The Secrets of Fresco Painting in the Italian Renaissance Art 2
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Joinus in FLORENCE! Editor’S Note
77052 ISAKOS Winter 06 1/12/06 1:19 AM Page 1 ISAKOS newsletter The ISAKOS 6th Biennial Congress WINTER 2006 Volume 10, Issue 1 INSIDE THIS ISSUE Joinus IN FLORENCE! Editor’s Note ................................2 President’s Message ......................2 he Congress will bring together world leaders in arthroscopy, knee Traveling Fellowships......................3 surgery and orthopaedic sports Your Committees at Work ..............4 T medicine. Diverse and high quality 2007 Congress Awards..................6 presentations will include 200 scientific What are New Members Saying?....9 papers, discussions and debates, over 400 Teaching Center Spotlight ............10 electronic posters, technical exhibits, Workshop Series ..........................11 instructional course lectures and hands on workshops. Attendees from 70 different Current Concepts ........................12 countries are anticipated to attend the ISAKOS Meetings ......................17 ISAKOS Congress. In addition to the multi- ISAKOS Approved dimensional scientific program we hope Courses in Review........................18 you will attend the evening social events Maria Novella, is located near the Upcoming ISAKOS such as the Welcome Reception and Congress location, the Fortezza da Basso, Approved Courses ........................22 Farewell Banquet. and provides comfortable high-speed Florence is a city of sublime art trains with direct travel to Rome, Milan EDITOR and beauty, and casts a spell in a and Naples. Ronald M. Selby, MD, USA way few places can. Set in a valley on the The ISAKOS Congress will take place banks of the Arno, this captivating city is EDITORIAL BOARD within the Fortezza da Basso, a Medicean home to some of the most magnificent fortress built between 1533 and 1535 by Vladimir Bobic, MD FRCSEd, Renaissance masterpieces from United Kingdom Giuliano diSangallo. -
Chapter 11 Painting
Chapter 11 Painting • Medium: material that pigments are suspended in • Binder: holds the particles together (glue) • Support: in painting what the artist paints on • Transparent: paint that can be seen through • Opaque: paint that cannot be seen through • Ground: primer used to even the surface of the support, even application • Solvent: thinner that allows for paint to flow easier 1. Painting as the ability to copy during the Middle Ages 2. La Pittura: personification of Painting 1. Why is this important? Title: The Art of Painting Source/Museum: Vault of the Main Room, Arezzo, Casa Vasari. Canali Photobank, Capriolo, Italy. Artist: Giorgio Vasari Medium: Fresco Date: 1542 Size: n/a La Pintura 1. Representation 1. Herself 2. La Pittura 1. Why this representation? 2. Pendent: symbol of imitation 3. Accurate representation 1. Representation of nature through artist eyes 4. Portrayal 1. Real women 2. Idealized personification 5. Copy work or creative? 6. Equal to Leonardo and Michelangelo? 7. Western Painting: Painting the Nature 1. Zeuxius Vs. Parrhasius 1. Zeuxius: paints grapes and birds come down to eat them 2. Parrhasius: paints a curatian and Zeuxius asks him to remove the curtain so he can see the painting Title: Self-Portrait as the Allegory of Painting Source/Museum: The Royal Collection © Her Majesty Queen Elizabeth II. Artist: Artemisia Gentileschi Medium: Oil on canvas Date: 1630 Size: 35 ¼ x 29 in. Encaustic Encaustic Encaustic 1. Combining pigment with binder of hot wax 2. Funerary portraiture from Faiyum 60 miles South of Cairo 3. Real person 1. Naturalistic sensitive depiction of the face Source/Museum: Albright-Knox Art Gallery, Buffalo, New York. -
Sustainable Fashion in Italy
