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Nel Foro Volano Le Api D'oro
2021 Nel foro volano le api d’oro AN INSTALLATION BY RAFFAELE CURI In the Torre dei Santi Luca e Martina at the Roman Forum via della Curia 4 The UN General Assembly decided to declare 20 May as World Bee Day, the aim being to help preserve the existence of an insect of vital importance for life on earth. To mark this day, the Fondazione Alda Fendi – Esperimenti is presenting its new artistic experiment in the Torre dei Santi Luca e Martina in the Roman Forum: the installation Nel Foro volano le api d’oro – Teocrito [In the Forum Fly Golden Bees – Theocritus] by the artist Raffaele Curi, on view from 20 May to 21 June 2021. Admission free. Two visitors may enter at a time. 2 Rome 20 may - 21 june 2021 3 Bees are at the centre of the vision of Raffaele Curi, who illuminates with golden reflections one of the most beautiful places in the world – the heart of the Caput Mundi, among ancient remains testifying to the power of ancient Rome – in a dialogue with the Baroque of Pietro da Cortona, the architect who designed the church of Santi Luca e Martina in front of the Mamertine Prison where Saint Peter was once imprisoned. 4 A sense of sacredness pervades the entire installation, which collates photographs and images borrowed from art history, with a synchronic gaze so bold as to bring together different cultures and epochs and to erase any temporal distance. Visitors find themselves walking on a carpet of words moved by the breeze, while the air is filled with the song of bees, with their busy conversations, incomprehensible to us and yet pervaded by a hypnotic and profound musicality. -
Annuario 2013-2014 Accademia Nazionale Di San Luca Indice Annuario 2013-2014 a Cura Di Francesco Moschini Annuario 2013-2014
ACCADEMIA NAZIONALE DI SAN LUCA ANNUARIO 2013-2014 ACCADEMIA NAZIONALE DI SAN LUCA INDICE Annuario 2013-2014 a cura di Francesco Moschini Annuario 2013-2014 7 Oltre quattro secoli di storia. Verso il futuro Elaborazione e aggiornamento contenuti 15 Statuto dell’Accademia Nazionale di San Luca Simona Antonelli 27 Regolamento dello Statuto Laura Bertolaccini 31 Consoli dell’Università di San Luca Elisa Camboni Anna Maria De Gregorio 33 Principi dell’Accademia di San Luca Isabella Fiorentino 37 Presidenti dell’Accademia di San Luca Antonella Lavorgna Alessio Miccinilli Albo dell’Accademia 41 Presidenza 2013-2014 42 Consiglio accademico 43 Cariche accademiche 44 Accademici Nazionali Pittori 46 Accademici Nazionali Scultori 48 Accademici Nazionali Architetti 50 Accademici Stranieri Pittori Coordinamento e cura redazionale 50 Accademici Stranieri Scultori Laura Bertolaccini 51 Accademici Stranieri Architetti 52 Accademici Cultori Italiani e Stranieri 54 Accademici Benemeriti Italiani e Stranieri 56 Accademici scomparsi 2013-2014 Elenco Accademici Stampato in Italia da Tipolitografia Trullo, Roma 57 Indirizzario Accademici © Copyright 2015 Accademia Nazionale di San Luca www.accademiasanluca.eu Premio Presidente della Repubblica ISSN 0393-859X 83 Storia del Premio Nazionale per le Arti ISBN 978-88-97610-15-1 87 Elenco dei premiati 1950-2014 Attività 2013-2014 91 Conferenze, convegni, giornate di studio, ANNUARIO incontri, presentazioni di volumi o riviste 104 Didattica 2013-2014 104 Eventi, inaugurazioni, concerti 105 Mostre 106 Pubblicazioni -
View / Open Whitford Kelly Anne Ma2011fa.Pdf
PRESENT IN THE PERFORMANCE: STEFANO MADERNO’S SANTA CECILIA AND THE FRAME OF THE JUBILEE OF 1600 by KELLY ANNE WHITFORD A THESIS Presented to the Department of Art History and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts December 2011 THESIS APPROVAL PAGE Student: Kelly Anne Whitford Title: Present in the Performance: Stefano Maderno’s Santa Cecilia and the Frame of the Jubilee of 1600 This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of Art History by: Dr. James Harper Chairperson Dr. Nicola Camerlenghi Member Dr. Jessica Maier Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2011 ii © 2011 Kelly Anne Whitford iii THESIS ABSTRACT Kelly Anne Whitford Master of Arts Department of Art History December 2011 Title: Present in the Performance: Stefano Maderno’s Santa Cecilia and the Frame of the Jubilee of 1600 In 1599, in commemoration of the remarkable discovery of the incorrupt remains of the early Christian martyr St. Cecilia, Cardinal Paolo Emilio Sfondrato commissioned Stefano Maderno to create a memorial sculpture which dramatically departed from earlier and contemporary monuments. While previous scholars have considered the influence of the historical setting on the conception of Maderno’s Santa Cecilia, none have studied how this historical moment affected the beholder of the work. In 1600, the Church’s Holy Year of Jubilee drew hundreds of thousands of pilgrims to Rome to take part in Church rites and rituals. -
