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The Italian High Renaissance (Florence and Rome, 1495-1520)
The Italian High Renaissance (Florence and Rome, 1495-1520) The Artist as Universal Man and Individual Genius By Susan Behrends Frank, Ph.D. Associate Curator for Research The Phillips Collection What are the new ideas behind the Italian High Renaissance? • Commitment to monumental interpretation of form with the human figure at center stage • Integration of form and space; figures actually occupy space • New medium of oil allows for new concept of luminosity as light and shadow (chiaroscuro) in a manner that allows form to be constructed in space in a new way • Physiological aspect of man developed • Psychological aspect of man explored • Forms in action • Dynamic interrelationship of the parts to the whole • New conception of the artist as the universal man and individual genius who is creative in multiple disciplines Michelangelo The Artists of the Italian High Renaissance Considered Universal Men and Individual Geniuses Raphael- Self-Portrait Leonardo da Vinci- Self-Portrait Michelangelo- Pietà- 1498-1500 St. Peter’s, Rome Leonardo da Vinci- Mona Lisa (Lisa Gherardinidi Franceso del Giacondo) Raphael- Sistine Madonna- 1513 begun c. 1503 Gemäldegalerie, Dresden Louvre, Paris Leonardo’s Notebooks Sketches of Plants Sketches of Cats Leonardo’s Notebooks Bird’s Eye View of Chiana Valley, showing Arezzo, Cortona, Perugia, and Siena- c. 1502-1503 Storm Breaking Over a Valley- c. 1500 Sketch over the Arno Valley (Landscape with River/Paesaggio con fiume)- 1473 Leonardo’s Notebooks Studies of Water Drawing of a Man’s Head Deluge- c. 1511-12 Leonardo’s Notebooks Detail of Tank Sketches of Tanks and Chariots Leonardo’s Notebooks Flying Machine/Helicopter Miscellaneous studies of different gears and mechanisms Bat wing with proportions Leonardo’s Notebooks Vitruvian Man- c. -
The Flowering of Florence: Botanical Art for the Medici" on View at the National Gallery of Art March 3 - May 27, 2002
Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: February 26, 2002 Passion for Art and Science Merge in "The Flowering of Florence: Botanical Art for the Medici" on View at the National Gallery of Art March 3 - May 27, 2002 Washington, DC -- The Medici family's passion for the arts and fascination with the natural sciences, from the 15th century to the end of the dynasty in the 18th century, is beautifully illustrated in The Flowering of Florence: Botanical Art for the Medici, at the National Gallery of Art's East Building, March 3 through May 27, 2002. Sixty-eight exquisite examples of botanical art, many never before shown in the United States, include paintings, works on vellum and paper, pietre dure (mosaics of semiprecious stones), manuscripts, printed books, and sumptuous textiles. The exhibition focuses on the work of three remarkable artists in Florence who dedicated themselves to depicting nature--Jacopo Ligozzi (1547-1626), Giovanna Garzoni (1600-1670), and Bartolomeo Bimbi (1648-1729). "The masterly technique of these remarkable artists, combined with freshness and originality of style, has had a lasting influence on the art of naturalistic painting," said Earl A. Powell III, director, National Gallery of Art. "We are indebted to the institutions and collectors, most based in Italy, who generously lent works of art to the exhibition." The Exhibition Early Nature Studies: The exhibition begins with an introductory section on nature studies from the late 1400s and early 1500s. -
TRA PIANURA E COLLINA: CASTELLO E LE VILLE MEDICEE La Mappa Il Territorio Del Nostro Percorso
