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Статті в журналах з теми "Scultura italiana contemporanea"
Vučetić, Zorica. "Il linguaggio artistico: il lessico." Linguistica 46, no. 1 (December 1, 2006): 121–44. http://dx.doi.org/10.4312/linguistica.46.1.121-144.
Повний текст джерелаZuliani, Federico. "En samling politiske håndskrifter fra slutningen af det 16. århundrede : Giacomo Castelvetro og Christian Barnekows bibliotek." Fund og Forskning i Det Kongelige Biblioteks Samlinger 50 (April 29, 2015). http://dx.doi.org/10.7146/fof.v50i0.41248.
Повний текст джерелаДисертації з теми "Scultura italiana contemporanea"
Giorio, Maria Beatrice. "Gli scultori italiani e la Francia. Influenze e modelli francesi nella prima metà del Novecento." Doctoral thesis, Università degli studi di Trieste, 2012. http://hdl.handle.net/10077/7419.
Повний текст джерелаLo studio ha analizzato la presenza degli scultori italiani a Parigi dall'inizio del XX secolo alla fine degli anni Trenta, con l'obiettivo di ricostruire un capitolo importante della storia degli scambi artistici in Francia. Ci siamo serviti del metodo storico-filologico che è stato applicato agli scritti critici e alla stampa d'epoca. Per quel che riguarda l'inizio del secolo, abbiamo rilevato una partecipazione italiana considerevole ai principali eventi espositivi della capitale come i Salons ufficiali; il successo commerciale e di pubblico aveva consentito loro di ottenere un certo spazio tra gli artisti alla moda più conosciuti. Nel corso degli anni Venti abbiamo notato un numero meno significativo di scultori, interpretando questo fatto alla luce della situazione storica italiana, sottomessa a importanti cambiamenti, successivi all'ascesa del regime fascista. Gli italiani che si trovavano ancora in Francia in seguito alla Prima Guerra Mondiale non si inserivano pertanto all'interno delle ricerche artistiche italiane, dal momento che sostenevano degli indirizzi estetici ormai sorpassati. L'ultima parte del nostro studio si è concentrata sullo sviluppo del nuovo linguaggio artistico della penisola italiana, diffuso ormai anche all'estero. Gli scultori italiani potevano partecipare di conseguenza all'attività espositiva di Parigi, e mostrare il volto di una plastica finalmente cosciente delle proprie potenzialità. La Francia da parte sua acccoglieva di buon grado questo tipo di sperimentazioni al fine di creare un rapporto di amicizia duraturo con la nazione confinante.
This study has analyzed the presence of Italian sculptors in Paris from the beginning of the 20th Century to the end of the third decade, with the aim of reconstructing an important chapter of the history of artistic exchanges between Italy and France. We have favored an historical-philological method, based on critical publications and old French and Italian press. Concerning the beginning of the century, we have remarked a considerable participation of Italians in the main expositions in the French capital, such as official Salons; critical and market success allowed them to get a main role in the crew of the most popular artists. During the twenties, we have noted a less considerable participation of Italian sculptors; we have interpreted it in relation to historical context of fascist Italy, where the government was trying to develop a national cultural program. The Italian artists in France, after the First World War, didn't share the new Italian artistic orientation; they went on with outdated aesthetic choices. The last part of our research was interested in the development of the new Italian artistic language, finally known out of Italy. The Italian sculptors consequently could take part in arts activity in Paris, showing the face of a new sculpture, finally aware of its potentialities. France gave these experimentations a good welcome in the aim of constituting a longtime friendship with the Italian country.
Cet étude a analysé la présence des sculpteurs italiens à Paris du début du XX siècle à la fin des années Trente, afin de reconstituer un chapitre important de l'histoire des échanges artistiques en France. Nous nous sommes servis d'une méthode historique et philologique, qui a bien été appliquée aux écrits critiques et à la presse de l'époque. Pour ce qui concerne le début du siècle, nous avons remarqué une participation considérable de la part des italiens aux principaux événements expositifs de la capitale comme les Salons officiels; le succès de public et commercial leur avait permis d'obtenir une place parmi les artistes à la mode les plus connus. Pendant les années Vingt, nous avons constaté un nombre moins significatif de sculpteurs; nous avons lu ce fait en nous rapportant à la situation historique italienne, qui en ce temps subissait des importants changements dus à l'ascension du régime fasciste. Les italiens qui étaient encore présents en France après la Guerre ne s'inséraient guère dans le cadre des nouvelles recherches artistiques italiennes, ils poursuivaient, au contraire, des orientations esthétiques plutôt dépassées. La dernière partie de notre étude s'est intéressée à l'essor du nouveau langage artistique de la péninsule italienne qui pendant les années Trente se répandit enfin même à l'étranger. Les sculpteurs italiens pouvaient donc participer activement à la vie expositive parisienne, tout en montrant le visage d'une plastique qui avait enfin pris conscience de ses potentialités. La France de sa part accueillait volontiers ces expérimentations, dans le but d'instituer une relation d'amitié durable avec le pays voisin.
