David: Donatello, Michelangelo, and Bernini
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1-Day Rome City Guide a Preplanned Step-By-Step Time Line and City Guide for Rome
1 day 1-day Rome City Guide A preplanned step-by-step time line and city guide for Rome. Follow it and get the best of the city. 1-day Rome City Guide 2 © PromptGuides.com 1-day Rome City Guide Overview of Day 1 LEAVE HOTEL Tested and recommended hotels in Rome > Take Metro Line A to Ottaviano San Pietro station 09:00-10:10 St. Peter's Basilica Largest Christian Page 5 church in the world 10:10-10:40 Piazza di San Pietro One of the best known Page 5 squares in the world Take Metro Line A from Ottaviano San Pietro station to Termini station (Direction: Anagnina) Change to Metro Line B from Termini station to Colosseo station (Direction: Laurentina) - 30’ in all 11:10-12:40 Colosseum Iconic symbol of Page 6 Imperial Rome Take a walk to Arch of Constantine - 5’ 12:45-12:55 Arch of Constantine Majestic monument Page 6 Lunch time Take a walk to Piazza Venezia 14:30-14:50 Piazza Venezia Focal point of modern Page 7 Rome Take a walk to the Pantheon - 15’ 15:05-15:35 Pantheon The world's largest Page 7 unreinforced concrete Take a walk to Piazza Navona - 10’ dome 15:45-16:15 Piazza Navona One of the most Page 7 beautiful squares in Take a walk to Trevi Fountain - 25’ Rome 16:40-17:10 Trevi Fountain One of the most familiar Page 8 sights of Rome Take a walk to Spanish Steps - 20’ 17:30-18:00 Spanish Steps Rome's most beloved Page 8 Rococo monument END OF DAY 1 © PromptGuides.com 3 1-day Rome City Guide Overview of Day 1 4 © PromptGuides.com 1-day Rome City Guide Attraction Details 09:00-10:10 St. -
The Medici Palace, Cosimo the Elder, and Michelozzo: a Historiographical Survey
chapter 11 The Medici Palace, Cosimo the Elder, and Michelozzo: A Historiographical Survey Emanuela Ferretti* The Medici Palace has long been recognized as an architectural icon of the Florentine Quattrocento. This imposing building, commissioned by Cosimo di Giovanni de’ Medici (1389–1464), is a palimpsest that reveals complex layers rooted in the city’s architectural, urban, economic, and social history. A symbol – just like its patron – of a formidable era of Italian art, the palace on the Via Larga represents a key moment in the development of the palace type and and influenced every other Italian centre. Indeed, it is this building that scholars have identified as the prototype for the urban residence of the nobility.1 The aim of this chapter, based on a great wealth of secondary literature, including articles, essays, and monographs, is to touch upon several themes and problems of relevance to the Medici Palace, some of which remain unresolved or are still debated in the current scholarship. After delineating the basic construction chronology, this chapter will turn to questions such as the patron’s role in the building of his family palace, the architecture itself with regards to its spatial, morphological, and linguistic characteristics, and finally the issue of author- ship. We can try to draw the state of the literature: this preliminary historio- graphical survey comes more than twenty years after the monograph edited by Cherubini and Fanelli (1990)2 and follows an extensive period of innovative study of the Florentine early Quattrocento,3 as well as the fundamental works * I would like to thank Nadja Naksamija who checked the English translation, showing many kindnesses. -
A Political Interpretation of a Proscenium Arch Designed by Francesco Romanelli for the Opera “San Bonifazio” (1638) Leila Zammar
