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The Presentation of the Virgin in the Temple
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Paolo di Giovanni Fei Sienese, c. 1335/1345 - 1411 The Presentation of the Virgin in the Temple 1398-1399 tempera on wood transferred to hardboard painted surface: 146.1 × 140.3 cm (57 1/2 × 55 1/4 in.) overall: 147.2 × 140.3 cm (57 15/16 × 55 1/4 in.) Samuel H. Kress Collection 1961.9.4 ENTRY The legend of the childhood of Mary, mother of Jesus, had been formed at a very early date, as shown by the apocryphal Gospel of James, or Protoevangelium of James (second–third century), which for the first time recounted events in the life of Mary before the Annunciation. The iconography of the presentation of the Virgin that spread in Byzantine art was based on this source. In the West, the episodes of the birth and childhood of the Virgin were known instead through another, later apocryphal source of the eighth–ninth century, attributed to the Evangelist Matthew. [1] According to this account of her childhood, Mary, on reaching the age of three, was taken by her parents, together with offerings, to the Temple of Jerusalem, so that she could be educated there. The child ascended the flight of fifteen steps of the temple to enter the sacred building, where she would continue to live, fed by an angel, until she reached the age of fourteen. [2] The legend linked the child’s ascent to the temple and the flight of fifteen steps in front of it with the number of Gradual Psalms. -
The Best of Renaissance Florence April 28 – May 6, 2019
Alumni Travel Study From Galleries to Gardens The Best of Renaissance Florence April 28 – May 6, 2019 Featuring Study Leader Molly Bourne ’87, Professor of Art History and Coordinator of the Master’s Program in Renaissance Art at Syracuse University Florence Immerse yourself in the tranquil, elegant beauty of Italy’s grandest gardens and noble estates. Discover the beauty, drama, and creativity of the Italian Renaissance by spending a week in Florence—the “Cradle of the Renaissance”—with fellow Williams College alumni. In addition to a dazzling array of special openings, invitations into private homes, and splendid feasts of Tuscan cuisine, this tour offers the academic leadership of Molly Bourne (Williams Class of ’87), art history professor at Syracuse University Florence. From the early innovations of Giotto, Brunelleschi, and Masaccio to the grand accomplishments of Michelangelo, our itinerary will uncover the very best of Florence’s Renaissance treasury. Outside of Florence, excursions to delightful Siena and along the Piero della Francesca trail will provide perspectives on the rise of the Renaissance in Tuscany. But the program is not merely an art seminar—interactions with local food and wine experts, lunches inside beautiful private homes, meanders through stunning private gardens, and meetings with traditional artisans will complement this unforgettable journey. Study Leader MOLLY BOURNE (BA Williams ’87; PhD Harvard ’98) has taught art history at Syracuse University Florence since 1999, where she is also Coordinator of their Master’s Program in Renaissance Art History. A member of the Accademia Nazionale Virgiliana, she has also served as project researcher for the Medici Archive Project and held a fellowship at Villa I Tatti, the Harvard Center for Renaissance Studies. -
Lavazza Coffee Museum 8 Valeria Merlini at Work Siena Seeing Roman Art from a Dream of ® New Angle Am Forever in Search of New Perspectives on Rome and Its I Art
