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Relevant bibliographies by topics / Italian artist

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Academic literature on the topic 'Italian artist'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2024

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Journal articles on the topic "Italian artist"

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Temel, Özge Parlak. "THE EAST PERCEIVED THROUGH WESTERN PERSPECTIVE: FAUSTO ZONARO AND ISTANBUL." Socialis Series in Social Science 6 (March 15, 2024): 110–24. http://dx.doi.org/10.20319/socv6.110124.

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For many centuries, Istanbul, as a city of culture, has been a source of inspiration for artists from many different countries. Italian artists were especially influenced by the Eastern world and reflected this influence in their work in almost every era. When we talk about "Western Orientalists on Ottoman lands", we doubtlessly first think of Italian Orientalists such as Gentile Bellini, Fausto Zonaro, Leonardo de Mango, Amadeo Preziosi, Salvatore Valeri, Luigi Acquarone, Raimondo D'Aronco, whose paths crossed through the Ottoman Empire, and who built bridges between these foreign cultures by depicting these exotic lands in their works. During the reign of Sultan Abdulhamit the Second, Fausto Zonaro (1854 – 1929) assumed the title of “Palace Artist” after the Italian artist Luigi Acquarone. Zonaro, as well as being recognized for his realistic depictions, became well known for introducing the newly emerging Western art movements in the Ottoman art circles during its initial stages and became influential by nurturing a new generation of young Ottoman artists by providing training. The way Zonaro perceived Istanbul and the local culture through an Italian perspective, and his difference from other Orientalist artists are crucial in making him a pioneering figure in the history of Turkish painting.

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Stakhevych, Halyna, and Natalia Kokhan. "Creativity of female artists in Italian fine arts of XV–XVII centuries." Culturology Ideas, no. 22 (2'2022) (2022): 46–62. http://dx.doi.org/10.37627/2311-9489-22-2022-2.46-62.

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The article provides an overview and reveals the features of the professional formation, development and social status of female artists’ creativity in the Italian fine arts of the XVI-XVII centuries. The value of their artistic heritage for future generations has been established. It was stated that the role of a female artist in society was influenced by both social and gender factors, in particular, the fact that the profession of a master artist was assigned to men, and the teaching of art to girls was related to obligatory household chores or hobbies. It has been proven that already in the XV century, artists appeared in Italy whose activities went beyond these boundaries. Initially, they were self-taught nuns, such as Catherine of Bologna, but by the end of the century, the work of female artists acquired a professional character (for example, Pr. de’Rossi). It is noted that, since that time, works of art by female artists have influenced the change in social stereotypes about their work. It was found that Italian female artists of the Renaissance and subsequent centuries turned mainly to the genres of portrait, landscape and still life. However, there are cases of creation of monumental works (Pl. Nelli) or reflections of dramatic events (A. Gentileschi). It was revealed that by the beginning of the XVIII century in these genres, female artists were in full competition with men and were the inventors of both new genres (S. Anguissola) and new painting techniques (R. Carriera). There is also a manifestation of their author’s vision in compositions on religious themes, on historical and mythological themes. It has been proven that the achievements of Italian female artists of the XV–XVII centuries were no less significant than those of male artists.

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Churga, Yu. "THE INFLUENCE OF ANTHROPOCENTRISM ON THE WORK OF ARTISTS OF THE HIGH RENAISSANCE." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 148 (2021): 71–74. http://dx.doi.org/10.17721/1728-2640.2021.148.12.

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The article describes a number of factors that influenced the work of artists of the High Renaissance, in particular the philosophical thought of this period and changes in the worldview of people of this era. The article focuses on the origins of anthropocentrism in the intellectual sphere. The author outlines how Italy became the center of new ideas and the center of their implementation. This article was conducted to explore the impact of the philosophy of anthropocentrism on the work of Italian artists (their goals, means and evolution of the concept of "artist"). In conclusion, we can observe how interest in human nature grows, and that corporeality is not only the outer shell of man, which limits it. Artists of this period tend to realism and do not abandon the image of man and discover a new aesthetic in it. At the beginning of the 15th century the artist saw his role and believed that he was serving nature, which would teach him everything he wanted, with enough effort, patience and resources. The artist proudly demonstrates his skills in depicting animals, plants, figures, beautiful robes and landscapes, he is no longer a modest executor of someone else's will.

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Biancoshock, Biancoshock, and Fiona Cashell. "Challenging Art: An Interview with Italian Artist, Biancoshock." Studies in Arts and Humanities 2, no. 2 (December 15, 2016): 57–61. http://dx.doi.org/10.18193/sah.v2i2.79.

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Mazzitello, Pantalea. "The Intellectual Education of the Italian Renaissance Artist." Italica 99, no. 4 (December 1, 2022): 581–83. http://dx.doi.org/10.5406/23256672.99.4.14.

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Malița, Ramona. "The Masks of the Commedia Dell’arte Depicted in the Paintings of Arcimboldo and Tiepolo." Analele Universității de Vest. Seria Științe Filologice 60, no. 60 (December 20, 2022): 25–41. http://dx.doi.org/10.35923/autfil.60.02.

