Maggio Dei Monumenti 2008
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TASTE and PRUDENCE in the ART of JUSEPE DE RIBERA by Hannah Joy Friedman a Dissertation Submitted to the Johns Hopkins Universit
TASTE AND PRUDENCE IN THE ART OF JUSEPE DE RIBERA by Hannah Joy Friedman A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland May, 2016 Copyright Hannah Joy Friedman, 2016 (c) Abstract: Throughout his long career in southern Italy, the Spanish artist Jusepe de Ribera (1591- 1652) showed a vested interest in the shifting practices and expectations that went into looking at pictures. As I argue, the artist’s evident preoccupation with sensory experience is inseparable from his attention to the ways in which people evaluated and spoke about art. Ribera’s depictions of sensory experience, in works such as the circa 1615 Five Senses, the circa 1622 Studies of Features, and the 1637 Isaac Blessing Jacob, approach the subject of the bodily senses in terms of evaluation and questioning, emphasizing the link between sensory experience and prudence. Ribera worked at a time and place when practices of connoisseurship were not, as they are today, a narrow set of preoccupations with attribution and chronology but a wide range of qualitative evaluations, and early sources describe him as a tasteful participant in a spoken connoisseurial culture. In these texts, the usage of the term “taste,” gusto, links the assessment of Ribera’s work to his own capacity to judge the works of other artists. Both taste and prudence were crucial social skills within the courtly culture that composed the upper tier of Ribera’s audience, and his pictures respond to the tensions surrounding sincerity of expression or acceptance of sensory experience in a novel and often satirical vein. -
The Pennsylvania State University
The Pennsylvania State University The Graduate School Department of Art History THE DOCUMENTED PAINTINGS AND LIFE OF ANDREA VACCARO (1604-1670) A Thesis in Art History by Anna Kiyomi Tuck-Scala Ó 2003 Anna Kiyomi Tuck-Scala Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2003 The thesis of Anna Kiyomi Tuck-Scala was reviewed and approved* by the following: Jeanne Chenault Porter Associate Professor of Art History Thesis Adviser Chair of Committee Roland E. Fleischer Professor Emeritus of Art History George L. Mauner Distinguished Professor Emeritus of Art History Alfred A. Triolo Associate Professor Emeritus of Italian and Spanish Craig Zabel Associate Professor of Art History Head of the Department of Art History *Signatures are on file in the Graduate School iii ABSTRACT This dissertation takes stock of what is known about Andrea Vaccaro (1604- 1670), one of the most prominent painters of Naples in the middle of the seventeenth- century. Although successful during his lifetime, Vaccaro currently suffers a reputation that is, at best, second rate. Due to the hundreds of paintings attributed to Vaccaro of dubious quality, modern art historians characterize his art as “eclectic” and “academic.” The sole monograph on Vaccaro, Maria Commodo Izzo’s Andrea Vacccaro pittore (1604-1670) published in 1951, is also sorely out of date. This study provides a new and more accurate portrayal of the artist. Rather than the customary all-inclusive approach, this study is based on the solid foundation of all known documents about the artist’s life and art, which are gathered and analyzed in one place for the first time. -
La Comunicazione Digitale Del Museo Civico Gaetano Filangieri: Una Parziale Amnesia
