DOCSLIB.ORG

Visual Evidence Study Guide History 4, Unit 4 Visual Evidence a Art And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Visual Evidence Study Guide History 4, Unit 4 Visual Evidence a Art And Visual Evidence Study Guide History 4, Unit 4 Visual Evidence A Art and Politics in Renaissance Florence 4.4-A1 Palazzo Medici, Florence, exterior The immense palace built by Cosimo de’Medici represents the beginnings of the Florentine Renaissance palazzo: rational, monumental, and rigorously disciplined. Cosimo first asked Brunelleschi to design his palazzo, but Brunelleschi's proposal seemed too grandiose to a man careful to maintain the appearance of being first among equals. Cosimo turned it down. The architect was reputedly enraged, but there was little he could do. Cosimo hired Michelozzo di Bartolornmeo instead. The most impressive and trend-setting urban palazzi were, of course, put up by the richest bankers and merchants: the Medici, Pitti, Ruccellai, and Strozzi. Seeing the remains of Roman buildings, they realized that architecture could assure their fame for centuries. Giovanni Ruccellai noted in his diary that he viewed his palazzo, designed by Alberti, as his major achievement. Building such palaces typically consumed one-half to two-thirds of a man's financial worth. To justify this extravagance, Florentines cited ancient sources, such as Aristotle, who advocated lavish expenditure as a virtue befitting a patrician, especially one actively involved in civic life, Leon Battista Alberti argued in his treatise On Architecture that the wealth of magnates was the sign of God's favor, This was a great excuse for ostentatious display. For the Palazzo Medici, Michelozzo proposed a structure that combined traditional Florentine architecture with features derived from ancient Roman buildings. The heavily rusticated walls were based on those of surviving Roman ruins. The heavy cornice capping Michelozzo's palazzo was also influenced by Roman examples, but it had a practical function: to shield both the building and the passers-by from rain. The Medici insigna of balls on a shield can be seen on the external corner of the palazzo and above the arches in the interior courtyard (see #4.4.7). The elegant proportions and classical vocabulary of the Medici residence made it a prototype for patrician dwellings for the next few centuries, not only in Florence, but throughout Tuscany, Italy, and beyond. 4.4-A2 Palazzo Medici, Florence, interior The inner courtyard of the Palazzo Medici is in sharp contrast with the powerful modeling of the exterior facade. This is a refined, private environment, where cultural life prevails over the external world of trade and finance. The revival of classical styles of architectural design is evident. 4.4-A3 Chapel of the Magi. Palazzo Medici The Magi Chapel is a chapel in Palazzo Medici. It includes a famous cycle of frescoes by the Renaissance master Benozzo Gozzoli, painted in 1459-1461 (next image). 4.4-A4 Procession of the Magi, by Benozzo Gozzoli, Palazzo Medici Chapel The fresco of the Procession of the Magi extends across the east, south and west walls of the main room above the encircling benches. The religious subject acts as a pretext for depicting the procession of important people in Florence. Amidst a rich landscape probably influenced by Flemish artists (perhaps through tapestries), Gozzoli portrayed the members of the Medici family riding in the foreground of the fresco just behind one of the three kings. Cosimo and his son Pietro ride next to each other (see detail) while Cosimo's grandson Lorenzo rides further back in the procession of illustrious Florentines, including the humanists Marsilio Ficino, the Pulci brothers and members of the Art Guilds. 4.4-A5 Church of San Lorenzo, re-designed by Brunelleschi Brunelleschi was commissioned by the Medici family, one of the leading mer- chants and bankers of Florence, to add a sacristy to the Romanesque church of San Lorenzo. His plans for this sacristy (which was to serve also as a burial chapel for the Medici) so impressed his patron that he was immediately asked to develop a new design for the entire church. The construction, begun in 1421, was often interrupted, so that the interior was not completed until 1469, more than twenty years after the architect's death (the exterior remains unfinished to this day). What distinguishes Brunelleschi’s new version of the church is an emphasis on symmetry and regularity. The entire design consists of square units: four large squares form the choir, the crossing, and the arms of the transept; four more are combined into the nave; other squares, one-fourth the size of the large units, make up the aisles and the chapels attached to the transept. The interior bears out Brunelleschi’s intentions. Cool, static order has replaced the emotional warmth, the flowing spatial movement of Gothic church interiors. S. Lorenzo does not sweep us off our feet. It does not even draw us forward after we have entered it - we