DOCSLIB.ORG

Name of the Course

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Name of the Course SYLLABUS PALAZZI - FLORENCE ASSOCIATION FOR INTERNATIONAL EDUCATION FLORENCE UNIVERSITY OF THE ARTS APICIUS INTERNATIONAL SCHOOL OF HOSPITALITY SCHOOL OF LIBERAL ARTS DEPARTMENT OF ART HISTORY COURSE TITLE: INTRODUCTION TO RENAISSANCE ART COURSE CODE: LA AH IR 220 SECTION: 201 SESSION: 3 semester credits (45 lecture hours) Day and Time: Professor: Teacher availability: Available to see students individually after class by appointment 1. DESCRIPTION This introductory course is aimed at students who have little or no background in the history of Western Art. Before examining the beginnings of Renaissance art which took hold in Florence in the early years of the fifteenth century, students will be given a broad overview of Greek and Roman art and architecture the emulation of which is fundamental to understanding the cultural revolution of the Renaissance. Through on-site visits to medieval churches and palaces in Florence, students will early on become become familiar with the Romanesque and Gothic styles in which the first Renaissance painters, sculptors and architects had their roots and from which they were dramatically to diverge. Since site-visits are a significant part of this course, the focus will be on Florentine artists who will include: Masaccio, Donatello, Brunelleschi, Fra Angelico, Botticelli, Leonardo da Vinci and Michelangelo. As well as analyzing the style and subject matter of works of art, students will learn about the techniques of painting and sculpture and comparisons will be made with techniques in other countries in the same period, for example the use of oil paints in Flemish painting. 2. OBJECTIVE As an introductory course, this will give the students an overview of the complexity of the Renaissance, as a fruitful moment for the society, the individual, and the arts. By the end of the course the students should be able to: • Acquire a basic knowledge of methodological approaches to Art History, such as formal analysis, iconographic analysis, and social history • Identify, date and analyze, the works of art and the techniques of the main Early and High Renaissance artists. • Evaluate those issues affecting the visual arts in Renaissance Florence, as well as in other Italian cities, as patronage, historical and social background, religious and philosophical movements, cross-influences between the different schools of art • Communicate and share those afore-mentioned abilities in oral and written form • Express critical points of view supported not only by the study of texts and primary sources, but also combining those with relevant direct experiences to the sites of the Renaissance • Select and synthesize relevant information and to communicate it in oral and written form 1 • Demonstrate enthusiasm and readiness to work and take decisions independently, but also in a cooperative and decisional team when required • Move further into the study of more specific subjects, such as Early Renaissance and High Renaissance and Mannerism The unique opportunity of being able to directly see, during the course’s on-site lectures, most of the works of art treated in the course, in their original location in palaces and churches, or in the major museums, enriches the students’ learning experience. 3. REQUIREMENTS There are no prerequisites for this course, although a background of European history would be "preferable" (but not essential) for the better comprehension of the subject. • At the start of the course, students will be asked to fill out a questionnaire to provide some background information, their study plan, expectations, etc… • Lectures are held in English. However students will be provided with terms and words used commonly in Italian or in art history; whenever necessary students will be helped with spelling and terminology. • A responsible and active class participation is expected at all times. • Individual study of the notes, the readings, the handouts etc. at home is required after every lecture and on a weekly basis. On your lecture schedule (point 12), you will find the required readings for each lecture or museum visit, and the possible assignments and homeworks. • Students will be asked to research, read and study quite often at the School Library. Please make sure you are familiar with it (know how it works, opening and closing times, facilities, etc.) from the very start of the course. • For the material you will need to type, please check the school computer facilities. • Students are required to dress properly for visits to religious sites (see point 6). • This course is not suitable for students with serious walking disabilities since many lessons will consist of out-door walking. • No eating is allowed in class • At all times cell phones must be turned off (both during lectures and visits). • Please also consider important notes on attendance, participation and assignments (as de- scribed in pertinent paragraphs). 