Bibliografías temáticas / Granprincipe Ferdinando de' Medici

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Literatura académica sobre el tema "Granprincipe Ferdinando de' Medici"

Autor: Grafiati
Publicado: 10 de marzo de 2023

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Artículos de revistas sobre el tema "Granprincipe Ferdinando de' Medici"

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Michahelles, Kerrie-rue. "A bequest to Christine of Lorraine from Catherine de’ Medici". Journal of the History of Collections 30, n.º 3 (14 de noviembre de 2017): 373–83. http://dx.doi.org/10.1093/jhc/fhx047.

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Abstract The French royal family was living in exile at Blois when the Queen Mother of France, Catherine de’ Medici (b. 1519), dictated her will on the morning of her death, on 5 January 1589. She bequeathed to her granddaughter, Christine of Lorraine (1565–1637), one half of her movable possessions. This paper explores the nature and meanings embedded in the testamentary bequest and the corresponding inventory of the movable goods acquired by Christine through this gift and eventually brought to Florence on the occasion of her marriage in 1589 to Ferdinando de’ Medici, Grand Duke of Tuscany (1549–1609). A translation of the inventory is provided in an online appendix.
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Farneti, Fauzia. "Il quadraturismo in Pallazzo Pitti da Cosimo II a Cosimo III de' Medici". Varia Historia 24, n.º 40 (diciembre de 2008): 369–86. http://dx.doi.org/10.1590/s0104-87752008000200002.

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Nei primi decenni del Seicento la pittura decorativa a Firenze risulta ancora legata all'ornamentazione tradizionale tardomanierista attuata nei modi di Alessandro Allori o di Bernardino Barbatelli detto il Poccetti. L'interesse per le novità e per l'aggiornamento dell'ambiente artistico fiorentino portarono il granduca Ferdinando II a chiamare a Firenze tra il 1636 ed il 1637 Pietro da Cortona, Angelo Michele Colonna e Agostino Mitelli. I due bolognesi completarono il ciclo pittorico celebrativo del governo di Ferdinando cui aveva dato inizio Giovanni da San Giovanni, con la decorazione delle tre sale di rappresentanza del quartiere estivo di palazzo Pitti realizzata tra il 1637 ed il 1641. L'intervento, condotto secondo il più moderno linguaggio barocco che vede la perfetta integrazione dell'illusionismo architettonico, che supera i limiti dello spazio reale, con le scene figurative, verrà a costituire nell'ambiente fiorentino un ineludibile modello di riferimento nella decorazione d'interni, soluzioni di grande modernità su cui si formerà Jacopo Chiavistelli e i giovani della sua scuola. Anche Giovan Carlo, fratello del granduca, nel 1637 diede inizio ad una serie di trasformazioni che si protrassero per oltre un ventennio, trasformando gli ambienti a lui assegnati in Pitti in veri e propri luoghi di delizie, decorati dagli artisti più significativi del momento quali ad esempio Angelo Michele Colonna, Agostino Mitelli, Pietro da Cortona, Jacopo Chiavistelli. Fu quest'ultimo frescante che con i suoi 'scolari', fin dagli anni Cinquanta fu attivo in palazzo Pitti, decorando a quadratura gli ambienti dei quartieri dei membri della famiglia granducale, ambienti che in gran parte sono andati perduti in quanto interessati dalle ristrutturazioni lorenesi e sabaude. Con i lavori commissionati dal gran principe Ferdinando si chiude in palazzo Pitti la grande stagione del quadraturismo barocco fiorentino.
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Brown, Beverly Louise. "An Enthusiastic Amateur: Lorenzo de' Medici as Architect". Renaissance Quarterly 46, n.º 1 (1993): 1–22. http://dx.doi.org/10.2307/3039145.

