Дисертації з теми "L-ART/02"
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Culatti, Marcella <1972>. "La raffigurazione delle arti in Italia: le allegorie della pittura e della scultura in epoca moderna." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2007. http://amsdottorato.unibo.it/612/1/culatti_tesi.pdf.
Повний текст джерелаCulatti, Marcella <1972>. "La raffigurazione delle arti in Italia: le allegorie della pittura e della scultura in epoca moderna." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2007. http://amsdottorato.unibo.it/612/.
Повний текст джерелаCaprara, Francesco <1968>. "Heinrich Bodmer. Guida storico-artistica di Budrio e del suo circondario." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/1099/1/Tesi_Caprara_Francesco.pdf.
Повний текст джерелаCaprara, Francesco <1968>. "Heinrich Bodmer. Guida storico-artistica di Budrio e del suo circondario." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/1099/.
Повний текст джерелаPascual, Chenel Alvaro Luis <1978>. "Il ritratto di Stato all'epoca di Carlo II. L'ultimo re della Casa d'Austria in Spagna (1661-1700)." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/1100/1/Tesi_Pascual_Chenel_Alvaro_Luis.pdf.
Повний текст джерелаPascual, Chenel Alvaro Luis <1978>. "Il ritratto di Stato all'epoca di Carlo II. L'ultimo re della Casa d'Austria in Spagna (1661-1700)." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/1100/.
Повний текст джерелаLapenta, Stefania <1973>. "Aspetto, carattere e mitiche imprese di Diana, dela della caccia e della Luna, nella cultura artistica italiana tra XIV e XVI secolo." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/1200/1/TESI_Lapenta_Stefania.pdf.
Повний текст джерелаLapenta, Stefania <1973>. "Aspetto, carattere e mitiche imprese di Diana, dela della caccia e della Luna, nella cultura artistica italiana tra XIV e XVI secolo." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/1200/.
Повний текст джерелаRubbi, Valeria <1967>. "L'architettura a Bologna nel Rinascimento (1899) di Francesco Malaguzzi Valeri: introduzione storico-critica al testo con aggiunte e precisazioni sui momenti centrali del Rinascimento bolognese." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/1201/1/tesi_rubbi_valeria.pdf.
Повний текст джерелаRubbi, Valeria <1967>. "L'architettura a Bologna nel Rinascimento (1899) di Francesco Malaguzzi Valeri: introduzione storico-critica al testo con aggiunte e precisazioni sui momenti centrali del Rinascimento bolognese." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/1201/.
Повний текст джерелаBasalti, Chiara <1980>. "Il disegno di ornato nella seconda metà del Settecento a Bologna tra tradizione e innovazione." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2009. http://amsdottorato.unibo.it/2229/1/Basalti__Chiara_Tesi_HI.pdf.
Повний текст джерелаBasalti, Chiara <1980>. "Il disegno di ornato nella seconda metà del Settecento a Bologna tra tradizione e innovazione." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2009. http://amsdottorato.unibo.it/2229/.
Повний текст джерелаNadezda, Chamina <1977>. "La fortuna della scenografia italiana nella Russia Neoclassica. Il teatro di Pietro Gonzaga a Mosca." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3167/1/Chamina_Nadezda_La_fortuna_della_scenografia_italiana_nella_Russia_neoclassica_Il_teatro_di_Pietro_Gonzaga_a_Mosca.pdf.
Повний текст джерелаNadezda, Chamina <1977>. "La fortuna della scenografia italiana nella Russia Neoclassica. Il teatro di Pietro Gonzaga a Mosca." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3167/.
Повний текст джерелаSolacini, Claudia <1978>. "Miti ed eroi nella ritrattistica francese tra XVI e XVIII secolo." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3182/1/solacini_claudia_tesi.pdf.
Повний текст джерелаSolacini, Claudia <1978>. "Miti ed eroi nella ritrattistica francese tra XVI e XVIII secolo." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3182/.
Повний текст джерелаMadrid, Martin Jose Maria <1981>. "Matters of taste: the neoclassical furniture in the Italian portraits from the late eighteenth century to the Restoration." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/4534/1/madridmart%C3%ACn_jos%C3%A9mar%C3%ACa_tesi.pdf.
Повний текст джерелаMadrid, Martin Jose Maria <1981>. "Matters of taste: the neoclassical furniture in the Italian portraits from the late eighteenth century to the Restoration." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/4534/.
Повний текст джерелаSpissu, Maria Vittoria <1980>. "Il caso del Maestro di Ozieri e la cultura pittorica del Cinquecento in Sardegna." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/5084/1/spissu_mariavittoria_tesi.pdf.
Повний текст джерелаThe present doctoral thesis research focuses on the relationship between the Master of Ozieri and early 16th-century painting in Sardinia (1500-1550). We studied the use of prints and assessed the influence of Roman and southern Italian painting. We pondered on the possibility of the artist's being a foreigner native of northern Europe, given the many similarities between his and German and Flemish works. We delved into understanding which of the paintings presently attributed to him are in fact the Master of Ozieri's work, rather than his followers' and imitators'. Thus, on the basis of painting style comparisons and archives research, the Master of Ozieri's profile and placement in time has been reconsidered.
Spissu, Maria Vittoria <1980>. "Il caso del Maestro di Ozieri e la cultura pittorica del Cinquecento in Sardegna." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/5084/.