are quite content to remain near the door, for our view seems to take in the entire structure almost as if, from that vantage point, we were confronted with a particularly clear and convincing demonstration of scientific perspective. Architectural Proportions. At this point we may well ask: if the new architecture consists essentially of separate elements added together, be they spaces, columns, or vaults, how did Brunelleschi relate these elements to each other? What makes the interior of S. Lorenzo seem so beautifully integrated? There is indeed a controlling principle that accounts for the harmonious, balanced character of his design. The secret of good architecture, Brunelleschi was convinced, lay in giving the "right" proportions - that is, proportional ratios expressed in simple whole numbers - to all the significant measurements of a building. The ancient Romans had possessed this secret, he believed, and he tried to rediscover it by painstakingly surveying the remains of their monuments. In the revival of classical forms, Renaissance architecture found a standard vocabulary; the theory of harmonious proportions provided it with the kind of syntax that had been mostly absent in medieval architecture. 4.4-A6 Old Sacristy, Church of San Lorenzo, by Brunelleschi The Old Sacristy of San Lorenzo in Florence, Italy, was constructed during the years 1419-1428 and is considered one of the most influential buildings of the early Italian Renaissance. Brunelleschi's Old Sacristy, in its original design, was pristine and void of the architectural ornamentation that had come to characterize so many gothic-style buildings that preceded it. One of Brunelleschi's most influential contributions to the evolution of Renaissance architectural style was the expression of geometric patterns formed by the dark gray stone, known as pietra serena, against the light stucco walls. 4.4-A7 Sassatti Chapel, Church of Santa Trinita For the Florentines, chapel frescoes were less about the accomplishments of painters than about the saints whose lives they narrated and the owners who commissioned these spaces. Francesco Sassetti, a manager of the Geneva branch of the Medici bank, commissioned Domenico Ghirlandaio to create one of the more personalized fresco cycles. No one in contemporary Florence could paint more accurate portraits than Ghirlandaio, or depict with such precision the daily world of Florentine elites. Sassetti's chapel in the church of Santa Trinità served to fulfill a vow of thanksgiving. Francesco had lost his young son Theodoro, but was soon blessed with another boy. 4.4-A8 Miracle of St Francis (middle fresco) The middle fresco depicts Francesco's reversal of fortune. Ostensibly it shows an episode from the life of St. Francis of Assisi, Francesco's patron saint: the saint appears from the sky to miraculously resurrect the son of a Roman notary who had been killed when he fell out of a window (seen in the background of the painting). But the event that took place in Rome is staged in Florence, in the Piazza Santa Trinità, before the very church that contained Francesco's chapel. The resurrected boy is Francesco's new son, and the onlookers, members of the Sassati family. 4.4-A9 Confirmation of the Order of St. Francis (upper fresco) The upper fresco depicts the confirmation of the Order of St. Francis (see detail). In the center, St. Francis is kneeling with his brothers in faith before Pope Honorius III, who is handing St. Francis a scroll confirming the Rule of the newly-founded Order of St. Francis. In the foreground, important Florentine personalities are taking part the historical events. On the right we can see Sassetti, who commissioned the paintings, with his young son Federigo. At his side is his employer, Lorenzo the Magnificent, followed by Antonio Pucci, a powerful and loyal friend of the Medici family. On the other side are three more of Sassetti's sons, and in the foreground Lorenzo the Magnificent's two young sons, his nephew and their teachers are climbing up the steps. The extravagant architecture in the background is visible through a large arched hall which opens onto the Piazza della Signoria in Florence. The Loggia dei Lanzi with its three wide rounded arches, and the left side of the Palazzo Vecchio, are clearly recognizable in the distance. Setting the events in Florence serves to celebrate this city as the new Rome, as the new center of the world. St. Francis once demonstrated his submission to the Pope as the head of the Church; a comparable action is now taking place with regard to Lorenzo the Magnificent, the ruler of Florence, on whom the attention of all those standing in the foreground is focused. Visual Evidence B The Spiritual and the Material in Renaissance Venice 4.4-B1 Procession in Piazza San Marco, Venice, 1496 Gentile Bellini painted this view of a procession of holy relics in piazza San Marco in 1496. In the incomparable wide angle view, the spectacle of St Mark's Square and the ceremony taking place unfold.