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This interdisciplinary study (literature – painting) focuses on Italian carnival masks. As objectives, we propose a) to illustrate the aesthetic connection between the characters of the Commedia dell’arte and the allegorical portraits made by Arcimboldo and the painters of the Tiepolo artistic dynasty, and b) to highlight the dramatic character of the figures depicted in Mannerist paintings. We have identified some features of the carnivalesque character behind the mask, such as social and professional type, satirized human defects, and moral and physical qualities. Our critical working hypothesis is that, while one may encounter symbolic characters in literature, such as Orpheus, Narcissus, Prometheus, in the case of painting there are artists who place themselves differently concerning their art: homo contemplativus (the artist contemplating nature); homo faber (the artist whose art has a clear purpose); homo contentus (the artist admiring his own work). We have applied this interpretative framework, belonging to Rosario Assunto, to the carnivalesque characters of the Commedia dell’arte and to the allegorical characters created by Arcimboldo and Tiepolo.

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Katmakov, A. "М. Фуко и Дж. Агамбен: философия киников и роль художника в культуре." Studia Culturae, no. 55 (June 30, 2023): 150. http://dx.doi.org/10.31312/2310-1245-2023-55-150-165.

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What can be common between a politician, a philosopher and an artist? The French philosopher and culturologist Michel Foucault, based on a thorough and detailed analysis of ancient culture, identified several significant problems for European culture: ethics of telling the truth, the meaning of philosophy, the style of existence and the form of subjectivation, which are illustrated by the example of the ancient Socratic philosophical school of the Cynics. Michel Foucault himself suggested that perhaps this philosophical school laid the «matrix of the ethical experience» of European man. The author of this article made an attempt to analyze the image of the artist, formulated by the modern Italian philosopher Giorgio Agamben in his work “The Man Without Content”, in order to confirm or refute the hypothesis about the continuity of the artists of some of the characteristic features of the philosophical school of Cynics.

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Long, Jane C., and John Richards. "Altichiero: An Artist and His Patrons in the Italian Trecento." Sixteenth Century Journal 32, no. 1 (2001): 153. http://dx.doi.org/10.2307/2671407.

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de Dominicis, Serena. "Antonietta Raphaël: The Transcultural Experience of a Litvak-Italian Artist." Meno istorijos studijos 14 (December 29, 2023): 177–98. http://dx.doi.org/10.53631/mis/2023.14.6.

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SHPYG, Yuliya. "FRANCESCA CACCINI: A “HISTORICAL PORTRAIT” OF THE LEGENDARY ITALIAN ARTIST." Humanities science current issues 3, no. 75 (2024): 134–39. http://dx.doi.org/10.24919/2308-4863/75-3-19.

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Dissertations / Theses on the topic "Italian artist"

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Hudson, Hugh. "Paolo Uccello : the life and work of an Italian Renaissance artist /." Connect to thesis, 2005. http://eprints.unimelb.edu.au/archive/00002997.

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Cazzato, Elisa. "An Italian Artist in Paris: The career and designs of Ignazio Degotti (1758–1824)." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18587.

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This thesis aims to explore the ways in which, through a community of Franco-Italian artists, a tradition of innovative stage design took root in France in the late eighteenth century, transforming the scenic ambitions of official theatre. By reconstructing the career of the Italian designer Ignazio Degotti, and his little-known vicissitudes, my thesis investigates how stage design found new ambition and purpose both in the theatre and in the culture of French ‘Revolution’ and ‘Empire.’ Degotti completed his apprenticeships in the later eighteenth century in the court and civic theatres of metropolitan centres in Italy such as Turin, Rome, and Naples. He started working for the Théâtre de Monsieur in Paris just after the outbreak of the Revolution and his fame peaked during the politically-driven and privileged space of the Théâtre de l’Opéra under the Empire. It was, however, the transformation of his practice and ambition throughout the Revolutionary years that established him as an innovator. No study has specifically focused on Degotti and his impact on stage design. Like many of the figures who transformed theatre aesthetics during the turn of the nineteenth century, he is as yet little researched. Of crucial importance to my project are the connections that brought Degotti into proximity with the painter Jacques-Louis David and with a wider circle of Italian and French visual artists and musicians. This set of relationships has never been fully explored in accounts of stage design or indeed historical texts in art, but is vital to understanding the aesthetic ambitions and the broader concept of scenography in France between Revolution and Empire.

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Pesce, Amanda-Josephine Michelle. "Rogier van der Weyden: A Netherlandish Artist and the Ferrarese Court." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/416615.

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Art History
M.A.
Northern European and Italian Renaissance art have tended to be treated art historically as two opposing styles. Rooted in statements by artists such as Michelangelo and Leon Battista Alberti, it has become a common misconception that Italians did not hold Northern European art in high regard during the late fifteenth and early sixteenth centuries. This thesis seeks to complicate and critique this conventional understanding by looking at the similarities and transalpine exchanges between the artistic styles and practices of Rogier van der Weyden (c. 1400-1464) of Brussels and Cosmè Tura (c. 1430-1495) of Ferrara. By looking at the writings of contemporary humanists at the Ferrarese court and technical analysis of select paintings, it is evident that Cosmè Tura strove to emulate and incorporate aspects of Rogier van der Weyden’s northern manner, especially in his handling of oil paint, use of underdrawings, and emotive effects. By reconsidering this cross-cultural relationship, this thesis demonstrates that the traditionally constructed animosity between Northern and Southern Renaissance art is a common misperception and a oversight in art history.
Temple University--Theses

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Dunn, D. F. "Prometheus, artist of the ages : Prometheus' function in ekphrastic contexts in Latin literature and North Italian Renaissance stanzini." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1415830/.

