Exegesis and Dissimulation in Visual Treatises
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Xerox University Microfilms
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L'oceano Di Alessandro Tassoni
Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Filologia e letteratura italiana Tesi di Laurea L’Oceano di Alessandro Tassoni Relatore Ch.ma Prof.ssa Daria Perocco Laureando Elena Zandomeneghi Matricola 832705 Anno Accademico 2015 / 2016 INDICE PREMESSA p. 2 CAPITOLO 1: ALESSANDRO TASSONI Biografia p. 5 Bibliografia ragionata p. 12 Studi critici p. 44 CAPITOLO 2: OCEANO Introduzione p. 49 Lettera scritta ad un amico p. 51 Oceano p. 61 CAPITOLO 3: COMMENTO Genesi dell‟opera p. 112 Struttura p. 124 Osservazioni p. 134 Confronti p. 140 CONCLUSIONI p. 154 BIBLIOGRAFIA p. 156 1 PREMESSA Il fine che questo lavoro di ricerca si propone è molteplice. Primaria sicuramente è l‟intenzione di introdurre ad una lettura ragionata del poema Oceano di Alessandro Tassoni, nell‟ottica di fornire in secondo luogo un ulteriore punto di vista per la comprensione delle tante sfaccettature della personalità tassoniana e per metterla infine in relazione col contesto culturale e col panorama letterario in cui si innestava. Quest‟opera non è stata completata dal suo autore e si arresta improvvisamente a metà della seconda ottava del secondo canto, per un totale di settantasette strofe e mezza composte. Restano ad oggi diversi dubbi sulla data di composizione dell‟opera, sul perché della sua interruzione e sulla scelta del tema poi abbandonato. Oceano, infatti, è un poema che si propone di narrare le gloriose gesta dell‟eroe Cristoforo Colombo e delle sue avventure alla scoperta del nuovo mondo. L‟indagine è stata suddivisa in tre capitoli. Il primo si intitola Alessandro Tassoni ed è a sua volta articolato in tre parti. -
Acollection of Correspondence
© 2012 Capuchin Friars of Australia. All Rights Reserved. A COLLECTION OF CORRESPONDENCE Some Letters … and other things, from Sixteenth Century Italy in their original languages Bernardo, ben potea bastarvi averne Co’l dolce dir, ch’a voi natura infonde, Qui dove ‘l re de’ fiume ha più chiare onde, Acceso i cori a le sante opre eterne; Ché se pur sono in voi pure l’interne Voglie, e la vita al destin corrisponde, Non uom di frale carne e d’ossa immonde, Ma sète un voi de le schiere sperne. Or le finte apparenze, e ‘l ballo, e ‘l suono, Chiesti dal tempo e da l’antica usanza, A che così da voi vietate sono? Non fôra santità,capdox fôra arroganza Tôrre il libero arbitrio, il maggior dono Che Dio ne diè ne la primera stanza.1 Compiled by Paul Hanbridge Fourth edition, formerly “A Sixteenth Century Carteggio” Rome, 2007, 2008, Dec 2009 1 “Bernardo, it should be enough for you / With that sweet speech infused in you by Nature, / To light our hearts to high eternal works, / Here where the King of Rivers flows most clearly. / Since your own inner wishes are sincere, / And your own life reflects a pure intent, / You’re ra- ther an inhabitant of heaven. /As to these masquerades, dances, and music, /Sanctioned by time and by ancient custom - /Why do you now forbid them in your sermons? /Holiness it is not, but arrogance to take away free will, the highest gift/ Which God bestowed on us from the begin- ning.” Tullia d’Aragona (c. -
Download Artwork Tear Sheet
