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Journal articles on the topic 'Italian artist'
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1
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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Sliwinska, Maria. "Discovering intercultural relations in the digital age with school students. A few Polish-Italian cases." DigItalia 16, no. 1 (June 2021): 82–88. http://dx.doi.org/10.36181/digitalia-00027.
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This article briefly presents how the implementation of ICT in cultural institutions has improved education and research. The article emphasizes discovering the activity of Italian artists in Poland, thanks to digitization, which was carried out with particular intensity in the last two decades. Digitization has become a great achievement thanks to the funding of numerous international projects by the European Commission. Special recognition in this action should be given to Rossella Caffo and her team, under whose guidance the plan for the coordination of digitization in Europe and numerous detailed projects were created. In addition to the millions of digitized objects sent to Europeana, the project teams also developed several programs. One of them, MOVIO, software for virtual exhibitions, began to be used in projects with Polish schools. One of the virtual exhibitions was devoted to Elwiro Michał Andriolli, an outstanding artist of Italian origin. The exhibition was prepared on the basis of digitized materials available on Polish websites and in Europeana, where we also found unique French and Lithuanian materials. Unfortunately, no Italian objects were found there. We plan to continue searching for the achievements of Italian artists in Poland, in the CrowdSchool project (Creative Learning at School thanks to a collaborative Crowdsourcing Annotation Process), whose aim is to prepare didactic materials useful in distance learning and intercultural connections. Close cooperation is planned here between a Polish secondary school from Jarosław, interested in architecture, and a Liceo Artistico from Bologna.
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MYERS, LINDSAY. "Meo's Fists – Fighting For or Against Fascism? The Subversive Nature of Text and Image in Giovanni Bertinetti's I pugni di Meo." International Research in Children's Literature 1, no. 1 (July 2008): 1–15. http://dx.doi.org/10.3366/e1755619808000069.
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During the 1920s and 1930s Italian children's literature was heavily influenced by fascist propaganda. Stories which celebrated patriotism, militarism and obedience appeared in great numbers as did biographies of Mussolini. Children's book illustrations also underwent stylistic changes becoming more statuary and geometric in accordance with the principles behind fascist architecture and propagandist art. Not all of the Italian writers and artists who ostensibly endorsed fascist ideologies, however, were entirely compliant with fascist dictates. Careful reading of some of the key works by writers and artists outwardly supportive of the regime reveals underlying subversive political ideologies, the majority of which have yet to be acknowledged. One of the ways in which writers and artists of the fascist period inscribed subversive ideologies in their works was by manipulating contemporary visual and verbal codes. This paper focuses on the dialectic of text and image in Giovanni Bertinetti's I pugni di Meo [Meo's fists], a children's fantasy, illustrated by the well-known artist, Attilio Mussino. Situating text and illustrations in their socio-political context, it discusses how these artists manipulated words and images to convey an ideology of moderation in the midst of excessive use and abuse of power in Italy in the 1930s.
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Toni, Franco. "Antonio Canova’s drawings in the Rare Books Collection of the Istituto Superiore di Sanità Library (Rome, Italy)." Journal of EAHIL 15, no. 4 (December 10, 2019): 13–17. http://dx.doi.org/10.32384/jeahil15352.
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The paper aims to promote the knowledge of the extraordinary collection of anatomical subject drawings by Antonio Canova, the most important Italian neoclassic artist, owned by the National Institute of Health Library in Rome. The history of acquisition by the library and the analysis of their importance in the long career of the artist is also treated. A short story about the fortune of the drawings in the last 20 years completes the study.
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Ульянова, Наталия, and Nataliya Ulyanova. "The Art of the Renaissance Era As an Interlink of the World Culture." Scientific Research and Development. Socio-Humanitarian Research and Technology 6, no. 4 (December 18, 2017): 68–70. http://dx.doi.org/10.12737/article_5a2e741f3393d8.02235297.
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The article is devoted to the analysis of the features of Italian artistic culture, the Renaissance period, on the example of the work of the outstanding artist Michelangelo Buonarroti. Particular attention is paid to the significance and influence of the Italian culture of the Renaissance period on the world artistic culture. An analysis is made of the patterns of the further development of cultural relations based on the principles of the aesthetics of humanism.
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Poggioli-Kaftan, Giordana. "Modernity’s fears of depopulation and sterility in Mario Sironi’s urban landscapes." Forum Italicum: A Journal of Italian Studies 55, no. 1 (February 14, 2021): 185–203. http://dx.doi.org/10.1177/0014585820976549.
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This article focuses on Fascist artist Mario Sironi’s urban landscapes as a site of modernity and its contradictions. With their gloomy buildings and deserted streets, Sironi’s landscapes highlight two of modernity's woes: The periferia of the “liberal” city and the fear for its inhabitants’ degeneration and sterility. In his “Il discorso dell’Ascensione,” Mussolini openly accuses industrial urbanism of its sterilizing effect on the Italian race, thus, jeopardizing his imperial ambitions. By giving an aesthetic form to the Regime’s fears, Sironi reaches two goals: The aestheticization of fascist politics, as described by Walter Benjamin, and the creation of the Soreal social myth that would ultimately propel Italians toward the resolution of their presumed problems. Moreover, the article suggests a reading of Sironi’s murals as an integral part of the urban landscapes’ reading and interpretation. The murals’ fascist imperial rhetoric would lose its referent should the Italian race succumb to physical degeneration and sterility.
