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NAPOLI Palazzi E Castelli, Chiese, Complessi Archeologici ©Ministero Dei Beni E Delle Attività Culturali E Del Turismo -Bollettino D'arte
©Ministero dei beni e delle attività culturali e del turismo -Bollettino d'Arte NAPOLI Palazzi e Castelli, Chiese, Complessi archeologici ©Ministero dei beni e delle attività culturali e del turismo -Bollettino d'Arte PALAZZI E CASTELLI Albergo dei Poveri (15 dicembre 1980- 30 gennaio 1981) dolo rata ', scultura lignea, cm. ng X 4 5, ' Immaco Crollo dell'infermeria, di parte del refettori<;> e di am lata' olio su tela, cm. 77 x 103; manifattura napole bienti circostanti del primo e del secondo plano. Gra tana secolo XIX, 'Mosè che fa scaturire l'acqua dalla vemente compromessa la statica dell'edificio per . tutta roccia', trapunte in tessuto, cm. 1S7 X 23S; Anonimo inizi secolo XX, ' Ritratto di popolana ', olio su tela, l'ala sinistra. Sono state ritira~e a scopo cautela~1vo e collocate in temporaneo depos1to presso la Sol?nnten cm. 67 x 79; Anonimo secolo XX, ' Sa~ Giuseppe con denza per i Beni Artistici e Storici le seguenti opere il Bambino', stampa, cm. 76 X 62; mamfattura napole (verb. 318/So, 324/8o! I5I/8r) (fig._ g): . , . tana secolo XX, edicola, legno, cm. 155 X So; Passo copia da F. Sohmena, Il c1eco d1 Genco , oho relli, ' Il neonato ', stampa, cm. 64 X S8; F. ~antafede, 'Trinità', olio su tavola, cm. 95 X 153; cop1a da M. su tela, cm. 131 X 177; Anonimo secolo XVI, : C::risto Pino ' Crocifissione ', olio su tela, cm. 104 X 14 5; portacroce ', olio su tavola, cm. 75 X 95; Anomrm se da F. De Mura, ' Adorazione dei pastori ', olio colo XVII, ' Martirio di un Santo ', o!io s~ tela, cm. -
A Moral Persuasion: the Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013
A MORAL PERSUASION: THE NAZI-LOOTED ART RECOVERIES OF THE MAX STERN ART RESTITUTION PROJECT, 2002-2013 by Sara J. Angel A thesis submitted in conformity with the requirements for the degree of PhD Graduate Department Art University of Toronto © Copyright by Sara J. Angel 2017 PhD Abstract A Moral Persuasion: The Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013 Sara J. Angel Department of Art University of Toronto Year of convocation: 2017 In 1937, under Gestapo orders, the Nazis forced the Düsseldorf-born Jewish art dealer Max Stern to sell over 200 of his family’s paintings at Lempertz, a Cologne-based auction house. Stern kept this fact a secret for the rest of his life despite escaping from Europe to Montreal, Canada, where he settled and became one of the country’s leading art dealers by the mid-twentieth century. A decade after Stern’s death in 1987, his heirs (McGill University, Concordia University, and The Hebrew University of Jerusalem) discovered the details of what he had lost, and how in the post-war years Stern travelled to Germany in an attempt to reclaim his art. To honour the memory of Max Stern, they founded the Montreal- based Max Stern Art Restitution Project in 2002, dedicated to regaining ownership of his art and to the study of Holocaust-era plunder and recovery. This dissertation presents the histories and circumstances of the first twelve paintings claimed by the organization in the context of the broader history of Nazi-looted art between 1933-2012. Organized into thematic chapters, the dissertation documents how, by following a carefully devised approach of moral persuasion that combines practices like publicity, provenance studies, law enforcement, and legal precedents, the Max Stern Art Restitution Project set international precedents in the return of cultural property. -
