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Kim, Grace. "Cigarettes, Saliva, Art: Laboratory Expertise in Florence, Italy". Journal of Modern Craft 11, n.º 1 (2 de janeiro de 2018): 55–66. http://dx.doi.org/10.1080/17496772.2018.1440811.
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Burlakova, I. I. "Dostoevsky’s Italy". Язык и текст 6, n.º 2 (2019): 10–16. http://dx.doi.org/10.17759/langt.2019060202.
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The theme “Dostoevsky and Italy” is extensive and diverse due to the fact that a number of researchers constantly turn to it, opening new pages in the life of the great writer. It includes the following areas of research: Dostoevsky's journey through Italy, the images of Italy in the pages of Dostoevsky's works, the reception of the writer's creativity in journalism, cinema and art, the problems of translating Dostoevsky's works into Italian. A special appeal to this topic shows that these four areas of research are connected in the works of Dostoevsky with such Italian cities as Rome, Florence and Naples. This determines the problematic of this article. The author assumes that there is a special integrity in all the disparate impressions and plots of Dostoevsky connected with Rome, Naples, and Florence. Dostoevsky's great novels are born in Rome against the backdrop of the great creations of Italian architecture. Naples is a city of dreams, a city where “noise, thunder, life” is intertwined with Dostoevsky’s fatal love, with truly Italian passions that defined the love story of the writer and Apollinaria Suslova. Florence is a city of quiet family happiness and comfort, which the writer needed so much during his creative dawn.
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Musatova, Tatyana. "Nicholas I in Florence (1845). The Artistic Aspect of the Visit". Stephanos Peer reviewed multilanguage scientific journal 53, n.º 3 (31 de maio de 2022): 64–86. http://dx.doi.org/10.24249/2309-9917-2022-53-3-64-86.
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The article analyzes the previously insufficiently researched art program of Nicholas I in Florence. That is – the study of the museum fund of Italian and European paintings, orders of art copies within the framework of the general state policy of copying similar to the policy of France and Italy, replenishment of the museum fund of St. Petersburg and Russia. Based on documents kept in domestic and foreign archives, modern literature of art historians in Russia and Italy, the author draws attention to the “pitfalls” of the classical art market in Italy, which the Russian monarch faced. His artistic preferences are also analyzed; his contribution to the formation of the museum fund of St. Petersburg and Russia is assessed. The features of the “Russian approach” to copying are revealed, which acquire relevance and practical significance during the pandemic crisis and modern technologies.
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Mieli, Anna, e Margaret D’Ambrosio. "IRIS: Consortium of Art History and Humanities Libraries in Florence". Art Libraries Journal 30, n.º 4 (2005): 26–31. http://dx.doi.org/10.1017/s0307472200014218.
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Florence in Italy, a renowned centre for art and culture, has been called a ‘living museum’ of the Italian Renaissance. Today it is also the site of a co-operative international project bringing the world’s scholarly community access to the bibliographic patrimonies of a group of special art and humanities libraries. The IRIS consortium is a unique resource for art historians, but it is also of value and use for anyone interested in the many aspects of this rich artistic period.
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Etro, Federico. "The Economics of Renaissance Art". Journal of Economic History 78, n.º 2 (junho de 2018): 500–538. http://dx.doi.org/10.1017/s0022050718000244.
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I analyzed the market of paintings in Florence and Italy (1285–1550). Hedonic regressions on real prices allowed me to advance evidence that the market was competitive and that an important determinant of artistic innovation was driven by economic incentives. Price differentials reflected quality differentials between painters as perceived at the time (whose proxy is the length of the biography of Vasari) and did not depend on regional destinations, as expected under monopolistic competition with free entry. An inverse-U relation between prices and age of execution is consistent with reputational theories of artistic effort, and prices increased since the 1420s.
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Alexander, David. "Newspaper Reporting of the May 1993 Florence Bomb". International Journal of Mass Emergencies & Disasters 13, n.º 1 (março de 1995): 45–65. http://dx.doi.org/10.1177/028072709501300104.
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On 27 May 1993 a powerful bomb exploded in the center of Florence, Italy, killing five people and doing severe damage to art and architectural treasures, including the Uffizi Gallery and Accademia dei Georgofili. It was the first disaster since the floods of 1966 simultaneously to cause victims and damage the city's cultural heritage. In this study local and international newspaper coverage of the bomb outrage is analyzed and compared with reporting on the 1966 floods. Once again, questions of artistic damage and the safety of tourists occupied the foreign papers while human interest stories dominated the Florentine ones indeed, the English and American newspapers treated the damaged art treasures were almost as if they were human casualties. But since 1966 (and the collapse of the Eastern Bloc) Western news reporting has become depoliticized and dominated by new contexts, such as the pre-eminence of commercialism and, in the case of Italy, the struggle against the mafia. It is concluded that the nature and extent of newspaper coverage of the bomb outrage was determined, not by objective or moral assessments of newsworthiness, but by a mixture of ad hoc considerations and snap assessments of what the readership wanted to learn about.
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Hoysted, Elaine. "The art of death and childbirth in Renaissance Italy". Boolean: Snapshots of Doctoral Research at University College Cork, n.º 2011 (1 de janeiro de 2011): 93–98. http://dx.doi.org/10.33178/boolean.2011.21.
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Pregnancy was a dangerous event in the life of a fifteenth-century Florentine patrician woman. One-fifth of all deaths among females that occurred in Florence during this period were in fact related to complications in childbirth or ensuing post-partum infections. In the years 1424-25 and 1430, the Books of the Dead recorded the deaths of fifty-two women as a result of labour. As conditions for pregnant women did not improve in the ensuing half a century, childbirth remained a dangerous event for women to endure. Husbands took many precautions to ensure a successful birth as can be seen in the vast array of objects associated with this event created at this time. People turned to religion and magic in order to ensure that both the mother and child would survive this perilous process. Death in childbirth affected women from all classes and wealth did not act as a deterrent. The loss ...
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Arrighi, C., M. Brugioni, F. Castelli, S. Franceschini e B. Mazzanti. "Flood risk assessment in art cities: the exemplary case of Florence (Italy)". Journal of Flood Risk Management 11 (19 de janeiro de 2016): S616—S631. http://dx.doi.org/10.1111/jfr3.12226.
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Bravo, Luisa. "The urban lounge and a green view. A temporary art installation in Bologna during the Art City White Night". Journal of Public Space, Vol. 3 n. 2 | 2018 | FULL ISSUE (31 de agosto de 2018): 173–78. http://dx.doi.org/10.32891/jps.v3i2.1115.
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‘The urban lounge and a green view’ was a temporary art installation promoted by City Space Architecture in collaboration with bAQ, Bottega Azioni Quotidiane, a young group of Architecture students from the University of Florence. It was part of the ‘Arte Fiera. International Fair of Modern and Contemporary Art’ in Bologna, Italy, and took place during the ‘Art City White Night’ on January 25, 2014. It was intended to transform two parking spots in the core of the historic city of Bologna into places of social interaction. It was inspired by the worldwide famous Park(ing) Day, started in 2005 by Rebar in San Francisco.
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SWEET, ROSEMARY. "BRITISH PERCEPTIONS OF FLORENCE IN THE LONG EIGHTEENTH CENTURY". Historical Journal 50, n.º 4 (8 de novembro de 2007): 837–59. http://dx.doi.org/10.1017/s0018246x07006401.
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ABSTRACTStudies of the Grand Tour conventionally focus upon the art and antiquities of Italy rather than the urban environment in which the tourists found themselves, and they generally stop short in the 1790s. This article examines the perceptions and representations of Florence amongst British visitors over the course of the long eighteenth century up to c. 1820 in order to establish continuity between the eighteenth and nineteenth centuries. It considers why it was that British travellers appeared to be particularly attracted to Florence: initially they responded to congenial and pleasant surroundings, the availability of home comforts, and a sparkling social life. In the later eighteenth and early nineteenth centuries Florence acquired new meanings for the British, who began to identify and admire a civilization which had been based upon mercantile wealth and liberty: the foundations for the Victorian celebration of Florence were laid. But the experience of Florence as a city had also changed: it was no longer simply the showcase of the Medici dukes. As a consequence the buildings, monuments, and paintings of the republican period, as well as the history which they embodied, came into focus for the first time.
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Kudaev, Aleksandr Egorovich. "Berdyaev and Florence. Aesthetic Intersections". Философия и культура, n.º 12 (dezembro de 2023): 48–90. http://dx.doi.org/10.7256/2454-0757.2023.12.39234.
