Le Mostre in Campidoglio
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Center 6 Research Reports and Record of Activities
National Gallery of Art Center 6 Research Reports and Record of Activities I~::':,~''~'~'~ y~ii)i!ili!i.~ f , ".,~ ~ - '~ ' ~' "-'- : '-" ~'~" J:~.-<~ lit "~-~-k'~" / I :-~--' %g I .," ,~_-~ ~i,','~! e 1~,.~ " ~" " -~ '~" "~''~ J a ,k National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Center 6 Research Reports and Record of Activities June 1985--May 1986 Washington, 1986 National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Washington, D.C. 20565 Telephone: (202) 842-6480 All rights reserved. No part of this book may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565. Copyright © 1986 Trustees of the National Gallery of Art, Washington. This publication was produced by the Editors Office, National Gallery of Art, Washington. Frontispiece: James Gillray. A Cognocenti Contemplating ye Beauties of ye Antique, 1801. Prints Division, New York Public Library. Astor, Lenox and Tilden Foun- dations. CONTENTS General Information Fields of Inquiry 9 Fellowship Program 10 Facilities 13 Program of Meetings 13 Publication Program 13 Research Programs 14 Board of Advisors and Selection Committee 14 Report on the Academic Year 1985-1986 (June 1985-May 1986) Board of Advisors 16 Staff 16 Architectural Drawings Advisory Group 16 Members 17 Meetings 21 Lecture Abstracts 34 Members' Research Reports Reports 38 ~~/3 !i' tTION~ r i I ~ ~. .... ~,~.~.... iiI !~ ~ HE CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS was founded T in 1979, as part of the National Gallery of Art, to promote the study of history, theory, and criticism of art, architecture, and urbanism through the formation of a community of scholars. -
The Men of Letters and the Teaching Artists: Guattani, Minardi, and the Discourse on Art at the Accademia Di San Luca in Rome in the Nineteenth Century
The men of letters and the teaching artists: Guattani, Minardi, and the discourse on art at the Accademia di San Luca in Rome in the nineteenth century Pier Paolo Racioppi The argument of whether a non-artist was qualified to write about art famously dates back as far as the Renaissance.1 Through their writings, Cennino Cennini (c. 1360-before 1427), Leonardo da Vinci (1452-1519), and Giorgio Vasari (1511-1574) consolidated the auctoritas of artists by developing a theoretical discourse on art.2 Two centuries later, Anton Raphael Mengs (1728-1779), who was also Prince of the Accademia di San Luca between 1771 and 1772, even achieved the title of ‘philosopher-painter.’3 As for men of letters, the classicist theory of the Horatian ut pictura poesis, the analogy of painting and poetry, allowed them to enter the field of art criticism. From the Renaissance onwards, the literary component came to prevail over the visual one. As Cristopher Braider writes, the two terms of the equation ‘as painting, so poetry’ were ultimately reversed in ‘as poetry, so painting’,4 and consequently ‘it is to this reversal that we owe the most salient and far-reaching features of ut pictura aesthetics’.5 Invention, a purely intellectual operation of conceiving the subject (as in Aristotle’s Poetics and Rhetoric), thus rests at the base of the creative process for both poetry and painting. Consequently, due to its complex inherent features, history painting became the highest form of invention and the pinnacle of painting genres, according to the Aristotelian scheme of the Poetics (ranging from the representation of the inanimate nature to that of the human actions) as applied to the visual arts.6 I am grateful to Angela Cipriani and Stefania Ventra for their comments and suggestions. -
