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Kingston Lacy Illustrated List of Pictures K Introduction the Restoration
Kingston Lacy Illustrated list of pictures Introduction ingston Lacy has the distinction of being the however, is a set of portraits by Lely, painted at K gentry collection with the earliest recorded still the apogee of his ability, that is without surviving surviving nucleus – something that few collections rival anywhere outside the Royal Collection. Chiefly of any kind in the United Kingdom can boast. When of members of his own family, but also including Ralph – later Sir Ralph – Bankes (?1631–1677) first relations (No.16; Charles Brune of Athelhampton jotted down in his commonplace book, between (1630/1–?1703)), friends (No.2, Edmund Stafford May 1656 and the end of 1658, a note of ‘Pictures in of Buckinghamshire), and beauties of equivocal my Chamber att Grayes Inne’, consisting of a mere reputation (No.4, Elizabeth Trentham, Viscountess 15 of them, he can have had little idea that they Cullen (1640–1713)), they induced Sir Joshua would swell to the roughly 200 paintings that are Reynolds to declare, when he visited Kingston Hall at Kingston Lacy today. in 1762, that: ‘I never had fully appreciated Sir Peter That they have done so is due, above all, to two Lely till I had seen these portraits’. later collectors, Henry Bankes II, MP (1757–1834), Although Sir Ralph evidently collected other – and his son William John Bankes, MP (1786–1855), but largely minor pictures – as did his successors, and to the piety of successive members of the it was not until Henry Bankes II (1757–1834), who Bankes family in preserving these collections made the Grand Tour in 1778–80, and paid a further virtually intact, and ultimately leaving them, in the visit to Rome in 1782, that the family produced astonishingly munificent bequest by (Henry John) another true collector. -
Caterina Corner in Venetian History and Iconography Holly Hurlburt
Early Modern Women: An Interdisciplinary Journal 2009, vol. 4 Body of Empire: Caterina Corner in Venetian History and Iconography Holly Hurlburt n 1578, a committee of government officials and monk and historian IGirolamo Bardi planned a program of redecoration for the Sala del Maggior Consiglio (Great Council Hall) and the adjoining Scrutinio, among the largest and most important rooms in the Venetian Doge’s Palace. Completed, the schema would recount Venetian history in terms of its international stature, its victories, and particularly its conquests; by the sixteenth century Venice had created a sizable maritime empire that stretched across the eastern Mediterranean, to which it added considerable holdings on the Italian mainland.1 Yet what many Venetians regarded as the jewel of its empire, the island of Cyprus, was calamitously lost to the Ottoman Turks in 1571, three years before the first of two fires that would necessitate the redecoration of these civic spaces.2 Anxiety about such a loss, fear of future threats, concern for Venice’s place in evolving geopolitics, and nostalgia for the past prompted the creation of this triumphant pro- gram, which featured thirty-five historical scenes on the walls surmounted by a chronological series of ducal portraits. Complementing these were twenty-one large narratives on the ceiling, flanked by smaller depictions of the city’s feats spanning the previous seven hundred years. The program culminated in the Maggior Consiglio, with Tintoretto’s massive Paradise on one wall and, on the ceiling, three depictions of allegorical Venice in triumph by Tintoretto, Veronese, and Palma il Giovane. These rooms, a center of republican authority, became a showcase for the skills of these and other artists, whose history paintings in particular underscore the deeds of men: clothed, in armor, partially nude, frontal and foreshortened, 61 62 EMWJ 2009, vol. -
Summary for University of Arizona