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The article is devoted to Berdyaev's first Italian journey, which had a "tremendous influence" both on his creative destiny and on the development of his aesthetic views. It is significant that one of the defining motives for visiting Italy was his desire to "return to his homeland impressed by the greatest beauty"! Since the first journey of the philosopher was connected with Florence, it seemed appropriate to pay due attention to the achievements of this city and its decisive contribution to the formation and development of the culture of the Renaissance. The formation of revivalist principles in Florentine literature and fine arts is shown; the formation of theory (Alberti) and the history of art (Vasari), as well as a number of cultural phenomena accompanying these processes, which ultimately determined the artistic and aesthetic appearance of Florence and turned it into the capital of the Italian Renaissance. As a result, this makes it possible to fully understand and appreciate Berdyaev’s choice of this particular city, especially since Florence not only made “the strongest impression” on him, but also became the “key” to understanding both Florentine art proper and artistic-aesthetic culture Italian Renaissance. This is the first attempt in Russian literature to consider and analyze Berdyaev's Florentine journey as one of the sources of his creative heritage, which has not yet become the subject of special study. The relevance of topic is also determined by the existing confusion on this issue, which the article is aimed at overcoming.
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Condorelli, F., G. Pescarmona e Y. Ricci. "PHOTOGRAMMETRY AND MEDIEVAL ARCHITECTURE. USING BLACK AND WHITE ANALOGIC PHOTOGRAPHS FOR RECONSTRUCTING THE FOUNDATIONS OF THE LOST ROOD SCREEN AT SANTA CROCE, FLORENCE". International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (28 de agosto de 2021): 141–46. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-141-2021.
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Abstract. In this research paper photogrammetric techniques have been successfully applied to historic black and white analogic photographs to convey previously inaccessible architectural and archaeological information. The chosen case study for this paper is the Franciscan Basilica of Santa Croce in Florence, Italy. A photogrammetric algorithm has been implemented over a series of b/w negatives portraying the archaeological excavations carried out in the years 1967–1969, after the traumatic flood of the river Arno in 1966 that severely damaged the city centre of Florence and, particularly, the Santa Croce monumental site. The final aim of this operation is to provide solid evidence for the virtual reconstruction of the lost rood screen of the basilica of Santa Croce, the current subject of the PhD research of one of the Authors (Giovanni Pescarmona) at the University of Florence. The foundations that were uncovered during the archaeological excavation in the ‘60s are one of the most important hints towards a convincing retro-planning of the structure. Using advanced photogrammetric techniques, and combining them with LIDAR scanning, it is possible to uncover new datasets that were previously inaccessible for scholars, opening new paths of research. This interdisciplinary approach, combining traditional art-historical research methods and state-of-the-art computational tools, tries to bridge the gap between areas of research that still do not communicate enough with each other, defining new frameworks in the field of Digital Art History.
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Pietrych, Krystyna. "Włoskie inicjacje Aleksandra Wata". Poznańskie Studia Polonistyczne. Seria Literacka, n.º 38 (15 de outubro de 2020): 157–79. http://dx.doi.org/10.14746/pspsl.2020.38.7.
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The article presents the stages of Aleksander Wat’s first journey to Italy in 1949 – starting from Venice, through Florence and Rome, finishing in Naples and Capri. Most of all, the article interprets the poetic records of the places visited by the poet and his impressions written down in letters. As a result, what the journey to Italy becomes for Wat is not only a discovery of the beauty of landscape and the plenty of art, but, most importantly, an experience of physical contact with the Mediterranean land, an initiation into the fascinating witnessing of the incarnation of cultural tradition into a visible landscape, a sensual initiation into the legacy of the Mediterranean. The coda of the text is his unexpected reminiscence from the first journey to Italy recorded in a social realist drama.
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Ha, Sha. "An Intercultural Experience in European Art and Decorative Design by Chinese Students in Italy". Advances in Social Sciences Research Journal 9, n.º 8 (31 de agosto de 2022): 483–93. http://dx.doi.org/10.14738/assrj.98.12948.
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The paper describes the encounter with Italian fine arts and decorative design by a group of 17 Chinese Junior High School, art loving students, during their 2019 summer vacations. According to a ‘cooperative learning’ strategy, the students had been subdivided into four groups, under the guidance of four Chinese teachers, each one responsible for a single group, and the assistance of an Italian artist and an expert teacher herself. During the period of two weeks the students visited historical buildings and museums in the art cities of Venice, Padua, Florence and Rome. In the evening, in the presence of their teachers, they took part to collective discussions on the meaning and impact on them of the most significant art works they encountered during the day. They also took part, in Padua, in an animated ‘active learning’ session in Jewelry Design. That intercultural experience turned out to be very stimulating for those students: part of them included the study of classical art/decorative design in their high school curricula.
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Gates, Barbara. "NATURAL HISTORY ILLUSTRATION". Victorian Literature and Culture 33, n.º 1 (março de 2005): 314–18. http://dx.doi.org/10.1017/s1060150305220867.
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INTEREST IN VICTORIAN natural history illustration has burgeoned in recent years. Along with handsome, informative shows at the Pierpont Morgan Library in New York (“Picturing Natural History”), at the American Philosophical Society (“Natural History in North America, 1730–1860”), and at the Royal Botanical Gardens in Melbourne (“Nature's Art Revealed”), the year 2003 saw an entire conference devoted to the subject in Florence, Italy. In 2004, the eastern United States was treated to two more fauna- and flora-inspired shows, both dealing specifically with nineteenth-century British science and illustration.
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McKenney, EdD, CTRS, Alexis. "“Vorrei Prendere Il Treno!” (I Want to Take the Train): A narrative about how one Inclusive Recreation Services study abroad course helped students to understand challenges people with disabilities confront while traveling abroad". American Journal of Recreation Therapy 14, n.º 1 (12 de fevereiro de 2017): 13. http://dx.doi.org/10.5055/ajrt.2015.0088.
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It was Florida International University's most unusual study abroad course this year. Compared to most study abroad programs that focus on art and culture, the Inclusive Recreation Services course, taught in Miami, FL; Florence, Italy; and Paris, France, focused on challenges people with disabilities confront while traveling. In addition to learning about disability groups, attitudes about disabilities, accessibility and recreation programming, and the Americans with Disabilities Act, this class included a review of, and comparison to, Italian and French disability laws, as well as hands on experiences designed to give students a perspective gained from experiencing challenges associated with accessing buildings, roads, and public transportation in cities with extensive histories. This article provides a description of select learning activities and information learned presented in a narrative format.
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Cappellini, Patrizia. "Trading Old Masters in Florence 1890–1914: heritage protection and the Florentine art trade in Post-Unification Italy". Journal of the History of Collections 31, n.º 2 (13 de outubro de 2018): 363–71. http://dx.doi.org/10.1093/jhc/fhy030.
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Abstract Between 1855 and 1873 many religious orders were abolished in Italy and the contents of convents, monasteries and churches found their way on to the art market. Meanwhile, economic troubles led many noble families to sell their estates, a situation that lasted until World War i. Focusing on the Florentine art market from 1890 to 1914, this paper seeks to shed new light on the roles of some Florentine merchants and their relationships with British antique dealers and German patrons and scholars (such as Wilhelm von Bode). It also reviews the evidence – anecdotal, archival and published – relating to the dealers in question.
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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, n.º 1 (9 de janeiro de 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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Livingston, Tamara E. "Paul Conway and Martha O’Hara Conway. Flood in Florence, 1966: A Fifty-Year Retrospective: Proceedings of Symposium, November 3 and 4, 2016, University of Michigan, Ann Arbor, Michigan." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 20, n.º 1 (23 de maio de 2019): 52. http://dx.doi.org/10.5860/rbm.20.1.52.
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The year 2016 marked the fifty-year anniversary of the tragic and destructive flood in Florence, Italy. The floodwaters shook the world with their indiscriminate destruction of human life, property, and priceless Florentine cultural heritage. Early in November of 1966, days of heavy rains transformed the Arno River into a raging beast, overflowing its retaining walls and submerging much of the city and the area around it in foul, murky water filled with sediment, vegetation, sewage, motor oil, and the flotsam of human civilization. The floodwaters either destroyed or badly damaged historic collections of art, sculpture, architecture, books, manuscripts, and documents stored in low-level galleries or basements of institutes, libraries, museums, and private residences.
