VENICE ITINERARIES CONTENTS Introduction 1 Early Renaissance
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Ca' Rezzonico
Fondazione Musei Civici di Venezia — Ca’ Rezzonico Museum of the 18th Century Venice The Ferruccio Mestrovich Collection ENG da ballo MEZZANINE BROWNING / THE FERRUCCIO MESTROVICH COLLECTION Canal Grande The Collection The collection contains a nucleus his assets were confiscated by of sixteen paintings, all of high the Yugoslav government and never quality. returned. There are two major works by His son Audace worked for many Iacopo Tintoretto, an altar-piece of years in Venice as a lawyer. striking intensity and an austere His youngest son, Ferruccio, portrait. Particularly noteworthy a passionate scholar of early is a glowing and intimate “Sacra Veneto painting, is the donor of Conversazione” by Bonifacio de’ this collection: the attributions of Pitati; in addition, there are other the paintings are the result of his works by Benedetto Diana, Lelio research and studies; indeed, his Orsi, Jacopo Amigoni, Francesco suggestions and indications have Guardi and Alessandro Longhi, two assisted several scholars on many “soprarchi” (paintings above an occasions in the publication of his arch) by Benedetto Carpaccio, son paintings and other collections. and follower of Vittore and a small panel by Cima da Conegliano. The Mestrovichs belong to an ancient Dalmatian family originally from Zara and have lived in Venice since 1945. The head of the family, Aldo (1885-1969) was persecuted during the Austrian rule for his Ca’ Rezzonico, The Ferruccio Mestrovich Collection Italian patriotism; > 1 1. Benedetto Diana section of the polyptych frieze in the ITINERARY AND (Venice, 1460 ca. – 1525) San Francesco convent church in WORKS OF ART Christ Benedictory Miglionico, near Matera, taken there (oil on wood, 60 x 52,5 cm) at the end of the 16th century after being purchased in Venice by Don It’s a very interesting work of art Marcantonio Mizzoni. -
Europa E Italia. Studi in Onore Di Giorgio Chittolini
21 CORE VENICE AND THE VENETO Metadata, citation and similar papers at core.ac.uk Provided by Reti Medievali Open Archive DURING THE RENAISSANCE THE LEGACY OF BENJAMIN KOHL Edited by Michael Knapton, John E. Law, Alison A. Smith thE LEgAcy of BEnJAMin KohL BEnJAMin of LEgAcy thE rEnAiSSAncE thE during VEnEto thE And VEnicE Smith A. Alison Law, E. John Knapton, Michael by Edited Benjamin G. Kohl (1938-2010) taught at Vassar College from 1966 till his retirement as Andrew W. Mellon Professor of the Humanities in 2001. His doctoral research at The Johns Hopkins University was directed by VEnicE And thE VEnEto Frederic C. Lane, and his principal historical interests focused on northern Italy during the Renaissance, especially on Padua and Venice. during thE rEnAiSSAncE His scholarly production includes the volumes Padua under the Carrara, 1318-1405 (1998), and Culture and Politics in Early Renaissance Padua thE LEgAcy of BEnJAMin KohL (2001), and the online database The Rulers of Venice, 1332-1524 (2009). The database is eloquent testimony of his priority attention to historical sources and to their accessibility, and also of his enthusiasm for collaboration and sharing among scholars. Michael Knapton teaches history at Udine University. Starting from Padua in the fifteenth century, his research interests have expanded towards more general coverage of Venetian history c. 1300-1797, though focusing primarily on the Terraferma state. John E. Law teaches history at Swansea University, and has also long served the Society for Renaissance Studies. Research on fifteenth- century Verona was the first step towards broad scholarly investigation of Renaissance Italy, including its historiography. -
The Abandonment of Butrint: from Venetian Enclave to Ottoman
