Academic literature on the topic 'Artists – Italy – Rome'
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Journal articles on the topic "Artists – Italy – Rome"
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Holwerda, Joslin. "Art in Early Modern Italy: Artemisia Gentileschi and Caravaggio." General: Brock University Undergraduate Journal of History 3 (December 18, 2018): 122–49. http://dx.doi.org/10.26522/gbuujh.v3i0.1673.
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This paper compares the careers of two internationally known painters from seventeenth century Rome, one male and one female, to further understand the broader gender relations of early modern Italy. Michelangelo Merisi da Caravaggio and Artemisia Gentileschi are individually known for being Italy’s greatest painters of the Baroque period. As artists, the professional challenges that they faced exemplified the dichotomy between genders in the early modern period. While Caravaggio’s controversial art style and violent lifestyle did not hinder his success, Gentileschi faced persistent apprehension and criticism by her contemporaries, solely because she was a woman working in an almost exclusively male profession. The professional restrictions and limitations that were experienced by female artists in the seventeenth century are represented in the career and reputation of Artemisia Gentileschi. By comparing the art, careers, and reputations of Rome’s most notable painters, this paper offers insight into how art is representative of gender and gender relations in early modern Italy.
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Sharova, Elena A. "THE ARTIST A. N. MOKRITSKY IN ITALY IN THE 1840S: LANDSCAPE ART EXPERIENCE." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 289–99. http://dx.doi.org/10.37816/2073-9567-2020-58-289-299.
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The paper explores the art works of A. N. Mokritsky, the painter who lived in Italy in the 1840s and had a strong passion for landscape painting. Being taught by A. G. Venecianov first and then graduating from the Imperial Academy of Arts under K. P. Bryullov, he himself followed the path of teaching and became an outstanding person in the Russian Art History of the second third of the 19th century. Mokritsky came to be known as a painter of an average talent who didn’t leave a distinctive mark on the national art. However, it was him who as a presumable representative of the artistic milieu became an indicator of the changes taking place in this art environment. The article provides a picture of years Mokritsky spent in Italy which is the most important period of his professional development and a prominent time of the Roman colony of the Russian artists as well. The author considers the artist’s close interaction not only with members of the Russian colony in Rome, but also with representatives of European art schools. Involving of archival materials and literary sources allowed to substantially supplement information about the life and work of Mokritsky during his trip abroad. Upon analysis of a significantly expanded list of landscape works created by the artist in this period, the author identified a number of characteristic features of the Italian landscape of the 40s of the 19th century taking into account the works of other painters.
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Armstrong, T. D. "An Old Philosopher in Rome: George Santayana and his Visitors." Journal of American Studies 19, no. 3 (December 1985): 349–68. http://dx.doi.org/10.1017/s0021875800015322.
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Rome after the Second World War presented something of an anomaly. Of all the traditional capitals of European civilization it was the least affected by the conflict. Because of the Pope's presence, it had not been bombed, and it had escaped the heavy fighting in the campaigns to the south. Indeed, so easily was it taken that one film was to show the Eternal City captured by a single jeep. Italy was also faster to recover than any of the other combatants. American money flooded into the country, and political life was quickly under way again. All this made it a good place for visitors, a relative bright spot amidst a shattered landscape. Harold Acton, the English historian who went there in 1948, remarked that “After the First World War American writers and artists had migrated to Paris: now they pitched upon Rome.” Among those who visited Rome or lived there for a period after the war were Edmund Wilson, Gore Vidal, Tennessee Williams, Frederic Prokosch, Daniel Cory, Alfred Kazin, Samuel Barber, Robert Lowell and Elizabeth Hardwick (slightly later), as well as Acton himself and a host of less well-known figures. Many were entertained by Lawrence and Babel Roberts, under whose influence “the Roman Academy became an international rendezvous for artists and intellectuals.” While they were there, a large proportion of these writers made a pilgrimage to the Convent of the Blue Sisters, where since 1941 George Santayana had been living in a single room.
