DOCSLIB.ORG

Volume 23 E-Mail: [email protected] / Web: Telephone: +39-055-603-251 / Fax: +39-055-603-383 Autumn 2003

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Volume 23 E-Mail: Info@Itatti.It / Web: Telephone: +39-055-603-251 / Fax: +39-055-603-383 Autumn 2003 The Harvard University Center for Italian Renaissance Studies Villa I Tatti Via di Vincigliata 26, 50135 Florence, Italy Volume 23 E-mail: [email protected] / Web: http://www.itatti.it—,m— Telephone: +39-055-603-251 / Fax: +39-055-603-383 Autumn 2003 ur first year has passed in the blink windows and balconies everywhere. The Oof an eye. On 2 September 2002, Letter from Florence invasion came on March 20th, and not a Françoise and I rounded the last mad P few of the Fellows had to reconcile their curve of the Via di Vincigliata to our disapproval of American military hege- new home, and to life amidst a commu- mony with a respect, I think real and nity of Fellows who were even newer to growing, for American educational insti- I Tatti than we were. Six mother tutions, especially the one they were in. tongues (Bulgarian and Czech in addi- Good will on the part of everyone got us tion to the mainstream four) quickly through a difficult time. boiled down to two dominant In the end the Fellows were here to Sprachgebiete at the lunch table, and with work, and work they did, culminating in goodwill on everyone’s part and the help most of them giving shop talks in the Big of bilingual bridge personalities a com- Library. We experimented with the out- munity gradually took shape. Short trips side lecture format, compressing the time helped give us a sense of camaraderie, for refreshments but expanding that first to the Scuola Normale in Pisa with allotted to questions. The Fellows took Gian Mario Cao, himself an ex- to the new arrangements with gusto; normalista, who guided us into the stacks The staff traveled too, most often the material that came out in dis- to see the great Momigliano bequest of memorably to Rome in February, where cussion was as interesting as that pre- 30,000 books. Jonathan Nelson (VIT’02) we combined a visit to Council member sented in the lecture itself. When, in the took us around the exhibition Venere e Gabriele Geier with meetings with col- spring, I announced the opportunity of Amore in the Accademia, while Tom leagues in the fototeche of the British forming I Tatti sessions at next year’s Henry and Bette Talvacchia illuminated School and the Bibliotheca Hertziana. In meeting of the Renaissance Society the Raphaels in the Uffizi and the Pitti between, we managed some sightseeing, of America, the response was over- during the luxury of a Monday closing. including the scavi under St. Peter’s and whelming, with many current and some Peggy Haines took us to see the sacristy the amazing installation of classical sculp- past Fellows getting together to discuss of the Duomo and then the archive, ture from the Capitoline Museum on the common quests that united them where archivist Lorenzo Fabbri (VIT’98) display amidst the electrical generators in across the boundaries of field. pulled out some of the more splendid the Centrale Montemartini. We also In January and March I went back choir books and Marica Tacconi gave an found time for a good anti-Caravaggio to America with Françoise and with illuminating commentary on what has visit to S. Luigi dei Francesi, a wonderful Alexa Mason for lightning visits to been, so far, her life’s work. In May the church now being wagged by one Washington, Baltimore, New York, and whole community went on a two-day (admittedly breathtaking) chapel. especially Cambridge. We met new trip to southern Tuscany. Landscape his- There were difficult as well as happy friends and old and got to know many torian Hervé Brunon explained for us times. On Tuesday, December 17th, members of the I Tatti Council better in the development of the crete senesi and there was an unusually lively lunch, with the course of several lunches and a won- Tom Henry commented on the Msgr. Timothy Verdon (VIT’87) and derful visit to the Leonardo drawings Signorelli frescoes at Monte Oliveto Salvatore Camporeale trying to outdo exhibition at the Metropolitan Museum, Maggiore, the abbey where the impres- one another with pungent Florentine guided by the curator, Carmen Bambach sionable young Berenson was converted wit. But late that night came the dreadful (VIT’97). It was especially satisfying to to Catholicism in 1890 (“converted to call with the news of the massive stroke form a personal relationship with another Italy” was how Mary Berenson later put in front of the convent door of S. Maria of Harvard’s off-campus research centers, it). The next day in Siena, Mauro Novella, and the loss of our gentle Dumbarton Oaks; director Ned Keenan Mussolin secured access to the Socrates at age 75, young for him. In and Judy Keenan visited I Tatti in the Osservanti churches of Francesco di Florence, as in much of Europe, it was autumn and we reciprocated in January. Giorgio and Peruzzi as well as the hid- a winter of discontent over America’s In fields and mission the two institutes den recesses of the Hospital of S. Maria policy on Iraq, with pace flags flying from seem close cousins. The time in della Scala. Continued on page 3 Cambridge Office: Villa I Tatti, Harvard University, 124 Mt. Auburn Street, Cambridge, MA 02138-5762 Telephone: +1 617 496-8742 or +1 617 495-8042 / Fax: +1 617 495-8041 Web: http://www.itatti.it VILLA I TATTI COMMUNITY 2002-2003 Fellows ELENA PIERAZZO, Hanna Kiel Fellow, Literature. “A Study of the Autograph ERVÉ RUNON, Florence J. Gould Fellow, H B Manuscript of Anton Francesco Doni.” Centre National de la Recherche Scientifique, Paris, Art History. “The Landscape of the YOLANDA PLUMLEY, Committee to Rescue Medici. Mastery of Territory and its Cultural Italian Art Fellow, University College Cork, Representation in 16th-Century Tuscany.” Musicology. “The Transmission and Reception of French Lyrics and Songs in Italy (c. 1375-c. GIAN MARIO CAO, Melville J. Kahn Fellow, 1425).” Herzog August Bibliothek, Wolfenbüttel, VAYLA OPOVA (2nd sem), Andrew W. History. “Critical Edition of Gianfrancesco Pico’s I P Mellon Research Fellow, Sofia University, History. Examen Vanitatis.” “The Italian Humanistic View of Byzantium and ANTHONY COLANTUONO, Robert Lehman the Balkans in the 15th Century.” Fellow, University of Maryland, Art History. “A CAROL EVERHART QUILLEN, Francesco study of humanist advisors as a mechanism of Malle Fellow Alessandro Daneloni. 2 De Dombrowski Fellow, Rice University, History. f cultural control.” “Writing the Human in Early Modern Italy.” ALESSANDRO DANELONI, Jean-François JUTTA SPERLING, Francesco De Dombrowski Research Associates Malle Fellow, Università di Messina, Literature. Fellow, Hampshire College, History. “Family “L’umanista Bartolomeo Fonzio nella cultura Politics before the Invention of Sexuality. A FABIO BISOGNI, Università di Siena, Art Fiorentina laurenziana e postlaurenziana.” Comparative History of Marriage and the Dowry History. “Iconografia dei santi nell’Italia del Nord AMEDEO DE VINCENTIIS, Andrew W. System in Italy and Portugal in the Middle Ages fino alla fine del Quattrocento.” Mellon Fellow, Università di Tuscia, Viterbo, and the Early Modern Period.” LINA BOLZONI, Scuola Normale Superiore, History. “La rappresentazione attraverso la JAN STEJSKAL, Deborah Loeb Brice Fellow, Pisa, Literature. “Prediche in volgare e uso delle scrittura (documenti) della signoria del duca d’Atene Charles University, Prague, History. “Czech immagini dalle origini al Savonarola.” in Firenze (1343) e, in seguito, la costruzione della Exile Activities in Italy (c.1400-1450).” EVE BORSOOK, Villa I Tatti, Art History. memoria della signoria da parte dei fiorentini.” MARICA TACCONI, Lila Wallace Reader’s “Medieval Mosaic Technology.” TOM HENRY, Ahmanson Fellow, Oxford Digest Fellow, Pennsylvania State University, SALVATORE I. CAMPOREALE, The Johns Brookes University, Art History. “The Artistic Musicology. “The Service-Books of the Hopkins University, History. “Uno studio