Not Only a Destination

Total Page：16

File Type：pdf, Size：1020Kb

ITALY, RENAISSANCE STYLE, RAPHAEL LIFE not only a destination FLORENCE, THE ART CITY... ROME, THE ETERNAL CITY... URBINO, THE IDEAL CITY... Italy has been, since antiquity, the centre of history, culture If you want to discover the heart of Italy, and art. Our museums, collections and archaeological sites reveal countless tokens of the past and the many civilizations don't miss Rome, Florence and Urbino: that have passed across this country, evidence of which is still inextricably woven into the present day landscape. three UNESCO Artistic wonders can be found everywhere, and every corner World Heritage Sites of the country holds countless and wonderful surprises. Our artistic and cultural heritage is one of the most valuable in the world. Italy has more cultural UNESCO World Heritage ITALY | EUROPE Sites than any other country. Roma, Florence, and Urbino are renowned cities of art, but the whole country can boast towns of breathtaking beauty, as these numbers demonstrate: 95,000 monumental churches, 40,000 forts and castles, 30,000 historical residences with 4,000 gardens, 36,000 archives and libraries, 20,000 historical cities and towns, 5,600 museums and archaeological sites, and 1,500 convents. Places, landscapes, monuments, art, colouirs, light, atmosphere, impressions, from a magnificient land. ITALY is a nation that hosts unique and fascinating events of international resonance throughout the year, providing innumerable opportunities for experiencing intense emotions. a project by Raffaello Sanzio da Urbino (1483 – 1520) URBINO INCOMING Was a great Italian painter. Together ITALIAN Destination management Company with Michelangelo and Leonardo da Vinci, Raphael makes up the great trinity of the High Renaissance "travel ideas and tourist services” period. He was noted for his clarity of ph: +39 347 9236 059 | info: urbinotourguide.com form and ability to convey grandeur, beauty and perfection..

Copy Link

Recommended publications

Motorway A14, Exit Pesaro-Urbino • Porto Di Ancona: Croatia, Greece, Turkey, Israel, Ciprus • Railway Line: Milan, Bologna, Ancona, Lecce, Rome, Falconara M
CAMPIONATO D’EUROPA FITASC – FINALE COPPA EUROPA EUROPEAN CHAMPIONSHIP San Martino/ Rio Salso di Tavullia – Pesaro/Italia, 17/06/2013 – 24/06/2013 • Motorway A14, exit Pesaro-Urbino • Porto di Ancona: Croatia, Greece, Turkey, Israel, Ciprus • Railway Line: Milan, Bologna, Ancona, Lecce, Rome, Falconara M. • AIRPORT: connection with Milan, Rom, Pescara and the main European capitals: Falconara Ancona “Raffaello Sanzio” 80 KM da Pesaro Forlì L. Ridolfi 80 KM da Pesaro Rimini “Federico Fellini” 30 KM da Pesaro Bologna “Marconi” 156 KM da Pesaro CAMPIONATO D’EUROPA FITASC – FINALE COPPA EUROPA EUROPEAN CHAMPIONSHIP San Martino/ Rio Salso di Tavullia – Pesaro/Italia, 17/06/2013 – 24/06/2013 Rossini tour: Pesaro Pesaro was the birth place of the famous musician called “Il Cigno di Pesaro” A walk through the characteristic streets of the historic centre lead us to Via Rossini where the Rossini House Museum is situated. It is possible to visit his house, the Theatre and the Conservatory that conserve Rossini’s operas and memorabilia. Prices: Half Day tour: € 5.00 per person URBINO URBINO is the Renaissance of the new millennium. Its Ducal Palce built for the grand duke Federico da Montefeltro, with its stately rooms, towers and magnificent courtyard forms a perfect example of the architecture of the time. Today , the building still houses the Galleria Nazionale delle Marche with precious paintings by Piero della Francesca, Tiziano, Paolo Uccello and Raphael, whose house has been transformed into a museum. Not to be missed, are the fifteenth century frescoes of the oratory of San Giovanni and the “Presepio” or Nativity scene of the Oratory of San Giuseppe (entry of Ducal Palace, Oratories) Prices: Half Day tour: € 25.00 per person included: bus - guide – Palazzo Ducale ticket – Raffaello Sanzio’s birthplace ticket CAMPIONATO D’EUROPA FITASC – FINALE COPPA EUROPA EUROPEAN CHAMPIONSHIP San Martino/ Rio Salso di Tavullia – Pesaro/Italia, 17/06/2013 – 24/06/2013 REPUBLIC OF SAN MARINO This is one of the smallest and most interesting Republics in the world.
