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The Transformation of Italian Democracy
Bulletin of Italian Politics Vol. 1, No. 1, 2009, 29-47 The Transformation of Italian Democracy Sergio Fabbrini University of Trento Abstract: The history of post-Second World War Italy may be divided into two distinct periods corresponding to two different modes of democratic functioning. During the period from 1948 to 1993 (commonly referred to as the First Republic), Italy was a consensual democracy; whereas the system (commonly referred to as the Second Republic) that emerged from the dramatic changes brought about by the end of the Cold War functions according to the logic of competitive democracy. The transformation of Italy’s political system has thus been significant. However, there remain important hurdles on the road to a coherent institutionalisation of the competitive model. The article reconstructs the transformation of Italian democracy, highlighting the socio-economic and institutional barriers that continue to obstruct a competitive outcome. Keywords: Italian politics, Models of democracy, Parliamentary government, Party system, Interest groups, Political change. Introduction As a result of the parliamentary elections of 13-14 April 2008, the Italian party system now ranks amongst the least fragmented in Europe. Only four party groups are represented in the Senate and five in the Chamber of Deputies. In comparison, in Spain there are nine party groups in the Congreso de los Diputados and six in the Senado; in France, four in the Assemblée Nationale an d six in the Sénat; and in Germany, six in the Bundestag. Admittedly, as is the case for the United Kingdom, rather fewer parties matter in those democracies in terms of the formation of governments: generally not more than two or three. -
2003 Social Report
SANPAOLO IMI SOCIAL REPORT 2003 Social Report REGISTERED OFFICE: PIAZZA SAN CARLO 156, TURIN, ITALY SECONDARY OFFICES: - VIALE DELL’ARTE 25, ROME, ITALY - VIA FARINI 22, BOLOGNA, ITALY COMPANY REGISTER OF TURIN N. 06210280019 SHARE CAPITAL 5,144,064,800 EURO FULLY PAID PARENT BANK OF THE SANPAOLO IMI BANKING GROUP MEMBER OF THE INTERBANK DEPOSIT GUARANTEE FUND Luigi Arcuti Honorary Chairman Board of Directors Rainer Stefano Masera (*) Chairman Pio Bussolotto (*) Managing Director Alberto Carmi Director Giuseppe Fontana Director Richard Gardner Director Alfonso Iozzo (*) Managing Director Mario Manuli Director Luigi Maranzana (*) Managing Director Antonio Maria Marocco Director Virgilio Marrone (*) Director Abel Matutes Juan Director Iti Mihalich (*) Director Anthony Orsatelli Director Emilio Ottolenghi Director Orazio Rossi (*) Deputy Chairman Gian Guido Sacchi Morsiani Director Enrico Salza (*) Deputy Chairman Remi François Vermeiren Director (*) Members of the Executive Committee Board of Statutory Auditors Mario Paolillo Chairman Aureliano Benedetti Auditor Maurizio Dallocchio Auditor Paolo Mazzi Auditor Enrico Vitali Auditor Stefania Bortoletti Auditor Antonio Ottavi (**) Auditor (**) Prof. Ottavi has resigned on January 19, 2004 Ethical Commitee Abel Matutes Juan Chairman Alberto Carmi Member Richard Gardner Member Mario Manuli Member Antonio Maria Marocco Member Rainer Stefano Masera Member Remi François Vermeiren Member Independent Auditors PricewaterhouseCoopers S.p.A. Contents 9 Letter to Stakeholders 12 Introduction and preparation -
View the Comitati Privati Internazionali Di Venezia Works from 1966 to 2016