SUSTAINABLE FASHION IN ITALY Commissioned by the Netherlands Enterprise Agency SUSTAINABLE FASHION IN ITALY A GUIDE FOR DUTCH FASHION ENTREPRENEURS CONTENTS: 1 UN sustainable development goals and two words about sustainability 3 2 To identify the most sustainable fibers we must know them 5 Environmental consequences caused by the use of yarns 6 Global fibers production 1900>2017 + 2017 7 Cotton 8 Other natural vegetable fibers 11 Silk 12 Wool 14 Artificial fibers Viscose 16 Tencel 16 Syntethic fibers 17 3 How to build a sustainable brand 18 4 Italian sustainable lists 20 Italian textile producers 21 Top Italian sustainable brands 26 New Italian sustainable fashion designers 28 5 Italian exhibitions 29 Exhibiting in the Italian fairs 32 Visiting the Italian fairs 32 How fairs have included sustainability 32 Italian special fashion events 33 6 Roads to access the Italian market 34 7 Most important buyers 35 8 Conclusions 36 Contacts 38 2 SUSTAINABLE DEVELOPMENT GOALS GOAL 1: End poverty in all its forms everywhere GOAL 2: End hunger, achieve food security and improved nutrition and promote sustainable agriculture 1GOAL 3: Ensure healthy lives and promote well-being for all at all ages GOAL 4: Ensure inclusive and equitable quality education and promote life- long learning opportunities for all GOAL 5: Achieve gender equality and empower all women and girls GOAL 6: Ensure availability and sustainable management of water and sanitation for all GOAL 7: Ensure access to affordable, reliable, sustainable and modern en- ergy for all GOAL 8: Promote -
Italian Fashion & Innovation
Italian Fashion & Innovation Derek Pante Azmina Karimi Morgan Taylor Russell Taylor Introduction In Spring 2008, the Italia Design team researched the fashion industry in Italy, and discussed briefly how it fits into Italy’s overall innovation. The global public’s perception of Italy and Italian Design rests to some degree on the visibility and success of Fashion Design. The fashion and design industries account for a large percentage of Milan’s total economic output— as Milan goes economically, so goes Italy (Foot, 2001). Fashion Design clearly contributes to “brand Italia,” as well as to Italian culture generally. Yet, fashion is not our focus in this study: innovation and design is. Fashion’s goals are not the same as design. For one, fashion operates on “style,” design works on “language,” and style to a serious designer is usually the opposite of good design. Yet to ignore the area possibly creates a blind spot. With the resource this year of some students with great interest in this area it was decided that we should begin to investigate how fashion in Italy contributes to innovation, and how fashion in Milan and other centers in the North of Italy sustain “Creative Centers” where measurable agglomeration (a sign of innovation) occurs. Delving into Italian Fashion allowed us to rethink certain paradigms. For one, how we look at Florence as a design center. Florence has very little Industrial Design and, because of the city’s UNESCO World Heritage designation, has very little contemporary architectural culture. This reality became clear after four years of returning to the Renaissance city. -
Voyage from Palermo to Venice
VOYAGE FROM PALERMO TO VENICE Exploring the Historic Cities and Art Treasures of the Ionian & Adriatic Seas Aboard the 24-cabin Yacht Elysium With archaeologist Ivancica Schrunk May 21 – 31, 2022 Dear Traveler, Archaeological Institute of America ˆ ˆ Next spring, we invite you to join AIA lecturer and host Ivancica (Vanca) Schrunk LECTURER AND HOST aboard the private, yacht-like Elysium on a purpose-designed voyage from Sicily to Venice by way of Montenegro and Croatia, discovering historical gems of the Mediterranean, Ionian, and Adriatic Seas. The combination of fascinating history and sublime beauty is what makes these shorelines among the most spectacular places in the world. Consider Sicily’s Taormina, whose ancient Greek theater gazes at massive Mount Etna; the remarkable trulli villages of Italy’s Puglia region; the old, picturesque town of Kotor, nested at the head of a long, scenic bay; the beautifully preserved medieval city of Dubrovnik, overlooking the sparkling waters of the Adriatic; Split’s enormous Palace of Diocletian, one of the finest Roman monuments to survive from antiquity; the small town of Porec in Croatia’s Istria, home to the 6th-century Basilica of Euphrasius with its gleaming Byzantine mosaics; and Venice, our last stop and unquestionably one of the world’s most stunning and influential cities. Born in Zagreb, Croatia, AIA lecturer and host Vancǎ Schrunk will enrich your travel experience and understanding of the ancient and medieval history of this region through an onboard series of stimulating lectures as well as informal discussions. In addition, excellent local guides will accompany you on excursions throughout ˆ the program. -
