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Sala Di Michelangelo E Della Scultura Del Cinquecento 2
MUSEO NAZIONALE DEL BARGELLO a sala, con volte a crociera ribassate, sostenute da robusti pilastri in pie- tra forte, fa parte del nucleo più antico del palazzo e la sua edificazione PIANO TERRA L 2 risale a poco dopo la metà del XIII secolo (1255-1260). Era in origine la sala d’ingresso e presumibilmente vi avevano sede i soldati e la “corte” (araldi, trombettieri, cavalieri) al servizio del podestà. Ospitava anche una cappella, Sala di Michelangelo dalla quale proviene la Madonna col Bambino (1), parte di un più vasto affresco di scuola giottesca che includeva i donatori, vari santi e fanciulli con i simboli dei sestieri della città, trasferito nell’Ottocento sulla parete della sala dove oggi si trova. Con la trasformazione del palazzo in carcere (dal 1574 al e della scultura 1857), il vasto ambiente fu suddiviso in più vani, destinati alle guardie e alle varie magistrature di giustizia. I volumi originari furono recuperati nel corso del restauro ottocentesco (1858-1865), demolendo le infrastrutture, e le pareti del Cinquecento furono dipinte da Gaetano Bianchi con decorazioni araldiche in stile gotico, secondo il gusto del tempo, successivamente imbiancate. Dall’istituzione del museo, nel 1865, all’alluvione del 1966, la sala accolse – assieme alla contigua sala della torre, oggi adibita a ingresso e biglietteria – la collezione dell’Armeria medicea. Nel riordinamento seguito all’alluvione, fu deciso di trasferire l’Armeria al secondo piano e di collocare qui le opere di Michelan- gelo e degli scultori del Cinquecento, precedentemente distribuite in ambienti diversi, secondo l’allestimento attuale, concepito da Luciano Berti e realizzato dall’architetto Carlo Cresti tra il 1970 e il 1975, oggi in parte modificato. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Sassetta's Madonna della Neve. An Image of Patronage Israëls, M. Publication date 2003 Link to publication Citation for published version (APA): Israëls, M. (2003). Sassetta's Madonna della Neve. An Image of Patronage. Primavera Pers. 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:03 Oct 2021 Index Note Page references in bold indicate Avignonese period of the papacy, 108, Bernardino, Saint, 26, 82n, 105 illustrations. 11 in Bertini (family), 3on, 222 - Andrea di Francesco, 19, 21, 30 Abbadia Isola Baccellieri, Baldassare, 15011 - Ascanio, 222 - Abbey of Santi Salvatore e Cirino, Badia Bcrardcnga, 36n - Beatrice di Ascanio, 222, 223 -
RETOUR EN TOSCANE Encadrement Culturel Jean-Michel Sanchez, Historien De L’Art
DESTINATION ITALIE Départ 22 mars 2021 Retour 27 mars 2021 Nombre de jours 6 Nombre de voyageurs 20 à 25 RENSEIGNEMENTS ET INSCRIPTIONS AUPRES D’ « EXPERIENCE(S) DU MONDE » 42, ROUTE DE FRONTON/ N°5 / 31140 AUCAMVILLE / 06 18 19 80 62 ou 06 12 31 03 32 RETOUR EN TOSCANE Encadrement culturel Jean-Michel Sanchez, Historien de l’Art SAS EXPERIENCE(S) DU MONDE au capital de 10 000€ / siret 848 320 610 00019 / NAF 7911Z / siège social : 42 route de Fronton, N°5, 31140 AUCAMVILLE / IM031190006 / Garantie financière : GROUPAMA ASSURANCE CREDIT / Ass RC PRO : HISCOX HA PRC0192665 / [email protected] / +33.567.331.999 Les étapes du circuit : JOUR 1 : MARSEILLE / AIX-EN-PROVENCE / SAN MINIATO / SIENNE Rendez-vous des participants à Marseille puis passage à Aix-en-Provence avant de prendre la route vers l’Italie. Déjeuner libre en cours de route (Autogril). San Miniato. Cathédrale (XIIe s.). Remaniée à la Renaissance. Promenade dans le centre ancien. Beaux points de vue sur la région. Arrivée à Sienne en fin de journée. Installation à l’hôtel. Dîner et logement. JOUR 2 : SIENNE (1) Piazza del Campo. En forme d’éventail. Unique ! Palazzo Publico (XIIIe-XIVe s.). Un des plus beaux bâtiments civils d’Italie. Appartements des podestats (Maestà de Simone Martini, nombreuses fresques…). Cathédrale (XIIIe-XIVe s.). Pavement Renaissance unique au monde. Chaire des Pisano. Musée de l’Oeuvre de la Cathédrale. Baptistère St-Jean. Fonts baptismaux du XVe s. de J. della Quercia, Turini, Ghiberti et Donatello. Déjeuner. Pinacothèque. Dans le palais Buonsignori (XIVe s.). Œuvres de Duccio, Taddeo di Bartolo, Pinturicchio… Eglise St-Dominique (XIIIe-XVIe s.). -