sul De Patronage of Florentine Captains in Tuscan Florentine Cathedral: Civic Identity and Ritual.” libero arbitro di Lorenzo Valla.” Subject-Towns c.1415-1532.” KAREL THEIN (2nd sem), Andrew W. Mellon GINO CORTI (Emeritus), Villa I Tatti, KATHERINE JANSEN, Hanna Kiel Fellow, Research Fellow, Charles University, Prague, Art Paleography and History. “Lorenzo de’ Medici, Catholic University of America, History. “A History. “Exegesis of Ambrogio Lorenzetti’s collezionista di antichità.” Study of Peacemaking in Late Medieval and Buon Governo frescoes considered together with his Allegory of Redemption.” LAURA CORTI, Università IUAV di Venezia, Early Renaissance Italy.” Art History. “Le Maquette dei Pittori: 3D models STEFANO JOSSA, Hanna Kiel Fellow, Visiting Professors for painters.” Università di Napoli, Literature. “Ludovico ALLEN GRIECO, Villa I Tatti, History. “A Castelvetro: Between Humanism and Heresy.” BETTE TALVACCHIA, University of Connecticut, Robert Lehman Visiting Professor, Art History. Social and Cultural History of Alimentary Habits MAURO MUSSOLIN, Rush H. Kress Fellow, “Monograph on the Art of Raphael.” in Renaissance Italy.” Art History. “San Bernardino all’Osservanza. NICHOLAS A. ECKSTEIN (2nd sem), MARGARET HAINES, Opera di Santa Maria Ritual, Architecture and Art in 15th-Century University of Sydney, Robert Lehman Visiting del Fiore, Art History. “Edition and Database of the Documentation of the Florentine Opera del Siena.” Professor, History. “Completion of Book Duomo during the Cupola Period.” Manuscript on Brancacci Chapel.” JULIAN KLIEMANN, Bibliotheca Hertziana, Art History. “Temi imperiali nell’iconografia papale del Cinquecento.” ARNALDO MORELLI, Conservatorio Statale di Musica ‘Ottorino Respighi,’ Latina, and Università della Calabria, Arcavacata, Cosenza, Musicology. “Tradizione scritta e non scritta nella musica per strumenti da tasto nell’età mo- derna,” e “Ritratti di musicisti nel Cinquecento in Italia: modelli, significati, autenticità.” MICHAEL ROCKE, Villa I Tatti, History. “Edition and Translation of Italian Texts related to Homoeroticism (14th-17th centuries).” MASSIMILIANO ROSSI, Università di Lecce, Art History. “Le genealogie ‘fantastiche’ dei Medici: politica letteraria e figurativa granducale tra Cinque e Seicento.” SILVANA SEIDEL-MENCHI, Università di Trento, History.
Load more

Recommended publications
  • Guillaume Du Fay Discography
    Guillaume Du Fay Discography Compiled by Jerome F. Weber This discography of Guillaume Du Fay (Dufay) builds on the work published in Fanfare in January and March 1980. There are more than three times as many entries in the updated version. It has been published in recognition of the publication of Guillaume Du Fay, his Life and Works by Alejandro Enrique Planchart (Cambridge, 2018) and the forthcoming two-volume Du Fay’s Legacy in Chant across Five Centuries: Recollecting the Virgin Mary in Music in Northwest Europe by Barbara Haggh-Huglo, as well as the new Opera Omnia edited by Planchart (Santa Barbara, Marisol Press, 2008–14). Works are identified following Planchart’s Opera Omnia for the most part. Listings are alphabetical by title in parts III and IV; complete Masses are chronological and Mass movements are schematic. They are grouped as follows: I. Masses II. Mass Movements and Propers III. Other Sacred Works IV. Songs (Italian, French) Secular works are identified as rondeau (r), ballade (b) and virelai (v). Dubious or unauthentic works are italicised. The recordings of each work are arranged chronologically, citing conductor, ensemble, date of recording if known, and timing if available; then the format of the recording (78, 45, LP, LP quad, MC, CD, SACD), the label, and the issue number(s). Each recorded performance is indicated, if known, as: with instruments, no instruments (n/i), or instrumental only. Album titles of mixed collections are added. ‘Se la face ay pale’ is divided into three groups, and the two transcriptions of the song in the Buxheimer Orgelbuch are arbitrarily designated ‘a’ and ‘b’.
