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Vincenzo Cappello C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Sixteenth Century Titian and Workshop Titian Venetian, 1488/1490 - 1576 Italian 16th Century Vincenzo Cappello c. 1550/1560 oil on canvas overall: 141 x 118.1 cm (55 1/2 x 46 1/2 in.) framed: 169.2 x 135.3 x 10.2 cm (66 5/8 x 53 1/4 x 4 in.) Samuel H. Kress Collection 1957.14.3 ENTRY This portrait is known in at least four other contemporary versions or copies: in the Chrysler Museum, Norfolk, Virginia[fig. 1]; [1] in the State Hermitage Museum, Saint Petersburg [fig. 2]; [2] in the Seminario Vescovile, Padua; [3] and in the Koelikker collection, Milan. [4] According to John Shearman, x-radiographs have revealed that yet another version was originally painted under the Titian workshop picture Titian and His Friends at Hampton Court (illustrated under Andrea de’ Franceschi). [5] Of these versions, the Gallery’s picture is now generally accepted as the earliest and the finest, and before it entered the Kress collection in 1954, the identity of the sitter, established by Victor Lasareff in 1923 with reference to the Hermitage version, has never subsequently been doubted. [6] Lasareff retained a traditional attribution to Tintoretto, and Rodolfo Pallucchini and W. R. Rearick upheld a similarly traditional attribution to Tintoretto of the present version. [7] But as argued by Wilhelm Suida in 1933 with reference to the Chrysler version (then in Munich), and by Fern Rusk Shapley and Harold Wethey with reference to the present version, an attribution to Titian is more likely. -
The Netherlandish Merchant Community in Venice, 1590-1650 Van Gelder, M
UvA-DARE (Digital Academic Repository) Trading places : the Netherlandish merchant community in Venice, 1590-1650 van Gelder, M. Publication date 2007 Document Version Final published version Link to publication Citation for published version (APA): van Gelder, M. (2007). Trading places : the Netherlandish merchant community in Venice, 1590-1650. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:29 Sep 2021 TRADING PLACES: THE NETHERLANDISH MERCHANT COMMUNITY IN VENICE, 1590-1650 Maartje van Gelder Research in Venice, Rome, and Livorno was made possible by grants from the Institute of Culture and History at the University of Amsterdam, a fellowship from the Royal Dutch Institute in Rome, two fellowships from the Marie Curie-programme ‘European Doctorate in the Social History of Europe and the Mediterranean’, and a travel grant from the Netherlands Organisation for Scientific Research. -
1 Mobility, Cohabitation and Cultural Exchange in the Lodging Houses Of
1 Mobility, Cohabitation and Cultural Exchange in the Lodging Houses of Early Modern Venice1 Abstract This article examines the thriving lodging house sector in early modern Venice, arguing that such spaces of temporary accommodation offer a valuable key to understanding how mobility and migration shaped the daily lived experience of the city. Lodging houses were important both to the many Venetian residents who profited from renting out rooms, and to the people who stayed in them, and found there companionship, conversation, access to social and professional networks. Considering the kinds of encounters, conflicts and exchanges that unfolded in these shared spaces, the article offers new insight into the functioning of a pre-modern multicultural metropolis. In the 1580s, the Venetian Inquisition examined the inhabitants of one of the city’s many lodging houses. Located in a small courtyard in a densely-populated area about ten minutes walk east of the central Piazza San Marco, the house was run by a Venetian woman, Paolina Briani, who made her living renting rooms to Greek and Ottoman Muslim merchants who came to trade in the great entrepôt city. Although the Venetian government was keen to promote this kind of economic exchange, fundamental to the wealth of their Republic, local authorities both secular and religious also were concerned about the sociable encounters that it engendered. In particular, the Inquisition was moved to investigate reports of promiscuous religious (and sexual) practices taking place in this house. Among the lodgers was a Christian Armenian servant working for a Turkish merchant, who allegedly forced his young employee to dress like a Muslim and follow Muslim customs, including eating meat on days prohibited to Christians. -
Giovanni Andrea Vavassore and the Business of Print in Early Modern Venice
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Giovanni Andrea Vavassore and the Business of Print in Early Modern Venice Natalie Lussey Submitted for the degree of Doctor of Philosophy The University of Edinburgh 2015 Volume One Declaration This is to certify that the work contained within this thesis is entirely my own. Due acknowledgement has been made in the text to all other material used. No part of this thesis has been submitted for any other degree or qualification. Signed: (Natalie Lussey) 2 Abstract This thesis reconstructs the activities of a single print workshop, active from 1515 to 1593. By providing a microcosm of the Venetian print industry, it both challenges preconceived notions of the inherent competitiveness of the industry, and demonstrates the sheer variety of printed material available for purchase during the sixteenth century. -
Stefano Colombo Volume 1 (Text)
A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/94209 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications The Rhetoric of Celebration in Seventeenth-Century Venetian Funerary Monuments Volume One of two volumes (Text) by Stefano Colombo A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in the History of Art at the University of Warwick. This dissertation may not be photocopied. University of Warwick, Department of the History of Art December 2016 Table of Contents Table of Contents ................................................................................................ i Acknowledgements ........................................................................................... iv Declaration ......................................................................................................... v Abstract .............................................................................................................. vi List of Abbreviations ........................................................................................ vii List of Illustrations ......................................................................................... -
