Relevant bibliographies by topics / Annibale Romei

Academic literature on the topic 'Annibale Romei'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Annibale Romei"

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Zanini, V., M. Gargano, and A. Gasperini. "Italian Astronomers in the IAU: the contribution and role of Italian astronomers from the foundation to the Second World War." Proceedings of the International Astronomical Union 13, S349 (December 2018): 248–55. http://dx.doi.org/10.1017/s1743921319000383.

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AbstractEven though Italy officially joined the IAU in 1921, Italian astronomers were involved in its birth as early as 1919, when Annibale Riccò, Director of the Astrophysical Observatory of Catania, proposed to the IAU Committee to hold its first General Assembly in Rome. This contribution will analyze the role played by Italian astronomers in the development of the IAU from its foundation to the Second World War. The recent project of reordering of the astronomical historical archives in Italy permits for the first time a more in-depth study of the relations between Italian astronomers and the international scientific community.
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Esposito, Luca. "reality effect': the figure seen from behind in Carracci's art." Acta ad archaeologiam et artium historiam pertinentia 32, no. 18 N.S. (September 13, 2021): 9–28. http://dx.doi.org/10.5617/acta.9025.

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This article focuses on Carracci's frequent use of the figure seen from behind in their graphic and pictorial oeuvre (i.e., in the frescoes in Palazzo Fava, in the Cloister of San Michele in Bosco by Ludovico, in the series of the body in art by Annibale, and the engravings Ogni cosa vince l'oro by Agostino). It claims that the figure seen from behind plays a rhetorical function instrumental to the Carracci's search for a new form of naturalism in painting. In particular it creates a 'reality effect' that enhances the naturalistic rendering of the pictorial composition. On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.
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von Henneberg, Josephine. "Annibale Lippi, S. Chiara a Monte Cavallo, and the Villa Medici in Rome." Journal of the Society of Architectural Historians 48, no. 3 (September 1989): 248–57. http://dx.doi.org/10.2307/990430.

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Moroncini, Ambra. "Érasme, l’Arétin et Boccace dans l’invention du discours comique-burlesque d’Annibal Caro." Renaissance and Reformation 40, no. 1 (July 21, 2017): 67–90. http://dx.doi.org/10.33137/rr.v40i1.28448.

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This article considers Annibal Caro’s religious sentiments during the years of his most intense comic and paradoxical production: the pre-Tridentine period from 1536 to 1543, a time of tense expectation in Rome for significant Church reform. Although Caro’s religious beliefs never raised suspicions of heterodoxy, we shall see that both his paradoxical prose in Berni’s style, and his only comedy (which he conceived at the request of the Duke Pier Luigi Farnese but was never authorised by Caro to be represented or published in his lifetime), show that Erasmian influences and suggestions from Boccaccio and Aretino allowed him to safely engage in a discourse of religious dissent. Cet article analyse la position religieuse du lettré Annibal Caro durant les années de sa plus intense activité comique-burlesque : la période pré-tridentine de 1536 à 1543, où il composa des proses paradoxales à la manière de Berni, et son unique comédie, conçue à la demande du duc Pier Luigi Farnèse. Caro n’autorisa pas, de son vivant, la représentation de celle-ci, et la comédie ne fut publiée que de manière posthume. Nous verrons que, bien que les sentiments religieux de Caro n’aient jamais suscité de soupçons d’hétérodoxie, ce furent des influences érasmiennes, ainsi que des suggestions venues de Boccace et de l’Arétin, qui lui permirent d’élaborer un style discursif masquant sa polémique contre les faiblesses morales de l’Église.
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Matarazzo, Maria Gabriella. "ultima opera di Malvasia: 'Il Claustro di S. Michele in Bosco' e la decorazione carraccesca tra finzione e verità." Acta ad archaeologiam et artium historiam pertinentia 32, no. 18 N.S. (September 13, 2021): 29–58. http://dx.doi.org/10.5617/acta.9018.

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The Carracci's decorative vocabulary (from the early Bolognese friezes to the cycles of the Farnese Gallery in Rome and of the Cloister of San Michele in Bosco in Bologna) made extensive use of anthropomorphic supports, especially telamons and terms. Painted with a monochromatic technique, they deceived the beholder for their effective imitation of marble sculptures that illusively jut from the surface of the wall. While art historical scholarship mainly discussed them in regard to their chronology, attribution, iconography and their relationship with the Cinquecento decoration systems, their early reception still lacks a comprehensive assessment. This essay aims to undertake it through the case study of Il Claustro di S. Michele in Bosco, the last art-historical work by Malvasia. A section of this booklet is dedicated to the chiaroscuro"Termini" flanking the episodes of the life of St. Benedict painted by Ludovico Carracci and his pupils in the cloister of the Bolognese Olivetan monastery. Giacomo Giovannini, the engraver to whom Malvasia commissioned the illustrations included in the volume, also reproduced these painted sculptures in four etchings. By referring to a central couplet from the famous sonnet by Agostino Carracci "in lode di Nicolò Bolognese", he characterized Ludovico's (and Reni's) telamons as Michelangiolesque in their contour and Tizianesque in their naturalezza, as opposed to Annibale's terms frescoed in the Farnese Gallery, whose style Malvasia considered too harsh and dry ("statuino"). In this essay, Malvasia's notes on the cloister's telamons will be compared to his previous critical works and will be contextualized within the seventeenth-century Literature of Art and the coeval reproductive printmaking. As I will demonstrate, Malvasia aimed to restore the central role played by Agostino and Ludovico in the renovation of this decorative style, a role that was obscured by Annibale's growing fame in this genre of painting, particularly driven by the prints after his frescoes in the Farnese Palace published in the second half of the seventeenth century. On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.
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Shvidkovsky, Dmitry O. "THE MEANING OF SHATER FORM IN THE ARCHITECTURE OF RUSSIAN RENAISSANCE OF THE 16TH CENTURY." Scientific and analytical journal Burganov House. The space of culture 17, no. 3 (September 10, 2021): 10–23. http://dx.doi.org/10.36340/2071-6818-2021-17-3-10-23.