    [Show full text]
  • PMMS Guillaume Du Fay Discography
    Guillaume Du Fay Discography Compiled by Jerome F. Weber This discography of Guillaume Du Fay (Dufay) builds on the work published in Fanfare in January and March 1980. There are more than three times as many entries in the updated version. It has been published in recognition of the publication of Guillaume Du Fay, his Life and Works by Alejandro Enrique Planchart (Cambridge, 2018) and the forthcoming two-volume Du Fay’s Legacy in Chant across Five Centuries: Recollecting the Virgin Mary in Music in Northwest Europe by Barbara Haggh-Huglo, as well as the new Opera Omnia edited by Planchart (Santa Barbara, Marisol Press, 2008–14), now available at https://www.diamm.ac.uk/resources/music-editions/du-fay-opera-omnia/ Works are identified following Planchart’s Opera Omnia for the most part. Listings are alphabetical by title in parts III and IV; complete Masses are chronological and Mass movements are schematic. They are grouped as follows: I. Masses, page 2 II. Mass Movements and Propers, page 6 III. Other Sacred Works, page 11 IV. Songs (Italian, French), page 32 Secular works are identified as rondeau (r), ballade (b) and virelai (v). Dubious or unauthentic works are italicised. The recordings of each work are arranged chronologically, citing conductor, ensemble, date of recording if known, and timing if available; then the format of the recording (78, 45, LP, LP quad, MC, CD, SACD), the label and the issue number(s). Each recorded performance is indicated, if known, as: with instruments (w/i), no instruments (n/i), or instrumental only. Album titles of mixed collections are added.
    [Show full text]
  • Music in the Mid-Fifteenth Century 1440–1480
    21M.220 Fall 2010 Class 13 BRIDGE 2: THE RENAISSANCE PART 1: THE MID-FIFTEENTH CENTURY 1. THE ARMED MAN! 2. Papers and revisions 3. The (possible?) English Influence a. Martin le Franc ca. 1440 and the contenance angloise b. What does it mean? c. 6–3 sonorities, or how to make fauxbourdon d. Dunstaple (Dunstable) (ca. 1390–1453) as new creator 4. Guillaume Du Fay (Dufay) (ca. 1397–1474) and his music a. Roughly 100 years after Guillaume de Machaut b. Isorhythmic motets i. Often called anachronistic, but only from the French standpoint ii. Nuper rosarum flores iii. Dedication of the Cathedral of Santa Maria de’ Fiore in Florence iv. Structure of the motet is the structure of the cathedral in Florence v. IS IT? Let’s find out! (Tape measures) c. Polyphonic Mass Cycle i. First flowering—Mass of Machaut is almost a fluke! ii. Cycle: Five movements from the ordinary, unified somehow iii. Unification via preexisting materials: several types: 1. Contrafactum: new text, old music 2. Parody: take a secular song and reuse bits here and there (Zachara) 3. Cantus Firmus: use a monophonic song (or chant) and make it the tenor (now the second voice from the bottom) in very slow note values 4. Paraphrase: use a song or chant at full speed but change it as need be. iv. Du Fay’s cantus firmus Masses 1. From late in his life 2. Missa L’homme armé a. based on a monophonic song of unknown origin and unknown meaning b. Possibly related to the Order of the Golden Fleece, a chivalric order founded in 1430.