Nanni Di Banco and Donatello: a Comparison Paolo Vaccarino
New Mexico Quarterly Volume 22 | Issue 4 Article 7 1952 Nanni di Banco and Donatello: A Comparison Paolo Vaccarino Follow this and additional works at: https://digitalrepository.unm.edu/nmq Recommended Citation Vaccarino, Paolo. "Nanni di Banco and Donatello: A Comparison." New Mexico Quarterly 22, 4 (1952). https://digitalrepository.unm.edu/nmq/vol22/iss4/7 This Contents is brought to you for free and open access by the University of New Mexico Press at UNM Digital Repository. It has been accepted for inclusion in New Mexico Quarterly by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. r ," ~' Vaccarino: Nanni di Banco and Donatello: A Comparison II l. Paolo VaccaTino NANNI DI BANCO AND I DONATELLO: A COMPARISON 1 <. From the Foreword THE REI S a gap in our knowledge which no scholar has ever tried to fill. It is a gap which owes to the lack ofreal attention paid to the work of Nanni di Banco. To fill it is important not only be came of the fact of his amazing artistry, but because the lack of true familiarity with Nanni and his accomplishments has left a hole where a key should be in our knowledge of Renaissan~e art. The art history of the period has inevitably been somewhat in comprehensible, somewhere lacking in logical development. Without the key figure of Nanni, one is at a loss to explain the development of Donatello on one side and Luca della Robbia on the other; or to fill the gap between Giotto and Masaccio, and trace the history of later painters. -
Silke Kurth, Wasser, Stein Und Automaten. Die Grotten Von
The essay considers the grottoes of the Silke Kurth, Wasser, Stein und Automaten. Die Grotten von Pratolino oder Medici-Villa at Pratolino in regard to der Fürst als Demiurg their historic relevance in the context of the artistic and typological development Qui l’Arte, e la Natura as well as their function related to the Insieme a gara ogni sua grazia porge E fra quelle si scorge strategies of princely self-representation. La grandezza del animo, e la cura Thereby it will focus less on the moments Che le nutrisce, e cura of mere imitation of the nature than E fa splender più chiaro ogn’hor d’intorno rather on the imitation of the natural Di nuove meraviglie il bel soggiorno. creating act itself. The innovative type Gualterotti, 15791 of the grotto as basement for the grand villa merges the demand of the exclusive Der von Francesco I. de’Medici initiierte und durch Bernardo Buontalenti Gesamtkunstwerk with contemporary in den Jahren 1569–1585 realisierte Villen- und Parkkomplex von Pratolino, scientific, mechanical and geological- der heute leider nur noch spärliche Reste seiner früheren Gestaltung auf- cosmological ideas in a new and unique weist, wurde schon zur Bauzeit aufgrund seiner monumentalen künstlichen space of world knowledge. This feature Grotten Legende und erhielt umgehend Vorbildcharakter für die gesamte as a site of technical experiment and europäische Garten- und Grottenarchitektur.2 Mit dem im Italien des Cin- junction of various scientific disciplines, quecento entstehenden und nicht zuletzt auf spektakuläre zeitgenössische that stylises the ruler as a godlike crea- tor, will be considered in view of further archäologische Funde reagierenden Bautypus der künstlichen Grotte lebt coeval spaces of knowledge. -
