Observing Protest from a Place
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Bologna Nei Libri D'arte
Comune di Bologna Biblioteca dell’Archiginnasio Bologna nei libri d’arte dei secoli XVI-XIX Biblioteca dell’Archiginnasio Piazza Galvani 1, 40124 Bologna www.archiginnasio.it L’immagine della copertina è tratta dal frontespizio del volume: GIAMPIETRO ZANOTTI, Le pitture di Pellegrino Tibaldi e di Niccolò Abbati esistenti nell’Instituto di Bologna descritte ed illustrate da Giampietro Zanotti segretario dell’Accademia Clementina, In Venetia, presso Giambatista Pasquali stampatore e libraio all’Insegna della felicità delle lettere, 1756. Comune di Bologna Biblioteca dell’Archiginnasio Bologna nei libri d’arte dei secoli XVI-XIX a cura di Cristina Bersani e Valeria Roncuzzi Biblioteca dell’Archiginnasio 16 settembre – 16 ottobre 2004 Bologna, 2004 L’esposizione organizzata dall’Archiginnasio rientra nel programma delle manifestazio- ni promosse in occasione del Festival del libro d’arte (Bologna, 17-19 settembre 2004). e si svolge col patrocinio del Ministero per i Beni e le Attività Culturali Ministero degli Affari Esteri Alma Mater Studiorum Associazione Bancaria Italiana Associazione fra le Casse di Risparmio Italiane Si ringraziano per la collaborazione: Adriano Aldrovandi, Caterina Capra, Paola Ceccarelli, Saverio Ferrari, Vincenzo Lucchese, Sandra Saccone, Rita Zoppellari Un ringraziamento particolare a Pierangelo Bellettini e alla professoressa Maria Gioia Tavoni Allestimento: Franco Nicosia Floriano Boschi, Roberto Faccioli, Claudio Veronesi Fotografie: Fornasini Microfilm Service Ufficio Stampa: Valeria Roncuzzi Biblioteca dell’Archiginnasio Piazza Galvani 1, 40124 Bologna www.archiginnasio.it INFO: tel. 051 276811 - 051 276813; FAX 051 261160 Seconda edizione riveduta ed ampliata La proprietà artistica e letteraria di quanto qui pubblicato è riservata alla Biblioteca Comunale dell’Archiginnasio di Bologna e per essa al Comune di Bologna. -
Incisori Itineranti Nell'area Veneta Nel Seicento. Dizionario Bio-Bibliografico
UNIVERSITÀ DEGLI STUDI DI VERONA Incisori itineranti nell’area veneta nel Seicento. Dizionario bio-bibliografico di Luca Trevisan e Giulio Zavatta VERONA · MMXIII UNIVERSITÀ DEGLI STUDI DI VERONA Incisori itineranti nell’area veneta nel Seicento. Dizionario bio-bibliografico di Luca Trevisan e Giulio Zavatta VERONA · MMXIII Volume pubblicato con il contributo dell’Università di Verona nell’ambito del Prin 2008 Mobilità dei mestieri del libro in Italia tra il Quattrocento e il Seicento, Unità di Verona (responsabile: prof. Giancarlo Volpato) Le voci bio-bibliografiche sono state redatte da Luca Trevisan (M - Z) e Giulio Zavatta (A - L). Crediti fotografici: Biblioteca Panizzi (Reggio Emilia), figg. 1, 4, 5, 12 Luca Trevisan, figg. 8, 9, 11, 13, 14, 16 Giulio Zavatta, figg. 2, 3, 6, 7, 10, 15 Proprietà riservata © Copyright 2013, Università di Verona Impaginazione e stampa: Tipolitografia « La Grafica », Vago di Lavagno (Verona) ISBN 978-88-98513-25-3 Sommario 7 Giancarlo Volpato Una bella giornata con un pomeriggio felice 13 Giulio Zavatta Annotazioni sull’itineranza degli incisori del Seicento in area veneta 21 Luca Trevisan Appunti per l’incisione a Venezia nel XVII secolo: note di contesto 29 Dizionario bio-bibliografico 125 Iconografia 143 Bibliografia generale 151 Indice dei nomi Una bella giornata con un pomeriggio felice di Giancarlo Volpato Se Subiaco era stata l’aurora, Venezia fu l’alba dei libri a stampa: un’alba ra- diosa, splendente, ricca di straordinarie novità e che illuminò l’universo della cultura sino ad un mezzogiorno di grande fulgore, con un pomeriggio che s’avviò – lentamente e in un tempo piuttosto lungo – sino ad un tramonto con poca luce. -
