Max Hutzel Photographs of Art and Architecture in Italy
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Tuscany & Umbria
ITALY Tuscany & Umbria A Guided Walking Adventure Table of Contents Daily Itinerary ........................................................................... 4 Tour Itinerary Overview .......................................................... 10 Tour Facts at a Glance ........................................................... 12 Traveling To and From Your Tour .......................................... 14 Information & Policies ............................................................ 17 Italy at a Glance ..................................................................... 19 Packing List ........................................................................... 24 800.464.9255 / countrywalkers.com 2 © 2015 Otago, LLC dba Country Walkers Travel Style This small-group Guided Walking Adventure offers an authentic travel experience, one that takes you away from the crowds and deep in to the fabric of local life. On it, you’ll enjoy 24/7 expert guides, premium accommodations, delicious meals, effortless transportation, and local wine or beer with dinner. Rest assured that every trip detail has been anticipated so you’re free to enjoy an adventure that exceeds your expectations. And, with our optional Flight + Tour ComboCombo, Florence PrePre----tourtour Extension and Rome PostPost----TourTour Extension to complement this destination, we take care of all the travel to simplify the journey. Refer to the attached itinerary for more details. Overview A walk in the sweeping hills of Tuscany and Umbria is a journey into Italy’s artistic and agricultural heart. Your path follows history, from Florence—where your tour commences—to Siena—an important art center distinguished by its remarkable cathedral—and on to Assisi to view the art treasures of the Basilica of St. Francis. Deep in Umbria, you view Gubbio’s stunning Palazzo dei Consolo and move on to the mosaics decorating Orvieto’s Gothic cathedral. Your stay in the Roman town of Spello—known for its medieval frescoes— inspires with aesthetic balance and timeless charm. -
Heim Gallery Records, 1965-1991
http://oac.cdlib.org/findaid/ark:/13030/kt5779r8sb No online items Finding aid for the Heim Gallery records, 1965-1991 Finding aid prepared by Isabella Zuralski. Finding aid for the Heim Gallery 910004 1 records, 1965-1991 Descriptive Summary Title: Heim Gallery records Date (inclusive): 1965-1991 Number: 910004 Creator/Collector: Heim Gallery Physical Description: 120.0 linear feet(271 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: London gallery directed by Andrew Ciechanowieck. Records include extensive correspondence with museums, galleries, collectors, and other colleagues in Europe and the United States. Photographs document paintings, drawings, sculptures, and decorative art sold and exhibited by, and offered to the gallery. Stock and financial records trace acquisitions and sales. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note Heim Gallery London began in June 1966 with François Heim (from Galerie Heim, Paris, begun 1954) and Andrew S. Ciechanowiecki as partners. Ciechanowiecki served as director in London while Heim remained in France. The emphasis of the gallery was Old Master paintings, especially French of the 15th - 18th century, Italian paintings of all periods, and sculpture (marble, terracotta and bronze) from the Renaissance to the 19th century. The gallery was known for its scholarly exhibitions and catalogs. Between 1966 and 1989 the gallery presented exhibitions two to three times a year. The gallery did business with museums and individual clients in Europe and the United States. -
Italian Quarterly, XXXVII, 2000, 209-51
