Inaugurazione Restauri Della Sala Del Principe
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Eighteenth-Century English and French Landscape Painting
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2018 Common ground, diverging paths: eighteenth-century English and French landscape painting. Jessica Robins Schumacher University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Schumacher, Jessica Robins, "Common ground, diverging paths: eighteenth-century English and French landscape painting." (2018). Electronic Theses and Dissertations. Paper 3111. https://doi.org/10.18297/etd/3111 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. COMMON GROUND, DIVERGING PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. cum laude, Vanderbilt University, 1977 J.D magna cum laude, Brandeis School of Law, University of Louisville, 1986 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art (C) and Art History Hite Art Department University of Louisville Louisville, Kentucky December 2018 Copyright 2018 by Jessica Robins Schumacher All rights reserved COMMON GROUND, DIVERGENT PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. -
Valmontone Conference on Mattia Preti
Baroque Routes - 2014 / 15 5 Valmontone Conference on Mattia Preti A scholarly conference focused on the Cavaliere Calabrese, the artist Mattia Preti, was held on Monday 3 November 2014 at Palazzo Pamphilj in Valmontone, around 30 kilometres from Rome. Participants examined the status of research into this artist following the celebrations of the 400th centenary of his birth (1613-2013). The event was titled ‘Sotto la volta dell’aria. Mattia Preti: Approfondimenti e ricerche.’ This conference was organised by the International Institute for Baroque Studies at the University of Malta in association with the Soprintendenza PSAE del Lazio and the Comune di Valmontone. For this purpose an on-site scientific committee composed of Sante Guido, Dora Catalano of the Superintendence extensive decoration of eighteenth-century of the region, Monica Di Gregorio, director palaces throughout Europe. Allegorical figures of the museum of Palazzo Doria Pamphilj, representing the natural elements, such as Day, and Giuseppe Mantella, a leading restorer of Night, Dawn, as well as Love, Fortune and many Mattia’s Preti’s works, was set up. The ‘Volta others, adorn this vault. It is important to note dell’aria’ indicated in the title of the conference that it was during his stay at Valmontone, that refers to a fresco on the ceiling of the grand Preti planned his entire project for the decoration hall of the palace where the event took place, of the Co-cathedral in Valletta. When he arrived and which was painted in the spring of 1661 in Malta in the summer of 1661 and proposed to for Prince Camillo Pamphilj in the piano paint the story of St John the Baptist, his designs nobile of his palace. -
Gaspard Dughet: Some Problems in the Connoisseurship of Chalk Drawings
ABSTRACT Title of thesis: GASPARD DUGHET: SOME PROBLEMS IN THE CONNOISSEURSHIP OF CHALK DRAWINGS Sarah Beth Cantor, Master of Arts, 2005 Thesis directed by: Professor Anthony Colantuono Department of Art History and Archaeology Little scholarship has been devoted to the graphic oeuvre of Gaspard Dughet (1615-1675), a prominent landscape painter of the seventeenth century. A number of drawings in red and black chalk have been attributed to Dughet based on their connection to documented paintings. Stylistic comparisons with other examples of Dughet’s work as a draughtsman and technical evidence including medium and watermarks, however, reveal that a group of drawings given to the artist are, in fact, copies done in the late seventeenth or early eighteenth century. Although Dughet’s contributions are under appreciated today, his work influenced the next generation of landscape artists in Italy and abroad, including the British and many Dutch and Flemish