Повний текст джерелаThe present doctoral thesis research focuses on the relationship between the Master of Ozieri and early 16th-century painting in Sardinia (1500-1550). We studied the use of prints and assessed the influence of Roman and southern Italian painting. We pondered on the possibility of the artist's being a foreigner native of northern Europe, given the many similarities between his and German and Flemish works. We delved into understanding which of the paintings presently attributed to him are in fact the Master of Ozieri's work, rather than his followers' and imitators'. Thus, on the basis of painting style comparisons and archives research, the Master of Ozieri's profile and placement in time has been reconsidered.
Filipponi, Fernando <1978>. "La maiolica istoriata castellana. Modelli a stampa, evoluzione del gusto e delle richieste di mercato, dinamiche comerciali, fonti e documenti: aggiornamenti e nuove proposte di interpretazione." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/5112/1/filipponi_fernando_tesi.pdf.
Повний текст джерелаThe maiolica of Castelli d’Abruzzo stands out because of a great originality and a high quality of her objects. This research was lead about different features of ceramic production of Castelli and is directed to increase the knowledge, trying to overcome the sectoral vision of some studies on the subject. The research is aimed to bring out some particulars features of production in istoriato maiolica, a product with which the factories of Castelli obtained the absolute primacy in Italy during XVII and XVIII centuries, thanks to originality of working’s techniques and to the continue search of new decoratives solutions and updates types.
Filipponi, Fernando <1978>. "La maiolica istoriata castellana. Modelli a stampa, evoluzione del gusto e delle richieste di mercato, dinamiche comerciali, fonti e documenti: aggiornamenti e nuove proposte di interpretazione." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/5112/.
Повний текст джерелаThe maiolica of Castelli d’Abruzzo stands out because of a great originality and a high quality of her objects. This research was lead about different features of ceramic production of Castelli and is directed to increase the knowledge, trying to overcome the sectoral vision of some studies on the subject. The research is aimed to bring out some particulars features of production in istoriato maiolica, a product with which the factories of Castelli obtained the absolute primacy in Italy during XVII and XVIII centuries, thanks to originality of working’s techniques and to the continue search of new decoratives solutions and updates types.
Marchetti, Elena <1980>. "Paul Flandrin (1811-1902), un nuovo sguardo sul paesaggio dell'Ottocento." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/6082/1/marchetti_elena_tesi.pdf.
Повний текст джерелаThis research aims at improving the knowledge of landscape painting in France during the 19th century through the study of the work of the painter Paul Flandrin (1811-1902). Flandrin is situated midway different artistic experiences between 1840-1870: the neoclassical tradition, Camille Corot heritage, the teaching of Jean-Auguste-Dominique Ingres. This dissertation offers new original insights to the subject by examining a great amount of unpublished material. The leading lines of this research are: the use of the catalogue raisonné method; the analysis of the work process of a landscape painter from the oil sketch to the finished painting and from drawing to painting; the analysis of written sources, both letters between painters and archive documents or newspaper articles; the analysis of the artist’s cultural context, such as the relationship with colleagues, the influence of his master Ingres, the role he played as the most remarkable representative of 19th century landscape neoclassical school.
Marchetti, Elena <1980>. "Paul Flandrin (1811-1902), un nuovo sguardo sul paesaggio dell'Ottocento." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/6082/.
Повний текст джерелаThis research aims at improving the knowledge of landscape painting in France during the 19th century through the study of the work of the painter Paul Flandrin (1811-1902). Flandrin is situated midway different artistic experiences between 1840-1870: the neoclassical tradition, Camille Corot heritage, the teaching of Jean-Auguste-Dominique Ingres. This dissertation offers new original insights to the subject by examining a great amount of unpublished material. The leading lines of this research are: the use of the catalogue raisonné method; the analysis of the work process of a landscape painter from the oil sketch to the finished painting and from drawing to painting; the analysis of written sources, both letters between painters and archive documents or newspaper articles; the analysis of the artist’s cultural context, such as the relationship with colleagues, the influence of his master Ingres, the role he played as the most remarkable representative of 19th century landscape neoclassical school.
Onofri, Stefano <1983>. "La cerchia di Giulio Clovio: gli incontri, i viaggi, le amicizie di un artista europeo." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/6083/1/onofri_stefano_tesi.pdf.
Повний текст джерелаThe dissertation is about the miniaturist Giulio Clovio (Grižane, Croatia, 1498 – Rome, 1578), considering him as the centre of many relations among patrons, artists and men of letters. It is divided into three parts, following the life of the artist: youth (1498-1534), maturity (1534-1561) and old age (1561-1578). The most important patrons are Domenico and Marino Grimani, the cardinal Alessandro Farnese; among the Italian artists: Giulio Romano, Girolamo dai Libri, Valerio Belli, Sofonisba Anguissola. Among the European artists: Francisco de Hollanda, Pieter Brueghel the Elder, Bartholomeus Sprangher, El Greco and Lampsonio.
Onofri, Stefano <1983>. "La cerchia di Giulio Clovio: gli incontri, i viaggi, le amicizie di un artista europeo." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/6083/.