ELENCO DEI LAVORI DEI COMITATI PRIVATI INTERNAZIONALI DI VENEZIA DAL 1966 al 2016 Anonimo frescante del XII secolo, La vergine orante, due 1966 1967 Basilica di San Marco affresco Fondazione Ercole Varzi arcangeli e santi Case in Calle Lanza Italia Nostra con Stato italiano e 1966 1968 Restauro architettura (Dorsoduro 152-158) Consiglio d Europa Chiesa di San Nicolò dei Alvise dal Friso, affreschi dell'abside: Annunciazione ed 1967 1968 affresco Committee to Rescue Italian Art Mendicoli Eterno in Gloria Chiesa di Santa Maria di Domenico e Giuseppe Valeriani, affreschi dell'abside: La 1967 1968 affresco Committee to Rescue Italian Art Nazareth (Scalzi) Trinità in Gloria e le Virtù cardinali Chiesa di Santa Maria di Giambattista Tiepolo, volta affrescata della II cappella a 1967 1968 affresco Association France-Italie Nazareth (Scalzi) destra: Gloria di Santa Teresa Giovanni Battista Pittoni, affreschi della cappella vicina 1967 1968 Chiesa di San Cassiano affresco Association France-Italie alla sacrestia, restia: San Cassiano e Santa Cecilia 1967 1968 Ca' d'Oro anonimo veneto del XV secolo, soffitto edicola architettura Association France-Italie 1967 1968 Ca' d'Oro anonimo veneto del XVI-XVII secolo soffitto IV sala architettura Association France-Italie Antonio Molinari; Jacopo Palma il Giovane; Sante Piatti; 1967 1968 Chiesa di San Moisè Antonio Arrigoni; Jacopo Tintoretto; Maffeo da Verona dipinto Committee to Rescue Italian Art (scuola di)quadri Jacopo Palma il Giovane; Antonio Vassilacchi detto l'Aliense; Bernardo Strozzi (seguace -
How to Cite Complete Issue More Information About This Article
Civitas - Revista de Ciências Sociais ISSN: 1519-6089 ISSN: 1984-7289 Pontifícia Universidade Católica do Rio Grande do Sul Vannucci, Alberto Systemic corruption and disorganized anticorruption in Italy: governance, politicization, and electoral accountability Civitas - Revista de Ciências Sociais, vol. 20, no. 3, 2020, September-December, pp. 408-424 Pontifícia Universidade Católica do Rio Grande do Sul DOI: https://doi.org/10.15448/1984-7289.2020.3.37877 Available in: https://www.redalyc.org/articulo.oa?id=74266204008 How to cite Complete issue Scientific Information System Redalyc More information about this article Network of Scientific Journals from Latin America and the Caribbean, Spain and Journal's webpage in redalyc.org Portugal Project academic non-profit, developed under the open access initiative OPEN ACCESS CIVITAS Revista de Ciências Sociais Programa de Pós-Graduação em Ciências Sociais Civitas 20 (3): 408-424, set.-dez. 2020 e-ISSN: 1984-7289 ISSN-L: 1519-6089 http://dx.doi.org/10.15448/1984-7289.2020.3.37877 DOSSIER: FIGHT AGAINST CORRUPTION: STATE OF THE ART AND ANALYSIS PERSPECTIVES Systemic corruption and disorganized anticorruption in Italy: governance, politicization, and electoral accountability Corrupção sistêmica e anticorrupção desorganizada na Itália: governança, politização e accountability eleitoral Corrupción sistémica y anticorrupción desorganizada en Italia: gobernanza, politización y accountability electoral Alberto Vannucci1 Abstract: This paper provides, trough different indicators, empirical evidence on the orcid.org/0000-0003-0434-1323 presumably high relevance of corruption in Italian politics and administration, providing [email protected] an explanation of how this “obscure” side of Italian politics – a pervasive market for corrupt exchanges – has found its way to regulate its hidden activities within an informal institutional framework, i.e. -
The Splendours of Venice View Paintings from the Eighteenth Century the Splendours of Venice View Paintings from the Eighteenth Century
The Splendours of Venice View Paintings from the Eighteenth Century The Splendours of Venice View Paintings from the Eighteenth Century The Splendours of Venice View Paintings from the Eighteenth Century Valentina Rossi and Amanda Hilliam DE LUCA EDITORI D’ARTE The Splendours of Venice View Paintings from the Eighteenth Century Lampronti Gallery 1-24 December 2014 9.30 - 6 pm Exhibition curated by Acknowledgements Amanda Hilliam Marcella di Martino, Emanuela Tarizzo, Barbara De Nipoti, the staff of Valentina Rossi Itaca Transport, the staff of Simon Jones Superfreight. Catalogue edited by Amanda Hilliam Valentina Rossi Photography Mauro Coen Matthew Hollow LAMPRONTI GALLERY 44 Duke Street, St James’s London SW1Y 6DD Via di San Giacomo 22 00187 Roma [email protected] [email protected] p. 2: Francesco Guardi, The lagoon with the Forte di S. Andrea, cat. 20, www.cesarelampronti.com detail his exhibition and catalogue commemorates the one-hundred-year anniversary of Lampronti Gallery, founded in 1914 by my Grandfather