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Tracz, Szymon. "Italian Inspiration for the Painting Decorations by Maciej Jan Meyer from the First Half of the Eighteenth Century in Szembek Chapel at the Cathedral in Frombork." Perspektywy Kultury 30, no. 3 (December 20, 2020): 151–78. http://dx.doi.org/10.35765/pk.2020.3003.11.
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The Bishop of Warmia, Krzysztof Andrzej Jan Szembek from Słupów (1680– 1740), erected a domed reliquary chapel devoted to the Most Holy Savior and St. Theodore the Martyr (Saint Theodore of Amasea) at the cathedral in Frombork, also known as Szembek Chapel. The entire interior of the chapel is covered with frescoes dating from around 1735 by Maciej Jan Meyer (Matthias Johann Meyer) from Lidzbark Warmiński. Educated in Italy, the artist made polychrome decorations in the style of illusionistic architectural painting known as quadrature. In the lower part of the chapel stand busts of saints and the entire figure of St. Theodore of Amasea; in the cupola of the dome is the adoration of the Holy Trinity and the Holy Cross by the Mother of God and the Saints. Using the comparative method, I discuss the decoration of the chapel in the context of quadrature painting, which was developing in Italy and then in Central Europe, especially at the end of the 17th and the first half of the 18th centuries. Influential artists who played an important role for Polish quadratura techniques were Andrea Pozzo (1642–1709) and painters who came from Italy or studied painting there, such as Maciej Jan Meyer. I also show the prototype for the decoration of the chapel’s dome, namely, the frescoes from 1664–1665 by Pietro Berrettini da Cortona in the dome of Santa Maria in Valicella in Rome, as well as for medallions with busts of saints modeled on the structure of the main altar from 1699–1700 in the Church of the Holy Cross in Warsaw, funded by Meyer’s first patron, Bishop Teodor Potocki, primate of Poland.
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Bender, Agnieszka. "Zofia Katarzyna Branicka Odescalchi zwana pierwszym „polskim papieżem”." Roczniki Humanistyczne 68, no. 4 Zeszyt specjalny (2020): 213–43. http://dx.doi.org/10.18290/rh20684-12s.
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Zofia Branicka (1821-1886) was a Polish wealthy noblewoman who married Italian Prince Livio III Erba Odescalchi (1805-1885) in 1841. From then on until her death she lived in Rome. Thanks to her opulent dowry, Odescalchi family could buy back among others, the Bracciano castle (near Rome) from the Torlonia family. Zofia was very well educated and a polyglot. From the very first years of her stay in Rome, she started to organise famous soirees at her salon in Palazzo Odescalchi. In this way Princess Zofi gathered the elite of aristocracy, diplomacy and the clergy, from diff European countries. Soon she had a possibility to get to know the pope Pius IX, with whom she would maintain a real and close friendship. Zofia had informed the pope about the complex situation of Poland, partitioned by her neighbours. From the beginning of her stay in Italy she was involved in charity work. The princess was very involved in financial and organisational help to Polish people in Italy (emigrees, insurgents, priests, artists as Cyprian Kamil Norwid, Leopold Nowotny, Roman Postempski etc.). She closely co-operated with The Congregation of the Resurrection of Our Lord Jesus Christ in organising the Polish Seminar in Rome in 1866. That was an event of a great importance for Polish people who at that time had no country of their own. Thanks to her deep religiosity and patriotic activity Princess Zofi was known among her contemporaries as “the Polish pope”. Nobody at that time could have imagine that after one hundred years Karol Wojtyła would become the first actual Polish pope.
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Rice, Louise. "Poussin’s Elephant." Renaissance Quarterly 70, no. 2 (2017): 548–93. http://dx.doi.org/10.1086/693181.
