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Incisori Itineranti Nell'area Veneta Nel Seicento. Dizionario Bio-Bibliografico
UNIVERSITÀ DEGLI STUDI DI VERONA Incisori itineranti nell’area veneta nel Seicento. Dizionario bio-bibliografico di Luca Trevisan e Giulio Zavatta VERONA · MMXIII UNIVERSITÀ DEGLI STUDI DI VERONA Incisori itineranti nell’area veneta nel Seicento. Dizionario bio-bibliografico di Luca Trevisan e Giulio Zavatta VERONA · MMXIII Volume pubblicato con il contributo dell’Università di Verona nell’ambito del Prin 2008 Mobilità dei mestieri del libro in Italia tra il Quattrocento e il Seicento, Unità di Verona (responsabile: prof. Giancarlo Volpato) Le voci bio-bibliografiche sono state redatte da Luca Trevisan (M - Z) e Giulio Zavatta (A - L). Crediti fotografici: Biblioteca Panizzi (Reggio Emilia), figg. 1, 4, 5, 12 Luca Trevisan, figg. 8, 9, 11, 13, 14, 16 Giulio Zavatta, figg. 2, 3, 6, 7, 10, 15 Proprietà riservata © Copyright 2013, Università di Verona Impaginazione e stampa: Tipolitografia « La Grafica », Vago di Lavagno (Verona) ISBN 978-88-98513-25-3 Sommario 7 Giancarlo Volpato Una bella giornata con un pomeriggio felice 13 Giulio Zavatta Annotazioni sull’itineranza degli incisori del Seicento in area veneta 21 Luca Trevisan Appunti per l’incisione a Venezia nel XVII secolo: note di contesto 29 Dizionario bio-bibliografico 125 Iconografia 143 Bibliografia generale 151 Indice dei nomi Una bella giornata con un pomeriggio felice di Giancarlo Volpato Se Subiaco era stata l’aurora, Venezia fu l’alba dei libri a stampa: un’alba ra- diosa, splendente, ricca di straordinarie novità e che illuminò l’universo della cultura sino ad un mezzogiorno di grande fulgore, con un pomeriggio che s’avviò – lentamente e in un tempo piuttosto lungo – sino ad un tramonto con poca luce. -
Renaissance Art and Architecture
Renaissance Art and Architecture from the libraries of Professor Craig Hugh Smyth late Director of the Institute of Fine Arts, New York University; Director, I Tatti, Florence; Ph.D., Princeton University & Professor Robert Munman Associate Professor Emeritus of the University of Illinois; Ph.D., Harvard University 2552 titles in circa 3000 physical volumes Craig Hugh Smyth Craig Hugh Smyth, 91, Dies; Renaissance Art Historian By ROJA HEYDARPOUR Published: January 1, 2007 Craig Hugh Smyth, an art historian who drew attention to the importance of conservation and the recovery of purloined art and cultural objects, died on Dec. 22 in Englewood, N.J. He was 91 and lived in Cresskill, N.J. The New York Times, 1964 Craig Hugh Smyth The cause was a heart attack, his daughter, Alexandra, said. Mr. Smyth led the first academic program in conservation in the United States in 1960 as the director of the Institute of Fine Arts at New York University. Long before he began his academic career, he worked in the recovery of stolen art. After the defeat of Germany in World War II, Mr. Smyth was made director of the Munich Central Collecting Point, set up by the Allies for works that they retrieved. There, he received art and cultural relics confiscated by the Nazis, cared for them and tried to return them to their owners or their countries of origin. He served as a lieutenant in the United States Naval Reserve during the war, and the art job was part of his military service. Upon returning from Germany in 1946, he lectured at the Frick Collection and, in 1949, was awarded a Fulbright research fellowship, which took him to Florence, Italy. -
WRITING ABOUT EARLY RENAISSANCE WORKS of ART in VENICE and FLORENCE (1550-1800) Laura-Maria