ELISABETTA SIRANI's JUDITH with the HEAD of HOLOFERNES By
ELISABETTA SIRANI’S JUDITH WITH THE HEAD OF HOLOFERNES by JESSICA COLE RUBINSKI (Under the Direction of Shelley Zuraw) ABSTRACT This thesis examines the life and artistic career of the female artist, Elisabetta Sirani. The paper focuses on her unparalleled depictions of heroines, especially her Judith with the Head of Holofernes. By tracing the iconography of Judith from masters of the Renaissance into the mid- seventeenth century, it is evident that Elisabetta’s painting from 1658 is unique as it portrays Judith in her ultimate triumph. Furthermore, an emphasis is placed on the relationship between Elisabetta’s Judith and three of Guido Reni’s Judith images in terms of their visual resemblances, as well as their symbolic similarities through the incorporation of a starry sky and crescent moon. INDEX WORDS: Elisabetta Sirani, Judith, Holofernes, heroines, Timoclea, Giovanni Andrea Sirani, Guido Reni, female artists, Italian Baroque, Bologna ELISABETTA SIRANI’S JUDITH WITH THE HEAD OF HOLOFERNES by JESSICA COLE RUBINSKI B.A., Florida State University, 2003 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2008 © 2008 Jessica Cole Rubinski All Rights Reserved ELISABETTA SIRANI’S JUDITH WITH THE HEAD OF HOLOFERNES by JESSICA COLE RUBINSKI Major Professor: Dr. Shelley Zuraw Committee: Dr. Isabelle Wallace Dr. Asen Kirin Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2008 iv To my Family especially To my Mother, Pamela v ACKNOWLEDGEMENTS First, I would like to thank Robert Henson of Carolina Day School for introducing me to the study of Art History, and the professors at Florida State University for continuing to spark my interest and curiosity for the subject. -
Early Art Literature
ARS LIBRI Early Art Literature Catalogue 139 EARLY ART LITERATURE Catalogue 139 A selection from Ars Libri’s stock of rare books on art Full descriptions and additional illustrations are available at our website, www.arslibri.com. Payment details are supplied at the end of the catalogue. Please contact us for further information. 1 AN ALBUM OF BAROQUE REPRODUCTIVE PRINTS. 4 (ALGAROTTI COLLECTION) [SELVA, GIOVANNI 75 seventeenth- and eighteenth-century etchings and engravings, ANTONIO]. Catalogue des tableaux, des desseins et des livres mounted on 71 leaves. Folio. Nineteenth-century English marbled qui traitent de l’art du dessein, de la galerie du feu Comte boards, 3/4 morocco gilt (rubbed). The album includes, among other Algarotti à Venise. (8), lxxx pp. Handsome engraved headpiece at contents, Agostino Carracci’s “Saint Francis Consoled by the Musi- the outset, by Volpato. Lrg. 8vo. Contemporary marbled wraps., cal Angel” after Vanni (cf. Bohlin 204) and his “Ecce Homo” after backed in the 19th century with cloth tape. Correggio (cf. Bohlin 143); Michel Dorigny’s “The Academy of The privately printed catalogue of the collection of Count Art,” and Cornelis Cort’s “Rest on the Flight to Egypt” after Baroc- Francesco Algarotti and his brother Count Bonomo Algarotti, ci. There are several partial or nearly complete reproductive series, simultaneously issued in Italian and (per Schlosser) in German. All including Dietrich-Theodor Crüger after Sarto’s Life of the Baptist three issues are very rare. Though not stated, the catalogue was (17 plates on 15); Pietro Santi Bartoli after Lanfranco (16 plates, compiled by the Venetian architect, garden designer and writer Gio- including title); and 22 various plates after Vouet by Dorigny, Torte- vanni Antonio Selva (1751-1819), with contributions by Pietro bat, Daret and others. -