ISSN 2421-2679 146 A political interpretation of a proscenium arch designed by Francesco Romanelli for the opera “San Bonifazio” (1638) Leila Zammar description might ft in part to the character as some of its attributes are usually associated to the personifcation of Justice, I will propose another ome years ago, while I was looking for reading, which better matches the programmatic information about the artists who were meaning the Barberini family wanted to convey hired by the Barberini to stage their operas with the opera San Bonifazio for which his arch Sin Rome for the Carnival season 1638, I found was very likely designed. Romanelli was in fact an interesting drawing by the painter Giovanni one of the artists chosen by the noble family to Francesco Romanelli (c.1610-1662). Te drawing, design works of art that could be a good means held in the Metropolitan Museum of New York, of conveying their political propaganda (about shows an incomplete proscenium arch of a stage the role of Francesco Romanelli see Oy-Marra with the crest of the Barberini placed at the centre 2007: 303-16). of the architrave. Born in Viterbo, Romanelli, also known as Il Viterbese, from his birth city, or Il Rafaellino, afer Rafaello, was trained in Rome where he studied with Il Domenichino (Domenico Zampieri, 1581-1641) frst, and then with Pietro da Cortona (Pietro Berettini, 1596-1669). It is probable that the latter introduced him to the court of the Barberini family since Romanelli was his collaborator in painting the frescos for the chapel inside Palazzo Barberini (1631-32). -
Donatello's Terracotta Louvre Madonna
Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning 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 Sandra E. Russell May 2015 © 2015 Sandra E. Russell. All Rights Reserved. 2 This thesis titled Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning by SANDRA E. RUSSELL has been approved for the School of Art + Design and the College of Fine Arts by Marilyn Bradshaw Professor of Art History Margaret Kennedy-Dygas Dean, College of Fine Arts 3 Abstract RUSSELL, SANDRA E., M.A., May 2015, Art History Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning Director of Thesis: Marilyn Bradshaw A large relief at the Musée du Louvre, Paris (R.F. 353), is one of several examples of the Madonna and Child in terracotta now widely accepted as by Donatello (c. 1386-1466). A medium commonly used in antiquity, terracotta fell out of favor until the Quattrocento, when central Italian artists became reacquainted with it. Terracotta was cheap and versatile, and sculptors discovered that it was useful for a range of purposes, including modeling larger works, making life casts, and molding. Reliefs of the half- length image of the Madonna and Child became a particularly popular theme in terracotta, suitable for domestic use or installation in small chapels. Donatello’s Louvre Madonna presents this theme in a variation unusual in both its form and its approach. In order to better understand the structure and the meaning of this work, I undertook to make some clay works similar to or suggestive of it. -
The Magic of Donatello Andrew Butterfield
The Magic of Donatello Andrew Butterfield Sculpture in the Age of Donatello: smith Lorenzo Ghiberti, and another Renaissance Masterpieces from young Florentine goldsmith, Filippo Florence Cathedral Brunelleschi—the future architect— an exhibition at the Museum of came in second. A new era in the his- Biblical Art, New York City, tory of art had begun. February 20–June 14, 2015. Like all revolutions, the transfor- Catalog of the exhibition edited by mation of the arts in early-fifteenth- Timothy Verdon and Daniel M. Zolli. century Florence can never be fully Museum of Biblical Art/Giles, explained; at best we can only identify 200 pp., $49.95 some contributing causes. Stimulated in part by the city’s soaring prosperity The Museum of Biblical Art, lodged and growing hegemony, around 1400 in a relatively small space on Broad- the wealthy merchants who ran Flor- way near Lincoln Center, is now show- ence began to pour unprecedented ing nine sculptures by Donatello, one amounts of cash into new buildings, of the greatest of all Renaissance art- paintings, and sculptures. They were ists. Never before have so many of his proud of the architectural splendor best works been shown together in the of Florence and saw it as a sign of the United States. Antonio Quattrone/Opera di Santa Maria del Fiore, Florence city’s manifest destiny. This attitude Among the works on view is Don- was given voice by Leonardo Bruni, atello’s large sculpture of the Old Tes- who wrote around 1403–1404 in his tament prophet Habakkuk. “Speak, Panegyric to the City of Florence: damn you, speak!” Donatello, we are told, repeatedly shouted at the statue As soon as [visitors] have seen . -