4. METHOD The course is based on lectures with slides in class, and lectures on site to churches, museums and palaces. Outlines comprehending slides lists, questions, keywords and key concepts to support the lectures/visits, will be provided for each class. Few days before the mid-course and final exam students will receive a study guide. Videos or clips may be shown for didactic purposes. The lessons are usually divided in two parts: a lecture with slides, and discussions in class, and a fieldtrip to visit sites relevant to the lecture. A 10 minutes break will divide lectures that just take place in class. Fieldtrips are always an integral part of the course/class, and for no reason the students can miss it. At times, though remaining mandatory, visits may be scheduled differently, due to the incompatibility of the opening hours of the sites with our timetable. In some occasions you should schedule your own visits to the sites suggested below (point 6). Active participation is expected in class as well as during visits. Students will be asked to intervene according to different modalities: open discussions on topics and readings, scheduled oral presentations, group activities. Since participation plays a role in your final grade, it is essential that you have not only read what assigned, but also that you have drawn conclusions of your own from the reading. Your conclusions will often emerge during class discussions. The method is basically interactive to help students develop a critical point of view. 5. TEXT BOOK – FURTHER READINGS – INTERNET RESOURCES 2 TEXT BOOK: The required textbook is a Course pack available at Copy Centre CENTROSTAMPA Via Alfani 103red (cost about 15.00 Euro) Reserve as soon as possible your copy the course-pack. It might take a few days to you need it by the very first week Each student must provide the Course pack for the successful completion of the course. Further material, handouts and notes will be eventually distributed to the students during the semester. FURTHER READINGS (Books listed below are available at the school library, Via de Macci 85 red). • AVERY C., Florentine Renaissance Sculpture, John Murray • HARTT F. / WILKINS D., A History of Italian Art, 6 Ed. • KENT F.W., Lorenzo de Medici & the Art of Magnificence, The Johns Hopkins University Press, Baltimore 2004 • PAOLETTI J.T.& RADKE G.H., Art in Renaissance Italy, Laurence KingWELCH E., Art and Society in Italy 1350-1500, Oxford University Press; • VASARI G., The Lives of the Artists, Penguin, vol.1; • WELCH E., Art and Society in Italy 1350-1500, Oxford University Press; Suggested Readings for the paper Portraiture in Renaissance art : • BROWN D. A., Virtue and Beauty, Princeton Univ. Press, 2002 • LANGDON G., Medici Women: Portraits of Power, Love and Betrayal from the Court of Duke Cosimo I, University of Toronto Press, 2006 • POPE-HENNESSY J., The Portrait in the Renaissance, Princeton Univ. Press, 1979 STREHLKE C. B., Pontormo, Bronzino and the Medici: the transformation of the Renaissance portrait in Florence, Philadelphia Museum of Art, 2004 • WOODFORD SUSAN, Portraits, in Looking at Pictures, Cambridge University Press, 1983, pp. 21-29 (photocopied on your class booklet) Please, expand the above list of books according to your interests and inclination, look for monographic sources on artists inspiring for you, and always follow cross-reference criteria for your research. INTERNET RESOURCES Good sources of information are the on line Groove Dictionary of Art, the platform JStor and ebray, that most of you can reach with your home university access. Free access: Many museums, such as the Metropolitan Museum in New York or the Louvre in Paris, have excellent databases. Browse those first, before addressing to less reliable sites. General: http://witcombe.sbc.edu/ http://www.wga.hu/frames-e.html?/art/index.html on line art dictionary: www.artlex.com 6. VISITS – TRIPS During the course we will visit the following sites: • Church of Santa Croce (€ 5.00) • Piazza San Giovanni (Bell tower, Baptistery, exterior) • Bargello Museum (free entrance with the museum pass) • Orsanmichele, exterior • Church of Santa Maria Novella (€ 3.50) 3 • Palazzo Medici-Riccardi and Magi Chapel (€ 5.00) • Church of Santa Trinita • Refectory of Sant’Apollonia • Accademia Gallery (free entrance with the museum pass) • Uffizi Gallery (free entrance with the museum pass) • Palatine Gallery inside Pitti Palace (free entrance with the museum pass) Individual visits to the following sites are highly recommended: o Brancacci Chapel (€ 4.00) o Church of Santo Spirito (free entrance) o Refectory of Ognissanti (free entrance) o Church of Santissima Annunziata (free entrance) o Refectory of Foligno (free entrance) o Church of San Lorenzo (€ 2.50) o Cathedral of Florence (free entrance) o San Marco Monastery (€ 6.50) o Palazzo Vecchio (€ 6.50) Recommended sites to visit in Italy Get inspired and organize your trips to see in person what we see in slides together. I especially recommend the following sites: Venice San Marco. Ducal Palace. Scuola Grande di San Rocco. Correr Museum. Guggenehim Collection Rome Vatican complex, as the most impressive example of 16th century papal commission; la Farnesina, commissioned by the banker Agostino Chigi .
