Статті в журналах: "Italian Baroque"

1

Smith, Richard Langham, Biondi, Naddeo, Alessandri, and Rinalo Alessandri. "Italian Italian Baroque." Musical Times 133, no. 1796 (October 1992): 528. http://dx.doi.org/10.2307/1002725.

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2

Frampton, Andrew, Anita Hardeman, Ginte Medzvieckaite, Helen Roberts, Elizabeth Rouget, Stephan Schönlau, and Hannah Spracklan-Holl. "Italian Baroque." Early Music 46, no. 4 (November 2018): 708–11. http://dx.doi.org/10.1093/em/cay084.

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3

Stowell, Robin. "Italian Baroque Violin." Musical Times 128, no. 1730 (April 1987): 214. http://dx.doi.org/10.2307/965436.

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4

Talbot, Michael. "Italian Baroque music." Early Music 47, no. 2 (April 9, 2019): 275–77. http://dx.doi.org/10.1093/em/caz032.

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5

Roche, E. "Italian Baroque sacred music." Early Music 36, no. 4 (November 1, 2008): 650–53. http://dx.doi.org/10.1093/em/can101.

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6

Maunder, R. "Italian Baroque instrumental music." Early Music 37, no. 4 (November 1, 2009): 689–91. http://dx.doi.org/10.1093/em/cap099.

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7

Fedchuk, Dmitry A. "Italian baroque opera and event." Journal of Integrative Cultural Studies 1, no. 2 (2019): 164–70. http://dx.doi.org/10.33910/2687-1262-2019-1-2-164-170.

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8

Ostrow, Steven F., and John Varriano. "Italian Baroque and Rococo Architecture." Art Bulletin 70, no. 3 (September 1988): 528. http://dx.doi.org/10.2307/3051184.

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9

Toniolo, L., C. Colombo, S. Bruni, P. Fermo, A. Casoli, G. Palla, and C. L. Bianchi. "Gilded Stuccoes of the Italian Baroque." Studies in Conservation 43, no. 4 (1998): 201. http://dx.doi.org/10.2307/1506729.

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10

Selfridge-Field, Eleanor. "Italian oratorio and the Baroque Orchestra." Early Music XVI, no. 4 (November 1988): 506–13. http://dx.doi.org/10.1093/earlyj/xvi.4.506.

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11

Toniolo, L., C. Colombo, S. Bruni, P. Fermo, A. Casoli, G. Palla, and C. L. Bianchi. "Gilded stuccoes of the Italian baroque." Studies in Conservation 43, no. 4 (January 1998): 201–8. http://dx.doi.org/10.1179/sic.1998.43.4.201.

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12

Giselbrecht, E. "Finding the voice of the Italian Baroque." Early Music 40, no. 1 (February 1, 2012): 142–45. http://dx.doi.org/10.1093/em/cas002.

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13

Thompson, Shirley. "French Baroque—with a hint of Italian." Early Music 44, no. 1 (February 2016): 178–80. http://dx.doi.org/10.1093/em/caw022.

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14

Baniulytė, Aušra. "Italian Intrigue in the Baltic: Myth, Faith, and Politics in the Age of Baroque." Journal of Early Modern History 16, no. 1 (2012): 23–52. http://dx.doi.org/10.1163/157006512x622058.

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Abstract This article examines the role of myth in Italian cultural politics in the Baltic region during the Baroque era. A special focus for this analysis is the legend about a “kinship” between the Florentine Pazzi family and the Lithuanian noble family of the Pacas (Polish: Pac), known in the sources of the seventeenth century as “the Pazzi in Lithuania.” This legend prevailed particularly in the second half of the Baroque period, having developed under the influence of different political, religious, and social aspects of Baroque culture. It played an important part in the Papacy’s interests in Poland-Lithuania during the Counter-Reformation and in the commercial activity of Italian merchants in the Baltic, which coincided with the expansion of the monastic orders in this region and the cult of St. Mary Magdalene de’ Pazzi, to whom the Pacas family expressed their devotion.