BERNINI’S BUST OF THE SAVIOR AND THE PROBLEM OF THE HOMELESS IN SEVENTEENTH-CENTURY ROME Italian Quarterly, XXXVII, 2000, 209-51 BERNINI'S BUST OF THE SAVIOR AND THE PROBLEM OF THE HOMELESS IN SEVENTEENTH-CENTIJRY ROME* In preparing for death Bernini followed a long and glorious tradition in which artists since the Renaissance strove to outdo themselves (and their predecessors) by creating tours de force of their craft as ultimate testaments to their ability and devotion. 1 While he followed his tradition, Bernini reinterpreted it in a flllldamental way, as ifin fulfillment of his famous dictum that in his art he had succeeded in breaking the rules, without ever violating them.2 For although he amassed great wealth and international prestige during a long and almost uniformly successful career, unlike many artists of his means and stature - and notably his great prototype Michelangelo -- ho planned no tomb or other monument for himself. 3 It emerges now more clearly than ever that if Bernini's expiatory creations were selfjusti:ficatory in origin, they were not self-centered in destination; they were directed not inward but outward, in a spirit of what today might be called "social consciousness." • • • Homo sapiens has been defined as the only animal that knows it is going to die. This paradox of a living creature's self-conscious awareness of and preoccupation with its own death was a prominent theme in European cullure from antiquity on. The process of intellectualization of this fatal aspect of human nature culminated toward the end of the middle ages in a coherent and logically conceived system, a veritable theory of dying. -
Animal Life in Italian Painting
UC-NRLF III' m\ B 3 S7M 7bS THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA PRESENTED BY PROF. CHARLES A. KOFOID AND MRS. PRUDENCE W. KOFOID ANIMAL LIFE IN ITALIAN PAINTING THt VISION OF ST EUSTACE Naiionai. GaM-KUV ANIMAL LIFE IN ITALIAN PAINTING BY WILLIAM NORTON HOWE, M.A. LONDON GEORGE ALLEN & COMPANY, LTD. 44 & 45 RATHBONE PLACE 1912 [All rights reserved] Printed by Ballantvne, Hanson 6* Co. At the Ballantyne Press, Edinburgh / VX-/ e3/^ H67 To ©. H. PREFACE I OWE to Mr. Bernhard Berenson the suggestion which led me to make the notes which are the foundation of this book. In the chapter on the Rudiments of Connoisseurship in the second series of his Study and Criticism of Italian Art, after speaking of the characteristic features in the painting of human beings by which authorship " may be determined, he says : We turn to the animals that the painters, of the Renaissance habitually intro- duced into pictures, the horse, the ox, the ass, and more rarely birds. They need not long detain us, because in questions of detail all that we have found to apply to the human figure can easily be made to apply by the reader to the various animals. I must, however, remind him that animals were rarely petted and therefore rarely observed in the Renaissance. Vasari, for instance, gets into a fury of contempt when describing Sodoma's devotion to pet birds and horses." Having from my schooldays been accustomed to keep animals and birds, to sketch them and to look vii ANIMAL LIFE IN ITALIAN PAINTING for them in painting, I had a general recollection which would not quite square with the statement that they were rarely petted and therefore rarely observed in the Renaissance. -
La Collezione Di Stampe Di Casa Rosmini a Rovereto: Un Archivio Di Immagini Di Quattro Secoli
GIORGIO MARINI LA COLLEZIONE DI STAMPE DI CASA ROSMINI A ROVERETO: UN ARCHIVIO DI IMMAGINI DI QUATTRO SECOLI Una collezione così vasta, da potersi quasi credere superiore alle forze di semplice privata persona G DE TELANI, Notizie intorno alla vita e a molte opere di Ambrogio de Rosmini Serbati Roveretano, 1823 In poche sale io raduno le incisioni di quanto vi ha di più squisito e non mercatabile ne varj generi di pittura In breve spazio io godo a bellagio e prendo sufficiente idea delle più complicate e gigantesche composizioni occupanti ampie tele e vastissime pareti G LONGHI, La calcografia propriamente detta, 1830 Nellantico palazzo di famiglia nel centro di Rovereto si conserva la porzione rimanente della singolare raccolta di incisioni riunita con ap- passionato interesse da Ambrogio e Antonio Rosmini tra gli ultimi de- cenni del Settecento e i primi del secolo seguente Nonostante le di- mensioni malauguratamente assai ridotte in cui ci è pervenuta, essa re- sta tuttavia sufficiente a dar misura di ciò che fu senzaltro uno degli esempi più notevoli di collezionismo di stampe nel Triveneto in quel delicato trapasso di gusto dagli enciclopedismi neoclassici alla cultura figurativa di pieno Ottocento E un esame di questo autentico museo cartaceo acquista ancor più significato dalla peculiare congiuntura of- ferta dalla documentazione superstite, in grado di fornirci ora elemen- ti, se non sulla completa entità della raccolta, quantomeno sul suo ini- zio e sugli intenti a cui essa era originariamente mirata Questa premessa, che è già -