Federico Barocci (Urbino, 1535 – Urbino, 1612) Man Reading, c. 1605–1607 Oil on canvas (old relining) 65.5 x 49.5 cm On the back, label printed in red ink: Emo / Gio Battist[a] Provenance – Collection of Cardinal Antonio Barberini. Inventory 1671: "130 – Un quadro di p.mi 3 ½ inc.a di Altezza, e p.mi 3 di largha’ Con Mezza figura con il Braccio incupido [incompiuto] appogiato al capo, e nell’altra Un libro, opera di Lodovico [sic] Barocci Con Cornice indorata n° 1-130" – Paris, Galerie Tarantino until 2018 Literature – Andrea Emiliani, "Federico Barocci. Étude d’homme lisant", in exh. cat. Rome de Barocci à Fragonard (Paris: Galerie Tarantino, 2013), pp. 18–21, repr. – Andrea Emiliani, La Finestra di Federico Barocci. Per una visione cristologica del paesaggio urbano, Bologne (Faenza: Carta Bianca, 2016), p. 118, repr. Trained in the Mannerist tradition in Urbino and Rome, Federico Barocci demonstrated from the outset an astonishing capacity to assimilate the art of the masters. Extracting the essentials from a pantheon comprising Raphael, the Venetians and Correggio, he perfected a language at once profoundly personal and attuned to the issues raised by the Counter-Reformation. After an initial grounding in his native Urbino by Battista Franco and his uncle, Bartolommeo Genga, he went to Rome under the patronage of Cardinal della Rovere and studied Raphael while working with Taddeo Zuccaro. During a second stay in Rome in 1563 he was summoned by Pope Pius VI to help decorate the Casino del Belvedere at the Vatican, but in the face of the hostility his success triggered on the Roman art scene he ultimately fled the city – the immediate cause, it was said, being an attempted poisoning by rivals whose aftereffects were with him for the rest of his life. -
What the Renaissance Knew II
Art of the Rinascimento Piero Scaruffi Copyright 2018 http://www.scaruffi.com/know 1 What the Rinascimento knew • Prodromes of the Rinascimento (Firenze) – Giotto: Naturalism + Classicism – Santa Maria Novella 1278-1360 – Santa Croce 1295-1442 (Arnolfo di Cambio) – Palazzo Vecchio 1299-1314 (Arnolfo di Cambio) – Duomo, except dome 1296-1366 (Arnolfo di Cambio) – Campanile 1334 (Giotto) – Doors of the Baptistery of Firenze (Lorenzo Ghiberti) – Donatello 2 What the Rinascimento knew • Art of the Rinascimento – Medieval mindset • The human race fell from grace and is living in hell, waiting for the end of the world that is coming soon • Contemplative life – The new mindset in Italian city-states • The world is full of opportunities, and paradise is here if you can make it happen • Active life 3 What the Rinascimento knew • Art of the Rinascimento – Medieval aesthetic • Originality is not a value • Imitation is prescribed, almost mandatory • Plagiarism is the way to broadcast ideas • Cooperation among "artists", not competition • The artist is just one of many craftsmen cooperating on building the city • The artist is a servant • Little imagination and little realism • Most paintings are for church walls or wooden panels 4 What the Rinascimento knew • Art of the Rinascimento – The new aesthetic in Italian city-states • Originality • The artist is a creator • Lots of imagination and lots of realism • Rediscovery of Greek and Roman art • Easel painting become more common 5 What the Rinascimento knew • Art of the Rinascimento – Patronage of the -
California State University, Northridge
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Palazzo del Te: Art, Power, and Giulio Romano’s Gigantic, yet Subtle, Game in the Age of Charles V and Federico Gonzaga A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Interdisciplinary Studies with emphases in Art History and Political Science By Diana L. Michiulis December 2016 The thesis of Diana L. Michiulis is approved: ___________________________________ _____________________ Dr. Jean-Luc Bordeaux Date ___________________________________ _____________________ Dr. David Leitch Date ___________________________________ _____________________ Dr. Margaret Shiffrar, Chair Date California State University, Northridge ii ACKNOWLEDGEMENTS I would like to convey my deepest, sincere gratitude to my Thesis Committee Chair, Dr. Margaret Shiffrar, for all of her guidance, insights, patience, and encourage- ments. A