BETWEEN TASTE AND HISTORIOGRAPHY: WRITING ABOUT EARLY RENAISSANCE WORKS OF ART IN VENICE AND FLORENCE (1550-1800) Laura-Maria Popoviciu A dissertation submitted in fulfillment of the requirements for the degree of Doctor of Philosophy in Combined Historical Studies The Warburg Institute University of London 2014 1 I declare that the work presented in this thesis is my own _______________________________ Laura-Maria Popoviciu 2 ABSTRACT My dissertation is an investigation of how early Renaissance paintings from Venice and Florence were discussed and appraised by authors and collectors writing in these cities between 1550 and 1800. The variety of source material I have consulted has enabled me to assess and to compare the different paths pursued by Venetian and Florentine writers, the type of question they addressed in their analyses of early works of art and, most importantly, their approaches to the re-evaluation of the art of the past. Among the types of writing on art I explore are guidebooks, biographies of artists, didactic poems, artistic dialogues, dictionaries and letters, paying particular attention in these different genres to passages about artists from Guariento to Giorgione in Venice and from Cimabue to Raphael in Florence. By focusing, within this framework, on primary sources and documents, as well as on the influence of art historical literature on the activity of collecting illustrated by the cases of the Venetian Giovanni Maria Sasso and the Florentine Francesco Maria Niccolò Gabburri, I show that two principal approaches to writing about the past emerged during this period: the first, adopted by many Venetian authors, involved the aesthetic evaluation of early Renaissance works of art, often in comparison to later developments; the second, more frequent among Florentine writers, tended to document these works and place them in their historical context, without necessarily making artistic judgements about them. -
In VENETIAN BAROQUE PAINTING
in VENETIAN BAROQUE PAINTING WORKING TITLE in VENETIAN BAROQUE PAINTING WORKING TITLE Organized by Contemporanea Progetti S.r.l. Via del Campofiore 106 50136 Florence tel +39 055 6802474 fax +39 055 6580200 www.contemporaneaprogetti.it Linda Carioni [email protected] In collaboration with Museo Querini Stampalia, Venice, Italy Copyright © 2019 Contemporanea Progetti. All rights reserved; intellectual and moral property of Contemporanea Progetti. No part of this book can be reproduced. The images are only included for illustrative purposes and in any case are not liable to article no. 1522 of current Italian regulation (Codice Civile art. 1522). ABOUT THE exhibition in brief It can be said that beginning in the 17th century, the sun began to set on the ‘Serenissima.’ The mighty Republic of Venice that had once dominated the seas and trade routes of the Eastern Mediterranean and beyond, now faced decline. A new rich world to the west had been discovered. Yet the myths of Venice – complex, compelling and pervasive - continued to influence the artistic currents of Venice. This is the Venice of artists such as Padovanino, Federico Cervelli, Pietro Liberi, Giulio Carpioni, Luca Giordano and Sebastiano Ricci to name but a few. In this transitional period, through a repertoire of classical mythology, Venetian painting expresses ethical and philosophical messages that exalt Venice as the ideal republic. Through myth and allegory, Venice had always identified itself with high ideals, as a place where justice prevailed, and had elected to present itself as such to the wider world. It is an artistic season defined by a stylistic revival inV enetian painting which was stalled in a phase of creative fatigue. -