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Fusco, Francesco Maria, Maria Chiara Burla, Anna Degli Esposti, Piera Pierotti, Loredana Rabatti e Francesca Vichi. "Reasons for switching ART: Comparison of data collected in 2012–2013 and 2014–2015 in Florence, Italy". International Journal of STD & AIDS 29, n.º 4 (30 de agosto de 2017): 392–95. http://dx.doi.org/10.1177/0956462417728207.
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Persons living with HIV should remain on antiretroviral therapy (ART) indefinitely; however, a switch in the drug regimen is often necessary. In order to investigate if reasons for switching ART changed over time, we retrospectively analyzed reasons for switching and characteristics of switches among patients at Santa Maria Annunziata Hospital (OSMA), Florence area, Tuscany, Italy, over two periods (November 2012–October 2013 and November 2014–October 2015). The reasons for switching were classified as: simplification; virologic failure; occurrence of co-morbidities; and drug tolerability/toxicity issues. In period 1 (2012–2013), 18% patients changed their regimen vs. 13.5% in period 2 (2014–2015) (p = 0.019). Among reasons for switching, switches for simplification significantly increased from 41% in period 1 to 53% in period 2 (p = 0.004), with an increasing use of single tablet regimens (p = 0.002); no other statistically significant differences were found in other reasons for switching in periods 1 and 2. Characteristics of patients and of switches were analyzed and described. According to our data, the main reason for switching is now simplification, reflecting the recent changes in recommendations aimed to enhance adherence and quality of life, and to minimize, at the same time, drug toxicity and side effects.
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Konik, Roman. "Leonardo północy. O estetyce Albrechta Dürera". Studia Philosophica Wratislaviensia 15, n.º 1 (15 de abril de 2020): 61–69. http://dx.doi.org/10.19195/1895-8001.15.1.5.
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Albrecht Dürer was German, but it was Italy he loved and followed the example of. Along with Erasmus of Rotterdam, he was one of the first to instil the ideas of Italian humanism in northern Europe, paying attention to the study of ancient culture, and thus fighting for the renewal of art in the spirit of the Renaissance. Dürer believed that using the patterns developed in Florence, the art of imaging would achieve unprecedented narrative power. The uniqueness of the artist from Nuremberg was also that he was able not only to assimilate and synthesise German Gothic art with the achievements of the Florentine school, but also to develop his own vision of the theory of art taking into account the specifics of native art. His research on the theory of movement, the implementation of objects into the structure of the image, the search for the perfect beauty in woodcut and copper engraving can be considered to be unique and pioneering projects in Germany. The influence of Dürer on the sphere of Renaissance iconography is invaluable, but unfortunately it is often omitted in the literature as secondary or even insignificant. The article shows that Dürer’s theoretical influence on the shape of early modern art is noteworthy.
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Korolev, Aleksandr Andreievich. "Sacred Sites of Italy in the Orthodox Descriptions of the Council of Ferrara-Florence". Античная древность и средние века 51 (2023): 452–77. http://dx.doi.org/10.15826/adsv.2023.51.025.
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The Orthodox view of the Catholic Church with its sacred buildings, rituals, and shrines was amply reflected in the Byzantine and Russian descriptions of the Council of Ferrara-Florence. It is possible to divide the existing sources into two groups with different attitude to Latin cultic practices. An ambiguous attitude of earlier descriptions may be related to the uneasiness of the majority of Orthodox towards Western religious art, the decoration of churches, and the peculiarities of ritual that appeared unusual and alien. The most prominent Byzantines, including the emperor and the patriarch, were prepared to the union, tolerated the Latin liturgy and worshipped at Latin shrines. Many Orthodox followed their example, though not without hesitation. The rigorists, who constituted a minority at the council, rejected the very idea of a religious reunification based on compromise, and considered it unacceptable to honour Latin shrines. The latter view had eventually prevailed both in Constantinople and in Moscow, leading to the emergence of highly polemical descriptions of the council. Their authors tried to conceal the interested attitude of many Orthodox delegates towards Catholic churches and liturgy, their reverence for Catholic icons and relics. On the contrary, confessional distinction was strictly imposed, leading to firm refusal to venerate Catholic shrines that belonged to the menacing heresy and dangerous heretics.
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Dergacheva, Irina V. "The Italian Path of the Slavophile S. P. Koloshin, Correspondent of F. M. Dostoevsky: Archival Materials". Неизвестный Достоевский 7, n.º 2 (junho de 2020): 98–118. http://dx.doi.org/10.15393/j10.art.2020.4762.
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The article presents the results of an archival search for information regarding Sergey P. Koloshin, a publicist and the publisher of the <i>Zritel obschestvennoy zhizni, literatury i sporta</i> (<i>Spectator of public life, literature and sports</i>) magazine, who went bankrupt in 1863. In the 1860s, he lived in Italy, attempted to collaborate with the <i>Epokha</i> (<i>Epoch</i>) magazine, corresponded with the brothers M. M. and F. M. Dostoevskys, and died on November 27, 1868 in Florence. The discovered documents allow to clarify the time and circumstances of his death. The Russian Empire’s Foreign Policy Archive contains a file regarding the assignment of the transportation the body of the deceased to Milan for burial in the columbarium to Mikhail Orlov, the Archpriest of the Russian Orthodox Church of the Nativity of Christ and St. Nicholas in Florence, who already performed the rite of blessing S. Koloshin. The latter was also entrusted with fulfilling the last will of the deceased, completing his settlements on this Earth, including those with the owner of his rented residence. Her receipt for money received indicates the address of Koloshin's residence in Milan, which is significant in connection with the search for his archive, which probably includes the letters of Dostoevsky. The article also introduces the encrypted telegrams of the Russian mission to Turin into scientific circulation for the first time. These telegrams are signed by the name Koloshin (Kolochine), and the authors suggest that they belong either to Sergey’s brother, Dmitry Pavlovich, junior secretary of the Russian mission in Brussels, or to Ivan Petrovich Koloshin, Resident Master of the Ministry of Foreign Affairs of the Russian Empire, cousin of S. P. Koloshin. He could have also provided the documents from the personal archive of S. P. Koloshin, which likely included letters from Dostoevsky.
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Giovannetti, Michael Joseph. "The Chronicles of The Renaissance Group". Educational Renaissance 1, n.º 1 (1 de julho de 2012): 11–25. http://dx.doi.org/10.33499/edren.v1i1.34.
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The Renaissance, French for “rebirth”; Italian, Rinascimento, from re - “again” and nascere -“to be born”, was a cultural movement that initiated in Florence, Italy, in the Late Middle Ages and later spread to the rest of Europe, encompassing periods from the Fourteenth to the Seventeenth Century. This time was focused on the improvement of various disciplines, through a revival of ideas from antiquity, by employing new, creative approaches to thinking and doing. The influence of the Renaissance movement affected art, literature, philosophy, politics, science, religion, politics and other aspects of intellectual inquiry.
What does the Renaissance movement of Fourteenth Century Italy have to do with The Renaissance Group (TRG) of 21st century America? The times and places may be very different, but as we review TRG’s contributions to teacher education from the 1980s to the present, a time during which The Renaissance Group laid a strong foundation to shape this national consortium of colleges, universities and professional organizations, we may discover more similarities between the two entities than imagined.
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Sijka, Katarzyna. "„Jak żyć po czymś takim w Polsce?” Edukacyjne walory podróży na przykładzie Dziennika podróży do Italii i Szwajcarii z lat 1815–1816 Rozalii Dunin-Borkowskiej". Biuletyn Historii Wychowania, n.º 43 (15 de setembro de 2020): 27–44. http://dx.doi.org/10.14746/bhw.2020.43.2.