A NORD OVEST TRA PIANURA E COLLINA: CASTELLO E LE VILLE MEDICEE La mappa Il territorio del nostro percorso Questo percorso presenta aspetti di assoluto interesse storico, artistico e paesaggistico, in cui spiccano per bellezza, importanza, monumentalità le ville suburbane di svago e delizia: quelle medicee di Castello e Petraia, con i loro meravigliosi giardini all’italiana (non solo natura adattata alla geometria prospettica del verde, ma programma metaforico e simbolico del potere e del prestigio del Principe) e quelle che furono dei Villa di Castello; la grotta degli animali Medici, come Villa Corsini, ma anche Villa La Quiete alle Montalve (anch’essa appartenuta ai Medici) dove, dal 1724, risiedette Anna Maria Luisa de’ Medici, elettrice Palatina, ultima discendente della famiglia. Questa zona, in parte arrampicata sulla collina di Quarto, deve il suo nome all’antico borgo di origine etrusca e romana (Castellum, cioè cisterna, serbatoio d’acqua) su cui passava l’acquedotto fatto costruire dal senatore Marco Opelio Macrino (164-218) e col quale venivano distribuite Villa della Petraia:veduta le acque verso Firenze. Terra elettiva per l’otium e la delizia dei Medici, teatro di eventi fondamentali nella vita della famiglia, oggi la zona preserva, pur assediata a valle dallo sviluppo urbanistico, una sua precisa e straordinaria memoria storica fatta, anche, di strade e viuzze murate a racchiudere porzioni di campagna, antiche case contadine, olivete e poderi, testimonianza di un passato a vocazione agricola basato sull’organizzazione -
OVERLOOKING a WORK of ART Tuscany Portraits on Show at Forte Di Belvedere
FLORENCE CITY GUIDE ® OCTOBER 2020 WWW.WHEREITALIA.COM/FLORENCE AUTUMN TIPS ON LUXURY SHOPPING, DINING AND SIGHTSEEING HOW TO ENJOY YOUR WINE TASTING IN ITALY OVERLOOKING A WORK OF ART Tuscany portraits on show at Forte di Belvedere SIGHTSEEING | MUSEUMS | SHOPPING | DINING | ENTERTAINMENT | MAPS Florence October 2020 VIA SESTESE WINE EXPERIENCE CASTELLO SESTO 14 the guide apertura SIGHTSEEING FIORENTINO SVINCOLO SESTO FIORENTINO V I A 18 SHOPPING S AUTOSTRADA FIRENZE-MARE E S VI VIA XXV APRILE T A E VIA DEL CHIUSO DEI PAZZI G S E At the Officina . DUPRÈ VIA REGINALDO GIULIANI VIA DELLE PANCHE Profumo-Farmaceutica VIA ANDREA COSTA Santa Maria Novella you VIA ANDREA COSTA VIA G. DUPRÈ Teatro Romano can discover products VIA FAENTINA VIA DE' PERFETTI RICASOLI VIA CARLO DEL GRECO Museo Bandini VIA MARINI VIA PORTIGIANI for personal care with Cattedrale di San Romolo BO SCONI STRAD A PROV INCIALE 54 DEI PIAZZA PIAZZA G.GARIBALDI MINO DA FIESOLE a Florentine spirit VIA MASSICINI V. LUCCHESE A VIALE XI AGOSTO LUC V VIA SANT’APPOLINAR AUTOSTRADA FIRENZE-MARE I VIA S.CHIARA A E VIA SALVADOR ALLENDE F R À VIALE SAN G VIA GI VIALE 30GAETANO PIERACCINIDINING I O ULI AENTINA V O CACCIN A N I N VIA F SOLANA I PONTE D A Today, as over 130 F VIA DELLA BADIA DEI ROCCETTINI I NUOVO E VIA REGINALDO GIULIANI S H I A F I E VIA DELLE PANCHE O FIESOLE L ALLA CC E D PIAZZA E years ago, the most T Aeroporto Amerigo V I A V E T ENRICO O Vespucci PIGNONE BADIA L MATTEI VIA MANTELLINI ' A N G E VIA PRATESE L I C authentic cuisine of PIZZERIA O V I A U G O C O R S I SAN DOMENICO V. -
Passepartour 2019
PASSEPARTOUR 2019 FIRENZE OLTRARNO THE KEYS OF ACCESSIBILITY Florence is a world heritage site and as such it must be accessible to all, without exclusion. Florence welcomes people with physical disabilities due to an abundance of pedestrian areas and accessible historical and artistic sites. It is also unde- niable that some routes of the city-center - similar to many other historical cities throughout the world - may present some difficulties for people using wheelchairs: for example narrow streets, tiny sidewalks that are not easily passable or not homogeneous pavement. To address this problem and provide information on which paths are the best to follow for people with physical disabilities, the Municipality of Florence in collaboration with Kinoa Srl have designed and published this Guide. The PASSEPARTOUR project is made up of four volumes, each describing four different tourist itineraries "without barriers". In addition, the guide provides a map of the historical city-center, highlighting all the areas that can be navigated with complete autonomy, or with the support of a helper. In addition, Kinoa has developed the navigation app Kimap, which acts as a companion tool to the guide for the mobility of disabled people. Kimap can be downloaded for free on every smartphone: the app shows the most accessible path to reach your desired destination and is constantly updated. We hope that this project will contribute to improve the tourist experi- ence for those visiting our marvellous City, opening the doors to its extraordinary heritage. Cecilia Del Re Councilor for Tourism of the City of Florence Florence is a world heritage site and as such it must be accessible to all, without exclusion. -