Old Master Paintings Wednesday 30 October 2013 at 1Pm Knightsbridge, London
Old Master Paintings Wednesday 30 October 2013 at 1pm Knightsbridge, London Old Master Paintings Wednesday 30 October 2013 at 1pm Knightsbridge, London Bonhams Enquiries Customer Services Montpelier Street [email protected] Monday to Friday 8.30am to 6pm Knightsbridge +44 (0) 20 7468 8307 +44 (0) 20 7447 7447 London SW7 1HH www.bonhams.com Specialists Please see back of catalogue Head of Sale: for important notice to bidders Viewing Carlotta Mascherpa Sunday 27 October +44 (0) 20 7468 8307 [email protected] Illustrations 11am to 3pm Front cover: Lot 206 (detail) Monday 28 October Back cover: Lot 241 (detail) 9am to 4.30pm Andrew McKenzie Tuesday 29 October +44 (0) 20 7468 8261 [email protected] Live online bidding is 9am to 4.30pm available for this sale Wednesday 30 October Caroline Oliphant Please email [email protected] 9am to 11am +44 (0) 20 7468 8271 with “Live bidding” in the subject [email protected] line 48 hours before the auction Bids to register for this service. +44 (0) 20 7447 7448 David Dallas +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8336 To bid via the internet please visit [email protected] www.bonhams.com Lisa Greaves Please provide details of the lots +44 (0) 20 7468 8325 on which you wish to place bids at [email protected] least 24 hours prior to the sale. New bidders must also provide Poppy Harvey-Jones proof of identity when submitting +44 (0) 20 7468 8308 bids. Failure to do this may result [email protected] in your bids not being processed. -
Elenco Delle Pubblicazioni Di Rodolfo Pallucchini 1930
ELENCO DELLE PUBBLICAZIONI DI RODOLFO PALLUCCHINI 1930. Les Maîtres d'autrefois di Fromentin, in “Convivium”, n. 5, pp. 717-732. 1931. La storia delle arti del disegno di G.C. Winckelmann, in “Convivium”, n. 5, pp. 656-673. Una Madonna di Giambattista Cima da Conegliano, in “Rivista d'Arte”, nn. 1-2, pp. 229-238. Il pittore Giuseppe Angeli, in “Rivista di Venezia”, n. 11, pp. 421-432. 1932. Antonio Marinetti detto il Chiozzotto, in “Rivista di Venezia”, n. 1, pp. 27-34. Francesco Daggiù detto il Cappella, in “Rivista di Venezia”, n. 7, pp. 315-326. Domenico Fedeli detto il Maggiotto, in “Rivista di Venezia”, n. 11, pp. 485-495. Federico Bencovich, in “Rivista d'Arte”, n. 3, pp. 301-320. 1933. Attorno al Piazzetta, in “Rivista di Venezia”, n. 12, pp. 565-578. Di una pittrice veneziana del Settecento: Giulia Lama, in “Rivista d'Arte”, nn. 3-4, pp. 399-413. Recensione a: R. BUSCAROLI, La pittura romagnola del Quattrocento, in “Ateneo Veneto”, pp. 204- 209. Pizzati, Giambattista; Pisbolica, Jacopo; Preti, Francesco Maria: “voci” per l’Allgemeines Lexicon der bildenden Künstler... begründet von U. Thieme F. Becker, Leipzig, vol. XXVII. 1934. L'arte di Giovanni Battista Piazzetta, Bologna, G. Maylender. Contributo alla biografia di Federico Bencovich, in “Atti del R. Istituto Veneto di Scienze, Lettere ed Arti”, 1933-1934, Tomo XCII, parte II, pp. 1491-1511. Un busto in terracotta di Danese Cattaneo, in “L'Arte”, pp. 66-74. Il pittore Francesco Polazzo, in “Rivista di Venezia”, n. 7, pp. 327-342. Sempre a proposito del Polazzo, in “Rivista di Venezia”, n. -
Renaissance and Baroque Art & Architecture