[Show full text]
Routing Sheet
LC 265 RENAISSANCE ITALY (IT gen ed credit) for May Term 2016: Tentative Itinerary Program Direction and Academic Content to be provided by IWU Professor Scott Sheridan Contact [email protected] with questions! 1 Monday CHICAGO Departure. Meet at Chicago O’Hare International Airport to check-in for May 2 departure flight for Rome. 2 Tuesday ROME Arrival. Arrive (09.50) at Rome Fiumicino Airport and transfer by private motorcoach, May 3 with local assistant, to the hotel for check-in. Afternoon (13.00-16.00) departure for a half- day walking tour (with whisperers) of Classical Rome, including the Colosseum (entrance at 13.40), Arch of Constantine, Roman Forum (entrance), Fori Imperiali, Trajan’s Column, and Pantheon. Gelato! Group dinner (19.30). (D) 3 Wednesday ROME. Morning (10.00) guided tour (with whisperers) of Vatican City including entrances to May 4 the Vatican Rooms and Sistine Chapel. Remainder of afternoon at leisure. Evening (20.30) performance of Accademia d’Opera Italiana at All Saints Church. (B) 4 Thursday ROME. Morning (09.00) departure for a full-day guided walking tour including Piazza del May 5 Campidoglio, Palazzo dei Conservatori, Musei Capitolini (entrance included at 10.00), the Piazza Venezia, Circus Maximus, Bocca della Verità, Piazza Navona, Piazza Campo de’ Fiori, Piazza di Spagna and the Trevi Fountain. (B) 1 5 Friday ROME/RAVENNA. Morning (07.45) departure by private motorcoach to Ravenna with en May 6 route tour of Assisi with local guide, including the Basilica (with whisperers) and the Church of Saint Claire. Check-in at the hotel.
[Show full text]
THE BEST of TUSCANY, UMBRIA & LE MARCHE Detailed Itinerary
THE BEST OF TUSCANY, UMBRIA & LE MARCHE Departure: 24 September - 6 October 2020 (13 Days/12 Nights) The rolling hills of Tuscany, Umbria and Le Marche are dotted with vineyards and olive groves. This area of Italy is famous for being known as, the ‘Green Heart’ of the Peninsula. Each region has its own particular character offering spectacular scenery, authentic cuisine and romantic hill towns. It is also a journey from the Medieval period to one of the most splendid eras of European civilization: The Renaissance. The experience starts in Rome where you will see works by the greatest masters of the period who were commissioned by the Bishops of Rome. The tour ends where it all started in Florence, the home of the Medici. Between these two highlights, there will be guided tours to explore the treasures and experience the life in centres such as Urbino, Gubbio, Loreto, Assisi, Perugia, San Gimignano, Volterra and Siena. Your tour leaders, Mario, Viny and Gianni complement the tour with their intimate knowledge of the history, culture and Italian way of life. We will give you the opportunity to experience the excellent hospitality of the people of Central Italy with its abundance of traditional local food and wine. You will enjoy leisurely lunches and special dinners in traditional restaurants and osterie. There are also opportunities to shop at local markets and speciality shops. Detailed Itinerary Day 1 Rome (D) Your tour leaders will meet you at the Hotel in the centre of Rome at 4.00pm. Introductions and a small talk on the tour will precede an afternoon walk through some of the famous iconic areas of Rome.
