Academic literature on the topic 'Giovan Battista Scultori'

"The Participation of Italian Arhitects, Sculptors and Entrepreneurs in the Construction of the Heroes’ Monuments Fallen in the First World War in Interwar Romania. Seasonal or permanent migration from Italian regions to Romania in the 19th and 20th centuries involved a variable number of unskilled workers but also personalities (artists and sculptors), many Venetians and Friulians, who left clear, tangible evidence, of their stay and the results of their work on the Romanian territory. With the end of the First World War and with the outbreak of Greater Romania, the need to build memorials dedicated to those who fell in the struggles for the unification of the nation was felt throughout the country. Sculptors and entrepreneurs from Veneto and Friuli were among the protagonists of this process of institutionalizing memory. It is worth mentioning, regarding the sculpture, the presence in Romania of the artists Ettore Ferrari and Raffaello Romanelli; the Italian entrepreneurs and stonemasons, Giovanni Battista De Nicolò, Victor and Giovanni Mezzarobba, made a significant contribution to the materialization of the projects to honor the memory of the heroes of the First World War. The artistic and urban involvement of the Italians settled in Romania proved to be important in the construction of public monuments in many cities in Romania. Vincenzo Puschiasis (1874–1941), a sculptor established in Piatra Neamț in 1899, played a special role among the stone carvers of Friulian origin living in Romania. Puschias is established himself in Romania not only locally, but also nationally, through the large number and quality of monuments erected for the Romanian heroes who fell in the First World War. His works are characterized by strength, finesse, elegance, combination of styles and aesthetic harmony. After 1919, Vincenzo Puschias is founded the Construction Company in the County of Neamț, specializing in the construction of memorials dedicated to those who fell in the First World War. Among his most remarkable works in this field are: the funeral complex from the “Eternitatea” Cemetery of Piatra Neamț, made in collaboration with Gheorghe Iconaru; monuments of the heroes erected in Bistricioara, Căciulești, Verșești, Roznov, Bahna, Văleni, Zănești; obelisks in Gârcina, Oanțu, Roznov, Piatra Șoimului, Podoleni; the statue of the hero soldier from Viișoara. Keywords: Italian emigrants; First World War; sculptors and entrepreneurs; Ettore Ferrari; Raffaello Romanelli; The Mausoleum of the Heroes of Mateiaș; Vincenzo Puschiasis. "

La tesi si propone di indagare sui rapporti e sulle relazioni tra arte e vita religiosa nella Verona negli anni del vescovo Gian Matteo Giberti ( 1524-1543). In quest’epoca la città scaligera era divenuta uno dei più rilevanti centri del riformismo cattolico. L’ ambito temporale dello studio coincide con un’epoca di profonda e drammatica crisi della Chiesa di fronte alla sfida della Riforma protestante. L’attività pastorale del vescovo veronese aveva alimentato un fervido impegno nella cura delle anime, nella predicazione, nell’educazione dei giovani, nell’assistenza ai bisognosi. La ricerca si è posta l’obiettivo di verificare quanto questa spinta riformistica si sia riflessa sulla promozione artistica e sulle committenze del vescovo Giberti e dei suoi più stretti collaboratori. Attraverso indagini archivistiche, l’utilizzazione di fonti scritte e visive lo studio si è sviluppata in quattro sezioni. La prima è stata dedicata alla storia della Chiesa e della vita religiosa a Verona nel Cinquecento. La seconda prende in esame le committenze vescovili concentrandosi sul riassetto della cappella grande della chiesa cattedrale, con gli affreschi di Francesco Torbido, su ispirazione di Giulio Romano, il ‘tornacoro’, attribuito a Michele Sanmicheli ed infine l’altare eucaristico. Un’altra sezione ha preso in esame le committenze relative alle residenze vescovili, soffermandosi in modo particolare su alcuni episodi rilevanti, come l’affresco con la Crocifissione per la chiesa della villa di Santa Maria di Nazareth, attribuito a Battista Del Moro, o ancora il Crocefisso in rilievo che, secondo la testimonianza di Vasari, lo scultore Giovan Battista aveva realizzato per la cappella privata di Gian Matteo Giberti in vescovado. L’ultima sezione è stata dedicata proprio a ricostruire la vicenda artistica di questo celebrato maestro, scultore, stuccatore, incisore, orafo, disegnatore e stretto collaboratore di Giulio Romano.
The thesis deals with the relationships between art and faith in Verona during the time of Bishop Gian Matteo Giberti ( 1524-1542). In that period the city became one of the most relevant centres of the Catholic Reformation. The chronology of the following survey covers the period of the deep and dramatic crisis of the Roman Catholic Church in its challenge to the Protestant Reformation. The Bishop's pastoral work encouraged the commitment in the care of souls, the preaching, the education of the young, the assistance to the needy. The research aimed to verify how much the reformist thrust is reflected in the Bishop's and in his closest associates' artistic promotion and commissions. The essay, thanks to written and visual sources, and to archive surveys, is divided into four sections. The first part is devoted to the history of Church and religious life in Verona in the 16th century. The second section focuses on the episcopal commissions and looks at the main chapel rearrangement in the cathedral, its frescoes by Francesco Torbido, inspired by Giulio Romano, the “tornacoro”, attributed to Michele Sanmicheli, and the Eucharistic altar. The next section regards the commissions related to the episcopal residences, especially the most relevant ones, like the fresco Crucifixion for the church in the villa “Santa Maria di Nazareth”, attributed to Battista del Moro, or like the Crucifixion in bas-relief that was made - according to Vasari – by the sculptor Giovanni Battista for Gian Matteo Giberti's private chapel during his bishopric. The last section aims to reconstruct del Moro's artistic life as celebrated master, sculptor, master of stucco, engraver, goldsmith, painter and Giulio Romano's close associate.