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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. -
EUI Working Papers
DEPARTMENT OF HISTORY AND CIVILIZATION EUI Working Papers HEC 2010/02 DEPARTMENT OF HISTORY AND CIVILIZATION Moving Elites: Women and Cultural Transfers in the European Court System Proceedings of an International Workshop (Florence, 12-13 December 2008) Giulia Calvi and Isabelle Chabot (eds) EUROPEAN UNIVERSITY INSTITUTE , FLORENCE DEPARTMENT OF HISTORY AND CIVILIZATION Moving Elites: Women and Cultural Transfers in the European Court System Proceedings of an International Workshop (Florence, 12-13 December 2008) Edited by Giulia Calvi and Isabelle Chabot EUI W orking Paper HEC 2010/02 This text may be downloaded for personal research purposes only. Any additional reproduction for other purposes, whether in hard copy or electronically, requires the consent of the author(s), editor(s). If cited or quoted, reference should be made to the full name of the author(s), editor(s), the title, the working paper or other series, the year, and the publisher. ISSN 1725-6720 © 2010 Giulia Calvi and Isabelle Chabot (eds) Printed in Italy European University Institute Badia Fiesolana I – 50014 San Domenico di Fiesole (FI) Italy www.eui.eu cadmus.eui.eu Abstract The overall evaluation of the formation of political decision-making processes in the early modern period is being transformed by enriching our understanding of political language. This broader picture of court politics and diplomatic networks – which also relied on familial and kin ties – provides a way of studying the political role of women in early modern Europe. This role has to be studied taking into account the overlapping of familial and political concerns, where the intersection of women as mediators and coordinators of extended networks is a central feature of European societies. -
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. -
Allestimenti Di Ritratti E Narrative Storico Genealogiche Nei Palazzi Fiorentini, Ca
COLLANA ALTI STUDI SULL’ETÀ E LA CULTURA DEL BAROCCO PASQUALE FOCARILE Allestimenti di ritratti e narrative storico genealogiche nei palazzi fiorentini, ca. 1650-1750 COLLANA ALTI STUDI SULL’ETÀ E LA CULTURA DEL BAROCCO V - IL RITRATTO Fondazione 1563 per l’Arte e la Cultura della Compagnia di San Paolo Sede legale: Corso Vittorio Emanuele II, 75 – 10128 Torino Sede operativa: Piazza Bernini, 5 – 10138 Torino Tel. 011 4401401 – Fax 011 4401450 – [email protected] Codice fiscale: 97520600012 Consiglio di Amministrazione 2018-2020: Piero Gastaldo (Presidente), Walter Barberis (Vicepresidente) Consiglieri: Allegra Alacevich, Laura Barile, Blythe Alice Raviola Direttore scientifico del Programma Barocco: Michela di Macco Direttore: Anna Cantaluppi Vicedirettore: Elisabetta Ballaira Consiglio di Amministrazione 2015-2017: Rosaria Cigliano (Presidente), Michela di Macco (Vicepresidente) Consiglieri: Allegra Alacevich, Walter Barberis, Stefano Pannier Suffait Direttore: Anna Cantaluppi Responsabile culturale: Elisabetta Ballaira Programma di Studi sull’Età e la Cultura del Barocco Borse di Alti Studi 2017 Tema del Bando 2017: Il Ritratto (1680-1750) Assegnatari: Chiara Carpentieri, Pasquale Focarile, Ludovic Jouvet, Fleur Marcais, Pietro Riga, Augusto Russo Tutor dei progetti di ricerca: Cristiano Giometti, Cinzia M. Sicca, Lucia Simonato, Alain Schnapp, Beatrice Alfonzetti, Francesco Caglioti Cura editoriale: Alice Agrillo È vietata la riproduzione, anche parziale e con qualsiasi mezzo effettuata, non autorizzata. L’Editore si scusa per -
Museo Di Palazzo Davanzati
Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze collana diretta da Antonio Paolucci 29 Museo di Palazzo Davanzati Guida alla visita del museo a cura di Rosanna Caterina Proto Pisani e Maria Grazia Vaccari Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze Musei del Collezionismo storico Museums of Historical Collecting Museo di Palazzo Davanzati Sotto l’Alto Patronato del Presidente della Repubblica / Under the High Patronage of the President of the Italian Republic Con il patrocinio di / Under the sponsorship of Ministero per i Beni e le Attività Culturali Enti promotori / Promoted by Ente Cassa di Risparmio di Firenze Regione Toscana Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze In collaborazione con / In collaboration with Direzione Regionale per i Beni Culturali e Paesaggistici della Toscana Comune di Firenze Realizzazione / Production Ente Cassa di Risparmio di Firenze – Ufficio Progetti Culturali motu proprio Supervisione generale / General supervision Antonio Gherdovich Coordinamento generale e di progetto / General and project coordination Marcella Antonini e Barbara Tosti Segreteria scientifica / Secretary Paola Petrosino Comitato Scientifico / Committee of Experts Presidente / President Antonio Paolucci Cristina Acidini Luchinat, Kirsten Aschengreen Piacenti, Rosanna Caterina Proto Pisani, Cristina -