Resurrecting Della Robbia's Resurrection
Article: Resurrecting della Robbia’s Resurrection: Challenges in the Conservation of a Monumental Renaissance Relief Author(s): Sara Levin, Nick Pedemonti, and Lisa Bruno Source: Objects Specialty Group Postprints, Volume Twenty-Four, 2017 Pages: 388–412 Editors: Emily Hamilton and Kari Dodson, with Tony Sigel Program Chair ISSN (print version) 2169-379X ISSN (online version) 2169-1290 © 2019 by American Institute for Conservation of Historic and Artistic Works 727 15th Street NW, Suite 500, Washington, DC 20005 (202) 452-9545 www.culturalheritage.org Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation (AIC). It is a conference proceedings volume consisting of papers presented in the OSG sessions at AIC Annual Meetings. Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the American Institute for Conservation. Unless otherwise noted, images are provided courtesy of the author, who has obtained permission to publish them here. This article is published in the Objects Specialty Group Postprints, Volume Twenty-Four, 2017. It has been edited for clarity and content. The article was peer-reviewed by content area specialists and was revised based on this anonymous review. Responsibility for the methods and materials described herein, however, rests solely with the author(s), whose article should not be considered an official statement of the OSG or the AIC. OSG2017-Levin.indd 1 12/4/19 6:45 PM RESURRECTING DELLA ROBBIA’S RESURRECTION: CHALLENGES IN THE CONSERVATION OF A MONUMENTAL RENAISSANCE RELIEF SARA LEVIN, NICK PEDEMONTI, AND LISA BRUNO The Resurrection (ca. -
Alla Villa Di Pratolino E Nei Giardini Del Castello Dei Gondi a Noisy-Le-Roi
Marco Calafati “Acconciar grotti” alla villa di Pratolino e nei giardini del castello dei Gondi a Noisy-le-Roi The “Libro delle bestie di Firenze e fabbrica di Pratolino” of 1575 which is kept at the University of Pennsylvania in Philadelphia, includes the name of the Gondi as administrators of the accounts of the construction. In the same period in Noisy-le-Roi, on the hill north of the valley of Versailles and on the edge of the Marly forest, Alberto Gondi (1522-1602), Duke of Retz and Marshal of France, right arm of the Queen mother, commissioned the construction of a castle with large gardens, which was later destroyed. In Noisy, Alberto Gondi began the construction of a grotto represented in a series of engravings by Jean Marot (1619-1679), but the recent archaeological excavations carried out in 2017 by Bruno Bentz, show that the architectural plan was possibly inverted. In the creation of the grotto, evidence was found of Florentine craftsmanship and the mixing of Italian models with the French . Michel de Montaigne, nel suo Viaggio in Italia clude il nome di Alfonso Gondi come ammini- competere con una residenza principesca7. Co- tra il 1580 e il 1581, esalta il primato mediceo stratore dei conti della costruzione e quello di me nel limitrofo castello di Wideville costruito nel campo delle invenzioni delle grotte1. Si de- “Tommaso di Gio. Parigi in assenza di Alfonso intorno al 1580 per Benoît Milon intendente di ve a Francesco I de’ Medici (1541-1587) com- Gondi”4, permettendo di supporre una cono- finanze di Enrico III, la cui -
Construction As Depicted in Western Art Construction As Depicted in Western Art