Load more

Recommended publications
  • Renaissance Art Alpha-Numeric Class Code: ARTH-UA9005 Tuesdays and Thursdays, H 5:00–6:15 Pm, Daylight Savings Time Blended Villa Ulivi, “Arezzo” Room
    Spring 2021 - Renaissance Art Alpha-Numeric Class Code: ARTH-UA9005 Tuesdays and Thursdays, h 5:00–6:15 pm, Daylight Savings Time Blended Villa Ulivi, “Arezzo” Room Spring 2021 We know that you may be taking courses at multiple locations this semester. If you are enrolled in this course 100% remotely and are not a Go Local/Study Away student for this course site, please make sure that you’ve completed the online academic orientation via NYU Classes so you are aware of site specific support, policies and procedures. Please contact [email protected] if you have trouble accessing the NYU Classes site. If you are attending in person, you will be instructed to choose your seat on the first day and are expected to use that seat for the entire semester due to NYU COVID-19 safety protocol. Class Description: NYU Students who have already taken ARTH-UA 2 will not receive major credit for ARTH-UA 5 [Renaissance Art survey] or ARTH-UA 6 [Modern Art survey]. This course is an introduction to Renaissance Art by exploring in-depth the historical, political, and cultural evolution of Italy and Europe between the 15th and early 16th centuries. The course analyzes the historical and social background of the beginning of the Renaissance during the early 15th century and the impact of Medici's patronage on Filippo Lippi, Verrocchio, Botticelli, Perugino, and Ghirlandaio. It then investigates the "Golden Age" of the High Renaissance, specifically focusing on Leonardo da Vinci, Raphael Sanzio, and Michelangelo Buonarroti. By the end of this course, students gain a thorough knowledge of the Italian and European Renaissance Age, developing practical perception and a confident grasp of the material, understanding the relationship betweenSample historical and artistic events, and valuingSyllabus the importance of patronage.
    [Show full text]
  • Spot the Giraffe: the Ma- Terial Culture of Animals Found, Lost and Painted
    FRÜHE NEUZEIT GLOBAL KUNST VERFLECHTUNG Spot the Giraffe: The Ma- terial Culture of Animals Found, Lost and Painted Giorgio Riello 17.05.2021 The distracted tourist might be forgiven for not paying much attention to what is represented in The Adoration of the Magi, one of more than twenty large-scale frescos decorating the Tornabuoni Chapel in the Church of Santa Maria Novella in Florence. The famous Italian painter Domenico Ghirlandaio and his workshop worked tire- lessly between 1485 and 1490 to complete what is one of the largest renaissance works of art. Ghirlandaio was commissioned for the family chapel of the 55-year old Florentine merchant and banker Giovanni Tornabuoni, one of the richest and most powerful men in town. The passing of five centuries and the elements had harsh ef- fects on the frescos in the Tornabuoni Chapel. Yet, one can still see Giovanni Tornabuoni and many of his rela- tives and acolytes populating the scenes in the frescos. 1 Alas the Adoration is badly damaged having lost much of its central area. Fortunately, it is a detail in the undamaged upper right- hand corner that is of interest to us. In the distance, among Florentine hills and cypress trees one can spot a distinctive animal accompanied by a retinue of kee- pers dressed in oriental costumes and wearing turbans. Walking towards the city of Florence and the Church of Santa Maria Novella is a giraffe. We do not know why Fig. 1: The Adoration of the Ghirlandaio decided to insert it into the scene. Probably Magi by Domenico Ghirlandaio, it might have been considered a fitting addition to the Tornabuoni Chapel, Santa Maria three wise men traditionally deemed to have come from Novella, Florence, 1485–1490.