Nuova Raccolta Di Lettere Sulla Pittura, Scultura Ed Architettura, Scritte Da'più Celebri Personaggi Dei Secoli XV. A
Ulrich Middeldorf V ' I ARTS|t; > u \ { 8K NUOVA RACCOLTA DI LETTERE SULLA ITTURA , SCULTURA ED ARCHITETTURA scritte dai più celebri personaggi DEI SECOLI XV. A XIX. CON NOTE ED ILLUSTRAZIONI DI MICHELANGELO GUALANDI * in aggiunta a quella data in luce DA MONS. BOTTÀRI E DAL TICOZZI Voi. III. BOLOGNA 1856. a spese dell'Editore ed Annotatore. .\ • <vf ... ... izS Sdfào^e ec/S&nno/a/ore intende cu acacie ctce 0-enrA.zi accow/déi aacca convenzione tù/iuta/a fea ale. cfta/t 'Jcg/iani óeu/a/iro/iwefà S&réidàtca , ec. Tipografia all' ANCORA. 65Ò Wr5 Jl volume terzo della pre- sente raccolta , che poteva com- parire alcuni anni or sono, vede ora soltanto la luce ; una sequela di avvenimenti più o meno in- fausti , come già dicemmo nel nostro manifesto del 18 maggio corrente anno, ci obbligarono di protrarre a tempi migliori il no- stro divisamento. Ora che le cose del mondo sembrano promettere 4 giorni più tranquilli, e che molti onorevoli personaggi ed amici ci sollecitano air opera , eccoci a continuare la nostra raccolta di Lettere artistiche. Possano le nostre incessanti cure essere ognora gradite, per darci animo a compiere V altra raccolta di — Memorie Originali di Belle Arti , della quale pub- blicammo sei Serie , cui farà se- guito un'Appendice quasi con- dotta a termine. Bologna 15 settembre 1856. *M>ccne/anaeio GaaCanc/i "'~' rr,r m~T*mlt*m ' <'* t 7zzz» :/ m-i-r-~" NUOVA RACCOLTI DI LETTERE N. 301. ANNO 1536. Pàolo Sanmicheli da Porlezza (1) scultore a GìahFrancesco de Grata al- tro scultore. -
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. -
Anecdotal Insights: Changing Perceptions of Italian Women Artists in Eighteenth-Century Life Stories Julia K
University of Minnesota Morris Digital Well University of Minnesota Morris Digital Well Art History Publications Faculty and Staff choS larship 2008 Anecdotal Insights: Changing Perceptions of Italian Women Artists in Eighteenth-Century Life Stories Julia K. Dabbs University of Minnesota, Morris, [email protected] Follow this and additional works at: https://digitalcommons.morris.umn.edu/arthistory Part of the Other History of Art, Architecture, and Archaeology Commons, and the Women's History Commons Recommended Citation Dabbs, “Anecdotal Insights: Changing Perceptions of Italian Women Artists in 18th-century Life Stories.” Eighteenth-Century Women 5 (2008): 29-51. This Article is brought to you for free and open access by the Faculty and Staff choS larship at University of Minnesota Morris Digital Well. It has been accepted for inclusion in Art History Publications by an authorized administrator of University of Minnesota Morris Digital Well. For more information, please contact [email protected]. Anecdotal Insights: Changing Perceptions of Italian Women Artists in Eighteenth-Century Life Stories Julia K. Dabbs “Why can’t a woman be more like a man?” Professor Henry Higgins’s androcentric lament from the musical My Fair Lady would have resounded with male biographers of the eighteenth century who wrote about the perplexing phenomenon of the woman artist. Since the Renaissance, writers of artistic biographical compendia had char- acterized the few female artists included in their volumes in distinctly different ways from their -
Catalogue Designer: Laura Scivoli Exhibition Material Visual Design: He Zhao