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This thesis is concerned with how the myths of Prometheus came to function within ekphrastic contexts from Latin literature to Renaissance Italian art. Prometheus had many guises: the trickster that stole fire and triggered the end of the Golden Age, the keeper of a secret, the sculptor of man. Previous scholarship has tended to ignore, in particular, Prometheus’ connection to the Golden Age. After drawing fresh attention to the earliest sources in which this connection was explored, I illustrate how a development in writers’ characterisation of the god helped give rise to the idea of Prometheus as a creator capable of inspiring a new age. Ekphrasis functions as a thematic focus of the thesis. This is because Prometheus and Golden Age motifs frequently appear within or just outside of ekphrases, and because it is my contention that Prometheus, in particular, has an important metapoetic function. I argue that the ekphrastic characteristics of North Italian Renaissance Dukes’ stanzini (study/art galleries) in which Prometheus and Golden Age motifs were often employed may help redefine and clarify ancient literature about Prometheus, most particularly his metapoetic function. That relationship is explored through three diptychs, in each of which a classical text containing an ekphrasis is paired with an Italian stanzino containing an artwork inspired by that text. The diptychs are: Catullus 64 with the cam erini d’alabastro of Alfonso I d’Este in Ferrara, Vergil Eclogue VI and Ovid Metamorphoses I with Francesco I de’Medici’s Studiolo in Florence, and, as an extension of my study, Achilles Tatius’ Leucippe and Clitophon with the Italian Hall of Mary of Hungary in Flanders.

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McHale, Katherine Jean. "Ingenious Italians : immigrant artists in eighteenth-century Britain." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/13854.

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Italian artists working in eighteenth-century Britain played a significant role in the country's developing interest in the fine arts. The contributions of artists arriving before mid-century, including Pellegrini, Ricci, and Canaletto, have been noted, but the presence of a larger number of Italians from mid-century is seldom acknowledged. Increasing British wealth and attention to the arts meant more customers for immigrant Italian artists. Bringing with them the skills for which they were renowned throughout Europe, their talents were valued in Britain. Many stayed for prolonged periods, raising families and becoming active members in the artistic community. In a thriving economy, they found opportunities to produce innovative works for a new clientele, devising histories, landscapes, portraits, and prints to entice buyers. The most successful were accomplished networkers, maintaining cordial relationships with British artists and cultivating a variety of patrons. They influenced others through teaching, through formal and informal exchanges with colleagues, and through exhibition of their works that could be studied and emulated.

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Fusaro, Martina <1991&gt. "OLTRECONFINE. Artisti italiani al Salon d'Automne 1903-1912." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6831.

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Il lavoro compiuto si configura come un’analisi storico-artistica degli artisti italiani che negli anni tra il 1903 ed il 1912 esposero nelle sale del Salon d’Automne a Parigi. La ricerca ha preso le mosse dallo studio della situazione politica ed economica dell’Italia di fine Ottocento per spiegare i movimenti migratori che spinsero molti compatrioti a stabilirsi Oltralpe entrando in contatto con la realtà sociale parigina e diventandone parte integrante. Un primo grande evento grazie al quale i nostri artisti si interfacciarono all’arte europea di inizio secolo fu la grandiosa Esposizione Universale del 1900 durante la quale ottennero premi e riconoscimenti in virtù della presentazione di opere dal grande valore non solo tematico ma estetico, che rispondevano ai linguaggi nuovi che l’Europa richiedeva. Sulla base di questa breve introduzione il lavoro si è poi concentrato sullo studio anno per anno del Salon per cercare di spiegare i rapporti che sono intercorsi tra i nostri artisti e i linguaggi avanguardistici ivi promossi, attraverso anche un’analisi critica dei singoli autori. La ricerca ha preso le mosse dall’analisi dei cataloghi generali del Salon e dalla lettura di articoli di stampa dell’epoca che permettessero di acquisire un contesto sociale e artistico più ampio nel quale inserire e giustificare la presenza dei nostri artisti e gli apporti che essi hanno fornito all’arte di inizio secolo a Parigi.

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Veronesi, Matteo <1975&gt. "Il critico come artista dall'Estetismo agli Ermetici." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2005. http://amsdottorato.unibo.it/2275/1/Tesi_Veronesi_Matteo.pdf.

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Veronesi, Matteo <1975&gt. "Il critico come artista dall'Estetismo agli Ermetici." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2005. http://amsdottorato.unibo.it/2275/.

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Collier, Carly Elizabeth. "British artists and early Italian art c. 1770-1845 : the pre Pre-Raphaelites?" Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/62965/.

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This thesis examines the hitherto largely-overlooked multifarious response by British artists to early Italian art which pre-dated the activity of the Pre-Raphaelites and their greatest champion, John Ruskin. The title of this thesis does not endeavour to claim that the artists under examination consciously formed or naturally constituted a group with clearly defined common interests and aims, as was the case with their aforementioned successors. Rather, the collective ‘pre’ Pre-Raphaelites is intended to demonstrate that, contrary to the impression given by the standard scholarship on this area, there were British artists prior to the dawn of the Pre-Raphaelites who found worth in periods of art beyond what was conventionally considered both generally tasteful and also useful for an artist to imitate, and who indeed made many of the important steps which facilitated the Pre-Raphaelites’ rediscovery of early Italian art in the late 1840s. The temporal span of the main investigative thrust of this thesis is, approximately, 1770 - 1845. Its structure is intended to reflect the multiplicity of both the catalysts and then the subsequent responses of British artists to the Italian primitives. The first part of the thesis comprises a number of chapters which oﬀer a broad contextual framework - encompassing analyses of taste, artistic education and historiography - within which the varied activities of the artists explored in the subsequent chapters are set. Parts two and three reveal the very diﬀerent approaches taken by a series of artists in the decades either side of the turn of the century in their attempts to study, learn from and sometimes emulate the visual lessons of the past. Thus this thesis rescues the often marginalised contributions of a selection of British artists to the resurgence of interest in early Italian art, and demonstrates how fundamental their interpretive filter was for the nature of the quasi-revolution in taste in the last half of the nineteenth century.