Objects That Made History a Material Microhistory of the Sant Crist De Lepant (Barcelona, 1571–2017)
Forum Kritische Archäologie 7 (2018) Objects that Made History Objects that Made History A Material Microhistory of the Sant Crist de Lepant (Barcelona, 1571–2017) Stefan Hanß Zitiervorschlag Stefan Hanß. 2018. Objects that Made History. A Material Microhistory of the Sant Crist de Lepant (Barcelona, 1571–2017). Forum Kritische Archäologie 7:18– 46 URI http://www.kritischearchaeologie.de/repositorium/fka/2018_7_2_Hanss.pdf DOI https://doi.org/10.6105/journal.fka.2018.7.2 ISSN 2194-346X Dieser Beitrag steht unter der Creative Commons Lizenz CC BY-NC-ND 4.0 (Namensnennung – Nicht kommer- ziell – Keine Bearbeitung) International. Sie erlaubt den Download und die Weiterverteilung des Werkes / Inhaltes unter Nennung des Namens des Autors, jedoch keinerlei Bearbeitung oder kommerzielle Nutzung. Weitere Informationen zu der Lizenz finden Sie unter: http://creativecommons.org/licenses/by-nc-nd/4.0/deed.de. Forum Kritische Archäologie 7 (2018) Objects that Made History Objects that Made History A Material Microhistory of the Sant Crist de Lepant (Barcelona, 1571–2017) Stefan Hanß University of Cambridge Abstract This article charts the possible contributions of history to the cross-disciplinary theory and practice of critical ar- chaeology. Focusing on a crucifix widely associated with the Battle of Lepanto (1571) on display in the cathedral of Barcelona, the article outlines a material microhistory. Microhistorians’ sense for the complexity of the past, the problems of historical knowledge, the implications of doing history, and their experiments with narratives help to draft reflective and provocative narratives about the past life of objects – and their consequences for the present. The material microhistory of the Lepanto crucifix in Barcelona shifts traditional perspectives. -
Arts Academy in Split
ASMOSIA PROCEEDINGS: ASMOSIA I, N. HERZ, M. WAELKENS (eds.): Classical Marble: Geochemistry, Technology, Trade, Dordrecht/Boston/London,1988. e n ASMOSIA II, M. WAELKENS, N. HERZ, L. MOENS (eds.): o t Ancient Stones: Quarrying, Trade and Provenance – S Interdisciplinary Studies on Stones and Stone Technology in t Europe and Near East from the Prehistoric to the Early n Christian Period, Leuven 1992. e i ASMOSIA III, Y. MANIATIS, N. HERZ, Y. BASIAKOS (eds.): c The Study of Marble and Other Stones Used in Antiquity, n London 1995. A ASMOSIA IV, M. SCHVOERER (ed.): Archéomatéiaux – n Marbres et Autres Roches. Actes de la IVème Conférence o Internationale de l’Association pour l’Étude des Marbres et s Autres Roches Utilisés dans le Passé, Bordeaux-Talence 1999. e i d ASMOSIA V, J. HERRMANN, N. HERZ, R. NEWMAN (eds.): u ASMOSIA 5, Interdisciplinary Studies on Ancient Stone – t Proceedings of the Fifth International Conference of the S Association for the Study of Marble and Other Stones in y Antiquity, Museum of Fine Arts, Boston, June 1998, London r 2002. a n ASMOSIA VI, L. LAZZARINI (ed.): Interdisciplinary Studies i on Ancient Stone – ASMOSIA VI, Proceedings of the Sixth l p International Conference of the Association for the Study of i Marble and Other Stones in Antiquity, Padova 2002. c s i ASMOSIA VII, Y. MANIATIS (ed.): Actes du VIIe colloque in- d ternational de l’ASMOSIA, Thasos 15-20 septembre 2003, r Proceedings of the 7th International Conference of e ASMOSIA XI Association for the Study of Marble and Other Stones in t n Interdisciplinary Studies on Ancient Stone Antiquity, Thassos 15-20 septembre 2003, BCH supplement I 51, Athènes 2009. -
