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Livio Odescalchi (1652-1713), nephew of Innocent XI, paid the price in his youth for the pope's anti-nepotism policy, who chose to deny him any official position. During the same period, Livio had to submit to the oppressive control of his uncle, his testamentary guardian - an unhappy situation that, at the time, caused him to be considered a symbol of misfortune. In spite of this, the young man was able to lay the foundations for a strategy of economic and social ascent that would later bear fruit. After the death of Innocent XI, a period of compensation began, built on the accumulation of honours and possessions, financial investments, commissions and art trades, patronage, social celebrations, and international networks. This book, based on Roberto Fiorentini's doctoral thesis (Aprilia 1987 - Washington 2019), examines both phases of Livio Odescalchi's life, analysing them in the light of a considerable quantity of archival documents, some of which are completely unpublished.
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Decorative arts --- Art, Italian --- History --- Italy. --- Italy
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"Postwar Italian Art History Today brings fresh critical consideration to the parameters and impact of Italian art and visual culture studies of the past several decades. Taking its cue from the thirty-year anniversary of curator Germano Celant's landmark exhibition at PS1 in New York - The Knot - this volume presents innovative case studies and emphasizes new methodologies deployed in the study of postwar Italian art as a means to evaluate the current state of the field. Included are fifteen essays that each examine, from a different viewpoint, the issues, concerns, and questions driving postwar Italian art history. The editors and contributors call for a systematic reconsideration of the artistic origins of postwar Italian art, the terminology that is used to describe the work produced, and key personalities and institutions that promoted and supported the development and marketing of this art in Italy and abroad."--Bloomsbury Publishing Postwar Italian Art History Today brings fresh critical consideration to the parameters and impact of Italian art and visual culture studies of the past several decades. Taking its cue from the thirty-year anniversary of curator Germano Celant's landmark exhibition at PS1 in New York - The Knot - this volume presents innovative case studies and emphasizes new methodologies deployed in the study of postwar Italian art as a means to evaluate the current state of the field. Included are fifteen essays that each examine, from a different viewpoint, the issues, concerns, and questions driving postwar Italian art history. The editors and contributors call for a systematic reconsideration of the artistic origins of postwar Italian art, the terminology that is used to describe the work produced, and key personalities and institutions that promoted and supported the development and marketing of this art in Italy and abroad
Art, Italian --- Art criticism --- Historiography. --- History
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In der italienischen Kunstproduktion und Kunsttheorie der Renaissance bezieht sich der Terminus chiaroscuro in erster Linie auf die Artikulation plastischer Werte, auf das Formulieren eines rilievo. Rilievo meint hier ein innovatives Gestaltungsprinzip, das den Eigenwert der mittelalterlichen Buntfarbe durch den Darstellungswert unbunter Farbtöne ersetzt. Malerei und Graphik tendierten im nordalpinen Raum hingegen dazu, mittels des Helldunkel die Oberflächenbeschaffenheit von Materialien zu evozieren. Aus dieser komparativen Perspektive erfasst der Band das Helldunkel als ästhetisches Prinzip, das als zentrale Signatur der gesamteuropäischen Kunstgeschichte zwischen 1300 und 1600 zu verstehen ist. In the Italian theory and practice of art of the Renaissance, the term chiaroscuro primarily refers to the articulation of sculptural qualities, i.e. depth or rilievo. In this context, rilievo refers to an innovative design principle, which replaces the inherent value of medieval chromatic shading with achromatic shades. By contrast, paintings and graphic art in the northern Alpine region tended to create the depth in the surface of objects by using light-dark effects. Based on this comparison, the book deals with chiaroscuro as an aesthetic principle, which should be understood as the key signature of European art history as a whole between 1300 and 1600.
Chiaroscuro. --- Art, Italian. --- Aesthetics, European. --- Art, Renaissance --- Art, European
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From sleeping and bathing, chores, and making and eating food to the arrival of television, this book unveils the untold story of Italian domestic experiences from the 1940s to the 1970s, providing a fresh account of modern domesticity relevant to understanding how we make sense of the places we live.
Home in art. --- Art, Italian --- Families in art.