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MCMANUS, KEVIN. "ARTISTI ITALIANI NELLE UNIVERSITA' AMERICANE: IL CASO DI HARVARD (1954-1970)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1851.

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La ricerca analizza l’attività didattica degli artisti italiani Costantino Nivola (1954-57, poi 1970), e Mirko Basaldella (1957-69) presso la Graduate School of Design della Harvard University, focalizzandosi in particolare sul Design Workshop, fondato nel 1956 anche grazie al contributo di Nivola, suo primo direttore, e poi coordinato da Basaldella fino alla sua morte nel 1969. Il caso particolare di due artisti così legati a forme archetipiche equidistanti tra astrazione e figurazione, ma spinti dal metodo dell’università americana a tenere corsi legati al concetto di “design”, impone di premettere, in due capitoli di taglio teorico, un inquadramento del problema della definizione di tale concetto e della sua particolare incidenza sui contenuti e le categorie didattiche dell’arte nell’università americana nella sua evoluzione nel Ventesimo secolo, soprattutto in relazione all’importazione del Bauhaus. Il rapporto con questo ingombrante modello è affrontato anche per spiegare la distanza tra l’arte prodotta dall’avanguardia americana di quegli anni e quella insegnata a livello universitario, esiti rispettivi di due diverse formulazioni del “modernismo”: proprio in questa distanza si colloca il lavoro di docenti di Nivola e di Mirko, ma anche di Bruno Munari, invitato a Harvard per un semestre nel 1967.
The research analyses the teaching careers of Italian artists Costantino Nivola (1954-57, 1970) and Mirko Basaldella (1957-69) at the Graduate School of Design, Harvard University, focusing in particular on the Design Workshop, founded – with the contribution of Nivola, its first director – in 1956, and directed by Basaldella from 1957 to his death in 1969. The peculiar case of two artists so involved with archetypal shapes defying both abstraction and figure, but forces to teach courses based on “design”, makes it necessary to introduce the subject with two chapters of theoretical character, addressing the problematic definition of “design” and its importance on the 20th-Century evolution of the contents and methods of art education in the American university, and particularly on the assimilation of the Bauhaus model. Such cumbersome influence is used as a way to clarify the distance between the art produced by the contemporary American avant-garde and the art taught at college level, mirroring the co-existence of two different formulations of modernism. In the space created by such distance Nivola, Mirko, and also Bruno Munari – Visiting Professor at Harvard in 1967 – work as college teachers.

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Books on the topic "Italian artist"

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Carpenter, Bruce W. Emilio Ambron: An Italian artist in Bali. Singapore: Archipelago Press, 2001.

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Megan, Martin, and Historic Houses Trust of New South Wales, eds. Augusto Lorenzini: Italian artist decorator in Victorian Sydney. Glebe, NSW: Historic Houses Trust of New South Wales, 2001.

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Andrea, Pomella, ed. Caravaggio: An artist through images. Roma: ATS Italia, 2005.

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Nascimento, Márcia, and Nuno Costa, eds. Käräjäkivet 14: The Light of Shadow: Three Pastels and Ten Engravings, 1975-2014. Barcelos, Portugal: Käräjäkivet, 2022.

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John, Richards. Altichiero: An artist and his patrons in the Italian trecento. Cambridge: Cambridge University Press, 2000.

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Gandolfi, Mauro. Mauro in America: An Italian artist visits the new world. New Haven: Yale University Press, 2003.

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Fane, Lawrence. M.T./L.F.: A sculptor's dialogue with Mariano Taccola, fifteenth-century Italian artist-engineer : an artist book. Lake Placid, N.Y: Pont La Vue Press, 2006.

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translator, Taçi Durim, ed. Renzo Collura: Një artist i humbur në Shqipëri = un artista disperso in Albania. Lezhë: Botimet Fishta, 2020.

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Sohm, Philip L. The artist grows old: The aging of art and artists in Italy, 1500-1800. New Haven: Yale University Press, 2007.

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Chiara, Bertola, Di Pietrantonio Giacinto, Vettese Angela, and Fondazione scientifica Querini Stampalia, eds. Talent/um, tolerare: Giovani artisti italiani = young italian artists. Milano: Charta, 2000.

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Book chapters on the topic "Italian artist"

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Storchi, Simona. "The Artist-Officer: War, Beauty, and the Nation in Ardengo Soffici’s Kobilek." In Italian and Italian American Studies, 267–88. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57161-0_12.

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Kaborycha, Lisa. "An artist seeks employment at court." In Voices from the Italian Renaissance, 179–81. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003284284-39.

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Kaborycha, Lisa. "An artist fleshes out religious doctrine." In Voices from the Italian Renaissance, 143–49. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003284284-32.

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Kaborycha, Lisa. "Poet, artist, and scientist explore the Moon." In Voices from the Italian Renaissance, 388–93. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003284284-84.