KRESS COLLECTION DIGITAL ARCHIVE University of Arizona Museum of Art, Tucson, Arizona IDENTIFIER NAM1190 INSTITUTION TYPE Kress Regional Collection STATUS Current Owner WEB ADDRESS http://artmuseum.arizona.edu/ LOCATION Tucson, Arizona EXTERNAL LINKS VIRTUAL INTERNATIONAL AUTHORITY FILE RECORD http://viaf.org/viaf/158809623 LIBRARY OF CONGRESS NAME AUTHORITY FILE RECORD http://id.loc.gov/authorities/names/n80033987 2 DISTRIBUTIONS Gift to University of Arizona Museum of Art, December 09, 1961 Gift to University of Arizona Museum of Art, April 02, 1962 64 RELATED ART OBJECTS K1035 Horace Vernet Portrait of the Marchesa Cunegonda Misciattelli with Her Infant Son and His Nurse K1085 Niccolò di Ser Sozzo Tegliacci Madonna and Child with Angels NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 1 KRESS COLLECTION DIGITAL ARCHIVE K1155 Follower of Sano di Pietro Saint Dominic K1156 Follower of Sano di Pietro Saint Thomas Aquinas K1164 Francesco Morone Two Olivetan Monks K1173 Guidoccio Cozzarelli The Crucifixion K123 Michele Giambono Madonna and Child NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 2 KRESS COLLECTION DIGITAL ARCHIVE K1263 Francesco Zaganelli Pietà K1266 Giuseppe Bazzani The Incredulity of Saint Thomas K1292 Taddeo di Bartolo The Coronation of the Virgin K1364 Studio of Bartolomeo Bulgarini Madonna and Child K1404 Giuseppe Maria Crespi The Visitation NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 3 KRESS COLLECTION DIGITAL ARCHIVE K1548 Giovanni Battista Moroni Portrait of a Magistrate -
Santa Fosca in Torcello and the Middle Byzantine Churches in Eastern Greece: Preliminary Comparison and Remarks on Common Features and Differences
Athens Journal of History January 2016 Santa Fosca in Torcello and the Middle Byzantine Churches in Eastern Greece: Preliminary Comparison and Remarks on Common Features and Differences By Antonella Manzo The main aim of this work is to critically examine Santa Fosca building period through the analysis of the similarities as well as the differences with some churches located in Greece and belonging to the so-called octagonal domed type. In fact, since the second half of the Nineteenth century a historiographical tradition has compared Santa Fosca with these Greek Middle-Byzantine churches, where eight supports, piers or columns, arranged in a regular or irregular octagon, receive the loads from the cupola. The comparison is based on the direct analysis of these buildings: the structural configuration, the constructive materials and techniques as well as the affinities in decoration, occurring both inside and outside, are under investigation. This contribution offers a new perspective, from which it could be possible to study the period of erection of the Venetian church, a topic that is still object of debate among the scientific community. Introduction Torcello is an island belonging to the Northern Venetian Laguna, which lives its golden age during the X-XI century AD: in his Administrando Imperio of 927 Constantine VII Porphyrogenitus defines Torcello as emporion mega, to testify the great importance of its intense trades with the Orient. The church of Santa Fosca is located on the island at the Southern side of the ancient Basilica of Santa Maria Assunta, whose origins date back to the inscription of 639 AD, discovered during the excavations of 1895. -
Part I · Introduction
Cambridge University Press 0521840465 - Flooding and Environmental Challenges for Venice and its Lagoon: State of Knowledge Edited by C. A. Fletcher and T. Spencer Excerpt More information Part I · Introduction © Cambridge University Press www.cambridge.org Cambridge University Press 0521840465 - Flooding and Environmental Challenges for Venice and its Lagoon: State of Knowledge Edited by C. A. Fletcher and T. Spencer Excerpt More information Scientific paper 1 · Venice and the Venice Lagoon: creating a forum for international debate T. SPENCER, J. DA MOSTO, C. A. FLETCHER AND P. CAMPOSTRINI INTRODUCTION chemicals which affect biological systems at very low concentrations (the endocrine disrupters). Further- ‘There really is no point in continuing to rescue and more, there has been a growing realization of the spa- restore individual buildings in Venice if the city tial and temporal scale of sampling needed to remains under increasing threat from flooding. Now effectively define the complex dynamics of both what can be done about that wider issue?’ With these lagoon and watershed. Most recently, these issues words in late 2000, over lunch in the Master’s Lodge have come to be seen against the backdrop, and at Churchill College, Cambridge, Anna Somers uncertainties, provided by what global environmen- Cocks, the Chairman of Venice in Peril (The British tal change might mean for Venice. All these develop- Committee for the Preservation of Venice) set in train ments, amongst many others, are covered in detail a broad series of research activities in Cambridge and in the chapters of this volume. However, the over- Venice. One of several substantive outcomes of that arching problem of rising water levels and associated process is this volume. -