Повний текст джерелаThe dissertation is about the miniaturist Giulio Clovio (Grižane, Croatia, 1498 – Rome, 1578), considering him as the centre of many relations among patrons, artists and men of letters. It is divided into three parts, following the life of the artist: youth (1498-1534), maturity (1534-1561) and old age (1561-1578). The most important patrons are Domenico and Marino Grimani, the cardinal Alessandro Farnese; among the Italian artists: Giulio Romano, Girolamo dai Libri, Valerio Belli, Sofonisba Anguissola. Among the European artists: Francisco de Hollanda, Pieter Brueghel the Elder, Bartholomeus Sprangher, El Greco and Lampsonio.
Piazzi, Maria Ludovica <1984>. "Il lascito di Agostino Mitelli ai quadraturisti e ai decoratori del secondo Seicento bolognese attraverso le testimonianze grafiche." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6707/1/tesi_dottorato_MLP.pdf.
Повний текст джерелаAgostino Mitelli (1609-1660) is a key figure in Bolognese art evolution. In fact he refurbished quadratura fresco, the field he used to work more in, and became a landmark for the following generations. He had many pupils who became exponents of his style and his works had been studied till late 18th century. Agostino was also an excellent draughtsman and granted a great importance to the graphic medium as a verification and practice instrument. This predilection influenced also his followers: after his death there was a great demand of his drawings, used as ornamental and quadratura's repertoires. They were also used as a mean of study, in fact there is a large amount of copies and exercises in his style, that I have systematically analyzed. Therefore I was able to identify some of the most important followers of Agostino: Domenico Santi, Giacomo Antonio Mannini and Marc'Antonio Chiarini. To assess the influence of Agostino's work on following generations the chalcographic production is also important. I analyzed this production from his four ornamental etchings sets, which have been reprinted several times, even in France. After his death other sets were printed and they were very close to his work. The first one was made by his son, Giuseppe Maria Mitelli, who engraved some of Agostino's drawings. Santi, Buffagnotti, Mannini, Chiarini and several others' sets followed and those also included quadratura and view and this sets were very often re-assembled by editors and collectors. Also contemporary sources discussed the dependence of following generations from Agostino Mitelli's work, it is the case of the unpublished manuscripts of Giovanni Mitelli, the other son of Agostino, that provided a lot of new information.
Piazzi, Maria Ludovica <1984>. "Il lascito di Agostino Mitelli ai quadraturisti e ai decoratori del secondo Seicento bolognese attraverso le testimonianze grafiche." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6707/.
Повний текст джерелаAgostino Mitelli (1609-1660) is a key figure in Bolognese art evolution. In fact he refurbished quadratura fresco, the field he used to work more in, and became a landmark for the following generations. He had many pupils who became exponents of his style and his works had been studied till late 18th century. Agostino was also an excellent draughtsman and granted a great importance to the graphic medium as a verification and practice instrument. This predilection influenced also his followers: after his death there was a great demand of his drawings, used as ornamental and quadratura's repertoires. They were also used as a mean of study, in fact there is a large amount of copies and exercises in his style, that I have systematically analyzed. Therefore I was able to identify some of the most important followers of Agostino: Domenico Santi, Giacomo Antonio Mannini and Marc'Antonio Chiarini. To assess the influence of Agostino's work on following generations the chalcographic production is also important. I analyzed this production from his four ornamental etchings sets, which have been reprinted several times, even in France. After his death other sets were printed and they were very close to his work. The first one was made by his son, Giuseppe Maria Mitelli, who engraved some of Agostino's drawings. Santi, Buffagnotti, Mannini, Chiarini and several others' sets followed and those also included quadratura and view and this sets were very often re-assembled by editors and collectors. Also contemporary sources discussed the dependence of following generations from Agostino Mitelli's work, it is the case of the unpublished manuscripts of Giovanni Mitelli, the other son of Agostino, that provided a lot of new information.
De, Carolis Francesco <1982>. "Il libro di spese diverse di Lorenzo Lotto. Analisi e commento." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amsdottorato.unibo.it/7046/1/DeCarolis_Francesco_Tesi.pdf.
Повний текст джерелаRegarding my doctoral project, I am conducting research on the analysis and the commentary of the account book by Lorenzo Lotto. It is held at historical archive in Loreto, and it is better known as Libro di spese diverse, an apocryphal name which we find on the front page. We can consider it as one of the most important document for the Italian Renaissance studies: indeed, the Lotto’s document refers to meetings with patrons, colleagues and friends, showing his lifestyle as well as his professional activity. This research focuses the attention on the artist reading this source more correctly: in the past times the Libro di spese diverse was considered a diary and it was studied by a wrong point of view.
De, Carolis Francesco <1982>. "Il libro di spese diverse di Lorenzo Lotto. Analisi e commento." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amsdottorato.unibo.it/7046/.
Повний текст джерелаRegarding my doctoral project, I am conducting research on the analysis and the commentary of the account book by Lorenzo Lotto. It is held at historical archive in Loreto, and it is better known as Libro di spese diverse, an apocryphal name which we find on the front page. We can consider it as one of the most important document for the Italian Renaissance studies: indeed, the Lotto’s document refers to meetings with patrons, colleagues and friends, showing his lifestyle as well as his professional activity. This research focuses the attention on the artist reading this source more correctly: in the past times the Libro di spese diverse was considered a diary and it was studied by a wrong point of view.
Sirocchi, Simone <1984>. "Strategie culturali tra Parigi e Modena nel Grand Siècle: gli artisti francesi alla corte estense." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amsdottorato.unibo.it/7314/1/Sirocchi_Simone_tesi.pdf.