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15

Park, Moonjung. "The Italian Baroque Aesthetics in Tale of Tales." Journal of East-West Comparative Literature 50 (December 31, 2019): 111–29. http://dx.doi.org/10.29324/jewcl.2019.12.50.111.

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16

Yücetoker, İzzet. "Pedagogical Analysis of the Baroque Period Piano Repertoire: Example of Italy." International Education Studies 14, no. 11 (October 27, 2021): 19. http://dx.doi.org/10.5539/ies.v14n11p19.

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The aim of this study is to access editions of Italian Baroque works in place; to examine the availability of these works in terms of gaining techniques for playing in piano education, to gain new works aimed at different pedagogical stages in the field and to acquire new but unknown works in piano education repertoire. This research was carried out with the literature review model. During the first three months of the research, 158 baroque period composers were found among 2173 Italian composers. 50 composers composing on keyboard instruments were reached among 158 baroque composers. For this research study, the library of Dipartimento delle Arti dell’Universita di Bologna the Sala Borsa library, the Giovanni Martini Conservatory library and international museum and library of music in Bologna were visited and the works of composers made on the keyboard instruments were found. The number of works performed by composer on keyboard instruments is quite high. However, according to the objective of the project, it is aimed to perform pedagogical analysis by selecting one work from each composer. For analysis, created to the work evaluation forms prepared by the researcher. 50 works analyzed according to this form. While 48 Italian works can be used in piano education, 6 Italian works are not suitable for piano education. However, in order to use these works in piano education, these must be arranged from organ to pianoforte. An example of this is presented in this study.

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17

Pichugina, Olga K. "DEVELOPMENT OF IMITATION METHODS IN THE PAINTING PRACTICE OF THE 16th-17th CENTURY ITALIAN MASTERS." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 18. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-18.

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The article explores the imitation methods in Italian Renaissance and Baroque painting, which were widespread in the forms of copying, replication, compilation and imitation. Italian art inherited the practice of imitation from the era of Antiquity and the Middle Ages. It was the basis of apprenticeship and organization of work in art studios. Model imitation and, at the same time, search for stylistic originality from the second half of the 15th century led to the spreading of replication, compilation, imitation and emulation techniques. The practice of imitation was continued by the 17th century Italian masters in the form of self-copying. Thus, the processes of imitation in the form of copying, replication, and compilation during the Renaissance and Baroque were a major component of everyday artistic practice and produced a significant impact on its theoretical comprehension and continuation at the subsequent stages of development.

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18

Hansen, Niels Chr, Makiko Sadakata, and Marcus Pearce. "Nonlinear Changes in the Rhythm of European Art Music." Music Perception 33, no. 4 (April 1, 2016): 414–31. http://dx.doi.org/10.1525/mp.2016.33.4.414.

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Research has used the normalized pairwise variability index (nPVI) to examine relationships between musical rhythm and durational contrast in composers’ native languages. Applying this methodology, linearly increasing nPVI in Austro-German, but not Italian music has recently been ascribed to waning Italian and increasing German influence on Austro-German music after the Baroque Era. The inapplicability of controlled experimental methods to historical data necessitates further replication with more sensitive methods and new repertoire. Using novel polynomial modelling procedures, we demonstrate an initial increase and a subsequent decrease in nPVI in music by 34 French composers. Moreover, previous findings for 21 Austro-German (linear increase) and 15 Italian composers (no change) are replicated. Our results provide promissory quantitative support for accounts from historical musicology of an Italian-dominated Baroque (1600-1750), a Classical Era (1750-1820) with Austro-German centres of gravity (e.g., Mannheim, Vienna), and a Romantic Era (1820-1900) with greater national independence. Future studies should aim to replicate these findings with larger corpora with greater historical representability.

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19

Pawłowska, Maja. "Peut-on reconstruire le sens d’une oeuvre littéraire ? Edward Porębowicz, Jan Andrzej Morsztyn et la poésie française." Romanica Wratislaviensia 69 (November 29, 2022): 173–82. http://dx.doi.org/10.19195/0557-2665.69.15.