artists who traveled to Italy. This thesis examines not only Dughet’s chalk drawings, but the graphic work of his most well-known Northern followers to determine which artist may have executed these copies. GASPARD DUGHET: SOME PROBLEMS IN THE CONNOISSEURSHIP OF CHALK DRAWINGS by Sarah Beth Cantor Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2005 Advisory Committee: Professor Anthony Colantuono, Chair Professor Joanne Pillsbury Professor William Pressly Professor Ann Sutherland Harris ©Copyright by Sarah Beth Cantor 2005 DISCLAIMER The thesis document that follows has had referenced material removed in respect for the owner’s copyright. -
Università Degli Studi Di Macerata Dipartimento Di Scienze Della Formazione, Dei Beni Culturali E Turismo Corso Di Dottorato Di
UNIVERSITÀ DEGLI STUDI DI MACERATA DIPARTIMENTO DI SCIENZE DELLA FORMAZIONE, DEI BENI CULTURALI E TURISMO CORSO DI DOTTORATO DI RICERCA IN HUMAN SCIENCES CICLO XXXI TITOLO DELLA TESI L'antica Via Lauretana: itinerario «sì corporale, come spirituale» da Roma a Loreto. Parte prima: il percorso laziale RELATORE DOTTORANDO Chiar.mo Prof. Roberto Sani Dott. Giacomo Alimenti COORDINATORE Chiar.mo Prof. Angelo Ventrone ANNO 2019 «O noi felici, ò noi fortunati di qua a poche miglia vedremo Maria, entreremo in quella Casa, ove alberga un Dio. Ove ei più volte impresse con humanato piede orme celesti». (F.M. Gerunzio, Sagro pellegrinaggio sì corporale, come spirituale a Maria di Loreto, 1671) BCMC, 2. 7. A. 27 (2), risg.: “Pellegrino del XVI secolo” (1580). INDICE DEL VOLUME Presentazione 11 Prefazione 12 Introduzione 14 1. Il pellegrinaggio lauretano 19 2. Loreto e la Via Lauretana 35 3. Descrizione delle Poste 61 Premessa metodologica 61 3.a Da Roma a Prima Porta 64 3.b Da Prima Porta a Malborghetto 85 3.c Da Malborghetto a Castelnuovo di Porto 93 3.d Da Castelnuovo di Porto a Rignano Flaminio 104 3.e Da Rignano Flaminio a Civita Castellana 115 3.f Da Civita Castellana a Borghetto 137 4. Apparato critico 151 5. Indice dei nomi 164 6. Indice dei luoghi 168 Postfazione 176 SIMONE LONGHI Progetto “Cammini Lauretani” L'opera, che si inaugura col presente volume, costituisce un'organica trilogia che nasce e si iscrive nell’alveo del progetto Distretto Culturale Evoluto “I Cammini Lauretani”, iniziativa promossa dal Tavolo di concertazione per il recupero, gestione e valorizzazione dell' Antica Via Lauretana. -
Visualizing Poetry in Practice in Early Modern Italian Art
Athens Journal of Humanities & Arts - Volume 8, Issue 3, July 2021 – Pages 189-208 Li Pittori Parlano con l’Opere: Visualizing Poetry in Practice in Early Modern Italian Art By James Hutson* The relative sophistication of artists in the early modern era is contested, especially with regards to their educational backgrounds. On one hand, Dempsey-esque intellectual history is vested in touting the structured, literary curricula in art-educational institutions; while on the other, a complete rejection of the ‚artist-philosopher‛ as historical fiction seeks to undermine this hegemonic construct. This study argues that the lack of early formal education in the cases of artist like Annibale Carracci and Nicolas Poussin, who, unlike Peter Paul Rubens, did not have a firm foundation in the classics and languages that would allow them to engage directly with source material, would later be supplemented through their relationships with literary figures in the circles of Torquato Tasso, Giambattista Marino, and the Accademia dei Gelati. In addition to such relationships, informal exchanges, gatherings, and supplemental materials like Giovanni Paolo Gallucci’s Della Simmetria could be called upon when treating poetic subjects. With intimate knowledge of vernacular poetry, literati themselves participating in lectures and studio visits, and, finally, quick reference guides for subject matter, these artists were able to produce works that spoke to both poetic and artistic theory of the day, as one naturally informed the other. Introduction ‚Poets paint with words, painters speak with their works.‛1 This aphorism of Annibale Carracci (1560-1609) followed a superb rendering of the Laocoön in charcoal, expertly rendered from memory. -