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Ottavio Vannini's Fresco, Lorenzo the Magnificent as a Patron of the Arts (Fig. I), forms part of a cycle painted around 1623 in the Palazzo Pitti to celebrate the marriage of Ferdinando II and Vittoria della Rovere. Lorenzo is seen surrounded by artists who proffer the fruits of their creative endeavor. Among them we immediately recognize the young Michelangelo, who presents a marble copy of an antique fawn's head, made, Vasari tells us, at Lorenzo's urging, and to the extreme left Giuliano da Sangallo, who holds under his arm a drawing from the façade of the Medici villa, Poggio a Caiano. The implication of Vannini's fresco is beyond doubt. By evoking the history of the early Medici, the Grand Dukes hoped to establish a framework within which their own glory might shine all the more brilliantly.
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Karl, Barbara. "“Galanterie di cose rare…”: Filippo Sassetti's Indian Shopping List for the Medici Grand Duke Francesco and His Brother Cardinal Ferdinando". Itinerario 32, n.º 3 (noviembre de 2008): 23–41. http://dx.doi.org/10.1017/s0165115300002291.

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Between 1584 and 1588, the Florentine merchant Filippo Sassetti sent a whole sequence of letters from India to his friends and the grand ducal court in Florence. He informed his correspondents about local Indian plants, animals, the mechanisms of commercial exchange and Indian social structures and politics. Apart from publishing and editing letters, the scholarship so far has focused on linguistic, geographic, medical and ethnographical issues related to his letters. This article focuses on a set of rarely explored resources: the valuable objects sent with Sassetti's letters to the grand duke Francesco de Medici (1541–87) and his brother cardinal Ferdinando (1549–1609). The letters are exceptional, since they allow one to reconstruct the origins and itineraries of the items that Sassetti describes in detail. None of the objects survived in Florence but some of them are traceable to the Medici inventories of the sixteenth century.
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ZANIERI, STEFANIA. "UN GIOCO OTTICO DI LUDOVICO BUTI AL MUSEO DI STORIA DELLA SCIENZA DI FIRENZE". Nuncius 15, n.º 2 (2000): 665–70. http://dx.doi.org/10.1163/182539100x00083.

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Abstracttitle SUMMARY /title Records in the Medici archives report a payment for an optical game made by the painter Ludovico Buti in February 1593. The detailed description of the scientific tool corresponds exactly to the optical game from the Medicean collection that is currently conserved in the Museum of History of Science in Florence. This game was initially attributed to Jean Franois Niceron. This attribution is disproved by the fact that Buti's death took place two years before Niceron's birth. The tool allows one to see the Portraits of the Duke of Lorraine and his daughter Christine at the same time, thanks to a mirror and 37 prismatic bars where the two faces are painted. Ludovico Buti made the tool for Grand Duke Ferdinando I de' Medici, probably following the instructions provided by the cartographer and monk Egnazio Danti in his commentary on Vignola's work.
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Celati, Marta. "The conflict after the Pazzi conspiracy and Poliziano's ‘Coniurationis commentarium’: Literature, law and politics". Forum Italicum: A Journal of Italian Studies 53, n.º 2 (26 de febrero de 2019): 327–49. http://dx.doi.org/10.1177/0014585819831649.

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This article aims to analyse how and to what extent juridical and diplomatic issues influenced Angelo Poliziano's Coniurationis commentarium, the very famous literary account of the Pazzi conspiracy against the Medici brothers (1478). Written immediately after the plot, Poliziano's work is a sophisticated literary transposition of the historical events and is conceived as the cornerstone of the Medici propaganda, aimed at supporting the Florentine government against the accusations by the instigators of the attack, Pope Sixtus IV and the King of Naples, Ferdinando of Aragon. In particular, the juridical controversy between Florence and Rome, which is built on different legal texts and doctrinal documents, plays a not irrelevant role in the composition of Poliziano's work. The Commentarium indeed shows unspoken but direct correlations with the legal consilia commissioned by Lorenzo de' Medici from the most eminent Italian jurists, who formulated the Medici's official defence against the pope. Poliziano himself actively collaborated in the collection of these consilia and was influenced by diplomatic and legal issues also in the revision of his literary work two years after the composition, in 1480, in a changed political context.
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Harness, Kelley. "La Flora and the End of Female Rule in Tuscany". Journal of the American Musicological Society 51, n.º 3 (1998): 437–76. http://dx.doi.org/10.2307/832036.

