Lettera S Giorgio 20 UK.Indd
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Replicating Paintings
Contemporary Aesthetics (Journal Archive) Volume 16 Volume 16 (2018) Article 16 1-1-2018 Replicating Paintings Matteo Ravasio University of Auckland, [email protected] Follow this and additional works at: https://digitalcommons.risd.edu/liberalarts_contempaesthetics Part of the Aesthetics Commons Recommended Citation Ravasio, Matteo (2018) "Replicating Paintings," Contemporary Aesthetics (Journal Archive): Vol. 16 , Article 16. Available at: https://digitalcommons.risd.edu/liberalarts_contempaesthetics/vol16/iss1/16 This Article is brought to you for free and open access by the Liberal Arts Division at DigitalCommons@RISD. It has been accepted for inclusion in Contemporary Aesthetics (Journal Archive) by an authorized editor of DigitalCommons@RISD. For more information, please contact [email protected]. Replicating Paintings Matteo Ravasio About CA Journal Abstract In this paper, I discuss cases of replication in the visual arts, with Contact CA particular focus on paintings. In the first part, I focus on painted copies, that is, manual reproductions of paintings created by artists. Painted Links copies are sometimes used for the purpose of aesthetic education on the original. I explore the relation between the creation of painted copies Submissions and their use as aesthetic surrogates of the original artwork and draw a Search Journal positive conclusion on the aesthetic benefits of replica production by artists. A skeptical conclusion follows regarding the use of such replicas Enter search terms as surrogates for the original painting. The second part of the paper concerns mechanically produced replicas, such as photographs and 3-D Search prints. On the basis of some of the claims made in the first part, I set conditions that mechanically produced replicas need to meet in order to function as aesthetic surrogates of an original. -
The Wedding at Cana: John 2:1-11
The Wedding at Cana: John 2:1-11 1. Why did Jesus make his inaugural sign a miracle which is hidden from any but the disciples? Why make it contingent on Mary’s persistence? If Mary hadn’t made her request and persisted after Jesus’ first reply, would Jesus still have performed this sign which is so central to his message about the end of the ceremonial law and the coming Messianic feast (cf. Isaiah 25)? 2. Mary knew Jesus, and knew to press even after his first response. What is Mary telling us about Jesus? 3. What is the honor-shame dynamic in this passage? Remember that Jesus didn’t just provide an abundance of fine wine, he also made it impossible for the guests to both remain at the wedding and participate in ceremonial cleansing rites.1 4. Several passages lie between the first and second signs. Are these any ways in which the following passages recall or expand on the Wedding? (a) Jesus cleanses the temple (2:13-25); (b) Jesus and Nicodemus (3:1-21); John the Baptist and Jesus (3:22-36); (c) the Samaritan woman (4:1-42). 5. Jesus has warned of hardship for those who follow the Son of Man, who has no place to lay his head (Lk 9:58). At the same time Jesus dined with dozens of outcasts, fed thousands of followers and probably healed as many or more, and here we see him providing more excellent wine than one person could drink in a year. One could easily conclude that if Jesus is able to generously answer our requests, he is very glad to do so. -
Bibliografia Veronese 2009 2011 Viviani Volpato UV 2014.Indd
