Early Modern Dynastic Marriages and Cultural Transfer
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Francesco Maria Niccolò Gabburri: Incisioni E Scritti Del ‘Cavalier Del Buon Gusto’
UNIVERSITA’ DEGLI STUDI DI PISA FACOLTA’ DI LETTERE E FILOSOFIA Scuola di Dottorato in Storia delle Arti Visive e dello Spettacolo TESI DI DOTTORATO DI RICERCA (L-ART/02; L-ART/04) Francesco Maria Niccolò Gabburri: incisioni e scritti del ‘Cavalier del Buon Gusto’ CANDIDATA TUTOR Dott.ssa Martina Nastasi Chiar.mo prof. Vincenzo Farinella COORDINATORE DEL DOTTORATO Chiar.ma prof.ssa Cinzia Maria Sicca Bursill-Hall Ciclo dottorato XXIII 0 1 INDICE INTRODUZIONE _______________________________________________________ p. 4 I CAPITOLO. «IL CAVALIER DEL BUON GUSTO» ______________________________ p. 8 I.1 «Non sine labore»: genesi di un’idea di arte ________________________________ p. 8 I.2 Le Vite di pittori ___________________________________________________ p. 31 II CAPITOLO. «PER CAMMINARE CON TUTTA SINCERITÀ E CHIAREZZA»: CATALOGHI DELLA COLLEZIONE GABBURRI _________________________________________________ p. 41 II.1 La collezione di grafica: pratiche di acquisto e scelte di «finissimo gusto» _______ p. 41 II.2 Nuovi cataloghi della collezione Gabburri ______________________________ p. 60 II.3 Analisi del Catalogo di disegni e stampe ___________________________________ p. 66 III CAPITOLO. TRA COLLEZIONISMO E BIOGRAFISMO _________________________ p. 78 III.1 «Per maggior comodo dei dilettanti»: stampe e biografie a servizio dei lettori ___ p. 78 III.2 «Commodità veramente singularissima»: la stampa di traduzione ____________ p. 89 III.3 Donne «virtuose» e «spiritosissime»: attenzione per l’arte al femminile ________ p. 99 TAVOLE _____________________________________________________________ p. 108 APPENDICE DOCUMENTARIA ____________________________________________ p. 124 - Catalogo di stampe e disegni (Fondation Custodia-Institut Néerlandais Parigi, Collection Frits Lugt, P. I, Inv.2005-A.687.B.1, cc. 65-134v) __________________________________________________ p. 126 - Appunti sullo stato dell’arte fiorentina (Fondation Custodia-Institut Néerlandais Parigi, Collection Frits Lugt, P.II, Inv. -
Afat-32-Def.Pdf
AFAT UNIVERSITÀ DEGLI STUDI DI TRIESTE Dipartimento di Studi Umanistici AFAT Direttore Giuseppe Pavanello Comitato scientifico AFAT Giovanni Bianchi • Massimo Bisson • Barbara Boccazzi Mazza • Enrica Cozzi • Alberto Craievich • Daniele D’Anza • Roberto De Feo • Massimo De Grassi • Simone Ferrari • Lorenzo Finocchi Ghersi • Matteo Gardonio • Ludovico Geymonat • Vania Gransinigh • Milijenko Jurkovic´ • Matej Klemencˇicˇ • Maurizio Lorber • Enrico Lucchese • Roberto Pancheri • Alessio Pasian • Rivista di Storia dell’arte fondata nel 1975 Jan-Christoph Rössler • Ferdinand Sˇerbelj • Valerio Terraroli • Andrea Tomezzoli • Denis Ton • Giovanni Carlo Federico Villa • Maria Walcher • Nicoletta Zanni 32(2013) I testi sono sottoposti all’esame del Comitato Scientifico e del Comitato dei Revisori Anonimi Distribuzione libraria Scripta edizioni [email protected] ISSN 1827-269X scripta edizioni Pubblicato con il contributo di Presentazione PRIN 2010-11 UNIVERSITÀ DEGLI STUDI DI TRIESTE FRA 2011 Il numero 32 di AFAT relativo al 2013 si pre- E siamo all’età neoclassica, con un im- senta con l’abituale puntualità e nella sua portante inedito di Giambattista Lampi e veste rinnovata. Ogni volta – e non ci si un’indagine su un singolare aspetto di pro- stanca di dirlo – è come un piccolo miraco- duzione artistica, il papier peint, nella rara lo riuscire a giungere alla meta in tempi così produzione legata a eventi contemporanei: magri di risorse, in un Ateneo, come quello nel nostro caso, episodi della campagna triestino, che ha punti straordinari di ec- dell’Armée d’Italie in quattro scene tuttora cellenza ma che non ha mai ‘investito’ sulla prospettate sulle pareti di un ambiente di vil- storia dell’arte. Tant’è; non è mai mancata, la Gradenigo a Carbonera, presso Treviso. -