Constantino Brumidi Artist of the Capitol
Chronology of Constantino Brumidi’s Life and Work (COMPILEDWITHJULIEA. ARONSON) Note: Events in italics are provided for context 1805 July 26.Born in Rome, Italy, the only sur- Vatican Palace, under the supervision of Ca- viving child of Stauro Brumidi of Greece and muccini and Filippo Agricola. Anna Maria Bianchini of Rome, owners of a Paints frescoes in the neogothic family chapel coffee shop at number 26, Via Tor de’ Conti. designed by G.B. Caretti on the third floor c. 1818 Begins a fourteen-year study of art at Accad- of the Palazzo Torlonia, Piazza Venezia. Also emia di San Luca (Academy of St. Luke), paints Roman stories in the galleries on the headed by Antonio Canova. Studies sculp- second floor. ture with Bertel Thorwaldsen and painting 1841 Construction of the theater of the Villa Tor- with Vincenzo Camuccini. lonia begins. 1821–1823Wins prizes at the academy, including a fifth 1842 January 19.Birth of his son, Giuseppe An- prize for his copy of a sculpture of Apollo, a tonio Raffaello Brumidi. second prize for his copy of a painting of a March. Work on the Third Loggia com- cupid by Gaspare Landi (former teacher at pleted. the academy), and a commendation for his copy of a painting by Landi. Signs a student September. Commissioned to decorate a new petition to have life models. building, presumably the theater, in the Villa Torlonia, Via Nomentana. 1829 April 25.Death of his father. 1844/1845Signs and dates two scenes in the theater of 1832 June 30.Marries Maria Covaluzzi, a widow, the Villa Torlonia. -
Quadreria (1750-1850)
A PICTURE GALLERY IN THE ITALIAN TRADITION OF THE QUADRERIA (1750-1850) SPERONE WESTWATER 2 A PICTURE GALLERY IN THE ITALIAN TRADITION OF THE Q UADRERIA (1750-1850) SPERONE WESTWATER 2 A PICTURE GALLERY IN THE ITALIAN TRADITION OF THE QUADRERIA (1750-1850) 10 January - 23 February 2013 curated by Stefano Grandesso, Gian Enzo Sperone and Carlo Virgilio Essay by Joseph J. Rishel catalogue edited by Stefano Grandesso SPERONE WESTWATER in collaboration with GALLERIA CARLO VIRGILIO & CO. - ROME (cat. no. 15) This catalogue is published on the occasion of the exhibition A Picture Gallery in the Italian Tradition of the Quadreria* (1750-1850), presented at Sperone Westwater, New York, 10 January through 23 February, 2013. 257 Bowery, New York, NY 10002 *A quadreria is a specifically Italian denomination for a collection of pictures (quadri) up to and beyond the eighteenth century, with the pictures normally covering the entire wall space from floor to ceiling. Before the advent of the illuminist concept of the picture gallery (pinacoteca), which followed a classification based on genre and chronology suitable for museums or didactic purposes, the quadreria developed mainly according to personal taste, affinity and reference to the figurative tradition. Acknowledgements Leticia Azcue Brea, Liliana Barroero, Walter Biggs, Emilia Calbi, Giovanna Capitelli, Andrew Ciechanowiecki, Stefano Cracolici, Guecello di Porcia, Marta Galli, Eileen Jeng, Alexander Johnson, David Leiber, Nera Lerner, Todd Longstaffe-Gowan, Marena Marquet, Joe McDonnell, Roberta Olson, Ann Percy, Tania Pistone, Bianca Riccio, Mario Sartor, Angela Westwater Foreword Special thanks to Maryse Brand for editing the texts by Joseph J. Rishel English translation Luciano Chianese Photographic Credits Arte Fotografica, Roma Studio Primo Piano di Giulio Archinà Marino Ierman, Trieste The editor will be pleased to honor any outstanding royalties concerning the use of photographic images that it has so far not been possible to ascertain. -
Mattia & Marianovella Romano