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A Diary of a Journey to Italy and Switzerland in 1815–1816 written by Rozalia Dunin-Borkowska is one of few preserved descriptions of a journey to Italy made by a Polish woman in the early 19th century. Rozalia and her husband Stanisław embarked on their expedition on 27 May 1815 in Lvov; they went to Italy and spent nine months there, from October 1815 to July 1816. The Italian tour started in Venice and included Padua, Bologna, Florence (twice), Rome, Naples, Milan and Geneva. The spouses spent the journey actively although their main goal was to learn about the culture of the Italian Peninsula. Undoubtedly, their time in Italy was filled with admiring the works of art and visiting the most famous art galleries in almost every city on the itinerary. Consequently, the journal is full of reflections on the aesthetic value of Italian works of art. Rozalia Dunin-Borkowska was an informed traveller: while she admired the sights and paintings, sculptures and other works of art, she did that in a thoughtful way. She needed quality time to form her own opinions. Her journal demonstrates very well that visiting foreign countries was an intellectually stimulating experience. Getting to know a new culture significantly broadened the horizons of 24-year-old Rozalia. As her journal suggests, she was well-prepared for her European journey. The outstanding lesson that she learnt allowed her to reap the rewards of the tour and satisfy her intellectual aspirations. The Diary is a great source of experience accumulated by a Polish traveller; it provides an opportunity to find out about Rozalia’s cultural life, her preparation for the journey and how the trip affected her. Furthermore, Dunin-Borkowska’s testimony was compared with Katarzyna Platerowa’s and Teofilia Morawska’s diaries due to the fact that all three of them shared certain common features. Namely, their cultural background, material status and, most importantly, the travel itinerary. They were all well prepared for their respective journeys; they were also well educated, fluent in foreign languages and, above all, they were curious about the world and interested in learning about a new culture. Each of these travellers was influenced by the European journey which provided educational values combined with unforgettable experiences.
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Alt, Gordon. "Andrea Verrocchio and His Followers: An Exhibition". Sculpture Review 68, n.º 4 (dezembro de 2019): 8–15. http://dx.doi.org/10.1177/0747528420901913.
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Fifty exceptional works of Andrea del Verrocchio (1435-1488) are on exhibit at the National Gallery of Art in Washington DC. This important exhibit has sculpture, paintings and drawings of one of the most important Renaissance Masters of the fourteenth century. While considered foremost a master sculptor along with Donatello and Michelangelo, he was also noted for his important innovations in painting. As teacher, his workshop was the most important in Florence, and included the young Leonardo da Vinci, Pietro Perugino and Sandro Botticelli. His David and Boy with Dolphin are just of few of the masterpieces included in this important exhibition, which covers a full range of his contributions and will remain on view until January 12, 2020. This is the only opportunity to see this powerful collection in this country as it returns immediately to Italy.
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Bender, Agnieszka. "PRINCE STANISŁAW PONIATOWSKI: EXPERT ON AND COLLECTOR OF ANCIENT AND ITALIAN ART". Muzealnictwo 61 (17 de junho de 2020): 80–89. http://dx.doi.org/10.5604/01.3001.0014.2085.
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The current state of research into the patronage and collecting activities of Prince Stanisław Poniatowski (1754–1833) in Italy with which he was connected for almost 40 years of his life is outlined. Over the period, the Prince made 3 long trips there which preceded 30 years of living in Italy on a permanent basis, first in Rome, and then in Florence where he was buried. Despite his many accomplishments and extraordinary personal history, the Prince has not taken as prominent a position either in academic research or in the collective memory of Poles as his junior cousin Prince Józef who drowned in the Elster River giving his life for the homeland. Although no monograph has as yet been published on Stanisław Poniatowski, he is not entirely forgotten. However, the major studies dedicated to him were published a relatively long time ago. The most extensive, i.e. the book I Poniatowski a Roma (Firenze 1972), speaking of the history of Prince Stanisław and the Poniatowski family, was written by the Italian writer and columnist Andrea Busiri Vici and has never been translated into Polish. As the current state of research shows, very few Polish art historians have taken any in depth interest in the Prince’s activity. Apart from the mentions scattered in different studies, there are merely four articles dealing with some selected aspects of the Prince’s patronage and collecting activity (by Janina Michałkowa, Elżbieta Budzińska, Tadeusz Jaroszewski, Dominika Wronikowska). Historically the most complete study dedicated to Prince Stanisław is to be found in Jerzy Michalski’s paper from 50 years ago published in the Polish Biographical Dictionary. The to-date Polish and foreign publications in history, history of art and archaeology do not exhaust many issues related to the person, activity, and the collecting passion of Prince Stanisław.
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Naldi, Chiara. "Il patrimonio fotografico dell’Archivio Storico delle Gallerie Fiorentine: ragioni e provenienza di alcune fotografie dello stabilimento Brogi". Rivista di studi di fotografia. Journal of Studies in Photography 5, n.º 10 (14 de dezembro de 2020): 36–58. http://dx.doi.org/10.36253/rsf-12244.
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This essay considers a selection of painting reproductions made by Brogi in the 1870s, as part of a larger study on the historical archive of the Florentine Galleries held by the Superintendence of Archaeology, Fine Arts and Landscape in Florence. Cross-referencing these photographs with written documents in the same archive and the commercial catalogs published by Brogi between 1863 and 1901, it is possible to determine that they were originally delivered in compliance with legal deposit regulations established by the new Ministry of Public Education in 1867. At the same time, this case study sheds new light on the connections between commercial photographers and art institutions in Italy in the second half of the 19th century, especially regarding the creation of public photographic archives and the role played by Corrado Ricci, the director of the Uffizi Galleries between 1903 and 1906.
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Yılmaz Genç, Sema, e Hassan Syed. "The Medici’s Influence: Revival of Political and Financial Thought in Europe". Belleten 85, n.º 302 (1 de abril de 2021): 29–51. http://dx.doi.org/10.37879/belleten.2021.29.
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The history of the European Renaissance has been written in many versions. The move from medieval to Renaissance period in world history shows clashes between empires and human nature. The contemporary scholars have many variants of history to choose from and form their own views about what actually transpired during the historical period. The most significant role of the Medici family was in the new era of European history that witnessed the art of administration on the Medici Bank in Florence/Italy. This paper portrays the point of view of the influence of Islamic Arab scholars as scribes in the re-introduction of Greek-Aristotelian philosophies to Renaissance Europe. This view is being increasingly challenged. The Islamic-Arab scholars such as Averroes and Avicenna were not mere scribes. Better translations of Arabic and Persian historical treasures reveal that the Islamic-Arab scholars during the golden age of Islam were globally accepted literary giants who made profound changes to the ideological shaping of Renaissance Europe.
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Kirkham, Victoria. "Creative Partners: The Marriage of Laura Battiferra and Bartolomeo Ammannati". Renaissance Quarterly 55, n.º 2 (2002): 498–558. http://dx.doi.org/10.2307/1262317.
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From the time of their courtship until death parted them forty years later, Bartolomeo Ammannati (1511-1592) and Laura Battiferra (1523-1589) nurtured a loving relationship with reciprocal support for complementary careers. Their childless union generated two bodies of art, vast and beautiful. Renaissance contemporaries esteemed the Ammannati as a rarity, creative peers in a close marriage, but history has indifferently divorced them, dropping Bartolomeo to the ranks of second best and pushing his accomplished wife into obscurity. Reunited, the couple can return as they deserve, in the entwined lives that enriched their joint corpus and enhanced the fame each won as an individual — she for her poetry, praised by the most prominent men and women of culture in Counter Reformation Italy; he in his dual activity as sculptor and architect for projects ordered by popes in Rome, leaders of the new Society of Jesus, and three generations of Medici rulers in Florence.
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Machuska, I. B., S. B. Nedilchenko, I. V. Argatiuk, I. P. Leshchenko e V. V. Burliy. "Historical and legal foundations of the development of insurance in the Republic of Italy: theoretical and legal analysis". Analytical and Comparative Jurisprudence, n.º 2 (11 de maio de 2024): 220–25. http://dx.doi.org/10.24144/2788-6018.2024.02.38.
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The article examines the historical and legal aspects of the development of insurance and the legal regulation of insurance relations in Italy. It is noted that the foundations of insurance relations and their legal regulation were observed in many countries of modern Europe, including Italy. It has been investigated that the first forms of insurance in Italy were observed as early as the times of the Roman Empire in the form of activities of religious societies and military colleges. It has been proven that the initial forms of insurance in the Roman Empire were built on the basis of the common interests of the participants, were non-commercial in nature and were not aimed at making a profit. It was established that from the 13th century. in Italy, there are mutual aid associations, which were created within the framework of craft guilds, which aimed to help their members in the event of certain insurance cases. It has been studied that starting from the 13th century. Italy becomes the center of marine insurance formation, centered in Genoa, Florence and Venice. The article states that the legal regulation of marine insurance was carried out in accordance with the norms specified in the Pisa Statute and other legislative acts, as well as insurance contracts that had a notarized certificate. It is noted that at the end of the 13th century. special courts were established to resolve disputes in the field of marine insurance. It has been studied that starting from the 14th century. in Italy, the formation of commercial insurance was observed, which was regulated by the Venetian Code of Marine Insurance and the Florentine Ordinance of 1523. It was analyzed that in the 15th-16th centuries. Art. in Italy, such types of insurance as dowry insurance, as well as annuities, tontines and loans, bets have become widespread. It was found that starting from the 18th century. in Italy, insurance companies are created in the form of joint-stock companies, marine insurance is provided by the Maritime Exchange Insurance Chamber, and fire insurance is developed. It is noted that since the XX century. in Italy is developing life insurance. It has been established that today Italy is one of the leading states that carries out insurance activities on the market of insurance services.