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Markov, A. V. "ITALIAN PRIMITIVE AND CRITICAL REVIVAL IN RUSSIAN MODERNISM." Arts education and science 1, no. 1 (2020): 114–20. http://dx.doi.org/10.36871/hon.202001014.
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The word primitive as applied to art is a lexical Gallicism, requiring special critical contexts for correct use, and therefore the word was not frequently used in Russian literature. This concept was part not so much of academic research as of art criticism, which argued against academic standard. At the same time, Russian modernism legalized the concept of the Italian primitive as a special mode of optics, as a form of fantasy shared by the artist and the viewer. The article proves that the primitive in Russian culture was not a stylistic, but a plot characteristic of the image, revealed in the proximity of icon-painting images (icon border scenes, altar predellas) to genre scenes, which made it possible to embed the primitive not in the order of canonical veneration, but in the order of a new emotional culture that updated the Russian literary language. Moreover, many characteristics of the primitive, such as color, lighting and compositional solutions directly inherited from European criticism, that stood against classicism and defended the values of national cultural production. Thus, the admiration of Italian primitives was a way to strengthen the role of criticism in the literary and artistic process, that can only coordinate the position of the artist and the audience.
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DeLue, Rachael Ziady. "Mauro in America: An Italian Artist Visits the New World (review)." University of Toronto Quarterly 74, no. 1 (2004): 433–34. http://dx.doi.org/10.1353/utq.2005.0021.
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Brunetti, Francesca. "Delicious Bodies, Beautiful Food, Powerful Pleasure." Exchanges: The Interdisciplinary Research Journal 9, no. 2 (April 27, 2022): 55–81. http://dx.doi.org/10.31273/eirj.v9i2.924.
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I am an artist and a scholar. In my work, I adopt an interdisciplinary approach to drawing, feminism and ecology to explore the stereotype of the southern Italian woman, the terrona. In my research, I investigate how the terrona has been represented in media as attractive, buxom and sexualized. I use drawing to visualize and transform the stereotypical characteristics of the southern Italian woman and connect the terrona's traditional traits to the natural resources of the Mediterranean environment.
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Wouk, Edward. "Picturing Art History in Eighteenth-Century Britain." Bulletin of the John Rylands Library 95, no. 2 (September 1, 2019): 83–113. http://dx.doi.org/10.7227/bjrl.95.2.5.
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Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few sources available in English at the time, but that part of the project was abandoned. This article relates English MS 60 to shifting practices of picturing art history. It examines the rise of printed artists’ portraits, tracing the divergent histories of the genre south and north of the Alps, and explores how biographical approaches to the history of art were being replaced, in the eighteenth century, by the development of illustrated texts about art.
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Panzarella, Gioia. "Narratives Beyond books: Artistic Agency and Encounter with an Audience in the Work of the Compagnia delle poete and Gabriella Ghermandi." Forum for Modern Language Studies 57, no. 4 (October 1, 2021): 476–91. http://dx.doi.org/10.1093/fmls/cqab047.
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Abstract Building on recent critical contributions on contemporary transnational literature in the Italian language, this article explores the link between the literary production of the artist Gabriella Ghermandi and the Compagnia delle poete – a collective of 20 female artists from different countries – and some of their respective performances. I argue that these performances reduce the space for interventions by the cultural intermediaries involved in the organization of events aimed at disseminating the Compagnia’s and Ghermandi’s literary production: the performances constitute new interzonal artistic explorations and preserve the agency of the artists when presenting their narrative around their own literary production; they emphasize the element of collaboration and can be discussed as part of a process of self-translation. This article pays particular attention to the prominence of the theme of migration in public discourse in Italy, which has provided opportunities for writers and artists with an interest in migration to take part in cultural events.
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Ślarzyńska, Małgorzata. "Foscolo w „Kłosach” w 1872 roku: polski epizod pośmiertnej wędrówki." Przegląd Humanistyczny 61, no. 4 (459) (May 21, 2018): 139–50. http://dx.doi.org/10.5604/01.3001.0012.0671.
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The aim of the article is to present the issue of reception of Ugo Foscolo’s works in Poland. A particular attention is paid to the multipart article in Kłosy from 1872 (No. 374–386) devoted to the Italian artist in connection with the transfer of the poet’s remains – many years after his death in England in 1827 – to the Basilica of Santa Croce in Florence in 1871. The paper discusses the strategies adopted in the description of elements of the poet’s biography, including a sentimental key related to the figure of Quirina Mocenni Magiotti, an economic key and a moralizing key. Emphasizing the experience of emigration and compulsory uprooting of the Italian poet from the family land places this special periodical return from beyond the grave in a new context determined by the situation in Poland and the resulting condition of artists forced to emigrate. The analysis also involves unique Polish translations of three of the most important Foscol’s sonnets (*** [Solcata ho fronte]; “In morte del fratello Giovanni”; “A Zacinto”) included within the frame of the article in Kłosy.