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Buongiorno, Federica. "Reduction in Computer Music." In The Case for Reduction, 175–90. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-25_09.

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In the age of pervasive computing the way our body interacts with reality needs to be reconceptualized. The reduction of embodiment is a problem for computer music since this music relies heavily on different layers of (digital) technology and mediation in order to be produced and performed. The article shows that such a mediation should not be conceived of as an obstacle but rather as a constitutive element of a permanent, complex negotiation between the artist, the machinery, and the audience, aimed at shaping a different temporality for musical language (as the Italian artist Caterina Barbieri develops).

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Campagnaro, Marnie. "Chapter 6. “A successful photograph is worth as much as a story”." In Children’s Literature, Culture, and Cognition, 144–67. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.06cam.

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Bruno Munari was an Italian artist, graphic designer, and illustrator who combined art and design to great effect in his visual art and books. During his long, interdisciplinary career, Munari experimented with many artistic possibilities: painting, illustration, sculpture, design, graphics, teaching, poetry, and writing. He also cultivated a peculiar relationship with photography. This chapter investigates photography’s influence on Munari’s poetics, from Futurism and other Avant-garde movements to the Bauhaus and László Moholy-Nagy’s work, graphic design experimentation, and collaborations with photographers. His multifaceted approach can be investigated through two editorial project typologies: photocollage and photographic picturebooks. What is discussed is how historic, artistic, and cultural photography influenced his children’s works and to what extent photographic experimentation affected Munari’s creativity and aesthetics in his original books.

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Arnell, Malin. "In the Beginning There Is an End." In Cultural Inquiry, 151–59. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_16.

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In this fifteen-minute lecture-performance, Malin Arnell presents her dialogue with the work of French-Italian artist Gina Pane (1939–1990). Oriented around textual and visual traces of Pane and Arnell’s historical intra-action, this ongoing dialogue explores performance art documentation and historical narratives. The project interrogates the operations of archives, asking: ‘How do queer feminist performance archives make you vulnerable, how do they make you feel, act, react?’ ‘Whose bodies remain present, and which bodies are lost?’ The framework of the work — its repetition with variations and its artistic and queer feminist methodologies — enables an exploration of history, documentation, and bodily epistemology as an attempt to take responsibility for what is not known by doing, through action — through performance.

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Tarasov, Oleg. "3. The New Museum of Medieval Icons." In How Divine Images Became Art, translated by Stella Rock, 67–116. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0378.03.

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This chapter is devoted to the creation of private museums of medieval icons and ‘primitives’ in Russia and Western Europe at the start of the twentieth century. One of these museums belonged to a famous Russian collector and artist, Ilya Ostroukhov (1858–1929). Ostroukhov shared a similar appreciation for ‘primitives on a gold background’ with the American art historian, art dealer and collector Bernard Berenson (1865–1959), a taste that Berenson had started to cultivate by the end of the nineteenth century. Taking as examples Russian, Italian and American collections of ancient icons, this chapter demonstrates common tendencies in the discovery, study and collecting of medieval icons and Italian ‘primitives’, as well as new trends in the European art market.

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Gaston, Bruce. "The Background." In Saki (H.H. Munro), 33–36. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0365.05.

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Henri Deplis, a commercial traveller from Luxembourg, is working in Italy when he unexpectedly inherits some money from a distant relative. Prompted by his new wealth, he has his back tattooed by a renowned tattoo artist. Unfortunately, he has already squandered most of his inheritance and cannot pay the bill. The artist dies and his widow presents the artwork to the municipality of Bergamo. In consequence, Deplis suffers a number of interferences from the Italian authorities, who consider the tattoo an important artwork. Deplis finds himself prevented from leaving Italy, as he neither owns the picture nor possesses an export license for it. These experiences lead him into radical politics and the tattoo is damaged in a fight with another anarchist, after which he is expelled from the country as a politically undesirable person. He ends his days in Paris suffering under the delusion that he is one of the lost arms of the Venus de Milo.

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Frisina, Annalisa, and Sandra Agyei Kyeremeh. "Transforming Italy Through Literature and Cinema? Voices and Gazes of Racialised Artists." In IMISCOE Research Series, 99–116. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-39900-8_6.

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AbstractThis chapter analyses how the cultural production of racialised artists has exposed the Italian colonial archive and contested the dominant representation of Italians as “good/innocent people”. Based on qualitative research, it shows how racialised artists use literature and cinema as tools to affirm their political subjectivity and to contest the place assigned to children of immigrants in Italian society. The first section focuses on how Black and Muslim women writers have committed themselves to naming the long-lasting racism/sexism of Italian society through literature. Subsequently, we show that, according to these racialised artists, the time has come to “change the narrative” in Italian audio-visual productions. Finally, we offer some concluding remarks on how the struggle of racialised artists is hampered by structural conditions and reveal what collective strategies they use to cope with these material difficulties.

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Conference papers on the topic "Italian artist"

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Tomassoni, Rosella, Valentina Coccarelli, and Francesco Spilabotte. "GIAN CARLO RICCARDI�S SCULPTURE: BRIEF PSYCHOLOGICAL REFLECTIONS ON �ROOMS�." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/fs08.12.