    [Show full text]
  • Cultivating Hope
    Nr. 14, April-June 2020 Cultivating hope From “The power of hope”, April, 2020 t might seem paradoxical, but this period also represents an opportunity to encounter each other again. Confined in isolation, we perhaps better understand what it means to be a community, and to be radically so. Our life does not depend solely on us and on our choices: we are all in each other’s hands, we all experience how vital interde- pendence is, a web of recognition and gift, respect and solidarity, auton- omy and relationship. Everyone has hope in each other and positively motivates one another to do their part. Everyone matters ... We are familiar with the semantics of distance and proximity and, in all truth, we need both. They are both important elements in the architecture of what we are: without one or without the other, we would not exist. Without primordial proximity we would not have been gen- erated. But even without progressive separation and distinction, our existence would also not take place. Allegory of Hope Stampe.V.102(54) It is true that in the personal and social sphere, many distances are only distorted forms of raising barriers, of inoculating the ideological vi- rus of inequality in the body of the community, of offsetting the balance of our common existence with asymmetries of every order (economic, political, cultural...). And we must also recognize that many forms of proximity are nothing more than arrogance to others, a morbid exercise of power, as if others were our property. Therefore, distance and proximi- ty must be purified.
    [Show full text]
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
    [Show full text]
  • Heinrich Isaac's
    'i~;,~\,;:( ::' Heinrich Isaac's, :,t:1:450-1517) Choralis Constantinus::! C¢q is an anthology of 372; polyphonic Neglected Treasure - motets, setting the textsolthe Prop­ er of the Mass, accompanied by five Heinrich Isaac's polyphonic settings dflheOrdinary. A larger and more complete suc­ Choralis Constantinus cessor to the Magnus,iij:Jer organi of Leonin, the CC was fir~t 'pulJlished in three separate volum~s)' by the Nuremberg publisher j'lieronymous by James D. Feiszli Formschneider, beginning in 1550 and finishing in 1555'>:B.egarded by musicologists as a : ,',fsumma of Isaac's reputation prior to his move to assist him in finishing some in­ Netherlandish polyphony about to Florence.3 complete work. Isaac was back in 1500, a comprehepsive com­ In Florence, Isaac was listed on Florence by 1515 and remained the rosters of a number of musical there until his death in 1517. pendium of virtually :fi:llli devices, manners, and styles prevalent at the organizations supported by the Isaac was a prolific and versatile time"! the CC today'i~,v:irtually ig­ Medici, in addition to serving as composer. He wrote compositions in nored by publishers:'Cing, hence, household tutor to the Medici fami­ all emerging national styles, produc­ choral ensembles. Few!or.:the com­ ly. He evidently soon felt comfort­ ing French chansons, Italian frottoie, positions from this i,'cblI'ection of able enough in Italy to establish a and German Lieder. That he, a Renaissance polyphonyiihave ever permanent residence in Florence secular musician who held no been published in chqrat!octavo for­ and marry a native Florentine.
    [Show full text]
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
    [Show full text]
  • Multiple Choice
    Unit 4: Renaissance Practice Test 1. The Renaissance may be described as an age of A. the “rebirth” of human creativity B. curiosity and individualism C. exploration and adventure D. all of the above 2. The dominant intellectual movement of the Renaissance was called A. paganism B. feudalism C. classicism D. humanism 3. The intellectual movement called humanism A. treated the Madonna as a childlike unearthly creature B. focused on human life and its accomplishments C. condemned any remnant of pagan antiquity D. focused on the afterlife in heaven and hell 4. The Renaissance in music occurred between A. 1000 and 1150 B. 1150 and 1450 C. 1450 and 1600 D. 1600 and 1750 5. Which of the following statements is not true of the Renaissance? A. Musical activity gradually shifted from the church to the court. B. The Catholic church was even more powerful in the Renaissance than during the Middle Ages. C. Every educated person was expected to be trained in music. D. Education was considered a status symbol by aristocrats and the upper middle class. 6. Many prominent Renaissance composers, who held important posts all over Europe, came from an area known at that time as A. England B. Spain C. Flanders D. Scandinavia 7. Which of the following statements is not true of Renaissance music? A. The Renaissance period is sometimes called “the golden age” of a cappella choral music because the music did not need instrumental accompaniment. B. The texture of Renaissance music is chiefly polyphonic. C. Instrumental music became more important than vocal music during the Renaissance.