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The article is intended to clarify the original signification of a tent-shaped roof in church architecture in order to help Russian architects of the 21st century to use it meaningfully and in accordance with centuries-old tradition. The article deals with the problem of the genesis of the tent-shaped roof of the church and its primitive meaning in a wide cultural and symbolic context. Within the frame of a longstanding scientific discussion that lasted a century and a half different opinions had been expressed: the origin of the tent-shaped roof was linked with the traditions of Russian timber constructions as well as with the influences of Armenian, Georgian and even Indian architectural traditions. The article discusses the historical and culturalogical context of the creation of the first known masonry tent-shaped roof in the Church of the Ascension in Kolomenskoye built according to the commission of the Grand Duke Vasily III. The date of completion of the church is documented – that happened in 1532. The authorship of the project was discussed for a long time. Now it is considered to be definitely proved that the author was an Italian architect Petrok Maly (Pietro Annibale di Piza). The authors show the link of the meaning of the church in Kolomenskoye with the conceptions of Moscow as the New Constantinople and the Third Rome. We show the similarity of forms of the muscovite church with the description of the ciborium of the church of Saint Sophia in Constantinople in the text of Saint Germanus of Constantinople, known in the 16th century Russia.
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Cas, Raymond A. F. "IAVCEI: from small beginnings to a vibrant international association." History of Geo- and Space Sciences 10, no. 1 (April 16, 2019): 181–91. http://dx.doi.org/10.5194/hgss-10-181-2019.

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Abstract. The International Association for Volcanology and Chemistry of the Earth's Interior (IAVCEI) was formed following the end of World War I at the inaugural general assembly (GA) of the International Research Council in Brussels in 1919, where the International Union of Geodesy and Geophysics (IUGG) was constituted. IAVCEI was then known as the Section for Volcanology (SV) and was one of six scientific disciplines that made up IUGG. The first president of IAVCEI (or SV) was Annibale Riccò (Italy), its first two vice presidents were Alfred Lacroix (France) and Henry Washington (USA), and the first secretary-general (SG) was Alessandro Malladra (Italy). A secretariat office for SV was established in Naples, Italy, following the first IUGG and SV General Assembly in 1922, in Rome, Italy. At that meeting SV established its own scientific journal called Bulletin volcanologique, the first edition of which was published in 1924 with Alessandro Malladra as the editor. SV officially became the International Association for Volcanology (IAV) in 1933 at the 5th IUGG General Assembly in Lisbon, Portugal. At the 14th IUGG General Assembly in Zurich, Switzerland, in 1967, IAV was renamed IAVCEI in recognition of the importance of geochemistry and geochronology in understanding volcanic processes. Bulletin volcanologique was renamed the Bulletin of Volcanology in 1986, at the time that its editorial board was restructured to be more representative of the international community. IAVCEI became a fully democratic association in 1995 with the introduction of individual membership, which entitled members to nominate, be nominated and vote in the election of the IAVCEI Executive Committee. Although the IUGG By-Laws allowed scientists only from the union's member countries to hold various positions within IUGG, in 2015, the IUGG Council removed this restriction, and now a scientist who is a member of IAVCEI from any country can hold any position in IAVCEI, except the position of the president.
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Robertson, Clare. "Annibale Carracci (Bologna, Museo Civico Archeologico, 22 September 2006-7 January 2007, and Rome, DART Chiostro del Bramante, 25 January-6 May 2007) - Catalogue edited by Daniele Benati and Eugenio Riccòmini, with essays by Daniele Benati, Eugenio Riccòmini, Claudio Strinati, Andrea Emiliani, Anna Stanzani and Silvia Ginzburg." Renaissance Studies 24, no. 2 (April 2010): 301–5. http://dx.doi.org/10.1111/j.1477-4658.2009.00597.x.