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Kok, Erna E. "Joachim von Sandrart, aristocrat-painter in Amsterdam, 1637-1645." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 70, no. 1 (November 16, 2020): 258–93. http://dx.doi.org/10.1163/22145966-07001012.
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In this article, the central issue is the interaction between Sandrart’s friendship networks, his art production and success in Amsterdam. His famous literary life’s work the Teutsche Academie, and Lebenslauf, his (auto) biography, will also be involved. Sandrart’s stay in Amsterdam (1637-1645) was the true springboard for his career. Upon arrival in Amsterdam, he immediately positioned himself in the network of influential entrepreneurs, connoisseurs and magistrates by moving into a patrician residence on the Keizersgracht. Sandrart’s wealthy bloedvrienden (family members) with important socio-political networks - the banker Johan de Neufville and the artist-agent Michel le Blon - further brokered easy access to the bourgeois elite network, which soon earned the aristocratic painter many important commissions. In the late 1630s and early 1640s, Sandrart was a pioneer in his use of the Van Dyckian way of portraying and a classicist Italian style in history painting. Although it took a further ten years before the change of style towards academism became definite in Amsterdam, Sandrart had been the artistic leader thereof. Moreover, he launched a new artists image and artistic lifestyle by positioning himself as the aristocratic-artist.
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Rojewski, Oskar Jacek. "“Quien será un gran pintor...” Análisis de las condicionantes y de las capacidades necesarias para ser artista según Durero." Revista de Humanidades, no. 42 (May 4, 2021): 59. http://dx.doi.org/10.5944/rdh.42.2021.25543.
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Resumen: La historiografía artística de la Edad Moderna, plasmada en tratados, paragonae, discursos y correspondencias entre humanistas, permite a los historiadores del arte reconstruir y analizar distintos aspectos de la producción artística italiana de esa época. En el caso de los territorios del Norte de Europa, la ausencia de esta documentación no permite precisar con claridad de detalle fenómenos análogos para los pintores flamencos o acerca de la llamada escuela alemana hasta las primeras décadas del siglo XVI. La poca documentación conservada imposibilita una definición profunda de los aspectos teóricos y estéticos ligados a la producción de los artistas. Además, la estructura gremial del Norte disuadía el proceso de individualización de los artistas. Alberto Durero, artista vinculado a la corte de Maximliano I y posteriormente a la corte de Carlos V, se considera el primer autor de tratados teóricos sobre la creación artística al Norte de los Alpes. Gracias a sus viajes a Italia, Durero entró en contacto con las corrientes de pensamiento acerca de la teoría del arte, que le llevaron a redactar varias publicaciones: Proyecto para el tratado sobre la pintura(1508-1513), Los cuatro libros sobre medidas. Instrucciones de medir con compás y regla(1525) y Cuatro libros sobre las proporciones humanas (1528). El objetivo de este estudio es analizar los tres tratados mencionados con una atención especial a las recomendaciones del autor respecto a la formación del artista. A partir del corpus dureriano, traducido por Bialostocki en 1954 ,este estudio permitirá revisar la difusión y aplicación de las sugerencias en el ámbito de los artistas durante las primeras décadas del siglo XVI.Abstract: The artistic historiography of the Modern Age, formed by theoretical treatises, paragonae, speeches and correspondence between humanists, permit the Historians of art to reconstruct and to analyse various aspects of Italian artistic production. In the case of Northern Europe, the absence of that kind of documentation does not allow to precise clear analogous phenomena for Flemish painters or for German school, until the early decades of the sixteenth century. Not much preserved documentation makes impossible to define well theoretical and aesthetic aspects relate to the artistic production. Besides, the guild structure on the Northern Europe dissuades the process of artists individualization. Albrecht Durer, connected to the court of Maximlian I and to the Charles V court artist, is considered as the first author of artistic theoretical treaties on the North of the Alps. Thanks for the trip to Italy, Dürer came into contact with modern art theory, which resulted in writing several treaties: Project for the Treatise on Painting (1508-1513), Four Books on Measurement. Instructions for Measuring with Compass and Ruler (1525) and Four Books on Human Proportion (1528). The aim of this study is to analyse the three mentioned treaties with special attention on the author's recommendations for appropriated formation of the artist. The base is the Durer´s corpus, translated by Bialostocki in 1954. This study will review the dissemination and implementation of Durer´s suggestions for artists during the first decades of the sixteenth century.
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Visconti, Laura. "THE ARTIST AND THE ARTISAN: Beckett as a Translator of Italian Poetry." Samuel Beckett Today / Aujourd'hui 6, no. 1 (December 8, 1997): 387–98. http://dx.doi.org/10.1163/18757405-90000076.