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AbstractNicolas Poussin’s “Hannibal Crossing the Alps,” long considered one of his earliest surviving works, is here recognized as a portrait of a historical elephant who visited Rome in 1630 and re-dated accordingly. The article tells the story of this remarkable animal. It traces his passage from South Asia through Portugal, Spain, England, France, the Netherlands, Germany, Austria, Italy, and back again to France, and examines his encounters along the way with kings and courtiers, scholars, artists, and traveling showmen, giving insight into the diplomatic and economic uses of exotic animals in early modern Europe. Finally, returning to Poussin, it addresses the implications of the re-dating of the “Hannibal” for our understanding of the painter’s stylistic development and biography.
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Swist, Jeremy. "‘Wolves of the Krypteia’: Lycanthropy and right-wing extremism in metal’s reception of ancient Greece and Rome." Metal Music Studies 8, no. 3 (September 1, 2022): 309–25. http://dx.doi.org/10.1386/mms_00083_1.
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Metal’s pervasive (were)wolf motifs are key hermeneutics for the reception of classical antiquity by right-wing bands. Continuities of lupine themes and romanticization of Sparta and Rome exist between fascist Germany and Italy, contemporary far-right political and pagan organizations, and bands that combine these two subjects in a unique but consistent way. Also inspired by Nietzsche, Evola and social Darwinists, bands such as Der Stürmer, Kataxu and Spearhead trace their biological and spiritual ancestry to Sparta, emulating their lycanthropic militarism and racial terrorism. Bands such as Hesperia, Diocletian and Deströyer 666 utilize Roman wolf iconography to promote the destruction of civilization and return to ‘natural’ hierarchies. Like their fascist predecessors, these artists perpetuate patriarchal and racist distortions of both lupine behaviour and ancient Mediterranean civilizations. Such constructions nevertheless extend from the resonance of both wolves and classical antiquity with metal’s common themes of transgression, hypermasculinity, elitism and nostalgia for premodernity.
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Rabinovich, Irina. "Hawthorne’s Rome – A city of evil, political and religious corruption and violence." Ars Aeterna 9, no. 1 (June 27, 2017): 1–6. http://dx.doi.org/10.1515/aa-2017-0001.
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Abstract Hawthorne’s Rome is the home of dark and evil catacombs. It is a city haunted by evil spirits from the past that actively shape the romance’s plot. Rome’s dark gardens, endless staircases, hidden corners and vast catacombs, as well as the malodorous Jewish ghetto, affect Donatello’s and Miriam’s judgment, almost forcing them to get rid of the Model, Miriam’s persecutor. Hawthorne’s narrator’s shockingly violent, harsh and seemingly anti-Semitic description of the ghetto in Rome is just one among many similarly ruthless, and at times offensive, accounts of the city wherein Hawthorne situates his last completed romance, The Marble Faun. Hawthorne’s two-year stay in Rome in 1858-59 sets the scene for his conception of The Marble Faun. In addition to providing Hawthorne with the extensive contact with art and artists that undoubtedly affected the choice of his protagonists (Kenyon, a sculptor; Hilda and Miriam, painters), Italy exposed Hawthorne to Jewish traditions and history, as well as to the life of Jews in the Roman ghetto. Most probably it also aroused his interest in some of the political affairs in which Italian Jews were involved in the 1840s and 50s. This historical background, especially the well-publicized abduction and conversion of a Jewish child, Edgardo Mortara, in 1858 provides important political and cultural background for Hawthorne’s portrayal of Miriam in The Marble Faun.
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Kaye, Richard A. "“DETERMINED RAPTURES”: ST. SEBASTIAN AND THE VICTORIAN DISCOURSE OF DECADENCE." Victorian Literature and Culture 27, no. 1 (March 1999): 269–303. http://dx.doi.org/10.1017/s106015039927115x.