XXIV Ciclo
1982
Esposito, Diego. "Il dibattito critico sulla scultura contemporanea in Italia (1960 – 2010)." Doctoral thesis, Universita degli studi di Salerno, 2014. http://hdl.handle.net/10556/1869.
Повний текст джерелаIntorno agli anni Sessanta in Italia la ricerca sulla scultura si rinnova, sperimentando nuove e inaspettate relazione con lo spazio circostante con l’intenzione di stabilire col pubblico un diretto e più intimo dialogo. Lontana ormai dalla distinzione del piedistallo, la scultura cerca un rapporto più serrato e complice con l’ambiente, abbattendo ogni separazione tra luogo aulico dell’arte e spazio comune della vita. In questa nuova prospettiva, la scultura rifiuta la “figuratività” e la “verticalità”, che da sempre la connotano e mette in discussione le tecniche e i materiali tradizionali. Si assiste così al tramonto dell’intaglio e della modellatura a favore della sperimentazione di nuovi processi costruttivi, di procedimenti, come l’accumulo o l’assemblaggio, che non richiedono una particolare manualità; contestualmente, si assiste al rifiuto delle materie tradizionali della scultura sostituite, o, talvolta, affiancate, da materiali di origine industriale o da elementi prelevati dalla natura. La scultura intraprende dunque un radicale processo di rinnovamento estetico la conduce verso territori linguistici i cui confini appaiono sfumati, tanto poco decodificabili che la scultura è, a detta di Meneguzzo, “oggi la disciplina più difficile da definire” [a cura dell'autore]
XI n.s.
Gardonio, Matteo. "Scultori italiani alle esposizioni universali di Parigi : aspettative, successi e delusioni." Doctoral thesis, Università degli studi di Trieste, 2009. http://hdl.handle.net/10077/3130.
Повний текст джерелаLa ricerca si prefigge lo scopo di fare chiarezza sulla presenza degli scultori italiani alle esposizioni universali di Parigi tra il 1855 ed il 1889. La tesi vuole mettere in evidenza non solo delle dinamiche prettamente storico-artistiche ma portare alla luce i diversi contesti storico-sociali nei quali essi agivano.
XXI Ciclo
1979
NOBILI, Duccio. "Ideologia della scultura : crisi e sopravvivenza di una disciplina in Italia 1967-1978." Doctoral thesis, Scuola Normale Superiore, 2022. http://hdl.handle.net/11384/112208.
Повний текст джерелаGiorio, Maria-Beatrice. "Gli scultori italiani e la Francia : influenze e modelli francesi nella prima metà del novecento." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100053/document.
Повний текст джерелаThis study has analyzed the presence of Italian sculptors in Paris from the beginning of the 20th Century to the end of the third decade, with the aim of reconstructing an important chapter of the history of artistic exchanges between Italy and France. We have favored an historical-philological method, based on critical publications and old French and Italian press.Concerning the beginning of the century, we have remarked a considerable participation of Italians in the main expositions in the French capital, such as official Salons; critical and market success allowed them to get a main role in the crew of the most popular artists.During the twenties, we have noted a less considerable participation of Italian sculptors; we have interpreted it in relation to historical context of fascist Italy, where the government was trying to develop a national cultural program. The Italian artists in France, after the First World War, didn't share the new Italian artistic orientation; they went on with outdated aesthetic choices.The last part of our research was interested in the development of the new Italian artistic language, finally known out of Italy. The Italian sculptors consequently could take part in arts activity in Paris, showing the face of a new sculpture, finally aware of its potentialities. France gave these experimentations a good welcome in the aim of constituting a longtime friendship with the Italian country
Cossalter, Lara <1988>. "LA SCULTURA CERAMICA DAL SECONDO DOPOGUERRA, IN ITALIA. Muta-menti ceramici: dall'espressione della forma alla materializzazione del pensiero e dell'idea; l'emergere dell'intangibile oltre la materia tangibile." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10472.
Повний текст джерелаZorzi, Alberto Gerardo <1958>. "Quando il gioiello d'artista parla : uno studio selettivo, un'osservazione analitica degli esiti più rilevanti dell'oreficeria d'autore in Italia dal secondo novecento al primo decennio del terzo millennio : una scoperta, un'esperienza emblematica, Arturo Martini tra piccola scultura, medaglie e gioielli, gli ultimi anni 1940-1947." Doctoral thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10362.
Повний текст джерелаCAVENAGO, MARCO. "ARTE SACRA IN ITALIA: LA SCUOLA BEATO ANGELICO DI MILANO (1921-1950)." Doctoral thesis, Università degli Studi di Milano, 2021. http://hdl.handle.net/2434/829725.