CHEMISTRY in FLORENCE from the LAST MEMBER of “MEDICI FAMILY” to the PRESENT DAYS Marco Fontani, Piero Salvi
CHEMISTRY IN FLORENCE FROM THE LAST MEMBER OF “MEDICI FAMILY” TO THE PRESENT DAYS Marco Fontani, Piero Salvi INDEX 1 Historical Background 2 Scientists and Naturalists in the period of the Museum of Physics and Natural History (1775 - 1807) 2.1 Giovanni Targioni Tozzetti (1712-1883) 2.2 Felice Fontana (1730-1805) 2.3 Giovanni Fabbroni (1752-1822) 3 Chemists in the period of the Lyceum of Physical and Natural Studies (1807 - 1859) 3.1 Giuseppe Gazzeri (1771-1847) 3.2 Giovacchino Taddei (1792-1860) 3.3 Luigi Guerri (1823-1892) 4 Chemists in the period of the Institute of Specialization and Applied Higher Studies (1859 - 1924) 4.1 Ugo (Hugo) Schiff (1834-1915) 4.2 Augusto Piccini (1854-1905) 4.3 Guido Pellizzari (1858-1938) 4.4 Angelo Angeli (1864-1931) 4.5 Nicola Parravano (1883-1938) 4.6 Luigi Rolla (1882-1960) 5 Chemists in the period of the Royal University of Florence (1924 - 1946) 5.1 Sergio Berlingozzi (1890-1957) 5.2 Mario Torquato Passerini (1891-1962) 5.3 Giovanni Canneri (1897-1964) 5.4 Giorgio Piccardi (1895-1972) 5.5 Vincenzo Caglioti (1902-1998) 5.6 Adolfo Quilico (1902-1982) 5.7 Enzo Ferroni (1921-2007) 1 – Historical Background In 1321, the year of the death of Dante Alighieri, the so-called Studium Generale , the first nucleus of the University of Florence, was founded following a deliberation of the Florentine Republic. Among teaching courses there were Civil and Canonical Law, Literature and Medicine. Since the beginning, however, the life of the Studium Generale was difficult being the Studium opposed by Popes, Emperors and local Authorities. -
Florentine Villas ARTH-UA 9308 Or ITAL-UA 9404 9656 Tuesdays, 9:00-11:45 A.M
Fall 2018 - Florentine Villas ARTH-UA 9308 or ITAL-UA 9404 9656 Tuesdays, 9:00-11:45 a.m. Villa La Pietra, Aula Le Vedute Class Description: This course examines the Florentine villa, attempting to define this specific architectural typology and identify the unique contributions to its history made in and around Florence, primarily in the fifteenth and sixteenth centuries. Emerging from the Middle Ages, the villas of the Florentine area are among the most powerful embodiments of the “rebirth” of classical antiquity that defines the spirit of the Renaissance. The villa is here defined in accordance with its meaning both in antiquity and throughout the early modern period as a domestic structure integrated with its surrounding agricultural estate. Phenomena to be explored include: the evolution of the forms of the patronal residence, from the early Renaissance castle-villas to the classicizing villas of the later fifteenth- and early sixteenth-centuries; the emergence of the formal garden and the identification of some of its most characteristic elements; the rapport between the villa and its urban cousin, the palace. Special emphasis is given to the villas and gardens of the Medici and to the study of Villa La Pietra itself. Instructor Details: Name: Bruce Edelstein NYUGlobalHome Email Address: [email protected] Office Hours: Mondays, 3:00-5:00 p.m., or by appointment Office Location: Villa La Pietra Office Extension: 07246 Desired Outcomes: On completion of this course, students should: ❏ Have improved their ability to think critically, -
Advisory Mission to the World Heritage Site of the Historic Centre of Florence, Italy