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On 14 October 1628 the Medici court witnessed a performance of Marco da Gagliano's opera La Flora, a work whose ostensible purpose was to celebrate a marriage uniting Florence and Parma. This event occurred three months after Ferdinando II assumed the title of grand duke of Tuscany, ending a period of regency government that had begun in 1621, during which Ferdinando's mother and grandmother ruled Tuscany. An analysis of La Flora reveals that its allegorical themes extend beyond mere celebration of a wedding, and that the opera actually reenacts the transfer of power from female to male rule.
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Goethals, Jessica. "The Patronage Politics of Equestrian Ballet: Allegory, Allusion, and Satire in the Courts of Seventeenth-Century Italy and France". Renaissance Quarterly 70, n.º 4 (2017): 1397–448. http://dx.doi.org/10.1086/695350.

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AbstractEquestrian ballet was a spectacular genre of musical theater popular in the Baroque court. A phenomenon with military roots, the ballet communicated both the might and grace of its organizers, who often played starring roles. This essay explores the ballet’s centrality by tracing the itinerant opera singer and writer Margherita Costa’s use of the genre as a means of securing elite patronage: from an elegant manuscript libretto presented to Grand Duke Ferdinando II de’ Medici and later revised in print for Cardinal Jules Mazarin in Paris, to occasional poetry written for the Barberini in Rome, and even burlesque caricatures.
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Gaeta, Raffaele y Valentina Giuffra. "Disseminated cystic echinococcosis of Ferdinando II de’ Medici, Grand Duke of Tuscany (1610–1670)". Journal of Infection 79, n.º 5 (noviembre de 2019): 462–70. http://dx.doi.org/10.1016/j.jinf.2019.08.017.

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Cox, Virginia. "An Unknown Early Modern New World Epic: Girolamo Vecchietti’sDelle prodezze di Ferrante Cortese(1587–88)". Renaissance Quarterly 71, n.º 4 (2018): 1351–90. http://dx.doi.org/10.1086/700860.

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AbstractThis article discusses an unpublished vernacular Italian New World epic of the 1580s, which narrates the Spanish conquest of Mexico. The work was authored by the traveler, diplomat, and Orientalist Girolamo Vecchietti, and it is dedicated to Ferdinando I de’ Medici, grand duke of Tuscany. Vecchietti’s poem is striking as a rare epic in terza rima, and as the sole surviving early modern Italian epic to center on the deeds of Cortés, rather than Columbus or Vespucci. It is also intriguing for its ambivalent attitude toward the Spanish colonizing enterprise, portrayed initially as a heroic evangelizing mission, but later shown in a more compromised light.
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Tesis sobre el tema "Granprincipe Ferdinando de' Medici"

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Swanson, Barbara Dianne. "Speaking in Tones: Plainchant, Monody, and the Evocation of Antiquity in Early Modern Italy". Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1365170679.

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PAGNINI, CATERINA. "Gli Infuocati di Firenze: un'Accademia tra i Medici e i Lorena (1664-1748)". Doctoral thesis, 2007. http://hdl.handle.net/2158/1078788.

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Libros sobre el tema "Granprincipe Ferdinando de' Medici"

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Pittura nella Firenze di Ferdinando II de' Medici. Milano: M. Voena, 2003.

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2

Monica, Bietti, Giusti Anna Maria y Cappelle medicee (Florence Italy), eds. Ferdinando I de' Medici 1549-1609: Maiestate tantum. Livorno: Sillabe, 2009.

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Monica, Bietti, Giusti Anna Maria y Cappelle medicee (Florence Italy), eds. Ferdinando I de' Medici 1549-1609: Maiestate tantum. Livorno: Sillabe, 2009.

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Mina, Gregori, ed. Pittura nella Firenze di Ferdinando II de' Medici. Milano: M. Voena, 2003.