dining in the sanctuary of demeter and kore 1 Hesperia The Journal of the American School of Classical Studies at Athens Volume 88 2019 Copyright © American School of Classical Studies at Athens, originally pub- lished in Hesperia 88 (2019), pp. 365–419. This offprint is supplied for per- sonal, non-commercial use only, and reflects the definitive electronic version of the article, found at <https://www.jstor.org/stable/10.2972/hesperia.88.2.0365>. hesperia Jennifer Sacher, Editor Editorial Advisory Board Carla M. Antonaccio, Duke University Effie F. Athanassopoulos, University of Nebraska-Lincoln Angelos Chaniotis, Institute for Advanced Study Jack L. Davis, University of Cincinnati A. A. Donohue, Bryn Mawr College Jan Driessen, Université Catholique de Louvain Marian H. Feldman, University of California, Berkeley Gloria Ferrari Pinney, Harvard University Thomas W. Gallant, University of California, San Diego Sharon E. J. Gerstel, University of California, Los Angeles Guy M. Hedreen, Williams College Carol C. Mattusch, George Mason University Alexander Mazarakis Ainian, University of Thessaly at Volos Lisa C. Nevett, University of Michigan John H. Oakley, The College of William and Mary Josiah Ober, Stanford University John K. Papadopoulos, University of California, Los Angeles Jeremy B. Rutter, Dartmouth College Monika Trümper, Freie Universität Berlin Hesperia is published quarterly by the American School of Classical Studies at Athens. Founded in 1932 to publish the work of the American School, the jour- nal now welcomes submissions -
Rethinking Savoldo's Magdalenes
Rethinking Savoldo’s Magdalenes: A “Muddle of the Maries”?1 Charlotte Nichols The luminously veiled women in Giovanni Gerolamo Savoldo’s four Magdalene paintings—one of which resides at the Getty Museum—have consistently been identified by scholars as Mary Magdalene near Christ’s tomb on Easter morning. Yet these physically and emotionally self- contained figures are atypical representations of her in the early Cinquecento, when she is most often seen either as an exuberant observer of the Resurrection in scenes of the Noli me tangere or as a worldly penitent in half-length. A reconsideration of the pictures in connection with myriad early Christian, Byzantine, and Italian accounts of the Passion and devotional imagery suggests that Savoldo responded in an inventive way to a millennium-old discussion about the roles of the Virgin Mary and Mary Magdalene as the first witnesses of the risen Christ. The design, color, and positioning of the veil, which dominates the painted surface of the respective Magdalenes, encode layers of meaning explicated by textual and visual comparison; taken together they allow an alternate Marian interpretation of the presumed Magdalene figure’s biblical identity. At the expense of iconic clarity, the painter whom Giorgio Vasari described as “capriccioso e sofistico” appears to have created a multivalent image precisely in order to communicate the conflicting accounts in sacred and hagiographic texts, as well as the intellectual appeal of deliberately ambiguous, at times aporetic subject matter to northern Italian patrons in the sixteenth century.2 The Magdalenes: description, provenance, and subject The format of Savoldo’s Magdalenes is arresting, dominated by a silken waterfall of fabric that communicates both protective enclosure and luxuriant tactility (Figs. -
VENICE Grant Allen's Historical Guides