INSIDE: Siena Tour Guides 4 Recipes From Siena 6 Touring An Art Restoration Lab 7 20th-Century Art in Rome 8 Lavazza Coffee Museum 8 Valeria Merlini at work Siena Seeing Roman Art From A dream of ® New Angle am forever in search of new perspectives on Rome and its I art. In a city with endless treasures and infinite guides available, it’s increasingly rare to find a tour that gives you a one-of-a-kind publication Dream Of point of view. I was lucky enough to Volume 17, Issue 8 www.dreamofitaly.com October 2018 ITA LY join a Roma Experience Tour, which gave me just that. Our Roma Experience tour guides, The INSIDER’S GUIDE to Siena Francesca and Davide, meet us in a corner of Piazza del Popolo and within f you’re traveling in the region Siena grew in importance from an minutes our small group is equipped of Tuscany, a trip to the economic, strategic, and military with headphones and a hearty dose I medieval city of Siena is a perspective until the 12th century. of intrigue. Francesca sets the scene, beautiful and quiet diversion. During the 13th and 14th whispering dramatically into her You won’t be disappointed. centuries, Siena and microphone, telling us about the Some of the most unique Florence became bitter painter, Michelangelo Merisi, famously treasures of art and history enemies, with constant known as Caravaggio. If it weren’t for await you. battles for land and power. Francesca, I would have missed the Florence eventually won masterpieces right before my eyes in Siena, originally an Etruscan over in 1555, and Siena was the Cerasi Chapel: Caravaggio’s settlement, was later incorporated as a Florentine Conversion of Saint Paul and his established as a trading post as territory. -
Maestà (Madonna and Child with Four Angels) C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Master of Città di Castello Italian, active c. 1290 - 1320 Maestà (Madonna and Child with Four Angels) c. 1290 tempera on panel painted surface: 230 × 141.5 cm (90 9/16 × 55 11/16 in.) overall: 240 × 150 × 2.4 cm (94 1/2 × 59 1/16 × 15/16 in.) framed: 252.4 x 159.4 x 13.3 cm (99 3/8 x 62 3/4 x 5 1/4 in.) Samuel H. Kress Collection 1961.9.77 ENTRY This panel, of large dimensions, bears the image of the Maestà represented according to the iconographic tradition of the Hodegetria. [1] This type of Madonna and Child was very popular among lay confraternities in central Italy; perhaps it was one of them that commissioned the painting. [2] The image is distinguished among the paintings of its time by the very peculiar construction of the marble throne, which seems to be formed of a semicircular external structure into which a circular seat is inserted. Similar thrones are sometimes found in Sienese paintings between the last decades of the thirteenth and the first two of the fourteenth century. [3] Much the same dating is suggested by the delicate chrysography of the mantles of the Madonna and Child. [4] Recorded for the first time by the Soprintendenza in Siena c. 1930 as “tavola preduccesca,” [5] the work was examined by Richard Offner in 1937. In his expertise, he classified it as “school of Duccio” and compared it with some roughly contemporary panels of the same stylistic circle. -
Program Overview
Live the Language Learn the Culture Foreign Language and Cultural Immersion Since 1968 NATIONAL REGISTRATION CENTER FOR STUDY ABROAD Italy 2008-2009 For more information please visit: www.nrcsa.com NRCSA is a proud member of: National Registration Center for Study Abroad PO Box 1393 Milwaukee, Wisconsin 53201 USA Tel: (414) 278-0631 Email: [email protected] SCUOLA ITALIANA –SIENA,ITALY ABOUT THE SCHOOL AND THE CITY Professional Italian Scuola Italiana is a school of Italian language and culture for 30 hours per week: 20 Group + 10 Tutor. Intermediate level is foreigners, with a branch in Florence, in the shadow of required. Classes with a private Tutor focus on vocabulary from Brunelleschi's great Dome, and a branch in Siena near the Piazza one of the following areas: general business, banking, law, del Campo. The school attracts many different types of students, tourism, medicine, fashion, architecture, literature, cinema, or with sixty percent of students aged between 17 and 30 seeking to theatre. improve their Italian language skills and awareness of Italian culture. All teachers are highly qualified. Most of them have Optional History and Humanities Courses studied Italian language and literature. All teachers have been The History and Humanities courses are organized on a two-week specially trained in teaching Italian to foreigners. basis and can be extended to four weeks (art courses are always 4 weeks). They are held in the afternoon or evening. Siena has an abundance of artistic and historical points of * Italian Cooking Course, 2 weeks, 2 evenings. interest. There is the wonderful Piazza del Campo dominated by * Italian Wine Course, 2 weeks, 2 evenings. -
