22'357 Zeichen Raffael Santi, auch Rafael, Raphael (ital. Raffaello), irrtümlich Sanzio,ital. Maler, geb. 1483 zu Urbino. Der Geburtstag selbst ist streitig: je nachdem man die vom Kardinal Bembo verfaßte Grabschrift R.s deutet, welche besagt, er sei «an dem Tage, an dem er geboren war, gestorben» («quo die natus est eo esse desiit VIII Id. April MDXX», d. i. 6. April 1520, damals Karfreitag), setzt man den Geburtstag auf den 6. April oder auf den Karfreitag, d. i. 28. März 1483, an. Seine erste künstlerische Unterweisung dankte er dem Vater Giovanni Santi (s. d.), den er jedoch bereits im 12. Jahre verlor, sodann einem unbekannten Meister in Urbino, vielleicht dem Timoteo Viti, mit dem er auch später enge Beziehungen unterhielt. Erst 1499 verließ er die Vaterstadt und trat in die Werkstätte des damals hochberühmten Malers Perugino (s. d.) in Perugia. Das älteste Datum, welches man auf seinen Bildern antrifft, ist das Jahr 1504 (auf dem «Sposalizio», s. unten); doch hat er gewiß schon früher selbständig für Kirchen in Perugia und in Città di Castello gearbeitet. 1504 siedelte Raffael Santi nach Florenz über, wo er die nächsten Jahre mit einigen Unterbrechungen, die ihn nach Perugia und Urbino zurückführten, verweilte. In Florenz war der Einfluß Leonardos und Fra Bartolommeos auf seine künstlerische Vervollkommnung am mächtigsten; von jenem lernte er die korrekte Zeichnung, von diesem den symmetrischen und dabei doch bewegten Aufbau der Figuren. Als abschließendes künstlerisches Resultat seines Aufenthalts in Florenz ist die 1507 für San Fancesco in Perugia gemalte Grablegung zu betrachten (jetzt in der Galerie Borghese zu Rom). -
Dossier Pédagogique De L'enseignant
Exposition temporaire Dossier pour les enseignants Service éducatif Musée des beaux-arts de Quimper De Véronèse à Casanova Sommaire Introduction 3 I Une brève histoire de la peinture italienne 4 Au XVI e siècle, Rome la maniériste et Venise la coloriste 4 L’Ecole de Bologne et le retour au naturel à la fin du XVI e siècle 5 Caravage et le naturalisme 6 Au XVII e siècle, Rome, capitale baroque 6 Au XVIII e siècle, Venise, entre décors exubérants et veduta 7 II L'écologie de l'image 8 Le régime de l'art 8 La Renaissance 9 La Contre-Réforme 10 Ecoles et foyers 11 Les commanditaires 12 Un contexte géopolitique singulier 13 III Les genres picturaux 15 La peinture religieuse 15 La peinture mythologique 16 La peinture allégorique 17 Le portrait 18 Paysage 19 La nature morte 20 La vanité 21 IV Les manières ou le style 22 Le maniérisme 22 Le caravagisme 23 Le courant académisant 24 Le baroque 25 Le procès de l'oeuvre : bozzeti et ricordi 27 V Identification du thème iconographique 28 Peinture religieuse, Ancien et Nouveau Testament 28 Récits allégoriques, mythologiques et légendaires 32 VI La restauration des œuvres 34 Une campagne de restauration à Quimper 34 La restauration, quelques principes 35 Les techniques de laboratoire 36 Bibliographie 37 Aides à la visite pour le 1er degré : livret-jeu et salle « Secrets d’atelier en Italie » 38 Pistes pédagogiques 41 Informations pratiques 46 2 De Véronèse à Casanova Introduction Connues et appréciées des spécialistes, les peintures italiennes conservées en Bretagne méritaient de connaître une plus ample diffusion. -
Simonetta Prosperi Valenti Rodinò