Renaissance and Baroque Art & Architecture The Libraries of Professor Craig Hugh Smyth Late Director of the Institute of Fine Arts, New York University; Director, I Tatti, Florence; Ph.D., Princeton University Professor Robert Munman Associate Professor Emeritus of the University of Illinois; Ph.D., Harvard University 2578 titles in circa 3000 physical volumes Craig Hugh Smyth Craig Hugh Smyth, 91, Dies; Renaissance Art Historian By ROJA HEYDARPOUR Published: January 1, 2007 Craig Hugh Smyth, an art historian who drew attention to the importance of conservation and the recovery of purloined art and cultural objects, died on Dec. 22 in Englewood, N.J. He was 91 and lived in Cresskill, N.J. The New York Times, 1964 Craig Hugh Smyth The cause was a heart attack, his daughter, Alexandra, said. Mr. Smyth led the first academic program in conservation in the United States in 1960 as the director of the Institute of Fine Arts at New York University. Long before he began his academic career, he worked in the recovery of stolen art. After the defeat of Germany in World War II, Mr. Smyth was made director of the Munich Central Collecting Point, set up by the Allies for works that they retrieved. There, he received art and cultural relics confiscated by the Nazis, cared for them and tried to return them to their owners or their countries of origin. He served as a lieutenant in the United States Naval Reserve during the war, and the art job was part of his military service. Upon returning from Germany in 1946, he lectured at the Frick Collection and, in 1949, was awarded a Fulbright research fellowship, which took him to Florence, Italy. -
SOMMARIO Lettera Di Rodolfo Pallucchini a Don Mario Saccardo
SOMMARIO Lettera di Rodolfo Pallucchini a Don Mario Saccardo XVII Presentazione di Marcello Fracanzani XIX Prefazione di Franco Barbieri XXI Nota introduttiva XXV Tavola delle abbreviazioni XXVII CAP. I. RESTAURI ALLA CANONICA E ALLA CHIESA DI S. FAUSTINO E PROVVISTE DI DIPINTI 1 Cristoforo Verda, a cui si deve la trasformazione dell'architettura interna della demolita chiesa di S. Bortolo (1667), racconcia la casa canonica e la chiesa di S. Faustino. -Qualche dato biografico su Bartolomeo Bongiovanni. -Notizie sugli architetti Giacomo e Vigilio Verda. -Il parroco Giamberlanno si procura (1668-1669) vari dipinti, tra cui cinque eseguiti da Giulio Carpioni ed altri da Giovanni Cozza ("arlievo di Carpioni"), Giovanni da Castelfranco, Giovanni Arnaldi e Giacomo Romanello (dei quali alcuni dati). - Assestamento del sagrato della chiesa ad opera di Antonio Bianchi (di cui, come del nipote Michelangelo, alcuni dati e l'albero genealogico) con la sistemazione di due statue scolpite da Bernardo Falconi (1676). -Del medesimo Bianchi l'altare dell'oratorio (non più esistente) del castello di Marostica (1663-1665), come pure (sotto l'aspetto soltanto esecutivo) l'altare (progettato dall'architetto Antonio Pizzocaro) dell'oratorio dei Proti a Vicenza (1670-1671). -Altra provvista (1671-1672) di dipinti da parte di Giamberlanno, tra cui una copia di un dipinto di Carpioni eseguita da un certo Nicola (da credersi Nicola Miozzi) e un S. Benedetto compiuto da Cornelio Dusman. -Dati biografici riguardanti i medesimi Miozzi e Dusman, gli scrittori Pietro Baldarini, Orazio Vecchia e il pittore Lodovico Buffetti. -Il ritratto del musicista Antonio Grotto eseguito da Giuseppe Buffetti. -Un "sepolcro" di legno intagliato da Pietro Parente (1678). -
Alberto Carlieri