ETTORE SANNIPOLI Curriculum
Ettore Sannipoli Nato a Gubbio il 30 aprile 1956. Diplomato nel 1975 al Liceo Classico di Gubbio. Ha frequentato i corsi di Scienze Geologiche all’Università degli Studi di Firenze (1975-1979) e di Discipline delle Arti, Musica e Spettacolo all’Università degli Studi di Bologna (1980-1986). Specializzato in Ricerca Storica nel Corso per Operatori del Restauro Architettonico organizzato dalla Regione dell’Umbria e dal Comune di Gubbio (1980-1981). Autore della monografia L’Incoronazione della Vergine. Opera inedita di Ottaviano Nelli (?) a Gubbio , Città di Castello 1981. Ricercatore archivistico nell’ambito della mostra Federico da Montefeltro e il suo tempo (Gubbio, 1981-1982). Esperto di storia dell’arte eugubina all’Istituto Statale d’Arte di Gubbio, nel corso per il restauro di dipinti e arredi lignei, dal 1982 al 1996. Esperto eugubino per l’elaborazione e l’effettuazione degli Itinerari Guidati del Territorio organizzati dal Provveditorato agli Studi di Perugia e dalla Regione dell’Umbria (1983 e anni seguenti). Ricercatore archivistico in preparazione della mostra su Mastro Giorgio Andreoli promossa dall’Azienda di Promozione Turistica di Gubbio in collaborazione con l’Archivio di Stato di Perugia e con il Museo Internazionale della Ceramiche di Faenza (1984-1985). Presidente della sezione eugubina di Italia Nostra dal 1985 al 1991. Esperto di storia dell’arte nel Corso per Accompagnatori ed Animatori del Turismo Sociale organizzato a Fossato di Vico dalla Comunità Montana dell’Alto Chiascio nel 1988. Autore del contributo “Sulle Pitture in Majolica del Ducato d’Urbino, e specialmente di Gubbio” (1756) di Gian Girolamo Carli , apparso in C. -
AGUCCHI De GLAVARINI
Claudio De Dominicis AGUCCHI de GLAVARINI Stemmi Agucchi, del cardinale Agucchi e dei Clavari • Varianti del nome Agocchi, Agocchia, dalle Agocchie, Agucchi, Agucchia, de Agucchis , Agucchio, Agucci, Agucio, Augucchi. • Note storiche Gli Agucchi sono presenti a Bologna nel secolo XVI e la famiglia romana era originaria appunto di Bologna nel medesimo secolo, ma non compaiono nei Repertorii dello Jacovacci. Forse ereditarono il nome ed i beni dei Clavari, citati a Roma dallo stesso secolo fino ad una lista di nobili romani del 1653 1. Come Augucchi de Clavarinis ebbero un solo membro nella Magistratura capitolina nel 1717. Ultimo della famiglia fu Fabio Agucchi Glavarini Foscherari, che lasciò erede dei beni e del nome il conte Donato Legnani, morto in Bologna nel 1812 senza eredi diretti. • Stemma Aguccio, di Bologna (Crollalanza): D’azzurro, al cane d’argento, passante fra due piante di mirto al naturale, col capo d’oro, caricato dall’aquila spiegata di nero2. Clavari, di Roma (Amayden): Partito, nel primo d’azzurro alla chiave d’oro in palo volta a destra, nel secondo d’azzurro alla banda di rosso accostata da due teste di leone d’oro. 1 BERTUZZI A., La nobiltà romana nel 1653 , in “Rivista del Collegio Araldico”, a. 3 (1905), p. 204. 2 Non corrisponde a quelli negli stemmari bolognesi e usato dal cardinale. 1 • Beni immobili Frascati. Villa (Girolamo, sec. XVII). • Fondi archivistici Documenti Agucchi si trovano nell’archivio dei De Bosdari, presso l’Archivio di Stato di Bologna, risalente al 1249. • Alti prelati - Cardinale Girolamo (1604-1605) - Arcivescovo Giovanni Battista (1623- 1632). • Membri del Senato - Conservatore Francesco (Augucchi de Glavarinis, 1717). -
Paul F. Grendler, 1969 Sansovino and Italian Popular History