[Show full text]
Italian Sixteenth-Century Maiolica Sanctuaries and Chapels
religions Article Experiencing La Verna at Home: Italian Sixteenth-Century Maiolica Sanctuaries and Chapels Zuzanna Sarnecka The Institute of Art History, University of Warsaw, 00-927 Warszawa, Poland; [email protected] Received: 30 September 2019; Accepted: 17 December 2019; Published: 20 December 2019 Abstract: The present study describes the function of small-scale maiolica sanctuaries and chapels created in Italy in the sixteenth century. The so-called eremi encouraged a multisensory engagement of the faithful with complex structures that included receptacles for holy water, openings for the burning of incense, and moveable parts. They depicted a saint contemplating a crucifix or a book in a landscape and, as such, they provided a model for everyday pious life. Although they were less lifelike than the full-size recreations of holy sites, such as the Sacro Monte in Varallo, they had the significant advantage of allowing more spontaneous handling. The reduced scale made the objects portable and stimulated a more immediate pious experience. It seems likely that they formed part of an intimate and private setting. The focused attention given here to works by mostly anonymous artists reveals new categories of analysis, such as their religious efficacy. This allows discussion of these neglected artworks from a more positive perspective, in which their spiritual significance, technical accomplishment and functionality come to the fore. Keywords: Italian Renaissance; devotion; home; La Verna; sanctuaries; maiolica; sculptures; multisensory experience 1. Introduction During the fifteenth and sixteenth centuries, ideas about religious sculpture still followed two conflicting trains of thought. On the one hand, writers understood the efficacy of both sculptural and painted images at impressing the divine image onto the mind and soul of the beholder.
[Show full text]
Italy Travel and Driving Guide
Travel & Driving Guide Italy www.autoeurope. com 1-800-223-5555 Index Contents Page Tips and Road Signs in Italy 3 Driving Laws and Insurance for Italy 4 Road Signs, Tolls, driving 5 Requirements for Italy Car Rental FAQ’s 6-7 Italy Regions at a Glance 7 Touring Guides Rome Guide 8-9 Northwest Italy Guide 10-11 Northeast Italy Guide 12-13 Central Italy 14-16 Southern Italy 17-18 Sicily and Sardinia 19-20 Getting Into Italy 21 Accommodation 22 Climate, Language and Public Holidays 23 Health and Safety 24 Key Facts 25 Money and Mileage Chart 26 www.autoeurope.www.autoeurope.com com 1-800 -223-5555 Touring Italy By Car Italy is a dream holiday destination and an iconic country of Europe. The boot shape of Italy dips its toe into the Mediterranean Sea at the southern tip, has snow capped Alps at its northern end, and rolling hills, pristine beaches and bustling cities in between. Discover the ancient ruins, fine museums, magnificent artworks and incredible architecture around Italy, along with century old traditions, intriguing festivals and wonderful culture. Indulge in the fantastic cuisine in Italy in beautiful locations. With so much to see and do, a self drive holiday is the perfect way to see as much of Italy as you wish at your own pace. Italy has an excellent road and highway network that will allow you to enjoy all the famous sites, and give you the freedom to uncover some undiscovered treasures as well. This guide is aimed at the traveler that enjoys the independence and comfort of their own vehicle.