Liceo Scientifico Statale Einstein Milano
Liceo Scientifico Statale “A. Einstein” PROGRAMMA SVOLTO DAL DOCENTE DI DISEGNO E STORIA DELL’ARTE Prof.ssa Giovanna Lacedra A.S. 2016/ 17 [Classe 4I] CONTENUTI DI STORIA DELL’ARTE CONTENUTI DI STORIA DELL’ARTE Il Patrimonio Artistico-Culturale: - Unesco e Patrimonio dell’Umanità - Ministero dei Beni e delle Attività Culturali e le Sovraintendenze - L’articolo 9 della Costituzione - Il Museo: Origine ed Etimologia della parola, funzione di tutela, conservazione, esposizione del Museo; nascita delle prime Istituzioni Museali; Enti che gestiscono un museo; principali tipologie di Musei; L’Archeologia; Il Restauro. IL BAROCCO Cornice Storico-Politico-Culturale. Il potere della Chiesa. L’arte come spettacolo. Lo sfarzo e il decoro. Le regole della Controriforma. La Rivoluzione Scientifica. Pittura Barocca: Bologna: L’Accademia degli Incamminati. Annibale Carracci a Roma. Opere: Il mangiafagioli Bacco e Arianna sulla volta della Galleria di Palazzo Farnese Caravaggio. Tenebre e luce. Il verismo e il set fotografico. Biografia e opere: Testa di Medusa Canestra di frutta Bacco e Bacchino Malato Le tele della cappella Contarelli: La Vocazione di San Matteo e La Crocifissione di San Pietro. La Madonna dei Pellegrini La Morte della Vergine David decapita Golia Pittura al femminile. Il caso di Artemisia Genitleschi. Opere: Giuditta e Oloferne Gian Lorenzo Bernini Scultore e Architetto: Biografia e Opere a Roma: Scultura: Apollo e Dafne Il ratto di Proserpina L’estasi di Santa Teresa nella Cappella Cornaro La fontana ai Quattro Fiumi in piazza Navona Arredo liturgico: Il Baldacchino di San Pietro e la collaborazione con Borromini Architettura: Piazza San Pietro Sant’Andrea al Quirinale Francesco Borromini. -
Mitteilungen Des Kunsthistorischen Heft 2 Institutes in Florenz
MITTEILUNGEN DES KUNSTHISTORISCHEN INSTITUTES LXI. BAND — 2019 IN FLORENZ HEFT 2 DES KUNSTHISTORISCHEN INSTITUTES IN FLORENZ MITTEILUNGEN 2019 LXI / 2 LXI. BAND — 2019 MITTEILUNGEN DES KUNSTHISTORISCHEN HEFT 2 INSTITUTES IN FLORENZ Inhalt | Contenuto Redaktionskomitee | Comitato di redazione Aufsätze Saggi Alessandro Nova, Gerhard Wolf, Samuel Vitali _ _ Redakteur | Redattore Samuel Vitali _ 147 _ Anna Rosa Calderoni Masetti Editing und Herstellung | Editing e impaginazione Prede belliche dai paesi dell’Islam nelle fonti pisane dell’XI e XII secolo Ortensia Martinez Fucini Kunsthistorisches Institut in Florenz Max-Planck-Institut _ 169 _ Giacomo Guazzini Via G. Giusti 44, I-50121 Firenze A New Cycle by Giotto for the Scrovegni: The Chapel of Saint Catherine Tel. 055.2491147, Fax 055.2491155 [email protected] – [email protected] in the Basilica of Sant’Antonio in Padua www.khi.fi.it/publikationen/mitteilungen Die Redaktion dankt den Peer Reviewers dieses Heftes für ihre Unterstützung | La redazione ringrazia i peer reviewers per la loro collaborazione a questo numero. _ 203 _ Emanuele Lugli The Hair is Full of Snares. Botticelli’s and Boccaccio’s Wayward Erotic Graphik | Progetto grafico RovaiWeber design, Firenze Gaze Produktion | Produzione Centro Di edizioni, Firenze _ 235 _ Marsha Libina Die erscheinen jährlich in drei Heften und Divine Visions: Image-Making and Imagination in Pictures of Saint Luke könnenMitteilungen im Abonnement oder in Einzelheften bezogen werden durch | Le escono con cadenza Painting the Virgin quadrimestrale e possonoMitteilungen essere ordinate in abbonamento o singolarmente presso: Centro Di edizioni, Via dei Renai 20r I-50125 Firenze, Tel. 055.2342666, Miszellen Appunti [email protected]; www.centrodi.it. -
Humanism and Disegno: Neoplatonism at the Accademia Di San Luca in Rome John S