Load more

Recommended publications
  • The Medici Palace, Cosimo the Elder, and Michelozzo: a Historiographical Survey
    chapter 11 The Medici Palace, Cosimo the Elder, and Michelozzo: A Historiographical Survey Emanuela Ferretti* The Medici Palace has long been recognized as an architectural icon of the Florentine Quattrocento. This imposing building, commissioned by Cosimo di Giovanni de’ Medici (1389–1464), is a palimpsest that reveals complex layers rooted in the city’s architectural, urban, economic, and social history. A symbol – just like its patron – of a formidable era of Italian art, the palace on the Via Larga represents a key moment in the development of the palace type and and influenced every other Italian centre. Indeed, it is this building that scholars have identified as the prototype for the urban residence of the nobility.1 The aim of this chapter, based on a great wealth of secondary literature, including articles, essays, and monographs, is to touch upon several themes and problems of relevance to the Medici Palace, some of which remain unresolved or are still debated in the current scholarship. After delineating the basic construction chronology, this chapter will turn to questions such as the patron’s role in the building of his family palace, the architecture itself with regards to its spatial, morphological, and linguistic characteristics, and finally the issue of author- ship. We can try to draw the state of the literature: this preliminary historio- graphical survey comes more than twenty years after the monograph edited by Cherubini and Fanelli (1990)2 and follows an extensive period of innovative study of the Florentine early Quattrocento,3 as well as the fundamental works * I would like to thank Nadja Naksamija who checked the English translation, showing many kindnesses.
    [Show full text]
  • Renaissance Art Alpha-Numeric Class Code: ARTH-UA9005 Tuesdays and Thursdays, H 5:00–6:15 Pm, Daylight Savings Time Blended Villa Ulivi, “Arezzo” Room
    Spring 2021 - Renaissance Art Alpha-Numeric Class Code: ARTH-UA9005 Tuesdays and Thursdays, h 5:00–6:15 pm, Daylight Savings Time Blended Villa Ulivi, “Arezzo” Room Spring 2021 We know that you may be taking courses at multiple locations this semester. If you are enrolled in this course 100% remotely and are not a Go Local/Study Away student for this course site, please make sure that you’ve completed the online academic orientation via NYU Classes so you are aware of site specific support, policies and procedures. Please contact [email protected] if you have trouble accessing the NYU Classes site. If you are attending in person, you will be instructed to choose your seat on the first day and are expected to use that seat for the entire semester due to NYU COVID-19 safety protocol. Class Description: NYU Students who have already taken ARTH-UA 2 will not receive major credit for ARTH-UA 5 [Renaissance Art survey] or ARTH-UA 6 [Modern Art survey]. This course is an introduction to Renaissance Art by exploring in-depth the historical, political, and cultural evolution of Italy and Europe between the 15th and early 16th centuries. The course analyzes the historical and social background of the beginning of the Renaissance during the early 15th century and the impact of Medici's patronage on Filippo Lippi, Verrocchio, Botticelli, Perugino, and Ghirlandaio. It then investigates the "Golden Age" of the High Renaissance, specifically focusing on Leonardo da Vinci, Raphael Sanzio, and Michelangelo Buonarroti. By the end of this course, students gain a thorough knowledge of the Italian and European Renaissance Age, developing practical perception and a confident grasp of the material, understanding the relationship betweenSample historical and artistic events, and valuingSyllabus the importance of patronage.
    [Show full text]
  • The Importance of Cosimo De Medici in Library History
    THE IMPORTANCE OF COSIMO DE MEDICI IN LIBRARY HISTORY by William F Meehan III osimo de Medici, the aristocratic banker in Gern1any are 'epoch-making" (Holmes, 1969 p. and statesman who enlivened philan­ 119). thropy in Renaissance Florence might When it came to his personal book collection, have made his greatest contribution to [Q Cosin10 preferred quality over quantity, and he added the arts through his patronage of human­ to his library wisely. After growing up in a home with ist libraries. Cosima hin1self accumulated a superb only three books, Cosima by the age of 30 had as­ personal collection, but his three major library initia­ sembled a library of about 70 exquisite volumes. The tives were charitable activities and included Italy's first collection reflected his literary taste and consisted of public library, which made its way to the magnificent classical texts as well as a mix of secular and sacred library founded generations later by one of his descen­ works typical of collections at the time. Sening his dants. library, as well as other Florentine humanist libraries, Cosima's patronage of libraries flourished when a apart from others in Italy in the first half of the four­ small group of Florentine intellectuals leading a revival teenth century was the accession of Greek texts, which of the classical world and litterae humaniores sought were exceedingly scarce at th time but central to the his support. They fostered a milieu that engendered an unifying theme of Cosima's excell nt collection as well appreciation for books and learning in the benefactor as a principal scholarly interest of the humanists.