Agents of Death: Reassessing Social Agency and Gendered Narratives of Human Sacrifice in the Viking Age
Agents of Death: Reassessing Social Agency and Gendered Narratives of Human Sacrifice in the Viking Age Marianne Moen & Matthew J. Walsh This article seeks to approach the famous tenth-century account of the burial of a chieftain of the Rus, narrated by the Arab traveller Ibn Fadlan, in a new light. Placing focus on how gendered expectations have coloured the interpretation and subsequent archaeological use of this source, we argue that a new focus on the social agency of some of the central actors can open up alternative interpretations. Viewing the source in light of theories of human sacrifice in the Viking Age, we examine the promotion of culturally appropriate gendered roles, where women are often depicted as victims of male violence. In light of recent trends in theoretical approaches where gender is foregrounded, we perceive that a new focus on agency in such narratives can renew and rejuvenate important debates. Introduction Rus on the Volga, from a feminist perspective rooted in intersectional theory and concerns with agency While recognizing gender as a culturally significant and active versus passive voices. We present a number and at times socially regulating principle in Viking of cases to support the potential for female agency in Age society (see, for example, Arwill-Nordbladh relation to funerary traditions, specifically related to 1998; Dommasnes [1991] 1998;Jesch1991;Moen sacrificial practices. Significantly, though we have situ- 2011; 2019a; Stalsberg 2001), we simultaneously high- ated this discussion in Viking Age scholarship, we light the dangers inherent in transferring underlying believe the themes of gendered biases in ascribing modern gendered ideologies on to the past. -
Process: the Example of the Sleeping Hermaphrodite
BARRY X BALL: REMAKING SCULPTURE Process: The Example of the Sleeping Hermaphrodite Barry X Ball reinvents traditional sculptural formats and existing art historical landmarks using state-of-the-art 3D scanning technology, computer-aided design (CAD) software, and computer- numerically-controlled (CNC) milling machines, in combination with centuries-old craft techniques requiring thousands of hours of detailed handwork. The Hermaphrodite Endormi (Sleeping Hermaphrodite) in the Louvre Museum in Paris offered an ideal starting point for Ball’s artistic explorations. Not only is the subject an embodiment of duality (see the object label and exhibition catalogue for more information on this), the object is a composite work of art interpreted by numerous authors over centuries. The figure is a second-century CE Roman copy of a second-century BCE Greek original. Discovered near the Baths of Diocletian in Rome in 1608, it joined the distinguished collection of Cardinal Scipione Borghese, who, in 1619, commissioned the young Gian Lorenzo Bernini to carve the mattress for it and David Larique to restore the figure. Ball continues this engagement with the work in the 21st century, reconsidering it for a contemporary audience and using the technological tools at his disposal. The illustrated review that follows elucidates the multi-step process Ball undertakes in making his Masterworks, like Sleeping Hermaphrodite. Ball works with museums to make extremely high-resolution three-dimensional digital scans of works of art. Because of their microscopic detail, the scans are very useful to the institutions charged with preserving the sculpture. Ball donates the scans to the museums for documentation and conservation and uses them Digital scanning of Hermaphrodite Endormi (Sleeping Hermaphrodite) in the Salle des Caryatids, as his point of departure for creating a new work. -