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Varade, Kristina. "Portrait of the Artist and His Mother in Twentieth-Century Italian Culture." Italica 99, no. 4 (December 1, 2022): 574–76. http://dx.doi.org/10.5406/23256672.99.4.11.
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Wamsley, Douglas W. "Albert L. Operti: chronicler of Arctic exploration." Polar Record 52, no. 3 (December 16, 2015): 276–93. http://dx.doi.org/10.1017/s0032247415000753.
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ABSTRACTThe great wave of immigrants to the United States during the late 1800s brought many talented individuals who enriched American culture and society. Notable among them stands the Italian-born artist, Albert L. Operti (1852–1927), a versatile painter, illustrator and sculptor. For much of his professional career, Operti served as a scenic artist for the Metropolitan Opera House and later as an exhibit artist for the American Museum of Natural History. However, he maintained an avid personal interest in polar explorers and the history of polar exploration, ultimately turning his artistic skills to the subject. Operti served as official artist for Robert E. Peary during his Arctic expeditions of 1896 and 1897, producing paintings, drawings and even plaster casts of the Inuit from the expedition. Over the course of his lifetime he painted a number of ‘great’ pictures depicting, in a factually accurate manner, important incidents in Arctic history along with numerous smaller paintings, sketches, illustrations and studies. The quality of his work never rivaled his more talented contemporaries in the field of ‘great’ paintings, such as the prominent artists William Bradford and Frederic Church. Nonetheless, Operti achieved some recognition in his time as a painter of historical Arctic scenes, but the full extent of his contributions are little known and have been largely unexamined. Unlike the explorers themselves whose legacy rests upon geographic or scientific accomplishments and written narratives, Operti's legacy stands upon the body of distinctive artwork that served to convey, in realistic and graphic terms, the hardships and accomplishments of those explorers. This article recounts the life of Operti and his role as an historian in disseminating knowledge of the polar regions and its explorers to the public.
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Ravizza, Carlalberto, Gilles Vinçon, and Jean-Paul G. Reding. "The origins of the names of Plecoptera genera and species occurring in the Italian Region." Bollettino della Società Entomologica Italiana 152, no. 3 (December 15, 2020): 115–32. http://dx.doi.org/10.4081/bollettinosei.2020.115.
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The origins of the names of the 177 species of stoneflies occurring in the Italian region are listed. These names chiefly refer to a taxonomic characteristic (56 species), then a dedication to a well-known entomologist or to the collector (52), then to either a geographical - ethnological (45) or to an ecological aspect (9). The remaining species are dedicated to someone in the author’s family (6) or to an artist or scientist (3). Finally, 6 other species have a symbolic name. In addition, we also provide an exhaustive bibliography of the original species descriptions of the Italian Plecoptera fauna.
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Anheim, Étienne. "An Italian Workshop at the Avignon Court: Matteo Giovannetti, Painter to Pope Clement VI (1342–1352)." Annales. Histoire, Sciences Sociales 72, no. 3 (September 2017): 453–88. http://dx.doi.org/10.1017/ahsse.2020.5.
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The artist Matteo Giovannetti, originally from Viterbo, arrived at the papal court of Avignon in the early 1340s. During the reign of pope Clement VI (1342–1352), he succeeded in organizing a court-based workshop of an unprecedented size, which has left numerous traces in the papal administrative archives. This exceptional documentation makes it possible to reconstruct the administrative, financial, material, and technical phases of this workshop’s development, corresponding to the increasing affirmation of Matteo’s artistic position. As well as his mastery of the new Italian visual culture, Matteo drew on innovative techniques in fresco production, project management, and bookkeeping. Studying his workshop thus shines a light on the figure of the artist, at once craftsman, courtier, and entrepreneur. It also reveals the collective and material dimension of creative labor in fourteenth-century Europe.
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Gravanis, Konstantinos. "False Religion and Hypocrisy in Signorelli's Antichrist." Studies in Church History 60 (May 23, 2024): 121–47. http://dx.doi.org/10.1017/stc.2024.6.
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This article discusses the iconography of Luca Signorelli's Sermon and Deeds of the Antichrist (c.1502–3) in the Cappella Nuova at the cathedral of Orvieto. A combined investigation of the Antichrist's subject matter, Signorelli's literary and visual sources, as well as his discarded drawings for the entire fresco decoration of the Cappella Nuova, brings fresh insights to the thematic intentions of the artist and his advisers. Signorelli's entire view of eschatology marked a renewed interest of Italian artists in the apocalyptic sublime. It also signified a revival of the medieval tradition of the Antichrist as the arch-hypocrite, and his reign as an apocalyptic age of hypocrisy. At the same time, the artist's treatment of the subject matter indicates an ambiguous stance toward religious hypocrisy characterized by a suppression of the anti-clerical and millenarian aspects of the Antichrist myth.
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Ferrer-Ventosa, Roger. "The demiurge in the convex mirror. The Hermetic keys of Parmigianino’s Self-Portrait in a Convex Mirror." Eikon / Imago 13 (May 14, 2024): e90725. http://dx.doi.org/10.5209/eiko.90725.