I Pavonin Ecce Homo Prema Reniju (Van Melaru) Na Visovcu
DPUH Peristil 57-64 61/2018 Sanja Cvetnić Dvanaestogodišnji Isus Filozofski fakultet Sveučilišta u Zagrebu, i Marija u suzama Odsjek za povijest umjetnosti prema Kloviću (Thomassinu) Faculty of Humanities and Social Sciences, University of Zagreb, i Pavonin Ecce Homo Department of Art History Ivana Lučića 3, prema Reniju (Van Melaru) Zagreb, Hrvatska na Visovcu Prethodno priopćenje Jesus at the Age of Twelve and Weeping Virgin Preliminary communication after Clovio (Thomassin) and [email protected] orcid.org/0000-0002-0529-5229 Pavona’s Ecce Homo after Reni (Van Melar) UDK / UDC: in Visovac Collection 069(497.5 Visovac):75.046 DOI: 10.17685/Peristil.61.4 APSTRAKT Primljeno / Received: U franjevačkom samostanu na Visovcu nalazi se nekoliko slika za čiji 15. 9. 2018. su nastanak bile presudne grafike kao predlošci. Uz osvrt na profil visovačke slikarske zbirke, ovdje su objavljeni bakrorezi Philippea Prihvaćeno / Accepted: 16. 11. 2018. Thomassina, nastali prema crtežima Jurja Julija Klovića kao pred- lošci za slike Dvanaestogodišnji Isus i Marija u suzama te Ecce Homo Adriana van Melara prema Guidu Reniju kao uzor za sliku Francesca Pavone. Ključne Riječi Visovac, Juraj Julije Klović, Philippe Thomassin, Adrian van Melar, Francesco Pavona, Guido Reni ABSTRACT The collection of the Franciscan convent on the island of Visovac holds several paintings executed after printed models. Besides giving an over- view of the Visovac collection, the paper discusses Philippe Thomassin’s engravings after Giorgio Giulio Clovio as models for paintings Jesus at the Age of Twelve and Weeping Virgin, and Adrian van Melar’s Ecce Homo after Guido Reni as the model for a painting by Francesco Pavona. -
Portego ENG Museum of Palazzo Mocenigo
Portego ENG Museum of Palazzo Mocenigo Flanked by the other rooms, this large central hall is typical of the structure of Venetian palazzi and was used for celebrations and official occasions. The paintings on display here are either nearly all portraits of the Mocenigo family or depict events in which they were involved. Four of the large portraits of the walls (1,2,4,5) are of the sovereigns under whom the Mocenigo family were ambassadors, while two of the seven doges from the family are portrayed above the door (6,8) and the others (18, 28,38,40,41) in the long frieze below the ceiling– inspired by the one in the Sala del Maggior Consiglio in the Doge’s Palace -, together with numerous illustrious members of the family. The walls were decorated with architectural motifs by Agostino Mengozzi Colonna in 1787. The itinerary to visit the museum begins in the room on our right, looking at the main entrance, with its marble double door. Captions on the back In black if the work belongs to the palazzo In grey if the work comes from other collections >>> Please return this card Portego ENG Walls 1. French scene? , 17th cent. Portrait of King Louis XIV (?) 29 oil on canvas, 1670 30 9 th Room 7 2. Manner of Peter Lely, 17 cent. 10 Room 5 Portrait of King Charles II Stuart 28 oil on canvas, 1651 31 3. Veneto scene, 17th cent. 27 2 Portrait of procurator Alvise Mocenigo 32 oil on canvas, 1621 th 26 4. Flemish scene? 17 cent. -
