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Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism -
Journal Pre-Proof
Journal Pre-proof From Historical Seismology to seismogenic source models, 20 years on: Excerpts from the Italian experience Gianluca Valensise, Paola Vannoli, Pierfrancesco Burrato, Umberto Fracassi PII: S0040-1951(19)30296-3 DOI: https://doi.org/10.1016/j.tecto.2019.228189 Reference: TECTO 228189 To appear in: Tectonophysics Received date: 1 April 2019 Revised date: 20 July 2019 Accepted date: 5 September 2019 Please cite this article as: G. Valensise, P. Vannoli, P. Burrato, et al., From Historical Seismology to seismogenic source models, 20 years on: Excerpts from the Italian experience, Tectonophysics(2019), https://doi.org/10.1016/j.tecto.2019.228189 This is a PDF file of an article that has undergone enhancements after acceptance, such as the addition of a cover page and metadata, and formatting for readability, but it is not yet the definitive version of record. This version will undergo additional copyediting, typesetting and review before it is published in its final form, but we are providing this version to give early visibility of the article. Please note that, during the production process, errors may be discovered which could affect the content, and all legal disclaimers that apply to the journal pertain. © 2019 Published by Elsevier. Journal Pre-proof From Historical Seismology to seismogenic source models, 20 years on: excerpts from the Italian experience Gianluca Valensise, Paola Vannoli, Pierfrancesco Burrato & Umberto Fracassi Istituto Nazionale di Geofisica e Vulcanologia, Rome, Italy Contents 1. Introduction 1.1. Why Historical Seismology 1.2. A brief history of Historical Seismology 1.3. Representing and exploiting Historical Seismology data 2. -
André Derain Stoppenbach & Delestre
ANDR É DERAIN ANDRÉ DERAIN STOPPENBACH & DELESTRE 17 Ryder Street St James’s London SW1Y 6PY www.artfrancais.com t. 020 7930 9304 email. [email protected] ANDRÉ DERAIN 1880 – 1954 FROM FAUVISM TO CLASSICISM January 24 – February 21, 2020 WHEN THE FAUVES... SOME MEMORIES BY ANDRÉ DERAIN At the end of July 1895, carrying a drawing prize and the first prize for natural science, I left Chaptal College with no regrets, leaving behind the reputation of a bad student, lazy and disorderly. Having been a brilliant pupil of the Fathers of the Holy Cross, I had never got used to lay education. The teachers, the caretakers, the students all left me with memories which remained more bitter than the worst moments of my military service. The son of Villiers de l’Isle-Adam was in my class. His mother, a very modest and retiring lady in black, waited for him at the end of the day. I had another friend in that sinister place, Linaret. We were the favourites of M. Milhaud, the drawing master, who considered each of us as good as the other. We used to mark our classmates’s drawings and stayed behind a few minutes in the drawing class to put away the casts and the easels. This brought us together in a stronger friendship than students normally enjoy at that sort of school. I left Chaptal and went into an establishment which, by hasty and rarely effective methods, prepared students for the great technical colleges. It was an odd class there, a lot of colonials and architects. -
Tesi GALVANI
Università degli Studi di Ferrara DOTTORATO DI RICERCA IN Scienze e Tecnologie per l’Archeologia e i Beni Culturali CICLO XXII COORDINATORE Prof. Carlo Peretto La rappresentazione del potere nell’età di Borso d’Este: ”imprese” e simboli alla Corte di Ferrara Settore Scientifico Disciplinare L-ART/02 Dottorando Tutore Dott. Irene Galvani Prof. Ranieri Varese Anni 2007/2009 Corso di Dottorato in convenzione con 0 Indice Indice: p. 1 Introduzione: Arte e potere nel panorama ferrarese: la corte si rappresenta attraverso le “imprese” p. 5 Capitolo 1: Le “imprese” al servizio del potere: esempi dalla tradizione estense p. 8 1.1: Le divise araldiche dall’antichità al ‘500: espressioni di un potere individuale p. 8 1.2: “Imprese” e divise alla corte di Ferrara: una breve introduzione p. 11 1.2.1: Leonello, il Marchese umanista: insegne d’amore e di cultura all’ombra della letteratura francese p. 12 1.2.2: Borso, il primo Duca e le sue insegne p. 18 1.2.3: Ercole I, un diamante e un codice scomparso p. 24 1.2.4: La granata del primo Alfonso p. 26 1.2.5: Ercole II ed Alfonso II: l’importanza del motto p. 27 Capitolo 2: La trattatistica sulle “imprese” in Italia dal XVI al XX secolo p. 29 2.1: I primordi. Da Bartolo da Sassoferrato a Paolo Giovio p. 29 2.2: Riflessioni post-gioviane: Girolamo Ruscelli, Bartolomeo Taegio, Luca Contile ed altri autori p. 35 2.3: Verso il ‘600. Torquato Tasso, Tommaso Garzoni e Andrea Chiocco p. 44 2.4: Ritrovata fortuna degli studi araldici nella prima metà del XX secolo p. -