GR KS ^.At ENICE W VENICE Grant Allen's Historical Guides // is proposed to issue the Guides of this Series in the following order :— Paris, Florence, Cities of Belgium, Venice, Munich, Cities of North Italy (Milan, Verona, Padua, Bologna, Ravenna), Dresden (with Nuremberg, etc.), Rome (Pagan and Christian), Cities of Northern France (Rouen, Amiens, Blois, Tours, Orleans). The following arc now ready:— PARIS. FLORENCE. CITIES OF BELGIUM. VENICE. Fcap. 8vo, price 3s. 6d. each net. Bound in Green Cloth with rounded corners to slip into the pocket. THE TIMES.—" Good work in the way of showing students the right manner of approaching the history of a great city. These useful little volumes." THE SCOTSMAN "Those who travel for the sake of culture will be well catered for in Mr. Grant Allen's new series of historical guides. There are few more satisfactory books for a student who wishes to dig out the Paris of the past from the im- mense superincumbent mass of coffee-houses, kiosks, fashionable hotels, and other temples of civilisation, beneath which it is now submerged. Florence is more easily dug up, as you have only to go into the picture galleries, or into the churches or museums, whither Mr. Allen's^ guide accordingly conducts you, and tells you what to look at if you want to understand the art treasures of the city. The books, in a word, explain rather than describe. Such books are wanted nowadays. The more sober- minded among tourists will be grateful to him for the skill with which the new series promises to minister to their needs." GRANT RICHARDS 9 Henrietta St. -
“Talk” on Albanian Territories (1392–1402)
Doctoral Dissertation A Model to Decode Venetian Senate Deliberations: Pregadi “Talk” on Albanian Territories (1392–1402) By: Grabiela Rojas Molina Supervisors: Gerhard Jaritz and Katalin Szende Submitted to the Medieval Studies Department Central European University, Budapest In partial fulfillment of the requirements for the degree of Doctor of Philosophy in Medieval Studies, Budapest, Hungary 2020 CEU eTD Collection To my parents CEU eTD Collection Table of Contents Acknowledgments .................................................................................................................................. 1 List of Maps, Charts and Tables .......................................................................................................... 2 Introduction ............................................................................................................................................ 3 A Survey of the Scholarship ........................................................................................................................... 8 a) The Myth of Venice ........................................................................................................................... 8 b) The Humanistic Outlook .................................................................................................................. 11 c) Chronicles, Histories and Diaries ..................................................................................................... 14 d) Albania as a Field of Study ............................................................................................................. -
Le Due Culture Di Giovanni Buonconsiglio
©Ministero per beni e le attività culturali-Bollettino d'Arte VITTORIO SGARBI LE DUE CULTURE DI GIOVANNI BUONCONSIGLIO IOVANNI Buonconsiglio detto il Marescalco è Brevi contributi si devono successivamente a Wart un pittore che è andato recuperando terreno Arslan nel 1956 4) e ad Alberto Martini, su tracce G negli ultimi anni sollecitando l'attenzione di longhiane, nel 1957· sl acuti conoscitori, dopo secoli di silenzio. Le tappe Gli anni sessanta registrano un rinnovamento del della critica moderna nella ricostruzione della sua l'interesse locale per il pittore con il catalogo del personalità entro il gruppo nutrito dei maestri belli Museo di Vicenza del Barbieri, del 1962, 6> e con il niani sono ascendenti: come se la focalizzazione della vasto saggio monografico di Lionello Puppi, del conoscenza garantisse al pittore il riconoscimento di 1964. 