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This research aims to study the sculptures and installations of the Italian multimedia and avant-garde artist Gian Carlo Riccardi (1933-2015). Our psychological study will particularly consider the �rooms�, installations created by the artist with simple objects and recycled materials such as paper, cardboard, plexiglass and predominantly iron and wood using the logic of the ready-made. The artist's sculptures and installations are constructed and represented through painted and coloured walls depicting abstract representations and through the use of everyday objects. This work intends to show how the contemporary artist Gian Carlo Riccardi, through his �rooms�, wants to immortalise the central moments of his life through the recovery of memory, dream and play, directly involving the observer by establishing an active dialogue with the work. As a result, this research shows how Gian Carlo Riccardi's installations are works of public Art because they are able to create a direct and participatory relationship between the installations, the contexts in which they are located and the viewers, who are provoked and involved in the realisation of the artistic work.

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Tomassoni, Rosella, Valentina Coccarelli, and Francesco Spilabotte. "CREATION AND DESTRUCTION: SOME PSYCHOLOGICAL REFLECTIONS IN THE PAINTINGS OF GIAN CARLO RICCARDI." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024. SGEM WORLD SCIENCE, 2024. http://dx.doi.org/10.35603/sws.iscah.2024/fs10.20.

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The aim of this study is to analyse some paintings by the Italian, multimedia and avantgarde artist Gian Carlo Riccardi (1933-2015), in which the concept of creation and destruction, or rather, as Freud would say, Eros and the destructive drive, predominate at the same time. Our study will focus in particular on the execution of these works, leading to a kind of �creative destruction�. This work intends to show how Gian Carlo Riccardi uses heterogeneous and salvaged materials to create pictorial works in which contamination, manipulation and non-sense are the result of a creative action. The objects he uses, in fact, are of common and everyday use, promoted and reconverted to an artistic use thanks to the artist�s will. They take on a new life and a new aesthetic function, becoming bearers of further meanings. This research will attempt to show how the destructive act marks the birth of artistic creation in Riccardi�s works, which represent a sort of theatrical performance, in which the artist becomes a �theatrical painter�. The aim of this study is to investigate how destruction is converted into a creative act in Riccardi�s works.

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Benvenuto, Melissa. "THE ITALIAN PROVINCE AND THE AVANT-GARDE IN ART. THE CASE OF FROSINONE AND THE �CONTROAVANGUARDIA�." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/fs07.09.

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Introduction: The present research takes shape from the increasingly strong need to methodically probe the facts, the creators, the productions, the exhibitions and the editorial and press activities in the period between 1958 and 1968 in the province of Frosinone. Materials and Methods: The analysis is made by comparing the phenomenon under study within the broader national scenario. The importance of the topic lies in the dynamics of development that it assumes in close relation to the changed social values and customs of 1968 (Sessantotto) and how these represent the reasons underlying the dissolution. [5]. Discussion: In addition to focusing on the favorable socio-cultural moment in which the Italian province was experiencing in those years, the elements that favored its genesis are analysed. It is an opportunity to summarize the most significant artistic episode that took place in the Frosinone area and the sociological aspects that formed the background to the flowering of the lively Controavanguardia (Counter-avant-garde) in the aforementioned decade. [4]. Conclusions: The fervent cultural phenomenon not only as an artistic movement, but also as one of opinion, has recently returned to the center of a certain interest on the part of scholars. The discrete bibliography and the new sources available which the archive of the movement leader, the artist Michele Rosa, have proved to be invaluable.

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Гришин, Р. В., and Д. А. Гребенникова. "THE MEANING OF LIGHT IN THE WORKS OF MICHELANGELO MERISI DA CARAVAGGIO." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.62.

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Свет в творчестве Караваджо традиционно воспринимается как образно- пластическое средство. В результате же настоящего исследования обнаруживается философскоэстетическая нагрузка света в работах итальянского художника, реформатора европейской живописи XVII в., основателя реализма в живописи, одного из крупнейших мастеров барокко. С помощью хронологического метода выявлены предпосылки формирования художественного языка Караваджо, проработана проблема интерпретации света. Light in Caravaggio’s work is traditionally perceived as a figurative and plastic means. As a result of this research, the philosophical and aesthetic load of light is revealed in the works of the Italian artist, reformer of European painting of the 17th century, founder of realism in painting, one of the greatest masters of the Baroque. Using the chronological method, the prerequisites for the formation of Caravaggio’s artistic language were identified, and the problem of interpreting light was worked out.

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Tomassoni, Rosella, Valentina Coccarelli, and Francesco Spilabotte. "THE CRISIS OF THE EGO IN THE PAINTINGS AND DRAWINGS OF GIAN CARLO RICCARDI: BRIEF PSYCHOLOGICAL REFLECTIONS." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.10.

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The main purpose of this study is to analyse and examine some of the paintings of the Italian avant-garde artist Gian Carlo Riccardi. Our work will focus in particular on a psychological study of the paintings and drawings realised by the artist. Our study basically focuses on the compositions created between the 1980s and 1990s and the graphic works executed in the 2000s. The first category examines certain works characterised by intense abstractionism. The pictorial material used by Gian Carlo Riccardi is manipulated, contaminated and destroyed, leaving only �relics�, symbolising a crisis of the ego. The second category analyses the drawings that make up the �Bestiary� collection. Gian Carlo Riccardi imprints on the blank sheets, the deformity and physical and moral decadence of the humanity represented, a bestiary humanity. This research aims to show how, through the works examined, Gian Carlo Riccardi synthesises individual and collective anguish through heterogeneous pictorial interventions, within which the gesture lacerates and lays bare the underlying �cutaneous� tissue, and illustrations where the sign traces the outlines of naked bodies revealing the scabrous reality of the commodification of flesh.