G. F. VIVIANI ACCADEMIA DI AGRICOLTURA SCIENZE E LETTERE DI VERONA G. VOLPATO UNIVERSITÀ DEGLI STUDI DI VERONA BIBLIOGRAFIA VERONESE BIBLIOGRAFIA VERONESE (2009-2011) (2009-2011) di GIUSEPPE FRANCO VIVIANI e GIANCARLO VOLPATO Supplemento al vol. 185° degli Atti e Memorie dell’Accademia di Agricoltura Scienze e Lettere di Verona MMXIV VERONA · MMXIV ISBN 978-88-98513-63-5 Volumi pubblicati della “Bibliografia Veronese” Volume I: 1966-1970 (esaurito) Volume II: 1971-1973 (esaurito) Volume III: 1974-1987 (esaurito) Volume IV: 1988-1992 (esaurito) Volume V: 1993-1996 (esaurito) Volume VI: 1997-1999 (esaurito) cd: 1966-1999 (esaurito) Volume VII: 2000-2002 (esaurito) Volume VIII: 2003-2005 Volume IX: 2006-2008 Volume X: 2009-2011 ACCADEMIA DI AGRICOLTURA SCIENZE E LETTERE DI VERONA UNIVERSITÀ DEGLI STUDI DI VERONA BIBLIOGRAFIA VERONESE (2009-2011) di GIUSEPPE FRANCO VIVIANI e GIANCARLO VOLPATO Supplemento al vol. 185° degli Atti e Memorie dell’Accademia di Agricoltura Scienze e Lettere di Verona VERONA · MMXIV Pubblicato con il contributo del Fondo di ricerca (ex 60%) © 2014 - Dipartimento Tempo Spazio Immagine Società (TeSIS) Università degli Studi di Verona Impaginazione e stampa: Tipolitografia «La Grafica», Vago di Lavagno (Verona) ISBN 978-88-98513-63-5 INDICE Presentazione 7 Al Lettore 9 Selezione dalla critica: non per gloria né per interesse 11 Abbreviazioni 25 Avvertenza 29 Piano di classificazione 31 schede bibliografiche Generalità 41 Filosofia e discipline connesse 53 Religione 56 Scienze sociali 71 Linguistica 115 Scienze pure 120 Tecnologia (Scienze applicate) 129 Arti 135 Letteratura 206 Storia e Geografia 239 Indice degli autori 401 Indice dei soggetti 429 PRESENTAZIONE Sono trascorsi molti anni da quando i due autori della Bibliografia veronese hanno cominciato a lavorare assieme: siamo stati abituati, ormai, ad aspetta- re, a ritmi cadenzati ma sempre precisi, i loro volumi. -
The Società Delle Artiste at the 1906 Mostra Nazionale Di Belle Arti in Milan
Artl@s Bulletin Volume 8 Issue 1 Women Artists Shows.Salons.Societies Article 5 (1870s-1970s) “Non più Cenerentole!” The oS cietà delle Artiste at the 1906 Mostra Nazionale di Belle Arti in Milan Chiara Iorino IMT-School for Advanced Studies Lucca, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Iorino, Chiara. "“Non più Cenerentole!” The ocS ietà delle Artiste at the 1906 Mostra Nazionale di Belle Arti in Milan." Artl@s Bulletin 8, no. 1 (2019): Article 5. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. W.A.S. (1870s-1970s) “Non più Cenerentole!” – The Società delle Artiste at the 1906 Mostra Nazionale di Belle Arti in Milan Chiara Iorino * IMT-School for Advanced Studies Lucca Abstract The Society of Women Artists was created in Rome in the house of the painter Ida Salvagnini Bidoli and her husband Francesco Alberto Salvagnini. Its members presented themselves as a group at the National Exhibition of Fine Arts during the International Exhibition of Sempione in Milan in 1906 where they managed to get their own room. -
Allison M. Sherman Phd Thesis
THE LOST VENETIAN CHURCH OF SANTA MARIA ASSUNTA DEI CROCIFERI: FORM, DECORATION, AND PATRONAGE Allison Morgan Sherman A Thesis Submitted for the Degree of PhD at the University of St Andrews 2010 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/1021 This item is protected by original copyright The Lost Venetian Church of Santa Maria Assunta dei Crociferi: Form, Decoration, and Patronage. Allison Morgan Sherman Submitted for the degree of Doctor of Philosophy School of Art History University of St Andrews 1 April 2010 Declaration 1. Candidate’s declarations: I, Allison Morgan Sherman hereby certify that this thesis, which is approximately 79,990 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September 2006 and as a candidate for the degree of Doctor of Philosophy in September 2006; the higher study for which this is a record was carried out in the University of St Andrews between 2006 and 2010. 2. Supervisor’s declaration: I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Doctor of Philosophy in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date signature of supervisor 3. -