Flemish Masters. and Others Artists
- S ArtiSts WWI ' Masters. and others FlemiSh QA ts froth the' Heritage Fondo Edifici di Cuito 7 mksWO N, "A Irm.."P A^kh I el Wi d-81'inLer HIM S Re way S - - 5 - - ---i gq abln S S 5-- 711 Ms 'v 7q'Vox q Oil S S "Yom twit no, eel ANN S - S -- ON-sios N'111_1 AFT Coo MEW, Z ltvll it ME Am WEEK-5 Zf -. S Too I A I Uzi 111P PRO a 9 P5001"" "S 0, if I (/f t)pi 'lei on (111_^i Tv TWO 1W I r 1111 CA ff j i I I A D 0 IIII - A" j awl M ":jQ!7VW 1 Olt, A op - ma n. 0 / r A A A -: A WA 5/ A A A5 A A 5/ a RAT A / ANO C /AA 4 1 non lj A A •, ,- A ,, oil At A Wy * : ,- low As A -, '1 - I. ME QC Ai 1_1 Al -• '1' A*; At A' Mum A 1 14 . A A -.? 4 / - 5/ - A Am A CAI soy I4 AW ( A A q I!' A , Av Saw to mom Sf aw US all lk OUR ;iP mom 0 Sm TAM AS NMI - - PALAllO ME RUSPOLI FONDAZIONE MEMMO MINIsTER0 DELL'INTERNO DIPARTTh/IENTO PER LE LIBERTA CIVILI E L'IMMIGRAZIONE FLEMISH MASTERS AND OTHERS ARTISTS Foreign Artists from the Heritage of the Fondo Edifici di Culto del Ministero dell'Interno <<L'ERMA>> di BRETSCHNEIDER Under the High Patronage of the President of Italy Giorgio Napolitano FLEMISH MASTERS AND OTHERS ARTISTS FOREIGN ARTISTS FROM THE HERITAGE OF THE FONDO EDIFICI DI CULTO DEL MINISTERO DELL'INTERNO Rome - Palazzo Ruspoli 1 July - 10 September 2008 MINISTERO FONDAZIONE COMITATO TECNICO Exhibition designer DELL'INTERNO MEMMO Giuseppe Mario Scalia Rosalia Lilly D'Amico Dipartimento per le liberta Cape dell'Ufficio Pian/icazione eAffari Generali della civili e l'immigrazione Direzione Centrale per l'Amministrazione Graphic design del Fonda Ed/Ici -
Old Master Paintings Wednesday 5 December 2012, at 2Pm New Bond Street, London
Old Master Paintings Wednesday 5 December 2012, at 2pm New Bond Street, London Old Master Paintings Wednesday 5 December 2012, at 2pm New Bond Street, London Bonhams Bids Enquiries Customer Services 101 New Bond Street +44 (0) 20 7447 7448 +44 (0) 20 7468 8307 Monday to Friday 8.30am to 6pm London W1S 1SR +44 (0) 20 7447 7401 fax [email protected] +44 (0) 20 7447 7447 www.bonhams.com To bid via the internet please visit www.bonhams.com Specialists Please see back of catalogue Viewing Andrew McKenzie for important notice to bidders Sunday 2 Dec 2012 Please note that bids should be +44 (0) 20 7468 8261 11am to 3pm submitted no later than 24 hours [email protected] Illustrations Monday 3 Dec 2012 before the sale. New bidders Front cover: 103 9am to 4.30pm must also provide proof of identity Caroline Oliphant Back cover: 55 Tuesday 4 Dec 2012 when submitting bids. Failure to do +44 (0) 20 7468 8271 Inside front cover: 40 (one of a pair) 9am to 4.30pm this may result in your bids not [email protected] Inside back cover: 40 (one of a pair) Wednesday 5 Dec 2012 being processed. 9am to 12pm Carlotta Mascherpa +44 (0) 20 7468 8307 [email protected] Sale number: 20030 Live online bidding is available for this sale Poppy Harvey-Jones Catalogue: £25 Please email [email protected] with “Live bidding” in the subject +44 (0) 20 7468 8308 line 48 hours before the auction [email protected] to register for this service. -
50 Fine Illustrated Books 2017