    [Show full text]
  • International Journal for Digital Art History, Issue #2
    Artistic Data and Network Analysis Figure 1. Aby Warburg’s Panel 45 with the color version of the images mapped over the black-and-white photographic reproductions. Peer-Reviewed Images as Data: Cultural Analytics and Aby Warburg’s Mnemosyne Stefka Hristova Abstract: In this paper, by extending the methodology of media archaeology to the praxis of Cultural Analytics/Media Visualization I ask how have we compared multitude of diverse images and what can we learn about the narratives that these comparisons allow? I turn to the work of Aby Warburg who attempted to organize close to two thousand images in his Mnemosyne Atlas. In comparing contemporary methods of image data visualization through cultural analytics method of remapping and the turn of the century methodology developed by Warburg under the working title of the “iconology of intervals,” I examine the shifts and continuities that have shaped informational aesthetics as well as data-driven narratives. Furthermore, in drawing parallels between contemporary Cultural Analytics/Media Visualization techniques, and Aby Warburg’s Atlas, I argue that contextual and image color data knowledge should continue to be important for digital art history. More specifically, I take the case study of Warburg’s Panel 45 in order to explore what we can learn through different visualization techniques about the role of color in the representation of violence and the promise of prosperous civil society. Keywords: images as data, Aby Warburg, Cultural Analytics, color, visualization, violence, reconciliation In their current state, the methods information about the artifact. In this of Cultural Analytics and Digital project, I take on a hybrid Digital Art Humanities provide two radically Historical methodology that combines different ways of interpreting images.
    [Show full text]
  • The Italian Lakes, the Piedmont, Tuscany, Umbria & Rome
    Gardens of Italy: The Italian Lakes, the Piedmont, Tuscany, Umbria & Rome 29 APR – 21 MAY 2019 Code: 21912 Tour Leaders Deryn Thorpe, David Henderson Physical Ratings Enjoy the famous gardens of northern and central Italy, including private masterpieces by Paolo Pejrone, Russell Page, Paolo Portoghesi and Pearson & Barfoot. Overview Tour Highlights Join Deryn Thorpe, award-winning print and radio garden journalist, to tour the gardens of five distinct regions of Italy. Deryn will be accompanied by award-winning artist David Henderson, who brings a profound knowledge of European art to ASA tours. Enjoy the magic of northern lakeside and island gardens including Villa Carlotta, Villa Balbianello, Isola Bella and Isola Madre. Meet Paolo Pejrone, student of Russell Page and currently Italy's leading garden designer. With him, view his own garden, 'Bramafam' and, by special appointment, the private Gardens of Casa Agnelli at Villar Perosa – one of Italy's most splendid examples of garden design. View Paolo Pejrone's work during private visits to the estate of the Peyrani family and the beautiful Tenuta Banna. See the work of Russell Page with an exclusive visit to the private gardens of Villa Silvio Pellico. Visit intimate urban gardens in Florence and Fiesole including Le Balze, designed by Cecil Pinsent; Villa di Maiano (featured in James Ivory's film A Room with a View); and the Giardini Corsini al Prato. Ramble through the historical centres of lovely old cities like Turin, Lucca, Siena, Florence and Perugia, and encounter masterpieces of Italian art in major churches and museums. Gaze out onto the Mediterranean from the spectacularly situated Abbey of La Cervara.
    [Show full text]
  • Terracotta Tableau Sculpture in Italy, 1450-1530
    PALPABLE POLITICS AND EMBODIED PASSIONS: TERRACOTTA TABLEAU SCULPTURE IN ITALY, 1450-1530 by Betsy Bennett Purvis A thesis submitted in conformity with the requirements for the degree of Doctorate of Philosophy Department of Art University of Toronto ©Copyright by Betsy Bennett Purvis 2012 Palpable Politics and Embodied Passions: Terracotta Tableau Sculpture in Italy, 1450-1530 Doctorate of Philosophy 2012 Betsy Bennett Purvis Department of Art University of Toronto ABSTRACT Polychrome terracotta tableau sculpture is one of the most unique genres of 15th- century Italian Renaissance sculpture. In particular, Lamentation tableaux by Niccolò dell’Arca and Guido Mazzoni, with their intense sense of realism and expressive pathos, are among the most potent representatives of the Renaissance fascination with life-like imagery and its use as a powerful means of conveying psychologically and emotionally moving narratives. This dissertation examines the versatility of terracotta within the artistic economy of Italian Renaissance sculpture as well as its distinct mimetic qualities and expressive capacities. It casts new light on the historical conditions surrounding the development of the Lamentation tableau and repositions this particular genre of sculpture as a significant form of figurative sculpture, rather than simply an artifact of popular culture. In terms of historical context, this dissertation explores overlooked links between the theme of the Lamentation, the Holy Sepulcher in Jerusalem, codes of chivalric honor and piety, and resurgent crusade rhetoric spurred by the fall of Constantinople in 1453. Reconnected to its religious and political history rooted in medieval forms of Sepulchre devotion, the terracotta Lamentation tableau emerges as a key monument that both ii reflected and directed the cultural and political tensions surrounding East-West relations in later 15th-century Italy.