PALAZZO PUBBLICO a SIENA…E DINTORNI I Palazzi Pubblici Nel Medioevo
PALAZZO PUBBLICO A SIENA…E DINTORNI I Palazzi pubblici nel Medioevo •I Palazzi Pubblici si diffusero dal XIII secolo, a partire dall’Italia settentrionale. Prima della loro realizzazione, fino al Duecento, le rappresentanze delle magistrature civili erano costrette ad essere itineranti o a riunirsi nelle chiese. I nuovi palazzi erano posti in diretto rapporto con lo spazio urbano, generalmente una piazza, separata da quella della chiesa principale. Il Palazzo pubblico era generalmente separato dalla cattedrale, a testimonianza di una palese contrapposizione politica tra i due sistemi di potere. Nell’Italia settentrionale, generalmente, il palazzo presentava portici al piano terra, dove si svolgevano il mercato o assemblee pubbliche; al piano superiore era un ampio e luminoso salone per le riunioni del consiglio, con un balcone prospettante sulla piazza. Vedi Palazzo pubblico a Bologna Nell’Italia centrale, i palazzi civici fungevano spesso anche da residenza dei magistrati e degli amministratori, per cui viene eliminata la loggia, luogo pubblico per eccellenza. Ne sono esempio il Palazzo della Signoria a Firenze e il Palazzo Pubblico di Siena. PIAZZA DEL CAMPO •1169, è questo l’anno in cui viene diffuso un primo documento che parla di questa piazza. E’ l’anno in cui la comunità di Siena acquista questo terreno fragile e fangoso su cui convergevano le piccole strade dell’antica città. Verso la fine del 1100 il grande spazio viene diviso, probabilmente, da un ampio muro divisorio contribuendo a creare la caratteristica forma a conchiglia. •Piazza del Campo è un unicum tra le piazze realizzate in epoca medievale, notoriamente legate da una planimetria convenzionale. -
MONTEPULCIANO's PALAZZO COMUNALE, 1440 – C.1465: RETHINKING CASTELLATED CIVIC PALACES in FLORENTINE ARCHITECTURAL and POLITI
MONTEPULCIANO’S PALAZZO COMUNALE, 1440 – c.1465: RETHINKING CASTELLATED CIVIC PALACES IN FLORENTINE ARCHITECTURAL AND POLITICAL CONTEXTS Two Volumes Volume I Koching Chao Ph.D. University of York History of Art September 2019 ABSTRACT This thesis argues for the significance of castellated civic palaces in shaping and consolidating Florence’s territorial hegemony during the fifteenth century. Although fortress-like civic palaces were a predominant architectural type in Tuscan communes from the twelfth century onwards, it is an understudied field. In the literature of Italian Renaissance civic and military architecture, the castellated motifs of civic palaces have either been marginalised as an outdated and anti-classical form opposing Quattrocento all’antica taste, or have been oversimplified as a redundant object lacking defensive functionality. By analysing Michelozzo’s Palazzo Comunale in Montepulciano, a fifteenth-century castellated palace resembling Florence’s thirteenth-century Palazzo dei Priori, this thesis seeks to address the ways in which castellated forms substantially legitimised Florence’s political, military and cultural supremacy. Chapter One examines textual and pictorial representations of Florence’s castellation civic palaces and fortifications in order to capture Florentine perceptions of castellation. This investigation offers a conceptual framework, interpreting the profile of castellated civic palaces as an effective architectural affirmation of the contemporary idea of a powerful city-republic rather than being a symbol of despotism as it has been previously understood. Chapters Two and Three examine Montepulciano’s renovation project for the Palazzo Comunale within local and central administrative, socio-political, and military contexts during the first half of the fifteenth century, highlighting the Florentine features of Montepulciano’s town hall despite the town’s peripheral location within the Florentine dominion. -
The Palio and Cultural Cross-Over in Flag Design