LA COMUNICAZIONE DIGITALE DEL MUSEO CIVICO GAETANO FILANGIERI: UNA PARZIALE AMNESIA FRANCESCA BASILE *, MARTINA TRA M ONTANO ** Durante il lockdown disposto per la pandemia di Covid-19, il Museo Civico Gaetano Filangieri di Napoli ha sfruttato le tecnologie dell’informazione e della comunicazione per garantire l’accesso al patrimonio. Abbiamo analizzato tali strategie, studiando, in primo luogo, la relazione che intercorre tra le informazioni estrapolate dalle piattaforme social – riservando particolare attenzione ai commenti degli utenti/visitatori – e le modalità di divulgazione della mission originaria e odierna dell’istituzione. I dati raccolti sono stati elaborati alla luce sia dell’inchiesta promossa da ICOM durante l’emergenza sanitaria, sia di un lavoro di ricerca sul posto, al fine di comparare le strategie di comunicazione realizzate nello spazio reale e in quello virtuale. Dall’indagine è emersa una generale propensione alla sponsorizzazione del patrimonio culturale attraverso un linguaggio mediatico ipercomunicativo e scarsamente correlato con solidi intenti pedagogici, che offrano risposte alle sfide sollevate dalla pandemia alla fruizione del patrimonio culturale cittadino. During the lockdown imposed for the COVID-19 pandemic, the Gaetano Filangieri Civic Museum of Naples used the on-line communication to ensure the access to its heritage. We analyzed these strategies, first of all, by studying the relationship between the informations extracted from the social media – with a particular focus on user/visitor feedbacks – and the dissemination methods of the museum's original and current mission. The data collected were developed in view of both the inquiry promoted by ICOM during the health emergency, and the research activity on site, in order to compare the communication strategies implemented in real and virtual space. -
FB Catalogue Final.Pdf
Seattle, Seattle Art Museum Fort Worth, Kimbell Art Museum October 17 2019 - January 26 2020 March 01 2020 - June 14 2020 Curated by Sylvain Bellenger with the collaboration of Chiyo Ishikawa, George Shackleford and Guillaume Kientz Embassy of Italy Washington The Embassy of Italy in Washington D.C. Museo e Real Bosco di Capodimonte Seattle Art Museum Director Illsley Ball Nordstrom Director and CEO Front cover Sylvain Bellenger Amada Cruz Parmigianino Lucretia Chief Curator Susan Brotman Deputy Director for Art and 1540, Oil on panel Linda Martino Curator of European Painting and Sculpture Naples, Museo e Real Bosco Chiyo Ishikawa di Capodimonte Exhibition Department Patrizia Piscitello Curatorial Intern Exhibition Catalogue Giovanna Bile Gloria de Liberali Authors Documentation Department Deputy Director for Art Administration Sylvain Bellenger Alessandra Rullo Zora Foy James P. Anno Christopher Bakke Head of Digitalization Exhibitions and Publications Manager Proofreading and copyediting Carmine Romano Tina Lee Mark Castro Graphic Design Restoration Department Director of Museum Services Studio Polpo Alessandra Golia and Chief Registrar Lauren Mellon Photos credits Legal Consulting Museo e Real Bosco di Capodimonte Studio Luigi Rispoli Associate Registrar for Exhibitions © Alberto Burri by SIAE 2019, Fig. 5 Megan Peterson © 2019 Andy Warhol Foundation American Friends of Capodimonte President for the Visual Arts by SIAE, Fig. 6 Nancy Vespoli Director of Design and Installation Photographers Nathan Peek and his team Luciano Romano Speranza Digital Studio, Napoli Exhibition Designer Paul Martinez Published by MondoMostre Printed in Italy by Tecnostampa Acting Director of Communications Finished printing on September 2019 Cindy McKinley and her team Copyright © 2019 MondoMostre Chief Development Ofcer Chris Landman and his team All Rights Reserved. -
Leonardo Da Vinci Programme Responsible Author: EURO Second Phase: 2000-2006 INNOVANET Co-Authors: EIL MU.S.EU.M
MU.S.EU.M (D.4) European museums’ websites Page 1 Leonardo Da Vinci Programme Responsible author: EURO Second Phase: 2000-2006 INNOVANET Co-authors: EIL MU.S.EU.M. Project Printed on: I/03/B/F/PP-154061 To: MU.S.EU.M Consortium & Supply CEC Arrangements Enriching The MU.S.EU.M consortiumInnovation (1) Euro Innovanet Srl (2) National Museum of History of Sofia (3) Naturhistorisches Museum- Prähistorische Abteilung of Vienna (4) Museum für Vor-und Frühgeschichte of Berlin (5) National Archaeological Museum Athens (6) Budapest History Museum (7) Comital Srl (8) Museo Nazionale Preistorico ed Etnografico L.Pigorini (9) UIL (10) Muzeul National de istorie a Romaniei of Bucharest (11) University