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Shank, Michael H. "Annibale Fantoli, Galileo: For Copernicanism and for the Church, translated by George V. Coyne, SJ. Studi Galileiani, 3. Rome: Vatican Observatory Publications, 1994 (distributed outside Italy by University of Notre Dame Press, Notre Dame, IN). First edition: pp. xix+540. ISBN 0-268-01029-3. Second edition, revised and corrected, 1996, pp. xx+567. ISBN 0-268-01032-3. $21.95. Rivka Feldhay, Galileo and the Church: Political Inquisition or Critical Dialogue? Cambridge: Cambridge University Press, 1995. Pp. viii+303. ISBN 0-521-34468-8. £35.00, $54.95." British Journal for the History of Science 30, no. 1 (March 1997): 101–21. http://dx.doi.org/10.1017/s0007087496232960.

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Dissertations / Theses on the topic "Annibale Romei"

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Dupuy, Christel Deswarte-Rosa Sylvie. "Le Cardinal François de Tournon (1489-1562) mécène et humaniste un prélat et sa maisonnée dans la Rome du XVIe siècle /." Lyon : Université Lumière Lyon 2, 2007. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2007/dupuy_c.

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Dupuy, Christel. "Le Cardinal de Tournon (1489-1562) mécène et humaniste : un prélat et sa maisonnée dans la Rome du XVIe siècle." Lyon 2, 2007. http://theses.univ-lyon2.fr/documents/lyon2/2007/dupuy_c.

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Le cardinal François de Tournon (Tournon (?) 1489 - Saint-Germain-en-Laye 1562) fut l’un des hommes les plus influents de la scène politique française du second tiers du XVIe siècle. Etroitement lié à la politique menée outre-monts par la France, il se rendit à quatre reprises en Italie où il demeura en tout près de neuf ans, notamment à Rome. Cette thèse propose une étude des échanges culturels qui se développèrent sous la protection du cardinal dans le domaine des arts, des lettres et des sciences lors des séjours romains du prélat. Ces trois domaines correspondant à ceux auxquels Tournon apportait un intérêt particulier, leur étude permet de préciser le profil culturel du cardinal. Les résultats de cette recherche concernent essentiellement les années 1550 qui correspondent aux séjours les plus longs effectués par le cardinal à Rome. Rares étant les informations concernant les activités propres au cardinal de Tournon, notre recherche se fonde sur la reconstitution de la maisonnée du prélat et du réseau de sociabilité tissé dans les milieux romains par ce cercle. Dans cette perspective, nous avons porté un intérêt particulier à l’étude des Italiens tels que Donato Giannotti, Annibal Caro, Claudio Tolomei, Bernardo del Bene, Giovan Angelo Montorsoli qui bénéficièrent du soutien du cardinal lors des séjours romains de ce dernier. Outre les résultats concernant les activités auxquelles Tournon apporta sa protection, ce travail met en valeur le fonctionnement complexe de ce réseau où interfèrent rapports culturels et politiques
The cardinal François de Tournon (Tournon (?) 1489 - Saint-Germain-en-Laye 1562) was one of the most influential persons on the French political scene in the second third of the 16th century. He had four stays in Italy and was closely involved in French Transalpine politics. He lived in Italy for almost nine years, among other places in Rome. This thesis examines the cultural exchange which developed under the cardinal’s protection in the realm of arts, humanities and science while he was living in Rome. The cardinal was particularly interested in these three areas, and we can trace the cultural profile of the cardinal through their close examination. The results of this research relate to the 1550s, the decade in which the cardinal spent the longest periods in Rome. Information concerning the cardinal of Tournon's activities are rare, and the research is therefore based upon the reconstitution of the prelate's household, and its social network in Rome. This perspective has led me to take a particular interest in Donato Giannotti, Annibal Caro, Claudio Tolomei, Bernardo del Bene, Giovan Angelo Montorsoli, all of them Italian. They all of benefited from the cardinal’s support when he stayed in Rome. In addition to examining the activities generated by Tournon’s support, this thesis emphasises the complex functioning of this network where culture and politics interact
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Books on the topic "Annibale Romei"

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Prandi, Stefano. Il cortegiano ferrarese: I Discorsi di Annibale Romei e la cultura nobiliare nel Cinquecento. Firenze: Olschki, 1990.

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Dempsey, Charles. Annibale Carracci: The Farnese Palace, Rome. New York: George Braziller, 1995.

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Annibale Carracci, the Farnese Gallery, Rome. New York: G. Braziller, 1995.

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Carignani, Silvia Ginzburg. Annibale Carracci a Roma: Gli affreschi di Palazzo Farnese. Roma: Donzelli, 2000.

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Carignani, Silvia Ginzburg. Annibale Carracci a Roma: Gli affreschi di Palazzo Farnese. Roma: Donzelli, 2000.

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Reckermann, Alfons. Amor mutuus: Annibale Carraccis Galleria-Farnese-Fresken und das Bild-Denken der Renaissance. Köln: Böhlau, 1991.

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Contributors, Multiple. Engravings from the Original Designs of Annibale, Agostino, and Ludovico Caracci, in His Majesty's Collection Consisting of Elegant Compositions and Studies for the Various Celebrated Pictures in the Different Places and Cabinets at Rome. Creative Media Partners, LLC, 2018.

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