    [Show full text]
  • Proquest Dissertations
    PANORAMA, POWER, AND HISTORY: VASARI AND STRADANO'S CITY VIEWS IN THE PALAZZO VECCHIO Pt.I by Ryan E. Gregg A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland May 2008 © 2008 Ryan E. Gregg AH Rights Reserved UMI Number: 3339721 Copyright 2008 by Gregg, Ryan E. All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3339721 Copyright 2009 by ProQuest LLC. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 E. Eisenhower Parkway PO Box 1346 Ann Arbor, Ml 48106-1346 Abstract Painted topographical views of cities and their environs appear throughout the mid-sixteenth-century fresco decorations of the Palazzo Vecchio. This project focuses primarily on the most extensive series, those in the Quartiere di Leone X. Giorgio Vasari and his assistant Giovanni Stradano painted the five rooms of this apartment between 1556 and 1561. The city views take one of three forms in each painting: as a setting for a historical scene, as the background of an allegory, or as the subject of the view itself.
    [Show full text]
  • "Nuper Rosarum Flores" and the Cathedral of Florence Author(S): Marvin Trachtenberg Source: Renaissance Quarterly, Vol
    Architecture and Music Reunited: A New Reading of Dufay's "Nuper Rosarum Flores" and the Cathedral of Florence Author(s): Marvin Trachtenberg Source: Renaissance Quarterly, Vol. 54, No. 3 (Autumn, 2001), pp. 740-775 Published by: The University of Chicago Press on behalf of the Renaissance Society of America Stable URL: http://www.jstor.org/stable/1261923 . Accessed: 03/11/2014 00:42 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]. The University of Chicago Press and Renaissance Society of America are collaborating with JSTOR to digitize, preserve and extend access to Renaissance Quarterly. http://www.jstor.org This content downloaded from 192.147.172.89 on Mon, 3 Nov 2014 00:42:52 AM All use subject to JSTOR Terms and Conditions Architectureand Alusic Reunited: .V A lVewReadi 0 u S uperRosarum Floresand theCathedral ofFlorence. byMARVIN TRACHTENBERG Theproportions of the voices are harmoniesforthe ears; those of the measure- mentsare harmoniesforthe eyes. Such harmoniesusuallyplease very much, withoutanyone knowing why, excepting the student of the causality of things. -Palladio O 567) Thechiasmatic themes ofarchitecture asfrozen mu-sic and mu-sicas singingthe architecture ofthe worldrun as leitmotifithrough the histories ofphilosophy, music, and architecture.Rarely, however,can historical intersections ofthese practices be identified.
    [Show full text]
  • The Italian Lakes, the Piedmont, Tuscany, Umbria & Rome
    Gardens of Italy: The Italian Lakes, the Piedmont, Tuscany, Umbria & Rome 29 APR – 21 MAY 2019 Code: 21912 Tour Leaders Deryn Thorpe, David Henderson Physical Ratings Enjoy the famous gardens of northern and central Italy, including private masterpieces by Paolo Pejrone, Russell Page, Paolo Portoghesi and Pearson & Barfoot. Overview Tour Highlights Join Deryn Thorpe, award-winning print and radio garden journalist, to tour the gardens of five distinct regions of Italy. Deryn will be accompanied by award-winning artist David Henderson, who brings a profound knowledge of European art to ASA tours. Enjoy the magic of northern lakeside and island gardens including Villa Carlotta, Villa Balbianello, Isola Bella and Isola Madre. Meet Paolo Pejrone, student of Russell Page and currently Italy's leading garden designer. With him, view his own garden, 'Bramafam' and, by special appointment, the private Gardens of Casa Agnelli at Villar Perosa – one of Italy's most splendid examples of garden design. View Paolo Pejrone's work during private visits to the estate of the Peyrani family and the beautiful Tenuta Banna. See the work of Russell Page with an exclusive visit to the private gardens of Villa Silvio Pellico. Visit intimate urban gardens in Florence and Fiesole including Le Balze, designed by Cecil Pinsent; Villa di Maiano (featured in James Ivory's film A Room with a View); and the Giardini Corsini al Prato. Ramble through the historical centres of lovely old cities like Turin, Lucca, Siena, Florence and Perugia, and encounter masterpieces of Italian art in major churches and museums. Gaze out onto the Mediterranean from the spectacularly situated Abbey of La Cervara.