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“I unreservedly confess, for myself, that I cannot leave my natural perception of what is natural and true, at a palace door, in Italy or elsewhere, as I would leave my shoes if I were traveling in the East. I cannot forget that there are certain expressions of face, natural to certain passions, and as unchangeable in their nature as the gait of a lion, or the flight of an eagle. I cannot dismiss from my certain knowledge such common-place facts as the ordinary proportions of men’s arms, and legs, and heads; and when I meet with performances that do violence to these experiences and recollections, no matter where they may be, I cannot admire them.”— Charles Dickens, Pictures from Italy (1846)IN HIS ACCOUNT of his 1844 trip to Rome, Charles Dickens expressed bewilderment that the martyrdom of St. Sebastian should have been so commonly exploited as a subject by Italian artists. The novelist took the opportunity to disparage the “indiscriminate and determined raptures” of certain critics of Renaissance painting as “incompatible with the true appreciation of the really great and transcendent works of art . . . Neither am I partial to libelous Angels, who play on fiddles and bassoons, for the edification of sprawling monks apparently in liquor.” Dickens concluded that representations of St. Sebastian did not “have very uncommon and rare merits, as works of art, to justify their compound multiplication by Italian painters” (195).1
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Procesi, Monia, Giuseppe Di Capua, Silvia Peppoloni, Marco Corirossi, and Alessandra Valentinelli. "Science and Citizen Collaboration as Good Example of Geoethics for Recovering a Natural Site in the Urban Area of Rome (Italy)." Sustainability 14, no. 8 (April 8, 2022): 4429. http://dx.doi.org/10.3390/su14084429.
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Natural sites in urban spaces can have a key role in citizen well-being, providing fundamental ecosystem services to the population and assuring a multitude of benefits. Therefore, cities should guarantee a number of green areas and their conservation in time as an essential part of urban architecture. In this framework, cooperation between scientists, decision makers and citizens is critical to ensure the enhancement of green public spaces. Social and scientific communities are called to work in a tuned way to combine scientific knowledge and methods to local socio-economic contexts, driven by the values of geoethics. The Bullicante Lake case study, discussed in this work, represents an example of application of geoethical values, such as inclusiveness, sharing, sustainability and conservation of bio- and geodiversity. This urban lake in Rome appeared following illegal excavation works in 1992 and remained closed until 2016 favouring re-naturalization processes. Over time, this site was often threatened by pending actions for building. The aim of this study was to highlight how fruitful cooperation between science and citizens is able to transform a degraded urban area into a place of knowledge, recreation, enjoyment and eco-systemic preservation. Moreover, on the basis of this experience, the authors proposed a generalised approach/strategy to be developed and applied in other contexts. The active involvement of citizens and the cooperation among scientists, artists and institutions were able to redress opportunistic behaviours well by preventing site degradation and its improper use, favouring environmental safeguarding and making possible the site’s recognition as a natural monument. The results of these actions led to the improved quality of citizen life, showing an excellent example of virtuous cooperation between science and society.
Dissertations / Theses on the topic "Artists – Italy – Rome"
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Castiglione, Julia. "L'oeil et la main ˸ juger la peinture à Rome à l'orée du XVIIe siècle. Giulio Mancini, courtisan et théoricien." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030063.