    [Show full text]
  • Domenico Ghirlandaio 1 Domenico Ghirlandaio
    Domenico Ghirlandaio 1 Domenico Ghirlandaio Domenico Ghirlandaio Supposed self-portrait, from Adoration of the Magi, 1488 Birth name Domenico di Tommaso Curradi di Doffo Bigordi Born 11 January 1449Florence, Italy Died 11 January 1494 (aged 45)Florence, Italy (buried in the church of Santa Maria Novella) Nationality Italian Field Painter Movement Italian Renaissance Works Paintings in: Church of Ognissanti, Palazzo Vecchio, Santa Trinita, Tornabuoni Chapel in Florence and Sistine Chapel, Rome Domenico Ghirlandaio (1449 – 11 January 1494) was an Italian Renaissance painter from Florence. Among his many apprentices was Michelangelo. Biography Early years Ghirlandaio's full name is given as Domenico di Tommaso di Currado di Doffo Bigordi. The occupation of his father Tommaso Bigordi and his uncle Antonio in 1451 was given as "'setaiuolo a minuto,' that is, dealers of silks and related objects in small quantities." He was the eldest of six children born to Tommaso Bigordi by his first wife Mona Antonia; of these, only Domenico and his brothers and collaborators Davide and Benedetto survived childhood. Tommaso had two more children by his second wife, also named Antonia, whom he married in 1464. Domenico's half-sister Alessandra (b. 1475) married the painter Bastiano Mainardi in 1494.[1] Domenico was at first apprenticed to a jeweller or a goldsmith, most likely his own father. The nickname "Il Ghirlandaio" (garland-maker) came to Domenico from his father, a goldsmith who was famed for creating the metallic garland-like necklaces worn by Florentine women. In his father's shop, Domenico is said to have made portraits of the passers-by, and he was eventually apprenticed to Alessio Baldovinetti to study painting and mosaic.
    [Show full text]
  • Art As Power: the Medici Family As Magi in The
    ART AS POWER The Medici Family as Magi in the Fifteenth Century The Medici family of the Italian Renaissance were portrayed in works by Benozzo Gozzoli and Sandro Botticelli as Magi, the venerated figures from the new testament who were the first gentiles to recognize Jesus’ divinity. In doing so, the family transformed their desire for power into the physical realm and blurred the boundary between politics and religion. By Janna Adelstein Vanderbilt University n the middle of fifteenth-century Florence, the Medici it the Virgin Mary after the birth of her son, Jesus Christ. were at the height of their power and influence. Lead Often, the Medici would commission the artist to present by the great Cosimo, this family of bankers resided in various family members as the Magi themselves, melding Ithe heart of the city. Their unparalleled financial and soci- religious history and their contemporary world. This bib- etal status was measured in part by a consistent devotion to lical trio was held in high esteem by the family due to the the arts. This patronage is appraised through the Medicis’ family’s involvement in the confraternity the Compagnia close relationships with their favorite artists, such as Ben- de’ Magi, which was dedicated to the group. I will argue in ozzo Gozzoli and Sandro Botticelli, who often lived in the this paper that through an analysis of paintings in which Palazzo de Medici and enjoyed personal relationships with the family is depicted as these biblical figures and the Medi- members of the family. As was customary for art of the time, cis’ involvement in the Compagnia de’ Magi, we can begin many of the works commissioned by the family featured the to uncover why Cosimo desired to align himself with the biblical trio of the Magi, who were the first people to vis- Magi, and the political consequences of such a parallel.