of Alba Julia “1 Decembrie 1918” University – Pre- and Protohistorical Research Centre (12) Eddleston Innovation Ltd (1) Euro Innovanet Srl Status Confidentiality [ ] Draft [ ] Public – for public use [ ] Deliverable [ ] IST – for IST programme participants only [ ] Report [ ] Restricted – MU.S.EU.M consortium & PO only Project ID: I/03/B/F/PP-154061 Deliverable ID D 4 Work-package Number WP 4 Title Characteristics, extent, profile of European museums’ websites and case studies on best practices Rome 20 May 2004 Abstract 1 MU.S.EU.M (D.4) European museums’ websites Page 2 2 MU.S.EU.M (D.4) European museums’ websites Page 3 Page Content Section 3 Executive summary 4 1 TELEMATICS IN EUROPE’S MUSEUM SECTOR 5 2 THE NATURE AND CHARACTER OF VIRTUAL MUSEUMS 5 2.1 The virtual museum 7 3 SURVEY OF IMPORTANT MUSEUM WEBSITES 9 4 PROFILE OF EUROPEAN MUSEUM WEBSITES -
LA CAPRAIA - YEAR 2 Research Reports from the Center for the Art and Architectural History of Port Cities 2019-2020
Vol. 2, 2020 LA CAPRAIA - YEAR 2 Research Reports from the Center for the Art and Architectural History of Port Cities 2019-2020 1 Vol. 2, 2020 Vol. 2, 2020 2 3 LA CAPRAIA - YEAR 2 Record of Activities and Research Reports from the Center for the Art and Architectural History of Port Cities September 2019 - June 2020 WELCOME Centro per la Storia dell’Arte e dell’Architettura delle Città Portuali (CSAACP) 07 Greetings from Michael Thomas a collaboration between 09 Greetings from Sylvain Bellenger the Museo e Real Bosco di Capodimonte 10 Mission The Edith O’Donnell Institute of Art History 12 Report from Sarah K. Kozlowski and Franklin University Switzerland 14 Report from Francesca Santamaria Museo e Real Bosco di Capodimonte / La Capraia Via Miano 2 Napoli 80131 +39 3494706237 REPORTS FROM RESEARCH RESIDENTS [email protected] Claire Jensen www.utdallas.edu/arthistory/port-cities 19 23 Lisa Malberg 27 Diana Mellon Research Report published by the 31 Nathan Reeves Centro per la Storia dell’Arte e dell’Architettura delle Città Portuali (CSAACP) ACTIVITIES REPORT 37 International Conference Caravaggio a Napoli. Ricerche in corso Attribution-Non Commercial-NoDerivs CC BY-NC-ND 41 Field Seminar From the museum to the city: a two-day field seminar Editor Sarah K. Kozlowski on the ciborium of Santa Patrizia at Capodimonte and Editorial Coordinator Francesca Santamaria the places and spaces of the saint’s cult in Naples 44 Scholarly programs Designed by Francesco Giordano 49 Advisory Group and Partners Photo of La Capraia by Luciano Romano Vol. 2, 2020 Greetings from the Director of the O’Donnell Institute In April 2019, just before I began my position as Director of the Edith O’Donnell Institute of Art History at UT Dallas, Rick Brettell and I helped lead a group of local Dallas EODIAH supporters on a trip to Naples. -
Naples, a Case Study. Rise and Fall of Contemporary Art As a Factor in Urban Design Regeneration
CORE Metadata, citation and similar papers at core.ac.uk Provided by Archivio della ricerca - Università degli studi di Napoli Federico II Naples, a case study. Rise and Fall of contemporary art as a factor in urban design regeneration Alfonso Morone, Pietro Nunziante [email protected] [email protected] Faculty of Architecture Università degli Studi di Napoli Federico II Dipartimento di Configurazione ed Attuazione dellArchitettura Via Tarsia, 31 I-80135 Naples ITALY Abstract The design is often considered as the crossroads of different disciplines. The designer has therefore played an increasing role as coordinator of different skills, assembler of hybrid materials, and concepts to be combined in new configurations. Historically, the city of Naples has presented a monumental heritage, of millenary origin, which represents a fundamental element of its urban identity. The paper aims to clarify the issues of a particular urban experience: the use of contemporary art as a decisive factor of the recent urban transformation of the city. That process, which went through the last fifteen years, has at present a disputed outcome. The city