BADO E MART AUCTIONS
BADO e MART AUCTIONS Rare Books, Manuscripts and Prints Tuesday - June 28, 2016 Rare Books, Manuscripts and Prints 1: Collection of 12 Elzevirs EUR 2,000 - 3,000 Collection of 12 travel and history books, first editions or rare editions.16mo; Contemporary full vellum or calf bindings; Titlepages engraved on copper.1 - AA.VV. Respublica, sive status regni Scotiae et Hiberniae. Leiden, Ex officina Elzeviriana, 1627 [at the end: 1630]2 - CUNAEUS, Petrus. De Republica Hebraerum. Lugd. Batavor. [Leida], Ex Officina Elzeviriana, 16323 - GILLES, Pierre. De Bosporo. Lugduni Batauorum, Apud Elzevirios, 1632. Elzeviriana first edition first issue.4 - LAET, Joannes De. De Imperio Magni Mogolis, sive, India vera. Leida, Ex officina Elzeviriana, 1631. Elzeviriana first edition, second issue.5 - LAET, Joannes De. Gallia, sive de Francorum regis dominus et opibus commentarius. Leida, Elzevier, 1629. Contemporary binding in brown calf. Elzeviriana rare edition, released the same year of the first.6 - LAET, Joannes De. Hispania, sive De regis hispaniae regnis et opibus commentarius Ex Officina Elzeviriana, Lugduni Batavorum [Leida] 1629. Second edition published the same year of the first. Exemplary missing of 4 leaves.7 - MONTALBANO, Giovanni Battista. Turcici imperii status. Seu discursus varij de rebus Turcarum. Leida, Ex officina Elzeviriana, 1630. First Elzeviriana edition.8 - SIMLER, Josias. Helvetiorum Respublica. Lugd[uni] Bat[avorum], [Leiden], Ex Officina Elzeviriana, 1627. Original edition, first edition.9 - SIONITA, GABRIEL - AA.VV. Arabia, seu Arabum vicinarumque gentium Orientalium leges, ritus, sacri et profani mores, instituta et historia. Amsterdam, J. Jansson, 1633.Edizione originale10 - SMYTH, Thomas. De Republica Anglorum. Leida, Officina Elzeviriana 1641. In first issue.11 - SPRECHER, Fortunat. -
Die Sammlung Als Sichtbare Kunstgeschichte. Die Dresdner Gemäldegalerie Im 18
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2008 Die Sammlung als sichtbare Kunstgeschichte. Die Dresdner Gemäldegalerie im 18. und 19. Jahrhundert Weddigen, Tristan Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-122978 Habilitation Published Version Originally published at: Weddigen, Tristan. Die Sammlung als sichtbare Kunstgeschichte. Die Dresdner Gemäldegalerie im 18. und 19. Jahrhundert. 2008, Universität Bern, Faculty of Arts. Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2008 Die Sammlung als sichtbare Kunstgeschichte. Die Dresdner Gemäldegalerie im 18. und 19. Jahrhundert Weddigen, Tristan Abstract: Unbekannt Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: http://doi.org/10.5167/uzh-122978 Originally published at: Weddigen, Tristan. Die Sammlung als sichtbare Kunstgeschichte. Die Dresdner Gemäldegalerie im 18. und 19. Jahrhundert. 2008, Universität Bern, Philosophische Fakultät. Die Sammlung als sichtbare Kunstgeschichte Die Dresdner Gemäldegalerie im 18. und 19. Jahrhundert Tristan Weddigen Inhalt Einleitung 7 Westkunstgeschichte in Dresden: von Gerhard Richter bis Caspar David Friedrich (2004) 7 Die Dresdner Gemäldegalerie als Forschungsgegenstand 9 Praktische Hinweise 13 I. VISION EINES MUSEUMS (1742–1749) 15 Francesco Algarotti, Superintendent in spe (1742–1747) 15 ‚Was man haben muss’: Einkaufslisten und Kanones (1743) 15 Legitimation jüngerer Kunst (1743–1746) 17 Geschmacksfragen: ‚comprare con gli occhi, non con gli orecchi’ 21 Museumsprojekte für alte und neue Meister (1742) 23 Zeitgenössische Malerei auf der Hubertusburg (1749–1761) 27 Bernardo Bellottos Ansichten (1749) 29 Contrapposto der Perspektiven 32 Gemäldegalerie und Schaubude als soziale Pendants 34 Utopie und Realität eines Elb-Athens 38 II. -