Index Silent Narratives. Curatorial Concept - Mei Huang .................................................................................... 7 Silent Narratives: A Polyphony Of Stories And Journeys - Dr. Laia Manonelles Moner ................................... 20 Interview on the Exhibition Silent Narratives - Wang Hui ............................................................................. 24 Chinese Hall ............................................................................................................................. 33 Wu Guanzhen .......................................................................................................................... 35 Liu Jianhua ............................................................................................................................... 42 Wang Sishun ............................................................................................................................ 44 Shen Ruijun .............................................................................................................................. 50 Zong Ning ............................................................................................................................... 52 Ding Shiwei .............................................................................................................................. 56 European Hall ......................................................................................................................... 99 Yang Song .............................................................................................................................. -
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. -
Making the Invisible Visible: the Presence of Older Women Artists in Early Modern Artistic Biography
University of Minnesota Morris Digital Well University of Minnesota Morris Digital Well Art History Publications Faculty and Staff choS larship 2017 Making the Invisible Visible: The rP esence of Older Women Artists in Early Modern Artistic Biography Julia K. Dabbs University of Minnesota, Morris, [email protected] Follow this and additional works at: https://digitalcommons.morris.umn.edu/arthistory Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the Women's Studies Commons Recommended Citation Dabbs, Julia K. “Making the Invisible Visible: The rP esence of Older Women Artists in Early Modern Artistic Biography.” Ageing Women in Literature and Visual Culture. Eds. Cathy McGlynn, Margaret O’Neill and Michaela Schrage-Früh. Springer/Palgrave Macmillan, 2017. 23-40. This Book Chapter is brought to you for free and open access by the Faculty and Staff choS larship at University of Minnesota Morris Digital Well. It has been accepted for inclusion in Art History Publications by an authorized administrator of University of Minnesota Morris Digital Well. For more information, please contact [email protected]. Making the Invisible Visible: The Presence of Older Women Artists in Early Modern Artistic Biography [final formatted version for publication in Ageing Women in Literature and Visual Culture, Palgrave Macmillan, 2017] Julia K. Dabbs Introduction In the early modern period (i.e., from 1400-1800), professional women artists were greatly outnumbered by their male counterparts given that women were typically deterred from working, training, or being educated outside the home. Women were also perceived as lacking the necessary physical strength, and the intelligence, to succeed as fine artists (Boccaccio 2001, 251). -
Inventario Fondo Fotografico Airoldi
6.4 Inventario Fondo Fotografico Airoldi ID immagine autore soggetto/ev. numero inventario della foto dim. cartone A0001 (scultura) C.rigido A0002 Ed. Brogi. Firenze 4721 C.rigido A0003 Ed. Brogi. Firenze 4763 C.rigido A0004 Ed. Brogi. Firenze 9703 C.rigido A0005 Ed. Brogi. Firenze C.rigido A0006 Ed. Brogi. Firenze C.rigido A0007 Ed. Brogi. Firenze C.rigido A0008 Ed. Brogi. Firenze 3887. Firenze. Loggia. Perseo di Benvenuto Cellini C.rigido A0009 Ed. Brogi. Firenze C.rigido A0010 Monumento funebre C.rigido A0011 Bassorilievo C.rigido A0012 Monumento funebre C.rigido A0013 Monumento funebre (Moncenigo) C.rigido A0014 Monumento funebre (S.Maria delle Grazie) C.rigido A0015 3183 Giuliano da Ml C.rigido A0016 5414 Firenze. Michelangelo C.rigido A0017 7231 Michelangelo C.rigido A0018 3545 C.rigido A0019 4702a C.rigido A0020 5891 C.rigido Page 1 of 37 A0021 3474 Formella Ghiberti C.rigido A0022 3904 C.rigido A0023 3903 C.rigido A0024 4629 C.rigido A0025 3212 S.Lorenzo C.rigido A0026 5416 Firenze C.rigido A0027 3102 Firenze C.rigido A0028 4438 Firenze C.rigido A0029 5415 C.rigido A0030 4752 C.rigido Fotografia dell'Emilia. A0031 Bologna. 3199 C.rigido A0032 99 C.rigido A0033 101 C.rigido A0034 busto femminile C.rigido A0035 bassorilievo C.rigido A0036 1303 Antinoo M.Vat C.rigido A0037 1309 M.Vat Apoyomenos C.rigido A0038 1315 C.rigido A0039 1316 M. Vat. Arianna C.rigido A0040 1318 M. Vat Augusto C.rigido A0041 1449 Sileno con bacco infante M.Vat. C.rigido A0042 1427 Niobe M.Vat.