Reconsidering Paolo Veronese's Wedding at Cana
The Language of the Banquet: Reconsidering Paolo Veronese’s Wedding at Cana Kate H. Hanson British filmmaker Peter Greenaway’s video installation during the 2009 Venice Biennale took Paolo Veronese’s Wedding at Cana (1562- 63) as its subject.1 The installation, based on a digital reproduction of the painting recently placed in its original home of the San Giorgio refectory, used multiple screens as well as digital and audio effects to dissect the work’s formal structures, highlight specific characters in the scene, and create dramatic effects with music and imagined conversations. Greenaway, in line with the scores of admiring artists preceding him, chose to highlight the more worldly aspects of the work: the gossip amongst guests, worries of servants about food supplies, and soaring music. The continued popularity of this sixteenth century painting clearly indicates that Veronese’s work has the ability to speak to viewers in the twenty-first century as well as its original Renaissance audience [Figure 1]. Two years after Paolo Veronese (1528-88) completed the Wedding at Cana for the refectory of the monastery San Giorgio Maggiore, resident monk Benedetto Guidi recorded his admiration for the work in effusive, poetic verse.2 Specifically, he noted that “[a]ll the sculptors come and the painters to admire it three, four, and six times . and PAOLO [sic.] is praised with eternal fame.”3 This poem stands among the earliest of scores of accolades that the Wedding at Cana has garnered and emphasizes the 1 Greenaway’s multimedia installation at the original refectory of San Giorgio Maggiore (now the Fondazione Giorgio Cini) took place June 6-September 13, 2009 as part of the 2009 Venice Biennale. -
Focus on Italian Renaissance Painting Diagnostic Pretest
Power Up: Focus on Italian Renaissance Painting Diagnostic Pretest All content © 2016 by National Academic Quiz Tournaments, LLC. This study guide may be duplicated for use by players and coaches affiliated with the school that purchased it. It may not be distributed to people unaffiliated with that school. 1. What artist was commissioned by Julius II to paint the 11. What technique, which was invented during the ceiling of the Sistine Chapel? Renaissance and reached its peak later in the paintings answer: Michelangelo (di Lodovico) Buonarroti (Simoni) of Caravaggio, has a name meaning “light‐dark” in (accept either underlined portion) Italian? answer: chiaroscuro 2. What portrait is also known as La Gioconda? answer: Mona Lisa (or Portrait of Lisa Gherardini, wife of 12. What art museum in Florence has a name meaning Francesco del Giocondo) “offices”? answer: Uffizi Gallery (or Uffizi Palace or Galleria degli 3. What artist decorated the Stanza della Segnatura with Uffizi) the frescoes The Parnassus and The School of Athens? answer: Raphael (or Raphaello Sanzio da Urbino or 13. In Renaissance painting, Mary was often depicted Raphael Santi; accept any underlined portion) wearing what color, produced by a costly pigment made from crushing a gemstone called lapis lazuli? 4. A refectory wall in the Convent of Santa Maria delle answer: blue (or ultramarine) Grazie contains what painterʹs Last Supper? answer: Leonardo (di ser Piero) da Vinci (accept either) 14. During which phase of the Renaissance were Giotto, Verrocchio, and Piero della Francesca most active—the 5. What artist painted Primavera and The Birth of Venus? early, middle, or late? answer: Sandro Botticelli [boh-tih-CHELL-ee] (or Alessandro answer: early Renaissance (di Mariano) Filipepi) 15. -
Late Medieval Pet Keeping: Gender, Status and Emotions