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Juger les tableaux, évaluer leur qualité, estimer leur prix relève de nos jours d’une expertise spécifique, aux mains d’acteurs vers lesquels se tournent les salles de ventes, les musées ou les propriétaires de collections. À Rome au XVIIe siècle, différents groupes s’affrontent pour s’approprier cette compétence, notamment en vue d’accéder au rôle de conseiller à la cour des grands collectionneurs. Alors qu’émerge progressivement un marché des tableaux et que la circulation des œuvres s’amplifie, savoir estimer leur valeur devient une capacité essentielle. Si l’évaluation du prix est traditionnellement un rôle dévolu aux peintres, qui s’estiment les uns les autres au sein de leur corporation, l’émergence de critères commerciaux nouveaux tend à saper l’autorité de la profession en matière de jugement. Cette recherche s’intéresse au processus de captation de cette expertise, qui se détache du savoir-faire des peintres au profit de courtisans spécialisés dans le conseil en matière de peinture. Cette compétence dévolue aux gentilshommes est théorisée par Giulio Mancini dans son traité Considerazioni sulla pittura. En croisant ce texte et la transcription de certains de ses traités inédits, il s’agira de voir comment ce jugement artistique s’intègre plus largement à une culture courtisane partagée. À la croisée de l’histoire, de l’histoire de l’art et de la littérature, cette recherche entend analyser ce processus historique de formalisation d’un jugement artistique s’autonomisant par rapport à la pratique, à la lumière des discours qui l’ont rendu possible et de la reconfiguration des critères de valeur des œuvres d’artJudging paintings, assessing their quality and estimating their price is nowadays considered a specific expertise acquired by agents to whom auction houses, museums or collection owners turn. In Rome during the seventeenth century, different groups compete to appropriate this skill, especially in order to become advisers to great collectors. As a market of paintings gradually emerges and the circulation of works grows, knowing how to estimate their value becomes an essential ability. While price evaluation is traditionally the prerogative of painters, who value each other within their corporation, the emergence of new commercial criteria tends to undermine the profession's authority in terms of quality assessment. This research focuses on the development of this expertise, which is remarkably different from the painters' know-how and favors courtiers specialized in painting advice. Giulio Mancini theorized this skill in his treatise Considerazioni sulla pittura. By crossing this text and the transcription of some of his unpublished treatises, the thesis shows how this artistic judgment is integrated within a broader, shared courtesan culture. At the crossroads of history, art history and literature, this research proposes to analyze the historical process of formalization of artistic judgment, thus not only shedding new light on this practice, but also on the discourses that made it possible and the reconfiguration of the value criteria of works of art
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THORMOD, Kaspar. "Rome reconfigured : contemporary visions of the Eternal City, 1989–2014." Doctoral thesis, 2018. http://hdl.handle.net/1814/56244.
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Defence date: 29 June 2018Examining Board: Stéphane Van Damme, European University Institute (Supervisor); Lucy Riall, European University Institute (Second reader); Mieke Bal, University of Amsterdam (External advisor); Henrik Reeh, University of Copenhagen
This study examines how visions of Rome manifest themselves in artworks produced by 265 international artists during or after their stay at the city’s foreign academies, 1989–2014. I treat the extensive body of aesthetic material as a laboratory for exploring the wealth of responsive, sometimes agitated, sometimes conflicting ideas which are not passively transmitted by Rome, but framed, activated and given form by the artists. The account is wide-ranging in so far as it combines a large number of artworks; and it is selective in the sense that it frames these artworks within specific thematically oriented chapters. The result is a dynamic visual history of how artists reconfigure Rome today – from critical evaluations of the institutional frameworks and legacies of the foreign academies to explorations of how artists negotiate the spectacle of Roman sites; from portraits of the people who inhabit the city to studies of how the notions of history and Roman artistic traditions are appropriated and reconfigured in the present. These international artists create work that is experimental, open and ambiguous – work that situates Rome in the entanglement of past and present as well as in local and global contexts. It is through the tensions and possibilities that this entanglement brings to the fore that the artworks challenge more traditional historical reflections on the city. When artists successfully reconfigure Rome, they provide us with visions that, being anchored in a present, undermine the connotations of permanence and immovability that cling to the ‘Eternal City’ epithet. Looking at this work, we are invited critically to engage with the question: what is Rome today? – or perhaps better: what can Rome be?
Chapter 3 'People: Portraying the Romans' of the PhD thesis draws upon an earlier version published as an article 'Depicting People in Rome: Contemporary Examples of Portraiture in the Work of International Artists' (2017) in the journal 'Analecta Romana Instituti Danici'
Books on the topic "Artists – Italy – Rome"
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Bernini: His life and his Rome. Chicago: University of Chicago Press, 2011.
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Wulffson, Madeleine. The story of the Casino Farnese: Home to artists in Rome. Rome: Gangemi Editore, 2010.
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Wulffson, Madeleine. The story of the Casino Farnese: Home in Rome to nordic artists. Roma: Gangemi editore SpA international, 2021.