[Show full text]
ANCIENT TERRACOTTAS from SOUTH ITALY and SICILY in the J
ANCIENT TERRACOTTAS FROM SOUTH ITALY AND SICILY in the j. paul getty museum The free, online edition of this catalogue, available at http://www.getty.edu/publications/terracottas, includes zoomable high-resolution photography and a select number of 360° rotations; the ability to filter the catalogue by location, typology, and date; and an interactive map drawn from the Ancient World Mapping Center and linked to the Getty’s Thesaurus of Geographic Names and Pleiades. Also available are free PDF, EPUB, and MOBI downloads of the book; CSV and JSON downloads of the object data from the catalogue and the accompanying Guide to the Collection; and JPG and PPT downloads of the main catalogue images. © 2016 J. Paul Getty Trust This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042. First edition, 2016 Last updated, December 19, 2017 https://www.github.com/gettypubs/terracottas Published by the J. Paul Getty Museum, Los Angeles Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu/publications Ruth Evans Lane, Benedicte Gilman, and Marina Belozerskaya, Project Editors Robin H. Ray and Mary Christian, Copy Editors Antony Shugaar, Translator Elizabeth Chapin Kahn, Production Stephanie Grimes, Digital Researcher Eric Gardner, Designer & Developer Greg Albers, Project Manager Distributed in the United States and Canada by the University of Chicago Press Distributed outside the United States and Canada by Yale University Press, London Printed in the United States of America Library of Congress Cataloging-in-Publication Data Names: J.
[Show full text]
Ferrara Venice Milan Mantua Cremona Pavia Verona Padua
Milan Verona Venice Cremona Padua Pavia Mantua Genoa Ferrara Bologna Florence Urbino Rome Naples Map of Italy indicating, in light type, cities mentioned in the exhibition. The J. Paul Getty Museum © 2015 J. Paul Getty Trust Court Artists Artists at court were frequently kept on retainer by their patrons, receiving a regular salary in return for undertaking a variety of projects. Their privileged position eliminated the need to actively seek customers, granting them time and artistic freedom to experiment with new materials and techniques, subject matter, and styles. Court artists could be held in high regard not only for their talents as painters or illuminators but also for their learning, wit, and manners. Some artists maintained their elevated positions for decades. Their frequent movements among the Italian courts could depend on summons from wealthier patrons or dismissals if their style was outmoded. Consequently their innovations— among the most significant in the history of Renaissance art—spread quickly throughout the peninsula. The J. Paul Getty Museum © 2015 J. Paul Getty Trust Court Patrons Social standing, religious rank, piety, wealth, and artistic taste were factors that influenced the ability and desire of patrons to commission art for themselves and for others. Frequently a patron’s portrait, coat of arms, or personal emblems were prominently displayed in illuminated manuscripts, which could include prayer books, manuals concerning moral conduct, humanist texts for scholarly learning, and liturgical manuscripts for Christian worship. Patrons sometimes worked closely with artists to determine the visual content of a manuscript commission and to ensure the refinement and beauty of the overall decorative scheme.
[Show full text]
Peace in Palestine Via the World Heritage Convention
. Michael K. Madison II. Peace in Palestine ..........through World Heritage Promoting Peace via Global Conventions - 1 - Peace in Palestine via the World Heritage Convention Promoting Peace via Global Conventions The Global Problem "Throughout history, religious differences have divided men and women from their neighbors and have served as justification for some of humankind's bloodiest conflicts. In the modern world, it has become clear that people of all religions must bridge these differences and work together, to ensure our survival and realize the vision of peace that all faiths share." -- H.R.H. Prince El-Hassan bin Talal, Jordan Moderator, WCRP Governing Board Tolerance, Economic Growth and Fear Global peace and harmony is not possible without religious tolerance. Unfortunately, there is no instant microwavable solution. We can’t just add water and/or milk to the current situation and hope that the world will ameliorate itself overnight. No. The world needs help. The problem is not the outliers; it is larger groups of people that need to change. Outliers will always be present. The world needs religious-minded policymakers to take giant steps that lead to peace, but in a mutually beneficial way. Indeed, peace for peace’s sake is not always enough incentive to all parties involved. Therefore, if the conflict cannot be resolved by tolerance, then let it be resolved by greed as we find a way to help the countries involved to achieve a better economic position. If the conflict cannot be resolved by boosting the corresponding economies, then let it be resolved by fear as we convince the nations involved that one false move means it will be - 2 - their country against the rest of the world and not just their “enemy of the day”.