Brixia Sacra Isidoro Clario.Qxd
BRIXIA SACRA MEMORIE STORICHE DELLA DIOCESI DI BRESCIA COMUNICAZIONE Si informano tutti i soci che l’assemblea annuale dell’Associazione per la sto- ria della Chiesa bresciana è convocata per sabato 3 marzo 2007, alle ore 10.00, presso la sede dell’Associazione a Brescia (in via Gasparo da Salò, 13 - tel. 030.40233). Saranno in discussione i seguenti argomenti posti all'ordine del giorno: - relazione annuale del Presidente e del Direttore della rivista - iniziative avviate per sostenere «Brixia sacra» - rinnovo delle cariche sociali - varie ed eventuali. Si ricorda, inoltre, che in quell’occasione sarà possibile rinnovare l’adesione all’Associazione, condizione indispensabile per ricevere la rivista «Brixia sacra»; la quota associativa annuale per il 2007 è fissata in € 30,00, da versare sul conto corrente postale n. 18922252, intestato all’Associazione per la storia della Chiesa bresciana (via Gasparo da Salò, 13 - 25122 Brescia). ASSOCIAZIONE PER LA STORIA DELLA CHIESA BRESCIANA FONDAZIONE BIBLIOTECA MORCELLI - PINACOTECA REPOSSI COMUNE DI CHIARI Isidoro Clario 1495ca-1555 umanista teologo tra Erasmo e la Controriforma Un bilancio nel 450° della morte Introduzione di ADRIANO PROSPERI a cura di FAUSTO FORMENTI GIUSEPPE FUSARI Atti della giornata di studio (Chiari, 22 ottobre 2005) Premessa L’aver dato i natali a Isidoro Clario, al secolo Taddeo Cucchi, è motivo di orgoglio per i clarensi. Già nei secoli XV e XVI la nostra città, con le sue rinomate scuole, era in grado di offrire a dei giovani di talento l’opportu- nità di emergere e di affermarsi. Altri illustri contemporanei di Isidoro, che hanno in comune le radici clarensi, si sono infatti guadagnati un posto di rilievo nell’ambito della cultura del tempo: Fausto Sabeo, Giovita Rapicio, Ludovico Alessandrini. -
Bartolomeo Maranta's 'Discourse' on Titian's Annunciation in Naples: Introduction1
Bartolomeo Maranta’s ‘Discourse’ on Titian’s Annunciation in Naples: introduction1 Luba Freedman Figure 1 Titian, The Annunciation, c. 1562. Oil on canvas, 280 x 193.5 cm. Naples: Museo Nazionale di Capodimonte (on temporary loan). Scala/Ministero per i Beni e le Attività culturali/Art Resource. Overview The ‘Discourse’ on Titian’s Annunciation is the first known text of considerable length whose subject is a painting by a then-living artist.2 The only manuscript of 1 The author must acknowledge with gratitude the several scholars who contributed to this project: Barbara De Marco, Christiane J. Hessler, Peter Humfrey, Francesco S. Minervini, Angela M. Nuovo, Pietro D. Omodeo, Ulrich Pfisterer, Gavriel Shapiro, Graziella Travaglini, Raymond B. Waddington, Kathleen M. Ward and Richard Woodfield. 2 Angelo Borzelli, Bartolommeo Maranta. Difensore del Tiziano, Naples: Gennaro, 1902; Giuseppe Solimene, Un umanista venosino (Bartolomeo Maranta) giudica Tiziano, Naples: Società aspetti letterari, 1952; and Paola Barocchi, ed., Scritti d’arte del Cinquecento, Milan- Naples: Einaudi, 1971, 3 vols, 1:863-900. For the translation click here. Journal of Art Historiography Number 13 December 2015 Luba Freedman Bartolomeo Maranta’s ‘Discourse’ on Titian’s Annunciation in Naples: introduction this text is held in the Biblioteca Nazionale of Naples. The translated title is: ‘A Discourse of Bartolomeo Maranta to the most ill. Sig. Ferrante Carrafa, Marquis of Santo Lucido, on the subject of painting. In which the picture, made by Titian for the chapel of Sig. Cosmo Pinelli, is defended against some opposing comments made by some persons’.3 Maranta wrote the discourse to argue against groundless opinions about Titian’s Annunciation he overheard in the Pinelli chapel. -