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Edward Porębowicz in a study Andrzej Morsztyn, przedstawiciel baroku w poezji polskiej (1893), gives new meaning to Morsztyn’s work, demonstrating that his poems are not part of the romantic aesthetic but they fully belong to the baroque current. Thus, Porębowicz proves that one can reconstruct the meaning of a literary work. However, a very wide erudition and general knowledge of culture are necessary. The critic succeeded in rectifying the erroneous interpretation of Morsztyn’s poetry, then prevailing, thanks to his competent and rigorous comparative proofreading of ancient Greek, Latin as well as modern Italian, French, Spanish and Polish texts.

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20

Bauer, George C. "Review: Italian Baroque and Rococo Architecture by John Varriano." Journal of the Society of Architectural Historians 46, no. 2 (June 1, 1987): 183–84. http://dx.doi.org/10.2307/990189.

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21

Posner, Donald, Elizabeth Cropper, and Charles Dempsey. "On the State of Research in Italian Baroque Art." Art Bulletin 70, no. 1 (March 1988): 138. http://dx.doi.org/10.2307/3051160.

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22

Underwood, Kent, Tharald Borgir, and Nigel North. "The Performance of Basso Continuo in Italian Baroque Music." Notes 45, no. 3 (March 1989): 502. http://dx.doi.org/10.2307/940803.

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23

Pericolo, Lorenzo. "Statuino:An Undercurrent of Anticlassicism in Italian Baroque Art Theory." Art History 38, no. 5 (September 2, 2015): 862–89. http://dx.doi.org/10.1111/1467-8365.12187.

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24

Paulicelli, Eugenia. "Fashion, Gender and Cultural Anxiety in Italian Baroque Literature." Romance Notes 50, no. 1 (2010): 35–46. http://dx.doi.org/10.1353/rmc.2010.0027.

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25

Jonathan Nauman. "Herbert and Monteverdi: Sacred Echo and the Italian Baroque." George Herbert Journal 30, no. 1-2 (2008): 96–108. http://dx.doi.org/10.1353/ghj.0.0006.

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26

Cottini, Luca. "D’Annunzio, Bernini, and the Baroque prelude of Il Piacere." Forum Italicum: A Journal of Italian Studies 51, no. 2 (April 5, 2017): 335–55. http://dx.doi.org/10.1177/0014585817698396.

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This essay investigates the early rediscovery of Bernini and the Roman Baroque in D’Annunzio’s Il piacere. Starting from the analysis of the few explicit textual references and the many implicit allusions to the Baroque artist in the novel, the present study documents Bernini’s impact on Sperelli’s persona, poetic method, and artistic projects. At the same time, based on the protagonist’s radical re-evaluation of Bernini—after two centuries of critical dismissal—this article also sheds light on the deep and substantial relationship connecting the Roman Baroque and D’Annunzio’s aesthetics. The rediscovered culture of the 17th century indeed constitutes not only a key element in Il piacere, but also an important poetic prelude for D’Annunzio’s hoped-for renaissance of the arts, and for the scholarly re-appreciation of the genius of Bernini (from Riegl to Wittkower). In light of the later success of dannunzianesimo, the novel’s Baroque vein can also be read as the first historical spark of the fervent Italian debate known as the questione barocca.

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27

Darie, Laurenţiu. "German Musical Baroque, a mini European Union avant la lettre: the bassoon concerto." Artes. Journal of Musicology 23, no. 1 (April 1, 2021): 187–95. http://dx.doi.org/10.2478/ajm-2021-0010.

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Abstract The German musical Baroque represents a sum of stylistic diversities, in which the European cultural values were merged with the national ones, resulting in a strongly individualized, but malleable style. The works dedicated to the bassoon by German composers are living evidence of aesthetic unity in the Baroque stylistic diversity, emphasizing the universality of music and its cohesive force. The analyzed concertos approach the aesthetics of each composer, through his relationship with Italian and French music, personalized in an expressive form of the German type: robust, in a clear, dynamic solid structure.