50 FINE ILLUSTRATED BOOKS 2017 Shapero RARE BOOKS 2 Shapero Rare Books Shapero Rare Books 3 50 FINE ILLUSTRATED BOOKS 2017 32 Saint George Street London W1S 2EA Tel: +44 207 493 0876 [email protected] shapero.com INTRODUCTION This catalogue of fine illustrated books was a great pleasure for me to put together for two reasons: the number of books in fine contemporary bindings, and the broad range of subject matter. At a time when many believe that you can’t find great copies as you could in the “good old days”, the number of exceptional examples in the present catalogue shows that if you have the experience and know where to look, there are still great treasures to be found. Some of the fine contemporary bindings are showcased at the beginning of the catalogue. The breadth of subject matter is equally impressive, ranging from fine topographical works such as Nattes Views of Bath (item 35), and a complete deluxe issue of Roberts’ Holy Land & Egypt (item 34), through to great natural history books including Merian’s Insects of Surinam (item 32) and Redoute’s Choix des plus belles Fleurs (item 41) – so much more accessible than his Roses or Lillies, by way of anatomy in the form of Gautier-d’Agoty (item 22); Windmill architecture (item 1), and the incomparable complete set of Cochin’s engravings depicting the victories of the Chinese emperor K’ien Lung (item 14). Aside from their historical importance, these represent the pinnacle of eighteenth century copper engraving with remarkable detail and tonal range. -
006-San Marco
(006/41) Basilica di San Marco Evangelista al Campidoglio San Marco is a 9th century minor basilica and parish and titular church, on ancient foundations, located on Piazza Venezia. The dedication is to St Mark the Evangelist, patron saint of Venice, and it is the the church for Venetian expatriates at Rome. The full official name is San Marco Evangelista al Campidoglio, "St Mark the Evangelist at the Capitol". History The basilica was probably founded by Pope St. Marcus (Mark) in 336 over an older oratory, and is one of Rome's oldest churches. It stands on the site where St Marcus is said to have lived, and was known as the Titulus Pallacinae. The church is thus recorded as Titulus Marci in the 499 synod of Pope Symmachus. [1] The church was modified in the 5th century, and was left facing the opposite direction. It seems from the archaeology that the basilica had a serious fire in the same century or the next, as burnt debris was found in the stratigraphy. [1] It was reconstructed in the 8th century by Pope Adrian I (772-795). It was flooded when the Tiber rose above its banks soon after, in 791. Pope Gregory IV (827-844) was responsible for what is now considered to have been a (006/41) complete rebuilding. The orientation of the church was reversed, with the old apse being demolished and replaced by a main entrance. The old entrance was replaced by a new apse, with a mosaic in the conch which survives. However, the three windows which the apse had were later blocked. -
Revision and Exploration German Landscape
REVISION AND EXPLORATION GERMAN LANDSCAPE DEPICTION AND THEORY IN THE LATE 18TH CENTURY Ph.D. Thesis History of Art University College London Mark A. Cheetham June, 1982 THESIS ABSTRACT "Revision and Exploration: German Landscape Depiction and Theory in the Late Eighteenth Century" My thesis focuses on the work of German painters in Italy c.l770-1800, and addresses issues raised by their complex relationship with the 17th century Italianate landscape tradition. Jakob Philipp Hackert (1737-1807), Johann Christian Reinhart (1761-1847), and Joseph Anton Koch (1768- 1839) worked in Italy precisely because they considered them- selves to be thg inheritors of the 17th century landscape style of Claude, Dughet, Rosa, and Nicolas Poussin. But while the German paintings do resemble the earlier works, they also revise the 17th century programme of representing Ideal nature. They are more detailed and precise in their depiction of natural phenomena; they also represent natural events and sites not included in the traditional canon. Extrapolating from 18th century critical terminology, I have developed the term "particularity" to focus attention on this unprecedented attentiontt the details of nature. I argue that the late 18th century German landscapes revise the Italianate landscape tradition so that it embodies particularity, and that the impetus for this change comes from two contemporary sources: natural history -- especially the nascent sciences of geology and biology -- and art theory. My argument is divided into three sections. In the first, I establish the existence and visual characteristics of particu- larity first by contrasting 17th century versions of the famous cascades at Tivoli (by Claude, Dughet, and others) with depic- tions of the same site by late 18th century German artists, and second, by describing the new sites which were explored and depicted by Hackert, Reinhart, and Koch. -