    [Show full text]
  • 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.
    [Show full text]
  • Libraries: Architecture and the Ordering of Knowledge
    Libraries: Architecture and the Ordering of Knowledge English text of March 29, 2009, by J. Connors for “Biblioteche: l’architettura e l’ordinamento del sapere,” with Angela Dressen, in Il Rinascimento Italiano e l’Europa, vol. 6, Luoghi, spazi, architetture, ed. Donatella Calabi and Elena Svalduz, Treviso-Costabissara, 2010, pp. 199-228. All the texts describing ancient libraries had been rediscovered by the mid-Quattrocento. Humanists knew Greek and Roman libraries from the accounts in Strabo, Varro, Seneca, and especially Suetonius, himself a former prefect of the imperial libraries. From Pliny everyone knew that Asinius Pollio founded the first public library in Rome, fulfilling the unrealized wish of Juliuys Caesar ("Ingenia hominum rem publicam fecit," "He made men's talents public property"). From Suetonius it was known that Augustus founded two libraries, one in the Porticus Octaviae, and another, for Greek and Latin books, in the temple of Apollo on the Palatine, where the sculptural decoration included not only a colossal statue of Apollo but also portraits of celebrated writers. The texts spoke frequently of author portraits, and also of the wealth and splendor of ancient libraries. The presses for the papyrus rolls were made of ebony and cedar; the architectural order and the revetments of the rooms were of marble; the sculpture was of gilt bronze. Boethius added that libraries were adorned with ivory and glass, while Isidore mentioned gilt ceilings and restful green cipollino floors. Senecan disapproval of ostentatious libraries, of "studiosa luxuria," of piling up more books than one could ever read, gave way to admiration for magnificent libraries.
    [Show full text]
  • Domenico Ghirlandaio 1 Domenico Ghirlandaio
    Domenico Ghirlandaio 1 Domenico Ghirlandaio Domenico Ghirlandaio Supposed self-portrait, from Adoration of the Magi, 1488 Birth name Domenico di Tommaso Curradi di Doffo Bigordi Born 11 January 1449Florence, Italy Died 11 January 1494 (aged 45)Florence, Italy (buried in the church of Santa Maria Novella) Nationality Italian Field Painter Movement Italian Renaissance Works Paintings in: Church of Ognissanti, Palazzo Vecchio, Santa Trinita, Tornabuoni Chapel in Florence and Sistine Chapel, Rome Domenico Ghirlandaio (1449 – 11 January 1494) was an Italian Renaissance painter from Florence. Among his many apprentices was Michelangelo. Biography Early years Ghirlandaio's full name is given as Domenico di Tommaso di Currado di Doffo Bigordi. The occupation of his father Tommaso Bigordi and his uncle Antonio in 1451 was given as "'setaiuolo a minuto,' that is, dealers of silks and related objects in small quantities." He was the eldest of six children born to Tommaso Bigordi by his first wife Mona Antonia; of these, only Domenico and his brothers and collaborators Davide and Benedetto survived childhood. Tommaso had two more children by his second wife, also named Antonia, whom he married in 1464. Domenico's half-sister Alessandra (b. 1475) married the painter Bastiano Mainardi in 1494.[1] Domenico was at first apprenticed to a jeweller or a goldsmith, most likely his own father. The nickname "Il Ghirlandaio" (garland-maker) came to Domenico from his father, a goldsmith who was famed for creating the metallic garland-like necklaces worn by Florentine women. In his father's shop, Domenico is said to have made portraits of the passers-by, and he was eventually apprenticed to Alessio Baldovinetti to study painting and mosaic.
