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Books on the topic 'Narrative art, Italian Australia'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Prinz, Wolfram. Die Storia oder die Kunst des Erzählens in der italienischen Malerei und Plastik des späten Mittelalters und der Frührenaissance, 1260-1460. Mainz: P. von Zabern, 2000.

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2

Peruta, Franco Della. Risorgimento: Mito e realtà. Milano: Electa, 1992.

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3

Story and space in Renaissance art: The rebirth of continuous narrative. Cambridge [England]: Cambridge University Press, 1995.

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4

Le immagini e il tempo: Narrazione visiva, storia e allegoria tra Cinquecento e Seicento. Pisa: Edizioni della Normale, 2007.

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5

Giovanna, Capitelli, and Mazzarelli Carla, eds. La pittura di storia in Italia: 1785-1870, ricerche, quesiti, proposte. Cinisello Balsamo (Milano): Silvana, 2008.

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6

Gargiulo, Domenico. Micco Spadaro: Napoli ai tempi di Masaniello. [Naples]: Electa Napoli, 2002.

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7

Figura e racconto: Narrazione letteraria e narrazione figurativa in Italia dall'antichità al primo Rinascimento. Firenze: SISMEL edizioni del Galluzzo, 2009.

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8

Venetian narrative painting in the age of Carpaccio. New Haven: Yale University Press, 1988.

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9

Brown, Patricia Fortini. Venetian narrative painting in the age of Carpaccio. New Haven, Conn: Yale U.P., 1990.

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10

Approaching sacred pregnancy: The cult of the Visitation and narrative altarpieces in late fifteenth-century Florence. Helsinki: Suomalaisen Kirjallisuuden Seura, 2007.

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11

Torti, Luigia. L' umanizzazione del divino e l'ideale civico nei cicli narrativi della Venezia quattrocentesca. Pavia: L. Torti, 1996.

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12

Torti, Luigia. L'umanizzazione del divino e l'ideale civico nei cicli narrativi della Venezia quattrocentesca. [Italy?]: s.n., 1996.

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13

Netherlands), Mauritshuis (Hague, ed. Intimacies & intrigues: History painting in the Mauritshuis. Hague: Mauritshuis, 1993.

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14

Quirinale, Scuderie Papali al, ed. 1861: I pittori del Risorgimento. Milano: Skira, 2010.

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15

Derbes, Anne. Picturing the passion in late Medieval Italy: Narrative painting, Franciscan ideologies, and the Levant. Cambridge: Cambridge University Press, 1996.

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16

Susan, Danly, ed. Telling tales: Nineteenth-century narrative painting from the collection of the Pennsylvania Academy of the Fine Arts. New York: American Federation of Arts, 1991.

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17

Fernando, Mazzocca, Marelli Isabella, Bandera Bistoletti Sandrina, and Pinacoteca di Brera, eds. Hayez nella Milano di Manzoni e Verdi. Milano: Skira, 2011.

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18

Art Gallery of South Australia, ed. A beautiful line: Italian prints from Mantegna to Piranesi. Adelaide, S. Aust: Art Gallery of South Australia, 2010.

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19

Cerutti, Lino. Miracoli in cornice: Grazie e disgrazie negli ex voto : dal Boden a Boca. Novara: Interlinea, 1999.

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20

The place of narrative: Mural decoration in Italian churches, 431-1600. Chicago: University of Chicago Press, 1990.

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21

Pierce, Glenn Palen. Manzoni and the aesthetics of the Lombard Seicento: Art assimilated into the narrative of I promessi sposi. Lewisburg [Pa.]: Bucknell University Press, 1998.

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22

Broos, Ben. Intimacies & intrigues: History painting in the Mauritshuis. The Hague: Martial & Snoeck, 1993.

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23

Museo del Risorgimento (Milan, Italy), ed. Cronaca di una rivoluzione: Immagini e luoghi delle cinque giornate di Milano. Cinisello Balsamo, Milano: Silvana, 2011.

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24

Rinaldi, Stefania Mason. Carpaccio: The major pictorial cycles. Milan: Skira Editore, 2000.

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25

Bossoli, Carlo. Carlo Bossoli: Cronache pittoriche del Risorgimento (1859-1861) nella collezione di Eugenio di Savoia, Principe di Carignano. Torino: Artema, 1998.

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26

civici, Piacenza (Italy) Musei. Il Palazzo Farnese a Piacenza: La Pinacoteca e i Fasti. Milano: Skira, 1997.

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27

Italian Renaissance Altarpiece: Between Icon and Narrative. Yale University Press, 2021.

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28

R, Marshall David, ed. The Italians in Australia: Studies in Renaissance and Baroque art. Firenze: Centro Di, 2004.

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29

Andrews, Lew. Story and Space in Renaissance Art: The Rebirth of Continuous Narrative. Cambridge University Press, 1998.

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30

Micco Spadaro: Napoli AI Tempi Di Masaniello. Elemond-Electa, 2002.

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31

Pierluigi, De Vecchi, and Vergani Graziano Alfredo, eds. La raffigurazione della storia nella pittura italiana. [Cinisello Balsamo (Milano)]: Silvana, 2004.