Повний текст джерелаThe thesis deals with the work of French artists at the Este court during the reign of Francis I (1629-1658) and Alfonso IV (1658-1662) and the broader context of political and cultural links between Paris and Modena to illustrate the French contribution to the definition of the image of ducal power. From the study of the diplomatic correspondence of Abbot Ercole Manzieri, resident of Francesco I in Paris from 1650, it resulted that Modena was among the first courts to comply with the fashion and customs of France. The thesis investigates the panegyrics that Girolamo Graziani, secretary of state, poet and ambassador of the Este court, composed in praise of Louis XIV, before focusing on the artistic path of Jean Boulanger, who was the first court painter of Francesco I. The research first clarifies his initial formation to focus then on his paintings in the Palazzo Ducale in Sassuolo, especially on the Bacchus Gallery. In the very last section, the thesis deals with the 'French client' Alfonso IV and it focuses on the latest Boulanger decorative cycle in the lost Villa ducale of Pentetorri. Documents only partially known allowed to place the rooms painted by Boulanger in the space of the villa and to read for the first time the entire cycle iconography. Second monumental Alfonso enterprise during his short reign was the solemn commission funeral for his deceased father as immortalized in the Idea di un prencipe of the Jesuit Domenico Gamberti (1659). This work, one of the most prestigious of the seventeenth century, shapes the image of ducal power thanks to a rich repertoire of illustrations. If the original project is up to Jean Boulanger, for their engraving onto copper more French engravers were involved, whose names and modes of engagement are specified in this work as well.
Sirocchi, Simone <1984>. "Strategie culturali tra Parigi e Modena nel Grand Siècle: gli artisti francesi alla corte estense." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amsdottorato.unibo.it/7314/.
Повний текст джерелаThe thesis deals with the work of French artists at the Este court during the reign of Francis I (1629-1658) and Alfonso IV (1658-1662) and the broader context of political and cultural links between Paris and Modena to illustrate the French contribution to the definition of the image of ducal power. From the study of the diplomatic correspondence of Abbot Ercole Manzieri, resident of Francesco I in Paris from 1650, it resulted that Modena was among the first courts to comply with the fashion and customs of France. The thesis investigates the panegyrics that Girolamo Graziani, secretary of state, poet and ambassador of the Este court, composed in praise of Louis XIV, before focusing on the artistic path of Jean Boulanger, who was the first court painter of Francesco I. The research first clarifies his initial formation to focus then on his paintings in the Palazzo Ducale in Sassuolo, especially on the Bacchus Gallery. In the very last section, the thesis deals with the 'French client' Alfonso IV and it focuses on the latest Boulanger decorative cycle in the lost Villa ducale of Pentetorri. Documents only partially known allowed to place the rooms painted by Boulanger in the space of the villa and to read for the first time the entire cycle iconography. Second monumental Alfonso enterprise during his short reign was the solemn commission funeral for his deceased father as immortalized in the Idea di un prencipe of the Jesuit Domenico Gamberti (1659). This work, one of the most prestigious of the seventeenth century, shapes the image of ducal power thanks to a rich repertoire of illustrations. If the original project is up to Jean Boulanger, for their engraving onto copper more French engravers were involved, whose names and modes of engagement are specified in this work as well.
Butera, Valeria <1984>. "Dalla parola all'immagine. Le prediche figurate di Daniel Hopfer e il ruolo della grafica nella diffusione della dottrina evangelica." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amsdottorato.unibo.it/7428/1/Valeria_Butera%2C_Tesi_di_Dottorato.pdf.
Повний текст джерелаThe researches have primarily focused on deepening the historical and cultural environment of the Reformation, especially on the positions of the most important exponents and theologians to the question of the images, the representability of God and the various functions of art at the beginning of the Reformation period. The core pieces of research are some broadsheets by the Augsburg artist Daniel Hopfer (1471-1536), which represent paragraphs of the Bible in a narrative form and are strictly connected to the theological issues of the modernity. In the collections of the Bavarian State Library of Munich, the Herzog August Library in Wolfenbüttel and the Forschungsbibliothek Gotha-Erfurt University I have analyzed the graphic work Hopfer’s in conjunction with the Augsburg Reformation and sermons, treatises and catechetical writings of reformers of the first decades of the XVI century. Moreover the etchings of Hopfer were compared with broadsheets od contemporary artists, who deals with similar subjects. The leitmotifs of the pictures are the juxtaposition between the teachings of Christ and the law of the Pharisees, through which Hopfer refer to the hypocrisy and abuses of the catholic clergy. Moreover, Hopfer added to the illustrated scenes the pieces of the Holy Scripture that justify these theological terms. In this way he uses the same rhetorical principle of the Reformers: a paratactic arrangement of the biblical source, often without other explanation. My argumentation consider this particularly work by Hopfer a pictorial sermon. On one hand, it embodies the spiritual needs of a spontaneous and authentic relationship with the Gospel, on the other hand, especially in the printing of the 30s, it expresses a strong message of social controversy.