Roger Williams University DOCS@RWU School of Architecture, Art, and Historic School of Architecture, Art, and Historic Preservation Faculty Publications Preservation 2007 Humanism and Disegno: Neoplatonism at the Accademia di San Luca in Rome John S. Hendrix Roger Williams University, [email protected] Follow this and additional works at: http://docs.rwu.edu/saahp_fp Part of the Arts and Humanities Commons Recommended Citation Hendrix, John S., "Humanism and Disegno: Neoplatonism at the Accademia di San Luca in Rome" (2007). School of Architecture, Art, and Historic Preservation Faculty Publications. Paper 1. http://docs.rwu.edu/saahp_fp/1 This Conference Proceeding is brought to you for free and open access by the School of Architecture, Art, and Historic Preservation at DOCS@RWU. It has been accepted for inclusion in School of Architecture, Art, and Historic Preservation Faculty Publications by an authorized administrator of DOCS@RWU. For more information, please contact [email protected]. 1 Humanism and Disegno : Neoplatonism at the Accademia di San Luca in Rome John Hendrix, Rhode Island School of Design I would like to explore the role that Neoplatonism played in the development of the con- cept of disegno at the Accademia di San Luca in Rome, and its influence on subsequent architecture, for the purpose of illustrating the importance of Renaissance Humanism in the culture of Baroque Rome. In his treatise, L’Idea de’ pittori, scultori ed architteti , in 1607, Federico Zuccari, the director of the Academy, described disegno interno as a Platonic Idea in the mind of the artist, and a forma spirituale which mediates between archê and eidos , between universal and particular. -
A Rediscovered Altarpiece by Pietro Da Cortona and Insights Into the Collaboration Between the Master and His Pupils by GIOVAN BATTISTA FIDANZA
A rediscovered altarpiece by Pietro da Cortona and insights into the collaboration between the master and his pupils by GIOVAN BATTISTA FIDANZA THIS ARTICLE ILLUMINATES the working methods of Pietro preaching and praised the work for its style and colour, especially da Cortona and his collaboration with his assistants and pupils for the contrapposto of the women in the foreground (see Appendix during the last fifteen years of his life, when the artist received a 2). 3 In contrast, he thought poorly of Cortona’s celebrated large number of commissions but also suffered from poor health. Martyrdom of St Lawrence in the church of SS. Michele e Gaetano Donatella Sparti has studied his studio practice in his workshop in Florence. While the Bolognese art historian Marcello Oretti, in via della Pedacchia, Rome, to which he moved in 1652. 1 writing in 1777, seemed unsure of the attribution, 4 the local It appears to have been a sort of ‘industrial production line’, scholar Lucio Bosi, writing in 1820, was confident that it was the whereby the master conceived the composition and made the work of Cortona. 5 The last person to record the work in Forlì abbozzi , while part of the overpainting (in some cases, all of it) was Giovanni Casali who, in his guide to Forlì of 1838, 6 and was entrusted to his pupil–collaborators who had proved their again in his revised edition of 1863, 7 listed an altarpiece by P ietro ability to assimilate his pictorial language. According to Sparti, da Cortona of St John Chrysostom evicting the adulteress this was a fluid entrepreneurial arrangement between master and from the temple in the presbytery of the Dominican church of assistants. -
National Gallery of Art
National Gallery of Art / Deborah Ziska, Information Officer FOR IMMEDIATE RELEASE CONTACT: (202) 842-6353 May 16, 2000 Rebecca Coleman, Publicist [email protected] SPECTACULAR MODELS AND OTHER WORKS DOCUMENT MASTERPIECES OF BAROQUE ARCHITECTURE IN EUROPE AT THE NATIONAL GALLERY OF ART. MAY 21 - OCTOBER 9. 2000 Washington, D.C. -The Triumph of the Baroque: Architecture in Europe 1600-1750. a major exhibition covering two centuries of European architectural history and exploring the triumphs of the most famous architects of the baroque era, will dominate two floors of the West Building at the National Gallery of Art, May 21 through October 9, 2000. Following the National Gallery's highly successful Italian Renaissance Architecture of 1994-1995, this awe-inspiring exhibition presents twenty-seven original architectural models and forty related paintings, drawings, prints, and medals. The National Gallery of Art will be the exhibition's only U.S. venue. Already seen at the Palazzina di Caccia, Stupinigi, Turin, and The Montreal Museum of Fine Arts, The Triumph of the Baroque will travel to the Musee des Beaux-Arts, Marseille (November 17, 2000 through March 4, 200I). The exhibition is organized by the National Gallery of Art, Washington; Palazzo Grassi, Venice; the Montreal Museum of Fine Arts; and the Musee des Beaux-Arts, Marseille. "Appreciation for the achievements of baroque architecture, disdained for years as excessively exuberant, has grown over the last two centuries," said Earl A. Powell III, director, National Gallery of Art. The Triumph of the Baroque examines the architecture of an era, which witnessed a remarkable unification of the arts of painting, sculpture, decoration, architecture, landscape and urban planning." SUPPORT EduCap Inc. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) The academization of art A practice approach to the early histories of the Accademia del Disegno and the Accademia di San Luca Jonker, M.J. Publication date 2017 Document Version Other version License Other Link to publication Citation for published version (APA): Jonker, M. J. (2017). The academization of art: A practice approach to the early histories of the Accademia del Disegno and the Accademia di San Luca. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:02 Oct 2021 Chapter Four Material Culture of the Art Academies 4.1. Sites and artifacts Social practices always take place not only against the background, or in the midst, of material and spatial arrangements, but also with the help of material objects, instruments, and artifacts. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) The academization of art A practice approach to the early histories of the Accademia del Disegno and the Accademia di San Luca Jonker, M.J. Publication date 2017 Document Version Other version License Other Link to publication Citation for published version (APA): Jonker, M. J. (2017). The academization of art: A practice approach to the early histories of the Accademia del Disegno and the Accademia di San Luca. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:24 Sep 2021 Chapter Five Religious-Confraternal Practices in the Art Academies 5.1. ‘The greatest display of wax and lights’ On February 15, 1571 the goldsmith and sculptor Benvenuto Cellini was buried in the Cappella della Santissima Trinità in Santissima Annunziata in Florence. -
Rome, the Eternal City
Chapter 9 – Rome, the Eternal City Flying into Rome, Italy aboard Alitalia. We were greeted at the airport by our tour director, Georgio: http://wigowsky.com/travels/GreeceRome/audios/rome1.wma (audio file) “Bongiorno (good morning), I’m Georgio (rolling his r’s). I’m going to be with you all the way to Venice, for those going that far. Some of you, two or three of you, are leaving early (after Rome). I’m not a tour guide, just a tour director, the kind that takes care of your itinerary. Anyway, welcome to Rome, Italy. Tomorrow, we’ll be visiting Ostia Antigua, the ancient Roman city. It used to be the ancient port and harbor. We’ll be driving for about 28 kilometers (17.8 miles) to the city. It will take us about 45 minutes, traffic permitting. Our driver’s name is Mauro. The agenda for today is easy. We are first going to the catacombs – Santa Domitilla. Once there we’ll be meeting four more fellows of our group. We’ll have a guided tour there. Afterwards, we’ll drive to the hotel Universo and check in. Tomorrow we’ll be very busy, and we’ll be leaving the hotel by 8:15am. We’ll be meeting our local guide, and then we’ll go to the Mamertine prison, and the Colosseum. That will be in the morning. In the afternoon, we’ll make our way to Ostia Antigua with the same guide. Any questions? Question: “What will the weather be like tomorrow?” Answer: “What is it you’re worrying about tomorrow? Think about today. -
View / Open Phillips Oregon 0171N 12216.Pdf
NOT DEAD BUT SLEEPING: RESURRECTING NICCOLÒ MENGHINI’S SANTA MARTINA by CAROLINE ANNE CYNTHIA PHILLIPS A THESIS Presented to the Department of the History of Art and Architecture and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2018 THESIS APPROVAL PAGE Student: Caroline Anne Cynthia Phillips Title: Not Dead but Sleeping: Resurrecting Niccolò Menghini’s Santa Martina This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of the History of Art and Architecture by: Dr. James Harper Chair Dr. Maile Hutterer Member Dr. Derek Burdette Member and Sara D. Hodges Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2018 ii © 2018 Caroline Anne Cynthia Phillips iii THESIS ABSTRACT Caroline Anne Cynthia Philips Master of Arts Department of the History of Art and Architecture June 2018 Title: Not Dead but Sleeping: Resurrecting Niccolò Menghini’s Santa Martina Niccolò Menghini’s marble sculpture of Santa Martina (ca. 1635) in the Church of Santi Luca e Martina in Rome belongs to the seventeenth-century genre of sculpture depicting saints as dead or dying. Until now, scholars have ignored the conceptual and formal concerns of the S. Martina, dismissing it as derivative of Stefano Maderno’s Santa Cecilia (1600). This thesis provides the first thorough examination of Menghini’s S. Martina, arguing that the sculpture is critically linked to the Post-Tridentine interest in the relics of early Christian martyrs.