1> E non va neppure tralasciato l'intervento di meriti dimenticati, per l'alta qualità dei suoi negletti Heinemann, come sempre farraginoso, del 1962. a> risultati. IJ contributo del Puppi sembra porsi come defini Al primo posto in questo avanzamento della con tivo, ma gli anni settanta non mostrano minore siderazione critica sta, quasi inevitabilmente, Ro impegno sull'argomento, prima con l'articolo del berto Longhi il quale nel Viatico per cinque secoli Pallucchini su Arte Veneta nel 1973, 9l attraverso il di pittura veneziana, tl a recensione della grande quale ritorna in luce un importante dipinto inedito mostra del 1945, pur limitando fortemente il proprio firmato; subito dopo, nel 1974, con la tesi di laurea consenso, porrà le basi per la maturazione dell'in dello scrivente, tol e con la mostra padovana Dopo teresse intorno alla figura del pittore, con una pagina Mantegna le cui schede in catalogo si devono ancora e una nota dense di grande interesse: '' Quanto al Puppi. -
The Relations of the Republic Of
Aleksandra V. Chirkova, Daria A. Ageeva , Evgeny A. Khvalkov THE RELATIONS OF THE REPUBLIC OF VENICE AND THE MARQUISES D’ESTE IN THE MID-FOURTEENTH TO MID-FIFTEENTH CENTURY BASED ON THE LETTERE DUCALI FROM THE WESTERN EUROPEAN SECTION OF THE HISTORICAL ARCHIVE OF THE SAINT PETERSBURG INSTITUTE OF HISTORY OF THE RUSSIAN ACADEMY OF SCIENCES BASIC RESEARCH PROGRAM WORKING PAPERS SERIES: HUMANITIES WP BRP 174/HUM/2018 This Working Paper is an output of a research project implemented at the National Research University Higher School of Economics (HSE). Any opinions or claims contained in this Working Paper do not necessarily reflect the views of HSE Aleksandra V. Chirkova1,2 Daria A. Ageeva3, Evgeny A. Khvalkov45 THE RELATIONS OF THE REPUBLIC OF VENICE AND THE MARQUISES D’ESTE IN THE MID-FOURTEENTH TO MID- FIFTEENTH CENTURY BASED ON THE LETTERE DUCALI FROM THE WESTERN EUROPEAN SECTION OF THE HISTORICAL ARCHIVE OF THE SAINT PETERSBURG INSTITUTE OF HISTORY OF THE RUSSIAN ACADEMY OF SCIENCES6 The present study is devoted to the research into a set of the Venetian lettere ducali to the Marquises d’Este of the fourteenth and fifteenth centuries collected by N.P. Likhachev (1862- 1936), Member of the Academy of Sciences of the USSR, stored in the Western European section of the Saint Petersburg Institute of History of the Russian Academy of Sciences and the preparation of their full-text critical publication. The lettere ducali are an excellent source to study the Serenissima and its continental and overseas domains. The source material of the Venetian lettere ducali have long and not without reason been considered and actively investigated by researchers as one of the most important sources on the economic, social, political, legal, environmental, cultural, and ethnic history of Venice. -
Le Vite Dei Dogi, 1423-1474 II
MARIN SANUDO IL GIOVANE LE VITE DEI DOGI 1423-1474 II TOMO 1457-1474 Introduzione, edizione e note a cura di ANGELA CARACCIOLO ARICÒ Trascrizione a cura di CHIARA FRISON Venezia 2004 Direttore della collana FERIGO FOSCARI Venezia La Malcontenta 2004 Tutti i diritti riservati INDICE DEL II TOMO Doge Pasquale Malipiero 3 Doge Cristoforo Moro 32 Doge Nicolò Tron 154 Doge Nicolò Marcello 191 Bibliografia del I e del II tomo – Principali studi e strumenti utilizzati 283 – Fonti edite 288 – Fonti manoscritte 290 Indice dei nomi del I tomo (Serena de Pont) 291 Indice dei nomi del II tomo (Elena Bocchia) 345 “VENETIAE GENIO URBIS” perché non tutto vada perduto A Chiara e ai miei studenti MARIN SANUDO IL GIOVANE LE VITE DEI DOGI 1423-1474 II TOMO 1457-1474 |f. 76v|a) [1457] Pasqualb) Malipiero Doxe fo creado per l’absolucion1 fat- ta nel Conseio d’i X con la Zonta di Francesco Foscari Doxe, non potendo più il Duca exercitar per la vechieza.2 A dì 23 ottubrio et a dì 24 fo chiamado Gran Conseio per dar principio alla elecione, et forno a Conseio zentilomeni circha nu- mero 800; et prima fo fatti li cinque Coretori qualli fo: sier Pollo Tron Procurator sier Christoffollo Moro Procurator questi veneno dopij et non sier Orsato Zustignian Procurator funo balotadi sier Michel Venier Procurator sier Nicolò Bernardo Questi Coretori il zorno drio – a dì 25 – meseno le sue parti,c) qual fo prese, zoè: sopra il terzo capittollo, che il Doxe sia obligatto far justicia, sia azonto: etiam alli nostri suditi; sopra il 333 che il Doxe non apri letere dil Papa, -