massive "merci beaucoup" to Dr. Jean-Luc Bordeaux, without whom completion of my Master’s degree thesis would never have been fulfilled. It was through Dr. Bordeaux’s leadership, patience, as well as his tremendous knowledge of Renaissance art, Mannerist art, and museum art collections that I was able to achieve this ultimate goal in spite of numerous obstacles. My most heart-felt, gigantic appreciation to Dr. David Leitch, for his leadership, patience, innovative ideas, vast knowledge of political-theory, as well as political science at the intersection of aesthetic theory. Thank you also to Dr. Owen Doonan, for his amazing assistance with aesthetic theory and classical mythology. I am very grateful as well to Dr. Mario Ontiveros, for his advice, passion, and incredible knowledge of political art and art theory. And many thanks to Dr. Peri Klemm, for her counsel and spectacular help with the role of "spectacle" in art history. -
Henryk Siemiradzki and the International Artistic Milieu
ACCADEMIA POL ACCA DELLE SCIENZE DELLE SCIENZE POL ACCA ACCADEMIA BIBLIOTECA E CENTRO DI STUDI A ROMA E CENTRO BIBLIOTECA ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU FRANCESCO TOMMASINI, L’ITALIA E LA RINASCITA E LA RINASCITA L’ITALIA TOMMASINI, FRANCESCO IN ROME DELLA INDIPENDENTE POLONIA A CURA DI MARIA NITKA AGNIESZKA KLUCZEWSKA-WÓJCIK CONFERENZE 145 ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA ISSN 0239-8605 ROMA 2020 ISBN 978-83-956575-5-9 CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU IN ROME ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU IN ROME A CURA DI MARIA NITKA AGNIESZKA KLUCZEWSKA-WÓJCIK. ROMA 2020 Pubblicato da AccademiaPolacca delle Scienze Bibliotecae Centro di Studi aRoma vicolo Doria, 2 (Palazzo Doria) 00187 Roma tel. +39 066792170 e-mail: [email protected] www.rzym.pan.pl Il convegno ideato dal Polish Institute of World Art Studies (Polski Instytut Studiów nad Sztuką Świata) nell’ambito del programma del Ministero della Scienza e dell’Istruzione Superiore della Repubblica di Polonia (Polish Ministry of Science and Higher Education) “Narodowy Program Rozwoju Humanistyki” (National Programme for the Develop- ment of Humanities) - “Henryk Siemiradzki: Catalogue Raisonné of the Paintings” (“Tradition 1 a”, no. 0504/ nprh4/h1a/83/2015). Il convegno è stato organizzato con il supporto ed il contributo del National Institute of Polish Cultural Heritage POLONIKA (Narodowy Instytut Polskiego Dziedzictwa Kul- turowego za Granicą POLONIKA). Redazione: Maria Nitka, Agnieszka Kluczewska-Wójcik Recensione: Prof. -
Download AAMD Testimony to CPAC on Request for Extension of MOU
Statement of the Association of Art Museum Directors Concerning the Proposed Extension of the Memorandum of Understanding between the Government of the United States of America and the Government of the Republic of Italy Concerning the Imposition of Import Restrictions on Categories of Archaeological Material Representing the Pre-Classical, Classical, and Imperial Roman Periods of Italy, as Amended Meeting of the Cultural Property Advisory Committee April 8, 2015 I. Introduction This statement is made on behalf of the Association of Art Museum Directors (the “AAMD”) regarding the proposed renewal of the Agreement Between the Government of the United States of America and the Government of the Republic of Italy, last amended and extended on January 11, 2011 (the “MOU”). II. General Background American art museums generally have experienced a history of cooperation both with Italian museums and the Italian Cultural Ministry built on mutual assistance and shared interests in their respective arts and cultural heritage. American art museums have been generous in sharing works from their collections with their Italian counterparts and have also worked extensively across a wide range of activities to assist Italians in protecting their cultural heritage. In fact, for many of the large and mid-sized collecting museums, the number of works of art traveling to Italian museums exceeds the reverse. An integral part of the cultural exchanges between American museums and Italian museums are loans of works of art. In these exchanges, usually the American -