REPORT JOINT UNESCO WORLD HERITAGE CENTRE/ ICOMOS ADVISORY MISSION TO THE WORLD HERITAGE SITE OF THE HISTORIC CENTRE OF FLORENCE, ITALY 22-25 May 2017 Cover: View across the city towards Santa Croce, from the belvedere of the Bardini Garden This report is jointly prepared by the mission members: Ms Isabelle Anatole-Gabriel (UNESCO World Heritage Centre) and Mr Paul Drury (ICOMOS International). 2 CONTENTS ACKNOWLEDGEMENTS ...................................................................................................................... 5 EXECUTIVE SUMMARY AND RECOMMENDATIONS ................................................................. 6 1. BACKGROUND TO THE MISSION ........................................................................................... 8 2. NATIONAL AND LOCAL POLICY FOR PRESERVATION AND MANAGEMENT ...... 9 3. IDENTIFICATION AND ASSESSMENT OF ISSUES .............................................................. 10 3.1. Introduction ............................................................................................................................. 10 3.2. Airport expansion ................................................................................................................... 11 3.3. The High Speed Rail Link ...................................................................................................... 12 3.4. Mobility in the historic centre and the developing tram system .................................. 13 Context ................................................................................................................................................ -
1 the Founding of Arcetri Observatory in Florence
THE FOUNDING OF ARCETRI OBSERVATORY IN FLORENCE Simone Bianchi INAF-Osservatorio Astrofisico di Arcetri, Largo E. Fermi, 5, 50125, Florence, Italy [email protected] Abstract: The first idea of establishing a public astronomical observatory in Florence, Capital of the Grand Duchy of Tuscany, dates to the mid of the 18th century. Initially, the use of a low building on a high ground was proposed, and the hill of Arcetri suggested as a proper location. At the end of the century, the Florence Observatory - or Specola - was built instead on a tower at the same level as the city’s centre. As soon as astronomers started to use this observatory, they recognized all its flaws and struggled to search for a better location. Giovanni Battista Donati, director of the Specola of Florence from the eve of the Italian Unification in 1859, finally succeeded in creating a new observatory: first, he obtained funds from the Parliament of the Kingdom of Italy to build an equatorial mount for the Amici 28-cm refractor, which could not be installed conveniently in the tower of the Specola; then, he went through the process of selecting a proper site, seeking funds and finally building Arcetri Observatory. Although Donati was a pioneer of spectroscopy and astrophysics, his intent was to establish a modern observatory for classical astronomy, as the Italian peninsula did not have a national observatory like those located in many foreign capitals – Florence was the capital of the Kingdom of Italy from 1865 to 1871. To promote the project, Donati made use of writings by one of the most authoritative European astronomers, Otto Wilhelm Struve. -
The Evolution of the Medici Portrait: from Business to Politics
THE EVOLUTION OF THE MEDICI PORTRAIT: FROM BUSINESS TO POLITICS A Thesis Submitted to the Office of Graduate Studies College of Arts and Sciences of John Carroll University in Partial Fulfillment of the Requirements for the Degree of Master of Arts By Mark J. Danford Spring, 2013 This thesis of Mark Danford is hereby accepted ________________________________________ ____________________ Reader – Dr. Edward Olszewski Date ________________________________________ ____________________ Reader – Dr. Brenda Wirkus Date ________________________________________ ____________________ Advisor – Dr. Linda Koch Date I certify that this is the original document ________________________________________ ____________________ Author – Mark J. Danford Date Acknowledgements There are many people I would like to thank for their encouragement and support during my graduate studies. I would like to thank the following people at John Carroll University: Dr. William Francis Ryan for introducing me to the Humanities Program; Dr. Brenda Wirkus for advising me and working with my hectic schedule so that I could complete my studies; and Dr. Linda Koch for providing me with an excellent foundation in the field of Art History as well as taking the extra time out of her schedule