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The article analyses the conceptual foundations of Parmigianino in relation to his Hermetic and Neoplatonic ideas and alchemical practice, which were important in Renaissance Italian culture. Parmigianino's Self-Portrait in a Convex Mirror is viewed as an embodiment of the artist as a demiurge, a creator of a brand new universe. The article highlights the symbolic and metaphysical significance of the convex mirror, reflecting the artist's creative power and the hidden values of reality. Melancholy, associated with Saturn, was a characteristic of artists and intellectuals in that cultural context. The article discusses Parmigianino’s frescos of Diana and Actaeon, a myth that symbolizes the pursuit of wisdom and the transformative process of the alchemist. Finally, it is also examined Parmigianino's potential interest in alchemy based on historical accounts. The controversy surrounding Parmigianino's involvement in alchemy is discussed, along with the opinions of various scholars
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Măgureanu, Ioana. ":The Traveling Artist in the Italian Renaissance: Geography, Mobility and Style." Sixteenth Century Journal 47, no. 1 (March 1, 2016): 276–78. http://dx.doi.org/10.1086/scj4701198.
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Matić, Aleksandra. "„QUESTI SCHIAVONI”: ITALIJANSKA RENESANSA I SLOVENI U DELU RASTKA PETROVIĆA." Nasledje, Kragujevac XX, no. 54 (2023): 285–301. http://dx.doi.org/10.46793/naskg2354.285m.
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This paper explores Rastko Petrović’s last essay entitled Questi Schiavoni, which represents a trilogy about Italian Renaissance artists of Slavic origin. In his recognizable genealogically fluid manner, Petrović shapes three essayistic-documentary texts with historical-novelistic ele- ments, with the aim of illuminating the key features of the brightest era of European art, but also to point out the Slavic participation and importance in building the Italian cultural herit- age. Rastko Petrović’s two major themes, Slavism and Renaissance art, intertwine in this essay, created during his stay in America, a fact which activates another narrative and semantic com- plex in the text: alienation and immigrant experience as a universal ontological quality of the artist’s being. This paper tries to point out the poetic stimuli that came to the avant-garde writer precisely from the Renaissance, and to indicate the intercultural connections and permeations, the importance of which the avant-garde artist emphasized in both his explicit and implicit poetics, proving that intensive communication of ethnically, religiously, geographically distant cultures can be achieved through art. The last segment of the paper follows the so-called Slavic messianism as an idea that Rastko Petrović built upon during his entire creative engagement, mainly dealing with Slavic tribes at cultural and historical epochs turning points.
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Zhou, Yutong. "A Brief Analysis of Alberti’s Art Theory - Taking On Painting” as an Example." Journal of Soft Computing and Decision Analytics 2, no. 1 (January 9, 2024): 86–91. http://dx.doi.org/10.31181/jscda21202436.
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People’s perceptions of artists in Italy, particularly Florence, have transformed since the 15th century. Artists have created works of art that reflect the humanistic ethos of the era, which has fostered the study of art theory by humanist scholars and contributed to the development of an art historical consciousness. In his artistic theory, the Italian humanist Alberti of the early 15th century reflected the new development of Florentine art. Alberti, an artist and theorist of the early Renaissance, examined the changes in artistic creation in the new era with a very avant-garde and contemporary perspective, and applied scientific theoretical knowledge to painting creation as a premise for studying painting art techniques. His influential treatise “On Painting” is regarded as the first systematic painting theory work in the West, establishing the groundwork for Renaissance art theory. His description of the sublime nature of painting elevated painting’s status and reputation as an art form. It is also advantageous to facilitate the transition of painters from painters to artists. This article is founded on the theoretical content proposed in Alberti’s “On Painting” art theory work, analyzing the painting concepts proposed by Alberti and its governing function in Renaissance art.
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Chatterjee, Sria. "Political Plants." Cultural Politics 19, no. 1 (March 1, 2023): 86–106. http://dx.doi.org/10.1215/17432197-10232502.
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Abstract This essay considers a series of examples of contemporary and early twentieth-century artistic projects done in collaboration and conversation with plant scientists around the theme of plant sentience. In particular, it zooms in on the work of the Indian biophysicist Jadagish Chandra Bose and the Indian artist Gaganendranath Tagore in the 1920s and the Italian plant scientist Stephano Mancuso and German artist Carsten Höller in the 2020s. The essay has four interconnected aims. The first is to investigate how and why plant sentience is visually and spatially represented by artists. The second is to show through two broad examples how plant science can be and has been co-opted to serve different political, economic, and ideological positions. The third and broader aim of this essay is to counter a widespread ethical assertion in environmental humanities and animal studies that destabilizing human-nonhuman binaries intrinsically lends itself to projects of environmental justice by encouraging humans to coexist more equitably with other species. In other words, we should not assume that artistic production is spontaneously aligned to ethics of multispecies justice. The fourth and concluding aim is to make the related argument that plant sentience and other ways of knowing and relating across species need to be understood within the context of colonial and extractive histories.