Maison d ’Art Tableaux anciens - Objets d ’art Park Palace - 27, avenue de la Costa - MC 98000 Monaco Tel (377) 97 97 11 60 Fax (377) 97 97 11 61 www.oldmasters.com [email protected] LA PITTURA ELOQUENTE O miracol de l'Arte! Il silenzio è loquace, la pittura eloquente, e parla, e tace. O miracle of Art! Silence can speak at will, and painting be eloquent – it can hold forth, or just be still. (G. B. Marino, La Galeria, Venezia 1619, ed. 1675, p. 145) Maison d'Art - Monaco (Monte Carlo) 16 giugno - 16 luglio 2010 In copertina / Cover illustration LA PITTURA ELOQUENTE Bernardo Strozzi, La giardiniera (particolare /detail), cat. 6. Maison d’Art – Monaco (Monte Carlo) 16 giugno - 16 luglio 2010 Cura del catalogo / Catalogue edited by Tiziana Zennaro Autori delle biografie e delle schede / Authors of Catalogue biographies and entries Francesca Baldassari [F. B.] Sandro Bellesi [S. B.] Alberto Crispo [A. C.] Frank Dabell [F. D.] Camillo Manzitti [C. M.] Maurizio Marini [M. M.] Laura Muti [L. M.] Maria Angela Novelli [M. A. N.] Filippo Pedrocco [F. P.] Linda Pisani [L. P.] Annalisa Scarpa [A. S.] Giancarlo Sestieri [G. S.] Robert B. Simon [R. B. S.] Nicola Spinosa [N. S.] Dario Succi [D. S.] Marietta Vinci-Corsini [M. V. C.] Alessandro Zacchi [A. Z.] Tiziana Zennaro [T. Z.] Traduzioni / Tanslations Frank Dabell (Italiano-Inglese): pp. 11-46, 53, 59-62, 75-128 Tiziana Zennaro (Inglese-Italiano): pp. 9, 47-51, 54-58, 63-73, 131-138 Redazione del catalogo / Editing Frank Dabell, Beatrice Sibylle Pocock, Tiziana Zennaro Coordinamento della mostra / Exhibition Coordinator Silvia Bonfante Allestimento della mostra / Installation Fabrizio Soldano Realizzazione grafica e fotolito / Graphics Ellelle Studio - Sanremo © Copyright 2009 by Edizioni Maison d’Art Monaco (Monte Carlo) Tutti i diritti riservati/ All rights reserved INDICE / INDEX Maestro del San Paolo Perkins .......................................................................................................11 San Giacomo Maggiore / Saint James the Greater [cat. -
The Vanderbilt Collection of Drawings in the East Galleries
. METROPOLITAN MUSEUM OF ART. HANDBOOK No. 8. The Vanderbilt Collection OF DRAWINGS, IN THE EAST G-ALLERIES. (FIRST EDITION.) PUBLISHED BY THE METROPOLITAN MUSEUM OF ART. M! A.Y, 1891. RHODE ISLAND SCHOOL OF DESIGN METROPOLITAN MUSEUM OF ART. HANDBOOK No. 8. The Vanderbilt Collection D RAWS MGS, IN THE EAST G-ALLERIES. ( FIRST EDITION.) PUBLISHED BY THE METROPOLITAN MUSEUM OF ART. MA.Y. 18S1. , INTRODUCTORY NOTE. This collection was begun in the latter part of the last century by Count Maggiori Bologna a learned scholar and connoisseur , of , and a member of the Academy of Sciences in that city. It has gradually been increased by additions from the celebrated collections Signor Marietta Professor Angelini Doctor Guastalla and Mr. of , , fames Jackson Jarves our Vice-Consul at Florence. , In 1880, it was purchased from the latter gentleman and generously presented to the Museum by MR. CORNELIUS VANDERBILT one of its Trustees. The attributions of authorship and the division into schools are by former owners, while a general chronological sequence in each school was attempted here. The practical difficulties in carrying out this plan, however, were so great that it was abandoned in some cases. In choosing a method of displaying the collection, the aim was to give all possible facilities for study and copying and yet to prevent hand- ling. The next edition of the handbook will probably contain an essay upon the period of Italian painting illustrated by this collection. '_ ,'.) INDEX BY CASES AND SCHOOLS. WEST SIDE. EAST SIDE. I. 1-19. Roman. XVII. 338-350. II. 20-49. -
The Samuel H. Kress Foundation Records