has been, since the nineties, the privileged ground testing of symbolic politicies. Here the public strategy generates a series of actions, whose communicative factor has been taken from contemporary art. Public art, integration between architecture, visual arts and town planning, offer extraordinary opportunities, for the art of taking an active role in social and cultural dynamics, fueling the debate on the meaning of the public, on the relationship between ethics and aesthetics. At the same time this cultural policy, without a temperate design management, has paradoxically increased the distance between the creative elite and ordinary people. -
MARIO COLANGELO-Delegazione RAM Di Benevento
MARIO COLANGELO-Delegazione RAM di Benevento RICOSTRUZIONE DI UN PALAZZO NOBILIARE NAPOLETANO – I PARTE ARCHITETTURA E DECORAZIONE Napoli è sempre stata una città ricca di dimore nobiliari, propensione al lusso e al prestigio che si sgrana a partire dal periodo angioino, per poi scoppiare soprattutto tra il XV e il XVIII secolo. Oggi le splendide dimore rinascimentali e barocche testimoniano una fase artistica senza precedenti in cui l’accumulo della ricchezza si intreccia con la ricerca della comodità. All’interno del tessuto architettonico della città veniva data particolare rilevanza ad alcuni elementi, come il portale con il balcone soprastante, l’atrio, il cortile e la scala, di cui l’imponenza e lo splendore garantiva un prestigio particolare al signore, che non poteva che affidarsi a questi elementi per sfoggiare il suo potere. Non mancavano un tempo giardini o terrazzi, ma questo aspetto era ormai secondario, in quanto la città nel corso del Seicento iniziò a scarseggiare di luoghi adatti a giardini di delizia. Prima di concentrare la nostra attenzione su tutto ciò che si può trovare all’interno delle dimore nobiliari, si rende necessario indagare sull’architettura e su alcuni tipi di arredi che potremmo definire fissi. Ben poco è rimasto del periodo precedente alla Napoli aragonese, mentre assai più consistenti sono le opere risalenti ai periodi successivi, quando la costruzione di edifici pubblici e privati veniva affidata spesso ad architetti di grido che garantirono a partire dal Quattrocento fino a tutto l’Ottocento una lunga -
The Neapolitan Lives and Careers of Netherlandish Immigrant Painters (1575-1655) Amsterdam Studies in the Dutch Golden Age
The Neapolitan Lives and Careers of Netherlandish Immigrant Painters (1575-1655) Amsterdam Studies in the Dutch Golden Age Founded in 2000 as part of the Faculty of Humanities of the University of Amsterdam (UvA), the Amsterdam Centre for Study of the Golden Age (Amsterdams Centrum voor de Studie van de Gouden Eeuw) aims to promote the history and culture of the Dutch Republic during the ‘long’ seventeenth century (c. 1560-1720). The Centre’s publications provide insight into the lively diversity and continuing relevance of the Dutch Golden Age. They offfer original studies on a wide variety of topics, ranging from Rembrandt to Vondel, from Beeldenstorm (iconoclastic fury) to Ware Vrijheid (True Freedom) and from Batavia to New Amsterdam. Politics, religion, culture, economics, expansion and warfare all come together in the Centre’s interdisciplinary setting. Editorial control is in the hands of international scholars specialised in seventeenth-century history, art and literature. For more information see www.aup.nl/goudeneeuw or http://cf.uba.uva.nl/goudeneeuw/ Editorial Board: Frans Blom, University of Amsterdam Michiel van Groesen, Leiden University Geert H. Janssen, University of Amsterdam Elmer E.P. Kolfijin, University of Amsterdam Nelleke Moser, VU University Amsterdam Henk van Nierop, University of Amsterdam Claartje Rasterhofff, University of Amsterdam Emile Schrijver, University of Amsterdam Thijs Weststeijn, Utrecht University Advisory Board: H. Perry Chapman, University of Delaware Harold J. Cook, Brown University Benjamin J. Kaplan, University College London Orsolya Réthelyi, Eötvös Loránd University Budapest Claudia Swan, Northwestern University The Neapolitan Lives and Careers of Netherlandish Immigrant Painters (1575-1655) Marije Osnabrugge Amsterdam University Press The publication of this book is made possible by a grant from the Fonds général de l’Université de Genève. -