in order to be my thesis advisor. I would also like to thank Dr. Edward Olszewski from Case Western Reserve University for agreeing to be an additional reader of my thesis and offering his expertise concerning Florence and the Medici. I would like to thank the following people for making my research a little easier and offering me access to the curatorial files in their respective institutions: Andrea Mall from Registration at the Toledo Museum of Art; Anne Halpern from the Department of Curatorial Records at the National Gallery of Art; and Jennifer Vanim from the department of European Painting & Sculpture before 1900 at the Philadelphia Museum of Art. -
Medici Villas and Gardens
Background The property was presented at the 6th session of the Medici Villas and Gardens World Heritage Committee Bureau (Paris, 1982) under the (Italy) name Medici villas in the Florence region, and then withdrawn by the Italian authorities. No 175 ICOMOS had recommended that the property’s examination be deferred while recognising at the time the possibility for its future inscription under criteria (ii) and (iv), but noting that the proposed choice of eleven villas Official name as proposed by the State Party was “neither exhaustive nor sufficiently selective”. The Medici Villas and Gardens Medici villa in Pratolino had, for example, been destroyed in the 19th century, and the park of the Demidoff villa “had Location retained only the memory of wonderful Medici gardens”. Region: Tuscany The recommendation also noted that protection did not Provinces: Florence (10 sites), Prato (2), Lucca (1) and always extend to the landscape, “an essential aspect of Pistoia (1) the aesthetics of the Medici villa”, whilst the built Municipalities: Barberino di Mugello (1 site), San Piero a environment had at times significantly changed. Sieve (1), Florence (5), Fiesole (1), Poggio a Caiano (1), Furthermore, ICOMOS considered that the great variety of Cerreto Guidi (1), Seravezza (1), Vaglia (1), Quarrata (1), legal contexts and uses (private home, school, clinic, etc.) Carmignano (1) meant the conservation of several of the nominated property’s sites was problematic. Brief description The economic, financial and political fortunes of the Medici The Boboli Gardens are already part of the Historic Centre were behind extensive patronage that had a decisive of Florence inscribed on the World Heritage List in 1982. -
The Controversy on Animal Electricity in Eighteenth-Century Italy: Galvani, Volta and Others
Walter Bernardi The Controversy on Animal Electricity in Eighteenth-Century Italy: Galvani, Volta and Others As is well known, Luigi Galvani was not the first to use the electric spark over the muscles of alive or dead animals and to discuss the existence of “animal electricity”. The hypothesis of an animal electricity, or, as it was called in the 18th century, of a “neuro-electric fluid” which flowed in the nerves and caused contraction of the muscles, was not at all a novelty.1 But, on September 20, 1786, Galvani made a crucial experiment when he proved that a dead and “prepared” frog jumped without an external electric source, just by touching muscles and nerves with a metallic arc.2 The frog functioned as a Leyden jar; it was an electric engine. Galvani made a breakthrough that was judged revolutionary by all the scientists of his time. He had changed a previous speculative hypothesis, which looked like the medical quackery of Mesmer’s animal magnetism, into an experimental theory with important 1 A traditional, copious bibliography exists about the forerunners of Galvani. See H.E. HOFF, “Galvani and the Pre-Galvanian Electrophysiologists”, Annals of Science, 1 (1936), pp. 157-72; W.C. WALKER, “Animal Electricity before Galvani”, Annals of Science, 2 (1937), pp. 84-113; C.G. PUPILLI and E. FADIGA, “The Origins of Electrophysiology”, Journal of World History, 7 (1963), pp. 547-89; N. KIPNIS, “Luigi Galvani and the Debate on Animal Electricity”, 1791-1800, Annals of Science, 44 (1987), pp. 107-42; J.L. HEILBRON, “The contributions of Bologna to Galvanism”, Historical Studies in the Physical and Biological Sciences, 22 (1991), pp.