TOKEN TOTEMS - FLAGS OF THE PALIO AND CULTURAL CROSS-OVER IN FLAG DESIGN A lecture delivered to the 23rd ICV in Yokohama, July 2009 illustrated with physical flags and images projected via MS PowerPoint. ABSTRACT Whilst it is a commonplace that flags are mobiles, and that their design ideally should take account of this – in their simplicity, distinctiveness and all the heraldic and chromatic conventions – less mundane uses of flags in various cultures (eg the “company” flags of the Asafo of Ghana, or the banners of Masonic Lodges) are often overlooked. The kinetics of flag display are a feature of Beijing Opera, and taken further in totalitarian liturgies. The civic rituals of medieval Europe are another rich resource of design ideas. Among these, the flags of the Palio held in Siena and other Italian cities stand out. The contrade banners of the Palio employ a design template seldom found in modern national flags. The pageantry of this earlier flag heritage has something to say even when minimalism in flag design is seen as practical and to be preferred. They present a challenge for vexillography. The paper examines the forms of the Palio flags, and the relationship to flags as tokens of totem. Some examples are given of cross-cultural application in national and other flags of the future. Tony Burton FLAGS AUSTRALIA [email protected] PO Box 233 MILSONS POINT NSW 1565 Australia BIOGRAPHICAL NOTE Tony Burton is a long standing member of Flags Australia and its executive, and the editor of its journal Crux Australis. He has a keen interest in the principles and practice of flag design. -
Siena Is a Famous Medieval City, Located in the Heart of Tuscany. It Is One of the Most Popular and Visited Cities in Tuscany As
SIENA Siena is a famous Medieval city, located in the heart of Tuscany. It is one of the most popular and visited cities in Tuscany as it is extremely rich in history and art and with strong local traditions such as the famous Palio di Siena, the biggest annual event taking place in the city twice a year in summer. 1 FOCUS ON HISTORY The legend says that Siena was founded by Senius and Ascanius, sons of Remus, of the famous twins Romulus and Remus, who founded Rome. Statues of the wolf feeding the twins are spotted throughout Siena. In 30 A.D. the Romans established a military outpost called Siena, which developed into a busy little trading post in the following years. The Lombards arrived in the 6th century A.D. , and the Franks also governed the city. Great works were carried out, the most important was the famous Via Francigena, the road which linked Rome to France , used by pilgrims and travellers; this greatly increased Siena’s importance. The Church was actively involved in governing the city, especially between the 9th and 11th centuries, but later the Sienese people claimed their right to govern and administer the city. Siena’s economic and military power grew enormously and inevitably friction grew between Siena and Florence, as both cities tried to enlarge their territory. There were many battles between the two cities between the 13th and 15th centuries. Eventually Siena was incorporated into the Florentine territory and administration. Despite both external disputes with neighbours and internal disputes over government, in the years from 1150 to 1300, great artists were discovered and the city was adorned with beautiful monuments such as the Cathedral, “Palazzo Pubblico” and “Torre del Mangia”. -
PDF & Printable Version ---Fun in Tuscany
PDF & printable version ------------------------------ Fun in Tuscany - tours for every taste SMALL GROUP & PRIVATE TOURS ALL YEAR ROUND Siena & Montalcino ------------------------ daytrip to the Brunello wine region! Daily departures by 8:15 am from Florence and Tuscany Private tour Prices: -------- 1-2 PAX [car] 520 €/person (all inclusive) 3-4 PAX [car] 780 €/person (all inclusive) 5-6 PAX [van] 1040 €/person (all inclusive) 7-8 PAX [van] 1200 €/person (all inclusive) Important details: --------------------- Easy & Secure Booking Instant confirmation Lowest price guaranteed Available all year round Transportation included Three courses lunch Full Private tour Departure from Florence Pick up all over Tuscany Departure: by 8:15 am Kids friendly tour Language: english Free Cancellation up to 24 hours in advance Tour Includes: ----------------- 1. Comfortable roundtrip transportation by AC 8-seater minivan or 4-seater car 2. Informative english speaking Fun in Tuscany tour guide 3. Visit to an authentic Brunello winery with tour of the estate and wine tasting 4. Guided visit to Montacino 5. Typical three courses tuscan lunch at local restaurant 6. Guided visit to Siena Itinerary: ----------- Wine art and history experience in the area of Siena! 