Mattia & MariaNovella Romano MariaNovella Mattia & MariaNovella Romano A Selection of Master Drawings A Selection of Master Drawings Drawings are sold mounted but not framed. © Copyright Mattia & Maria Novelaa Romano, 2014 Designed by Mattia & Maria Novella Romano and Saverio Fontini Mattia & Maria Novella Romano 36, Borgognissanti 50123 Florence – Italy Telephone +39 055 239 60 06 Email: [email protected] www.antiksimoneromanoefigli.com Mattia & Maria Novella Romano A Selection of Master Drawings 2014 F R FRATELLI ROMANO 36, Borgo Ognissanti Florence - Italy Acknowledgements We would like to thank all those who have contributed, directly or indirectly, in the preparation of this catalogue: Paolo Agresti, Claire Anderson, Paolo Antonacci, Francesca Antonacci, Riccardo Bacarelli, Francesca Baldassarri, Andrea Baldinotti, Novella Barbolani Di Montauto, Jean François Baroni, Jean-Luc Baroni, Jean-Marc Baroni, Novella Baroni, Franck Baulme, Steven Beale, Bruno Botticelli, Gabriele Caioni, Lester Carissimi, Marco Chiarini, Vittorio Chierici, Steve Cohen, José de la Mano, Carlo Falciani, Federica Faraone, Georges Franck, Ketty Gottardo, Debra Gray, Tara Hanks, Martin Hirschboeck, Mattia Jona, Christian Lapeyre, Damiano Lapiccirella, Mrs. and Mr. Lightburn, Laura Lombardi, Laurie and Emmanuel Marty de Cambiaire, Carlotta Mascherpa, Lorenza Melli, Emanuela Moltani, Fabrizio Moretti, Giovanni Nincheri, Stephen Ongpin,Walter Padovani, Benjamin Peronnet, Alexandre Piatti, Cristina Ranzato, Marco Riccomini, Crispian Riley- Smith, Cristiana Romalli, Alessandro Romano, Simone Romano, Gregory Rubinstein, Matteo Salamon, Annalisa Scarpa, John Schlichte Bergen, Vittorio Sgarbi, Julien Stock, Dino Tomasso, Raffaello Tomasso, Trinity House Paintings, Sarah Vowles, Mia N.Weiner, Monroe Warshaw, Filippo Zito. A special thanks goes to the Musée des Beaux- Arts de Nancy and to Luisa Berretti, Lorenza Di Bartolomeo, Maria Cecilia Fabbri, Francesco Grisolia, Donatella Innocenti, Ellida Minelli, Sharon and Patrick Syz for their contributions and precious help. -
Alessandro CAPALTI by Olivier Michel - Biographical Dictionary of Italians - Volume 18 (1975)
Alessandro CAPALTI by Olivier Michel - Biographical Dictionary of Italians - Volume 18 (1975) He was born in Rome on September 25th. 1807, eldest son of a wealthy shopkeeper, Lorenzo, originally from Civitavecchia, and Anna Serafini, pupil of Teresa Mengs-Maron. He always lived in Rome. It is regularly registered first with the family, in via del Pozzetto or S. Claudio, n. 96, therefore, in the last years of his life, in via del Corso 54. G. Checchetelli gives us the address of the studio: Ripa di Fiume at Ripetta n. 14. It belonged to a bourgeois environment, linked to the Church, cultured and fond of fine arts. His brother Annibale was created cardinal by Pius IX in 1868 and his sister Maria married the lawyer Filippo Ricci, a great friend of GG Belli and executor of Thorvaldsen. The funeral eulogy delivered at the Accademia di S. Luca, during the session of May 18, 1868, gives us some clarifications concerning his artistic training. After literary studies at the Roman college, he followed the drawing courses of Andrea Pozzi and especially of Tommaso Minardi. He learned the art of painting from Gaspare Landi. He soon made a name for himself. A good fresco painter, the author of canvases with a religious or historical subject, he owes fame to the qualities of a portrait painter. Official recognition was not lacking. On Sept. 18 1840 he was admitted to the Accademia di S. Luca and in 1841 he became a virtuoso of the Pantheon. In 1854, when Minardi abandoned the drawing chair he held at the Academy, CAPALTI succeeded him in this assignment. -
The Capitol Dome