Francesco Albani [PDF]
Francesco Albani Oil Paintings Francesco Albani [Italian, 1578-1660] Adonis Led by Cupids to Venus, detail of cupids 1600, Musee du Louvre, Paris Oil Painting ID: 20037 | Order the painting The Baptism of Christ 1630-1635, oil on canvas, Musee des Beaux-Arts, Lyons Oil Painting ID: 20038 | Order the painting The Holy Family (Sacra Famiglia) 1630-35, oil on canvas, Galleria Pitti, Florence Oil Painting ID: 20039 | Order the painting Venus Attended by Nymphs and Cupids 1633 Oil on canvas 44 7/8 x 67 1/4 inches (114 x 171 cm) Museo del Prado, Madrid, Spain Oil Painting ID: 21557 | Order the painting Diana and Actaeon 1625 - 1630 Oil on wood transferred to canvas 29 1/4 x 39 1/8 inches (74.5 x 99.5 cm) Gemaldegalerie, Dresden, Germany Oil Painting ID: 21558 | Order the painting Autumn 1616 - 1617 Oil on canvas Galleria Borghese, Rome, Italy Oil Painting ID: 21559 | Order the painting 1/2 Spring 1616 - 1617 Oil on canvas Galleria Borghese, Rome, Italy Oil Painting ID: 21560 | Order the painting Summer 1616 - 1617 Oil on canvas Galleria Borghese, Rome, Italy Oil Painting ID: 21561 | Order the painting Winter 1616 - 1617 Oil on canvas Galleria Borghese, Rome, Italy Oil Painting ID: 21562 | Order the painting Assumption Of The Virgin Oil on copper 19 3/4 x 15 inches (50.2 x 38.3 cm) Private collection Oil Painting ID: 21563 | Order the painting Total 2 pages, 1/2 | Page : [1] 2 Albani, Francesco (Nationality : Italian, 1578-1660) Francesco Albani, Italian, 1578-1660 • We provide hand painted reproductions of old master paintings. -
Natura, Ars, Fortuna, Virtus, Unanimiter Deflent. Muerte Y Fama Temprana De Agostino Mitelli (1660-1667)
Natura, Ars, Fortuna, Virtus, unanimiter deflent. Muerte y fama temprana de Agostino Mitelli (1660-1667) Natura, Ars, Fortuna, Virtus, unanimiter deflent. The death and early reputation of Agostino Mitelli (1660-1667) García Cueto, David * Fecha de terminación del trabajo: mayo de 2003. Fecha de aceptación por la revista: noviembre de 2003. C.D.U.: 75 Mitelli, Agostino BIBLID [0210-962-X(2004); 35; 239-256] RESUMEN El nacimiento de la fama del artista durante la Edad Moderna se revela desde la actualidad como un fenómeno en buena medida dirigido y planificado. Este trabajo analiza el episodio concreto de la fama temprana del pintor boloñés Agostino Mitelli, causada entre otras circunstancias, por su temprana muerte en Madrid durante el mes de agosto de 1660. Para ello se han considerado diversos testimonios literarios y poéticos procedentes de fuentes de la época, todas ellas anteriores a 1667, año de la aparición de la oración IIPrencipe, consagrada a la memoria del pintor e hito en este proceso. Palabras clave: Historiografía del arte; Biografía; Elogios poéticos; Pintores; Pintura barroca. Identificadores: Mitelli, Agostino. Topónimos: Madrid; Bolonia. Período: Siglo 17. ABSTRACT Artistic reputation in the Modern Age has become a phenomenon which is largely controlled and consciously planned. In this study we discuss an example of this: the reputation achieved by the Bolognese painter Agostino Mitelli, largely posthumous, since it was mainly the result of his early death in Madrid in August 1660. Severa! contemporary literary and poetic documents are examined. These documents ali date from before 1667, when ll Prencipe, devoted to the memory of the painter and key element in the establishing of his reputation, was published. -
San Giorgio Lettera UK 15=ITA