Kayla Sprague Catalog Essay the Triumph of Death in Palermo the Triumph of Death Is a Grand Fresco That Was Commissioned For
Kayla Sprague Catalog Essay The Triumph of Death in Palermo The Triumph of Death is a grand fresco that was commissioned for the Sclafani Plazza in 1446. There is little information on the artist and the patron. The Triumph of Death in Palermo was painted in the late Gothic style, a century after the Black Death. It became a popular artistic theme across Europe during the 14th and 15th century and was a successful tool in terrifying people about the plague. The Triumph of Death was commonly recognized in that no description or text were necessary. 1 Unlike previous medieval paintings, the “Triumph” paintings did not inspire faith, however, the graphic images were instead used with intent to redirect panic from the plague and subtly scare people into paying attention to religion.2 The paintings were commissioned for hospitals and cemeteries and served as a warning that the alive were being judged by the dead; people should be careful not to sin for they would suffer as a result of the plague. The belief of the cause of the plague impacted what artists depicted in their paintings and gradually affected future iconography. The scene depicted in The Triumph of Death in Palermo, which can be analyzed in 6 parts, is located in a garden surrounded by a hedge, with groups of people cluttering the edges of the painting. In the center, a skeleton, personifying “Death” and riding an emaciated horse, interrupts the scene, carrying a scythe and shooting arrows from a bow. At the top left a man walks two dogs on taut leashes, one of the dogs appearing disturbed and growling and the other sniffing the hedge. -
Moda. La Quattro-Giorni Fiorentina Di Pitti Uomo Rilancia Il Made in Italy
Moda. La quattro-giorni fiorentina di Pitti Uomo rilancia il Made in Italy Dal 13 al 16 giugno, presso la Fortezza da Basso di Firenze si è svolta una tra le manifestazioni più importanti del sistema moda, ossia l’edizione Pitti Uomo 92. Da sempre, il Pitti è considerato un concentrato di novità, proposte stilistiche, creatività, internazionalizzazione, incontro di culture diverse e punto di riferimento globale per la dimensione lifestyle e lo scouting di qualità, ed anche l’edizione 2017 non ha deluso le aspettative. di Mariacristina La Rosa Anche quest’anno l’affluenza al Pitti Uomo è stata elevata. Si contano più di 30.000 visitatori tra italiani e stranieri, divisi tra buyers, press, bloggers e semplici appassionati di moda. Il Made in Italy si conferma un’eccellenza assoluta nel campo della moda e la voglia di partecipazione a questa manifestazione è sempre tanta. Alla chiusura dell’evento si sono registrati oltre 19.000 compratori: l’estero si conferma sui livelli dell’edizione precedente, mentre l’Italia è in flessione tra l’8 e il 9%. Ad incidere sul caldo della presenza italiana è stato senz’altro anche il grande sciopero dei mezzi pubblici, che ha costretto a modificare la pianificazione di molti appuntamenti previsti nel corso della quattro-giorni. Durante la conferenza stampa di apertura dell’evento, il Sindaco di Firenze Dario Nardella ha sottolineato l’importanza di Copyright 2018 © Scenari-Internazionali.com. Registrazione presso Tribunale di Reggio Emilia n. 986 del 27/05/2014. P. IVA. 02532400351. Moda. La quattro-giorni fiorentina di Pitti Uomo rilancia il Made in Italy simili manifestazioni sul territorio per favorire lo sviluppo economico. -
Sponsorship Prospectus