www.anacyclosis.org THE INSTITUTE FOR ANACYCLOSIS EXCERPT FROM FRANCESCO SANSOVINO AND ITALIAN POPULAR HISTORY BY PAUL F. GRENDLER 1969 A.D. Note: This text, containing a brief sketch of Polybius’ Anacyclosis, describes Francesco Sansovino’s efforts to popularize Anacyclosis during the Italian Renaissance. Footnotes have been omitted. II. The popularizers occasionally pondered man and history. They wrote no formal treatises but they wrote many prefaces and dedicatory letters in which it was standard procedure to discuss briefly the purpose of a work and to reflect on man and history. … Influenced by the events of his century and the current discussions of man and history, Sansovino assigned limits to man’s participation in shaping his world. He believed that man could shape his political destiny in day-to-day affairs but that politics was in the long run subject to an inevitable cycle. Sansovino viewed the growth and decline of states in terms of Polybius’ anacyclosis. The initially good government of one man, monarchy, became a tyranny. Then the state was renewed by the efforts of a few good men who made it an aristocracy. This in turn decayed into oligarchy and was replaced by democracy which became mob rule which, in turn was supplanted by one-man rule as the cycle continued. Sansovino noted that worthy men attempted unsuccessfully to establish principates or republics to endure a thousand years. The reasons for failure were twofold. By their nature all human institutions carried within themselves the seeds of corruption which were human excesses and disorders. Second, one could not provide for everything. -
Persons Index
Architectural History Vol. 1-46 INDEX OF PERSONS Note: A list of architects and others known to have used Coade stone is included in 28 91-2n.2. Membership of this list is indicated below by [c] following the name and profession. A list of architects working in Leeds between 1800 & 1850 is included in 38 188; these architects are marked by [L]. A table of architects attending meetings in 1834 to establish the Institute of British Architects appears on 39 79: these architects are marked by [I]. A list of honorary & corresponding members of the IBA is given on 39 100-01; these members are marked by [H]. A list of published country-house inventories between 1488 & 1644 is given in 41 24-8; owners, testators &c are marked below with [inv] and are listed separately in the Index of Topics. A Aalto, Alvar (architect), 39 189, 192; Turku, Turun Sanomat, 39 126 Abadie, Paul (architect & vandal), 46 195, 224n.64; Angoulême, cath. (rest.), 46 223nn.61-2, Hôtel de Ville, 46 223n.61-2, St Pierre (rest.), 46 224n.63; Cahors cath (rest.), 46 224n.63; Périgueux, St Front (rest.), 46 192, 198, 224n.64 Abbey, Edwin (painter), 34 208 Abbott, John I (stuccoist), 41 49 Abbott, John II (stuccoist): ‘The Sources of John Abbott’s Pattern Book’ (Bath), 41 49-66* Abdallah, Emir of Transjordan, 43 289 Abell, Thornton (architect), 33 173 Abercorn, 8th Earl of (of Duddingston), 29 181; Lady (of Cavendish Sq, London), 37 72 Abercrombie, Sir Patrick (town planner & teacher), 24 104-5, 30 156, 34 209, 46 284, 286-8; professor of town planning, Univ. -
Peripheral Packwater Or Innovative Upland? Patterns of Franciscan Patronage in Renaissance Perugia, C.1390 - 1527
RADAR Research Archive and Digital Asset Repository Peripheral backwater or innovative upland?: patterns of Franciscan patronage in renaissance Perugia, c. 1390 - 1527 Beverley N. Lyle (2008) https://radar.brookes.ac.uk/radar/items/e2e5200e-c292-437d-a5d9-86d8ca901ae7/1/ Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, the full bibliographic details must be given as follows: Lyle, B N (2008) Peripheral backwater or innovative upland?: patterns of Franciscan patronage in renaissance Perugia, c. 1390 - 1527 PhD, Oxford Brookes University WWW.BROOKES.AC.UK/GO/RADAR Peripheral packwater or innovative upland? Patterns of Franciscan Patronage in Renaissance Perugia, c.1390 - 1527 Beverley Nicola Lyle Oxford Brookes University This work is submitted in partial fulfilment of the requirelnents of Oxford Brookes University for the degree of Doctor of Philosophy. September 2008 1 CONTENTS Abstract 3 Acknowledgements 5 Preface 6 Chapter I: Introduction 8 Chapter 2: The Dominance of Foreign Artists (1390-c.1460) 40 Chapter 3: The Emergence of the Local School (c.1450-c.1480) 88 Chapter 4: The Supremacy of Local Painters (c.1475-c.1500) 144 Chapter 5: The Perugino Effect (1500-c.1527) 197 Chapter 6: Conclusion 245 Bibliography 256 Appendix I: i) List of Illustrations 275 ii) Illustrations 278 Appendix 2: Transcribed Documents 353 2 Abstract In 1400, Perugia had little home-grown artistic talent and relied upon foreign painters to provide its major altarpieces. -