Das Forschungsprojekt konzentriert sich auf die Einblattdrucke von Daniel Hopfer (1471-1536), die Gebete, Gleichnisse, Salomonische Sprüche und Absätze des Neuen Testaments in szenischer Form darstellen. In seinen graphischen Werken stellt der Augsburger Radierer Hopfer Zusammenhänge zu den theologischen Fragen der Gegenwart her. In meiner Dissertation werden Predigten, Traktate und katechetische Schriften der Reformationszeit, die sich auf das Oeuvre Hopfers auswirken, untersucht. Gleichzeitig werden die Radierungen Hopfers mit anderen ikonographischen Vorbildern der Reformationszeit, wie Titelblättern, Buchillustrationen und Flugblättern, in Verbindung gesetzt. Die textuellen und bildlichen Quellen der Werke Hopfers wurden vor allem in München, bei der Bayerische Staatsbibliothek und dem Zentralinstitut für Kunstgeschichte, in Wolfenbüttel, bei der Herzog August Bibliothek und in Gotha, bei der Forschungsbibliothek, geforscht.
Gu, Jihoon <1981>. "L'arte al tempo di Giovanni II Bentivoglio. Nuovi studi su arte e potere a Bologna tra XV e XVI secolo." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amsdottorato.unibo.it/7668/1/Tesi_completo.pdf.
Повний текст джерелаThe thesis deals with the political power of Giovanni II Bentivoglio, Lord of Bologna in the second half of the fifteenth century. The focus is on his painted portraits, town urban projects and religious painting commissioned by him.
Gu, Jihoon <1981>. "L'arte al tempo di Giovanni II Bentivoglio. Nuovi studi su arte e potere a Bologna tra XV e XVI secolo." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amsdottorato.unibo.it/7668/.
Повний текст джерелаThe thesis deals with the political power of Giovanni II Bentivoglio, Lord of Bologna in the second half of the fifteenth century. The focus is on his painted portraits, town urban projects and religious painting commissioned by him.
Checchi, Guido <1983>. "Roma 1572: la "fiammata mistica" di Anthonie Blocklandt, El Greco e Giovanni de' Vecchi." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amsdottorato.unibo.it/8206/1/Checchi_Guido_tesi.pdf.
Повний текст джерелаIn Pittura e Controriforma: l’arte senza tempo di Scipione da Gaeta, edited in 1957, Federico Zeri is among the first in Italy to discuss the question of images in the religious crisis caused by the Reformation in the XVI century. Above the process of formal simplification and touching pietism, another trend appears made of dramatic and trembling mystic traits of some artists, symptom of more complex spirituality. Zeri highlights how this tendency born with Giovanni de’ Vecchi (1543-1615), El Greco (1541-1614) and the Dutch Anthonie Blocklandt van Montfoort (1533 ca-1583). The “fiamma suprema del misticismo pittorico del cinquecento”, the mystic blaze, was lit up in 1572 by the encounter of three painters in Rome at the court of cardinal Alessandro Farnese. These artists unexpectedly show stylistic assonances, despite their different background and training. The elder and mature Blocklandt might have helped the visionary language of El Greco’s Spanish period. This complex hypothesis has never been thoroughly verified, even though, along the years, the studies about three artists have given many contributions. But, they were made separately from each other, where the question of the relationship among the three was only touched lightly. The research has gone through studies on the three different artists with updates over the last sixty years, jointly with a deepening of the historical and religious context around 1572, and an analysis of paintings around 1570-1575 made by Blockland, El Greco and de’Vecchi.
Garcia, Zapata Ignacio Jose <1991>. "El arte de la platería en Bolonia durante los siglos XVI-XVIII." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amsdottorato.unibo.it/8484/1/1.%20Tesis%20Garcia%20Zapata%2C%20Ignacio%20Jose%CC%81.pdf.
Повний текст джерелаThis research is aimed at provide a general vision of the art of the silversmith's in Bologna during the Modern Age, from the 16th century until ends of the 18th century, from the Counter-reformation up to the arrival of the Napoleonic troops in 1796. Without forgetting the previous situation, the Middle Ages, which constitutes the principal stage of the art of the silvesmith's in Bologna. For it, the study has focused in two points, definite well but complementary and indivisible between them. On the one hand, all the aspects of the union across the questions related to the organization, management and development of the office, as well as the social and religious situation of the corporation and of his individuals. All this across the analysis of his ordinances, the legal dispositions(regulations) that they were regulating. Once established the professional frame, the second part centres exclusively on the work, the artistic object, his promoters, his artists, the characteristics of the bolognese silverware, his influences and typologies.
Questa ricerca si propone di fornire una panoramica dell’arte dell’argenteria a Bologna durante l’Età Moderna, dal XVI secolo fino alla fine del XVIII secolo, dalla Controriforma all’arrivo delle truppe napoleoniche nel 1796, senza dimenticare la situazione precedente, il Medioevo, periodo principale dell’oreficeria bolognese. Per fare questo, lo studio si è concentrato su due punti, ben definite ma complementari ed indivisibile tra loro. Da un lato, tutti gli aspetti della società, cioè della corporazione, attraverso gli aspetti inerenti all’organizzazione, la gestione e lo sviluppo del lavoro e la situazione sociale e religiosa, analizzando le sue ordinanze, le disposizioni legali che regolano la loro attività. A seguito, una volta stabilito il quadro professionale, la seconda parte si concentra esclusivamente sul propio lavoro, l’oggetto artistico, i suoi promotori, i suoi artisti, caratteristiche propie dell’argenteria bolognese, le loro influenze e tipologie.