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Lovett/Codagnone e Tom Zook. "Your Hero Is a Ghost, 2010". TDR/The Drama Review 56, n.º 3 (setembro de 2012): 2–3. http://dx.doi.org/10.1162/dram_a_00205.
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Stainless steel, wood, conduit, black paint, speakers, sound. Photo by Jason Mandella, courtesy Sculpture Center, New York, and the artists Lovett/Codagnone, an artist team based in New York, have worked together since 1995 using photography, performance, video, sound, and installation. Their ongoing exploration of relations of power, as manifested in explicit cultural signifiers as well as clandestine or unconscious practices, investigates the way power comes to play within social structures (relationships, family) to focus on intimacy and the construction of desire. Recent solo exhibitions: Museo Marino Marini, Florence, 2012; LA><ART, Los Angeles, 2012; September Galerie, Berlin, 2011; Sculpture Center, New York, 2010; Sara Meltzer Gallery, New York, 2009; MoMA PS1, New York, 2007–2008. Their performances have been presented at the ICA Philadelphia (2010); Judson Memorial Church, New York (2010); and the ICA Boston (2007). Their work has been shown in galleries and museums in France, Germany, Italy, and The Netherlands. Supplemental media related to this piece can be found at www.mitpressjournals.org/doi/suppl/10.1162/DRAM_a_00205
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Noyes, Ruth Sargent. "‘Purest Bones, Sweet Remains, and Most Sacred Relics.’ Re-Fashioning St. Kazimierz Jagiellończyk (1458–84) as a Medieval Saint between Counter-Reformation Italy and Poland-Lithuania". Religions 12, n.º 11 (16 de novembro de 2021): 1011. http://dx.doi.org/10.3390/rel12111011.
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This article explores the Counter-Reformation medievalization of Polish–Lithuanian St. Kazimierz Jagiellończyk (1458–1484)—whose canonization was only finalized in the seventeenth century—as a case study, taking up questions of the reception of cults of medieval saints in post-medieval societies, or in this case, the retroactive refashioning into a venerable medieval saint. The article investigates these questions across a transcultural Italo–Baltic context through the activities of principal agents of the saint’s re-fashioning as a venerable saint during the late seventeenth century: the Pacowie from the Grand Duchy of Lithuania and the Medici from the Grand Duchy of Tuscany, during a watershed period of Tuscan–Lithuanian bidirectional interest. During this period, the two dynasties were entangled not only by means of the shared division of Jagiellończyk’s bodily remains through translatio—the ritual relocation of relics of saints and holy persons—but also self-representational strategies that furthered their religio-political agendas and retroactively constructed their houses’ venerable medieval roots back through antiquity. Drawing on distinct genres of textual, visual, and material sources, the article analyzes the Tuscan–Lithuanian refashioning of Kazimierz against a series of precious reliquaries made to translate holy remains between Vilnius to Florence to offer a contribution to the entangled histories of sanctity, art and material culture, and conceptual geography within the transtemporal and transcultural neocolonial context interconnecting the Middle Ages, Age of Reformations, and the Counter-Reformation between Italy and Baltic Europe.
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Holmes, K. C. "Sir John Cowdery Kendrew. 24 March 1917 – 23 August 1997". Biographical Memoirs of Fellows of the Royal Society 47 (janeiro de 2001): 311–32. http://dx.doi.org/10.1098/rsbm.2001.0018.
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John Kendrew was born in Oxford, where he spent his childhood years. His father, Wilfred Kendrew, was Dean of the St Catherine's Society and was a geographer and reader in climatology at Oxford University. His mother, Evelyn Sandberg, came from a Hereford parsonage. John's parents separated when he was four years old, his mother moving to Italy and finally to Florence, where she became an art historian working with Bernard Berenson in the Uffizi. She was an authority on Italian primitives and published under the nom de guerre Evelyn Sandberg Vavalà. John remained with his father in Oxford and attended the Dragon School. He re–established contact with his mother a few times during his early years and her influence on him remained strong throughout his life. Although he had the attention and affection of his paternal grandmother and two doting maiden aunts, his childhood was rather lonely. One of his aunts noticed that the child was much in need of spectacles. John's pebble glasses were to shield him from enquiring eyes until late in life when a cataract operation rendered them less necessary. His aunts introduced him to photography, which remained a lifelong interest.
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Souillard, Sasha. "La Rivoluzione Macchiata: The Stained Revolution". Interdependent: Journal of Undergraduate Research in Global Studies 2 (2021): 91. http://dx.doi.org/10.33682/nv4g-se2u.
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Although graffiti gained popularity through the expansion of American pop culture, its origins are greatly embedded in Italian culture and history. Not only does the word graffiti come from the Italian word "graffiato" or "scratched "off", but some of the world's first graffiti was found in Pompeii's ruins. Over the last few years, Italy has been governed by right-wing coalitions that have implemented fascist practices once used by Mussolini. Given that there is little space for leftist ideas to emerge in the public space, Italians have used graffiti as a form of political activism and protest. Conversations surrounding fascism, racism, women's rights, immigration and the LGTBQ community have arisen within graffiti, allowing outsiders to better understand Italians' takes on these issues. This study investigates Italy's sociopolitical climate through graffiti as a form of art, and also sheds light on how graffiti provokes its audience. The graffiti found in Florence, Bologna, and Naples proves to be linguistically complex, and provokes observers both through heightened language and visuals. This study suggests that the majority of Italian sociopolitical graffiti belongs to students who are unable to take part in democracy based on their age or legal status. While often deemed a vandalistic act, graffiti has allowed Italian individuals to protest what is unjust, and make themselves heard in a society where their voices are being suffocated by right-wing political parties and their media.
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Lönnroth, Harry. "“Sie sagen skål und Herre gud und arrivederci”: On the Multilingual Correspondence between Ellen Thesleff and Gordon Craig". Journal of Finnish Studies 19, n.º 1 (1 de junho de 2016): 104–20. http://dx.doi.org/10.5406/28315081.19.1.07.
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Abstract The Finnish painter Ellen Thesleff (1869 − 1954) is one of the most famous female painters in Scandinavian art history. During her stay in Florence, Italy, at the beginning of the twentieth century, she became acquainted with the British theater personality and artist (Edward) Gordon Craig (1872 − 1966). Their correspondence from the first half of the century is a part of European cultural history and art criticism; they write, among other things, about painting and graphics, literature and theater. Of linguistic importance is that the original letters preserved for posterity contain traces of many European languages: not only German, which is a central language in the correspondence, but also French, Italian, and English. The focus of this paper is the coexistence of languages in the multilingual correspondence—about 200 dated and 60 undated letters—kept at the National Library of France in Paris. In this paper, microfilms are used instead of the original material, and the selection of letters is limited to twenty-five. The particular interest lies in Ellen Thesleff as a multiliterate, writing individual, and her choices of and switches between different languages. My study shows that Thesleff used a variety of languages when writing letters. This can, for example, be seen from the perspective of the personal nature and the communicative function of the personal letters, where the “self” of the writer is present. In a way, multilingualism has among other things an emotional function for her: one could, for instance, argue that it was used as a kind of “secret writing” or language play between Thesleff and Craig.
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De Vito, Giovanni, Rocco Loris Del Vecchio, Elisa Pozzi, Alessandro Luoni, Andrea Spinazze’ e Domenico Maria Cavallo. "SS27-02 THE HUMAN DIMENSION OF WORK: WORK AS A METAPHOR FOR LIFE". Occupational Medicine 74, Supplement_1 (1 de julho de 2024): 0. http://dx.doi.org/10.1093/occmed/kqae023.0178.