    [Show full text]
  • Barga Summer Guide What, When & Where
    IN ENGLISH VERSIONE ITALIANA SUll’altro lato inBARGA EVENTS • PLACES • FOOD & DRINK • accommodation • SHOPS & serviCES BARGA SUMMER GUIDE WHAT, WHEN & WHERE 2020 EDITION Il Giornale di BARGA VisitBarga.com arga is a pearl set in the Serchio Valley: Ba place of unique beauty that touches us profoundly. Its history is linked to that of the Poet Giovanni Pascoli who lived here and wrote some of his most famous poetry. But it also goes back many centuries and is reflected in the charm of our medieval town. This year “InBarga” has been adapted to the Coronavirus period that has overturned many moments and routines of our daily life and has forced us to re-plan all the events. We want to give you, for this reason, the opportu- nity to discover in these pages, a way to spend an unforgettable and alternative holiday in Barga despite these difficult moments. We invite you to wander around the streets and lanes completely absorbed in history, charm, sounds, scents, colours and welcom- ing warmth of the people. You will discover for sure why Barga and the surrounding places have always been a favourite destination for artists in search of inspiration and of a special Eden. You will fall in love with it too. inBARGA SUPPLEMENT TO IL GIORNALE DI BARGA NUMBER 835 DEL MAGGIO 2020 VIA DI BORGO, 2 – 55051 BARGA LU EXECUTIVE EDITOR: LUCA GALEOTTI TEXTS: SARA MOSCARDINI ENGLISH TRANSLATIONS: SONIA ERCOLINI GRAPHIC AND LAYOUT: CONMECOM DI MARCO TORTELLI PUBLISHING: SAN MARCO LITOTIPO SRL, LUCCA WITH THE CONTRIBUTION OF Società Benemerita Giovanni Pascoli
    [Show full text]
  • Images Re-Vues, 13 | 2016 the Deceptive Surface: Perception and Sculpture’S “Skin” 2
    Images Re-vues Histoire, anthropologie et théorie de l'art 13 | 2016 Supports The Deceptive Surface: Perception and Sculpture’s “Skin” Illusion de surface : percevoir la « peau » d’une sculpture Christina Ferando Electronic version URL: http://journals.openedition.org/imagesrevues/3931 DOI: 10.4000/imagesrevues.3931 ISSN: 1778-3801 Publisher: Centre d’Histoire et Théorie des Arts, Groupe d’Anthropologie Historique de l’Occident Médiéval, Laboratoire d’Anthropologie Sociale, UMR 8210 Anthropologie et Histoire des Mondes Antiques Electronic reference Christina Ferando, “The Deceptive Surface: Perception and Sculpture’s “Skin””, Images Re-vues [Online], 13 | 2016, Online since 15 January 2017, connection on 30 January 2021. URL: http:// journals.openedition.org/imagesrevues/3931 ; DOI: https://doi.org/10.4000/imagesrevues.3931 This text was automatically generated on 30 January 2021. Images Re-vues est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale 4.0 International. The Deceptive Surface: Perception and Sculpture’s “Skin” 1 The Deceptive Surface: Perception and Sculpture’s “Skin” Illusion de surface : percevoir la « peau » d’une sculpture Christina Ferando This paper was presented at the Institute of Fine Arts, New York University, as part of the symposium “Surfaces: Fifteenth – Nineteenth Centuries” on March 27, 2015. Many thanks to Noémie Étienne, organizer of the symposium, for inviting me to participate and reflect on the sculptural surface and to Laurent Vannini for the translation of this article into French. Images Re-vues, 13 | 2016 The Deceptive Surface: Perception and Sculpture’s “Skin” 2 1 Sculpture—an art of mass, volume, weight, and density.