Повний текст джерелаIn October 1921, the Beato Angelico Higher School of Christian Art was born in Milan. Responsible for the initiative: Don Giuseppe Polvara, the architect Angelo Banfi, the painter Vanni Rossi, flanked by the sculptor Franco Lombardi, by the priests Adriano and Domenico Bernareggi, by the engineer Giovanni Dedè, by professor Giovanni Mamone and by the lawyer Carlo Antonio Vianello . There were nine pupils in the first school year, two of whom (the architects Don Giacomo Bettoli and Fortunato De Angeli) destined to remain in the School for many years as teachers: this also happened with the painter Ernesto Bergagna, who enrolled the following year. Starting from that event, the Italian context of sacred art was able to count on an element of indisputable novelty, destined within a few years to a rapid, widespread and stubborn affirmation in the Peninsula. The foundation of the Beato Angelico School put a stop to the age-old debate on the general decline of sacred art that had been staged for a long time in Italy as well as in major European countries. The formula conceived by Don Polvara put his personal, artistic and professional experiences into a system with the knowledge of the international context, some exemplary models and the comparison with groups and individual figures (artists, critics, men of the Church) animated by the common desire to contribute to the rebirth of sacred art. One hundred years after its birth - and seventy after the death of its founder - the Beato Angelico School (with the workshops of Architecture, Cesello, Embroidery, Painting and Restoration) still continues in the task of serving the Church through the creation of distinctive sacred furnishings and vestments. from a particular care of the artistic and liturgical aspect, object of repeated attestations of merit and acknowledgments in the ecclesiastical sphere. What is missing from the appeal so far is an organic attempt to reconstruct the historical events that marked the genesis and developments of this singular artistic and religious reality. The purpose of this thesis is therefore the return of a profile as detailed and reasoned as possible of the history of the Beato Angelico School, such as to bring this story back to the center of a historical situation and a complex cultural context, through an original work perspective conducted on thread of clarifications and rediscoveries. Given the "pioneering" nature of this research, the vastness of the materials and sources available and the consequent need to assign a recognizable chronological cut to the work, it was decided to limit the survey to the decades between 1921 and 1950, or between the foundation of Beato Angelico and the death of Giuseppe Polvara. As will be seen, the initial term is in a certain sense anticipated by the need to better outline the background and context from which the School originates (between the end of the 19th and the first decades of the 20th century). The year assumed at the end of the research, on the other hand, seemed an almost obligatory choice, coinciding with the first change in the direction of Beato Angelico as well as the desire to exclude from the discussion what started in the 1950s and 1960s, that is a new and different season in the field of sacred art (destined, among other things, to pass through the junction represented by the Second Vatican Council and by the action of St. Paul VI), which is however much investigated by historical-artistic studies. What made the drafting of this thesis possible is the fact that it relies, in large part, on unpublished archival materials or, at least, never examined before in a structured way. Access to the most historicized archive materials and their consultation (thanks to the availability shown by the direction of the Beato Angelico School) have decisively conditioned the discussion of the topics, the reconstruction of which, in some cases, is supported exclusively by documents found. The birth of the Beato Angelico School was not an isolated event in the panorama of European artistic production of the time nor an episode unrelated to what was being debated in the ecclesiastical world at the same time. The Polvara School was born in an era marked by great ecclesial ferment: think of the Ateliers d'Art Sacré founded by Maurice Denis and George Desvallières in Paris in 1919, only two years before the Milanese School, whose adherents - all lay people - they professed an intense and devoted religiosity. But, above all, the decisive and best known model by Polvara was the Beuron School (Beuroner Kunstschule), born in the homonymous German Benedictine abbey in the last quarter of the nineteenth century by father Desiderius Lenz and on whose example workshops specialized in the production of sacred art (furnishings and vestments for liturgical use) in many Benedictine communities in central Europe. Polvara's affinity with Benedictine spirituality is a key element of the School he founded: in fact, the (analogous) concept of "represented prayer" (orando labora) derived from the rule of the ora et labora. The very organization of the School, set up as in an ideal medieval workshop where teachers, apprentices and pupils collaborate and coexist, takes up the monastic lifestyle of the Benedictine monasteries. Precisely in order to preserve the character of the medieval workshop as much as possible, the number of students admitted to the School was never too high, so as to maintain an adequate and effective numerical ratio between disciples and masters. Again, from Beuron Fra Angelico drew the particular and unmistakable graphic form