Tutton Construction Michael Tutton as Depicted in Western Art Construction as Depicted in Western Art Western in Depicted as Construction From Antiquity to the Photograph Construction as Depicted in Western Art Construction as Depicted in Western Art From Antiquity to the Photograph Michael Tutton Amsterdam University Press Cover illustration: 1587, German, unknown master, The Tower of Babel, oil or tempera on panel. Z 2249, Germanisches Nationalmuseum, Nuremberg. Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6298 255 0 e-isbn 978 90 4853 259 9 doi 10.5117/9789462982550 nur 684 © M. Tutton / Amsterdam University Press B.V., Amsterdam 2021 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. For Catherine, Emma and Samuel Acknowledgements I wish to acknowledge the following for help and support in producing this book: Catherine Tutton, Emma Tutton, Nicole Blondin, James W P Campbell, David Davidson, Monica Knight, Eleonora Scianna, Catherine Yvard, and my editors at AUP. Table of Contents Acknowledgements 7 List of Figures 11 Introduction 31 Scope 31 Current Literature and Sources 32 Definitions 33 Layout of the Book 33 1. -
The Guido Riccio Controversy in Art History Michael Mallory and Gordon Moran
6 The Guido Riccio controversy in art history Michael Mallory and Gordon Moran Published in Brian Martin (editor), Confronting the Experts (Albany, NY: State University of New York Press, 1996), pp. 131-154 Introduction can be challenged both inside and outside The Guido Riccio is a fresco, or wall painting, academia. in the city of Siena in Italy. Guido Riccio is The lengthy duration of the Guido Riccio short for the full name, Guido Riccio da controversy has given us the time and the Fogliano at the Siege of Montemassi. The opportunity to study other academic contro- standard view has long been that Simone versies of the past and present, and to compare Martini, a famous painter from Siena, painted notes with other scholars who are involved in the entire fresco in 1328-1330, a view adopted ongoing disputes of their own. Such compari- by generations of scholars and repeated in sons have enabled us to detect, even predict, many textbooks, guidebooks, reference books, patterns of behaviour on the part of experts as and classroom lectures. This was also our own they attempt to overcome challenges. These view until 1977, when we proposed that a patterns include: the suppression and censor- portion of the fresco, namely the horse and ship of the challengers’ ideas from scholarly rider, was painted by a close follower of conferences, symposia, and journals; personal Simone Martini in 1352, while still attributing attacks, including insults, retaliation, and the rest of the painting to Simone. ostracism, against the challengers; and On the face of it, it would seem that the secrecy, instead of open discussion and debate. -
San Sebastiano N
La relazione del Provveditore renze.it pag. 24-25 www.misericordia.fi anno 65° n. 256 Luglio-Agosto-Settembre 2013 256 Luglio-Agosto-Settembre anno 65° n. 1,00 € Sebastiano A Firenze Ecco come Maracchi: il Rinascimento Internet l’Ente Cassa e i suoi geni ha cambiato e le strategie in una mostra la nostra vita contro la crisi a pag. 4-5 a pag. 12-13 a pag. 20-22 San Trimestrale sped. abb. post. 45%-art.3 - comma 20 lettera b Legge 662/96 - Filiale di Firenze post. abb. sped. Trimestrale Periodico della MisericordiaPeriodico di Firenze San Sebastiano_256_Coperta.indd 1 07/06/13 10.36 novità per l’udito Tornare a sentire come prima. L’obiettivo del nuovo microchip per l’udito INIUM. A differenza dei chip tradizionali che amplificano tutti i suoni (voce e rumore) rendendo il tutto sì più forte, ma meno chiaro e distinto; INIUM fa una cosa completamente diversa. Amplifica, cioè alza il volume della voce e riduce il disturbo del rumore che ne ostacola la comprensione. Un trattamento del suono che privilegia due aspetti: capire la voce ed essere molto confortevole. Inoltre la tecnologia wireless di INIUM consente il collegamento senza fili ai moderni dispositivi di comunica- zione quali televisioni, cellulari, computer, lettori MP3 ecc. INIUM è la piattaforma wireless di 3° generazione per una garanzia di funzionamento senza uguali e una continua evoluzione tecnologica per aiutare a sentire come prima e restituire tutto il potenziale uditivo. YOU MATIC: ORA L’UDITO SI MIGLIORA CON IL COMPUTER Si chiama YouMatic la nuova procedura di regolazione su misura degli apparecchi acustici. -