    [Show full text]
  • Curriculum Vitae
    CURRICULUM VITAE Gian Carlo Di Renzo, MD, PhD Professional Address Gian Carlo Di Renzo Professor and Chairman Dept. of Ob/Gyn Director, Centre for Perinatal and Reproductive Medicine Santa Maria della Misericordia University Hospital 06132 San Sisto - Perugia - Italy tel. +39 075 5783829 tel. +39 075 5783231 fax +39 075 5783829 [email protected] Date of birth: 13 June 1951 Place of birth: Verona, Italy Citizenship: Italian 1 Director of Education and Communication & Past General Secretary of FIGO University of Perugia, Perugia, Italy. Prof. Gian Carlo Di Renzo is currently Professor and Chair at the University of Perugia (2004 - ), and Director of the Reproductive and Perinatal Medicine Center (1996 - ) , former Director of the Midwifery School (2004-2016), University of Perugia, in addition to being the Director of the Permanent International and European School of Perinatal and Reproductive Medicine (PREIS) in Florence (2012 - ) . After graduation cum laude at Medical School of the University of Padova (1975) , he was a research fellow at the Universities of Verona, Messina and Modena. After training at CHUV in Lausanne (Switzerland), at UCH in London (UK), at the University of Texas in Dallas (USA), and at the Catholic University in Nijmegen (NL) (1977-1982), he became a senior researcher at the University of Perugia. Since 2004 he is Professor and Chairman of the Department of Obstetrics and Gynecology at the University or Perugia., Chairman of the Midwifery School in the year 2004 to 2016, of the Ob Gyn Resident’s program since 2008 and of the PhD Program in Translational Medicine since 2012. He was general Secretary of the Italian Society of Perinatal Medicine, President of the Italian Society of Ultrasound in Obstetrics and Gynecology, Secretary-Treasurer of the European Association of Perinatal Medicine, President from 2000 to 2002, 2002-2008 Executive Director and Chairman of the Educational Committee, Vice President of the World Association of Perinatal Medicine ( 2007-2013) .
    [Show full text]
  • Babies' First Forenames: Births Registered in Scotland in 2009
    Babies' first forenames: births registered in Scotland in 2009 Information about the basis of the list can be found via the 'Babies' First Names' page on the National Records of Scotland website. Boys Girls Position Name Number of babies Position Name Number of babies 1 Jack 706 1 Sophie 739 2 Lewis 656 2 Ava 486 3 James 472 3 Olivia 473 4 Logan 448 4 Emily 453 5 Liam 446 5= Chloe 433 6 Daniel 440 5= Lucy 433 7 Aaron 413 7 Katie 381 8 Ryan 393 8 Emma 376 9 Cameron 382 9 Erin 365 10 Callum 370 10 Amy 356 11 Alexander 349 11 Isla 354 12 Jamie 340 12 Ellie 337 13 Finlay 336 13 Jessica 313 14 Aiden 328 14 Hannah 301 15= Kyle 325 15 Lily 286 15= Lucas 325 16 Grace 280 17 Dylan 317 17 Eva 271 18 Matthew 300 18 Brooke 258 19 Adam 294 19 Holly 252 20 Nathan 292 20 Leah 240 21 Thomas 288 21 Mia 236 22 Ethan 275 22 Megan 231 23 Charlie 265 23 Millie 226 24 Oliver 253 24 Freya 212 25 Connor 244 25 Niamh 211 26 Max 240 26= Anna 210 27 Ben 237 26= Ruby 210 28 Joshua 230 28 Aimee 198 29 Jayden 229 29 Charlotte 195 30 Harry 226 30 Eilidh 193 31 William 223 31 Sarah 189 32 Michael 220 32 Abbie 180 33 Owen 219 33 Rebecca 179 34 Andrew 217 34 Lauren 170 35 Alfie 194 35 Zoe 164 36 Jay 193 36 Skye 163 37 David 192 37 Kayla 149 38 Joseph 187 38= Abigail 145 39 Samuel 186 38= Evie 145 40 Rhys 182 40 Molly 144 41 Ross 181 41 Summer 142 42 Tyler 174 42 Ella 140 43 John 173 43 Amelia 136 44 Rory 170 44 Amber 131 45 Kai 169 45 Rachel 126 46= Luke 167 46 Daisy 123 46= Scott 167 47 Eve 121 48 Sam 163 48 Caitlin 117 49 Archie 152 49 Cara 111 50 Euan 150 50 Zara 110
    [Show full text]