1. Compare and Contrast the High Renaissance Period with the Baroque Period
Preliminary Handout: David and Goliath Summarize the story of David and Goliath: How is David significant in Medici Florence? High Renaissance Period The Baroque Period Dates of the period: Dates of the period: Locations: Locations: Influences on the period: Influences on the period: Stylistic Characteristics: Stylistic Characteristics: Compare Donatello's David, Michelangelo's David, and Bernini’s David Donatello's David Michelangelo's David Bernini’s David Date Period Material Height Nude? Contrapposto? Moment in story: David represents... Original location: Stylistic Characteristics: Short Answer Essays: Please write a concise paragraph essay answering each of the questions below. You will work in groups and do a short two-minute presentation to the class on one question. 1. Compare and contrast the High Renaissance period with the Baroque period. What are the important influences and stylistic differences? 2. What are the primary defining elements of Italian Baroque sculpture and architecture? Select one Baroque sculpture and one Baroque building in Italy and discuss how they exemplify the style. 3. Compare and contrast Donatello, Michelangelo, and Bernini's David. How does each work embody the stylistic principles of its age? 4. Describe Bernini's Apollo and Daphne. What moment does it depict in Ovid's myth? Why would the Church approve of such a work? 5. How has Bernini drawn from his knowledge of theater, writing plays, and producing stage designs to create an emotionally dramatic experience for worshipers that involve architecture, sculpture, and painting at the Cornaro chapel? 6. How is Gianlorenzo Bernini’s work typical of the Baroque period? Give several examples of his work that support your answer. -
Sources of Donatello's Pulpits in San Lorenzo Revival and Freedom of Choice in the Early Renaissance*
! " #$ % ! &'()*+',)+"- )'+./.#')+.012 3 3 %! ! 34http://www.jstor.org/stable/3047811 ! +565.67552+*+5 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org THE SOURCES OF DONATELLO'S PULPITS IN SAN LORENZO REVIVAL AND FREEDOM OF CHOICE IN THE EARLY RENAISSANCE* IRVING LAVIN HE bronze pulpits executed by Donatello for the church of San Lorenzo in Florence T confront the investigator with something of a paradox.1 They stand today on either side of Brunelleschi's nave in the last bay toward the crossing.• The one on the left side (facing the altar, see text fig.) contains six scenes of Christ's earthly Passion, from the Agony in the Garden through the Entombment (Fig. -
Rome in Bernini's Footsteps
Rome in Bernini’s Footsteps – La Voce di New York 11/25/17, 10:19 AM Roma bike tours - Choose the best guided tour Enjoy with us the squares, the monuments, and the streets of the genuine Rome. leadingroma.com Sections Close DONATE VNY PROUD Arts Commenta per primoShared: 6!"#$%& Rome in Bernini’s Footsteps Afer seeing ”Bernini” at the Villa Borghese, follow this itinerary to visit this exceptional artist's other masterpieces around Rome by Lucy Gordan Elephant and Obelisk by Bernini Nov 20 2017 At the Villa Borghese in Rome several of Bernini's sculptures are on permanent exhibit, but his heritage is to be found in more sites in Rome. An easier but not chronological route, which takes about 2 hours on foot (or by hopping on and off the no. 62 bus) not including visiting time, starts at the church of Santa Maria della Vittoria with his Ecstasy of St. Teresa and ends in St. Peter’s Square. Utilizziamo i cookie per offrirti servizi e informazioni in linea con le tue preferenze. Continuando a scorrere e a navigare ne consenti l'uso. OK Maggiori informazioni http://www.lavocedinewyork.com/en/arts/2017/11/20/rome-in-the-berninis-footsteps/ Page 1 of 10 Rome in Bernini’s Footsteps – La Voce di New York 11/25/17, 10:19 AM Gianlorenzo Bernini Gian Lorenzo Bernini, the most famous and important sculptor in 17th century Europe, but also a recognized architect, painter, events organizer, poet and playwright, was born in Naples on December 7, 1598 to a Mannerist sculptor, Pietro Bernini, originally from near Florence, and Angelica Galante, a Neapolitan, the sixth of their thirteen children. -