Giuseppe Porzio
GIUSEPPE PORZIO e-mail [email protected] Università degli Studi di Napoli «L’Orientale» Dipartimento di Scienze Umane e Sociali Palazzo Giusso, Largo San Giovanni Maggiore, 30 80134 Napoli Curriculum vitae (aggiornato al 30 novembre 2016) Giuseppe Porzio, nato a Torre del Greco il 17 maggio 1976, ha conseguito presso la Facoltà di Lettere e Filosofia dell’Università degli Studi di Napoli «Federico II» la laurea in Lettere con indirizzo classico discutendo una tesi in Iconografia ed iconologia intitolata «Il coro ligneo della cappella dei conversi nella certosa napoletana di San Martino», relatore prof. Vincenzo Pacelli. Nel 2005 ha conseguito presso l’Archivio di Stato di Napoli il diploma di Archivistica, paleografia e diplomatica. Nel 2006 ha conseguito il diploma di Perfezionamento in «Storia dell’Occidente: Cultura e Religione» presso l’Università degli Studi di Napoli «Federico II» (tesi finale: «Questioni di iconografia sacra nella pittura napoletana della prima metà del Seicento», relatore prof. Vincenzo Pacelli). Nel 2010 è risultato vincitore del bando di concorso per ricercatore invitato all’Institut national d’histoire de l’art nell’ambito del programma «Les tableaux italiens des collections publiques françaises (XIIe-XIXe siècles): recherche, étude» (2011). Nel giugno dello stesso anno ha svolto 10 ore di docenza di storia dell’arte moderna nell’ambito del corso di perfezionamento di Guida Turistica organizzato dall’Università degli Studi di Napoli «L’Orientale». Nel 2014 ha conseguito cum laude il dottorato di ricerca in storia dell’arte presso l’Università degli Studi di Roma «Tor Vergata» con una tesi sui seguaci napoletani di Ribera. Dal luglio 2000 (dal gennaio 2006 con contratto di lavoro a tempo indeterminato) è in servizio presso l’ex Soprintendenza Speciale per il PSAE e per il Polo Museale della Città di Napoli e della Reggia di Caserta in qualità di AFAV (ex ATM), area B3. -
Evaluation of Damages to the Architectural Heritage of Naples As a Result of the Strongest Earthquakes of the Southern Apennines
applied sciences Article Evaluation of Damages to the Architectural Heritage of Naples as a Result of the Strongest Earthquakes of the Southern Apennines Germana Gaudiosi 1, Giuliana Alessio 1 , Rosa Nappi 1,* , Valentina Noviello 2, Efisio Spiga 3 and Sabina Porfido 1,4 1 Istituto Nazionale di Geofisica e Vulcanologia, Sezione di Napoli Osservatorio Vesuviano, Via Diocleziano, 328, 80124 Napoli, Italy; [email protected] (G.G.); [email protected] (G.A.); sabina.porfi[email protected] (S.P.) 2 Consiglio Nazionale delle Ricerche-ISMed, 80124 Napoli, Italy; [email protected] 3 Independent Researcher, 83020 Avellino, Italy; [email protected] 4 Consiglio Nazionale delle Ricerche-ISA, Via Roma 64, 80100 Avellino, Italy * Correspondence: [email protected] Received: 4 August 2020; Accepted: 25 September 2020; Published: 1 October 2020 Abstract: The city of Naples (Campanian region, Southern Italy) has been hit by the strongest earthquakes located inside the seismogenic areas of the Southern Apennines, as well as by the volcano-tectonic earthquakes of the surrounding areas of the Campi Flegrei, Ischia and Vesuvius volcanic districts. An analysis of the available seismic catalogues shows that in the last millennium, more than 100 earthquakes have struck Naples with intensities rating I to III on the Mercalli–Cancani–Sieberg (MCS) scale over the felt level. Ten of these events have exceeded the damage level, with a few of these possessing an intensity greater than VII MCS. The catastrophic earthquakes of 1456 (I0 = XI MCS), 1688 (I0 = XI MCS) and 1805 (I0 = X MCS) occurred in the Campania–Molise Apennines chain, produced devastating effects on the urban heritage of the city of Naples, reaching levels of damage equal to VIII MCS.