Fig. 1A. Detail of carved relief with swan and rinceaux on the Ara Pacis, Rome. [credit] Photograph by author SPECIAL EDITION THE CAPITOL DOME CELEBRATING Constantino Brumidi’s Life and Art A MAGAZINE OF HISTORY PUBLISHED BY THE UNITED STATES CAPITOL HISTORICAL SOCIETY VOLUME 51 , NUMBER 1 SPRING 2014 The next special issue of The Capitol Dome will be devoted to the bicentennial of the War of 1812 and specifically the fate of the United States Capitol in 1814, when combined British naval and land forces captured Washington, DC and set fire to many public buildings. The mural (above) from the Hall of Capitols by Allyn Cox in the House wing of the Capitol illustrates the burning Capitol in the background. USCHS BOARD OF TRUSTEES Hon. Richard Baker, Ph.D. Hon. Kenneth E. Bentsen, Jr. Ken Bowling, Ph.D. Hon. Richard Burr Nicholas E. Calio UNITED STATES CAPITOL Donald G. Carlson ----------- Hon. E. Thomas Coleman HISTORICAL SOCIETY L. Neale Cosby Scott Cosby Nancy Dorn George C. “Bud” Garikes Bruce Heiman Hon. Richard Holwill Tim Keating Hon. Dirk Kempthorne Contents Hon. John B. Larson Jennifer LaTourette Rob Lively Tamera Luzzatto Tim Lynch Norm Ornstein, Ph.D. Beverly L. Perry David Regan Rome Brought to Washington in Brumidi’s Murals for the Cokie Roberts Hon. Ron Sarasin United States Capitol Mark Shields by Barbara Wolanin..................................................................2 Dontai Smalls William G. Sutton, CAE Tina Tate Hon. Ellen O’Kane Tauscher The American Artist as Scientist: Constantino Brumidi’s James A. Thurber, Ph.D. Hon. Pat Tiberi Fresco of Robert Fulton for the United States Capitol Connie Tipton by Thomas P. -
Piacenza Musei, Because of Two Important Contexts: the 20Th Anniversary of Our Association and the Extraordinary Event of EXPO Milan 2015
Piacenza &itsprovince Museums | Churches | Palaces Museums& Land Monuments | Theatres Guidebook Castles | Landscapes | Taste Museums&Land Guidebook PIACENZA &itsprovince piacenzamusei.it Why this Guidebook? 2015 will remain an important year for Piacenza Musei, because of two important contexts: the 20th anniversary of our association and the extraordinary event of EXPO Milan 2015. This Guidebook is another important and useful instrument created by Piacenza Musei to help you discover – and learn more about – Piacenza, called La Primogenita, its art, museums, architecture, landscapes and its province. The newest edition of the pocket Guide of Piacenza Musei, hold the history, culture, traditions, aromas, flavours and images of the city of Piacenza and its province conducting the reader through the paved city streets, accompanying him on the roads surrounded by green landscapes along our four valleys and offering him a taste of that vibrant, colourful essence, which identifies us and our territory. This Guidebook illustrates and explains an extraordinarily rich heritage, which deserves to be celebrated and appreciated nationally and internationally. It is the culmination of the painstaking research, organization and management needed to put it all together. With this publication we reach another goal – a new addition to the way, which brought the Association Piacenza Musei to the creation of important products, like Panorama Musei (the official magazine with information about artistic and cultural activities in town and around the province, distributed in Italy) and Portale Piacenza Musei (online instrument with Piacenza and province’s treasures). Of course, we also organize many initiatives and cultural events so people can learn to love our history, our traditions, and our amazing artistic, architectural and panoramic jewels. -
Palazzo Farnese