A History of Italian Literature Should Follow and Should Precede Other and Parallel Histories
I. i III 2.3 CORNELL UNIVERSITY LIBRARY C U rar,y Ubrary PQ4038 G°2l"l 8t8a iterature 1lwBiiMiiiiiiiifiiliiii ! 3 1924 oim 030 978 245 Date Due M#£ (£i* The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924030978245 Short Histories of the Literatures of the World: IV. Edited by Edmund Gosse Short Histories of the Literatures of the World Edited by EDMUND GOSSE Large Crown 8vOj cloth, 6s. each Volume ANCIENT GREEK LITERATURE By Prof. Gilbert Murray, M.A. FRENCH LITERATURE By Prof. Edward Dowden, D.C.L., LL.D. MODERN ENGLISH LITERATURE By the Editor ITALIAN LITERATURE By Richard Garnett, C.B., LL.D. SPANISH LITERATURE By J. Fitzmaurice-Kelly [Shortly JAPANESE LITERATURE By William George Aston, C.M.G. [Shortly MODERN SCANDINAVIAN LITERATURE By George Brandes SANSKRIT LITERATURE By Prof. A. A. Macdonell. HUNGARIAN LITERATURE By Dr. Zoltan Beothy AMERICAN LITERATURE By Professor Moses Coit Tyler GERMAN LITERATURE By Dr. C. H. Herford LATIN LITERATURE By Dr. A. W. Verrall Other volumes will follow LONDON: WILLIAM HEINEMANN \AU rights reserved] A .History of ITALIAN LITERATURE RICHARD GARNETT, C.B., LL.D. Xon&on WILLIAM HEINEMANN MDCCCXCVIII v y. 1 1- fc V- < V ml' 1 , x.?*a»/? Printed by Ballantyne, Hanson &* Co. At the Ballantyne Press *. # / ' ri PREFACE "I think," says Jowett, writing to John Addington Symonds (August 4, 1890), "that you are happy in having unlocked so much of Italian literature, certainly the greatest in the world after Greek, Latin, English. -
A Transcription and Translation of Ms 469 (F.101R – 129R) of the Vadianische Sammlung of the Kantonsbibliothek of St. Gallen
A SCURRILOUS LETTER TO POPE PAUL III A Transcription and Translation of Ms 469 (f.101r – 129r) of the Vadianische Sammlung of the Kantonsbibliothek of St. Gallen by Paul Hanbridge PRÉCIS A Scurrilous Letter to Pope Paul III. A Transcription and Translation of Ms 469 (f.101r – 129r) of the Vadianische Sammlung of the Kantonsbibliothek of St. Gallen. This study introduces a transcription and English translation of a ‘Letter’ in VS 469. The document is titled: Epistola invectiva Bernhardj Occhinj in qua vita et res gestae Pauli tertij Pont. Max. describuntur . The study notes other versions of the letter located in Florence. It shows that one of these copied the VS469, and that the VS469 is the earliest of the four Mss and was made from an Italian exemplar. An apocryphal document, the ‘Letter’ has been studied briefly by Ochino scholars Karl Benrath and Bendetto Nicolini, though without reference to this particular Ms. The introduction considers alternative contemporary attributions to other authors, including a more proximate determination of the first publication date of the Letter. Mario da Mercato Saraceno, the first official Capuchin ‘chronicler,’ reported a letter Paul III received from Bernardino Ochino in September 1542. Cesare Cantù and the Capuchin historian Melchiorre da Pobladura (Raffaele Turrado Riesco) after him, and quite possibly the first generations of Capuchins, identified the1542 letter with the one in transcribed in these Mss. The author shows this identification to be untenable. The transcription of VS469 is followed by an annotated English translation. Variations between the Mss are footnoted in the translation. © Paul Hanbridge, 2010 A SCURRILOUS LETTER TO POPE PAUL III A Transcription and Translation of Ms 469 (f.101r – 129r) of the Vadianische Sammlung of the Kantonsbibliothek of St. -