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28

Tao, Lin. "Research on the Notation of French Guitar and Lute in the Renaissance and Baroque Periods." Arts Studies and Criticism 3, no. 2 (July 6, 2022): 195. http://dx.doi.org/10.32629/asc.v3i2.916.

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After the long and dark Middle Ages, Europe ushered in the Renaissance of ideological and cultural prosperity. Under the influence of humanism, secular music began to be valued and some church music also began to be secularized, and thus the guitar instrument ushered in its first heyday. With the development of instrumental music, a notation method, which is suitable for musical instruments, gradually began to appear, also known as "sign spectrum". Besides, guitar instruments use a lot of musical notation. Even in the baroque period when the staff is mature, some French lute and baroque guitar solo works still use this notation. This notation was recorded in different ways in various parts of Europe during the Renaissance and Baroque periods, but it can be roughly divided into Italian notation and French notation. This paper will focus on the analysis of French notation.

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29

Grechanivska, Tetyana. "Functional role of the cello in Handel's solo cantatas." Culturology Ideas, no. 22 (2'2022) (2022): 63–71. http://dx.doi.org/10.37627/2311-9489-22-2022-2.63-71.

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The article considers the functional role of the cello in the vocal-instrumental musical works of the Baroque period and attempts to shift the problem from the practical-performing background into the field of professional musicological discourse. Two Italian solo cantatas by G. F. Handel were chosen for analysis, in which the composer clearly structured and used instrumental accompaniment according to the stylistic norms of the instrumental and vocal ensemble of the 17th–18th centuries — as a dialogue of two voices accompanied by others. Emphasis is placed on the differences between the basso continuo and obliggato parts, which reveal the main directions of the functional purpose of the instrument and prove the importance of the cello in the ensemble performance of the Baroque period. It is revealed that the problem of manifestation of performing individuality and interpretation of Baroque works in the concert practice of today is the subject of a separate musicological study and requires more detailed research. In this discourse, Baroque musical literature is a vast field for research, rightly playing a dominant role in contemporary performing arts.

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30

Termini, Olga. "The Role of Diction and Gesture in Italian Baroque opera." Performance Practice Review 6, no. 2 (1993): 146–57. http://dx.doi.org/10.5642/perfpr.199306.02.07.

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31

Pesce, Sara. "The Baroque imagination: Film, costume design and Italian high fashion." Film, Fashion & Consumption 5, no. 1 (August 1, 2016): 7–28. http://dx.doi.org/10.1386/ffc.5.1.7_1.

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32

Sally Quin. "Italian Women Artists from Renaissance to Baroque (review)." Parergon 25, no. 1 (2008): 217–19. http://dx.doi.org/10.1353/pgn.0.0048.

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33

Goldstein, Carl. "Rhetoric and Art History in the Italian Renaissance and Baroque." Art Bulletin 73, no. 4 (December 1991): 641. http://dx.doi.org/10.2307/3045834.

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34

Brown, Douglas. "Italian Baroque Sculpture98338B. Boucher. Italian Baroque Sculpture. London: Thames & Hudson 1998. 224 pp, ISBN: 0 500 20307 5 £7.95 World of Art series." Reference Reviews 12, no. 6 (June 1998): 36–37. http://dx.doi.org/10.1108/rr.1998.12.6.36.338.

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35

Stefanovic, Аna. "Baroque references in works of Vlastimir Trajkovic." Muzikologija, no. 13 (2012): 141–62. http://dx.doi.org/10.2298/muz120401016s.