The Evolution of Landscape in Venetian Painting, 1475-1525
THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters. -
Italiano, Sec
Portego ITA Museo di Palazzo Mocenigo Questo grande salone centrale, da cui si dipartono le altre stanze, è tipico della struttura dei palazzi veneziani ed era destinato alle feste e alla vita di rappresentanza. I dipinti qui esposti sono perlopiù ritratti dei Mocenigo o raccontano vicende che li riguardano. Quattro dei grandi ritratti alle pareti (1,2,4,5) sono di sovrani presso i quali i Mocenigo erano ambasciatori, mentre i sette dogi appartenenti alla famiglia sono in parte ritratti sulle sovrapporte (6,8), e in parte nel lungo fregio sotto il soffitto (18,28.38,40,41) - realizzato su modello di quello della sala del Maggior Consiglio in Palazzo Ducale - assieme ad altri numerosi membri illustri del casato. Le pareti sono decorate con motivi architettonici realizzati nel 1787 da Agostino Mengozzi Colonna. Il percorso di visita al museo inizia dalla sala che si apre alla nostra destra, guardando il monumentale marmoreo portale d’ingresso. Didascalie sul retro In nero se di opere appartenenti al palazzo In grigio se di opere provenienti da altre collezioni >>> Si prega di restituire questa scheda Portego ITA Pareti 1. Ambito francese ? , sec. XVII Ritratto del re Luigi XIV (?) olio su tela, 1670c. 29 30 9 Sala 7 2. Maniera di Peter Lely, sec. XVII 10 Sala 5 Ritratto del re Carlo II Stuart 28 olio su tela, 1651c. 31 3. Ambito veneto, sec. XVII 27 2 Ritratto del procuratore Alvise Mocenigo 32 olio su tela, 1621c. 26 3 4. Ambito fiammingo ? , sec. XVII 33 Ritratto dell’imperatore Leopoldo I d’Asburgo 11 Sala 6 olio su tela, 1658c. -
Iconic Ansel Adams Photographs and Rarely Seen Renaissance Paintings by Venice Masters at the North Carolina Museum of Art
FOR IMMEDIATE RELEASE December 1, 2016 MEDIA CONTACT Emily Kowalski | (919) 664-6795 | [email protected] Iconic Ansel Adams Photographs and Rarely Seen Renaissance Paintings by Venice Masters at the North Carolina Museum of Art Raleigh, N.C.—The North Carolina Museum of Art (NCMA) opens 2017 with two major exhibitions: one featuring the awe-inspiring work of Ansel Adams, and one showcasing masterpieces from Venice’s cultural Renaissance. Beginning February 4 the Museum presents Ansel Adams: Masterworks, 48 iconic photographs of American landscapes. One month later the Museum opens Glory of Venice: Renaissance Paintings 1470–1520, about 50 paintings by such masters as Giorgione, Giovanni Bellini, and Vittore Carpaccio, many of which have never been seen outside of Venice. The two exhibitions are ticketed together. “These two extraordinary exhibitions allow our visitors to explore the majesty of America and the splendor of Venice— all in one location,” says Lawrence J. Wheeler, director of the NCMA. “It will be an unforgettable and once-in-a-lifetime opportunity to view stunning photographs by the most well-known photographer of our time, and then walk to the next gallery to see rarely exhibited paintings from the most exciting period of Venice’s cultural history.” Ansel Adams: Masterworks February 4–May 7, 2017 East Building, Joyce W. Pope Gallery Ticketed with Glory of Venice In a career that spanned five decades, Ansel Adams (1902–84) became one of America’s most renowned photographers. This exhibition focuses on his “Museum Set,” a collection of 48 photographs carefully selected and printed by Adams. Adams designated these works late in his life as a succinct representation of the best work of his career.