Bibliographic Details for Works Cited Once Or Very Infrequently Are Given in the Main Part of the Dictionary. Monographs And
Dictionary of pastellists before 1800 BIBLIOGRAPHY Bibliographic details for works cited once or very infrequently are given in the main part of the Dictionary. Monographs and articles cited more frequently are referred to in the abbreviated form of name and date only, with details in this Bibliography; a handful of works (such as B&W, i.e. Besnard & Wildenstein 1928) are referred to by initials only. Catalogues and monographs issued to accompany monographic exhibitions are listed with full details under the relevant artist’s entry, and are elsewhere referred to by artist’s name and date. General exhibition catalogues are cited by town and date, and are not cross-referenced here (full bibliographic details may be found under the Exhibitions tab). Anonymous general catalogues of individual museums’ holdings are found under the Museums tab. Salon critics, including anonymous authors identified with reasonable probability, are found under name and date below; others will be found in the form Anon. nnnn (with letter suffix to distinguish multiple entries) under the Exhibitions file for the year of the exhibition, not of later publication. G. ADRIANI, Verzeichnis der Gemälde, Braunschweig, Martha Babcock AMORY, The domestic and artistic life of A 1969 John Singleton Copley…, Boston, 1882 Agasse 1988, monographic exh., v. Dictionary s.v. artist Louise AMPILOVA-TUIL & Catherine Gosselin, “Une AA, v. Ananoff Daisy AGASSIZ, Benjamin Bolomey 1739–1819. Peintre note sur l’iconographie de Saint-Just: l’histoire du A&W, v. Ananoff e du Stadhouder Guillaume V d’Orange. Étude pastel Le Bas”, Annales historiques de la Révolution Olivier AARON, Dessins insolites du XVIII français, Paris, biographique, Lausanne, 1928 française, 2017/4, 390, pp. -
Download Bibliografia
a cura di Paolo Delorenzi (monografie) e Meri Sclosa (periodici) Bibliografia dell’arte veneta: 2013 Electa Arte Veneta 71 Bibliografia dell’arte veneta (2013) Appendice della rivista omonima, la Bibliografia dell’arte veneta, a cura di Paolo Delorenzi (monografie) e Meri Sclosa (periodici), costituisce un repertorio di pubblicazioni, edite nell’arco di un anno (2013), dedicate ad argomenti di interesse storico-artistico veneto al quale gli studiosi possono fare riferimento come strumento di aggiornamento e orientamento. Un modo per facilitare l’accesso a un ausilio fondamentale per gli studi. OPERE DI CARATTERE GENERALE M. Agazzi, La lettura della storia urbana medievale di Venezia. Forma e struttura nell’opera di Sergio Bettini e Wladimiro Dorigo, in La storia dell’arte a Venezia ieri e oggi: duecento anni di studi, atti del convegno di studi (Venezia, 5-6 novembre 2012), a cura di X. Barral i Altet - M. Gottardi, Venezia, Ateneo Veneto, 2013 (“Ateneo Veneto”, CC, 12/I), pp. 213-229, illustrato. B. Agosti, Il Bembo del Giovio, in Pietro Bembo e le arti, a cura di G. Beltramini - H. Burns - D. Gasparotto, Venezia, Marsilio Editori, 2013, pp. 193-205, illustrato. H. Aurenhammer, L’arte medievale a Venezia: riflessioni viennesi intorno al 1900, in La storia dell’arte a Venezia ieri e oggi: duecento anni di studi, atti del convegno di studi (Venezia, 5-6 novembre 2012), a cura di X. Barral i Altet - M. Gottardi, Venezia, Ateneo Veneto, 2013 (“Ateneo Veneto”, CC, 12/I), pp. 193-211, illustrato. E. Baker, From the Score to the Stage. An Illustrated History of Continental Opera Production and Staging, Chicago-London, The University of Chicago Press, 2013, pp. -
