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Discovering Florence in the Footsteps of Dante Alighieri: “Must-Sees”
1 JUNE 2021 MICHELLE 324 DISCOVERING FLORENCE IN THE FOOTSTEPS OF DANTE ALIGHIERI: “MUST-SEES” In 1265, one of the greatest poets of all time was born in Florence, Italy. Dante Alighieri has an incomparable legacy… After Dante, no other poet has ever reached the same level of respect, recognition, and fame. Not only did he transform the Italian language, but he also forever altered European literature. Among his works, “Divine Comedy,” is the most famous epic poem, continuing to inspire readers and writers to this day. So, how did Dante Alighieri become the father of the Italian language? Well, Dante’s writing was different from other prose at the time. Dante used “common” vernacular in his poetry, making it more simple for common people to understand. Moreover, Dante was deeply in love. When he was only nine years old, Dante experienced love at first sight, when he saw a young woman named “Beatrice.” His passion, devotion, and search for Beatrice formed a language understood by all - love. For centuries, Dante’s romanticism has not only lasted, but also grown. For those interested in discovering more about the mysteries of Dante Alighieri and his life in Florence , there are a handful of places you can visit. As you walk through the same streets Dante once walked, imagine the emotion he felt in his everlasting search of Beatrice. Put yourself in his shoes, as you explore the life of Dante in Florence, Italy. Consider visiting the following places: Casa di Dante Where it all began… Dante’s childhood home. Located right in the center of Florence, you can find the location of Dante’s birth and where he spent many years growing up. -
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. -
A New Chronology of the Construction and Restoration of the Medici Guardaroba in the Palazzo Vecchio, Florence
A NEW CHRONOLOGY OF THE CONSTRUCTION AND RESTORATION OF THE MEDICI GUARDAROBA IN THE PALAZZO VECCHIO, FLORENCE by Mark Rosen One of the most unusual projects overseen by Giorgio Vasari in the Palazzo Vecchio in Flor- ence, the Guardaroba is a trapezoidal room containing a late-sixteenth-century cycle of fi fty-three geographical maps of the earth affi xed in two tiers to the front of a series of wooden cabinets (fi g. 1). Vasari published a detailed program for the Guardaroba project in the second edition of “Le vite de’ piu eccellenti pittori scultori e architettori” in 15681, at a moment when the project, begun in 1563, was still in development. The program defi nes it as a complete cosmography of the known universe, with maps, globes, painted constellations, illustrations of fl ora and fauna, and portraits of great historical leaders. Rarities and artworks placed inside the cabinets would act together with this custom-designed imagery to refl ect back on the name and charismatic persona of Vasari’s patron, Cosimo I de’ Medici (1519–1574). The idea and program behind the Medici Guardaroba had roots in late medieval studioli — small, womb-like study spaces that valorized private contemplation and collecting through complex humanistic decoration. Yet the goal of this new space was to be a public theater for the court’s cosmography and its power to collect and sort the duchy’s fi nest objects. The incomplete status of the room today — which includes only a series of empty cabinets, a terrestrial globe (1564–1568) by the Dominican scientist Egnazio Danti, and a cycle of maps painted by Danti (between 1563 and 1575) and Stefano Buonsignori (from 1576 through c. -
The Best of Renaissance Florence April 28 – May 6, 2019