and now one of the foremost galleries specialising in Italian Old TMaster paintings in the United Kingdom. We have, over the years, developed considerable knowledge and expertise in the field of vedute, or view paintings, and it therefore seemed fitting that this centenary ex- hibition be dedicated to our best examples of this great tradition, many of which derive from important pri- vate collections and are published here for the first time. More precisely, the exhibition brings together a fine selection of views of Venice, a city whose romantic canals and quality of light were never represented with greater sensitivity or technical brilliance than during the eigh- teenth century. -
Mattia & Marianovella Romano
Mattia & MariaNovella Romano A Selection of Master Drawings A Selection of Master Drawings Mattia & Maria Novella Romano A Selection of Drawings are sold mounted but not framed. Master Drawings © Copyright Mattia & Maria Novelaa Romano, 2015 Designed by Mattia & Maria Novella Romano and Saverio Fontini 2015 Mattia & Maria Novella Romano 36, Borgo Ognissanti 50123 Florence – Italy Telephone +39 055 239 60 06 Email: [email protected] www.antiksimoneromanoefigli.com Mattia & Maria Novella Romano A Selection of Master Drawings 2015 F R FRATELLI ROMANO 36, Borgo Ognissanti Florence - Italy Acknowledgements Index of Artists We would like to thank Luisa Berretti, Carlo Falciani, Catherine Gouguel, Martin Hirschoeck, Ellida Minelli, Cristiana Romalli, Annalisa Scarpa and Julien Stock for their help in the preparation of this catalogue. Index of Artists 15 1 3 BARGHEER EDUARD BERTANI GIOVAN BAttISTA BRIZIO FRANCESCO (?) 5 9 7 8 CANTARINI SIMONE CONCA SEBASTIANO DE FERRARI GREGORIO DE MAttEIS PAOLO 12 10 14 6 FISCHEttI FEDELE FONTEBASSO FRANCESCO GEMITO VINCENZO GIORDANO LUCA 2 11 13 4 MARCHEttI MARCO MENESCARDI GIUSTINO SABATELLI LUIGI TASSI AGOSTINO 1. GIOVAN BAttISTA BERTANI Mantua c. 1516 – 1576 Bacchus and Erigone Pen, ink and watercoloured ink on watermarked laid paper squared in chalk 208 x 163 mm. (8 ¼ x 6 ⅜ in.) PROVENANCE Private collection. Giovan Battista Bertani was the successor to Giulio At the centre of the composition a man with long hair Romano in the prestigious work site of the Ducal Palace seems to be holding a woman close to him. She is seen in Mantua.1 His name is first mentioned in documents of from behind, with vines clinging to her; to the sides of 1531 as ‘pictor’, under the direction of the master, during the central group, there are two pairs of little erotes who the construction works of the “Palazzina della Paleologa”, play among themselves, passing bunches of grapes to each which no longer exists, in the Ducal Palace.2 According other. -
Curriculum Vitae PERSONAL INFORMATION Family Name, First Name: Hopkins, Andrew James Nationality: Australian/Italian Date Of
Curriculum vitae PERSONAL INFORMATION Family name, First name: Hopkins, Andrew James Nationality: Australian/Italian Date of birth: 26/09/1965 URL for web site: http://www.univaq.it/rubrica.php?id=650&docente=on http://univaq.academia.edu/AndrewHopkins · EDUCATION 1995 PhD Courtauld Institute of Art, University of London, UK, 1995 1989 Bachelor of Arts, Fine Arts, University of Melbourne, Australia, 1989 · CURRENT POSITION 2004–present Tenured Associate Professor (Professore Associato) University of l’Aquila, Italy (with ‘Abilitazione Scientifico Nazionale’ for Full Professor 2014) · PREVIOUS POSITIONS 2003 – 2004 Fellow, Harvard University, Villa I Tatti Florence, Italy 2002 – 2003 Editor, The Burlington Magazine, London, UK 1998 – 2002 Assistant Director, The British School at Rome, Italy (on secondment) 1995 – 2002 Lecturer in Architectural History, Mackintosh School of Architecture, Glasgow, UK · FELLOWSHIPS AND AWARDS 2014 – St John’s College, Cambridge, UK, Overseas Visiting Scholar, Lent and Easter Terms 2013 – Getty Research Institute, Los Angeles, USA, Visiting Scholar 2012 – DAAD Deutscher Akademischer Austauschdienst, Research Fellow, Munich, Germany 2009 – Paul Mellon Senior Visiting Fellow, Center for Advanced Studies in the Visual Arts, National Gallery of Art, Washington D.C., USA 2004 – Visiting professor: University of Rome Tor Vergata, Italy 2003 – 2004 Harvard University, Villa I Tatti, Florence, Italy, Fellow 1996 – Society of Architectural Historians of Great Britain, Essay Medal 1996 – Royal Institute of British Architects -