Italian Chemical Society Division of Mass Spectrometry SPONSORSHIP OPPORTUNITIES Italian Chemical Society Division of Mass Spectrometry August 26 - 31, 2018 XXII International Mass Spectrometry Conference INDEX General Information ............................................................................................................................................. p. 3 IMSC 2018 Sponsorship Opportunities ..................................................................................................... p. 8 Sponsor and Exhibit Application Form ..................................................................................................... p. 14 Exhibition Floorplan ............................................................................................................................................. p. 17 2 Italian Chemical Society Division of Mass Spectrometry August 26 - 31, 2018 XXII International Mass Spectrometry Conference GENERAL INFORMATION 1. The Event Title: 22nd International Mass Spectrometry Conference Date: August 26th – 31st 2018 Location: Fortezza da Basso, Florence, Italy Conference website: www.imsc2018.it 2. Chairman Gianluca Giorgi, University of Siena 3. Organizing Committee Giuseppe Avellone, University of Palermo Gianluca Bartolucci, University of Florence Giuliana Bianco, University of Basilicata, Potenza Donatella Caruso, University of Milan Leopoldo Ceraulo, University of Palermo Vincenzo Cunsolo, University of Catania Francesco De Angelis, University of L’Aquila Simonetta Fornarini, Sapienza, -
The Drawings of Girolamo Romanino. Part IT
Originalveroffentlichung in: Burlington Magazine 137, Mai 1995, S, 300-306 ALESSANDRO NOVA The drawings of Girolamo Romanino. Part IT 11. Pyramus and Thisbe, by Girolamo Romanino. Pen and brown ink, 14 by 16.6 cm. (Louvre, Paris). 3 PREPARATORY drawings by Romanino for surviving paint Palazzo Martinengo in the via delle Cossere in Brescia, a ings he executed during the last thirty years of his career are palace once owned by Leonardo III Martinengo delle Palle 1 not numerous, but some of his late sheets provide important who died in 1536. Panazza listed this cycle among Romani 1 evidence about various lost works. no's lost works, and all subsequent scholars have taken this to After completing his frescoes for Cardinal Clesio at Trent, be the case. Yet, while three of the lunettes have lost all trace Romanino returned to Brescia in 1532. It remains contro of their frescoes, one contains three barely visible heads, and versial exactly which paintings can be dated to the early the central lunette retains the image of a woman holding a 1530s, but it is possible that a drawing now in the Louvre stick with which she apparently threatens two unidentified 1 (Fig. 11) belongs to these years. The spirited style of this figures. It is impossible to establish whether any of these sketch in pen and brown ink is similar to that of the drawings lunettes did indeed contain a fresco of Pyramus and Thisbe, executed during his Trentine period, and the theme of Pyra but the surviving fragment was probably executed around mus and Thisbe - first identified by Creighton Gilbert — was 1532-34, a perfectly acceptable date for the drawing in the 6 often represented by early sixteenth-century German artists, Louvre. -
Ann O'hanlon's Kentucky Mural Harriet W
The Kentucky Review Volume 8 | Number 1 Article 4 Spring 1988 Ann O'Hanlon's Kentucky Mural Harriet W. Fowler University of Kentucky Follow this and additional works at: https://uknowledge.uky.edu/kentucky-review Part of the Art and Design Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Fowler, Harriet W. (1988) "Ann O'Hanlon's Kentucky Mural," The Kentucky Review: Vol. 8 : No. 1 , Article 4. Available at: https://uknowledge.uky.edu/kentucky-review/vol8/iss1/4 This Article is brought to you for free and open access by the University of Kentucky Libraries at UKnowledge. It has been accepted for inclusion in The Kentucky Review by an authorized editor of UKnowledge. For more information, please contact [email protected]. Ann O'Hanlon's Kentucky Mural Harriet W. Fowler Over fifty years after its creation, the University of Kentucky's