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The article examines Baroque references in three Trajkovic?s compositions: Arion, Le nuove musiche per Chitarra ed Archi op. 8 (1979), Le retour des z?phyres ou ?Zefiro torna? op. 25 (2001) and solo song Renoveau from the cycle Cinq po?mes de St?phane Mallarm? op. 29, in its version for voice, flute and piano (2003), all these compositions being unified by the idea of modernity and novelty, metaphorically contained also in the idea of renewal of nature, which connects music of the moderns from the beginning of the 17th century and Trajkovic?s search for new paths in music, opposite to ?gothic? tangles of the Avant-garde. Complex and multi-layered, the references to the Baroque era in Trajkovic?s works reflect fundamentally generic, arche-textual relations. Compositions Arion and Zefiro torna are set upon explicit references to Italian origins of the Baroque epoch, in theoretical, as well as in the creative domain (to Caccini?s collection of madrigals - Le nuove musiche, 1601, and Monteverdi?s madrigal Zefiro torna, 1614, after Petrarch?s sonnet). Zefiro torna, with a primarily French title and subtitles of the ?scenes? given after antique mythological sources, indicates, again, a twofold generic relation: to the Italian madrigal tradition (including another Monteverdi?s madrigal with the same title composed after Rinuccini?s sonnet, from 1632) and the French tradition of opera/ballet, additionally mediated by references to the opuses of Debussy and Ravel. Multiple literary and musical trans-historical relations can be observed in the solo song Renouveau. However, from these compositions, implicit generic relations, far more than explicit para-textual references, with the whole corpus of themes, forms, texts, discourses as well as crucial poetic concepts of the 17th century music can be inferred.

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36

Neuman, Robert. "Robert de Cotte and the Baroque Ecclesiastical Façade in France." Journal of the Society of Architectural Historians 44, no. 3 (October 1, 1985): 250–65. http://dx.doi.org/10.2307/990075.

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The façade of St. Roch, Paris (erected 1736-1738), the last major work by Robert de Cotte, is often viewed as anomalous in an oeuvre devoted almost exclusively to the design of secular buildings. However, the recent discovery in Paris of certain drawings and related documents from de Cotte's studio (Bibliothèque Nationale; Archives Nationales; Bibliothèque de l'Institut) makes it clear that he confronted the problem of the Italianate ecclesiastical façade throughout his career, although only a few of the commissions were actually carried out. The various solutions, while rooted in French tradition, betray a strong interest in Italian church portals of the Late Renaissance and Baroque. The notes and drawings made by the architect during his Italian sojourn of 1689-1690 confirm this interest. A chronological review of the projects reveals that the design for the St. Roch portal was closely related to de Cotte's earlier experiments for church façades in Paris, Dijon, and Orléans; the Premier Architecte relied particularly on precedents set by Jules Hardouin Mansart, as well as on his own unexecuted project for St. Louis de Versailles (1724).

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37

Stanga, C., H. Hasníková, R. Brumana, A. Grimoldi, and F. Banfi. "GEOMETRIC PRIMITIVES ASSESSING ITALIAN-CZECH VAULT CONSTRUCTION TECHNIQUES IN BAROQUE PERIOD." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 5, 2019): 1081–88. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-1081-2019.

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<p><strong>Abstract.</strong> The developments of the latest technology in the field of Digital Cultural Heritage (DCH) are revolutionizing the methods of surveying, representing and managing the built heritage. The integrated use of 3D survey instruments such as laser scanning, digital photogrammetry and the new holistic way to represent the architecture, based on the Building Information Modeling (BIM), allows the collection, analysis and archiving of a large amount of data, by increasing information sharing among a great number of experts involved during the life cycle of the building. The paper focuses on the connection between Italy and Czech in terms of vaults patterns and construction techniques. The two case studies are the frame vault of the chapel of the Italian Cultural Institute and the barrel vault with lunettes of the Klementinum Baroque Library. They are both unique examples of the great expertise of architects and craftsmen that worked in Bohemia across the 17th and 18th centuries. Most of them were from the North of Italy, like the ones that worked in the building sites of the two case studies. The in-depth study of the construction techniques and the complex shapes needs the use of new scan-to-BIM modeling requirements, based on the definition of geometric primitives useful for the generation of intelligent three-dimensional models able to integrate different types of data. Finally, the acquired data are included in a database that collects information coming from both Italian and Czech studies, raising awareness among citizens of the richness of their built heritage.</p>

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38

Walden, Daniel K. S. "Expanding the conversation: new recordings of Italian Baroque and galant repertory." Early Music 46, no. 3 (August 2018): 535–38. http://dx.doi.org/10.1093/em/cay057.