©Ministero per beni e le attività culturali-Bollettino d'Arte SIMONETTA PROSPERI VALENTI RODINÒ IL CARDINAL GIUSEPPE RENATO IMPERIALI COMMITTENTE E COLLEZIONISTA I. - LE COMMITTENZE ARTISTICHE Il gusto art1st1co e il mecenatismo si erano mani Dopo essere stata la capitale europea dell'arte con festati anche in altri esponenti della famiglia, di anti i Barberini, i Pamphilj e i Chigi, Roma vive alla fine chissima origine genovese, che con l'acquisto di feudi del XVII secolo un lento declino legato alle vicende -Oria e Francavilla in terra d'Otranto e Sant'Angelo politiche, che la porta a cedere il suo primato alla dei Lombardi nell'Avellinese - a cavallo tra il XVI Francia; mentre l'Inghilterra e le corti nascenti della e il XVII secolo, iniziò gradualmente a gravitare sul Regno di Napoli,4l Particolarmente importante nella Germania consolidano o iniziano una politica di acqui sti di opere d'arte per le gallerie che si vanno creando. storia del collezionismo era stato Gian Vincenzo, Roma conserva un ruolo importante come capitale ammiraglio della flotta genovese, uomo politico e del mondo classico, ma non si caratterizza più come letterato: i più bei pezzi della sua quadreria, tra cui centro propulsore di movimenti artistici, quale era Tiziano, Rubens, Veronese, Correggio, passarono nel stata con il Bernini, il Borromini e Pietro da Cortona. 1667 da Genova a Roma nella collezione di Cristina Si assiste peraltro, tra la fine del Sei e l'inizio del di Svezia.s> Settecento, al proliferare di committenze "minori " di cardinali nelle chiese del loro titolo ed al formarsi di numerose quadrerie in palazzi nobiliari, che con sentono di ricostruire il complesso panorama artistico romano di quegli anni.1> Pur essendo ancora molto ambite le committenze pontificie, furono piuttosto i collezionisti - quali il marchese Niccolò Pallavicini, i cardinali Alessandro Albani, Pietro Ottoboni, Neri Corsini, Silvio Valenti Gonzaga, per citare solo i più importanti 2 > - a deter minare il diffondersi di un gusto o l'affermarsi di un pittore loro protetto. -
THE BERNARD and MARY BERENSON COLLECTION of EUROPEAN PAINTINGS at I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls
THE BERNARD AND MARY BERENSON COLLECTION OF EUROPEAN PAINTINGS AT I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls GENERAL INDEX by Bonnie J. Blackburn Page numbers in italics indicate Albrighi, Luigi, 14, 34, 79, 143–44 Altichiero, 588 Amsterdam, Rijksmuseum catalogue entries. (Fig. 12.1) Alunno, Niccolò, 34, 59, 87–92, 618 Angelico (Fra), Virgin of Humility Alcanyiç, Miquel, and Starnina altarpiece for San Francesco, Cagli (no. SK-A-3011), 100 A Ascension (New York, (Milan, Brera, no. 504), 87, 91 Bellini, Giovanni, Virgin and Child Abbocatelli, Pentesilea di Guglielmo Metropolitan Museum altarpiece for San Nicolò, Foligno (nos. 3379 and A3287), 118 n. 4 degli, 574 of Art, no. 1876.10; New (Paris, Louvre, no. 53), 87 Bulgarini, Bartolomeo, Virgin of Abbott, Senda, 14, 43 nn. 17 and 41, 44 York, Hispanic Society of Annunciation for Confraternità Humility (no. A 4002), 193, 194 n. 60, 427, 674 n. 6 America, no. A2031), 527 dell’Annunziata, Perugia (Figs. 22.1, 22.2), 195–96 Abercorn, Duke of, 525 n. 3 Alessandro da Caravaggio, 203 (Perugia, Galleria Nazionale Cima da Conegliano (?), Virgin Aberdeen, Art Gallery Alesso di Benozzo and Gherardo dell’Umbria, no. 169), 92 and Child (no. SK–A 1219), Vecchietta, portable triptych del Fora Crucifixion (Claremont, Pomona 208 n. 14 (no. 4571), 607 Annunciation (App. 1), 536, 539 College Museum of Art, Giovanni di Paolo, Crucifixion Abraham, Bishop of Suzdal, 419 n. 2, 735 no. P 61.1.9), 92 n. 11 (no. SK-C-1596), 331 Accarigi family, 244 Alexander VI Borgia, Pope, 509, 576 Crucifixion (Foligno, Palazzo Gossaert, Jan, drawing of Hercules Acciaioli, Lorenzo, Bishop of Arezzo, Alexeivich, Alexei, Grand Duke of Arcivescovile), 90 Kills Eurythion (no. -