Lettera da San Giorgio Lettera da San Year VIII, n° 15. Six-monthly publication. September 2006– February 2007 Spedizione in A.P. Art. 2 Comma 20/c Legge 662/96 DCB VE. Tassa pagata Indice Contents I Programmes (September 2006 – February 2007) 3 Editorial 4 Main Future Activities Exhibition Amarti ora e sempre. Eleonora Duse and Francesca da Rimini 5 The Backdoor or Le Salon des Refusés or All the Feasts at Temple (of rare music) 6 Exhibition Fantasy Heads in 18th-century Venetian Painting 7 The Dialoghi di San Giorgio Martyrs. Testimonies of faith, cultures of death and new forms of political action 9 Second World Conference on The Future of Science. Evolution 9 Dance from Indonesia Workshop on Javanese court dance by Pak Widodo Kusnantyo 10 Conference Andrea Zanzotto – from Soligo to the Venice Lagoon 11 Science Festival Le Parole del Mare. A voyage in science and culture with the Atlante Linguistico del Mediterraneo 12 Course on performing vocal music Nostalgic distance utopian future. Madrigal for several “caminantes” with Gidon Kremer, for violin 8-track tape (1988-1989) 13 “10 August 1806 Suppression of the monastery of San Giorgio” Conference for the Bicentenary promoted by the Benedictine Abbey of San Giorgio Maggiore and Ca’ Foscari University, Venice 13 Music from Bulgaria Seminar “in viva voce” 10. Female Polyphonic Singing from Bulgaria Concert by the group Bitrishki Babi 14 International Conference Literature from both sides of the Adriatic 15 13th International Seminar on Ethnomusicology Ethnomusicology and contemporary music 15 Books at San Vio 16 Collections The drawings in the Certani Collection at the Giorgio Cini Foundation 20 Projects and Research The new Manica Lunga 24 Presences on San Giorgio The monastery after the Napoleonic measures of 1806 27 Publications III – IV Contacts Editorial The second half of the 2006 promises to be an interesting and lively time thanks to a series of now traditional major initiatives. -
Scultore Emiliano Emilia (Italy) Last Decades of 18Th Century Saint Anthony the Abbot Sant’Antonio Abate
2 Caiati & Gallo 4 Caiati & Gallo Caiati & Gallo Milan, Via Gesù, 17 9 October - 8 November 2014 Monday - Saturday 10 am / 1 pm - 2 / 7 pm Contributions by: Alicia Adamczak Charles Avery Andrea Bacchi Sandro Bellesi Giorgio Bonsanti Marcello De Grassi Léon Lock Silvia Massari Fernando Mazzocca Susanna Zanuso Aknowledgements: Accademia di Belle Arti di Bologna, Associazione Antiquari d’Italia, Axa Arte - Italia, Carina Branzei, Francesco Calandra, Italo Carli, Arturo De Angeli, Alessandro Della Latta, Paolo Frassetto, F.C. studio Perotti, Milano, Saverio Fontini, Graziano Gallo, Jutta Kappel, Massimo Listri, Chiara Piani, Dagmar Preising, Arturo Sansoni, Frits Scholten, Christian Theuerkauff, Matthias Weniger Translations: Christian Bayliss, Serenella Castri e William George Glandon Exhibition Design Maestro Antonio Mastromattei Design and printing: Saverio Fontini - [email protected] © Partial or total reproduction for collective use of the present publication is strictly forbidden without the publisher’s specific authorization. Printed in Florence - Italy, September 2014 © Edizione Scribo srl - Firenze © Caiati & Gallo ISBN: 9788890652929 Caiati & Gallo Old Masters and Works of Art The Sparkling Soul of Terracotta Exhibition project devised from an idea of Roberto R.Caiati and Giorgio Gallo edited by Serenella Castri Via Gesù, 17 20121 Milan - Italy +39 02 794866 - +39 02 783863 www.caiatigallo.com - [email protected] Antonio Begarelli Modena, 1499 - 1565 Saint with book (St. Justine?) Santa con libro (santa Giustina?) Terracotta h. 96 cm (37 13/16 in.) Provenance Padua, private collection Antonio Begarelli, plasticatore in terracotta nel Cinquecento Antonio Begarelli, a terracotta sculptor in the sixteenth emiliano, nacque a Modena probabilmente nel 1499, figlio di century in Emilia, was born in Modena probably around un Giuliano “fornaciaio”. -