Norbert Wibiral
©Ministero dei beni e delle attività culturali e del turismo -Bollettino d'Arte NORBERT WlBlRAL CONTRIBUTI ALLE RICERCHE SUL CORTONISMO IN ROMA I PITTORI DELLA GALLERIA DI ALESSANDRO VlI NEL PALAZZO DEL QUIRINALE IN DAI TEMPI di A. Bertolotti') che pub adottata da molti storici d'arte di quel Tempo e orientata blicò l'ingente materiale delle sue ricerche di eccessivamente, sia verso la sola storia, sia verso l'inter F archivio in modo non sempre rispondente alle pre tazione materialistica della scuola Semperiana. Egli esigenze moderne, l'edizione critica delle fon ti archi si proponeva con ciò di definire giustamente per le viali e letterarie non cessò di essere un desideraturn di cosiddette fonti secondarie e per le scienze ausiliarie grande importanza per la quella posizione nell'orga storia dell'arte barocca in nismo della nostra disci Roma. Non è il caso di plina, spettante al loro va presentare qui un saggio lore effettivo. D'altra parte su questa discipli na ausi è noto che egli riconosceva liare, col suo metodo e la pienamente l'importanza sua storia; tuttavia non ci delle fo nti scritte nei suoi pare inutile esporre il pro lavori sull'arte barocca in blema di una valorizza Roma. l ) zione critica delle diverse Si è accennato parecchie COnii concernenti l'attività volte al fatto che i segni artistica nel Seicento nel individuali che distinguo campo strettamente limi no particolarmente le opere lato del soggetto In que- d'arte di questo periodo stione. vengono sopraffatti dalle È fu ori dubbio che 1'0- qualità stilistiche generali pera d' arte stessa come in modo tale da rendere in " fonte figurata" va consi sufficien te in certi casi la derala documento primario sola critica stilistica per at per la ricerca storico-arti tribuzioni sosteni bili. -
Curriculum Vitae Et Studiorum
Curriculum Vitae Europass Informazioni personali Nome / Cognome Matilde Migliorini Indirizzo Via Panaro, 14 00199 Roma (Italia) Telefono +39.06.8611021 Cellulare +39.340.9744135 E-mail [email protected] Posta certificata [email protected] Cittadinanza Italiana Data di nascita 05/09/1965 Luogo di nascita Firenze Sesso F P. IVA 10695141001 Settore professionale Restauratrice di Beni Culturali (categoria OS2-A), titolare di Impresa Individuale. In possesso dei requisiti ai sensi dell'art. 182 del D. lgs. 22 gennaio 2004, n. 42 e ss.mm. Iscrizione nel Registro delle Imprese della CCIA di Roma n° 274404 del 26/11/2009 Iscrizione al Ruolo di Perito ed Esperto d’Arte della CCIA di Roma nella categoria: “restauro --di opere e oggetti d’arte”, n° 1908 Iscrizione all’Albo dei Consulenti Tecnici d’Ufficio del Tribunale di Roma del 15/09/2010 Esperienze professionali Data (da - a) 26/11.2009 - in corso Lavoro o posizione ricoperti Titolare di impresa Individuale Principali attività e responsabilità Responsabile di attività di restauro, conservazione e manutenzione di: dipinti murali; stucchi; manufatti lapidei; dipinti su tela, tavola e supporti cartacei; sculture lignee; opere polimateriche; attività di revisione conservativa (condition report), manutenzione e controllo delle opere in mostra; perizie sullo stato conservativo (vedi allegato) Nome dei datori di lavoro Soprintendenze, enti pubblici e soggetti privati (vedi allegato) Data (da - a) 02/09.1996 - 31/08.2009 Lavoro o posizione ricoperti Socia della Soc. Cooperativa C.B.C.