    [Show full text]
  • Art As Power: the Medici Family As Magi in The
    ART AS POWER The Medici Family as Magi in the Fifteenth Century The Medici family of the Italian Renaissance were portrayed in works by Benozzo Gozzoli and Sandro Botticelli as Magi, the venerated figures from the new testament who were the first gentiles to recognize Jesus’ divinity. In doing so, the family transformed their desire for power into the physical realm and blurred the boundary between politics and religion. By Janna Adelstein Vanderbilt University n the middle of fifteenth-century Florence, the Medici it the Virgin Mary after the birth of her son, Jesus Christ. were at the height of their power and influence. Lead Often, the Medici would commission the artist to present by the great Cosimo, this family of bankers resided in various family members as the Magi themselves, melding Ithe heart of the city. Their unparalleled financial and soci- religious history and their contemporary world. This bib- etal status was measured in part by a consistent devotion to lical trio was held in high esteem by the family due to the the arts. This patronage is appraised through the Medicis’ family’s involvement in the confraternity the Compagnia close relationships with their favorite artists, such as Ben- de’ Magi, which was dedicated to the group. I will argue in ozzo Gozzoli and Sandro Botticelli, who often lived in the this paper that through an analysis of paintings in which Palazzo de Medici and enjoyed personal relationships with the family is depicted as these biblical figures and the Medi- members of the family. As was customary for art of the time, cis’ involvement in the Compagnia de’ Magi, we can begin many of the works commissioned by the family featured the to uncover why Cosimo desired to align himself with the biblical trio of the Magi, who were the first people to vis- Magi, and the political consequences of such a parallel.
    [Show full text]
  • Gardens of Italy: the Italian Lakes, the Piedmont, Tuscany, Umbria & Rome
    Gardens of Italy: The Italian Lakes, the Piedmont, Tuscany, Umbria & Rome 30 APR – 22 MAY 2018 Code: 21807 Tour Leaders Sabrina Hahn, David Henderson Physical Ratings Enjoy Italy’s famous gardens, including private masterpieces by Paolo Pejrone, Russell Page, Paolo Portoghesi and Pearson & Barfoot. Overview Tour Highlights Join Sabrina Hahn, horticulturalist, garden designer and expert gardening commentator on ABC 720 Perth to tour the gardens of five distinct regions of Italy. Sabrina will be accompanied by award- winning artist, David Henderson, who brings a profound knowledge of European art to ASA tours. Enjoy the magic of northern lakeside and island gardens including Villa Carlotta, Villa del Balbianello, Isola Bella and Isola Madre. Meet Paolo Pejrone, student of Russell Page and currently Italy's leading garden designer. With him, view his own garden 'Bramafam' and, by special appointment, the private Agnelli Gardens at Villar Perosa – one of Italy's most splendid examples of garden design. View Paolo Pejrone's work during private visits to the estate of the Peyrani family and the beautiful Tenuta Banna. See the work of Russell Page with an exclusive visit to the private gardens of Villa Silvio Pellico. Visit intimate urban gardens in Florence and Fiesole including Villa di Maiano (featured in James Ivory's film ), the Giardini Corsini al Prato, and Cecil Pinsent's 'secret' parterre garden of Villa Capponi. Ramble through the historical centres of lovely old cities like Turin, Lucca, Siena, Florence and Perugia. Gaze out onto the Mediterranean from the spectacularly situated Abbey of La Cervara. Encounter masterpieces of Italian art in major churches and museums.
    [Show full text]
  • Celebrating the City: the Image of Florence As Shaped Through the Arts
    “Nothing more beautiful or wonderful than Florence can be found anywhere in the world.” - Leonardo Bruni, “Panegyric to the City of Florence” (1403) “I was in a sort of ecstasy from the idea of being in Florence.” - Stendahl, Naples and Florence: A Journey from Milan to Reggio (1817) “Historic Florence is an incubus on its present population.” - Mary McCarthy, The Stones of Florence (1956) “It’s hard for other people to realize just how easily we Florentines live with the past in our hearts and minds because it surrounds us in a very real way. To most people, the Renaissance is a few paintings on a gallery wall; to us it is more than an environment - it’s an entire culture, a way of life.” - Franco Zeffirelli Celebrating the City: the image of Florence as shaped through the arts ACM Florence Fall, 2010 Celebrating the City, page 2 Celebrating the City: the image of Florence as shaped through the arts ACM Florence Fall, 2010 The citizens of renaissance Florence proclaimed the power, wealth and piety of their city through the arts, and left a rich cultural heritage that still surrounds Florence with a unique and compelling mystique. This course will examine the circumstances that fostered such a flowering of the arts, the works that were particularly created to promote the status and beauty of the city, and the reaction of past and present Florentines to their extraordinary home. In keeping with the ACM Florence program‟s goal of helping students to “read a city”, we will frequently use site visits as our classroom.
    [Show full text]