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Pskhu, R. V., P. M. Barmina, E. Yu Lotova, and Z. V. Murga. "BEAUTY IN COLOR: BLUE ON RAFFAELLO�S CANVASES." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/fs03.04.

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Color has always been an important component of a person's perception of the overall picture � this applies to art, religion, and individual worldviews. In different epochs and cultures, different, but always important meanings were conveyed with color, certain colors were associated with what was most significant and valuable for a people or a representative of a religious tradition. The blue color is exceptional in this sense � for a long time it was not paid attention at all, but once appearing on the canvases of Renaissance artists, it spread its influence on the culture, art, and social life of Europe. In this study, we will determine the significance of the blue color in various world cultures that preceded the Renaissance, to make sure that it reaches its culmination point at this time. We pay special attention to the great Italian painter and architect Raffaello Santi, whose works have become synonymous with beauty, harmony, grace, and perfection in art. In the colors of Raffaello, stories, feelings, relationships of characters are hidden, they contain the secret of harmony, sublimity, and uniqueness of his canvases. This work offers a look at Raffaello�s work through these paints, their colors, and shades, which, combined with the unique style and innate talent of the artist, have become the embodiment of the image of beauty that all philosophers have been talking about for many thousands of years.

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Iblova, Radmila. "LANDSCAPE OF HUMANISM." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024. SGEM WORLD SCIENCE, 2024. http://dx.doi.org/10.35603/sws.iscah.2024/fs06.16.

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The place to live and the living space fundamentally shape each person and the possibilities of their own existence. The landscape of humanism defines an environment where the unique local landscape and architecture inspire people to free their minds from the principles and rules that protect the supremacy of the powerful in a way that invites new exploration. The landscape of humanism, as conceived in my work, begins to be born during the early 13th century in central Italy. The progenitor who initiated this transformation by his life example is Saint Francis of Assisi. The life of this man subsequently influenced European civilization not only in the spiritual and philosophical sphere, but also in the sphere of material aesthetics, represented by beautiful art and architecture. The landscape of humanism, thanks to the personal influence of Saint Francis, has helped to give birth to a new creative generation whose works are beginning to speak not only in the local italian language, but at the same time are beginning to use the local landscape and architecture to tell the life stories of people who are not written about in The Bible and who are not the powers of this world. Through this milestone, it is the creative freedom of the new generation that has helped to change the mindset, the rules and the laws of those who set them. In the landscape of humanism, works whose creators are already known by name and whose authorship can be documented appear in art and architecture. A whole new chapter of art history begins here, as citizen investors appear whose influence on the subject of the artwork is evident. The business relationship between the investor and the artist sets new rules and this collaboration begins to influence the creation and existence of the artwork itself. The artistic centre of the landscape of humanism is the Florentine Republic, whose exceptionally successful commercial potential in 13th-century Europe granted it an unexpected autonomy and a position of eminence. Florentine Republic was so influenced by the legacy of Saint Francis that it became the cradle of artists who began to write new rules, were personally responsible for their work to the investor, and received financial rewards for their work, of which there is already written evidence. Florence is the city that is the cradle of a new generation of artists able to author the expression of their work for their client. The personalities who transformed central Italy into a landscape of humanism, and at the same time represent the artistic beginning of the liberation of the mind and spirit from the dictates of the times, are the subject of this work. The authorial differences of the selected artists, differing in their elaboration and in the way of depicting the same assignment, are the purpose of my thesis. The aim of this thesis is to present the landscape of humanism through the artists whose works of art represent this transformation, which at the same time has provided artists with a dignified and desirable place in the hierarchy of the society. The artists working in the landscape of humanism that will be examined in my thesis are Bonaventura Berlinghieri, Coppo di Marcovaldo, Giunta Pisano and Cimabue.

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Rocco, Renata Dias Ferraretto Moura. "As obras de Gino Severini na coleção do Museu de Arte Contemporânea da Universidade de São Paulo." In Encontro da História da Arte. Universidade Estadual de Campinas, 2011. http://dx.doi.org/10.20396/eha.7.2011.4166.

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Esta pesquisa de mestrado se insere no campo de estudo da historiografia da arte brasileira e italiana, e tem como questão principal a investigação sobre as pinturas do artista italiano Gino Severini (Cortona, 1883 – Paris, 1966), presentes no acervo do Museu de Arte Contemporânea da Universidade de São Paulo (MAC USP). Neste texto serão apresentados os primeiros resultados e reflexões da pesquisa em andamento.

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dos Santos, Camila, and Andreia Machado Oliveira. "Communication Action Zones in Art and Technology - ZACAT." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.101.