1 Late Medieval Pet Keeping: Gender, Status and Emotions Kathleen Fiona Walker-Meikle University College London UMI Number: U593483 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U593483 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 I, Kathleen Fiona Walker-Meikle, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Abstract: This thesis is a social and cultural history of pet keeping across Western Europe in the late medieval period (and the early modem period where relevant). A central argument is that women and clerics were the majority of pet keepers in the period, and a change towards the acceptability of pet keeping by secular lay men was due to the influence of humanist scholars, who kept pets and eulogised them in their literary compositions. Topics discussed in depth are the display of status through pet keeping, practicalities of pet keeping (such as care and food), the place of the pet in space, especially in domestic interiors, social tolerance towards pets and contemporary criticism of the practice, pet keeping by scholars and elegies written in praise of pets. -
N. 16 COP 1,2,3,4 Prova.Ai
16 2017 IL CAPITALE CULTURALE Studies on the Value of Cultural Heritage JOURNAL OF THE SECTION OF CULTURAL HERITAGE Department of Education, Cultural Heritage and Tourism University of Macerata eum Il Capitale culturale Gaetano Maria Golinelli, Xavier Greffe, Alberto Studies on the Value of Cultural Heritage Grohmann, Susan Hazan, Joel Heuillon, n. 16, 2017 Emanuele Invernizzi, Lutz Klinkhammer, Federico Marazzi, Fabio Mariano, Aldo M. ISSN 2039-2362 (online) Morace, Raffaella Morselli, Olena Motuzenko, Giuliano Pinto, Marco Pizzo, Edouard Direttore / Editor Pommier, Carlo Pongetti, Adriano Prosperi, Massimo Montella Angelo R. Pupino, Bernardino Quattrociocchi, Mauro Renna, Orietta Rossi Pinelli, Roberto Co-Direttori / Co-Editors Sani, Girolamo Sciullo, Mislav Simunic, Tommy D. Andersson, Elio Borgonovi, Simonetta Stopponi, Michele Tamma, Frank Rosanna Cioffi, Stefano Della Torre, Michela Vermeulen, Stefano Vitali di Macco, Daniele Manacorda, Serge Noiret, Tonino Pencarelli, Angelo R. Pupino, Girolamo Web Sciullo http://riviste.unimc.it/index.php/cap-cult e-mail Coordinatore editoriale / Editorial Coordinator [email protected] Francesca Coltrinari Editore / Publisher Coordinatore tecnico / Managing Coordinator eum edizioni università di macerata, Centro Pierluigi Feliciati direzionale, via Carducci 63/a – 62100 Macerata Comitato editoriale / Editorial Office tel (39) 733 258 6081 Giuseppe Capriotti, Mara Cerquetti, Francesca fax (39) 733 258 6086 Coltrinari, Patrizia Dragoni, Pierluigi Feliciati, http://eum.unimc.it Valeria Merola, Enrico Nicosia, -
English & Continental Furniture & Decorative Arts Old Master Paintings
ENGLISH & CONTINENTAL FURNITURE & DECORATIVE ARTS OLD MASTER PAINTINGS & DRAWINGS RUSSIAN WORKS OF ART Including The Estate of AILEEN MEHLE & The Collection of JUDITH TAUBMAN Wednesday, May 24 & Thursday, May 25, 2017 NEW YORK SESSION I ENGLISH & CONTINENTAL FURNITURE & DECORATIVE ARTS OLD MASTER PAINTINGS & DRAWINGS THE ESTATE OF AILEEN MEHLE THE COLLECTION OF JUDITH TAUBMAN AUCTION Wednesday, May 24, 2017 at 10am SESSION II RUSSIAN WORKS OF ART ENGLISH & CONTINENTAL FURNITURE & DECORATIVE ARTS AUCTION Thursday, May 25, 2017 at 10am EXHIBITIONS Saturday, May 20, 10am – 5pm Sunday, May 21, Noon – 5pm Monday, May 22, 10am – 6pm LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $35 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF SESSION I Barbara Anspach Old Master Paintings & Drawings 1-114 The Eileen & Herbert C. Bernard Collection The Estate of Aileen Mehle 115-325 Patricia S. Bradshaw The Collection of Judith Taubman 326-366 Donald Brenwasser Silver & Silver Plate 367-418 A Connecticut Collector Furniture & Decorative Arts 419-567 Claudia Cosla, New York Anne H. and John K. Howat SESSION II Mary Kettaneh Russian Works of Art 568-768 Aileen Mehle Furniture & Decorative Arts 769-843 A Private New York Estate Carpets, Rugs & Tapestries 844-873 A New York Estate A New York Lady Harry Oppenheimer Anne Dubonnet Shaio Elizabeth Stoerk The Thurston Collection Helen R. Yellin INCLUDING PROPERTY FROM The Collection of Adolfo Glossary I The Descendants of Grand Duchess Xenia Alexandrovna Conditions -