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39

Schweitzer, Claudia. "Study on French Baroque singing by accent and intonation segmentation." Journal of Speech Sciences 7, no. 2 (September 20, 2019): 09–30. http://dx.doi.org/10.20396/joss.v7i2.15003.

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The baroque music is modelled on the language, so the claim of the composers of the time and the report of the musicians and musicologists of today. It is thus national because it always refers to a specific language. Typically, we consider as a proof the work of the composer Jean-Baptiste Lully who, as the saying goes, would have formed his recitatives according to the declamation of the actress Champmeslé. Starting from a specific linguistic material, Baroque music is national: it is French, Italian, German, English ... Numerous studies, in particular musicological, have shown the treatment of language rhythm among composers. In this article we will discuss the subject from a wider angle and try to show by an accentuated and intonational segmentation of the text and the melody composed by the musicians, to what extent the prosody of French and the French Baroque music correspond.We use the prosodic segmentation model proposed by Piet Mertens for French, and we base our study on a body of recitatives, because this genre is considered extremely close to declamation, and therefore to the spoken language. Despite the differences between the language used in the compositions and the standard Parisian French of the 21st century, due to the style and evolution of French, Mertens' approach proves to be convincing in describing the compositional setting of the text by composers French Baroque. The research thus confirms the close proximity between textual and musical prosody for the French Baroque recitative.

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40

Rubini, Rocco. "The Vichian Resurrection of Commedia dell’Arte: Michelet, Sand, and De Sanctis." Quaderni d'italianistica 37, no. 2 (January 27, 2018): 49–74. http://dx.doi.org/10.33137/q.i..v37i2.29228.

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This essay seeks to reconnect two intellectual events of major import in nineteenth-century France: Jules Michelet’s “rediscovery” of Giambattista Vico as a viable source for a critical review of modernity’s task and the scholarly, artistic, and moral accreditation of commedia dell’arte, something inaugurated by George and Maurice Sand in their landmark Masques at bouffons (1860). Together, I contend, these scholarly events mark turning points in the romantic revision of the Renaissance, Baroque, and Enlightenment legacies. In the first section of this essay, I examine Michelet’s Vichian obsession, itself so often studied in isolation, to account for its hybridization with a specific brand of Italian Vichianism imported to France by Italian Risorgimento expatriates. As I explore in the second part of the essay, this connection informs the Sands’ recuperation of commedia dell’arte, another important part of Italy’s early modern legacy, as itself a Vichian event mediated by Michelet’s historiography. In conclusion, this rapprochement will allow us to elucidate a larger reciprocation between French and Italian thinkers at the same time that Italians were reckoning with the legacy of the Risorgimento, as we see through the eyes of one of its major proponents, Francesco De Sanctis, who in his influential History of Italian literature (1870–1) reappropriated Vico to argue that the rebirth of Italy may depend on the obliteration of both its Renaissance and comic traditions.

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41

WEBSTER, JAMES. "THE EIGHTEENTH CENTURY AS A MUSIC-HISTORICAL PERIOD?" Eighteenth Century Music 1, no. 1 (March 2004): 47–60. http://dx.doi.org/10.1017/s147857060400003x.