Venetian Istorie: Re-Evaluating Giovanni Mansueti's Narrative Painting (1500-30'S)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Nottingham ePrints Matino, Gabriele (2014) Venetian istorie: re-evaluating Giovanni Mansueti's narrative painting (1500-30's). PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/14255/1/text.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. -
Syllabus, Art in Venice, 2020
Columbia University – Summer Program in Venice Summer 2020 Art in Venice – AHIS O4430 Venice's unique geographical location in the reflective waters of the Adriatic and at the crossroads between East and West has had a profound impact on all aspects of Venetian life and culture. This course will investigate the artistic production of the Lagoon City between the fourteenth and eighteenth centuries. The compelling works of Venetian artists, such as Carpaccio, Bellini, Giorgione and Titian, Tintoretto and Veronese, as well as the great civic and religious monuments, including the Palazzo Ducale, the great mendicant churches, and the Basilica di San Marco, will be considered in light of the sophisticated political and social systems of the Venetian Republic. Issues such as the development of the distinctive urban fabric, the invention of a civic iconography, the role of the artist, and the Venetian workshop practices, as well as the impact of the Islamic world, and private and corporate patronage, will be examined. INSTRUCTOR Caroline A. Wamsler COURSE DURATION, MEETING TIMES AND MEETING LOCATIONS Between June 9 and July 18, 2019 Tuesdays: 9:00am – ca. 3:30pm Thursdays: 9:00 – 11:00am Location – Each session listed below identifies the meeting location. NOTE: Please review the exact time and location information included in this syllabus carefully and stay posted for changes as we might need to make adjustments. Please arrive on time, as we will often move to another location shortly after gathering. COURSE REQUIREMENTS, GRADING, AND CLASS AND UNIVERSITY POLICIES Attendance: The success of this course will depend on the participants’ presence and active participation. -
Annual Report 2018
2018 ANNUAL REPORT ART & EDUCATION W. Russell G. Byers Jr. BOARD OF TRUSTEES COMMITTEE Buffy Cafritz (as of September 30, 2018) Frederick W. Beinecke Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Gregory W. Fazakerley Mitchell P. Rales Juliet C. Folger Sharon P. Rockefeller Marina Kellen French David M. Rubenstein Norma Lee Funger Andrew M. Saul Whitney Ganz Sarah M. Gewirz FINANCE COMMITTEE Lenore Greenberg Mitchell P. Rales Andrew S. Gundlach Chairman Jane M. Hamilton Steven T. Mnuchin Secretary of the Treasury Richard C. Hedreen Teresa Heinz Frederick W. Beinecke Sharon P. Rockefeller Frederick W. Beinecke Sharon P. Rockefeller Helen Lee Henderson Chairman President David M. Rubenstein Betsy K. Karel Andrew M. Saul Kasper Linda H. Kaufman Kyle J. Krause AUDIT COMMITTEE David W. Laughlin Andrew M. Saul Chairman Reid V. MacDonald Frederick W. Beinecke Nancy Marks Mitchell P. Rales Jacqueline B. Mars Sharon P. Rockefeller Constance J. Milstein David M. Rubenstein Scott Nathan Mitchell P. Rales David M. Rubenstein John G. Pappajohn Sally Engelhard Pingree TRUSTEES EMERITI William A. Prezant Julian Ganz, Jr. Diana C. Prince Alexander M. Laughlin Hilary Geary Ross David O. Maxwell Roger W. Sant Victoria P. Sant † Thomas A. Saunders III John Wilmerding Fern M. Schad Leonard L. Silverstein † EXECUTIVE OFFICERS Albert H. Small Frederick W. Beinecke Michelle Smith President Andrew M. Saul John G. Roberts Jr. Benjamin F. Stapleton III Chief Justice of the Earl A. Powell III United States Director Stephen G. Stein Franklin Kelly Luther M. Stovall Deputy Director and Alexa Davidson Suskin Chief Curator Diana Walker Darrell R. -
Econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Calabi, Donatella Working Paper Foreigners and the City: An Historiographical Exploration for the Early Modern Period Nota di Lavoro, No. 111.2006 Provided in Cooperation with: Fondazione Eni Enrico Mattei (FEEM) Suggested Citation: Calabi, Donatella (2006) : Foreigners and the City: An Historiographical Exploration for the Early Modern Period, Nota di Lavoro, No. 111.2006, Fondazione Eni Enrico Mattei (FEEM), Milano This Version is available at: http://hdl.handle.net/10419/73973 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons -
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University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/69994 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Dramatic Figures in the Venetian Republic: Performance, Patronage, and Puppets by Melanie Zefferino Submitted in part fulfilment for the Degree of Doctor of Philosophy in the History of Art at the University of Warwick September 2014 This dissertation may be photocopied CONTENTS Acknowledgements i Abstract iii List of Tables iv List of Illustrations v Introduction 1 Definitions and Taxonomy 2 Scope of the Research, and Historical and Critical Approaches 4 Methodology, Literature Review, and Sources 7 Dissertation Structure 16 PART 1 – HIERATIC FIGURES AND EARLY INVENTIONS 19 I Dramatic Figures of the Middle Ages 20 The Influence from French Culture 22 Venice’s Porta da Mar: a Gate for Liturgical and Feast-day Drama 25 ‘Animated’ Sculptures for the Passio, Depositio, and Entombment of Christ 37 Marys, Marione, and Marionettes 49 II Puppets, Automata, and Theatres of the World 61 The Momarie 62 Puppetry and the Commedia dell’Arte 68 Ephemeral Theatres on the Ground and on Water 77 III Theatrical Feasts and Figures: from the Catajo Palace to Villa Contarini 84 Il Solimano, 1634 85 -
Is Giovanni Mansueti Still Worth Studying?