[Show full text]
Ravenna and Urbino
Ravenna, Rimini and Urbino Byzantine Art and the Renaissance Court 18 - 23 October 2010 RAVENNA is a unique centre in Western Europe for the study of Byzantine culture and art. It is now famed for its magnificent Roman and Byzantine architecture and exquisite 5th and 6th century mosaics. Ravenna’s greatest period began in the 5th century when Honorius moved the imperial court from Rome to Ravenna and he and his sister, Galla Placidia, adorned the city with magnificent buildings and exquisite mosaics. After the Goths occupied Ravenna in the late 5th century, Odoacer (473-93) and Theodoric (493-526) continued the grand building programme. In 540 Ravenna was captured by General Belisarius for the Eastern Empire, and the city prospered even further under the rule of Justinian and his empress Theodora. URBINO, located in a splendid position set deep amidst rolling hills, came to prominence in the late 12th century under Montefeltro rule. In 1443 Oddantonio da Montefeltro was made the first duke of Urbino, and after his death in 1444 his illegitimate half-brother Federico succeeded him. Federico became one of the most important patrons of the Renaissance. Raphael, Bramante, Laurana, Pisanello, Piero della Francesca all worked at Urbino. The magnificent Palazzo Ducale is still one of the finest Renaissance palaces in Italy. It now houses the Galleria Nazionale delle Marche and contains important regional works as well as paintings by Piero della Francesca, Raphael and Titian. Urbino’s fame continued after Federico’s death in 1482 under the rule of his son Guidobaldo and his wife Elisabetta Gonzaga.
[Show full text]
Davide Mancini Zanchi Ping – Pong … Pung
Davide Mancini Zanchi Ping – Pong … Pung opening saturday may 26 2012, 7pm 26 may – 7 june | fri – sat 2/7pm Wipe bathroom ikea, Acrylic on Canvas, 30x40cm, 2012 Davide Mancini Zanchi first solo exhibition is at AplusB in Brescia, Italy. The artist (Urbino, 1986) needs to redeem from dependence on the objects, or rather from everything that is real, palpable and perceived by senses, from what is other than oneself. Paintings, sculptures and videos are conceived to abstract daily life in an own, personal formal synthesis. The artist’s strategy consists in simplifying constituent elements so to find a way out from the more and more advanced dematerialization that characterizes today’s world, and to find what is necessary to the artist to belong to the time and space in which he is physically located. Davide Mancini Zanchi paintings appear as a standardized series, in sizes and finishes, and belong to still-life paintings genre. Everyday objects are read one by one and turned into primary forms that, at first sight, appear as color and signs with no purpose, and, in the end, they are put back in memory recognizing the use they were born for. In sculptures, instead, objects become part of self-portraits, which are also standardized in form, but transformed by the relationship between objects and representation in which dominates the highly developed sense of irony. Ping - Pong ... Pung is completed by some video works; thanks to this medium David Mancini Zanchi was awarded with the Peschiera Prize 2011 and selected in various other exhibitions. In videos, always concise and related to performing situations, the body is the expedient that is transformed or altered.
[Show full text]
Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494
ABSTRACT Title of Dissertation: KING OF THE RENAISSANCE: ART AND POLITICS AT THE NEAPOLITAN COURT OF FERRANTE I, 1458-1494 Nicole Riesenberger, Doctor of Philosophy, 2016 Dissertation directed by: Professor Meredith J. Gill, Department of Art History and Archaeology In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture.
[Show full text]
Candidati Ammessi Con Riserva Alla Partecipazione Alla Prova Di Preselezione
Unione Territoriale Intercomunale del Torre Concorso pubblico per esami per la copertura di n. 11 posti a tempo indeterminato di Istruttore Amministrativo Contabile cat.
[Show full text]