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Period concepts and periodizations are constructions, or readings, and hence always subject to reinterpretation. Many recent scholars have privileged institutional and reception history over style and compositional history, and periodized European music according to the ‘centuries’; but these constructions are no less partial or tendentious than older ones. Recent historiographical writings addressing these issues are evaluated.If we wish to construe the eighteenth century as a music-historical period, we must abandon the traditional notion that it was bifurcated in the middle. Not only did the musical Baroque not last beyond 1720 in most areas, but the years c1720–c1780 constituted a period in their own right, dominated by the international ‘system’ of Italian opera, Enlightenment ideals, neoclassicism, the galant and (after c1760) the cult of sensibility. We may call this the ‘central’ eighteenth century. Furthermore, this period can be clearly distinguished from preceding and following ones. The late Baroque (c1670–c1720) was marked by the rationalization of Italian opera, tragédie lyrique, the standardization of instrumental genres and the rise of ‘strong’ tonality. The period c1780–c1830 witnessed the rise of the ‘regulative work-concept’ (Goehr) and ‘pre-Romanticism’ (Dahlhaus), and the Europe-wide triumph of ‘Viennese modernism’, including the first autonomous instrumental music and a central role in the rise of the modern (post-revolutionary) world, symbolized by Haydn’s sublime in The Creation.A tripartite reading of a ‘long’ eighteenth-century in music history along these lines seems more nearly adequate than either baroque/classical or 1700–1800 as a single, undifferentiated period.

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ffolliott, Sheila, and Mary D. Garrard. "Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art." Woman's Art Journal 12, no. 1 (1991): 41. http://dx.doi.org/10.2307/1358189.

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Loh, Maria H. "New and Improved: Repetition as Originality in Italian Baroque Practice and Theory." Art Bulletin 86, no. 3 (September 2004): 477. http://dx.doi.org/10.2307/4134443.

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Goldberg, Edward L., and Mary D. Garrard. "Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art." American Historical Review 96, no. 2 (April 1991): 547. http://dx.doi.org/10.2307/2163330.

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Even, Yael, and Mary D. Garrard. "Artemisia Gentileschi; The Image of the Female Hero in Italian Baroque Art." Sixteenth Century Journal 20, no. 2 (1989): 337. http://dx.doi.org/10.2307/2540692.

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Pollock, Griselda, and Mary D. Garrard. "Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art." Art Bulletin 72, no. 3 (September 1990): 499. http://dx.doi.org/10.2307/3045754.

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Vădeanu, Ina. "„Maestri muratori” și constructori transilvăneni, în cadrul programului arhitectural al „Episcopiei Greco-Catolice Gherla”, în perioada 1853-1918." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 39–66. http://dx.doi.org/10.24193/subbhistart.2020.03.

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"“Maestri muratori” and Transylvanian builders, within the architectural program of the “Greek Catholic Episcopate Gherla” between 1853 and 1918. In the second half of the 19th century, in Transylvania there was a demand for specialized labor, on construction sites such as the construction of railways, the construction of roads and bridges for which Italians came from areas with a recognized constructive tradition, such as those in the Trentino area, are encouraged and supported by the Austrian administration to emigrate. The Italian emigrants in Transylvania, mostly working in the field of construction, were a community poor in resources, but rich in human resources and entrepreneurship. In the alternative, these Italian builders, “master builders”, permanently established in Transylvania will contract smaller construction sites, proposals of wealthier rural parish communities, the case of former border villages able to financially support more elaborate constructions, morpho-stylistically and decoratively, regulated under the umbrella of the same imperial restrictions under which it was built in all Austrian provinces of the period. In the absence of relevant archival data on the paternity of the buildings discussed here, the priority tool of this study to identify the collaboration of Italian “master builders” is the stylistic investigation based on the certainty of their presence in the context of three church buildings related to the reference period: from Cășeiu, built by Antonio Baizero from Udine, the Roman Catholic church from Ileanda, built by Italian emigrants to serve their religious service and the church from Livada (Dengeleag), built by Lorenzo Zottich, possibly belonging to a second generation of emigrant builders Italians in Transylvania. All these constructions have common stylistic features, integrated into one of the three representative categories, identified within the “Greek Catholic Episcopate of Gherla”, namely the most elaborate architectural model agreed by the Austrian authorities: rural churches with a single tower on the facade, tower with a neoclassical baroque-inspired profiling that also involves the most complex local level of labor of the moment. In the context of the lack of relevant archival data on the constructive paternity in most of these buildings, the identification of the presence and participation of Italian builders on construction sites within the “Greek Catholic Diocese of Gherla” uses as main study tool, stylistic analysis of monuments, which results in the launch of hypotheses meant to be validated in the future through applied studies by the archive. Morpho-constructive characteristics similar to the churches in Cășeiu, Ileanda, Livada (Dengeleag) crowned by the presence of the neo-baroque tower, the corrugated cornice that integrates decorative clocks, with a high level of difficulty in terms of construction, indicate a possible presence of Italian emigrant builders: Orman, Cluj County (1865-1867), Livada - Dindeleag, Cluj County (1868), Buciumi, Sălaj County (1872), Rus, Sălaj County (1890-1894), Poieni, Cluj County (1892), Apahida (1892), Borșa (1900), Dobricul Mare, Bistrița Năsăud county (1902), Sâncraiu Almașului, Sălaj county (1902), Agrieș, Bistrița Năsăud county (1905-1906), Șieu Cristur (1906), Bistrița Năsăud county, Lunca Ilvei (1906-1910), Bistrița Năsăud county, Chizeni (1910), Bistrița Năsăud county, Urișor (inc. 1910), Cluj county, Rohia, Maramureș county (1911), Church from Sașa (1907-1911), Alba county, Diviciorii Mici, Cluj county, (1912), Surduc, Sălaj county (1913), Câțcău, Cluj county (1914). However, the final demonstration remains to be validated following documented related archival studies. Keywords: Italian emigrants, Greek catholic architecture, “Greek Catholic Episcopate Gherla”, Greek catholic church from Cășeiu, Italian Roman catholic church in Ileanda, Greek catholic church from Livada (Dengeleag), Lorenzo Zottich, Antonio Baizero da Udine "