1 Introduction This dissertation results from a series of straightforward questions: is Giovanni Mansueti still worth studying? Or, to phrase it differently, is there any reason to re-examine a painter who has invariably failed to captivate the interest of the general public and, above all, has been comparatively neglected by the majority of contemporary critics? In a period when monumental monographs are more than ever dedicated to the so-called great masters, or to the valuable reconstruction of the various artists that emanated from their workshops, is it really necessary to discuss the independent activity of one of those fleeting epigones? And, at last, if it is worth doing, how can we approach a painter whose oeuvre has been so bitterly mauled by art historians? Twentieth-century scholars pulled no punches in stigmatizing Mansueti’s work. The painter attracted sharp criticism mainly regarding his style which, as Lionello Venturi once claimed, led Mansueti to design “fantocci di legno che non sanno muoversi nemmeno come burattini”1. Giovan Battista Cavalcaselle and Joseph Archer Crowe raised objections to Mansueti’s artistry, defining it as “primitively stiff and conventional”, the result of an artist of “small powers” who could only rise “to any brightness of harmony or colour”2. Some decades later Raimond Van Marle did not gave Mansueti preferential treatment either, since his work, although seen as productive, was nonetheless condemned as “mediocre, unattractive and boring”3. A painter, as Fritz Heineman then argued, who though a “scolaro di Gentile Bellini” as well as influenced by his brother Giovanni, could not “nascondere la struttura legnosa delle sue figure” and “la sua mancanza di penetrazione”4. -
Il Fondaco Dei Turchi Comparazione Fra I Restauri Effettuati Dall’Arch
UniversitàdegliStudidiCagliari FacoltàdiIngegneriaeArchitettura A.A 2013-2014 Il fondaco dei turchi Comparazione fra i restauri effettuati dall’Arch. federico Berchet e dal Prof. Arch. Eugenio Vassallo Corso di Laurea in Scienze dell’Architettura Teoria e Storia del Restauro Studente: Piludu Marco N. Matr.47046 Docente prof. arch. Caterina GIANNATTASIO Tutor: Valentina PINTUS/Maria Serena PIRISINO IL FONDACO DEI TURCHI Comparazione fra i restauri effettuati dall’Arch. Federico Berchet e dal Prof. Arch. Eugenio Vassallo In copertina Tanarkoburger - Il Fondaco dei Turchi Indice Introduzione pag. 9 1. Lo stato attuale dei luoghi pag. 13 1.1. Localizzazione pag. 13 1.2. Descrizione della fabbrica pag. 13 1.2.1. I caratteri tipologici del Fondaco dei Turchi pag. 13 1.2.2. Il palazzo veneziano pag. 13 1.2.3. Definizione di fondaco pag. 17 1.3. La destinazione attuale pag. 17 1.3.1. Gli ambienti del Museo pag. 17 1.3.1.1. Piano terra pag. 17 1.3.1.2. Piano ammezzato pag. 17 1.3.1.3. Primo piano pag. 18 2. Il contesto storico-urbanistico: pag. 21 2.1. Il contesto urbanistico: Venezia pag. 21 2.1.1. La suddivisione della città in sestieri pag. 22 2.1.2. Il sestiere di Santa Croce pag. 22 2.1.3. La suddivisione dei sestieri in insule pag. 23 2.1.4. L’insula di San Giacomo dell’Orio pag. 24 2.2. La storia del Fondaco ed i suoi abitanti pag. 24 3. La storia della fabbrica pag. 25 3.1. “Il Fondaco dei Turchi in Venezia”: introduzione di Agostino Sagredo pag.