Relevant bibliographies by topics / Loggia di Galatea (Villa della Farnesina)

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Academic literature on the topic 'Loggia di Galatea (Villa della Farnesina)'

Author: Grafiati
Published: 29 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Loggia di Galatea (Villa della Farnesina)"

1

Dekker, Elly. "The Astronomical Framework Underlying the Sala di Galatea." Nuncius 33, no. 3 (November 26, 2018): 537–61. http://dx.doi.org/10.1163/18253911-03303006.

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Abstract This paper examines the much-debated ceiling painting by Baldassare Peruzzi on the vault of the loggia in Agostino Chigi’s Villa Farnesina. To date, most studies have examined the ceiling painting from a largely astrological and mythological point of view. Here an astronomically coherent model is proposed that helps to clarify the structure and several of the individual features of the painting.
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Barbieri, Costanza. "Venezia a Roma: “la maniera disforme” di Sebastiano nella Loggia della Galatea." Studiolo 12, no. 1 (2015): 184–213. http://dx.doi.org/10.3406/studi.2015.1004.

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Venise à Rome : «la manière difforme» de Sebastiano dans la Loggia Galatea. Le style des fresques de Sebastiano del Piombo dans la Loggia Galatea à la Farnesina a été étiqueté par Giorgio Vasari comme «difforme» par rapport aux artistes actifs à Rome au même moment et dans la même Loggia, c'est-à-dire Peruzzi et Raphaël. Outre certaines innovations iconographiques, l’analyse de ces fresques inclut également une discussion critique de cette «diversité» en partant des prémisses vénitiennes et au travers d’exemples illustres de la décoration sur la façade des palais de la Serenissima, du Fondaco dei Tedeschi de Giorgione, jusqu’au Palais Talenti d’Anna de Giovanni Antonio Pordenone, tous deux perdus aujourd’hui, mais très admirés pour les couleurs vives et le pathos de l’expression. Les mêmes qualités qui furent célébrées par Sebastiano da Blosio Palladio dans les petit poème Suburbanum Augustini Chisii déjà en 1512.
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3

Casanovas, Juan. "An astronomical interpretation of the frescoes in the Sala di Galatea in the Villa Farnesina, Rome." Vistas in Astronomy 28 (January 1985): 407. http://dx.doi.org/10.1016/0083-6656(85)90059-5.

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4

Lippincott, Kristen. "Two Astrological Ceilings Reconsidered: The Sala di Galatea in the Villa Farnesina and the Sala del Mappamondo at Caprarola." Journal of the Warburg and Courtauld Institutes 53 (1990): 185. http://dx.doi.org/10.2307/751346.

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5

Urban, Emily. "Depicting the Heavens: The Use of Astrology in the Frescoes of Renaissance Rome." Culture and Cosmos 16, no. 1 and 2 (October 2012): 319–30. http://dx.doi.org/10.46472/cc.01216.0251.

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This paper explores the use of astrological imagery in four ceiling frescoes painted during the Renaissance in Rome: the scenes of the Sala di Galatea in the Villa Farnesina, and those of the Stanza della Segnatura, the Sala dei Pontefici, and the Sala Bologna, all within the Vatican Palace. Significantly this imagery was not confined to the pages of private manuscripts as it had been in the Middle Ages, but took the form of frescoes on the walls and ceilings of public rooms, allowing viewers to bask in the celestial glory of the patron. Commissioned in 1575 by Pope Gregory XIII, I argue that the Sala Bologna imagery represents a critical juncture in attitudes toward natural philosophy, and demonstrates a shift from astrological interpretation, as condemned at the Council of Trent, to astronomical calculation, as promoted by the Catholic Church. I argue that the placement of these murals demonstrates that this type of pictorial aggrandizement was intended to reach a wide audience and was used by the patron, popes being the most prominent among these, as a form of visual self-promotion. I also examine how contemporaneous events - notably the Protestant Reformation and the Council of Trent - affected astrological practice and the monumental display of these horoscopes. Astrological imagery is not limited to Rome, but the four examples I discuss represent the peak of such decoration and offer insight into a widespread feature of early modern Italian culture that has yet to be adequately explored.
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Kwon, Minji. "A Study of the Sala di Galatea at Villa Farnesina in Rome: Ideals and Ambitions of the House of Chigi as Contained in Ceiling Paintings." Art History 39 (February 29, 2020): 27–52. http://dx.doi.org/10.14769/jkaahe.2020.02.39.27.

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7

Wedekin, Luana Maribele. ""Stanza del Fregio" da Villa Farnesina: cortejo privilegiado de fórmulas de "pathos" e fonte substancial da prancha 40 do "Atlas Mnemosyne"." ARJ – Art Research Journal: Revista de Pesquisa em Artes 9, no. 1 (July 28, 2022). http://dx.doi.org/10.36025/arj.v9i1.29661.

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Apresentado sob a temática do Atlas Mnemosyne no Simposio Internacional Warburg de 2019 em Buenos Aires, este artigo obedece a premissa metodológica do contato direto com os monumentos para analisar a Stanza del Fregio (Sala do Friso), da Villa Farnesina em Roma. A edificação foi objeto de estudo de Aby Warburg principalmente por conta dos afrescos de conteúdo astrológico realizados por Baldassare Peruzzi na Loggia di Galatea, mas o foco deste trabalho está nos frisos realizados pelo artista baseados principalmente nas Metamorfoses de Ovídio, fonte substancial da prancha 40 do Atlas. Procura-se demonstrar que a Stanza del Fregio apresenta um inventário completo das Pathosformeln warburguianas, configuradas em uma montagem singular que sintetiza visualmente este conceito em seu aspecto apolíneo e dionisíaco, e cujos temas são retomados em singular lógica de repetição e transformação em outras pranchas do Atlas.
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8

Myers, James R., Alice K. Formiga, and Jules Janick. "Iconography of Beans and Related Legumes Following the Columbian Exchange." Frontiers in Plant Science 13 (March 14, 2022). http://dx.doi.org/10.3389/fpls.2022.851029.