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Abstract Introduction When does work help keeping in good health? When analysing the human dimension, any approach addressing the positive effects of work must consider cultural and historical roots. Materials and Methods An anthropological and artistic path, marked by art works, will be presented as a way to highlighting the evolution of the human work throughout centuries. Results Aristotle stated that “happiness is the highest human good”. The ancient Greek wording for happiness means the success of the vocation. Man, therefore, must expand life to the fullest, by committing himself. Work became an important commitment only after the abolition of slavery. The comparison between Greek caryatids (slaves) and medieval telamons (free men) gives a clear picture of different approaches to the meaning of work fatigue through centuries. Symbolism on the Renaissance arts and craft panels on the Giotto’s bell tower in Florence, shows that dignity of work is in its meaning, motive and purpose, and not in the matter. Macchiaioli and Divisionism art movements in Italy, as well as Realism in France, started showing the workers. The content of the work, the meaning for the worker, for his family and society were represented. The worker started scrutinizing the destiny of which he hoped to be the creator. Conclusions Modern work is full of rapid changes that could lead to lacking knowledge and fear of facing the unknown. Knowing the meaning and strength of different cultural roots, will be of great help, in keeping up the pace and understanding the role at work and maybe at life.
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Servi, Michaela, Andrea Zulli, Yary Volpe, Rocco Furferi, Luca Puggelli, Antonio Messineo, Marco Ghionzoli e Flavio Facchini. "Handheld Optical System for Pectus Excavatum Assessment". Applied Sciences 11, n.º 4 (15 de fevereiro de 2021): 1726. http://dx.doi.org/10.3390/app11041726.
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Disruptive 3D technologies, such as reverse engineering (RE) and additive manufacturing (AM), when applied in the medical field enable the development of new methods for personalized and non-invasive treatments. When referring to the monitoring of pectus excavatum, one of the most common thoracic malformations, 3D acquisition of the patient chest proved to be a straightforward method for assessing and measuring chest deformation. Unfortunately, such systems are usually available in a dedicated facility, can be operated only by specialized doctors with the support of engineers and can be used only with patients on site. It is therefore impossible to perform any routine check-up when the patient is unable to reach the outpatient clinic. The COVID19 pandemic situation has placed even greater restrictions on patient mobility, worsening this problem. To deal with this issue, a new low-cost portable optical scanner for monitoring pectus excavatum is proposed in this work. The scanner, named Thor 2.0, allows a remote diagnostic approach, offering the possibility to perform routine check-ups telematically. Usability tests confirmed the user-friendly nature of the devised system. The instrument was used at the Meyer Children’s Hospital (Florence, Italy) chest-malformations center to treat PE patients. The performed measurements proved to be in line with the current state of the art.
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Musatova, Tatyana. "Emperor Nicholas I, collector and philanthropist. Days 9/22 and 10/23 December 1845 in Bologna". Stephanos Peer reviewed multilanguage scientific journal 54, n.º 4 (31 de julho de 2022): 50–67. http://dx.doi.org/10.24249/2309-9917-2022-54-4-50-67.
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Bologna with its eldest university in Europe was an important point of Emperor Nicholas I’s grand tour of Italy in 1845. In Rome the tsar talked with the Pope on problems of inter-church relations, then the rest of the time in the eternal city and along the entire route (from Palermo to Naples, from Florence to Bologna and Venice) he showed himself as a prominent collector, patron of the arts, who adopted his parents love for Italian art. The tsar had a special reverence for the Bologna painting school, the Bolognese Baroque style, which, along with the Roman Baroque, was refl ected in his purchases for the New Hermitage. Only in Bologna he acquired the originals of classical painting (Guercino, Agostino Caracci). There he practically completed the formation of his famous collection of Italian neoclassical sculpture (C. Baruzzi) and ordered copies from the local Pinacoteca of such a high level that they, having partially reached our time, were honored to enter the GE painting collection. Russian monarch’s visit is commemorated only in Rome and Bologna by commemorative plaques, the fi rst of which is offi cial, and the second is an “ordinary” Bolognese marquis, who considered it an honor to visit his palace by the Russian tsar.
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Sobota Matejčić, Gordana. "Institute for History of Art, Zagreb". Ars Adriatica, n.º 2 (1 de janeiro de 2012): 167. http://dx.doi.org/10.15291/ars.447.
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In 2005, during the composing of the Inventory of the Moveable Cultural Heritage of the Church and Monastery of St Francis of Assisi at Krk, three wooden statues were found in the attic. These had once belonged to a lavish Renaissance triptych at the centre of which was a figure of the Virgin (107 x 45 x 27 cm), flanked by the figures of St John the Baptist (c. 105 x 28 x 30 cm), an apostle with a book (c. 93 x 32 x 22 cm), and, in all likelihood, St James the Apostle. A trace of a small left foot in the Virgin’s lap indicates that the original composition was that of the Virgin and Child. It is highly likely that these statues originally belonged to the altar of St James which mentioned by Augustino Valier during his visitation of the Church of St Francis of Assisi in 1579 as having a pala honorifica . Harmonious proportions, fine modelling of the heads, beautifully and confidently carved drapery of the fabrics, together with almost classical gestures, all point to a good master carver who, in this case, sought inspiration in Venetian painting of the 1520s and 1530s. When attempting to find close parallels in the production of Venetian wood-carving workshops from the first half of the sixteenth century, without a doubt the best candidates are two signed statues from the workshop of Paolo Campsa de Boboti: the statue of the Risen Christ from the parish church of St Lawrence at Soave in Italy, dated to 1533, and the statue of the Virgin and Child in a private collection in Italy, dated to 1534. To these one can add a statue from the Gianfranco Luzzetti collection at Florence, which has been attributed to Campsa’s workshop. Judging from all the above, the statues from St Francis’ might be dated to the 1540s. In the parish church of Holy Trinity at Baška is a wooden triptych which, according to a nineteenth-century record, was inscribed with Campsa’s signature and the year 1514. When Bishop Stefanus David visited the Chapel of St Michael at Baška in 1685, he described in detail this wooden and carved palla on the main altar dedicated to St Michael, noting that the altar is under the patronage of the Papić family who had founded it and made considerable donations to it. The high altar in the Church of St Mary Magdalene at Porat, also on the island of Krk, has a polyptych attributed to Girolamo and Francesco da Santa Croce. Until now, it has been dated to 1556 - the year of the dedication of the altar and the church. However, more frequently than not, a number of years could pass between the furnishing of an altar and its dedication. With this in mind and having re-analyzed the paintings, the polyptych can be dated as early as the previous decade. Until now, the Renaissance statue of St Mary Magdalene (105 x 25 x 13 cm), originally part of an altar predella but today housed in the Monastery’s collection, was not discussed in the scholarly literature save for its iconography. Based on the morphological similarities between the statue of St Mary Magdalene and the three statues at Krk, it can be concluded that they were carved by the same master carver. Written sources inform us that after 1541 Paolo Campsa was no longer alive. Great differences between the works signed by Campsa have already been the subject of scholarly debate and it is known that due to high demand, his workshop included a number of highly skilled wood carvers. In the case of Krk, perhaps the master carver was an employee at Campsa’s workshop who outlived him and who, after its closure, went his own way and was considered good enough to be hired by fellow painters from the Santa Croce workshop. Installing a statue in a predella was a rare occurrence in sixteenth-century Croatia and Venice alike. Even in the case of Campsa. Reliefs were used more frequently. However, this arrangement was customary on contemporary flügelaltaren in the trans-Alpine north. It ought to be considered whether this northern altar design might provide a trail which would lead to a more specific location of a possible master carver.
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Говенько, Татьяна Владимировна. "A. N. Veselovsky’s unknown work about N. N. Ge’s painting “Heralds of the Resurrection” (1867)". ТРАДИЦИОННАЯ КУЛЬТУРА, n.º 2 (11 de novembro de 2019): 11–21. http://dx.doi.org/10.26158/tk.2019.20.3.001.
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С 1864 по 1868 г. Александр Николаевич Веселовский работал над магистерской диссертацией во Флоренции. В это же время здесь проживало немало русских художников. Веселовский посещал салон Н. Н. Ге, в котором обсуждались политические события России и Италии, что дало основание советским ученым предположить связь историка и художника с революционно-демократическим движением. Однако дальнейшая судьба и Веселовского, и Ге указывает на то, что оба были прежде всего просветителями и в развитии общества придавали большое значение образованию и науке. В статье о картине Н. Н. Ге «Вестники Воскресения» Веселовский продолжал развивать идею своей магистерской диссертации о том, что в истории на первое место выдвигаются факты и свидетельства и лишь потом они идеализируются в искусстве. From 1864 to 1868, Alexandr N. Veselovsky worked on his master’s thesis in Florence. At the same time, many Russian artists lived there. Veselovsky visited N. N. Ge’s salon, where political events in Russia and Italy were discussed; this fact provided Soviet scholars the basis to assert both figures’ connection with the revolutionary movement. However, the further careers of both Veselovsky and Ge indicate that both were primarily enlighteners and attached great importance to education and science for social development. In his article about Ge’s picture “Heralds of the Resurrection” Veselovsky developed the idea of his master’s thesis that in history facts and knowledge come first and only later they are idealized in art.