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Art, Modern --- Art, Italian --- Arts, Modern --- Arts --- 1800-1899
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The essays in Visualizing the Past in Italian Renaissance Art address a foundational concept that was as central to early modern thinking as it is to our own: that the past is always an important part of the present. Written by the friends, students, and colleagues of Dr. Brian Curran, former professor of Art History at the Pennsylvania State University, these authors demonstrate how reverberations of the past within the present are intrinsic to the ways in which we think about the history of art. Examinations of sculpture, painting, and architecture reveal the myriad ways that history has been appropriated, reinvented, and rewritten as subsequent generations-including the authors collected here-have attained new insight into the past and present. Contributors include Denise Costanzo, William E. Wallace, Theresa A. Kutasz Christensen, Ingrid Rowland, Anthony Cutler, Marilyn Aronberg Lavin, Louis Alexander Waldman, Elizabeth Petersen Cyron, Stuart Lingo, Jessica Boehman, Katherine M. Bentz, Robin L. Thomas, and John Pinto.
Art --- Art and history --- Art, Italian --- Art, Renaissance --- Historiography. --- Themes, motives.
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In drawing or painting from live models and real landscapes, more was at stake for artists in early modern Italy than achieving greater naturalism. To work with the model in front of your eyes, and to retain their identity in the finished work of art, had an impact on concepts of artistry and authorship, the authority of the image as a source of knowledge, the boundaries between repetition and invention, and even the relation of images to words. This book focuses on artists who worked in Italy, both native Italians and migrants from northern Europe. The practice of depicting from life became a self-conscious departure from the norms of Italian arts. In the context of court culture in Rome and Florence, works by artists ranging from Caravaggio to Claude Lorrain, Pieter van Laer to Jacques Callot, reveal new aspects of their artistic practice and its critical implications.
Portrait drawing, Italian --- Portrait painting, Italian --- Art, Italian --- Art, European --- Italian portrait painting --- Italian portrait drawing --- History --- Bamboccianti. --- Caraavaggio. --- Claude Lorrain. --- Jacques Callot. --- ad vivum. --- realism.
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This book examines the art and ritual of flagellant confraternities in Italy from the fourteenth to the seventeenth centuries. Meeting regularly to beat themselves with whips, members of these confraternities concentrated on the suffering of Christ in the most extreme and committed way, and the images around them provided visual prompts of the Passion and the model suffering body. This study presents new findings related to a variety of artworks including altarpieces, banners, wall paintings, illuminated manuscripts, and paintings for the condemned, many from outside the Florence-Rome-Venice triangle.
Christian religious orders --- Art --- anno 1200-1499 --- anno 1500-1599 --- Italy --- Suffering in art. --- Art, Italian --- Flagellants. --- Confraternities. --- Art, Italian. --- Andachtsbild --- Auftraggeber --- Bruderschaft --- Flagellanten --- Kunst --- Ritual --- 1400-1499 --- Italien --- Flagellants and flagellation --- Ascetics --- Sodalities --- Monasticism and religious orders --- Lay confraternities, flagellation, Italian painting and manuscript illumination 14th-17th centuries.
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This volume explores the influence that Lomazzo exerted on his contemporaries. It opens with two critical essays on Lomazzo’s fortuna critica (Foreword and Introduction). The following contributions focus on 1) Lomazzo’s reflection on Gaudenzio Ferrari; 2) Lomazzo’s paintings; 3) Lomazzo’s influence on printmaking with Ambrogio Brambilla; 4) on painting and drawing with Aurelio Luini; 5) on embroidery with Caterina Cantoni; 6) on his pupils Ambrogio Figino and Girolamo Ciocca; and finally, 7) on sculpture. The first collection of essays on this subject, this volume bridges the scholarship, hitherto disjoined, on Lomazzo-theorist and Lomazzo-artist. It expands our understanding on a pillar of Renaissance art theory reuniting generations of scholars, from Ciardi, the father of Lomazzo’s scholarship, to Chai, Marr, and others. Contributors include Alessia Alberti, Federico Cavalieri, Jean Julia Chai, Roberto Paolo Ciardi, Alexander Marr, Silvia Mausoli, Mauro Pavesi, Rossana Sacchi, Paolo Sanvito, and Lucia Tantardini.
Aesthetics of art --- influence --- Lomazzo, Giovanni Paolo --- Aesthetics. --- Art, Italian --- Art, Italian. --- Influence (Literary, artistic, etc.). --- Rezeption. --- Ästhetik. --- Lomazzo, Giovanni Paolo, --- Influence. --- 1500-1599. --- Lomazzo, Giovan Paolo, --- Compare Zavargna, --- Compà Zavargna, --- Zavargna, --- Lomazzi, Giampaolo, --- Italiaanse school --- Lomazzo, Giovanni Paolo - 1538-1600
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