    [Show full text]
  • Gardens of Italy: the Italian Lakes, the Piedmont, Tuscany, Umbria & Rome
    Gardens of Italy: The Italian Lakes, the Piedmont, Tuscany, Umbria & Rome 30 APR – 22 MAY 2018 Code: 21807 Tour Leaders Sabrina Hahn, David Henderson Physical Ratings Enjoy Italy’s famous gardens, including private masterpieces by Paolo Pejrone, Russell Page, Paolo Portoghesi and Pearson & Barfoot. Overview Tour Highlights Join Sabrina Hahn, horticulturalist, garden designer and expert gardening commentator on ABC 720 Perth to tour the gardens of five distinct regions of Italy. Sabrina will be accompanied by award- winning artist, David Henderson, who brings a profound knowledge of European art to ASA tours. Enjoy the magic of northern lakeside and island gardens including Villa Carlotta, Villa del Balbianello, Isola Bella and Isola Madre. Meet Paolo Pejrone, student of Russell Page and currently Italy's leading garden designer. With him, view his own garden 'Bramafam' and, by special appointment, the private Agnelli Gardens at Villar Perosa – one of Italy's most splendid examples of garden design. View Paolo Pejrone's work during private visits to the estate of the Peyrani family and the beautiful Tenuta Banna. See the work of Russell Page with an exclusive visit to the private gardens of Villa Silvio Pellico. Visit intimate urban gardens in Florence and Fiesole including Villa di Maiano (featured in James Ivory's film ), the Giardini Corsini al Prato, and Cecil Pinsent's 'secret' parterre garden of Villa Capponi. Ramble through the historical centres of lovely old cities like Turin, Lucca, Siena, Florence and Perugia. Gaze out onto the Mediterranean from the spectacularly situated Abbey of La Cervara. Encounter masterpieces of Italian art in major churches and museums.
    [Show full text]
  • Celebrating the City: the Image of Florence As Shaped Through the Arts
    “Nothing more beautiful or wonderful than Florence can be found anywhere in the world.” - Leonardo Bruni, “Panegyric to the City of Florence” (1403) “I was in a sort of ecstasy from the idea of being in Florence.” - Stendahl, Naples and Florence: A Journey from Milan to Reggio (1817) “Historic Florence is an incubus on its present population.” - Mary McCarthy, The Stones of Florence (1956) “It’s hard for other people to realize just how easily we Florentines live with the past in our hearts and minds because it surrounds us in a very real way. To most people, the Renaissance is a few paintings on a gallery wall; to us it is more than an environment - it’s an entire culture, a way of life.” - Franco Zeffirelli Celebrating the City: the image of Florence as shaped through the arts ACM Florence Fall, 2010 Celebrating the City, page 2 Celebrating the City: the image of Florence as shaped through the arts ACM Florence Fall, 2010 The citizens of renaissance Florence proclaimed the power, wealth and piety of their city through the arts, and left a rich cultural heritage that still surrounds Florence with a unique and compelling mystique. This course will examine the circumstances that fostered such a flowering of the arts, the works that were particularly created to promote the status and beauty of the city, and the reaction of past and present Florentines to their extraordinary home. In keeping with the ACM Florence program‟s goal of helping students to “read a city”, we will frequently use site visits as our classroom.