Cna85b2317313.Pdf
THE PAINTERS OF THE SCHOOL OF FERRARA BY EDMUND G. .GARDNER, M.A. AUTHOR OF "DUKES AND POETS IN FERRARA" "SAINT CATHERINE OF SIENA" ETC LONDON : DUCKWORTH AND CO. NEW YORK : CHARLES SCRIBNER'S SONS I DEDICATE THIS BOOK TO FRANK ROOKE LEY PREFACE Itf the following pages I have attempted to give a brief account of the famous school of painting that originated in Ferrara about the middle of the fifteenth century, and thence not only extended its influence to the other cities that owned the sway of the House of Este, but spread over all Emilia and Romagna, produced Correggio in Parma, and even shared in the making of Raphael at Urbino. Correggio himself is not included : he is too great a figure in Italian art to be treated as merely the member of a local school ; and he has already been the subject of a separate monograph in this series. The classical volumes of Girolamo Baruffaldi are still indispensable to the student of the artistic history of Ferrara. It was, however, Morelli who first revealed the importance and significance of the Perrarese school in the evolution of Italian art ; and, although a few of his conclusions and conjectures have to be abandoned or modified in the light of later researches and dis- coveries, his work must ever remain our starting-point. vii viii PREFACE The indefatigable researches of Signor Adolfo Venturi have covered almost every phase of the subject, and it would be impossible for any writer now treating of Perrarese painting to overstate the debt that he must inevitably owe to him. -
The History of Painting in Italy, Vol. V
The History Of Painting In Italy, Vol. V By Luigi Antonio Lanzi HISTORY OF PAINTING IN UPPER ITALY. BOOK III. BOLOGNESE SCHOOL. During the progress of the present work, it has been observed that the fame of the art, in common with that of letters and of arms, has been transferred from place to place; and that wherever it fixed its seat, its influence tended to the perfection of some branch of painting, which by preceding artists had been less studied, or less understood. Towards the close of the sixteenth century, indeed, there seemed not to be left in nature, any kind of beauty, in its outward forms or aspect, that had not been admired and represented by some great master; insomuch that the artist, however ambitious, was compelled, as an imitator of nature, to become, likewise, an imitator of the best masters; while the discovery of new styles depended upon a more or less skilful combination of the old. Thus the sole career that remained open for the display of human genius was that of imitation; as it appeared impossible to design figures more masterly than those of Bonarruoti or Da Vinci, to express them with more grace than Raffaello, with more animated colours than those of Titian, with more lively motions than those of Tintoretto, or to give them a richer drapery and ornaments than Paul Veronese; to present them to the eye at every degree of distance, and in perspective, with more art, more fulness, and more enchanting power than fell to the genius of Coreggio. Accordingly the path of imitation was at that time pursued by every school, though with very little method. -
Lanfranco's Camerino Degli Eremiti and the Meaning of Landscape Around 1600