8:00 am: Meeting point and check in will be on Via Curtatone n.9, in front of Cafe' Curtatone, a few minutes walk from the main Florence train station. Departure by 9:30am. Upon request and at an extra charge we can organize pick up at your villa in Tuscany or at your hotel in Florence. It is also possible to customize the time of departure. Please contact us with your requests. -
Download Our Itinerary About Siena and Surroundings
Siena and surrounding This is the itinerary for people who want to discover Siena and its surroundings. A SIENA C SAN GIMIGNIANO Siena was one of the most developed towns of The appearance of the thirteenth and fourteen- Europe in Medieval times and the inheritance of th-century Tuscany has remained intact here, so that this important past is a well-preserved historical walking the streets of the town seems like a voyage center. There is really so much to visit. The back in time. The entire town is a UNESCO shell-shape Piazza del Campo dominates World Heritage Site. San Gimignano must see the city centre and is the starting point of every places are Porta San Giovanni, located in the south visit. Twice a year (JUly 2 and August 16) Piazza side of San Gimignano, is an impressive door first del Campo hosts Siena’s Palio Horse Race. Visit finished in 1262. It’s one of the most beautiful ancient also the Torre del Mangia with its 102 doors of Italy. Piazza della Cisterna: you know metres built between 1325 and 1348, the Public you have arrived at this square when you see a big Palace built between 1298-1310 in brickwork cistern that was built in 1287. Piazza del Duomo with white elements in marble, the Duomo or (Cathedral Square): in the heart of San Gimignano we Cattedrale dell’Assunta and the Baptistery, the can see not only the cathedral but also Palazzo del Sanctuary of Saint Catherine of Siena, the Podestà, Palazzo del Popolo, the Loggia and various Basilica of San Domenico, the Com- medieval towers like Rognosa Tower, Chigi Tower, plex of Santa Maria della Scala that is Grossa Tower and Salvucci Towers. -
Bulgarini, Saint Francis, and the Beginnings of a Tradition
BULGARINI, SAINT FRANCIS, AND THE BEGINNING OF A TRADITION A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Laura Dobrynin June 2006 This thesis entitled BULGARINI, SAINT FRANCIS, AND THE BEGINNING OF A TRADITION by LAURA DOBRYNIN has been approved for the School of Art and the College of Fine Arts by Marilyn Bradshaw Associate Professor of Art History Charles McWeeney Dean, College of Fine Arts DOBRYNIN, LAURA, M.A., June 2006, Art History BULGARINI, SAINT FRANCIS, AND THE BEGINNING OF A TRADITION (110 pp.) Director of Thesis: Marilyn Bradshaw This thesis examines the influence of the fourteenth-century Sienese painter Bartolommeo Bulgarini through his depiction of Saint Francis of Assisi exposing his side wound. By tracing the development of this motif from its inception to its dispersal in selected Tuscan panel paintings of the late-1300’s, this paper seeks to prove that Bartolommeo Bulgarini was significant to its formation. In addition this paper will examine the use of punch mark decorations in the works of artists associated with Bulgarini in order to demonstrate that the painter was influential in the dissemination of the motif and the subsequent tradition of its depiction. This research is instrumental in recovering the importance of Bartolommeo Bulgarini in Sienese art history, as well as in establishing further proof of the existence of the hypothesized Sienese “Post-1350” Compagnia, a group of Sienese artists who are thought to have banded together after the bubonic plague of c.1348-50.