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Chalif, Eric J. "The Surgeon, or The Extraction of the Stone of Madness, by Jan Sanders van Hemessen (c 1500–1566)". Neurosurgical Focus 54, n.º 2 (fevereiro de 2023): E2. http://dx.doi.org/10.3171/2022.11.focus22613.
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The Surgeon, or The Extraction of the Stone of Madness is one of the most striking representations of neurosurgery in art. The focus of the painting is occupied by a surgeon who, with a concentrated gaze and wry smile, attempts to remove a stone from the forehead of an anguished young man who is tied to a chair, crying in agony. The artist of this dramatic work is the relatively obscure Jan Sanders van Hemessen (c 1500–1566). Hemessen lived in a time of artistic ferment in the Netherlands as conservative local traditions gave way to new ideas imported from Italy, which marked the beginning of the Romanism period. Romanists were aspiring young Netherlandish artists who traveled to Rome, Florence, Milan, and Venice to study the works of High Renaissance masters such as Michelangelo, Raphael, and Leonardo da Vinci. With these lessons in mind, they combined the typical features of early Netherlandish painting—a high degree of realism, the use of symbolic iconography, and a focus on genre painting and still life—with the dramatic gestures, heroic postures, chiaroscuro, space and volume, and grand humanistic themes of the Italian Renaissance. Hemessen’s interpretation of the allegory of the stone of madness reveals these Italian influences while also retaining the early Netherlandish tradition of realism and iconography, in which the objective world represents a realm of symbolic implication carrying allegorical moralistic messages. The predominant interpretation of The Surgeon, or The Extraction of the Stone of Madness is as a metaphor for stupidity and gullibility, a common theme in Netherlandish art of this time. As such, Hemessen’s painting symbolizes the limits of the medical profession and underscores the persistent hope for neurosurgery to treat psychiatric disease in the future.
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Tucci, G., M. Betti, A. Conti, M. Corongiu, L. Fiorini, C. Matta, C. Kovačević, C. Borri e C. Hollberg. "BIM FOR MUSEUMS: AN INTEGRATED APPROACH FROM THE BUILDING TO THE COLLECTIONS". ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (5 de maio de 2019): 1089–96. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-1089-2019.
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<p><strong>Abstract.</strong> The paper discusses the first outcomes of an ongoing research activity aimed at developing a general BIM-based methodology for the organization and the management of the information needed for maintenance and safety assessment of museums. The Galleria dell’Accademia di Firenze (Florence, Italy) which has a very complex spatial organisation as a result of transformations occurred over the centuries, has been considered as an illustrative application of the proposed methodology. One of the specific elements which characterize museums, compared to other buildings, is the issue of the relationship between the building itself and the artworks there contained. A specific element of the research is consequently the need not to limit the attention to only the building (i.e. the envelope), but to consider within the BIM also the presence of the art collections. Starting from a recent laser scanner survey, a BIM has been created and a semi-automatic workflow has been investigated to obtain a FE (Finite Element) model to be employed for static and dynamic structural analysis purposes. Currently, since the scans inevitably included the artworks, a test is underway to add in the BIM of the museum also its collections (M-BIM). Each element can be inserted as a BIM object including its geometric representation and physical data (dimensions, materials, weight…) and linked to different museum inventory and conservation databases for the museum management.</p>
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Athanasiadou. "Historic Gardens and Parks Worldwide and in Greece: Principles of Acknowledgement, Conservation, Restoration and Management". Heritage 2, n.º 4 (20 de setembro de 2019): 2678–90. http://dx.doi.org/10.3390/heritage2040165.
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The International Council on Monuments and Sites (ICOMOS) Florence Charter 1981 on Historic Gardens sets the first guidelines for the definition of a historic garden, in which sites such as large parks, whether formal or landscape, are included. Since then, there is a continuous effort worldwide on issues of historic garden acknowledgement, conservation, restoration and management. Countries with garden and park tradition, such as the U.K., USA, France and others, have several sites registered and protected. Furthermore, historic garden and park associations exist in Italy, Spain and Portugal, among other nations. In Greece, there is no specific official policy or association regarding historic parks, gardens or landscapes. Greek law includes historic gardens and parks within the spectrum of works of art, places of outstanding natural beauty and historic places/lands for partial or absolute protection, and, thus, attempts in identifying historic landscapes fall generally in other categories, but law specified for historic gardens. However, in both the Greek ratification of the European Landscape Convention and the European Biodiversity directives, there are aspects one could interpret as very useful for the acknowledgement and policy-making on historic gardens and parks. In this paper, an overview on historic gardens and parks abroad and in Greece is attempted, along with aspects of acknowledgement, protection, conservation, restoration and management. Finally, a first attempt on methodological outlines for the acknowledgement and conservation of historic gardens and parks in Greece is presented.
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Quintero Balbas, Diego, Barbara Cattaneo, Andrea Cagnini, Paolo Belluzzo, Sandra Rossi, Raffaella Fontana e Jana Striova. "The Degradation of Daguerreotypes and the Relationship with Their Multi-Material Structure: A Multimodal Investigation". Sensors 23, n.º 9 (27 de abril de 2023): 4341. http://dx.doi.org/10.3390/s23094341.
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Preserving and analytically examining daguerreotypes is particularly challenging because of their multi-material and multi-component structure. Various sensors have been exploited to examine mainly the image plates of the daguerreotypes even though the degradation goes beyond this component. Micro-analyses have been the preferred method due to the nanoscale structure of the image particles. In this work, we propose comprehensive multi-modal non-invasive sensing to investigate the corrosion products present in nine daguerreotypes from the Fondazione Alinari per la Fotografia (FAF, Florence, Italy). The methodology proposed includes chemical and morphological analyses: portable X-ray fluorescence spectrometry (pXRF), Raman microspectroscopy (μ-Raman), and micro-Fourier transform infrared spectroscopy in reflection mode (μ-rFTIR) for the chemical identification. For the first time, optical coherence tomography (OCT) was deployed to record the cross-sectional and morphological data of the relevant corrosion formations on daguerreotypes in a contactless way. The results allowed the characterization, in a non-invasive mode at a microscopic level, of a wide range of degradation products produced by the interaction of the different elements present in the structure of the daguerreotypes. The aim was to verify the performance of the proposed methodology and to link the chemical and physical complexity of the entire structure, disclosed by the state-of-art sensors, to the daguerreotype degradation. The results draw attention to the need to monitor not only the image condition but the whole object as a partially closed system in constant interaction internally and with the environment.
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Cattaneo, Simone. "A taula amb Pellegrino Artusi i Josep Pla: l’art de fer país a Itàlia i a Catalunya amb el que hem menjat". SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 22, n.º 22 (3 de dezembro de 2023): 288. http://dx.doi.org/10.7203/scripta.22.27831.
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Resum: L’objectiu de l’article és mostrar com l’italià Pellegrino Artusi (Forlimpopoli, 1820-Florència, 1911) i el català Josep Pla (Palafrugell, 1897-Llofriu, 1981) –en uns períodes de transició política, social i cultural als respectius països– aprofitaren la cuina en els llibres La scienza in cucina e l’arte di mangiar bene (1891) i El que hem menjat (1972) per enfortir un sentiment individual i col·lectiu d’arrelament territorial, contribuint a forjar unes idees més cohesionades d’Itàlia i de Catalunya. Es tracta d’una tasca que ambdós dugueren a terme, per una banda, aferrant-se a unes tradicions gastronòmiques que calia recollir i fixar perquè no acabessin esborrades per les xacres de la modernitat i, per l’altra, plasmant un estil amè i una llengua moderna, assequibles per a un públic nombrós, que fossin un model de referència tant a l’àmbit culinari com a la vida quotidiana. Paraules clau: cuina, receptaris, identitat nacional, Pellegrino Artusi, Josep PlaAbstract: The purpose of this article is to show how the Italian Pellegrino Artusi (Forlimpopoli, 1820-Florence, 1911) and the Catalan Josep Pla (Palafrugell, 1897-Llofriu, 1981) used the art of cooking in their books La scienza in cucina e l’arte di mangiar bene (1891) and El que hem menjat (1972) to create a stronger sense of belonging and a more consistent idea of Italy and Catalonia in the population of their respective countries during some periods of political, social and cultural transition. On the one hand, they succeeded in doing it by recollecting and fixing a lot of gastronomic traditions to avoid their disappearance. On the other, they forged an enjoyable style and a modern language that reached a larger public and could be employed not only in the culinary field but also in everyday life. Keywords: cooking, cookery books, national identity, Pellegrino Artusi, Josep Pla
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Doria, Andrea, Gian Piero Gallerano, Emilio Giovenale, Luca Senni, Manuel Greco, Marcello Picollo, Costanza Cucci, Kaori Fukunaga e Anne Cecile More. "An Alternative Phase-Sensitive THz Imaging Technique for Art Conservation: History and New Developments at the ENEA Center of Frascati". Applied Sciences 10, n.º 21 (29 de outubro de 2020): 7661. http://dx.doi.org/10.3390/app10217661.