Ann James Massey, SWA, CPSA, UKCPS 4, Rue Auguste Chabrières 75015 Paris · France (33) 1.75.51.72.45 · Fax (33) 1.40.43.90.38
Ann James Massey, SWA, CPSA, UKCPS 4, rue Auguste Chabrières 75015 Paris · France (33) 1.75.51.72.45 · Fax (33) 1.40.43.90.38 www.annjamesmassey.com [email protected] From the “Massey Fine Arts” newsletter Vol. 8 No. 1, Winter © 2000 – 2001, 2018) by Ann James Massey, SWA, CPSA, UKCPS VERONESE AND “THE WEDDING AT CANA” Art is communication and needs no interpreter. However, there can be histories, anecdotes, and observations that add another dimension to our enjoyment once the artwork has spoken to us. And so it is with Veronese’s “Wedding at Cana.” Paolo Caliari (1528 - 88), called Veronese after his native town of Verona, painted this theatrical biblical scene in 1562 – 63 for the refectory at the Benedictine monastery of S. Giorgio Maggiore in Venice where it inspired the monks until 1798 when Napoleon purloined it and other masterpieces during his conquest of Italy. The painting is so enormous (21.5 x 32.5 feet or 6.55 x 9.91 meters) that it had to be cut in the middle horizontally so that it could be transported to its new home in the Louvre. After Napoleon’s fall, the Neo-Classical sculptor Antonio Canova (1757 – 1822) came to Paris in 1815 as the head of the commission to restore the stolen works to their prior homes. When it was argued that “The Wedding at Cana” should not suffer the necessary division to return it to Venice, Canova agreed and took a not quite so large painting by Charles Lebrun (1619 – 90) in exchange. -
Lettera Da San G Iorgio
Copertina per la stampa UK 12-07-2007 17:13 Pagina 1 Lettera da San Giorgio Lettera da San Paolo Caliari called Veronese, The Wedding at Cana, Paris, Musée du Louvre Year IX, n° 17. Six-monthly publication. September 2007 – February 2008 Spedizione in A.P. Art. 2 Comma 20/C Legge 662/96 DC VE. Tassa pagata / Taxe perçue Copertina per la stampa UK 12-07-2007 17:13 Pagina 3 Contacts Programmes (September 2007 – February 2008) Copertina per la stampa UK 12-07-2007 17:13 Pagina 5 31 August – 6 September Course of Bharata Natyam dance by Raghunath Manet 3 – 7 November Course Interpreting Luigi Nono’s works for live electronics and tape Venice, Island of San Giorgio Maggiore Venice, Island of San Giorgio Maggiore 1 September – 28 October Exhibition Rosalba “prima pittrice de l’Europa” 14 November Concert by the Accademia Musicale di San Giorgio Venice, Palazzo Cini at San Vio Paul Sacher Concerts Venice, Island of San Giorgio Maggiore 1 September – 29 December Hello, Mr. Fogg! Round the world in music on fifty-two Saturdays Venice, Palazzo Cini at San Vio 15 – 16 November International Workshop The new forms of cultural co-operation in the globalised world 11 September Inauguration of the exhibition The Miracle of Cana. Originality through Venice, Island of San Giorgio Maggiore re-production Venice, Island of San Giorgio Maggiore 28 November Polyphonies “in viva voce” 11 Seminar Female Polyphonies from Georgia 12 – 14 September I Dialoghi di San Giorgio Concert by the ensemble Mzetamtze Inheriting the past. Tradition, translation, betrayal, innovation Venice, Island of San Giorgio Maggiore Venice, Island of San Giorgio Maggiore 29 November Concert by the Ex Novo Ensemble 15 September – 30 September Exhibition Giuseppe Santomaso (1907-1990) 12 October – 16 December The Miracle of Cana.