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The Pollaiuolo brothers: The arts of Florence and Rome. New Haven: Yale University Press, 2005.
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Wright, Alison. The Pollaiuolo brothers: The arts of Florence and Rome. New Haven: Yale University Press, 2005.
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Wright, Alison. The Pollaiuolo brothers: The arts of Florence and Rome. New Haven: Yale University Press, 2005.
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Michelangelo: Una vita inquieta. Roma [etc.]: GLF editori Laterza, 2005.
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Nickerson, Angela K. A journey into Michelangelo's Rome. Berkeley, Calif: Roaring Forties Press, 2008.
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Bartoni, Laura. Le vie degli artisti: Residenze e botteghe nella Roma barocca dai registri di Sant'Andrea delle Fratte, 1650-1699. Roma: Edizioni Nuova cultura, 2012.
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Gobet, Aude. L'académie de France à Rome: Le palais Mancini : un foyer artistique dans l'Europe des Lumières (1725-1792). Rennes: Presses universitaires de Rennes, 2016.
Find full textBook chapters on the topic "Artists – Italy – Rome"
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"Creating a Global Artistic Language in Late Renaissance Rome: Artists in the Service of the Overseas Missions, 1542–1621." In From Rome to Eternity: Catholicism and the Arts in Italy, ca. 1550-1650, 225–51. BRILL, 2002. http://dx.doi.org/10.1163/9789004473683_011.
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Gjerdingen, Robert O. "The Beaux-Arts Framework." In Child Composers in the Old Conservatories, 275–88. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0020.
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The Institute of France has for centuries controlled royal or public support for the arts in France. Under its wings it has both a School of Fine Arts for the visual arts and the Paris Conservatory for music, as well as many other institutions. The schools of fine arts and music were set up along the similar lines. The goal was to train the next generation of artists and musicians in the classic arts of a past golden age. For visual artists, sculptors, and architects, this meant the art of ancient Greece and Rome. For musicians, this meant the art of sixteenth- to eighteenth-century Italy. For young artists outside the official School of Fine Arts, instructional lithographs could be purchased and copied. These lithographs showed how to make a sketch, then to refine the sketch into a set of contours, and then to add shading and texture.
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Abulafia, David. "The Triumph of the Tyrrhenians, 800 BC–400 BC." In The Great Sea. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780195323344.003.0015.
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The importance of the Etruscans does not simply lie in the painted tombs whose lively designs captivated D. H. Lawrence, nor in the puzzle of where their distinctive language originated, nor in the heavy imprint they left on early Rome. Theirs was the first civilization to emerge in the western Mediterranean under the impetus of the cultures of the eastern Mediterranean. Etruscan culture is sometimes derided as derivative, and the Etruscans have been labelled ‘artless barbarians’ by one of the most distinguished experts on Greek art; anything they produced that meets Greek standards is classified as the work of Greek artists, and the rest is discarded as proof of their artistic incompetence. Most, though, would find common cause with Lawrence in praising the vitality and expressiveness of their art even when it breaks with classical notions of taste or perfection. But what matters here is precisely the depth of the Greek and oriental imprint on Etruria, the westward spread of a variety of east Mediterranean cultures, and the building of close commercial ties between central Italy, rarely visited by the Mycenaeans, and both the Aegean and the Levant. This was part of a wider movement that also embraced, in different ways, Sardinia and Mediterranean Spain. With the rise of the Etruscans – the building of the first cities in Italy, apart from the very earliest Greek colonies, the creation of Etruscan sea power, the formation of trading links between central Italy and the Levant – the cultural geography of the Mediterranean underwent a lasting transformation. Highly complex urban societies developed along the shores of the western Mediterranean; there, the products of Phoenicia and the Aegean were in constant demand, and new artistic styles came into existence, marrying native traditions with those of the East. Along the new trade routes linking Etruria to the east came not just Greek and Phoenician merchants but the gods and goddesses of the Greeks and the Phoenicians, and it was the former (along with a full panoply of myths about Olympus, tales of Troy and legends of the heroes) that decisively conquered the minds of the peoples of central Italy.