Vincenzo Cappello C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Sixteenth Century Titian and Workshop Titian Venetian, 1488/1490 - 1576 Italian 16th Century Vincenzo Cappello c. 1550/1560 oil on canvas overall: 141 x 118.1 cm (55 1/2 x 46 1/2 in.) framed: 169.2 x 135.3 x 10.2 cm (66 5/8 x 53 1/4 x 4 in.) Samuel H. Kress Collection 1957.14.3 ENTRY This portrait is known in at least four other contemporary versions or copies: in the Chrysler Museum, Norfolk, Virginia[fig. 1]; [1] in the State Hermitage Museum, Saint Petersburg [fig. 2]; [2] in the Seminario Vescovile, Padua; [3] and in the Koelikker collection, Milan. [4] According to John Shearman, x-radiographs have revealed that yet another version was originally painted under the Titian workshop picture Titian and His Friends at Hampton Court (illustrated under Andrea de’ Franceschi). [5] Of these versions, the Gallery’s picture is now generally accepted as the earliest and the finest, and before it entered the Kress collection in 1954, the identity of the sitter, established by Victor Lasareff in 1923 with reference to the Hermitage version, has never subsequently been doubted. [6] Lasareff retained a traditional attribution to Tintoretto, and Rodolfo Pallucchini and W. R. Rearick upheld a similarly traditional attribution to Tintoretto of the present version. [7] But as argued by Wilhelm Suida in 1933 with reference to the Chrysler version (then in Munich), and by Fern Rusk Shapley and Harold Wethey with reference to the present version, an attribution to Titian is more likely. -
ART HISTORY of VENICE HA-590I (Sec
Gentile Bellini, Procession in Saint Mark’s Square, oil on canvas, 1496. Gallerie dell’Accademia, Venice ART HISTORY OF VENICE HA-590I (sec. 01– undergraduate; sec. 02– graduate) 3 credits, Summer 2016 Pratt in Venice––Pratt Institute INSTRUCTOR Joseph Kopta, [email protected] (preferred); [email protected] Direct phone in Italy: (+39) 339 16 11 818 Office hours: on-site in Venice immediately before or after class, or by appointment COURSE DESCRIPTION On-site study of mosaics, painting, architecture, and sculpture of Venice is the primary purpose of this course. Classes held on site alternate with lectures and discussions that place material in its art historical context. Students explore Byzantine, Gothic, Renaissance, Baroque examples at many locations that show in one place the rich visual materials of all these periods, as well as materials and works acquired through conquest or collection. Students will carry out visually- and historically-based assignments in Venice. Upon return, undergraduates complete a paper based on site study, and graduate students submit a paper researched in Venice. The Marciana and Querini Stampalia libraries are available to all students, and those doing graduate work also have access to the Cini Foundation Library. Class meetings (refer to calendar) include lectures at the Università Internazionale dell’ Arte (UIA) and on-site visits to churches, architectural landmarks, and museums of Venice. TEXTS • Deborah Howard, Architectural History of Venice, reprint (New Haven and London: Yale University Press, 2003). [Recommended for purchase prior to departure as this book is generally unavailable in Venice; several copies are available in the Pratt in Venice Library at UIA] • David Chambers and Brian Pullan, with Jennifer Fletcher, eds., Venice: A Documentary History, 1450– 1630 (Toronto: University of Toronto Press, 2001). -
HAA 151 Venice List