of the letter "e", recognizable in the numerous and long epigraphs present in many of his works. The last element in common between the Milanese and the German schools - but which can be attributed to the more general fascination for the medieval era - is the unity of purpose that must animate all the workers involved in creating a collective and anonymous work ad maiorem. Dei gloriam, where the contribution of the single author remains deliberately hidden in favor of the name of the School. What still differentiates the School from similar centers of production of sacred art is the fact that it rests its foundations on a religious congregation, the Beato Angelico Family, an idea long cultivated by Polvara and officially approved by the diocesan authority between the thirties and forties. From the common vocation to sacred artistic creation (the artist's "priestly mission") descend the practice of community life, the participation in the sacraments and the various daily moments of prayer by master priests, brothers and sisters artists, apprentices, pupils and pupils . The spiritual direction traced by the founder for his family still acts today as a guarantee of a strenuous fidelity in the continuity of a unique artistic and liturgical project, put into practice by a community of men and women linked together by the canonical vows of poverty, chastity. and obedience but above all from a common and higher intent. Precisely to ensure a prospect of survival and future development of his creature, Polvara always had a clear need to keep the training aspect (and therefore the teaching for students, adolescents and young people) united with that of production (due to the work of collaboration between teachers, apprentices and students). From an operational point of view, the artistic disciplines, practiced in the various laboratories in which the School is divided, contribute, without any exception and in the aforementioned anonymous and collective form, to create an organic and unitary artistic product, a "total work of art" which must respond to the address given by the master architect (Polvara himself), to whom devotion, respect and obedience are due. The architectural design is therefore assigned great importance and this means that the best representative works of the Beato Angelico School are those sacred buildings entirely made with the intervention of its laboratories for all or almost all the decorations, furnishings, furnishings and Milanese churches of S. Maria Beltrade, S. Vito al Giambellino, S. MM. Nabore and Felice, or the church of S. Eusebio in Agrate Brianza and the chapel of the religious institute of the daughters of S. Eusebio in Vercelli). As for the expressive languages used by the School (the so-called "style"), the preference for modern architectural rationalism is highlighted - a topic of stringent topicality, to which Polvara did not fail to give his personal theoretical and practical contribution - and that for Divisionism in painting, indebted to the ancient admiration for the work of Gaetano Previati. The interaction of these two forms gives rise to a recognizable language, modern and spiritual at the same time, verifiable in the buildings as in the individual works, the result of a profound sensitivity that combines the thoughtful recovery of some forms of the past (for example early Christian iconography reused in the decorative motifs of the vestments or in the shape of some artifacts, from the chalice to the tabernacle, to the chasuble-chasuble) with the impetus for a modern and functional style appropriate to the times but respectful of tradition.
BELTRAMI, Cristina. "La statuaria italiana dalla metà dell'Ottocento al primo ventennio del Novecento a Montevideo." Doctoral thesis, 2004. http://hdl.handle.net/11562/471349.
Повний текст джерелаКниги з теми "Scultura italiana contemporanea"
Andrea, Bellini, and Centro d'arte e cultura di Sermoneta., eds. Cosa arcana e stupenda: Scultura italiana contemporanea = [contemporary Italian sculpture]. Cinisello Balsamo (Milano): Silvana, 2001.
Знайти повний текст джерелаDelle dissonanze: This is not propaganda : arte contemporanea italiana, Collezione Antonio Stellatelli : pittura, scultura, fotografia. Savigliano (Cuneo): L'artistica editrice, 2012.
Знайти повний текст джерелаAndrea, Bellini, ed. Cosa arcana e stupenda: Scultura italiana contemporanea : Sermoneta, dal 15 luglio al 26 agosto 2001. Cinisello Balsamo (Milano): Silvana, 2001.
Знайти повний текст джерелаCensi, Maria, and Alfonso Panzetta. Vanitas vanitatum, et omnia vanitas: Il tema della vanità nella pittura e nella scultura italiana contemporanea. Moncalieri (Torino): Renaissance, 2000.
Знайти повний текст джерелаIstituto Garuzzo per le arti visive., ed. ESM: Energie sottili della materia : rassegna internazionale di scultura italiana contemporanea = subtle energies of matter : Italian contemporary sculpture international review. Cinisello Balsamo (Milano): Silvana, 2007.
Знайти повний текст джерелаPallavicini, Sara. Canova e la scultura contemporanea. Milan]: Contemplazioni, 2022.
Знайти повний текст джерелаMassa, Antonella. I parchi museo di scultura contemporanea. Firenze: Loggia de' Lanzi, 1995.
Знайти повний текст джерелаRossana, Bossaglia, ed. La Scultura italiana dall'alto Medioevo alle correnti contemporanee. Milano: Electa, 1985.
Знайти повний текст джерелаRubini, Antonello. Visioni animali: Sculture d'arte contemporanea. Roma: De Luca editori d'arte, 2016.
Знайти повний текст джерелаLorenzoni, Gabriele. Legno: Un itinerario nella scultura contemporanea = Lën = Holz. Rovereto]: MaRT, 2017.
Знайти повний текст джерела