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32

artist, Carpaccio Vittore 1455?-1525?, ed. Ciao, Carpaccio!: An infatuation. Liveright, 2014.

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33

Derbes, Anne. Picturing the Passion in Late Medieval Italy: Narrative Painting, Franciscan Ideologies, and the Levant. Cambridge University Press, 1998.

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34

Lavin, Marilyn Aronberg. Place of narrative: Mural decoration in Italian churches, 431-1600. University of Chicago Press, 1994.

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35

Lavin, Marilyn Aronberg. The Place of Narrative: Mural Decoration in Italian Churches, 431-1600. University Of Chicago Press, 1995.

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36

Intimacies & Intrigues: History Painting in the Mauritshuis. Univ of Washington Pr, 1995.

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37

Giuliano, Matteucci, Induno Gerolamo 1827-1890, Induno Domenico 1815-1878, and Fondazione Cassa di risparmio di Tortona., eds. Domenico e Gerolamo Induno: La storia e la cronaca scritte con il pennello. Tortona: Fondazione Cassa di risparmio di Tortona, 2006.

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38

Aurora, Scotti Tosini, ed. Induno, Fattori, Nomellini, Viani: Pittura di storia nella Galleria d'arte moderna di Novara. Cinisello Balsamo (Milano): Silvana, 2005.

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39

White Vanishing Rethinking Australias Lostinthebush Myth. Editions Rodopi B.V., 2012.

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40

Shaikh, Fariha. Nineteenth-Century Settler Emigration in British Literature and Art. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474433693.001.0001.

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Nineteenth-Century Settler Emigration in British Literature and Art takes an interdisciplinary approach, combining literary criticism, art history, and cultural geography, to argue that the demographic shift in the nineteenth century to settler colonies in Canada, Australia and New Zealand was also a textual one: a vast literature supported and underpinned this movement of people. Through its five chapters, Nineteenth-Century Settler Emigration brings printed emigrants’ letters, manuscript shipboard newspapers, and settler fiction into conversation with narrative painting and novels to explore the generic features of emigration literature: textual mobility, a sense of place and colonial home-making. Authors and artists discussed in this book include, among others, Ford Madox Brown, James Collinson, Charles Dickens, Elizabeth Gaskell, Susannah Moodie, Catherine Helen Spence, Catharine Parr Traill and Thomas Webster. The book’s careful analysis of the aesthetics of emigration literature demonstrates the close relationships between textual and demographic mobilities, textual materiality and realism, and the spatial imagination.

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41

Curkpatrick, Samuel. Voices on the wind. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0007.

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The musical project Crossing Roper Bar (CRB) is based on a collaboration between Wägilak songmen from Australia’s Northern Territory and the Australian Art Orchestra (AAO). Individuals drawn into this collaboration bring their distinct voices and histories to performance, while opening themselves to those of others. A new, malleable approach to orchestral performance in Australia is the result of this collaboration, which places improvisation at the centre of conversational musical interaction. This chapter introduces orthodox narrative elements of Wägilak manikay (song) that are creatively renewed and sustained in CRB. It highlights how the collaboration demonstrates the compelling play of musical performance that can generate nuanced, respectful and ongoing interactions between individuals, and between individuals and traditions. Amidst the vibrant, cultural diversity of contemporary Australian society, CRB suggests new possibilities for productive and relevant orchestral music-making.

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42

Hecker, Sharon. Introduction. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520294486.003.0001.

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This introductory chapter discusses how nineteenth-century art, defined by the birth of the nation-state and nationalism, is teeming with transnational forms of circulation. Italian sculptor Medardo Rosso took advantage of new international networks being created by so-called “cultural mediators” (middlemen—art dealers, critics and literary figures—who regularly traveled abroad), including exhibition opportunities and art markets throughout Europe. In doing so, he presaged the nomadic, itinerant status of twentieth- and twenty-first-century sculpture. The chapter offers a methodological challenge to the grand narrative of the nineteenth century by reframing a single artist within a cultural context characterized by transnational exchange and new forms of mobility. It provides an original, transnational way to comprehend Rosso and is intended as a model for future studies of pan-European modern art.

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43

Hawthorne, Nathaniel. The Marble Faun. Edited by Susan Manning. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199554072.001.0001.

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Any narrative of human action and adventure – whether we call it history or Romance – is certain to be a fragile handiwork, more easily rent than mended.’ The fragility – and the durability – of human life and art dominate this story of American expatriates in Italy in the mid-nineteenth century. Befriended by Donatello, a young Italian with the classical grace of the ‘Marble Faun’, Miriam, Hilda, and Kenyon find their pursuit of art taking a sinister turn as Miriam's unhappy past precipitates the present into tragedy. Hawthorne's ‘International Novel’ dramatizes the confrontation of the Old World and the New and the uncertain relationship between the ‘authentic’ and the ‘fake’, in life as in art. The author's evocative descriptions of classic sites made The Marble Faun a favourite guidebook to Rome for Victorian tourists, but this richly ambiguous symbolic romance is also the story of a murder, and a parable of the Fall of Man. As the characters find their civilized existence disrupted by the awful consequences of impulse, Hawthorne leads his readers to question the value of Art and Culture and addresses the great evolutionary debate which was beginning to shake Victorian society.

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