Venice HAA 151v Spring 2016 J. Connors 27 March 2016 Summary list of art and architecture studied in site visit March 10-20, 2016 San Marco Façade spolia, Hercules reliefs, St. Mark cycle up to the Porta di S. Alippio. Tetrarchs, Pilastri acritani (St. Polyeuktos in Constantinople). Carmagnola head. Interior: early mosaics in chapels of St. Peter and St. Clement. Pala d’oro. Sansovino bronze door to the sacristy (veiled head of the grieving Virgin). Sea floor of Greek marble slabs. Porta saracenesca (double curves and mosaic) to the Treasury, where everyone chose a favorite object, often of glass remounted in Byzantine enamel. Baptistery (entered a pilgrims during the Exceptional Holy Year of 2016): Sansovino font, late Byzantine-style mosaics, altar as giant slab of stone. Glimpses from the Baptistery and from the portico into the Cappella Zen with bronze altar statues and bronze statue of the gisant Cardinal Zen. Portico mosaics: Days of Creation with Adam and Eve, Noah and the Flood, Joseph and his Brothers. Museum: 4 horses, mosaic fragments, Paolo Veneziano’s pala feriale used to cover the Pala d’Oro on non feast days with scenes of the cycle of St. Mark. Palazzo Ducale Exterior South façade with central window by the Delle Massegne 1400 West façade on Piazzetta with Porta della Carta and Justice Roundel. Three corners: Grape, Fig, Justice, with archangels above: Raphael, Michael, Gabriel. Justice Roundel. Porta della Carta with Doge Francesco Foscari and lion in high relief, and Justice enthroned on high. Virtues: Prudence, Fortitude, Temperance, Charity. Palazzo Ducale Courtyard Scala dei Giganti, with Hypnerotomachia-like emblematic decorations, small prison underneath. -
Catalogo Della Biblioteca Specializzata Annessa All’Archivio Di S
BIBLIOTECA SPECIALIZZATA ANNESSA ALL’ARCHIVIO STORICO DELL’ABBAZIA DI S. PIETRO DI PERUGIA CATALOGO PER AUTORE INDICE DALLA “A” ALLA “D” …………………………………… p. 3 DALLA “E” ALLA “H” …………………………………… p. 107 DALLA “I” ALLA “N” ……………………………………. p. 138 DALLA “O” ALLA “R”……………………………………. p. 187 DALLA “S” ALLA “Z”…………………………………….. p. 221 COLLEZIONI/ RIVISTE E OPERE SENZA AUTORE…… p. 261 2 CATALOGO DELLA BIBLIOTECA SPECIALIZZATA ANNESSA ALL’ARCHIVIO DI S. PIETRO DI PERUGIA DALLA “A” ALLA “D” AA. VV., Abbazia di Sant’Antimo. Una pietra che canta: guida storico-artistica illustrata, con presentazione della Comunità dei Canonici Regolari di Sant’Antimo, Siena, Edizioni Cantagalli, 1993, pp. 111 con ill., cm 24. ASPi, Benedettina 131 AA. VV., Alfabetismo e cultura scritta nella storia della società italiana, Atti del Seminario Perugia, 29-30 marzo 1977, Perugia, Università degli Studi, 1978, pp. 422, cm 25. ASPi, Letteratura 11 AA. VV., Alfabetismo e cultura scritta nella storia della società italiana, Seminario permanente: notizie marzo 1980, Perugia, Università degli Studi, 1980, pp. 48, cm 21. ASPi, Letteratura 11/1 AA. VV., Alfabetismo e cultura scritta nella storia della società italiana, Seminario permanente: notizie dicembre 1980, Perugia, Università degli Studi, 1980, pp. 44, cm 21. ASPi, Letteratura 11/2 AA. VV., Almanacco italiano 1965, Firenze, Bemporad Marzocco, 1965, pp. XL, 440 con ill., cm 19. ASPi, Opere generali 8 3 AA. VV., Annali della Biblioteca Statale e Libreria Civica di Cremona: studi e bibliografie 7, vol. 55 (2003), Cremona, Biblioteca Statale di Cremona, 2005, pp. 167 con ill., cm 24. ASPi, Bibliografia 65 AA. VV., Archivio Perugino-Pievese. Visite Perugine, Supplemento a Raccordo dell’Archidiocesi di Perugia - Città della Pieve, Anno IV, n. -
San Giorgio Terrace Suite - Italy, Venice
SAN GIORGIO TERRACE SUITE - ITALY, VENICE 4 GUESTS, 2 BEDROOMS SAN GIORGIO TERRACE SUMMARY SUITE City & lagoon views Italy, Venice Historic property Terrace 4 Guests Outdoor living & dining 2 Bedrooms Wi-Fi LOCATION Stunning two-bedroom suite with spacious terrace and unbeatable views Italy, Venice The San Giorgio Terrace Suite is an incredible suite within the Baglioni Hotel Luna in the heart of Venice, which dates GUESTS back to the 12th century. up to 4 Guests can reach the hotel by gondola or water taxi thanks to the small private jetty situated at its entrance. BEDROOMS The spacious private terrace with outdoor lounge is the 2 perfect place to spend a relaxing evening with a glass of wine or celebrate special occasions whilst admiring the RENTAL PERIOD spectacular views over the lagoon to San Giorgio