Celinda, a Tragedy
Celinda, A Tragedy VALERIA MIANI • Edited with an introduction by VALERIA FINUCCI Translated by JULIA KISACKY Annotated by VALERIA FINUCCI & JULIA KISACKY Iter Inc. Centre for Reformation and Renaissance Studies Toronto 2010 Iter: Gateway to the Middle Ages and Renaissance Tel: 416/978–7074 Fax: 416/978–1668 Email: [email protected] Web: www.itergateway.org CRRS Publications, Centre for Reformation and Renaissance Studies Victoria University in the University of Toronto Toronto, Ontario M5S 1K7 Canada Tel: 416/585–4465 Fax: 416/585–4430 Email: [email protected] Web: www.crrs.ca © 2010 Iter Inc. & the Centre for Reformation and Renaissance Studies All Rights Reserved Printed in Canada Iter and the Centre for Reformation and Renaissance Studies gratefully acknowledge the generous sup- port of the Gladys Krieble Delmas Foundation toward the publication of this book. Iter and the Centre for Reformation and Renaissance Studies gratefully acknowledge the generous sup- port of James E. Rabil, in memory of Scottie W. Rabil, toward the publication of this book. Library and Archives Canada Cataloguing in Publication Miani, Valeria Celinda : a tragedy / Valeria Miani ; edited and with an introduction by Valeria Finucci ; tranlated by Julia Kisacky ; annotated by Valeria Finucci & Julia Kisacky. (The other voice in early modern Europe : the Toronto series ; 8) Translation of the Italian play by the same title. Co-published by: Centre for Reformation and Renaissance Studies. Includes bibliographical references and index. Issued also in electronic format. Text in Italian with English translation on facing pages. ISBN 978–07727–2075–7 I. Finucci, Valeria II. Kisacky, Julia, 1965– III. -
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Byzantina Symmeikta Vol. 29, 2019 Byzantine families in Venetian context: The Gavalas and Ialinas family in Venetian Crete (XIIIth- XIVth centuries) ΓΑΣΠΑΡΗΣ Χαράλαμπος Institute of Historical Research, Athens https://doi.org/10.12681/byzsym.16249 Copyright © 2019 Χαράλαμπος Γάσπαρης To cite this article: ΓΑΣΠΑΡΗΣ, (2019). Byzantine families in Venetian context: The Gavalas and Ialinas family in Venetian Crete (XIIIth- XIVth centuries). Byzantina Symmeikta, 29, 1-132. doi:https://doi.org/10.12681/byzsym.16249 http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | INSTITUTE OF HISTORICAL RESEARCH ΙΝΣΤΙΤΟΥΤΟ ΙΣΤΟΡΙΚΩΝ ΕΡΕΥΝΩΝ SECTION OF BYZANTINE RESEARCH ΤΟΜΕΑΣ ΒΥΖΑΝΤΙΝΩΝ ΕΡΕΥΝΩΝ NATIONAL HELLENIC RESEARCH FOUNDATION ΕΘΝΙΚΟ IΔΡΥΜΑ ΕΡΕΥΝΩΝ CHARALAMBOS GASPARIS EFI RAGIA Byzantine Families in Venetian Context: THE GEOGRAPHY OF THE PROVINCIAL ADMINISTRATION OF THE TheBYZAN GavalasTINE E andMPI REIalinas (CA 600-1200):Families I.1.in T HVenetianE APOTHE CreteKAI OF (XIIIth–XIVthASIA MINOR (7T HCenturies)-8TH C.) ΤΟΜΟΣ 29 VOLUME ΠΑΡΑΡΤΗΜΑ / APPENDIX ΑΘΗΝΑ • 20092019 • ATHENS http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | ΒΥΖΑΝΤΙΝΑ ΣΥΜΜΕΙΚΤΑ 29 ΠΑΡΑΡΤΗΜΑ ΒΥΖΑΝΤΙΝΑ SYMMEIKTA 29 APPENDIX http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | NATIONAL HELLENIC RESEARCH FOUNDATION INSTITUTE OF -
Venice: Canaletto and His Rivals February 20, 2011 - May 30, 2011
Updated Friday, February 11, 2011 | 3:41:22 PM Last updated Friday, February 11, 2011 Updated Friday, February 11, 2011 | 3:41:22 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Venice: Canaletto and His Rivals February 20, 2011 - May 30, 2011 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required(*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. File Name: 2866-103.jpg Title Title Section Raw File Name: 2866-103.jpg Iconografica Rappresentatione della Inclita Città di Venezia (Iconongraphic Iconografica Rappresentatione della Inclita Città di Venezia (Iconongraphic Representation of the Illustrious City of Venice), 1729 Display Order Representation of the Illustrious City of Venice), 1729 etching and engraving on twenty joined sheets of laid paper etching and engraving on twenty joined sheets of laid paper 148.5 x 264.2 -