Colnaghi Winter Exhibition Until 10 December 2016
COLNAGHI WINTER EXHIBITION UNTIL 10 DECEMBER 2016 Featuring previously unknown and rarely seen works by celebrated masters including Joan de Joanes, Giuseppe Maria Crespi and Luis Salvador Carmona Joan Macip Navarro (known as Joan de Joanes) (Valencia?, c.1500 – Bocairent, 1579) Holy Family, oil on panel, 58.5 x 49.5 cm For immediate release – 2 December 2016 - Colnaghi hosts a winter exhibition featuring newly discovered and rarely seen works at their gallery in Bury Street, St. James’s (until 10 December). Including approximately 25 paintings and sculptures from the 16th to the 19th centuries, highlights of the exhibition include a previously unknown painting by the celebrated Spanish Renaissance painter Joan de Joanes (c.1500-1579) shown in public for the first time; a rediscovered masterpiece by the great Baroque master Giuseppe Maria Crespi (1665-1747), unseen in public for over half a century; and an exceptional sculpture of the Holy Family by Luis Salvador Carmona (1708-1767), the renowned 18th century sculptor to the Spanish court. To coincide with the winter exhibition, Colnaghi have released a video available to view on their website (www.colnaghi.com). Filmed in October 2016 in the library of their new gallery in St. James’s, the video shows Jorge Coll, CEO of Colnaghi, in conversation with Dr. Xavier Bray, recently appointed Director of the Wallace Collection, as they discuss art, collecting, and the role of Old Masters in the contemporary world. Jorge Coll, CEO of Colnaghi: “We’re looking forward to our winter show, the second exhibition to take place at our new gallery in St. -
Ranuzzi Family
Ranuzzi Family: A Preliminary Inventory of Their Manuscripts at the Harry Ransom Center Descriptive Summary Creator: Ranuzzi Family Title: Ranuzzi Family Manuscripts Dates: circa 1450-1755 Extent: 623 bound volumes, 4 oversize folders Abstract: This collection contains manuscripts, printed materials, scribal copies of books, more than 100 engravings, etchings, woodcuts, and watercolor sketches, and papal bulls documenting some 400 years of the political, religious, and cultural climate of Bologna, Italy. Major subjects included in the collection are history, literature, the sciences, church and government affairs, law, geography, and numismatics. Call Number: Manuscript Collection MS-03401 Language: Italian Access: Open for research Administrative Information Acquisition: Purchase, 1968 Processed by: Maria X. Wells and John Kirkpatrick. The information in this finding aid was originally contained in a card catalog and two supplementary typescripts. These were scanned and edited into this form by Debbie Guidry and Joan Sibley. Repository: Harry Ransom Center, The University of Texas at Austin Ranuzzi Family Manuscript Collection MS-03401 Scope and Contents In 1968 the Ransom Center purchased 620 volumes of manuscripts and printed matter collected by the Ranuzzi family of Bologna, Italy, that reflect some 400 years of Bolognese political, religious, and cultural life. While the collection dates from a group of medical manuscripts gathered by Antonio Ranuzzi, a physician and scholar, it was Count Vincenzo Antonio Ranuzzi (1658-1726) who was largely responsible for the formation of the Ranuzzi Library. Through the influence of his grandfather, the Marquis Ferdinando Cospi, who spent the major part of his life at the court of the Grand Dukes of Tuscany, Count Ranuzzi was received in 1671 as a Page to Prince Ferdinand de Medici. -
Filelist Convert a Pdf File!