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5

Bertelà, Giovanna Gaeta. La Tribuna di Ferdinando I de' Medici: Inventari 1589-1631. Modena: Franco Cosimo Panini, 1997.

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Zucchini, Elisa. Giuseppe Maria Crespi e il Gran Principe Ferdinando de' Medici. Firenze: Firenze University Press, 2021.

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Uffizi, Galleria degli, ed. Il gran principe Ferdinando de' Medici (1663-1713): Collezionista e mecenate. Firenze: Giunti, 2013.

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8

Brook, Anthea. Pietro Tacca a Livorno: Il monumento a Ferdinando I de' Medici. Livorno: Comune di Livorno, 2008.

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9

Pasqui, Teresa. Libro di conti della commedia: La sartoria teatrale di Ferdinando I de' Medici nel 1589. Firenze: Nicomp, 2010.

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1577-1640, Tacca Pietro, ed. Pietro Tacca, Hofbildhauer der Medici (1577-1640): Politische Funktion und Ikonographie des frühabsolutistischen Herrscherdenkmals unter den Grossherzögen Ferdinando I., Cosimo II. und Ferdinando II. Weimar: VDG, Verlag und Datenbank für Geisteswissenschaften, 2005.

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Capítulos de libros sobre el tema "Granprincipe Ferdinando de' Medici"

1

Bajetta, Carlo M. "Letter 22 To Ferdinando de’ Medici, Grand Duke of Tuscany". En Elizabeth I's Italian Letters, 189–95. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-43553-8_22.

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Bajetta, Carlo M. "Letter 24 To Ferdinando de’ Medici, Grand Duke of Tuscany". En Elizabeth I's Italian Letters, 209–17. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-43553-8_24.

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Bajetta, Carlo M. "Letter 25 To Ferdinando de’ Medici, Grand Duke of Tuscany". En Elizabeth I's Italian Letters, 219–22. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-43553-8_25.

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Bajetta, Carlo M. "Letter 26 To Ferdinando de’ Medici, Grand Duke of Tuscany". En Elizabeth I's Italian Letters, 223–27. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-43553-8_26.

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Bajetta, Carlo M. "Letter 27 To Ferdinando de’ Medici, Grand Duke of Tuscany". En Elizabeth I's Italian Letters, 229–35. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-43553-8_27.

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Brovadan, Carlotta Paola. "La «gita di Fiandra»: globi, libri e carte geografiche per Ferdinando II de’ Medici nella corrispondenza diplomatica di Giovan Battista Gondi". En Studi e saggi, 69–95. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.06.

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In the summer of 1634 the grand-ducal ambassador resident in France Giovan Battista Gondi made an undercover journey to Spanish Netherlands to meet Maria de’ Medici and tried to persuade her to leave the Habsburg territories for Florence. Despite the failure of the negotiations, a series of unpublished letters exchanged between Gondi and the first secretary of the Grand Duchy Andrea Cioli will serve as an opportunity to analyze which cultural and artistic affairs involved the Tuscan agent alongside the political events he primarily dealt with. In his letters Gondi described different artefacts that could have been acquired for the Medici collection, and publications that could have contributed to the reputation of the Grand Duke or, on the contrary, jeopardized it.
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Sorce, Francesco. "‘Macometto in Una Nugola Nera’ (Muhammad in a Black Cloud). The Imaginary War of Giovanni da San Giovanni (and Ferdinando II de’ Medici) at Palazzo Pitti". En Images in the Borderlands, 259–77. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.memew-eb.5.130609.

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"Ferdinando de’ Medici and the Typographia Medicea". En Print and Power in Early Modern Europe (1500–1800), 220–38. BRILL, 2021. http://dx.doi.org/10.1163/9789004448896_012.

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Guarini, Elena Fasano. "‘Rome, workshop of all the practices of the world’: from the letters of Cardinal Ferdinando de' Medici to Cosimo I and Francesco I". En Court and Politics in Papal Rome, 1492–1700, 53–77. Cambridge University Press, 2002. http://dx.doi.org/10.1017/cbo9780511496929.004.

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