Nuovi Studi Rivista Di Arte Antica E Moderna 20
NUOVI STUDI RIVISTA DI ARTE ANTICA E MODERNA 20 2014 anno XIX REDAZIONE ANDREA BACCHI DANIELE BENATI ANDREA DE MARCHI FRANCESCO FRANGI GIANCARLO GENTILINI ALESSANDRO MORANDOTTI Si ringrazia Milvia Bollati per l’aiuto nella redazione di questo volume COMITATO CONSULTIVO INTERNAZIONALE KEITH CHRISTIANSEN EVERETT FAHY MICHEL LACLOTTE JENNIFER MONTAGU MAURO NATALE SERENA ROMANO ERICH SCHLEIER ANNE MARKHAM SCHULZ TABULA GRATULATORIA Silvana Bareggi Antonio Barletta Ezio Benappi Edoardo Bosoni Luigi Buttazzoni e Roeland Kollewijn Maurizio Canesso Carlo Cavalleri Giancarlo e Andrea Ciaroni Ferdinando Colombo Giovanni Cova Minotti Fabio De Michele Gerolamo Etro Gianni e Cristina Fava Paola Ferrari Enrico Frascione con Federico e Sasha Gandolfi Vannini Marco Galliani, Profilati spa Luigi Gambaro Matteo Lampertico Silvano Lodi jr. Mario, Ruggero e Marco Longari Jacopo Lorenzelli Silvio Maraz Sascha Mehringer Alfredo e Fabrizio Moretti Gianna Nunziati Carlo Orsi Walter Padovani Andreas Pittas Huberto Poletti Luca e Patrizia Pozzi Davide Sada Alvaro Saieh Simonpietro Salini Giovanni Sarti Tiziana Sassoli Pier Francesco Savelli Mario Scaglia, Sit spa Bruno Scardeoni Rob e Paul Smeets Edoardo Testori Marco Voena Si ringrazia per il sostegno Intesa Sanpaolo © 2014 TIPOGRAFIA EDITRICE TEMI S.A.S. - Tutti i diritti riservati Direttore responsabile: Luca Bacchi Registrazione nr. 912 presso il Tribunale di Trento Pubblicazione annuale. Euro 60,00 Progetto grafico: Paolo Fiumi e Gabriele Weber. Realizzazione a cura della redazione Selezioni colore e bicromia: -
Raiders of the Lost Art Paper
Raiders of the Lost Art: The Monuments Men and Their Legacy Julia C. Fischer Introduction In the last several years, the stories of the Monuments Men have become more widely known. Lynn Nicholas’ seminal book on the fate of art in World War II, The Rape of Europa: The Fate of Europe’s Treasures in the Third Reich and the Second World War, was made into the highly acclaimed 2008 documentary of the same name.1 In 2010 and 2013, Robert M. Edsel published two books that focused exclusively on the plight and mission of the Monuments Men in Europe: The Monuments Men: Allied Heroes, Nazi Thieves, and the Greatest Treasure Hunt in History and Saving Italy: The Race to Rescue a Nation’s Treasures from the Nazis respectively.2 George Clooney brought the Monuments Men to an even larger audience in 2014 with his Hollywood fictionalization of Edsel’s The Monuments Men, starring Matt Damon, Bill Murray, and Cate Blanchett. As a result, many are now familiar with the Monuments Men of World War II and their mission to protect sites of cultural importance and to recover and return works of art stolen by Hitler and the Nazis. As this paper will demonstrate, there is much more to the story of the Monuments Men than the recent Hollywood film. This paper will first focus on Adolf Hitler’s relationship with art and his grand designs for a super museum, or the Führermuseum, in his hometown of Linz, Austria. In order to fill the Führermuseum with the greatest artworks in Europe, Hitler quickly realized that he would have to steal from museums, collectors, and dealers. -
Coloured Marbles in the Neapolitan Pavements (16Th and 17Th Centuries): the Church of Santi Severino E Sossio