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Ceolin, Mark. "Funding Agencies for Italian Canadian Theatre Projects." Canadian Theatre Review 104 (September 2000): 42–44. http://dx.doi.org/10.3138/ctr.104.008.
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For a small, newly formed theatre company in Toronto, the first several years can prove to be its making or unmaking. The most innovative ideas and promising actors alone cannot always sustain a group in the absence of the funding necessary to move from conception to production. It is commonly understood that arts funding from municipal, provincial and federal sources is not to be expected during the start-up year, forcing producers to look elsewhere for the dollars necessary to create their first project or season. With respect to the creation of a corpus of works giving representation to Canadian citizens of Italian ancestry, it is fortunate that resources do exist; at the same time it is ironic that, in trying to create theatrical work that promotes a sense of Canadian identity in ethnic communities, an artist attempting to bridge gaps between inherited and adopted cultures often finds help most forthcoming from cultural agencies set up to promote foreign concerns in Canada.
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Tal, Guy. "Magical Monsters: Hybrids and Witchcraft in Early Modern Art." Poetics Today 44, no. 4 (December 1, 2023): 589–630. http://dx.doi.org/10.1215/03335372-10824198.
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Abstract Studies of early modern images of witchcraft interpret the motif of hybrid creatures as representations of demonic incarnations intended in part to demonstrate the artists’ inventive prowess and capacity for phantasia. This article broadens the scope of analysis by arguing that the hybrid functions as a prolific site of reflection on the symbolic analogy between art and witchcraft, highlighting the common creativity attributed to the artist and the magician both. A comparative analysis of Italian, German, and Dutch images produced in the long sixteenth century identifies three distinctive aspects of the hybrid: as the offspring of Circe's magic of transformation in the works of Pellegrino Tibaldi and Annibale Carracci, as the figurative expression of witchcraft-associated features in Jacques de Gheyn II's engraving, and as an artistic invention in a theatrical design after Raffaello Gualterotti and an engraved grotesque ornament by Heinrich Aldegrever.
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Koshelev, Georgy, and Alexandra Spiridonova. "Alexander Melamid’s Portraiture of the 2010s." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 33–46. http://dx.doi.org/10.36340/2071-6818-2020-16-2-33-46.
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The article focuses on a comprehensive study of Alexander Melamid’s portraiture included in his first independent project after thirty years of collaborative creativity with Vitaly Komar. Throughout the entire thirty-year period of cooperation, the painters signed their works with the Komar and Melamid trademark making it difficult to determine the artists’ individual characters. A detailed analysis of the solo works of the 60-70s, before the beginning of collaborative creativity, is presented; it helps us to detect individual traits in the works of the duet and to better identify the artists’ personalities, to reconstruct the technical features of each artist’s painting style. In 2007, Alexander Melamid began creating a large-scale series of paintings which would become his new conceptual line of creative work; later, in 2009, the artist developed and supplemented the series with portraits of Italian clergy and Russian oligarchs. Characteristic features of the Holy Hip Hop! portrait series, exhibited at the Detroit Museum of Modern Art in 2008, are studied in the article. The artist paid special attention to the psychological characters of the portrayed, the entire series is painted in one color scheme, within one scale. The pictorial series is an integral conceptual statement. The purely plastic qualities of the paintings fade into the background. They are not so important for Alexander Melamid - he uses academic painting as a tool to convey more accurately the psychology of the portrayed whom he treats with ironic interest. It is important to note that Alexander Melamid erases the line between the classical and the marginal art, just as Francois Millet did in his time. The article succeeded in updating sociocultural issues with the help of contextual comparison with portraiture by Diego Velazquez and contemporary American artist Kehinde Wiley whose creative life has deeply integrated into the socio-political realities of the United States of the beginning of the 21st century and the African-American cultural tradition. Kehinde Wiley is known for his realistic large-scale portrayals of African-Americans in poses borrowed from works of classical European painting of the 17-19th centuries. The artist openly propagandizes, deliberately emphasizing the didactic function of his paintings. It is in the context of contemporaries’ works and the political situation in the USA of the 2000-2010s that Alexander Melamid’s work should be considered.
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Battelli, Cesare. "AI and Synaesthetic Space: Architecture from Hybrid Visions of Intelligent Machines." Architectural Design 94, no. 3 (May 2024): 46–53. http://dx.doi.org/10.1002/ad.3054.
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AbstractOne of AI's core abilities is the conjuring up of images that seem familiar to us, based on our individual visual and architectural preoccupations. This splicing of the known with the unknown can create a sense of déjà vu that is both centred and defamiliarised. Italian artist, architect and researcher in visionary architecture Cesare Battelli takes us through some of the characters of the past who have utilised such creative tactics.
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Mattiello, Elisa. "On the productivity of the Italian suffix -ista and the English -ist." Languages in Contrast 20, no. 1 (January 14, 2019): 1–30. http://dx.doi.org/10.1075/lic.18003.mat.