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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, no. 4 (July 31, 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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Kouria, Aphrodite. "Secular painting in the Ionian islands and Italian art: Aspects of a multi-faceted relationship." Historical Review/La Revue Historique 13 (February 24, 2017): 29. http://dx.doi.org/10.12681/hr.11555.

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The contribution of Italian art, especially Venetian, was decisive to the secularisation of art in the Ionian Islands and the shaping of the so-called Ionian School, in the context of a broader Western influence affecting all aspects of life and culture, especially on the islands of Zakynthos and Corfu. Italian influences, mainly of Renaissance, Mannerism and Baroque art, can be identified both on the iconographic and the stylistic level of artworks, with theoretical support. This article explores facets of the dialogue of secular painting in the Ionian with Italian art in the eighteenth and nineteenth centuries, focussing on works and artists that highlight significant aspects of this multilayered phenomenon and also through secondary channels that expand the horizon of analysis. Procession paintings, with their various connotations, and portraiture, which flourished in secular Ionian art, offer the most interesting material as regards the selection, reception and management of Italian models and points of reference.

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Noyes, Ruth Sargent, and Rūstis Kamuntavičius. "The Paracca Family of Architects and Druja Synagogue: Magnate Patrons and Jewish Clients of Eighteenth-century “Vilnius Baroque”." Ars Judaica The Bar Ilan Journal of Jewish Art: Volume 17, Issue 1 17, no. 1 (January 1, 2021): 25–59. http://dx.doi.org/10.3828/aj.2021.17.3.

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This article explores Jews’ role in mediating artistic exchange between Italy and the Polish-Lithuanian Commonwealth in the eighteenth century, through a case study examining the cultural and historical context surrounding the construction of the Druja synagogue (ca. 1765-1766) by the Paracca family of immigrant Italian architects and masons, for the burgeoning Jewish community affiliated with the region’s reigning noble families. The article explores the circumstances surrounding the Druja synagogue as a manifestation of the so-called “Vilnius Baroque” school of late Baroque-Rococo architecture in the Grand Duchy. The synagogue design reanimated the grandeur of the past and represented notions of Italy in honor of Baltic Catholic patrons and Jewish clients. Jews emerge as scions and mediators of the geopolitical, spiritual and cultural crossroads at Druja, a historical inflection point when emerging divisions of conceptual geography gave rise to the notion of an “eastern Europe.”

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