Presentazione Del Progetto Ducato Estense
UN MILIARDO PER LA CULTURA: IL PIANO DEL MINISTERO DEI BENI E DELLE ATTIVITA’ CULTURALI E DEL TURISMO. Il Piano Cultura e Turismo proposto dal Ministro Dario Franceschini approvato dal Comitato Interministeriale per la Programmazione Economica stanzia un miliardo di euro del Fondo Sviluppo e Coesione 2014 – 2020 per la realizzazione di 33 interventi di tutela e valorizzazione del patrimonio culturale e di potenziamento del turismo culturale distribuiti su tutto il territorio nazionale. Per il progetto “Ducato Estense”, incluso nel Piano del Ministero, è previsto un finanziamento di 70 milioni di euro di cui 69 milioni per la realizzazione di canteri di restauro e di interventi di riqualificazione e un 1 milione per la definizione e promozione del brand estense. IL PROGETTO DUCATO ESTENSE: LE LINEE GENERALI. Il Progetto “Ducato Estense”, che coinvolge le province di Ferrara, Modena, Reggio Emilia e Lucca, ha come principali obiettivi la realizzazione di interventi strutturali per il restauro di beni architettonici estensi (con priorità per beni danneggiati dal sisma del 2012) e di interventi di riqualificazione come, ad esempio, il miglioramento dell’accessibilità per persone con difficoltà motorie, la realizzazione di piste ciclabili, di spazi dedicati alla didattica, all’accoglienza del pubblico e per la sistemazione di aree urbane e di aree verdi. Il progetto, che prevede l’apertura di 26 cantieri, coinvolge 74 comuni nei cui territori sono stati individuati e censiti 250 beni immobili direttamente connessi alla committenza estense o -
Musei E Monumenti
Musei e Monumenti 1 MUSEI Indice Casa di Ludovico Ariosto E MONUMENTI Casa di Ludovico Ariosto 3 Via Ariosto 67. Tel. 0532 244949 Casa Romei Parva , sed apta mihi, sed nulli obnoxia, sed non sordida, par- Castello Estense 4 ta meo, sed tamen aere domus (la casa è piccola, ma adatta Cattedrale 6 a me, pulita, non gravata da canoni e acquistata solo con UFFICI INFORMAZIONI TURISTICHE Chiesa di San Cristoforo alla Certosa FERRARA il mio denaro): questa è l’iscrizione sulla facciata della casa Castello Estense Chiesa di San Domenico 8 Tel: 0532 209370 Chiesa di Santa Maria in Vado dove Ludovico Ariosto (1474-1533) trascorse gli ultimi anni Fax 0532 212266 della sua vita dedicandosi alla terza e definitiva edizione Chiesa di San Francesco Piazza Municipale 11 Chiesa di San Giorgio 10 dell’Orlando Furioso. L’abitazione, realizzata probabilmen- Tel. 0532 419474 Fax 0532 419488 Chiesa del Gesù te su disegno di Girolamo da Carpi, presenta una facciata Chiesa di San Paolo ARGENTA semplice ma elegante in mattoni a vista. Via Matteotti, 24/b Monastero del Corpus Domini 13 Tel. 800 014669 Al primo piano è sistemato un piccolo museo dedicato al Fax 0532 330215 Monastero di Sant’Antonio in Polesine Museo Archeologico Nazionale 14 grande poeta. Vi sono conservati il calco del suo calamaio, CENTO la sua sedia e molte medaglie che lo rappresentano, fra Via Guercino, 41 Museo dell’Architettura Tel. 051 6843334 Museo dell’Illustrazione cui quella rinvenuta nella sua tomba nel 1801. Fax 051 6843309 Museo di Storia Naturale Nel piccolo corridoio centrale è conservata la preziosa CODIGORO Abbazia di Pomposa Museo della Cattedrale 16 edizione dell’Orlando Furioso illustrata da Gustave Doré S.S. -
Landscape of the Great Land Reclamation
ra st ai BOLZANO·TRENTO·MANTOVA VENEZIA M i d o ROVIGO·PADOVA Villanova P Marchesana Landscape of the great land reclamation Bosaro Guarda o Ro - Copparo - Ostellato Crespino P F Veneta Fiume ium Berra e P Serravalle o Polesella ia GORINO FERRARESE Albersano Po di Venez Guarda Alberone Cologna Ferrarese 1 Ponte Punzetti Oasi Ariano Mulino del Po Ferrarese Zerbinate Oasi Stellata Bosco di Pilastri Ro Santa Malcantone Massenzatica Giustina FERRARA Coccanile Contane Ponti Oasi Isola Zocca Oasi Spagna Bonello Pepoli Oasi Bosco Ravalle Monticelli MesolaPineta di S. Giustina di Porporana Cesta Mesola Sabbioni Ambrogio S. Biagio Porporana Salvatonica Ruina Ponte S. Pietro Dune Fossili di Fossadalbero Mezzogoro Massenzatica Gavello Burana Oasi Isola Pescara FE206 Camatte Bianca P Casaglia Zenzalino o d Francolino P i G Francolino Italba o no