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Abstract This study compares the Italian suffix -ista with its English counterpart -ist in terms of productivity. While in English -ist is often used to designate a person who devotes himself to some science or branch of knowledge (linguist), or refers to an adherent of some creed, doctrine, or art (idealist), Italian -ista has extended its use to new meanings (e.g. supporter of a politician, an artist, etc.), and possible bases, from roots to phrases. Moreover, -ista has also extended its applicability to recent loan words and abbreviations, thus becoming more frequent than -ist and often corresponding to the -er suffix (e.g. shampooer vs. shampista) or nominal compounds (e.g. taxi driver vs. tassista) in the formation of agent nouns. The present contrastive (corpus-based and dictionary-based) analyses confirm that -ista is more productive than -ist in terms of possible bases and varied meanings, which have entered the Italian lexicon and are available for the formation of neologisms.
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Martini, Magda. "Traducendo Brecht. Il carteggio tra Cesare Cases e Gabriele Mucchi (1985-1994)." L'ospite ingrato 15, no. I (July 18, 2024): 151–74. http://dx.doi.org/10.36253/oi-16364.
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The correspondence between Cesare Cases and the artist Gabriele Mucchi bears witness to a genuine confrontation on several fronts between two great 20th century Italian intellectuals. The occasion for the epistolary exchange, in the mid-1980s, was a close collaboration for the publication of a collection of Brecht’s poems chosen and translated by Mucchi, for which Cases wrote the preface. But the confrontation on topics such as metrics, poetics and politics laid the foundations for a sincere mutual esteem and the birth of an ironic friendship. Although in their differing moods, Cases and Mucchi at last found themselves commenting on the fall of the Berlin Wall and the transformations this brought about in the German Democratic Republic and in the Italian political and intellectual scene.
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Giomi, Francesco. "The Work of Italian Artist Pietro Grossi: From Early Electronic Music to Computer Art." Leonardo 28, no. 1 (1995): 35. http://dx.doi.org/10.2307/1576152.
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Galletti, Sara. "David Young Kim. The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style." American Historical Review 122, no. 4 (October 1, 2017): 1321. http://dx.doi.org/10.1093/ahr/122.4.1321.
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Bellacosa, Juliette. "Where art and cinema converge: An interview with Massimiliano Siccardi." Journal of Italian Cinema & Media Studies 11, no. 1 (January 1, 2023): 173–84. http://dx.doi.org/10.1386/jicms_00166_7.
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In the course of a one-hour interview that took place in July 2021, Italian multimedia artist Massimiliano Siccardi, the creative mind behind the 2021 Immersive Van Gogh exhibit, discusses the ideas behind the exhibit as well as his vision for the future of immersive art. The former dancer and choreographer explores the possibilities for immersive techniques to revolutionize the concept of spectatorship as a collaboration between artist and viewer. The driving force behind Siccardi’s work is a commitment to the notion that art needs to be experienced, though the nature of that experience remains highly subjective. His work at Carrières de Lumières, and in 2021 with Lighthouse Immersive, exploit the merger of sound and image to create innovative immersive experiences that are intended to inspire the viewer’s appreciation and heighten interest in the works of art at the heart of the exhibit.
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BOCHKAREVA, NINA, and VALENTINA VISHNEVSKAYA. "CORREGGIO'S SKETCH IN HENRY JAMES' NOVEL «THE PORTRAIT OF A LADY»: FUNCTIONS OF AN INTERMEDIAL REFERENCE." Культурный код, no. 2021-2 (2021): 16–21. http://dx.doi.org/10.36945/2658-3852-2021-2-16-21.
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The article is devoted to the analysis of an intermediate reference to the sketch of the Italian artist of the XVI century Correggio in the 24th chapter of the novel "Portrait of a Woman" by the American writer Henry James. The influence of an intermediate reference on the disclosure of the image of Gilbert Osmond is investigated, which allows the reader to learn his additional characteristics and form a holistic idea of this character of the novel.
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BALBUZA, Katarzyna. "TRAVIS DURDEN, MYTHS AND IDOLS. GWIEZDNE WOJNY W ARTYSTYCZNYM ENTOURAGE’U." Historia@Teoria 1, no. 7 (June 27, 2019): 19–35. http://dx.doi.org/10.14746/ht.2018.7.1.02.
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The project Myths and Idols, by the French photographer Travis Durden, came into being in 2015 by means of digital technology. The artist processed photos of nine selected modern sculptures, mostly related to ancient matters, in order to provide them with the attributes or heads belonging to the heroes of the famous Star Wars saga. The sculptures chosen by Durden for his project had been created by European artists (French sculptors and one Italian master) and they are exclusively of an early modern provenance (arising from the Renaissance, Classicism, and Neoclassicism). Not a single work of ancient art is included. However, the classical (ancient) art itself became an object of the Parisian sculptor’s interest in terms of taking early modern art into account as the artists of the latter patterned themselves on ancient samples and picked up ancient subject matters. Likewise, Star Wars in turn constitutes a product of the American pop- culture frequently referring to motifs which had originated in ancient culture. The article discusses all nine photo collages and the whole project is being interpreted. Myths and Idols offers an example of the double reception of ancient culture – the early modern and contemporary ones.