Alumni Travel Study From Galleries to Gardens The Best of Renaissance Florence April 28 – May 6, 2019 Featuring Study Leader Molly Bourne ’87, Professor of Art History and Coordinator of the Master’s Program in Renaissance Art at Syracuse University Florence Immerse yourself in the tranquil, elegant beauty of Italy’s grandest gardens and noble estates. Discover the beauty, drama, and creativity of the Italian Renaissance by spending a week in Florence—the “Cradle of the Renaissance”—with fellow Williams College alumni. In addition to a dazzling array of special openings, invitations into private homes, and splendid feasts of Tuscan cuisine, this tour offers the academic leadership of Molly Bourne (Williams Class of ’87), art history professor at Syracuse University Florence. From the early innovations of Giotto, Brunelleschi, and Masaccio to the grand accomplishments of Michelangelo, our itinerary will uncover the very best of Florence’s Renaissance treasury. Outside of Florence, excursions to delightful Siena and along the Piero della Francesca trail will provide perspectives on the rise of the Renaissance in Tuscany. But the program is not merely an art seminar—interactions with local food and wine experts, lunches inside beautiful private homes, meanders through stunning private gardens, and meetings with traditional artisans will complement this unforgettable journey. Study Leader MOLLY BOURNE (BA Williams ’87; PhD Harvard ’98) has taught art history at Syracuse University Florence since 1999, where she is also Coordinator of their Master’s Program in Renaissance Art History. A member of the Accademia Nazionale Virgiliana, she has also served as project researcher for the Medici Archive Project and held a fellowship at Villa I Tatti, the Harvard Center for Renaissance Studies. -
EVENTI Il Centro Storico Si Attraversa in Quindici Minuti: Camminare Fa Bene E, Alzando Lo Sguardo, Si Apprezza La Bellezza Attorno
Benvenuti a Firenze! Vi auguro un lieto soggiorno nella nostra città. E’ di noi tutti perché è patrimonio dell’umanità; sentitevi a casa e amatela. Fiorenza, la città del fiore, culla del Rinascimento. Facciamola rinascere ogni giorno, riscopriamo i talenti e la creatività che ne hanno fatto la gloria e che continuano a sbocciare. Abbiamo liberato dal traffico e restituito a cittadini e visitatori luoghi importanti: piazza Duomo, piazza Pitti, via Tornabuoni. Con oltre 6 ettari di nuove pedonalizzazioni, diventiamo un modello di città sostenibile, bella e vivibile nello stesso tempo. EVENTI Il centro storico si attraversa in quindici minuti: camminare fa bene e, alzando lo sguardo, si apprezza la bellezza attorno. Nel 2011 è nata la Firenze Card, che permette di visitare 50 musei senza fretta, evitando code e prenotazioni, e di viaggiare sui bus. Abbiamo dato una nuova meravigliosa casa al Maggio Musicale Fiorentino inaugurando il APRILE 2012 Nuovo Teatro dell’Opera. Il 2012 è l’anno di Amerigo, un’occasione non solo per ricordare i 500 anni dalla morte di Vespucci ma soprattutto “per dare un nome al futuro”. Abbiamo allargato la superficie espositiva del museo di Palazzo Vecchio inaugurando una nuova sezione chiamata “Tracce di Firenze”: diamo più spazio all’arte e alla storia della nostra città con mostre permanenti ed esposizioni temporanee. Aprile è un mese ricco di cultura e di sport, ma è anche periodo pasquale. Quest’anno per la prima volta la cerimonia dell’accensione del fuoco con le pietre del Santo Sepolcro sarà celebrata la sera precedente allo Scoppio del carro. Per chiudere: torna la notte fiorentina più lunga dell’anno, il 30 aprile vivremo un’altra Notte Bianca facendoci coinvolgere in spettacoli di luce, musica e installazioni artistiche nelle piazze di Firenze. -
Full Name Field Dates Project Title Abbondanza, Roberto History 1964