Settepolesini c Oasi Isola d ca Saletta i o Ospitale Copparo G d Bianca Jolanda e o l Corlo Bosco r l Diamantina o a di Savoia Torbiera Mesola D Bondeno o Scortichino Pontelagoscuro n z Tamara Caprile e Correggio l Oasi Bacini Pontelangorino l Santa Gradizza Oasi Valle a Boara Zuccherificio Brazzolo Dindona Bianca Vigarano Oasi Goro Ponte Pieve Barco Gran Bosco Malborghetto Baura FE211 Oasi S. Bianca Rodoni di Boara 5 Fossalta Pomposa della Mesola Cassana Sabb. Formignana Oasi Bacini Pontemaodino Boschetti Vigarano Sabb. Gherardi Zuccherificio Pomposa Mizzana S. Pietro S. Vittore di Valle oleonico Giralda Sacca di Goro p Mainarda Porotto Viconovo a Gorino MODENA e Contrapò Albarea Pontegradellarares Ferrarese -
WRAP THESIS Shilliam 1986.Pdf
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/34806 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. FOREIGN INFLUENCES ON AND INNOVATION IN ENGLISH TOMB SCULPTURE IN THE FIRST HALF OF THE SIXTEENTH CENTURY by Nicola Jane Shilliam B.A. (Warwick) Ph.D. dissertation Warwick University History of Art September 1986 SUMMARY This study is an investigation of stylistic and iconographic innovation in English tomb sculpture from the accession of King Henry VIII through the first half of the sixteenth century, a period during which Tudor society and Tudor art were in transition as a result of greater interaction with continental Europe. The form of the tomb was moulded by contemporary cultural, temporal and spiritual innovations, as well as by the force of artistic personalities and the directives of patrons. Conversely, tomb sculpture is an inherently conservative art, and old traditions and practices were resistant to innovation. The early chapters examine different means of change as illustrated by a particular group of tombs. The most direct innovations were introduced by the royal tombs by Pietro Torrigiano in Westminster Abbey. The function of Italian merchants in England as intermediaries between Italian artists and English patrons is considered. Italian artists also introduced terracotta to England. -
Dreamitaly0709:Layout 1
INSIDE: The Artistic Village of Dozza 3 Private Guides in Ravenna 5 Bicycling Through Ferrara 6 Where to Stay in Bologna 8 Giorgio Benni Giorgio giasco, flickr.com giasco, Basilica di San Vitale MAMbo SPECIAL REPORT: EMILIA-ROMAGNA Bologna: dream of City of Art ith its appetite for art, Bologna’s ® Wcontributions to the good life are more than gustatory. Though known as the “Red City” for its architecture and politics, I found a brilliant palette of museums, galleries, churches and markets, with mouth-watering visuals for every taste. ITALYVolume 8, Issue 6 www.dreamofitaly.com July/August 2009 City Museums For a splash of Ravcnna’s Ravishing Mosaics 14th-century sculp- ture start at the fter 15 centuries, Ravenna’s lumi- across the region of Emilia-Romagna. Fontana del Nettuno A nous mosaics still shine with the With only a day to explore, I’m grate- in Piazza Maggiore. golden brilliance of the empires that ful that local guide Verdiana Conti Gianbologna’s endowed them. These shimmering Baioni promises to weave art and bronze god — Fontana Nettuno sacred images reveal both familiar and history into every step. locals call him “the giant” — shares the unexpected chapters in Italian history water with dolphins, mermaids and while affirming an artistic climate that We meet at San Apollinaire Nuovo on cherubs. Close by, Palazzo Comunale’s thrives today. Via di Roma. A soaring upper floors contain the Collezioni basilica, its narrow side Comunale d’Arte, which includes opu- Ravenna attracted con- aisles open to a broad lent period rooms and works from the querors from the north nave where three tiers 14th through 19th centuries. -
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Society of Architectural Historians University of California Press "The Century's Triumph in Lighting": The Luxfer Prism Companies and Their Contribution to Early Modern Architecture Author(s): Dietrich Neumann Source: Journal of the Society of Architectural Historians, Vol. 54, No. 1 (Mar., 1995), pp. 24-53 Published by: University of California Press on behalf of the Society of Architectural Historians Stable URL: http://www.jstor.org/stable/991024 Accessed: 25-10-2015 18:45 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Society of Architectural Historians and University of California Press are collaborating with JSTOR to digitize, preserve and extend access to Journal of the Society of Architectural