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Ortenberg, Veronica. "Italy (Except Rome)." In The English Church and the Continent in the Tenth and Eleventh CenturiesCultural, Spiritual, and Artistic Exchanges, 95–126. Oxford University Press, 1992. http://dx.doi.org/10.1093/acprof:oso/9780198201595.003.0005.
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"THE ARTIST AS ANTIQUARIAN IN CHRISTIAN ROME." In Art and the Religious Image in El Greco’s Italy, 125–49. Penn State University Press, 2015. http://dx.doi.org/10.5325/j.ctv14gpcgd.10.
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"Chapter Five The Artist as Antiquarian in Christian Rome." In Art and the Religious Image in El Greco’s Italy, 125–50. Penn State University Press, 2015. http://dx.doi.org/10.1515/9780271063065-008.
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Guerci, Manolo. "‘Un’architettura di diversi’: Carlo Rainaldi and the controversial attribution of the Palazzo Mancini in Rome." In Artistic Practices and Cultural Transfer in Early Modern Italy, 65–73. Routledge, 2017. http://dx.doi.org/10.4324/9781315096827-5.
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Mamoli Zorzi, Rosella. "Conoscere e insegnare l’America." In I rapporti internazionali nei 150 anni di storia di Ca’ Foscari. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-265-9/009.
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The paper deals with the Fulbright exchange program, started by Senator James W. Fulbright in 1946, and active in Italy from 1948, when the Italian government signed the agreement. The Fulbright program was essential in the life and career of many Italian scientists, artists, musicians, etc. and it was very important in opening up American studies at Ca’ Foscari, one of the very first universities, with Roma La Sapienza, to start a separate course of American studies in Europe.
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Inserra, Incoronata. "Final Thoughts." In Global Tarantella. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041297.003.0006.
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The performances of Eugenio Bennato and Alessandra Belloni play with different representations of the Italian South in a constant negotiation between artistic impulse, sociopolitical concerns, audience motivations, and commercial opportunities. Furthermore, the complexity of Belloni’s project derives from her own artistic persona and from her own performance as a southern Italian woman and artist. Insofar as her tarantella performances and workshops affect the representation of southern Italy among U.S. and cosmopolitan audiences, Belloni’s positionality and ethics play an important role as a recorder of southern Italian folk music for an international audience—as it does my own, I might add, since I too study the revival and translate it, both linguistically and culturally, for a U.S. academic audience. In representing the musical and cultural world of tarantella for national and global audiences, the performer, the folklorist, the popularizer, the cultural critic, and the intellectual are not only structurally affected by their positionalities in relation to the topic of study, but should carefully reflect on them and their agency. In fact, in the study of folk cultures, a major risk is that of romanticizing or exoticizing the folk, and as I have illustrated throughout this study, neither the folklorist, the performer, nor the intellectual can easily stay away from such an inevitably romanticizing attitude....
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Mac Carthy, Ita. "A Renaissance Keyword." In The Grace of the Italian Renaissance, 12–29. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691175485.003.0002.
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This chapter discusses ‘grace’ in the context of the Italian Renaissance. During this time, the term became a mark of distinction in the questione della lingua and in the new language of literature. It was reenergised by the recovery of ancient texts that extolled its virtues as an instrument of persuasion in the language and visual arts. And it was the central bone of contention in Reformation and Counter-Reformation discussions about the nature of God's intervention in human salvation. Within each of these contexts, grace became a defining quality that Italians made their own. Grace provides a unique perspective on sixteenth-century Italy, for it rose to prominence in the context of so-called High Renaissance art, yet it also played a pivotal role in its polemical progress towards Mannerism. It was not, therefore, a banner that united artists in their advance towards the full maturity of their discipline, but a locus of encounter and conflict between different ways of conceiving of the visual arts.