Pasquali, Tommaso <1986>. "Agostino Carracci tra incisione e pittura. Le vie dell'immagine alla fine del Cinquecento." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amsdottorato.unibo.it/8670/1/tom%20tesi.pdf.
Повний текст джерелаThe dissertation explores Agostino Carracci’s early oeuvre as an engraver, draughtsman and painter from the mid-eighth decade of the sixteenth century to the mid-ninth. The analysis of his peculiar training from the first steps in Bolognese Mannerist workshops to the first success in Venice, and then to the common debut of the Fava frescoes, together with cousin Ludovico and brother Annibale, can better define his profile as a contributor to a new visual language.
Japon, Franco Rafael <1988>. "La influencia de la pintura italiana en la escuela barroca sevillana." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amsdottorato.unibo.it/9137/1/Italia-Sevilla_RJAPON_UNIBO.pdf.
Повний текст джерелаWei, Bairang <1991>. "Palazzo Vizzani: lo spazio tra concetto e immagine - una nuova interpretazione iconografica." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amsdottorato.unibo.it/9209/1/%E5%85%A8%E6%96%87.pdf.
Повний текст джерелаThis thesis is dedicated to Palazzo Vizzani, a noble residence built in Bologna in the 16th century. The period taken into consideration is almost half a century after the fall of the Bentivoglio family in 1506. Being one of the noble families of Bologna, the Vizzani decided to rebuild a new family palace not only for living convenience, but also to meet the needs to host friends and other important visitors in a more elegant and prestigious environment. The construction, including the interior decorations with frescos, lasted a few years. The frescos in the palace were made by some of the most important local painters of the time. Nonetheless, the palace and its decoration have been neglected by the studies and still have many questions to answer. For example, the problems of dating and attributions of some paintings, the deeper meanings of the themes, the connections and allusions with the historical context. Finding plausible answers to these questions was the main goal of this study. The frieze with the story of Cyrus presents us with a subject rarely depicted in art history, I tried to reconstruct the context in which it was conceived. Worth to notice the possible link between the story of Cyrus and the concept of Fortune. The other frieze, which depicts some illustrious Roman women who are taken as examples of cardinal virtues.
Salsi, Amalia <1987>. "Cultura umanistica in Emilia: le sillogi epigrafiche di Michele Fabrizio Ferrarini." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amsdottorato.unibo.it/9310/1/Michele%20Fabrizio%20Ferrarini.pdf.
Повний текст джерелаThis research deals with the three epigraphic collections written by the carmelite friar Michele Fabrizio Ferrarini during the second half of the XV century. The drawings of these three texts are exemplified of Emilian antiquarian humanism and they are analyzes with reference to the artistic context and to other major artists of Northern Italy of the same period.
Costarelli, Alessio <1990>. "Antonio Canova e gli Inglesi: fonti, committenza ed interrelazioni culturali." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amsdottorato.unibo.it/9742/3/tesi_dottorato_XXXIII%20ciclo_alessio_costarelli.pdf.
Повний текст джерелаThe relationship between Antonio Canova and the British culture and society has been always judged of primary importance, but only in recent times a new interest in it has increased among scholars, producing some important essays and publications. Notwithstanding, the very rich bibliography on Antonio Canova still lacks a general reflection on such a phenomenon, a study which aims to keep in dialogue all different aspects of the matter. To engage in a research like this one, I consulted both the archival documentation, so great in number, and many edited sources of that time, all of them totally transcribed in the four appendices at the end of the thesis. Such a material permitted me to draft a little biographical dictionary of almost all the British people with whom Canova kept in touch during his entire life and a general catalogue of about 60 works of arts related to British patronage. The essay, divided in four chapters, analyses and reflects on four different aspects of the complex relationship between the sculptor and his english-speaking friends: the artistic patronage for private collectionism; the political and diplomatical role of Canova; the critical reception of his works of art in the United Kingdom before and after his death; his influence on British art and literature and vice versa. In conclusion, the final aim is to have a general, not particular look on that aspect of Canova's career which can be considered one of the most important for the developement of his art and international fame.
Bassini, Federico <1988>. "I Malvezzi della Ca' Grande: genesi, sviluppo e dispersione di una quadreria bolognese del Settecento." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amsdottorato.unibo.it/9808/4/Bassini_Federico_tesi.pdf.
Повний текст джерелаThe research reconstructs and analyzes the history of the art collection that belonged to the senatorial branch of the Malvezzi family of the Ca’ Grande within the varied eighteenth-century Bolognese collecting landscape. The will to investigate its development is motivated both by its exemplarity and its exceptional character. Piriteo III (1658-1728) established the collection with the purchase and commission of about fifty paintings. His son Sigismondo III (1703-1787) was the primary author of the expansion of the family’s pictorial heritage, also through the merging of the important collection of Marquis Paolo Magnani, his maternal uncle, into the picture gallery. Making original collection choices compared to those of a markedly municipal order, Sigismondo collected for the Ca’ Grande gallery numerous works by foreign artists, glorified and sought after in Europe, but usually extraneous to the Petronian taste of the time. He is also responsible for the acquirement of the famous group of fourteenth-fifteenth century works, which formed the Chamber of the Ancients. According to Enlightenment principles, he aimed at possessing a sort of ideal private museum, where it was possible to admire the progress of Petronian art from its origins to modernity and to establish comparisons between the most important pictorial schools. The heir Piriteo IV (1734-1806) also continued to enlarge the collection, making more limited purchases, but no less significant for this. On his death, the male line of the senatorial branch was extinguished. Therefore, the prestigious picture gallery was divided between his daughters Maria (1780-1865) and Teresa (1782-1811). In fifty years, what was once one of the most important galleries of the eighteenth-century Bologna has been irretrievably dispersed: the Malvezzi collection did not have the fortune to merge into any lasting galleries.