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Akhmylovskaya, Larisa Alekseevna. "Portrait of an artist in the context of the era: Saeki Yuzo." Pan-Art 3, no. 4 (December 4, 2023): 245–55. http://dx.doi.org/10.30853/pa20230040.
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The study aims to recreate the portrait of the Japanese artist Saeki Yuzo (1898-1928), a representative of the “yoga” movement, in the context of his contemporary era. The author addresses the transformation of the Japanese art community of the Meiji and Taisho eras, identifies the peculiarities of formation of the “yoga” and “nihonga” painting trends in Japanese art, considers the main periods of Saeki Yuzo’s life and creative work (the first Paris period, the creation of Italian watercolors, return to Japan, the second Paris period). The paper is novel in that it is the first to determine how the traditions of the East and the West are interpreted in the works of the artist. As a result, the author substantiates the thesis that Saeki Yuzo was a follower in the context of European art and an innovator at home; the artist’s contribution marked a new stage in Japanese modernism – the transition from impressionism to Fauvist expressionism.
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Bizzotto, Elisa. "Decadent Culturemes. Translating Bernard Shaw’s Widowers’ Houses into Italian." LEA - Lingue e Letterature d'Oriente e d'Occidente 6 (April 18, 2024): 47–59. http://dx.doi.org/10.36253/lea-1824-484x-15113.
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This article discusses my recent Italian translation (2022) of George Bernard Shaw’s first play, Widowers’ Houses (1892), mainly by considering the concept of the cultureme. Culturemes, which are semantic units that exemplify and serve as paradigms of certain cultures, have been employed in translation studies in recent years to see how, and even if, culture-specific concepts can be translated. Culturemes are here seen in the light of the transculturality of decadent poetics, and hence interpreted as possible facilitators in the translation into Italian of Widowers’ Houses, a play written in the decadent period, and developing many features of decadent poetics, whose author utilised key transcultural concepts of the period. Viewing Shaw’s text from the perspective of such decadent culturemes as the slums, Cockney English and other decadent sociolects, and the decadent hero, together with the New Woman, not only substantiate the idea of Shaw as a decadent artist, but also suggest possible translation practices and processes for decadent literature.
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Voytekunas, V. A. "Early Italian Art in the Works of Nicholas Roerich (1900s‐1910s)." Art & Culture Studies, no. 3 (October 2021): 148–81. http://dx.doi.org/10.51678/2226-0072-2021-3-148-181.
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In the works created by Nicholas Roerich in the 1900s –1910s various cultural influences were synthesized. These were conditioned by the consistent pattern of the development of Russian art as well as by the individual preferences of the artist. The artistic heritage of old Italy became one of the strongest influences on Roerich and was interpreted by him in a particular way. The article examines the factors that determined Roerich’s interest in Italian art of the Middle Ages and the Early Re-r naissance and analyzes the experience of his trips to Italy in 1901 and 1906. The study of the style and methods of old masters significantly enriched Roerich’s means of expression and helped to establish his mature style.
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Mitrofanova, Natalia Yu. "Textile Painting by Cesare Tacchi." Vestnik of Saint Petersburg University. Arts 13, no. 2 (2023): 313–25. http://dx.doi.org/10.21638/spbu15.2023.206.
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The work of the Italian artists of the Piazza del Popolo School is a unique period in the history of art of the 20th century. The activities of this association marked the birth of the Italian version of pop art. Despite the fact that the American and Italian pop movements existed in parallel and had similar external features, they were significantly different. These differences can be traced in the creativity of the members of the association. Cesare Tacchi was a member of this union. The path of this master represents an individual trajectory of artistic and conceptual development. One of the creative stages of Cesare Tacchi falls into the mid-sixties of the twentieth century. Experimental and innovative paintings of this time were created using industrially produced fabrics. Large-scale textile collages, in addition to being painted with enamel, pastels and felt-tip pens, also acquired a relief texture due to the furniture filler. Cesare Tacchi used a pick with nails or metal staples in accordance with the logic of the created image. That is why the artist ironically called himself “upholstery”, and called his textile collages “upholstery”. In them, we find images of artist’s friends, his own self-portraits or images made on the basis of photographs. The pattern, texture of the fabric and the softness of the emerging relief, together with the conceptual nature of the creative technique, made a great impression on the viewer and gave rise to new associations. Textiles simultaneously demonstrated the consumer culture of that time, turned from a subordinate material into a means of artistic expression, became an object of art and contributed to the emergence of a stream of new associative links, far from the consumer idea.
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Drutchas, Geoffrey G. "Artist on Loan: Tommaso Juglaris and the Italian Immigrant Experience in America’s Late Gilded Age." Italian American Review 1, no. 1 (January 1, 2011): 52–89. http://dx.doi.org/10.5406/italamerrevi.1.1.0052.
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