    [Show full text]
  • In the Art of Sandro Botticelli And
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE ANTIQUITY AND THE SISTINE SOJOURN (1481-1482) IN THE ART OF SANDRO BOTTICELLI AND DOMENICO GHIRLANDAIO Volume 1 A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Max Calvin Marmor May, 1982 ~ • I The Thesis of Max Calvin Marmor is approved: anne L. Trabold, Ph.D. California State University, Northridge i i This thesis is dedicated to the immortal words of Ibn Abad Sina "Seek not gold in shallow vessels!" (Contra Alchemia, Praefatio) iii ACKNOWLEDGEMENTS Thanks are due my thesis committee for allowing a maverick to go his own way. Without their contributions, this experience would not have been what it has been. More could be said on this score but, to quote the Devil (whose advice I should have followed from the outset): "Mach es kurz! Am Juengsten Tag ist's nur ein F--z!" So I'll "make it short." I owe special thanks to Dr. Birgitta Wohl, who initially persuaded me that higher education is worthwhile; who expressed unfailing interest in my ideas and progress; and who, throughout, has provided a unique living example of wide learning and humanistic scholarship. Finally, this thesis could not have been written without the ever prompt, ever courteous services of the CSUN Library Inter-Library Loan Department. Thanks to Charlotte (in her many roles}, to Misha and their myriad elves, who, for an unconscionably long time, made every day Christmas! iv CONTENTS Page LIST 01'' FIGURES . vii ABSTRACT . ix Chapter INTRODUCTION: CONTEXT AND CRISIS IN THE REVIVAL OF ANTIQUITY.
    [Show full text]
  • PDF and Printable Version
    PDF and printable version ------------------------------- Fun in Tuscany - tours for every taste SMALL GROUP & PRIVATE TOURS ALL YEAR ROUND Florence Walking Tour! ---------------------------- in the cradle of the Renaissance! Daily departures from 10:00 am Full Private Tour Prices: -------- ADULTS [+21 yo] 90 €/person (all inclusive) STUDENTS [12-20 yo] 85 €/person (all inclusive) CHILDREN [6-11 yo] 85 €/person (all inclusive) AVAILBILITY 2 PAX minimum number Important details: --------------------- Easy & Secure Booking Instant confirmation Lowest price guaranteed Available all year round Customizable upon request Pick up all over Tuscany Departure from 10:00 am Kids friendly tour Walk lenght: 3 hours Language: english Differently abled friendly Free Cancellation up to 24 hours in advance Highlights: ------------- San Lorenzo - According to the tradition San Lorenzo Basilica is the oldest church in Florence, it was founded in 393 by Saint Ambrose, bishop of Milan. The church was completely rebuilt in the XV century by the Medici family who had patronage over it. The Medici Palace is located a few steps from the basilica and it was designed by architect Michelozzo on commission of Cosimo "The Elder", grandfather of Lorenzo The Magnificent. The Duomo - Santa Maria del Fiore is the duomo of Florence, fully decorated in white marble from Carrara and green marble from Prato. It was begun in 1296 and completed only in the XV century with dome by architect Brunelleschi. Pope Eugenio IV consacred the church in 1436. The bell tower of the cathedral was started in 1339 by Giotto, then completed by Andrea Pisano and other artists in 1359. Art historians have different opinions about the period in which the San Giovanni Baptistery was built.
    [Show full text]
  • RESTORATION Florence & Southern Italy Workshop / Summer 2020
    RESTORATION Florence & Southern Italy Workshop / Summer 2020 Istituto Lorenzo de’ Medici Pictures taken during past Summer Restoration Workshops, both in the LdM Florence premises and during the experience in Southern Italy Florence & Southern Italy Restoration Workshop The LdM Florence and Southern Italy Restoration Workshop provides an exciting opportunity for participants of various ages and backgrounds to deepen their personal cultural experience and creative skills. As a 4-week Program, the workshop consists of a month-long hands-on exploration of restoration and conservation, and it is offered twice, in June and in July. Along with related historical, religious and cultural insights, students balance studio classes in Florence with field work in inspiring locations in Southern Italy. Dates Application deadlines June 2020: from May 28 to June 26 June Session: April 15th, 2020 July 2020: from July 2 to July 30 July Session: May 15th, 2020 COURSE DETAILS This workshop consists of three weeks in Florence and one field week in Southern Italy, during which you will approach the fundamentals of historical painting and of modern painting restoration techniques. By working on original polychrome wooden sculptures, oil paintings and frescoes, you will gain a comprehensive knowledge of the subject and the basic skills needed in the profession. In Florence, working in a fully functional restoration lab, you will perform diagnostic studies, understand dating and historical context, learn cleaning and consolidating techniques, and how to recognize proper products and reconstruct missing parts. During hands-on sessions you will focus on original works of art from the 16th to 17th centuries, acquiring original fresco techniques, such as mixing fresco mortar (intonaco), preparing a sinopia, painting a fresco, as well as various detachment and conservation methods.
    [Show full text]