Palazzo Farnese Fasti farnesiani Al piano rialzato di Palazzo Farnese si trova l'appartamento stuccato, formato da quattro sale, ornate a stucco negli anni 1685-1688, per volere del duca Ranuccio II. Molto probabilmente la grande opera di decorazione venne realizzata da Paolo Frisoni, anche se non sono da escludere interventi di altri valenti artigiani che in quegli stessi anni lavoravano in palazzi e chiese della città. I progetti e i disegni degli stucchi sono da ricondurre ad Andrea Seghizzi (Bologna, 1613), scenografo di corte di Ranuccio II. Si ritiene possibile inoltre che i fratelli Ferdinando e Francesco Galli Bibbiena, già attivi nel 1682 nella decorazione delle sale del piano superiore, abbiano collaborato con il Sighizzi anche al piano rialzato. Nelle cornici a stucco il duca Ranuccio II fece collocare un ciclo di dipinti su tela raffigurante gli splendori del casato: i Fasti farnesiani. Tramite queste rappresentazioni, rifacendosi a un filone autocelebrativo già diffuso presso le maggiori dinastie italiane del Rinascimento, i duchi Farnese intesero ridare prestigio e potenza alla propria famiglia, soprattutto agli occhi degli altri sovrani e sudditi. I Fasti farnesiani voluti da Ranuccio II mostrano le gesta di Paolo III e Alessandro Farnese, il primo fondatore della dinastia e protagonista della storia europea del Cinquecento, il secondo, anch'egli figura di levatura internazionale, comandante militare e governatore nelle Fiandre per conto della Spagna. Le storie di Paolo III, si trovano nell'alcova, divisa in due piccole stanze, la camera da letto e lo studiolo e furono dipinte da Sebastiano Ricci (Belluno 1659 – Venezia 1734), pittore formatosi in ambito veneto. -
Ritratto Di Onofrio Boni
RITRATTO DI ONOFRIO BONI Gaspare Landi (Piacenza 1756 - 1830) Misure: cm. 47 x 37 Tecnica: olio su tela Replica di un ritratto di dimensioni maggiori, datato 1801, conservato presso l’Accademia di San Luca Gaspare Landi, nato a Piacenza nel 1756, dopo una prima formazione presso pittori locali, viene notato dal marchese Giovan Battista Landi. Figura cruciale per la sua crescita artistica, lo accoglie sotto la sua ala protettrice e, nel 1780, gli finanzia il classico viaggio di perfezionamento a Roma, www.berardiarte.it Copyright © 2020 Berardi Galleria d’Arte S.r.l. allora tappa fondamentale per qualsiasi giovane artista. Studiando nella prestigiosa scuola del nudo di Pompeo Batoni e poi nell’atelier di Domenico Corvi, Landi si fa strada nella cultura antiquaria della Roma del pontificato di Pio VI, affiancando allo studio di Raffaello, Domenichino e Carracci, quello della statuaria antica. Nel suo lungo soggiorno romano, durato fino al 1797, con la sola eccezione di un piccolo viaggio a Piacenza del 1790, entra a pieno titolo tra i pittori e gli amici prediletti di Antonio Canova. La sua ferma adesione all’estetica neoclassica, che porterà avanti a Roma per tutto il primo Ottocento, si basa su un attento studio della poetica di Anton Raphael Mengs, ma anche sulla rielaborazione di alcuni stilemi della tradizione classica italiana: il disegno di Raffaello, il colorito di Tiziano e l’armonia luminosa di Correggio, che costituiscono la ricerca della perfezione pittorica in tutte le sue parti. Ben presto, con una vasta produzione di soggetti mitologici, storici, biblici e letterari, tratti da Virgilio, Ovidio e Dante, diviene protagonista della stagione neoclassica romana, affermandosi con dipinti quali il Prometeo del 1782 o il Rapimento del Palladio da parte di Diomede ed Ulisse, con cui vince, nel 1783, il concorso dell’Accademia Reale di Parma. -
Sessantacinque Anni Delle Scuole Di Belle Arti Della Insigne E Pontificia