Brusori, Giulia <1993>. "Nicolò dell'Abate in Francia: disegni e progetti decorativi. Proposta per un catalogo." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amsdottorato.unibo.it/10222/1/Brusori_Giulia_tesi_.pdf.
Повний текст джерелаThe thesis examines the artistic activity of Nicolò dell'Abate (Modena, 1509 - Paris, 1571), with a particular reference to his draughtsmanship. The thesis is divided into four chapters: the first, introductory, retraces in detail the main stages of Nicolò’s Italian activity; the second and third chapters focus on the examination of his French artistic activity, with a particular reference to his draughtsmanship, studied on the basis of the reconstruction of the historical, cultural and artistic context of France at the time, with a specific reference to the Royal Court of the Valois in the periods between the arrival of Nicolò, in 1552, and the premature death of King Henry II in 1559, and that of 1560 to 1571, during which the queen-mother Catherine de Medici held power. The fourth chapter is the catalogue of Italian and French drawings: it is preceded by an introductory essay which examines the style of drawing of Nicolò dell'Abate in Italy and France. Finally, in the appendix, the French sources on the activity of the artist and some of the principal representatives of the school of Fontainebleau are reported.
La thèse examine l’activité artistique de Nicolò dell’Abate (Modène, 1509 - Paris, 1571), avec une référence particulière à sa production dessinée. La thèse est divisé en quatre chapitres : le premier, introductif, retrace en détail les principales étapes de l’activité italienne; le deuxième et le troisième chapitres sont centrés sur l’examen de l’activité artistique française du maître, avec une référence particulière à ses dessins, étudié sur la base de la reconstruction du contexte historique, culturel et artistique de la France de l’époque, avec une référence spécifique à la cour royale des Valois dans les périodes comprises entre l’arrivée de Nicolò, en 1552, et la mort prématurée du roi Henri II, en 1559, et celle de 1560 à 1571, durant laquelle la reine-mère Catherine de Médicis détenait le pouvoir. Le quatrième chapitre constitue le catalogue des dessins italiens et français : il est précédé d’un essai introductif qui examine le style de dessin de Nicolò dell’Abate en Italie et en France. Enfin, en annexe, les sources françaises sur l’activité de l’artiste et de quelques-uns des principaux représentants de l’école de Fontainebleau sont reprises.
De, Rossi Laura <1967>. "Il ciclo pittorico laurenziano nella concattedrale di San Pietro di Castello a Venezia: accezioni religiose e civili." Doctoral thesis, Università Ca' Foscari Venezia, 2009. http://hdl.handle.net/10579/172.
Повний текст джерелаBurnel, Mariana <1975>. "Dal savoir al savoir faire: Bergson e Picasso: le potenzialità estetiche del metodo intuizionista: excursus storiografico e analisi del periodo analitico cubista di Picasso (1909-1912)." Doctoral thesis, Università Ca' Foscari Venezia, 2009. http://hdl.handle.net/10579/473.
Повний текст джерелаTosato, Debora <1972>. "Per gli inizi di Giovanni Bellini: ipotesi sulla bottega e sulla prima produzione pittorica." Doctoral thesis, Università Ca' Foscari Venezia, 2007. http://hdl.handle.net/10579/697.
Повний текст джерелаSapienza, Valentina <1973>. "(Intorno a) Leonardo Corona (1552-1596) : documenti, fonti e indagini storico-contestuali." Doctoral thesis, Università Ca' Foscari Venezia, 2011. http://hdl.handle.net/10579/1130.