Conference papers on the topic "Artists – Italy – Rome"
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Milovanovic-Bertram, Smilja. "Lina Bo Bardi: Evolution of Cultural Displacement." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.61.
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In recent years much has been written and exhibited regarding Lina Bo Bardi, the Italian/Brazilian architect (1914-1992). This paper aims to look at the phenomenon of cultural displacement and the dissemination of her design thinking as a major female figure in a male dominated profession. This investigation is distinguished from others in that it addresses the importance of regional and cultural influences that formed Lina’s design philosophy in her early years in Italy. Cultural displacement has long played a significant role in the creative process for artists. Often major innovators in literature are immigrants as elements of strangeness, distance, and alienation all contribute to their creativity. The premise is that critical distance is paramount for reflection as a change of context unfolds unforeseen possibilities. Displacement was a consistent element throughout the trajectory of Lina’s architectural career as she moved from Rome to Milan, from Milan to Sao Paolo from Sao Paolo to Bahia and back to Sao Paolo. Viewing this form of detachment and dislocation permits insight into her career and body of work as displacement mediates the paradoxical relationship between time and space. The paper will examine three distinct periods in her career. The first period is set in Rome, where she assimilated the city, showed artistic aptitude and spent her university years studying under Piacentiniand Giovannoni. The second period is set in Milan, where she developed impressive editorial and layout skills in publications work with Gio Ponti and BrunoZevi. and was influenced by Antonio Gramsci’s writings. The third is set in Brazil, where she builds and evolves as an architect via what she absorbed in Rome, wrote in Milan, and finally realized in Brazil. After Italy’s collapse in WWII Lina writes, draws, edits, critiques the plight of the Italians in need of better housing and circumstances. She leaves Milan with her new husband, PM Bardi (a prominent journalist, art critic) for Brazil. In Sao Paolo she absorbs the optimism and positive direction of Brazil. Her early design work in Brazil echoes European modernism, but when she travels to Bahia and becomes aware of the social conditions, she draws from her Italian experiences of and ideas of transforming lives through craft. Her architectural projects become directly responsive to the culture of Bahia and the politics of poverty. Lina’s design thinking evolves and parallels George Kubler’s study, The Shape of Time, and the history of man-made objects by bridging the divide between art and material culture.
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Tenuta, Livia, Alba Cappellieri, Susanna Testa, Beatrice Rossato, and Fernando Moreira Da Silva. "Hand-Made Jewelry in the Age of Digital Technology." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001368.
Full textAbstract:
People have always been central players in the world of jewelry. Not only as artisans who have given life to masterpieces of inestimable material and creative value, but also as users who have used jewelry as a means of expression, as a guardian of immaterial values or as a vehicle for messages. Over time, the human being has accepted the support of the machine in the productive, creative, and communicative processes, and today the world of jewelry swings between handmade and machine-made. Digital technology is increasingly affecting the production processes, the product itself, and the services connected to it. First, the paper aims to highlight the complexity in defining the role of luxury and handmade associated with the world of jewelry. Secondly, it aims to analyze the handmade relationship in the world of jewelry as a driving force for creating new values, of which the designer is the mediator. How the machine-made paradigm fits into the design, production, or communication of jewelry is described with contextual research from the second half of the last century until today, outlining the best examples in Italy and abroad. Then, an academic workshop is presented to investigate better the role of design in managing craftsmanship combined with new emerging technologies. The research on the context brings out the different declinations that the hand-machine relationship brings out in the world of jewelry. Then, the results obtained involve the analysis of the projects developed during the workshop, mediated through the relationship between hand and machine, underlining the designer's role. Innovation and technology, together with design methodology, redefine the stylistic features but also - and above all - deconstructs the classic concept of preciousness, resulting in the modification of the perception of the value. This implies a redefinition of the traditional parameters of luxury and the role of the human being, and a different way of designing its products. Finally, the paper analyzes the jewelry field and the designer's ability to develop the relationship between craftsmanship and new technologies, underlining the new value systems that this relationship can create.