THE BERNARD and MARY BERENSON COLLECTION of EUROPEAN PAINTINGS at I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls
THE BERNARD AND MARY BERENSON COLLECTION OF EUROPEAN PAINTINGS AT I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls GENERAL INDEX by Bonnie J. Blackburn Page numbers in italics indicate Albrighi, Luigi, 14, 34, 79, 143–44 Altichiero, 588 Amsterdam, Rijksmuseum catalogue entries. (Fig. 12.1) Alunno, Niccolò, 34, 59, 87–92, 618 Angelico (Fra), Virgin of Humility Alcanyiç, Miquel, and Starnina altarpiece for San Francesco, Cagli (no. SK-A-3011), 100 A Ascension (New York, (Milan, Brera, no. 504), 87, 91 Bellini, Giovanni, Virgin and Child Abbocatelli, Pentesilea di Guglielmo Metropolitan Museum altarpiece for San Nicolò, Foligno (nos. 3379 and A3287), 118 n. 4 degli, 574 of Art, no. 1876.10; New (Paris, Louvre, no. 53), 87 Bulgarini, Bartolomeo, Virgin of Abbott, Senda, 14, 43 nn. 17 and 41, 44 York, Hispanic Society of Annunciation for Confraternità Humility (no. A 4002), 193, 194 n. 60, 427, 674 n. 6 America, no. A2031), 527 dell’Annunziata, Perugia (Figs. 22.1, 22.2), 195–96 Abercorn, Duke of, 525 n. 3 Alessandro da Caravaggio, 203 (Perugia, Galleria Nazionale Cima da Conegliano (?), Virgin Aberdeen, Art Gallery Alesso di Benozzo and Gherardo dell’Umbria, no. 169), 92 and Child (no. SK–A 1219), Vecchietta, portable triptych del Fora Crucifixion (Claremont, Pomona 208 n. 14 (no. 4571), 607 Annunciation (App. 1), 536, 539 College Museum of Art, Giovanni di Paolo, Crucifixion Abraham, Bishop of Suzdal, 419 n. 2, 735 no. P 61.1.9), 92 n. 11 (no. SK-C-1596), 331 Accarigi family, 244 Alexander VI Borgia, Pope, 509, 576 Crucifixion (Foligno, Palazzo Gossaert, Jan, drawing of Hercules Acciaioli, Lorenzo, Bishop of Arezzo, Alexeivich, Alexei, Grand Duke of Arcivescovile), 90 Kills Eurythion (no. -
Béla Zsolt Szakács the Fresco Cycle of the Holy Virgin in the Franciscan
Béla Zsolt Szakács The Fresco Cycle of the Holy Virgin in the Franciscan Church of Keszthely The fresco cycles of the former Franciscan church at Keszthely in Western Hungary count to the richest examples of this art in Central Europe. After its discovery in 1974, its restoration took almost a decade and it was published in several articles and catalogue entries. However, there are still obscure points in the decoration system among which I would like to clarify to a certain extant the cycle of the Holy Virgin. The Franciscan church was built by one of the most important aristocrats of his age, Stephen (II) Lackfi, who was an important member of the court of King Louis the Great (i.e. ban of Croatia and Dalmatia 1371-72, voivode of Transylvania 1372-76), and King Sigismund (palatine between 1387-92), but after loosing this position he revolted against the king and was massacred in February of 1397. He was buried in the Franciscan church at Keszthely where his tombstone is still preserved. For the dating of the church, the keystones can serve as starting points. In the sanctuary there is a keystone with the damaged coat of arms of the Angevin dynasty and another one representing the dragon of the Lackfi family, thus that part was surely built before 1397. In the nave, however, the symbols of another family, the Gersei Petõ, can be found, which can be attested in the region after 1404 and owned the town from 1427. The fresco cycle is limited to the sanctuary. Since in the lower zone painted symbols of the Lackfi family are preserved, it was probably ready before the founder's death of 1397.