Art from the Ancient Mediterranean and Europe Before 1850
Art from the Ancient Mediterranean and Europe before 1850 Gallery 15 QUESTIONS? Contact us at [email protected] ACKLAND ART MUSEUM The University of North Carolina at Chapel Hill 101 S. Columbia Street Chapel Hill, NC 27514 Phone: 919-966-5736 MUSEUM HOURS Wed - Sat 10 a.m. - 5 p.m. Sun 1 p.m. - 5 p.m. 2nd Fridays 10 a.m. – 9 p.m. Closed Mondays & Tuesdays. Closed July 4th, Thanksgiving, Christmas Eve Christmas Day, & New Year’s Day. 1 Domenichino Italian, 1581 – 1641 Landscape with Fishermen, Hunters, and Washerwomen, c. 1604 oil on canvas Ackland Fund, 66.18.1 About the Art • Italian art criticism of this period describes the concept of “variety,” in which paintings include multiple kinds of everything. Here we see people of all ages, nude and clothed, performing varied activities in numerous poses, all in a setting that includes different bodies of water, types of architecture, land forms, and animals. • Wealthy Roman patrons liked landscapes like this one, combining natural and human-made elements in an orderly structure. Rather than emphasizing the vast distance between foreground and horizon with a sweeping view, Domenichino placed boundaries between the foreground (the shoreline), middle ground (architecture), and distance. Viewers can then experience the scene’s depth in a more measured way. • For many years, scholars thought this was a copy of a painting by Domenichino, but recently it has been argued that it is an original. The argument is based on careful comparison of many of the picture’s stylistic characteristics, and on the presence of so many figures in complex poses. -
Francesco Maria Niccolò Gabburri: Incisioni E Scritti Del ‘Cavalier Del Buon Gusto’
UNIVERSITA’ DEGLI STUDI DI PISA FACOLTA’ DI LETTERE E FILOSOFIA Scuola di Dottorato in Storia delle Arti Visive e dello Spettacolo TESI DI DOTTORATO DI RICERCA (L-ART/02; L-ART/04) Francesco Maria Niccolò Gabburri: incisioni e scritti del ‘Cavalier del Buon Gusto’ CANDIDATA TUTOR Dott.ssa Martina Nastasi Chiar.mo prof. Vincenzo Farinella COORDINATORE DEL DOTTORATO Chiar.ma prof.ssa Cinzia Maria Sicca Bursill-Hall Ciclo dottorato XXIII 0 1 INDICE INTRODUZIONE _______________________________________________________ p. 4 I CAPITOLO. «IL CAVALIER DEL BUON GUSTO» ______________________________ p. 8 I.1 «Non sine labore»: genesi di un’idea di arte ________________________________ p. 8 I.2 Le Vite di pittori ___________________________________________________ p. 31 II CAPITOLO. «PER CAMMINARE CON TUTTA SINCERITÀ E CHIAREZZA»: CATALOGHI DELLA COLLEZIONE GABBURRI _________________________________________________ p. 41 II.1 La collezione di grafica: pratiche di acquisto e scelte di «finissimo gusto» _______ p. 41 II.2 Nuovi cataloghi della collezione Gabburri ______________________________ p. 60 II.3 Analisi del Catalogo di disegni e stampe ___________________________________ p. 66 III CAPITOLO. TRA COLLEZIONISMO E BIOGRAFISMO _________________________ p. 78 III.1 «Per maggior comodo dei dilettanti»: stampe e biografie a servizio dei lettori ___ p. 78 III.2 «Commodità veramente singularissima»: la stampa di traduzione ____________ p. 89 III.3 Donne «virtuose» e «spiritosissime»: attenzione per l’arte al femminile ________ p. 99 TAVOLE _____________________________________________________________ p. 108 APPENDICE DOCUMENTARIA ____________________________________________ p. 124 - Catalogo di stampe e disegni (Fondation Custodia-Institut Néerlandais Parigi, Collection Frits Lugt, P. I, Inv.2005-A.687.B.1, cc. 65-134v) __________________________________________________ p. 126 - Appunti sullo stato dell’arte fiorentina (Fondation Custodia-Institut Néerlandais Parigi, Collection Frits Lugt, P.II, Inv.