Coloured Marbles in the Neapolitan Pavements (16th and 17th Centuries): the Church of Santi Severino e Sossio Bugini, Roberto; Folli, Luisa; Solito, Martino Source / Izvornik: ASMOSIA XI, Interdisciplinary Studies on Ancient Stone, Proceedings of the XI International Conference of ASMOSIA, 2018, 275 - 280 Conference paper / Rad u zborniku Publication status / Verzija rada: Published version / Objavljena verzija rada (izdavačev PDF) https://doi.org/10.31534/XI.asmosia.2015/02.11 Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:123:980929 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-07 Repository / Repozitorij: FCEAG Repository - Repository of the Faculty of Civil Engineering, Architecture and Geodesy, University of Split ASMOSIA PROCEEDINGS: ASMOSIA I, N. HERZ, M. WAELKENS (eds.): Classical Marble: Geochemistry, Technology, Trade, Dordrecht/Boston/London,1988. e n ASMOSIA II, M. WAELKENS, N. HERZ, L. MOENS (eds.): o t Ancient Stones: Quarrying, Trade and Provenance – S Interdisciplinary Studies on Stones and Stone Technology in t Europe and Near East from the Prehistoric to the Early n Christian Period, Leuven 1992. e i ASMOSIA III, Y. MANIATIS, N. HERZ, Y. BASIAKOS (eds.): c The Study of Marble and Other Stones Used in Antiquity, n London 1995. A ASMOSIA IV, M. SCHVOERER (ed.): Archéomatéiaux – n Marbres et Autres Roches. Actes de la IVème Conférence o Internationale de l’Association pour l’Étude des Marbres et s Autres Roches Utilisés dans le Passé, Bordeaux-Talence 1999. e i d ASMOSIA V, J. HERRMANN, N. HERZ, R. NEWMAN (eds.): u ASMOSIA 5, Interdisciplinary Studies on Ancient Stone – t Proceedings of the Fifth International Conference of the S Association for the Study of Marble and Other Stones in y Antiquity, Museum of Fine Arts, Boston, June 1998, London r 2002. -
La Basilica Di Santa Restituta a Napoli E Il Suo Arredo Medievale
MEZZOGIORNO MEDIEVALE VII G. Corso, A. Cuccaro, C. D’Alberto LA BASILICA DI SANTA RESTITUTA A NAPOLI E IL SUO ARREDO MEDIEVALE Prefazione di Vinni Lucherini Edizioni ZiP MEZZOGIORNO MEDIEVALE Collana di studi storico-artistici a cura di Pio Francesco Pistilli LA BASILICA DI SANTA RESTITUTA A NAPOLI E IL SUO ARREDO MEDIEVALE G. Corso, A. Cuccaro, C. D’Alberto Stampato con il contributo di DIPARTIMENTO DI STORIA DELL’ARTE E SPETTACOLO Progetto grafico e realizzazione ZiP Adv - Pescara Finito di stampare nel mese di novembre 2012 ISBN 9788897131069 Tutti i diritti di riproduzione sono riservati. L’editore si © 2012 ZiP Adv - PE scusa per le eventuali omissioni ed è a disposizione di coloro che eventualmente non siano stati citati. SOMMARIO Prefazione di Vinni Lucherini 7 LA CATTEDRALE COSTANTINIANA DI NAPOLI. UN’INTRODUZIONE AD UN GRANDE TEMA STORIOGRAFICO Alessio Cuccaro 17 BASILICAM IN CIVITATEM NEAPOLIS LA VICENDA ARCHITETTONICA DELLA CATTEDRALE PALEOCRISTIANA NEL CONTESTO TOPOGRAFICO DELL’INSULA EPISCOPALIS Giorgia Corso 77 LA CATTEDRALE IN ETÀ ROMANICA. INDAGINI SULLE SOPRAVVIVENZE ARTISTICHE Claudia D’Alberto 143 LA MADONNA DEL PRINCIPIO IN SANTA RESTITUTA: IL CULTO EZIOLOGICO DELLA CATTEDRALE ANGIOINA TAVOLE 175 Bibliografia generale 193 Indice dei luoghi 215 Indice dei nomi 219 Indice dei temi, soggetti e attributi iconografici 221 LA MADONNA DEL PRINCIPIO IN SANTA RESTITUTA. IL CULTO EZIOLOGICO DELLA NUOVA CATTEDRALE ANGIOINA Claudia D’Alberto La storia angioina della basilica di Santa Restituta può essere letta in controluce attraverso il mosai- co di Santa Maria del Principio (tav. VII). Questo, squarciando la veste barocca dell’edificio, testi- monia grazie alla sua natura parlante e soprattutto al suo complesso e raffinato rapporto con la fonte letteraria trecentesca, che è il Chronicon Sanctae Mariae de Principio, la nascita di un nuovo culto, ovverosia del culto pseudo-paleocristiano di Santa Maria del Principio. -