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Common bean (Phaseolus vulgaris L.), maize, and squash were described by explorers as early as 1492. The illustration of common bean recognized as the first in Europe is in Fuchs’ Di Historias Stirpium, published in 1542 and a half-century after beans were observed in the Caribbean. Besides herbals and herbarium specimens, the sources of information on the introduction of New World crops are paintings and illustrations. Two early sources of images of maize and squash are the Grandes Heures d’Anne de Bretagne and the Loggia di Amore e Psiche in the Villa Farnesina, Rome. The former was illustrated between 1507 and 1508 and has an image identified as the common bean. The Villa Farnesina Loggia was decorated in 1515–1518, with festoons containing three instances of bean pods. Our first objective was to evaluate these images to determine whether they represented depictions of common bean earlier than the illustration by Fuchs. Neither image appears to be a common bean based on a combination of botanical characters and size. Folio 194 of the Grandes Heures d’Anne de Bretagne is most likely a Vigna species in the Ceratotropis subgenus. In the Loggia, one set of pods appears to be a species in the Mimosoideae subfamily and the second and third sets of pods most closely resemble Canavalia gladiata. Neither image likely represents common beans and are probably Old-World species. Secondly, illustrations of common beans from ten early herbals were analyzed for traits that are characteristic of the centers of domestication and races of common beans. Our objective was to characterize the diversity observed among herbals and determine whether beans from both centers of domestication were present. We potentially identified both Middle American, race Mesoamerica and Andean, race Nueva Granada types. We posit that both Middle American and Andean types were in the Caribbean at the time of the Columbian exchange and that beans from both centers were informally introduced into Europe early on. This review of 16th-century manuscripts and illustrations has provided some answers to the questions of what and when common beans reached Europe and provide new hypotheses for researchers studying the origins, diversity, and distribution of this crop.
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9

Nicola, Marco, Roberto Gobetto, Alessandro Bazzacco, Chiara Anselmi, Enrico Ferraris, Alfonsina Russo, Admir Masic, and Antonio Sgamellotti. "Real-time identification and visualization of Egyptian blue using modified night vision goggles." Rendiconti Lincei. Scienze Fisiche e Naturali, April 22, 2024. http://dx.doi.org/10.1007/s12210-024-01245-w.

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AbstractThe possibility to use light in the visible spectrum to induce near-infrared luminescence in some materials, particularly Egyptian blue and related pigments, offers a significant advantage in terms of their detection. Since 2008, this property has been exploited to reveal the presence of those pigments even in tiny amounts on ancient and decayed surfaces, using a technical-photography method. This paper presents a new type of imaging device that enables real-time, easy, and inexpensive identification and mapping of Egyptian blue and related materials. The potential of the new tool is demonstrated by its effectiveness in detecting Egyptian blue within some prestigious sites: (a) Egyptian findings at Museo Egizio, Turin; (b) underground Roman frescoes at Domus Aurea, Rome; and (c) Renaissance frescoes by Raphael, Triumph of Galatea and Loggia of Cupid and Psyche, at Villa Farnesina, Rome. The device is based on night vision technology and allows an unprecedented fast, versatile, and user-friendly approach. It is employable by professionals including archeologists, conservators, and conservation scientists, as well as by untrained individuals such as students or tourists at museums and sites. The overall aim is not to replace existing photographic techniques but to develop a tool that enables rapid preliminary recognition, useful for planning the work to be carried out with conventional methods. The ability to immediately track Egyptian blue and related pigments, through real-time vision, photos, and videos, also provides a new kind of immersive experience (Blue Vision) and can foster the modern use of these materials in innovative applications and future technologies.
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Books on the topic "Loggia di Galatea (Villa della Farnesina)"

1

Lapenta, Virginia, and Chiara Anselmi. Raffaello in Villa Farnesina: Galatea e Psiche, Roma | 6 ottobre 2020 | 6 gennaio 2021. Roma: Bardi edizioni, 2020.

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2

Caneva, Giulia. Il mondo di Cerere nella Loggia di Psiche: Villa La Farnesina, sede dell'Accademia nazionale dei Lincei. [Italy]: Tradint Service, 1992.

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3

Farnesina, Villa della, ed. Colours of prosperity: Fruits from the Old and New World : the Loggia of Cupid and Psyche, Raphael and Giovanni da Udine. Roma: Bardi edizioni, 2017.

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4

Raphael. La favola di Psiche: Disegnata da Raffaello Sanzio da Urbino : e intagliata a bulino, vivente Raffaello, dal "Maestro del dado" e da Agostino Veneziano e in seguito restaurata da Francesco Villamena. Roma: Peliti, 1996.

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5

Raffaello: La Loggia Di Amore E Psiche Alla Farnesina. Silvana, 2002.

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6

Raffaello nella Villa Farnesina: Vicende conservative e fortuna. Roma: De Luca editori d'arte, 2019.

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