Full Name Field Dates Project Title Abbondanza, Umanesimo giuridico, giovinezza di history 1964/1965 Roberto Andrea Alciato George Eliot, the Florentine Abbott, Ruth literature 2016/2017 Renaissance, and the History of Scholarship Literary criticism of the Hungarian Acs, Pal literature 1993/1994 Renaissance Addona, Victoria art history 2015/2016 Dissemination of the Manner of the Adelson, Candace art history 1976/1977 1st School of Fontainebleau as evidenced in 16th-c Italian art The Bolognese villa in the age of Aksamija, Nadja art history 2012/2013 Cardinal Gabriele Paleotti I Disegni di Michelangelo per il Alberio, Elena art history 2017/2018 Cristo Risorto: Problemi di committenza e sviluppi iconografici Histoire de la dépose des peintures Albers, Geraldine art history 2001/2002 murales en Italie. Mémoire des lieux, voyage de oeuvres The humanist and his dog: the social and anthropological aspects of Almasi, Gabor literature 2006/2007 scholarly dogkeeping in the Italian Renaissance American Drawing, Renaissance Anania, Katie art history 2017/2018 Historiography, and The Remains of Humanism in the 1960s 1. A monograph on Giovanni Bellini 2. An exhibition on late Titian to Anderson, Jaynie art history 2000/2001 travel to Canberra and Melbourne, Australia A biography of Giovanni Morelli Anderson, Jaynie art history 2008/2009 (1816-1891) 'Florentinis ingeniis nihil ardui est': Andreoli, Ilaria art history 2011/2012 The Florentine Illustrated Book (1490-1550) Andreoni, Benedetto Varchi lettore di Dante e literature 2007/2008 Annalisa Petrarca all'Accademia Fiorentina The employment of 'religiosi' by Andrews, Frances history 2004/2005 governments of early Renaissance Italy Religion and Public Life in Late Andrews, Frances history 2010/2011 Medieval Italy Andrews, Noam history 2015/2016 Full Name Field Dates Project Title Genoese Galata. -
TREASURES from the Uffizi Gallery Overview
Offering of the Angels: Treasures from the Uffizi Gallery Overview Oering of the Angels: Treasures from the Uzi Gallery is a traveling exhibition from the famed Uzi Gallery in Florence, Italy. The exhibition features 45 works – two large tapestries and 43 paintings by Renaissance artists from the 15th to 17th century. This exhibition, along with related programming, will be presented at the James A. Michener Art Museum from April 21, 2012 – August 10, 2012. Curated by Antonio Natali, the Director of the Uzi, the exhibition examines classical sacred art as the visual representation of the path to redemption and the life of Christ, and also presents the broad diversity and stylistic evolution of art from Northern Italy during the seminal Renaissance period. The exhibition includes works by masters such as Botticelli, Tintoretto, Parmigianino, Lorenzo Monaco, Guercino, Cristofano and Alessandro Allori. A recently restored painting attributed to Tiziano has just been added to the exhibition, and will be on public display for the rst time in recent history. This tour is the only time these masterworks will be seen in the United States, and the Michener Art Museum is the only venue to host this exhibition in the Northeast region. www.MichenerArtMuseum.org A Night at the Uffizi A night of firsts To celebrate the première of the exhibition Oering of the Angels: Treasures from the Uzi Gallery, the James A. Michener Art Museum is hosting a black tie gala event, A Night at the Uzi. Oering of the Angels is the rst American tour of these works by Italian Renaissance masters and features 15th-17th century paintings and tapestries from the renowned Uzi Gallery in Florence, Italy. -
Sources of Donatello's Pulpits in San Lorenzo Revival and Freedom of Choice in the Early Renaissance*