m kw Arnold A. Witte THE ARTFUL HERMITAGE THE PALAZZETTO FARNESE AS A COUNTER-REFORMATION DIAETA <<L'ERMA>> di BRETSCHNEIDER ARNOLD A. WITTE The Artful Hermitage The Palazzetto Farnese as a Counter-reformation Diaeta Copyright 2008 © <<L'ERMA>> di BRETSCHNEIDER Via Cassiodoro, 19 - 00193 Roma http://www.lerma.it Progetto grafico: <<L'ERMA>> di BRETSCHNEIDER Tutti i diritti riservati. E' vietata la riproduzione di testi e ifiustrazioni senza II permesso scritto dell'Editore. Wine, Arnold A. The artful hermitage : the Palazzetto Farnese as a counter-reformation diaeta / Arnold A. Witte. - Roma <<L'ERMA>> di BRETSCHNEIDER, 2008 - 206 p. : ill. ; 31 cm. - (LemArte ; 2) ISBN 978-88-8265-477-1 CDD 21. 728.820945632 1. Roma - Palazzetto Farnese - Camerino degli Eremiti 2. Roma - Palazzetto Farnese - Storia 3. Pittura - Roma - Sec. 17. This publication of this book was made possible by grants from the Netherlands Organization for Scientific Research (NWO) and the Stichting Charema, Amsterdam. Contents ACKNOWLEDGMENTS pag. 7 INTRODUCTION: LANFRANCO'S CA1vIEFJN0 DEGLI EREMITI AND THE MEANING OF LANDSCAPE AROUND1600 ............................................................ >> 9 1. TYPOLOGY AND DECORATION OF THE PALAZZETTO ............................... >> 23 Camerino and Palazzetto: a reconstruction .................................. >> 27 Decoration of the Palazzetto .............................................. >> 29 The giardino segreto as 'theatre of nature' ................................... >> 38 The typology of studioli ................................................. -
Collaboration and Originality in Early Modern Art
Lindenwood University Digital Commons@Lindenwood University Faculty Research Papers Research, Scholarship, and Resources 8-2020 L’abbiam Fatta Tutti Noi: Collaboration and Originality in Early Modern Art James Hutson Lindenwood University Follow this and additional works at: https://digitalcommons.lindenwood.edu/faculty-research-papers Part of the Art and Design Commons Recommended Citation Hutson, James, "L’abbiam Fatta Tutti Noi: Collaboration and Originality in Early Modern Art" (2020). Faculty Research Papers. 4. https://digitalcommons.lindenwood.edu/faculty-research-papers/4 This Article is brought to you for free and open access by the Research, Scholarship, and Resources at Digital Commons@Lindenwood University. It has been accepted for inclusion in Faculty Research Papers by an authorized administrator of Digital Commons@Lindenwood University. For more information, please contact [email protected]. Art and Design Review, 2020, 8, *-* https://www.scirp.org/journal/adr ISSN Online: 2332-2004 ISSN Print: 2332-1997 L’abbiam Fatta Tutti Noi: Collaboration and Originality in Early Modern Art James Hutson Art History Department, Lindenwood University, St. Charles, MO, USA Email: [email protected] How to cite this paper: Author 1, Author Abstract 2, & Author 3 (2020). Paper Title. Art and Design Review, 8, **-**. This article seeks a reevaluation of the collaborative efforts and critical valua- https://doi.org/10.4236/***.2020.***** tion of the Carracci in the frescoes of the Palazzo Magnani. While the signi- ficance of the cycle for the development of the nascent baroque style is de- Received: **** **, *** Accepted: **** **, *** monstrable, criticism has focused on attributional issues and the works re- Published: **** **, *** main understudied. Since their original biographers struggled over identify- ing which Carracci was responsible for which scene in the frieze, efforts have Copyright © 2020 by author(s) and been made to carefully dissect the contributions of each.