Cagnacci's “Repentant Magdalene”
CAGNACCI’S “REPENTANT MAGDALENE” AN ITALIAN BAROQUE MASTERPIECE COMES TO THE FRICK THIS FALL October 25, 2016, through January 22, 2017 Guido Cagnacci was one of the most eccentric painters of seventeenth-century Italy, infamous for his unconventional art and lifestyle. His works, mostly religious in subject, are known for their unabashed, often unsettling eroticism, and his biography is no less intriguing. Though his pictorial style was influenced by some of the most important Italian painters of the time—the Carracci, Guercino, and Guido Reni—Cagnacci developed an individual and immediately recognizable artistic language. This October, the Frick will present Cagnacci’s ambitious Repentant Magdalene, considered a masterpiece of seventeenth-century Italian art, and a work that has not been seen outside California since Guido Cagnacci (1601–1663), The Repentant Magdalene, ca. 1660−63, oil on canvas, 90 1/4 x 104 3/4 inches, Norton Simon Art Foundation, Pasadena, California its acquisition by the Norton Simon Museum almost thirty- five years ago. A testament to Cagnacci’s genius, this extraordinary painting—the latest in a series of loans to the Frick from the Norton Simon Museum, in Pasadena—will introduce New York audiences to this largely forgotten artist. Cagnacci’s “Repentant Magdalene”: An Italian Baroque Masterpiece from the Norton Simon Museum was organized by Xavier F. Salomon, Peter Jay Sharp Chief Curator, The Frick Collection. Principal funding for the exhibition is generously provided by the Robert H. Smith Family Foundation. Major support for the exhibition and the accompanying book, The Art of Guido Cagnacci, is provided by Fabrizio Moretti, with additional support from Mr. -
Reinhold C. Mueller
Reinhold C. Mueller Aspects of Venetian Sovereignty in Medieval and Renaissance Dalmatia [A stampa in Quattrocento Adriatico , Fifteenth Century Art of the Adriatic Rim , Papers from a colloquium, Florence, 1994, edited by Charles Dempsey (Villa Spelman Colloquia Series, 5), Bologna, Nuova Alfa Editoriale, 1996, pp. 29-56 – Distribuito in formato digitale da “Reti Medievali”] The reader is forewarned that this paper, which maintains the character of the original oral presentation, makes no attempt at covering completely such a vast subject, on which there is an extensive bibliography - much of it in Serbo-Croatian, a language I do not know. My intent is simply to offer for discussion some little-exploited historical materials on well-known themes that exemplify contacts between the two coasts of the Adriatic Sea, especially - but not only - during the Quattrocento. Following an overview of the history of Venetian sovereignty in that part of the Stato da mar, attention will turn to aspects of politics and society, that is, to the political, financial and monetary administration of the subject territories and to the movement of people and peoples across the Adriatic. I. AN OVERVIEW OF HISTORY AND MYTH Venetian efforts at domination of the eastern Adriatic can be said to have begun in the year 1000, with the naval expedition commanded personally by doge Pietro II Orseolo, which put an end to the activity of pirates installed at the mouth of the Narenta River and first avowed control over the Adriatic as the “Gulf of Venice.” Lordship over the Adriatic was central to Venetian historiography and mythology over the centuries: from the supposed papal grant of lordship at the peace of 1177 with Barbarossa and the ceremony each Ascension day of the doge wedding the sea, to invocations of Jove and Neptune - all depicted as part of a political program in the redecoration of the Ducal Palace after the fire of 1577 As late as the eighteenth century, Tiepolo still represented Neptune and the sea as the source of Venice’s wealth, when that was already history.