Multidisciplinary Research
MULTIDISCIPLINARY RESEARCH MULTIDISCIPLINARY RESEARCH Abstracts of XIV International Scientific and Practical Conference Bilbao, Spain December 21 – 24, 2020 MULTIDISCIPLINARY RESEARCH Library of Congress Cataloging-in-Publication Data UDC 01.1 The XIV International scientific-practical conference “Multidisciplinary research”, December 21 – 24 –, 2020, Bilbao, Spain. 524 p. ISBN - 978-1-63684-350-6 DOI - 10.46299/ISG.2020.II.XIV EDITORIAL BOARD Professor of the Department of Criminal Law and Criminology Pluzhnik Elena Odessa State University of Internal Affairs Candidate of Law, Associate Professor Scientific and Research Institute of Providing Legal Framework for Liubchych Anna the Innovative Development National Academy of Law Sciences of Ukraine, Kharkiv, Ukraine, Scientific secretary of Institute Department of Accounting and Auditing Kharkiv Liudmyla Polyvana National Technical University of Agriculture named after Petr Vasilenko, Ukraine Candidate of Economic Sciences, Associate Professor of Mushenyk Iryna Mathematical Disciplines , Informatics and Modeling. Podolsk State Agrarian Technical University Oleksandra Kovalevska Dnipropetrovsk State University of Internal Affairs Dnipro, Ukraine Odessa State University of Internal Affairs, Prudka Liudmyla Associate Professor of Criminology and Psychology Department Slabkyi Hennadii Doctor of Medical Sciences, Head of the Department of Health Sciences, Uzhhorod National University. Ph.D. in Machine Friction and Wear (Tribology), Associate Professor of Department of Tractors and Agricultural Machines, Marchenko Dmytro Maintenance and Servicing, Lecturer, Deputy dean on academic affairs of Engineering and Energy Faculty of Mykolayiv National Agrarian University (MNAU), Mykolayiv, Ukraine Harchenko Roman Candidate of Technical Sciences, specialty 05.22.20 - operation and repair of vehicles. MULTIDISCIPLINARY RESEARCH TABLE OF CONTENTS AGRICULTURAL SCIENCES 1. Lykhovyd P., Biliaieva I., Lavrenko S. 17 APPLICATION OF PLANT GROWTH REGULATOR REGOPLANT ON VEGETABLE CROPS 2. -
Michelangelo Buonarroti Artstart – 3 Dr
Michelangelo Buonarroti ArtStart – 3 Dr. Hyacinth Paul https://www.hyacinthpaulart.com/ The genius of Michelangelo • Renaissance era painter, sculptor, poet & architect • Best documented artist of the 16th century • He learned to work with marble, a chisel & a hammer as a young child in the stone quarry’s of his father • Born 6th March, 1475 in Caprese, Florence, Italy • Spent time in Florence, Bologna & Rome • Died in Rome 18th Feb 1564, Age 88 Painting education • Did not like school • 1488, age 13 he apprenticed for Domenico Ghirlandaio • 1490-92 attended humanist academy • Worked for Bertoldo di Giovanni Famous paintings of Michelangelo The Sistine Chapel Ceiling – (1508-12) Vatican, Rome Famous paintings of Michelangelo Doni Tondo (Holy Family) (1506) – Uffizi, Florence Famous paintings of Michelangelo The Creation of Adam (1508-12) – Vatican, Rome Famous paintings of Michelangelo The Last Judgement - (1508-12) – Vatican, Rome Famous paintings of Michelangelo Ignudo (1509) – Vatican, Rome Famous paintings of Michelangelo The Drunkenness of Noah - (1508-12) – Vatican, Rome Famous paintings of Michelangelo The Deluge - (1508-12) – Vatican, Rome Famous paintings of Michelangelo The First day of creation - - (1508-12) – Vatican, Rome Famous paintings of Michelangelo The Prophet Jeremiah - (1508-12) – Vatican, Rome Famous paintings of Michelangelo The last Judgement - (1508-12) – Vatican, Rome Famous paintings of Michelangelo The Crucifixion of St. Peter - (1546-50) – Vatican, Rome Only known Self Portrait Famous paintings of Michelangelo