Повний текст джерелаMalgré son indéniable talent, le peintre vénitien Leonardo Corona est négligé : la seule étude systématique qui lui ait été consacrée remonte à une quarantaine d’années (Eugenio Manzato, «Leonardo Corona da Murano», Arte veneta, XXIV, 1970, p. 128-150). Grâce aux nombreux documents inédits que nous avons découverts dans les archives vénitiennes, nous sommes parvenue à reconstituer au moins en partie sa «vraie vie», qui se révèle très différente de ce qu’on pensait jusqu’à présent: contrairement à ce qu’écrivait l’historiographe Ridolfi, qui retardait d'une décennie sa vie (Le Maraviglie dell'arte, Venise, 1648), Corona est né en 1552, d’un père miniaturiste, et mort en 1596. Sa formation est donc à situer vers 1565, à un moment où les grands maître de la Renaissance vénitienne sont encore actifs, ce qui explique que, tout au long de sa carrière, il n’ait jamais manqué de reconnaître sa dette, notamment à l’égard de Titien et de Tintoret. S'il figure au nombre des artistes qui sont chargés de décorer la salle du Grand Conseil au Palais des Doges après les incendies de 1574 et de 1577, c’est vraisemblablement parce qu’il a auparavant travaillé dans les ateliers de copistes qui approvisionnaient en «copie dei quadri di buoni maestri» (Ridolfi, Le Maraviglie, cit.) le marché artistique d’Europe du nord. Quelques commandes sur la Terre Ferme caractérisent également ses premières années d’activité. Il semble d’ailleurs que les capucins l’aient beaucoup apprécié. L’exploration des fonds d’archives nous a permis de reconstituer le contexte social bien particulier dans lequel s’insère la production de Corona. L’une des caractéristiques les plus fascinantes des chantiers vénitiens de la fin du XVIe siècle est en effet leur «esprit choral»: les intervenants étaient toujours très nombreux, tant du côté des commanditaires que du côté des artistes. Nous avons ainsi découvert que c’est probablement grâce à ses relations avec le milieu des miniaturistes et des libraires que Corona est admis dans la vaste équipe d’artistes qui décore de fond en comble l’église de San Zulian, entièrement reconstruite à partir de 1553. Ce sont en effet des typographes vénitiens renommés (Marchio Sessa, Tommaso Giunti, etc.) qui occupent la charge de procurateurs de l’église et qui jouent donc un rôle décisif dans la gestion de ses «affaires artistiques». Quant à l’une des confréries les plus importantes de la paroisse, la Scuola del Santissimo Sacramento, un dépouillement exhaustif de son «Registro di cassa» de 1502 à 1600 et une lecture approfondie de sa «Mariegola» nous ont permis d’établir qu’elle accueillait de nombreux citoyens d’origine bergamasque et que sa chapelle a été décorée deux fois ex novo à une quinzaine d’années de distance, mais avec un projet décoratif quasiment identique (une première fois autour de 1565, une seconde fois autour de 1580). Dans les années 1580, les travaux d’embellissement de l’église se poursuivent sous la direction d’un mécène bien particulier, le procurateur de l'église Gerolamo Vignola, dont nous retraçons en détail la personnalité et le réseau de relations. Côtoyant le «pievano» de l’époque et le chapitre de l’église, et prévoyant ensuite dans son testament de léguer 1000 ducats pour la réalisation du nouveau plafond de San Zulian, Gerolamo Vignola est le digne successeur du premier grand mécène de l’église, le célèbre médecin Tommaso Rangone, qui en avait financé la reconstruction. Notre choix d’une approche qui prenne systématiquement en considération l’entourage social de Corona nous a permis d’explorer les mécanismes de commande des décors religieux ainsi que le contexte propre à chaque commande. Les fonds d’archives les plus riches d’enseignements à cet égard sont ceux de Santa Maria Formosa et de San Bartolomeo. A Santa Maria Formosa, nous avons identifié l’un des très rares commanditaires individuels de Corona : pour son autel dédié au Crucifix, le patricien Marco di Nicolò Querini fait peindre par Corona une Crucifixion dont la religiosité sévère ressort par contraste avec la Déploration que Palma le Jeune réalise quelques années plus tard, dans la même église, pour un commanditaire dont nous avons également découvert l’identité : alors que Corona construit une image anonyme, qui se focalise exclusivement sur le salut de l’âme de Marco Querini, de ses ancêtres et de ses descendants, Palma insère un portrait bien individualisé du commanditaire, Giovan Francesco Querini-Stampalia, sous les traits de saint François d’Assise. A San Bartolomeo, Leonardo travaille une nouvelle fois pour une confrérie de dévotion : il peint un Saint Matthias en marche pour la scuola de saint Matthias. Deux documents nous ont permis d’établir que ce tableau d’autel constitue l’une des dernières oeuvres de Corona : le paiement d’un acompte de 30 ducats, versé au peintre en septembre 1595, est suivi d’un solde de 20 ducats, réglé à son fils Michele. Les archives nous ont également permis d’expliquer l’iconographie singulière de ce tableau d’autel: s’il montre Matthias cheminant comme un pèlerin (sur le modèle du Saint Jacques le Mineur que Titien avait peint pour l’église de San Lio), c’est selon toute vraisemblance en raison de l’histoire tourmentée de la scuola. On peut en effet conjecturer que le «pèlerinage» du saint se réfère au «voyage» de la confrérie elle-même: chassée de l’église en raison de nombreux conflits avec le clergé local, elle est à nouveau accueillie dans l’église contre la promesse d’édifier et de décorer à ses frais un nouvel autel. Enfin, nos recherches sur les oeuvres que Corona a exécutées dans les années 1590-1595 nous ont permis de mettre en lumière d’autres cas exemplaires. Par exemple, à Santo Stefano, Corona peint pour la confrérie des «Centurati» non seulement un tableau d’autel, mais aussi un grand monochrome sur bois, une sorte d’ébauche du tableau d’autel. Nous émettons l’hypothèse que cet objet, quasiment unique en son genre (et qui est d’ailleurs le seul témoignage certain que nous ayons conservé de son activité graphique), aurait constitué un décor provisoire: le peintre, débordé de travail, l’aurait réalisé dans l’urgence, en attendant d’avoir le temps d’exécuter le tableau définitif.
Ceccon, Enrica Annamaria <1985>. "I concorsi di architettura all'Accademia di Belle Arti di Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1549.
Повний текст джерелаBibbo', Diletta <1987>. "Arte musica e devozione. La consuetudine devozionale nei monasteri di San Girolamo e di Santo Stefano a Venezia trail XVIII e il XIX secolo." Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1798.
Повний текст джерела