Francesco Pavona Venice, A.1913)
Neil Jeffares, Dictionary of pastellists before 1800 Online edition PAVONA, Francesco Mart, 22.IV.2020, Lot 414 repr., est. €6500– Udine 1695 – Venice 1777 7500) [?attr.; ??identification] ϕα?δν The portraitist studied in Bologna with Marcantonio Franceschini and then travelled widely – he was in Lisbon in 1735, and was later in Madrid, Denmark, Germany and Sweden as well as numerous towns in Italy. He was sufficiently established for the connoisseur Gabburri to have acquired his pastel self-portrait by the time of the 1737 exhibition in Florence. Pavona is said to have used pastel under the influence of Carriera (he was also a pupil of her teacher Balestra and probably taught Crescimbeni, qq.v.), and a letter from him (in J.577.102 FRIEDRICH Markgraf von Brandenburg- Bologna) to her, of 13.XI.1741, exists, Culmbach-Bayreuth (1711–1763), pstl/pchm, mentioning a box of pastels. This influence 1759 (Bayreuth, Altes Schloß Eremitage, LARGER IMAGE predated his 14 year stay in Dresden from 1745 BayEr G122; destroyed a.1945). Lit.: Precerutti ~version, with crown instead of sculpture, pnt., where he was supported by Algarotti. His trip to Garberi 1962, p. 139, fig. 12; Krückmann 95x74, sd “Reis pinx. 1764” (Fürst von Thurn Bayreuth in 1759 – probably also due to 2001, p. 506, repr. p. 696, fig. 2 ϕ u. Taxis; Schloß St Emmeram, Sotheby’s, Algarotti – was the occasion of several portraits 19.X.1993, Lot 3194 repr.) of the Markgraf, which complemented the recent ~cop., min./ivory, p.1759 (Celle, Stiftung Roslin pastel of him, as well as continuing the Tansey). -
Sevilla, 2021
CENTRO DE INVESTIGACIÓN DE LA HISTORIA DE LA ARQUITECTURA Y EL PATRIMONIO ARTÍSTICO ANDALUZ. HUM171. NUEVOS APORTES 2021 1 Sevilla, 2021 CENTRO DE INVESTIGACIÓN DE LA HISTORIA DE LA ARQUITECTURA Y EL PATRIMONIO ARTÍSTICO ANDALUZ. HUM171. NUEVOS APORTES 2021 CENTRO DE INVESTIGACIÓN DE LA HISTORIA DE LA ARQUITECTURA Y EL PATRIMONIO ARTÍSTICO ANDALUZ. HUM171. NUEVOS APORTES 2021 Fernando Cruz Isidoro (Ed.) Sevilla, 2021 Edita: HUM-171. Centro de Investigación de la Historia de la Arquitectura y el Patrimonio Artístico Andaluz © De la edición: HUM171 Centro de Investigación de la Historia de la Arquitectura y el Patrimonio Artístico Andaluz © Del texto y fotografías: Autores Coordina y edita Fernando Cruz Isidoro, IP HUM171 ISBN: 978-84-09-30457-8 Depósito Legal: SE 870-2021 Edición no venal Reservados todos los derechos reconocidos por la legislación en materia de propiedad intelectual. INDICE Fernando Cruz Isidoro: A modo de introducción ..........................................................................................................................................................................................9 Teodoro Falcón Márquez: Leonardo de Figueroa (1654-1730). Evolución y rasgos característicos de sus obras ..................................................................13 José Manuel Moreno Arana: El ocaso de la casa barroca en Jerez de la Frontera: la vivienda de Antonio Ruiz de la Ravia (1787) ..................................39 Alejandro Román López: Un espacio funerario: la capilla de los Carranza en la parroquia