Characteristics of Baroque Solid Space in the Perspectival Tabernacle of Bitonti and Borromini in Bologna Giuseppe Amoruso
1 / 2017 Characteristics of Baroque Solid Space in the Perspectival Tabernacle of Bitonti and Borromini in Bologna Giuseppe Amoruso Abstract The research presents an analysis of the tabernacle designed in Bologna by Giovanni Maria da Bitonto who, with Francesco Bor- romini, created the perspectival gallery for the Spada Palace in Rome. The tabernacle perspective works as a projective system which accelerates the natural perspective perception and modifies environmental and spatial features, of the built scenography. The construction technique is complex if applied to architectural space: Donato Bramante realized it, for the first time, in Milan, in the choir of Santa Maria at San Satiro. The spatial fruition of perspective, usually linked to central perspective or to psychological and perceptive phenomenon, became ‘real’. The projective principle is the one known as ‘relief-perspective’, or designed to be used as a scenography or temporary installation. The survey of the tabernacle, in the church of San Paolo Maggiore in Bologna, reveals a small illusory space and also introduces a true protagonist of solid perspective applications, Giovanni Maria Bitonti. The research presents a graphic study of the perspective concept housed in the National Archive of Bologna and an accurate reconstruction of the solid perspective, using the most advanced techniques of digital documentation. The drawing examined has a graphic scale, in Bolognese feet; the drawing is of the model representing real architecture, making it comparable with the drawing of Spada Gallery conserved in the Albertina Library in Vienna. Keywords: solid perspective, Giovanni Maria Bitonti, Francesco Borromini, solid homology, illusory space Introduction In 1666, the Bolognese Antonio Masini used, for the first dows, perspectives, and similar things, which made it double” time, the term “quadrature,” in referring to a perspective ap- [Neppi 1975, p. -
Angelo Maria Bandini in Viaggio a Roma (1780-1781)
Biblioteche & bibliotecari / Libraries & librarians ISSN 2612-7709 (PRINT) | ISSN 2704-5889 (ONLINE) – 3 – Biblioteche & bibliotecari / Libraries & librarians Comitato Scientifico / Editorial board Mauro Guerrini, Università di Firenze (direttore) Carlo Bianchini, Università di Pavia Andrea Capaccioni, Università di Perugia Gianfranco Crupi, Sapienza Università di Roma Tom Delsey, Ottawa University José Luis Gonzalo Sánchez-Molero, Universidad Complutense de Madrid Graziano Ruffini, Università di Firenze Alberto Salarelli, Università di Parma Lucia Sardo, Università di Bologna Giovanni Solimine, Sapienza Università di Roma La collana intende ospitare riflessioni sulla biblioteconomia e le discipline a essa connesse, studi sulla funzione delle biblioteche e sui suoi linguaggi e servizi, monografie sui rapporti fra la storia delle biblioteche, la storia della biblioteconomia e la storia della professione. L’attenzione sarà rivolta in particolare ai bibliotecari che hanno cambiato la storia delle biblioteche e alle biblioteche che hanno accolto e promosso le figure di grandi bibliotecari. The series intends to host reflections on librarianship and related disci- plines, essays on the function of libraries and its languages and services, monographs on the relationships between the history of libraries, the his- tory of library science and the history of the profession. The focus will be on librarians who have changed the history of libraries and libraries that have welcomed and promoted the figures of great librarians. Fiammetta Sabba Angelo