Memorial Hall mural, a Public Works of Art Project (PWAP) fresco by Ann Rice O'Hanlon, remains virtually unchanged from the time it was painted. Its colors have not lost their jewel-like tonalities, and its multi-layered composition is still crisply delineated.1 Completed in 1934 for the PWAP, the mural represents a pictorial history of important central Kentucky events and landmarks. It admirably fulfills the directive of its New Deal sponsors to document "the American Scene," a task which O'Hanlon, a then-recent graduate of the university, adapted to the local scene as she also wove autobiographical and poetic elements into the rich narrative of central Kentucky history. -
Renaissance on the Beach” Epitomized by 16Th Century Fresco at Sale E Pepe®, Marco Island, Fla
“Renaissance on the beach” epitomized by 16th century fresco at Sale e Pepe®, Marco Island, Fla. MARCO ISLAND, Fla. (February 24, 2006) — At Sale e Pepe on Marco Island, Southwest Florida’s quintessentially authentic Italian restaurant, nothing evokes “renaissance on the beach” as well as the 12-foot high hand-painted replica of a 416-year old masterpiece by Jacopo Zucchi, artist in residence to the Medici court, chief assistant for Vatican decorations, and honored with preparing the funeral decorations for Michelangelo. Zucchi’s original fresco, located in the Palazzo Ruspoli in Rome, inspired contemporary artist Rossen Tonkov, commissioned by Sale e Pepe’s owners, because of its large scale and grandeur as well as its powerful symbolic imagery depicting the constant balance of church and state power, an eternal Italian theme. Aesthetically, the fresco’s colors and shapes complement the restaurant’s intricate mosaic floors, carved marble detailing, historic Italian tapestries and paintings, and 400-year-old antiques. The final affect is a vision of an ancient seaside Italian restaurant. Tonkov, a Bulgarian native, was struck by the beauty of the palette used in the interior design of Sale e Pepe—stones, fabrics and fine objects – and the golden travertine walls providing the backdrop to the masterpiece. The fresco depicts a regal and impressive woman, papal crown in one hand, and the crown of the emperor of Rome in the other, commanding the focal point of the restaurant and looking out over the grotto-like intimate dining alcoves that distinguish Sale e Pepe’s formal dining area. Rossen Tonkov especially appreciated that his chosen image adhered to his golden rule—that a piece of art provide a minimum of seven different views in order to enrich a space. -
Artful Adventures Ancient Rome
Artful Adventures ANCIENT ROMEAn interactive guide for families 56 Your Roman Adventure Awaits You! W HSee inside for details ANCIENT ROME Today we are going to go on a pretend journey to Ancient Rome. We will travel back in time almost 3,000 years. Rome was the longest continuous empire in human history, lasting 1,200 years, from 753 B.C. to 476 A.D. At its height it spanned an area from present-day England to Iraq. The Roman Empire was powerful and wealthy. Roman leaders built large architectural structures, such as palaces, temples, and tombs, and decorated them lavishly with sculptures, mosaics, and J paintings. Amazingly, many of these works have survived. We are very fortunate to have some of these objects at the Princeton University Art Museum. By examining these ancient treasures, we can learn about what life was like in Ancient Rome. The Roman gallery is on the lower level of the museum. Walk down the stairs and turn to your right. Then make a left and walk through the doorway into the Roman gallery. G MOSAICS The mosaics in this gallery come from Antioch-on-the-Orontes. Today this area is part of Turkey, but in the third century A.D. it was a large, wealthy Roman city in Syria. Mosaics are made of tiny pieces of stone or glass, called tesserae, that are put together like a puzzle to create a picture or design. C The Romans used mosaics to decorate the floors of their homes the way we use carpets. The mosaics you see came from a villa in Antioch that was buried for more than a thousand years.