! " #$ % ! &'()*+',)+"- )'+./.#')+.012 3 3 %! ! 34http://www.jstor.org/stable/3047811 ! +565.67552+*+5 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org THE SOURCES OF DONATELLO'S PULPITS IN SAN LORENZO REVIVAL AND FREEDOM OF CHOICE IN THE EARLY RENAISSANCE* IRVING LAVIN HE bronze pulpits executed by Donatello for the church of San Lorenzo in Florence T confront the investigator with something of a paradox.1 They stand today on either side of Brunelleschi's nave in the last bay toward the crossing.• The one on the left side (facing the altar, see text fig.) contains six scenes of Christ's earthly Passion, from the Agony in the Garden through the Entombment (Fig. -
Sponsor-A-Michelangelo Works Are Reserved in the Order That Gifts Are Received
Sponsor-A-Michelangelo Works are reserved in the order that gifts are received. Please call 615.744.3341 to make your selection. Michelangelo: Sacred and Profane, Masterpiece Drawings from the Casa Buonarroti October 30, 2015–January 6, 2016 Michelangelo Buonarroti. Man with Crested Helmet, ca. 1504. Pen and ink, 75 Michelangelo Buonarroti. Study for a x 56 mm. Casa Buonarroti, Florence, inv. Draped Figure, ca. 1506. Pen and ink over 59F black chalk, 297 x 197 mm. Casa Buonarroti, Florence, inv. 39F Sponsored by: Michelangelo Buonarroti. Study for the Leg of the Christ Child in the “Doni Sponsored by: Tondo,” ca. 1506. Pen and ink, 163 x 92 mm. Casa Buonarroti, Florence, inv. 23F Sponsored by: Michelangelo Buonarroti. Study for the Apostles in the Transfiguration (Three Nudes), ca. 1532. Black chalk, pen and Michelangelo Buonarroti. Study for the ink. 178 x 209 mm. Casa Buonarroti, Michelangelo Buonarroti. Study for Christ Head of the Madonna in the “Doni Florence, inv. 38F Tondo,” ca. 1506. Red chalk, 200 x 172 in Limbo, ca. 1532–33. Red chalk over black chalk. 163 x 149 mm. Casa mm. Casa Buonarroti, Florence, inv. 1F Sponsored by: Buonarroti, Florence, inv. 35F Reserved Sponsored by: Sponsored by: Patricia and Rodes Hart Michelangelo Buonarroti. The Sacrifice of Isaac, ca. 1535. Black chalk, red chalk, pen and ink. 482 x 298 mm. Casa Michelangelo Buonarroti. Studies of a Horse, ca. 1540. Black chalk, traces of red Michelangelo Buonarroti. Study for the Buonarroti, Florence, inv. 70F chalk. 403 x 257 mm. Casa Buonarroti, Risen Christ, ca. 1532. Black chalk. 331 x 198 mm. -
Welcome Pitcher & Flaccomio Picks for August
WELCOME During July the streets of Florence have been scorching and August promises more of the same. So stay inside the museums and churches, drink lots of water, and in the evening head out for dinner under the stars. With best summer wishes from SUZANNE, CORSO, BEI, LESLIE, VANNI, ANNA PIA, RAFFAELLA, AND MARISA. PITCHER & FLACCOMIO PICKS FOR AUGUST BEST EVENT FOR AUGUST: SUMMER SEASON OF PERFORMANCES AT THE BARGELLO Text by Mary Gray from The Florentine Magazine “Estate al Bargello returns: Plays, dance performances and concerts in museum courtyard. Estate al Bargello is the umbrella title for 21 shows staged by the theatre group Compagnia Lombardi- Tiezzi, the Florence Dance Festival and the Orchestra da Camera Fiorentina. Festival organizers are the Ministero dei beni e delle attività, the Bargello Museum, the Tuscan Region, and the City of Florence's Estate Fiorentina committee, with sponsorship by the Fondazione Cassa di Risparmio di Firenze and additional support from the Banca CR Firenze. Start times and ticket prices vary, and both the Orchestra da Camera Fiorentina (tel. 055.783374; [email protected]) and Florence Dance Festival (tel. 055.289276; [email protected]) have special offers available for those interested in attending multiple shows. View additional information and showtimes on the Compagnia Lombardi-Tiezzi, Florence Dance Festival, and Orchestra da Camera Fiorentina websites.” P&F RENTAL PICK FOR AUGUST: A HILLSIDE HOME WITH A POOL SURROUNDED BY OLIVE TREES The hillside home is surrounded by olive trees, 4 km from the town of Bagno a Ripoli and 6 km to Viale Europa in Florence, where supermarkets, banking, general shopping, dry cleaners, post office, etc. -