Island. Nightly Designed by Milanese architects Rebosio and Spagnulo, it comprises a dining and living area, a kitchenette, and two luxurious bedrooms. Ideal for a romantic stay, the suite has PRICE been carefully decorated using handmade wood panelling and handmade Versailles parquet to ensure the utmost From 3,800 EUR comfort for guests. MORE The master bedroom boasts walk-through wardrobes leading to an expansive en-suite bathroom with a bathtub Price per night, available on and a separate double bathtub. The second bedroom is request. Minimum stays well-appointed and also has an en-suite bathroom with a apply. shower. Both bathrooms are elegantly decorated with Carrara and Grey stone marble. The furnishings and decorations are of the highest quality, featuring Venetian and French precious fabrics and Fortuny- style lamps amongst other beautiful detailing. -
Presentazione I Tesori Della Laguna Venezia 2015
Via Bastie, 112/D – 30034 Dogaletto di Mira (VE) - tel. 348 9491120 www.mavericknauticlub.com - email: [email protected] 16 – 17 maggio 2015 7° EDIZIONE “““I“III TESORI DELLA LAGUNA DI VENEZIAVENEZIA”””” Cari Soci e Amici, benvenuti alla VII° edizione dei Tesori della Laguna di Venezia. Anche quest’anno, andremo alla ricerca di angoli nascosti della nostra laguna, ovvero di qualche luogo che magari abbiamo già visitato con il nostro gommone, ma forse troppo in fretta e senza ben conoscerne la storia. Attraverseremo dunque tutta la laguna partendo da Sud (così potremo anche dar libero sfogo ai nostri cavalli, mare permettendo!), iniziando dalla Valle Millecampi, e per la precisione dal Casone Millecampi, caratteristico esempio di architettura lagunare dei secoli scorsi, inserito in un contesto ambientale molto suggestivo. E' l'unico lembo lagunare della Provincia di Padova, poco lontano da Chioggia, al di la dei grandi scavi di canalizzazione e deviazione dei fiumi Brenta e Bacchighione. Tutt'attorno la terraferma strappata alla laguna con le opere di bonifica iniziate già nel 1500 per volere del ricco possidente, nonché famoso mecenate, Alvise Cornaro. Qui ormeggeremo per una visita al luogo, recentemente ristrutturato. Pranzo al sacco, e nel pomeriggio, partenza per l’Isola della Certosa, situata nelle immediate vicinanze di Venezia, dove ormeggeremo e allestiremo le tende per la notte. L’isola, che fino a 10 anni fa giaceva in stato di abbandono, è stata recentemente interessata da un ampio processo di valorizzazione, nel rispetto dell’ambiente e del particolare contesto storico e ambientale della Laguna di Venezia. Infatti, dapprima è stata costruita una darsena, con circa 300 posti barca fino a 40 metri. -
Core Knowledge Art History Syllabus
Core Knowledge Art History Syllabus This syllabus runs 13 weeks, with 2 sessions per week. The midterm is scheduled for the end of the seventh week. The final exam is slated for last class meeting but might be shifted to an exam period to give the instructor one more class period. Goals: • understanding of the basic terms, facts, and concepts in art history • comprehension of the progress of art as fluid development of a series of styles and trends that overlap and react to each other as well as to historical events • recognition of the basic concepts inherent in each style, and the outstanding exemplars of each Lecture Notes: For each lecture a number of exemplary works of art are listed. In some cases instructors may wish to discuss all of these works; in other cases they may wish to focus on only some of them. Textbooks: It should be possible to teach this course using any one of the five texts listed below as a primary textbook. Cole et al., Art of the Western World Gardner, Art Through the Ages Janson, History of Art, 2 vols. Schneider Adams, Laurie, A History of Western Art Stokstad, Art History, 2 vols. Writing Assignments: A short, descriptive paper on a single work of art or topic would be in order. Syllabus created by the Core Knowledge Foundation 1 https://www.coreknowledge.org/ Use of this Syllabus: This syllabus was created by Bruce Cole, Distinguished Professor of Fine Arts, Indiana University, as part of What Elementary Teachers Need to Know, a teacher education initiative developed by the Core Knowledge Foundation.