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Communication Action Zones in Art and Technology, in portuguese Zonas de Ações Comunicacionais em Arte e Tecnologia – ZACAT – is a master's research developed in Brazil, made before and during the SARS-CoV-2 virus pandemic, which causes the New Coronavirus disease. This artistic and academic work includes a set of sound and visual poetics based on an investigation of artistic communicational practices of an activist character, with the mediation of several questions about the current Brazilian history. Firstly, through diversified strategies and proposals for different interlocutors, with experiments in 2019, in different spaces in the city of Santa Maria, state of Rio Grande do Sul - streets, museums, art galleries, university, school, social networks, radio wave space. Subsequently, as a result of the world scenario presented from 2020, with the COVID-19 pandemic, the poetic undergoes significant transformations. In addition to the artistic and communicational strategies undergoing changes in approach, the Santa Maria space moves to that of the Clube Naturista Colina do Sol (CNCS), a naturist community located in the municipality of Taquara, also in Rio Grande do Sul. Not urbanized and immersed with the wild environment the least interfered by human action, which provides other forms of listening and connection, in addition to the relationship with the body, communication and technology, such as the use of online virtual reality platforms to share the work carried out. To approach the construction of this research, studies on methodology by the researcher and artist Sandra Rey (1953) are used. As a theoretical foundation, reference is made to the idea of micropolitics, a concept that refers to philosophers Michel Foucault (1926-1984) and Gilles Deleuze (1925-1995) and to art critic Suely Rolnik (1948). Activist artistic practices are based on the experiences of Brazilian collectives from the 1990’s to the present, as seen under the historiography of Art Activism from the 1950’s, with Italian autonomist philosophers such as Giorgio Agamben (1942) and Franco Berardi (1949). To support the notion of Art and Communication, authors such as Mario Costa (1936), Fred Forest (1933), Mônica Tavares, Priscila Arantes, Christine Mello and Giselle Beiguelman are based on. The concept of device emerges from theoretical research and mediates artistic practices, having as reference Agamben, Foucault, Vilém Flusser (1920-1991) and Gilbert Simondon (1924-1989). From performances, through installations, through audio, video and face-to-face interactivity experiments or via virtual networks, this research seeks to give visibility to everyday micropolitics, with their memories, affections, formalized or ephemeral life impulses in moments of encounters. And how the artistic works can unfold in different contexts, in front of different audiences and under challenging conditions in terms of a larger historical context.

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Freitas, Patrícia Martins Santos. "Narrativas e práticas das artes aplicadas no Brasil: o caso de Bramante Buffoni." In Encontro da História da Arte. Universidade Estadual de Campinas, 2018. http://dx.doi.org/10.20396/eha.13.2018.4592.

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Este artigo tratará das narrativas e práticas de artes aplicadas no Brasil nas décadas de 1940 e 1950, tendo como ponto de partida o caso do pintor italiano Bramante Buffoni. Buffoni imigrou para o Brasil em 1953, vindo de Milão, onde trabalhava com design gráfico e publicidade. O artista veio ao Brasil com um plano inicial de permanecer apenas um ano, mas encontrou aqui boas oportunidades de trabalho, que o fizeram permanecer até o ano de sua morte, em 1989.

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Reports on the topic "Italian artist"

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Grazia Mattei, María. Art and New Media in Italy. Inter-American Development Bank, February 2003. http://dx.doi.org/10.18235/0006628.

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Angel, Félix, and Cristina Rossi. Latin American Artists of Italian Descent. Inter-American Development Bank, August 2011. http://dx.doi.org/10.18235/0006441.

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This catalogue belongs to the exhibit that celebrates the 150th Anniversary of Italy's Unification. The exhibition includes a selection of art works by Latin American artists of Italian descent that constitutes a symbolic yet significant exploration of the Italian cultural presence and its influence in Latin America. Among the artists included are: Héctor Borla, Sergio Camporeale, Ricardo Crivelli, Eduardo Medici, Emilio Pettoruti, and Rogelio Polesello (Argentina), Lyria Palombini (Brazil), Roberto Sebastián Matta (Chile), Umberto Giangrandi (Colombia), Francisco Amighetti (Costa Rica), Javier Bassi, Miguel A. Battegazzore, José Belloni, Enrique Broglia, Pedro Figari, Antonio Frasconi, Diego Masi and Carlos María Tonelli (Uruguay). The catalogue comprises an essay on the interaction of experiences between Italy and Latin America by Professor Cristina Rossi. The text can be found in English, Spanish and Italian.

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Stumpo, Sergio. The Sustainability of Urban Heritage Preservation: The Case of Siracusa, Italia. Inter-American Development Bank, August 2010. http://dx.doi.org/10.18235/0006914.

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This paper analyzes the city of Siracusa, Italy, and in particular the Historic Center of Ortigia. Siracusa and the rocky Necropolis of Pantalica (in the Cassaro, Ferla, and Sortino areas) were inscribed on UNESCO's World Heritage List in 2005, an event that may be considered the official recognition of the beauty and uniqueness of their historical, artistic, architectonic, and natural patrimony.

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Primer concurso y exposición de videoarte de América Latina y El Caribe. Inter-American Development Bank, April 2003. http://dx.doi.org/10.18235/0006123.

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Una exhibición de videoarte de América Latina y el Caribe, primera en su género presentada en Washington, D.C., mostró 53 videos, de menos de cinco minutos cada uno, seleccionados por un jurado internacional, de un total de 235 videos provenientes de 21 países. Los videos también se proyectaron en el Istituto Italo-Latinoamericano (IILA) de Roma, Italia y luego comenzarán un ciclo itinerante por varios museos internacionales. Se otorgaron dos primeros premios, cuatro menciones honoríficas y 5 premios por votación popular a artistas de Brasil, Colombia, Costa Rica, México, Panamá, Perú y Venezuela. El objetivo del concurso fue ampliar el debate en torno a los factores económicos y sociales que afectan a los países de América Latina y el Caribe a través de la tecnología basada en los medios visuales. El concurso y exposición establecieron un punto de referencia en el adelanto del videoarte como forma de expresión en esos países. El concurso y exhibición han sido organizados por el Centro Cultural del BID y la División de Tecnología de la Información y Comunicación para el Desarrollo del BID

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