The Life of Michelangelo Buonarroti by John Addington Symonds</H1>
The Life of Michelangelo Buonarroti by John Addington Symonds The Life of Michelangelo Buonarroti by John Addington Symonds Produced by Ted Garvin, Keith M. Eckrich and PG Distributed Proofreaders THE LIFE OF MICHELANGELO BUONARROTI By JOHN ADDINGTON SYMONDS TO THE CAVALIERE GUIDO BIAGI, DOCTOR IN LETTERS, PREFECT OF THE MEDICEO-LAURENTIAN LIBRARY, ETC., ETC. I DEDICATE THIS WORK ON MICHELANGELO IN RESPECT FOR HIS SCHOLARSHIP AND LEARNING ADMIRATION OF HIS TUSCAN STYLE AND GRATEFUL ACKNOWLEDGMENT OF HIS GENEROUS ASSISTANCE CONTENTS CHAPTER page 1 / 658 I. BIRTH, BOYHOOD, YOUTH AT FLORENCE, DOWN TO LORENZO DE' MEDICI'S DEATH. 1475-1492. II. FIRST VISITS TO BOLOGNA AND ROME--THE MADONNA DELLA FEBBRE AND OTHER WORKS IN MARBLE. 1492-1501. III. RESIDENCE IN FLORENCE--THE DAVID. 1501-1505. IV. JULIUS II. CALLS MICHELANGELO TO ROME--PROJECT FOR THE POPE'S TOMB--THE REBUILDING OF S. PETER'S--FLIGHT FROM ROME--CARTOON FOR THE BATTLE OF PISA. 1505, 1506. V. SECOND VISIT TO BOLOGNA--THE BRONZE STATUE OF JULIUS II--PAINTING OF THE SISTINE VAULT. 1506-1512. VI. ON MICHELANGELO AS DRAUGHTSMAN, PAINTER, SCULPTOR. VII. LEO X. PLANS FOR THE CHURCH OF S. LORENZO AT FLORENCE--MICHELANGELO'S LIFE AT CARRARA. 1513-1521. VIII. ADRIAN VI AND CLEMENT VII--THE SACRISTY AND LIBRARY OF S. LORENZO. 1521-1526. page 2 / 658 IX. SACK OF ROME AND SIEGE OF FLORENCE--MICHELANGELO'S FLIGHT TO VENICE--HIS RELATIONS TO THE MEDICI. 1527-1534. X. ON MICHELANGELO AS ARCHITECT. XI. FINAL SETTLEMENT IN ROME--PAUL III.--THE LAST JUDGMENT AND THE PAOLINE CHAPEL--THE TOMB OF JULIUS. -
Gender Dynamics in Renaissance Florence Mary D
Early Modern Women: An Interdisciplinary Journal Vol. 11, No. 1 • Fall 2016 The Cloister and the Square: Gender Dynamics in Renaissance Florence Mary D. Garrard eminist scholars have effectively unmasked the misogynist messages of the Fstatues that occupy and patrol the main public square of Florence — most conspicuously, Benvenuto Cellini’s Perseus Slaying Medusa and Giovanni da Bologna’s Rape of a Sabine Woman (Figs. 1, 20). In groundbreaking essays on those statues, Yael Even and Margaret Carroll brought to light the absolutist patriarchal control that was expressed through images of sexual violence.1 The purpose of art, in this way of thinking, was to bolster power by demonstrating its effect. Discussing Cellini’s brutal representation of the decapitated Medusa, Even connected the artist’s gratuitous inclusion of the dismembered body with his psychosexual concerns, and the display of Medusa’s gory head with a terrifying female archetype that is now seen to be under masculine control. Indeed, Cellini’s need to restage the patriarchal execution might be said to express a subconscious response to threat from the female, which he met through psychological reversal, by converting the dangerous female chimera into a feminine victim.2 1 Yael Even, “The Loggia dei Lanzi: A Showcase of Female Subjugation,” and Margaret D. Carroll, “The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence,” The Expanding Discourse: Feminism and Art History, ed. Norma Broude and Mary D. Garrard (New York: HarperCollins, 1992), 127–37, 139–59; and Geraldine A. Johnson, “Idol or Ideal? The Power and Potency of Female Public Sculpture,” Picturing Women in Renaissance and Baroque Italy, ed.