Parte III Stanze a pone nte c. 445 Nota dei r itratti dei pittori duplicat i 1. Anniba l Caracci 2. Pietro Paolo Rubens Questi due soltanto s ono stati descritt i nel catalogo 3. Livio Mehus [cancel lato] Sono nella seconda camera 4. Agostino Caracci 5. Santi di Tito 6. Andrea Pozzi 7. Giovanni Antonio Razzi detto i l Sodoma [cancell ato] 8. Luca G iordano [cancel lato] 9. Tommaso … [cancel lato] 10. Antonio Franchi [cance llato] 11. Ottavio Vannini [cance llato] 12. Clemente Bocc iardi [cancellato] 13. Francesco Cu rradi [cance llato] 14. Pier Leone Ghezz i [cancellato] 15. Onorio Mar inari [cance llato] 16. Niccola Lapi [cance llato] 17. Antonio Dome nico Gabbiani [ cancellato] Manca quello d i Giusto Sutterma ns ch'è intag liato nel Museo . c. 447 1 Gabinetto (presso quello) delle Medag lie1 (V) 1. Le sorelle di Fetonte sul Po che si trasformano in pioppi. Di Santi di Tito sulla lavagna. Lume a … ( destra). Quadro (rettangolo). Alto b. 2 , largo b. 1.8. * Questa è una serie di simili fra loro, dei quali quadri ho parlato nel mio Saggio Istorico, t. I, pag. 144 e segg. Nel quadro è scritto il nome ed il Borghini nel suo Riposo, pag. 509, rammenta due quadri, sopra lastre di pietra per lo scrittoio del granduca Francesco fatti da Santi di Tito e dice che uno dimostrava i modi con i quali si ritrovano l 'ambra e l'altro la porpora. (XX) 2. Atalanta nel corso che raccoglie i pomi gettatigli da Ippome ne in atto di raggiungerla con varie figure spettatr ici, fra le quali una a cavallo, ch'è il ritratto del granduca Cosimo I. -
CYCLOPEDIA of BIBLICAL, THEOLOGICAL and ECCLESIASTICAL LITERATURE Binney, Thomas - Bradford, John by James Strong & John Mcclintock
THE AGES DIGITAL LIBRARY REFERENCE CYCLOPEDIA of BIBLICAL, THEOLOGICAL and ECCLESIASTICAL LITERATURE Binney, Thomas - Bradford, John by James Strong & John McClintock To the Students of the Words, Works and Ways of God: Welcome to the AGES Digital Library. We trust your experience with this and other volumes in the Library fulfills our motto and vision which is our commitment to you: MAKING THE WORDS OF THE WISE AVAILABLE TO ALL — INEXPENSIVELY. AGES Software Rio, WI USA Version 1.0 © 2000 2 Binney, Thomas D.D., LL.D. an eminent English Congregational minister, was born at Newcastle-on- Tyne, April 30, 1798. In early life he was engaged in secular employment, but found time for reading and composition, and, by the help of a Presbyterian clergyman, acquired a good knowledge of Latin and Greek. He was brought to Christ when he was young, and he early sought admission to the Christian ministry. His student-life was spent at Wymondley, Herts, and his first settlement was at Bedford, where he continued but twelve months. Mr. Binney was ordained in 1824 to the pastoral office at Newport, Isle of Wight. Here he preached five years, and here began his career as an author, by publishing a memoir of Rev. Stephen Morell, an intimate and beloved friend. In 1829 Mr. Binney accepted a call to the pastorate at the Weigh House, London, and then entered upon a course of usefulness and popularity, which for forty years he sustained with almost undiminished vigor. During the last two years of his life he occupied, with acceptance, the chair of homiletics at New College. -
Raphael Santi London
RAPHAEL SANTI LONDON PRINTED BY SPOTTISWOODE AND CO. NEW-STEEET SQUARE RAPHAEL SANTI His Life and His Works BY ALFRED BARON VON WOLZOGEN TRANSLATED BY F. E. BUNNETT TRANSLATOR OF GRIMM'S ' LIFE OF MICHAEL ANGELO' AND GERVINUS'S 'SHAKESPEARE COMMENTARIES LONDON SMITH, ELDER, & CO., 65 CORNHILL 1866 759.5 R12wEb TRANSLATOR'S PREFACE. HAVING translated Grimm's 'Life of Michael Angelo,' I was desirous of finding some memoir of his great contemporary Eaphael, which might complete the picture we already possess of a period so rich in the history of Art. It was not easy to meet with a work which was not too diffuse in its art-criticisms for the ordinary reader, and until Wolzogen's 'Life of Eaphael' appeared, there was no concise biography of the great painter which seemed to me to