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In recent years, THz imaging techniques have been used in several fields of application. At the beginning of the century, the low availability of powerful THz sources was one of the limiting factors to the advancement of THz technology. At the ENEA center in Frascati, two Free Electron Lasers (FELs) operating in the THz spectral region were available at that time, making it possible to exploit all the features of THz imaging. In this paper, we will describe an alternative THz imaging technique, developed over 15 years of studies at the ENEA center of Frascati, and its application in the art conservation field, reporting the latest results of such studies on the optical properties of pigments in the GHz-THz region of the spectrum, on the possibility of detecting biological weeds under mosaic tiles and on the THz analysis of ancient leather wallpapers. This alternative technique was first developed in the framework of a bilateral collaboration between Japan and Italy, the THz-ARTE Project, which involved NICT (Tokyo), NNRICP (Nara), ENEA (Frascati) and IFAC-CNR (Florence). Most of the THz imaging techniques at that time were based on THz-Time Domain (THz-TD) devices. In the paper will be described how this alternative technique is able to measure the phase of the reflected radiation, thus providing information on the optical properties of the materials under study, such as mural paintings and mosaics. This makes it possible to detect the presence of hidden artworks, additional elements under paint layers, and dielectric materials. To describe the potential and the limits of this alternative imaging technique we will start from a description of the first THz imaging setup at the ENEA center of Frascati, based upon a THz Free Electron Laser. A description of the theoretical principle underlying this technique will be given. The first results in the field of art conservation are summarized, while the new results of a systematic study on the optical properties of pigments are reported and the realization of a portable THz imaging device, and its application “on site” for the analysis of frescoes are shown. The success of this prototype lead to the identification of different types of artworks as possible targets to be studied. New results about the ability of detecting water, and possibly the water content of biological weeds, under mosaic tiles are described, while new experimental measurements on Leather Wallpapers, both “in situ” and in a laboratory environment, are discussed later. A final analysis on the pro and the cons of this alternative imaging technique and on its possible utilization with the developed prototype is carried out together with the considerations on possible future developments and its potential use as an extension of other imaging techniques.
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Cooke, Philip, Sergio Nunes, Stefania Oliva e Luciana Lazzeretti. "Open Innovation, Soft Branding and Green Influencers: Critiquing ‘Fast Fashion’ and ‘Overtourism’". Journal of Open Innovation: Technology, Market, and Complexity 8, n.º 1 (11 de março de 2022): 52. http://dx.doi.org/10.3390/joitmc8010052.
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This paper explores digital reality replication for cultural consumption and green-digital open-system innovation, along with responsible, sustainable practices fashioned in a post-COVID-19 era. We address these after the dystopian effects of lockdown on global tourism and, in particular, the looming crisis of unsustainable ‘overtourism’. The aim of this paper is to disclose problems and policies related to moderating consumption to more sustainable levels. The scope of the article tackles three fields: urban re-branding, fast fashion, and overtourism. Each problem area is analysed against the background of digital surveillance in the attention economy with the aid of a conceptual model. Accordingly, the principal objectives of this paper are to analyse key sustainability problem sources, evolutionary processes, and policy responses. The paper’s originality and value lie in its recognition of tractable problem engagement through conceptual and practicable methods. This contribution also explores other consumption modes that tourists appreciate, namely, retail activity and its unsustainable “fast fashion” obsession. Finally, the paper analyses urban soft branding, the third tourism attractor within the niche touristic activity of the creative-cultural and gastronomic kind, which also features impulses that affect the perpetuation of unsustainable touristic practices. Thus, this contribution also assesses various studies on tourism futures that exploit digital media to assist in conserving both natural and cultural environments. Accordingly, we first narrate the soft re-branding of an “Art City” as a “Fashion City” and consider the example of green-digital innovation in the cultural milieu of Florence, Italy, in light of criticism of the unsustainability of “fast fashion”. We consider which actions are envisioned or advised in the similarly “over-touristed” city of Venice. In a different vein, we consider whether the mobilisation of ‘pop celebrity’ performers such as audience engagers or influencers works for sustainable intervention through an assessment of the cultural interventions of Madonna in Lisbon. Finally, we anatomise “green” politics and policies for creative-cultural cities with the support of digital media to influence sustainable actions to moderate or, alternatively, revitalise polluted, congested, or otherwise over-touristed city centres. The greening of central Paris, Barcelona, Milan, and London offer a a series of examples of this type of moderation and revitalisation.
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Tucci, Grazia, Alessandro Conti, Lidia Fiorini, Manuela Corongiu, Noemi Valdambrini e Carlotta Matta. "M-BIM: a new tool for the Galleria dell’Accademia di Firenze". Virtual Archaeology Review 10, n.º 21 (25 de julho de 2019): 40. http://dx.doi.org/10.4995/var.2019.11943.
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<p>The paper deals with an ongoing research activity for developing a Building Information Model (BIM) for the facility and collections management of museums. The BIM success lies not only in its application for the design and construction of buildings but also because it helps the information management of a building throughout its life cycle. Compared to other activities, in museums management, the container/content relationship is essential for the preventive conservation of artworks, according to national and international guidelines. Then, an effective BIM-based museum information system linked to external databases (called M-BIM) should include also the art collections for managing information regarding both the building and artworks by 3D objects handling. This facilitates the management of the procedures prescribed by international best practices (as the facility and conservation reports set up for the loan of artworks) or by Italian regulations (as to check the compliance of a museum with the minimum standards or to archive renovations and temporary exhibitions). The proposed methodology has been tested on the Galleria dell’Accademia di Firenze (Florence, Italy), situated in a complex heritage building. Starting from data acquired during a laser scanner survey carried out in 2011, a HBIM of the whole building has been created. Then, the sculptures and paintings of a consistent part of the museum have been modelled with different approaches and inserted as BIM objects. Artworks instances include 3D geometry and physical data (dimensions, materials, weight, etc.), other data are obtained from links to already existing external catalogues. A database conceptual model has been formalised, according to INSPIRE Consolidated Unified Modelling Language (UML) of the INSPIRE Directive, with the aim to maintain the independence of the BIM approach but improving data connection with other databases and sources.</p><p><strong>Highlights:</strong></p><ul><li><p>A holistic information management system for museums (M-BIM) is proposed, including both information on the building and the collections.</p></li><li><p>International and Italian guidelines, and best practices on museums management are compared.</p></li><li><p>The Galleria dell’Accademia di Firenze is used as a case study for testing the application of M-BIM on a heritage building.</p></li></ul>
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Di Maria, Salvatore. "Machiavelli's Ironic View of History: The Istorie Florentine". Renaissance Quarterly 45, n.º 2 (1992): 248–70. http://dx.doi.org/10.2307/2862748.
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A few years ago, Felix Gilbert, after a brief survey of various studies on Machiavelli's Istorie fiorentitte (1520-24), noticed the need to focus on the work's historical significance, and proposed a reading that goes beyond the mere narrative account of the rise and development of the city of Florence. Having shown that the work's structure follows the cyclical theory of history prevalent in Renaissance historiography, Gilbert goes on to suggest that Machiavelli anticipates Florence's rise from its present decline: “It would seem possible to suggest therefore that Machiavelli intended to represent the situation in which Italy found itself in the early sixteenth century as carrying with it the possibilities of a new ascent. “ The book, he argues, contains the same political message conveyed in his earlier works, such as the Prince (1513), which appropriately ends on the optimistic note that a redentore will come to lead the peninsula out of its ruinous downfall and back to glory and prosperity.