The Samuel H. Kress Foundation records The Samuel H. Kress Foundation Archive 174 East 80th Street New York, NY 10075 www.kressfoundation.org/archive/finding_aid/default.htm © 2016 Samuel H. Kress Foundation. All rights reserved. Samuel H. Kress Foundation, Publisher Finding aid prepared by the staff of the Samuel H. Kress Foundation, 2016. 1 TABLE OF CONTENTS 4 Collection Summary 4 Arrangement 5-8 Biographical Note 8-10 Scope and Content 10 Restrictions 11 Related Material 11 Administrative Information Series Descriptions & Container List 11-62 Series 1. Kress Collection (1683-2016) Subseries 1 Paintings 2 Sculpture 3 Watercolors & Drawings 4 Decorative Arts 5 Medals 6 Frames 7a Correspondence 7b Dealer Correspondence & Bills of Sale 8 Inventories & Valuations 9 Foundation Loans 10 Off Inventory 63-74 Series 2. Kress Institutions (1924-2016) Subseries 1 National Gallery of Art, Washington DC 2 Regional Collections 3 Special Collections 4 Study Collections 5 Gift Collections 6 Considered Institutions 7 Indentures 75-77 Series 3. Exhibitions & Publications (1924-1993) Subseries 1 Traveling Exhibitions 2 Kress Collection Catalogue 3 Other Publications 4 A Gift to America 5 Reproduction Permissions 2 78-80 Series 4. Kress Foundation (1929-2015) Subseries 1 Kress Foundation 2a Grants: Early Grants 2b Grants: Restoration Grants 3 Annual Reports 4 Digital & Audio-Visual Material 81 Series 5. Kress Family 82 Series 6. Kress Stores 83-86 Series 7. Oversize Material Subseries 1 Kress Collection 2 Kress Institutions 3 Exhibitions & Publications 4 Kress Foundation 5 Kress Family & Stores 3 Collection Summary Title: The Samuel H. Kress Foundation records Dates: 1683-2016 Bulk Dates: 1930-1970 Quantity: Approximately 175 linear feet. -
Bacchanal Scene, Painting by Giulio Carpioni
anticSwiss 30/09/2021 00:25:14 http://www.anticswiss.com Bacchanal scene, painting by Giulio Carpioni FOR SALE ANTIQUE DEALER Period: 17° secolo -1600 Ars Antiqua srl Milano Style: Altri stili +39 02 29529057 393664680856 Height:37cm Width:40cm Material:Olio su tela Price:2600€ DETAILED DESCRIPTION: Attr. to Giulio Carpioni (Venice, 1613 - Vicenza, 1678) Baccanale Oil on canvas, 37 x 40 cm - with frame 54 x 56.5 cm The canvas in question shows strong stylistic and formal references to the work of Giulio Carpioni. The painter was born in Venice in 1613 and trained in Padovanino's workshop (Padua, 1588 - Venice, 1649), which he also followed in a trip to Bergamo in 1631, coming into contact with that taste for reality, typical of the Lombardy-Venetians of the moment. Carpioni's style is strongly characterized, interpreter of the great Venetian tradition in the classicist sense, with influences linked to the Bolognese such as Albani (Bologna, 1578 - 1660) and Domenichino (Bologna, 1581 - Naples, 1641) or the experience of Poussin (Les Andelys, 1594 - Rome, 1665). This influence led Longhi himself to hypothesize an undocumented journey to Rome by Carpioni when he was still young. Since 1638 it is witnessed in Vicenza, the city where it will reside permanently until 1660. Carpioni's painting is cultured, refined and intellectual, linked to classical literature and mythology, aimed at subjects with timeless charm. The palette, as in the work in question, is characterized by a delicate and elegant tonal choice, where the combinations of pinks, blues, greens, soft in gradation but effective and present as a whole, give the canvas an atmosphere with an idyllic flavor, suspended in the motionless time of the classical world, like the subject depicted.