supply the information required. It is for this reason that I have translated the work; and I trust it will not be without interest to those who have hitherto known Eaphael in his art alone. F. E. BUNNETT. PREFACE. EAPHAEL-LITERATURE already fills a library of its own. Extensive works, such as Passavant's ' Eafael von Urbino und sein Vater Giovanni Santi' (three volumes, with maps, Leipsic, 1839-58), are among its treasures; but there is ever lacking a concise summary of all the more important investigations and decisions hitherto arrived at with regard to the great master's life and works. The best and most spirited of these are for the most part, moreover, in various papers and pamphlets, in which Eaphael is not the sole subject. -
The Magnificent Collection of Engraved Portraits Formed by The
^/pf ^-ss^^^t Catalogue No. 761 Part I—Portraits -The- Great Cope Collection of Engravings AMERICAN THEATRICAL and NAPOLEONIANA CATALOGUE COMPILED AND SALE AT THE ART AUCTION ROOMS OF CONDUCTED BY THOS. BIRCH'S SONS, STAN. V. HENKELS 1110 CHESTNUT STREET, PHILA. t- Lot 2jg.—Reduced. An Uniqt/e Portrait. SPECIAL NOTICE. Catalogue of the E. R. Cope Collection, Part II., now preparing, will embrace all ihe Miscellaneous Portraits, including the fine proof folio mezzotints, and those by Drevet, Edelinck, Nanteuil, Schmidt, Desnoyers, Sherwin, Sharpe, and other great engravers, in Line, Stipple and Mezzotint. Part III. will embrace the Miscellaneous Engraved Subjects, including nothing but the choicest examples of the Old and Modern Masters, as well as Sporting Subjects. Catalogue No. 761 Part 1.—Portraits ' , . ,THE MAGNIFICENT COLLECTION OF ENGRAVED PORTRAITS FORMED BY THE LATE ED\A(^ARD R. COPE, ESQ.. OF GERMANTOWN, PHILADELPHIA American Theatrical and Napoleoniana BEING THE MOST IMPORTANT COLLECTION EVER PLACED BEFORE THE AMERICAN PUBLIC ^^^'^^^ONJ^ TO BE SOLD I fJUL 2 8 1989 -^"'^^'^ TUESDAY. MAY 5th. 1896 AND FOLLOWING DAYS COMMENCING IN TITE AFTERNOONS AT 2.30 O'CLOCK, AND EVENINGS AT 8 O'CLOCK X;^ 2S0 Lots will be sold at each sitting CATALOGUE COMPILED AND SALE AT THE ART AUCTION ROOMS OF CONDUCTED BY • THOS. BIRCH'S SONS V. STAN. HENKELS 1 1 10 Chestnut Street, Philadelphia, Pa. (|^° On exhibition in our Art Gallery, May 2d and 4th. 11 -t a For those who cannot attend the sale, we take great pleasure in recommending the following gentlemen, who will accept orders. W. H. -
Giuseppe Maria Crespi E Il Gran Principe Ferdinando: Analisi E Ricostruzione Di Un Contesto
DOTTORATO DI RICERCA IN STORIA DELLE ARTI E DELLO SPETTACOLO CICLO XXXI COORDINATORE Prof. Andrea De Marchi GIUSEPPE MARIA CRESPI E IL GRAN PRINCIPE FERDINANDO: ANALISI E RICOSTRUZIONE DI UN CONTESTO Settore Scientifico Disciplinare L-ART/02 Dottorando Tutore Dott. ssa Elisa Zucchini Prof. Vincenzo Farinella _______________________________ ________________________ (firma) (firma) Coordinatore Prof. Andrea De Marchi _______________________________ (firma) Anni 2015/2018 1 2 INDICE Introduzione ......................................................................................................... p. 5 Capitolo 1 Zanotti, Luigi Crespi e la memoria del Serenissimo Principe ........................... p. 13 Crespi nella corrispondenza medicea ................................................................. p. 23 Il ruolo di Vincenzo Ferdinando Ranuzzi Cospi ................................................ p. 26 Il primo viaggio a Venezia del Gran Principe nel resoconto di Ranuzzi Cospi. p. 30 Le vicende della Strage degli Innocenti ............................................................. p. 33 Il soggiorno di Crespi a Pratolino ...................................................................... p. 39 Affinità elettive fra Crespi e Ferdinando ........................................................... p. 46 Capitolo 2 Peculiarità iconografiche .................................................................................... p. 61 Nota sullo stato di conservazione......................................................................