Historians. http://www.jstor.org This content downloaded from 128.148.252.35 on Sun, 25 Oct 2015 18:45:40 UTC All use subject to JSTOR Terms and Conditions "The Century'sTriumph in Lighting": The Luxfer Prism Companies and their Contributionto Early Modem Architecture medium to another, as from air to water or, in this case, glass. DIETRICH NEUMANN, BrownUniversity Throughoutthe eighteenth and nineteenth centuriesconically characterize this new prism as one of the most shaped glassesalready had been used to redirectlight into dark .L remarkable improvements of the century in its bearing rooms in basementsor in ships.5Thaddeus Hyatt, one of the on practical architecture, is to speak but mildly. -
Geochemical Monitoring of the 2012 Po Valley Seismic Sequence: a Review and Update
CHEMGE-18183; No of Pages 16 Chemical Geology xxx (2016) xxx–xxx Contents lists available at ScienceDirect Chemical Geology journal homepage: www.elsevier.com/locate/chemgeo Geochemical monitoring of the 2012 Po Valley seismic sequence: A review and update G. Martinelli a,⁎,A.Dadomob, F. Italiano c,R.Petrinid,F.F.Slejkoe a ARPAE Environmental Protection Agency, Emilia Romagna Region, 42100 Reggio Emilia, Italy b Geoinvest Srl, Piacenza, Italy c INGV Istituto Nazionale Geofisica Vulcanologia, Palermo, Italy d University of Pisa, Dept. Earth Sciences, Pisa, Italy e University of Trieste, Dept. Mathematics and Geosciences, Trieste, Italy article info abstract Article history: A seismic swarm characterized by a Ml = 5.9 mainshock occurred in the Po Valley, northern Italy, in 2012. The Received 15 July 2016 area has been studied for active compressional tectonics since the beginning of the twentieth century. A variety Received in revised form 24 November 2016 of geophysical and geochemical parameters have been utilized with the purpose of identifying possible precur- Accepted 2 December 2016 sory signals. This paper considers groundwater level data and geochemical data both in groundwaters and in Available online xxxx gases. All considered parameters have led to the conclusion that possible long and medium precursory trends have been identified in geofluids. No short-term precursors have been clearly identified. Hydrogeological and Keywords: Earthquake precursor geochemical monitoring could be more effectively utilized in a different geological context, and seismic hazard Earthquake effect reduction procedures could benefitfromgeofluid monitoring. Geofluid monitoring © 2016 Elsevier B.V. All rights reserved. Geochemical monitoring Emilia earthquake Po Valley 1. Introduction 2. -
Terracotta Tableau Sculpture in Italy, 1450-1530
PALPABLE POLITICS AND EMBODIED PASSIONS: TERRACOTTA TABLEAU SCULPTURE IN ITALY, 1450-1530 by Betsy Bennett Purvis A thesis submitted in conformity with the requirements for the degree of Doctorate of Philosophy Department of Art University of Toronto ©Copyright by Betsy Bennett Purvis 2012 Palpable Politics and Embodied Passions: Terracotta Tableau Sculpture in Italy, 1450-1530 Doctorate of Philosophy 2012 Betsy Bennett Purvis Department of Art University of Toronto ABSTRACT Polychrome terracotta tableau sculpture is one of the most unique genres of 15th- century Italian Renaissance sculpture. In particular, Lamentation tableaux by Niccolò dell’Arca and Guido Mazzoni, with their intense sense of realism and expressive pathos, are among the most potent representatives of the Renaissance fascination with life-like imagery and its use as a powerful means of conveying psychologically and emotionally moving narratives. This dissertation examines the versatility of terracotta within the artistic economy of Italian Renaissance sculpture as well as its distinct mimetic qualities and expressive capacities. It casts new light on the historical conditions surrounding the development of the Lamentation tableau and repositions this particular genre of sculpture as a significant form of figurative sculpture, rather than simply an artifact of popular culture. In terms of historical context, this dissertation explores overlooked links between the theme of the Lamentation, the Holy Sepulcher in Jerusalem, codes of chivalric honor and piety, and resurgent crusade rhetoric spurred by the fall of Constantinople in 1453. Reconnected to its religious and political history rooted in medieval forms of Sepulchre devotion, the terracotta Lamentation tableau emerges as a key monument that both ii reflected and directed the cultural and political tensions surrounding East-West relations in later 15th-century Italy.