(m) Sessantacinque Anni^^ DELLE SCUOLE DI BELLE ARTI DELLA INSIGNE E PONTIFÌCIA ACCADEMIA ROMANA DENOMINATA DI S. LUCA MEMORIE DI UN CATTEDRATICO DECANO E PRIMO CONSIGLIERE DELLA CLASSE ARCHITETTONICA NEL TERZO CENTENARIO DELLA FONDAZIONE ACCADEMICA ANNO MDCCCXCV. r Sessantacinque Anni DELLE SCUOLE DI BELLE ARTI DELLA INSIGNE E PONTIFICIA ACCADEMIA ROMANA DENOMINATA DI S. LUCA. Roma, Stab. G. Civelli, Via Incurabili ai. Corso, N. 5 A. TAV. I Sessantacinque Anni DELLE SCUOLE DI BELLE ARTI DELLA INSIGNE E PONTIFICIA ACCADEMIA ROMANA DENOMINATA DI S. LUCA MEMORIE DI UN CATTEDRATICO DECANO E PRIMO CONSIGLIERE DELLA CLASSE ARCHITETTONICA NEL TERZO CENTENARIO DELLA FONDAZIONE ACCADEMICA ANNO MDCCCXCV. DEDICA TAV II Clemente XI. P. O. M. Andrea Vici Pio IX ALLA SANTA E VENERATA MEMORIA DEGLI IMMORTALI REGNANTI SOMMI PONTEFICI DAI QUALI EBBERO VITA NOME ED INCREMENTO LE SCUOLE DELLA INSIGNE E PONTIFICIA ACCADEMIA ROMANA DI S. LUCA SUPREMO TRIBUNALE DELLE ARTI CELEBRATO PER TUTTA EUROPA ALLA BENEFICENZA E MAGNANIMITÀ DI UN MONARCA CONQUISTATORE AL MECENATE LIBERALE DELLE BELLE ARTI CELEBRA TISSIMO PRINCIPE PERPETUO DELL'ACCADEMIA AD UN BENEMERITO ILLUSTRE ARCHITETTO A VOI ACCADEMICI INSIGNI DECORO ED ORNAMENTO DI ROMA AMMIRAZIONE DELLE ESTERE NAZIONI ONORE DEI SECOLI PASSATI E DEL PRESENTE UN TENUE OMAGGIO DEL COLLEGA. BUSIRI-VICI. Digitized by the Internet Archive in 2014 https://archive.org/details/sessantacinqueanOOunse ILLUSTRAZIONE DELLA DEDICA. uarantacinque Pontefici nel periodo di poco più di tre se- coli dalla sua instituzione, furono beneficentissimi protettori e mecenati generosi della nostra Accademia -, accordandole mezzi, largizioni e privilegi estesissimi : per cui dalla loro magnanimità ebbe vita, incremento e decoro. Nel Governo Pontificio poi eravi straordinaria cura ed amore per 1' onorare Accademia infervorandola al perfezionamento delle Arti Belle : tutti i Sommi Pontefici dalla sua fondazione usarono sempre ogni ri- guardo all'Accademia di S. -
Separation Scenes Domestic Drama in Early Modern England 1St Edition Pdf, Epub, Ebook
SEPARATION SCENES DOMESTIC DRAMA IN EARLY MODERN ENGLAND 1ST EDITION PDF, EPUB, EBOOK Ann Christensen | 9780803290655 | | | | | Separation Scenes Domestic Drama in Early Modern England 1st edition PDF Book Walker, Stefanie, and Frederick Hammond, eds. Harding, Vanessa. Boffey, Julia. Rulers could afford to have their swords embellished not only with silver but also with gold. Inscriptions were also used, sometimes incised into the pot, a technique known as sgraffito, or in other cases painted on. Since they would be placed on floors and walked on, however, carpets were to a great extent devoid of inscriptions. The first court workshops in Florence under the Medici and in Prague under Rudolf II inspired the development of better structured royal manufactories in the seventeenth and eighteenth centuries. Shakespeare , 11 2 , — Quoted from C. Decorations, Papal. Metalworkers also made finials for the tops of masjid domes and minarets, which usually end in a crescent, as well as elaborate window grilles and locks. Like this: Like Loading The most important Italian Neoclassicist was Antonio Canova , the leading sculptor—indeed, by far the most famous artist of any sort—in Europe by the end of the 18th century. Fabian and Sebastian in the Parish of St. Neoclassical art Article Media Additional Info. More From encyclopedia. Medals, Arms, and Armor. Partly to…. Hambledon Press. Islamic collections in museums nearly always feature fine examples of vases, cups, and especially lamps from medieval times. By the fourteenth century, Muslim textiles were being exported to Europe, as is documented in several. Christensen seizes upon this elision of women's household labor and resulting portrayals of wives as suspiciously self-indulgent; in domestic tragedy, she argues, the ideology of separate spheres generates inequality, hypocrisy, and paranoia within marriage.