Saving Van Eyck and Leonardo Da Vinci: the Power of Art in the Era of World War II
Saving van Eyck and Leonardo da Vinci: The Power of Art in the Era of World War II Kelly Cooper “The statue rocked onto an inclined wooden ramp. We were all terri- fied, and the silence was total as the Victory rolled slowly forward, her stone wings trembling slightly. The curator of sculpture sank down on the steps, murmuring, ‘I will not see her return.’” -In The Rape of Europa (2006)1 What appears at first glance as inanimate objects or structures, works of art have the ability to attain great influence and power. Few events highlight their power better than actions taken in World War II. During World War II, the fate of many artworks became uncertain as Adolf Hitler and Hermann Göring set out to plunder Western Europe of its rich culture and precious art works for Germany’s gain. A par- ticular lover of art himself, Hitler saw certain works of art as more desirable than others. He wanted to build the Führer museum in his adopted hometown of Linz, which would house artwork of his choos- ing from all over Europe. This included a number of early modern pieces such as Hubert and Jan van Eyck’s The Ghent Altarpiece (fig.5). Hitler saw old master works such as this as representative of the Aryan race. The “Aryan race,” as defined by the Nazis, lived in north- western Europe and represented a racial and cultural ideal for a Ger- man-occupied Europe. As such the Nazis favored cultural expressions from these regions. For instance, the van Eycks were from the Neth- erlands, so Hitler viewed their art as superior to non-German, Jewish, 1 The Rape of Europa, directed by Richard Berge (2006; Venice, CA: Menemsha Films, 2008), DVD. -
Nota Bene News from the Yalelibrary
Fall 2002 Volume XVI, Number 3 Nota Bene News from the YaleLibrary Travel Expands Collecting in the Middle East In May 2002 I traveled on behalf of the Yale Library to five Middle Eastern countries. My trip had three major goals: to develop new means of acquiring library materials from Iran, to set up additional gift and exchange programs, and to seek partners for Yale’s new oacis program (see related article on page 2). Since the library is enlarging its Persian collection, my first stop was Iran, where I succeeded in finding a dealer to supply the library with materials in Persian and in making contact with different universities and government agencies. Discussions with the heads of the acquisitions and business departments of the University of Tehran Library resulted in the establishment of gift and exchange programs between our libraries. A visit to the Library of the Foreign Ministry in Tehran, a very Simon Samoeil, Curator of the Near East Collection, with specialized and automated library, produced a similar volumes from the recently acquired Kamal Collection (see article, result. Traveling to the city of Qom in the south of Iran, page 2) I met with the director of the Mar’ashi Library, the most important manuscript library in Iran. It houses more Director of the Library. We explored the possibility than 30,000 unique and important Persian and Arabic of microfilming some rare documents about Palestine manuscripts. I began negotiations with them for micro- during the Ottoman Period and sending copies to the filming manuscripts needed by Yale graduate students.