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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life, analysing them in the light of a considerable quantity of archival documents, some of which are completely unpublished.

Art, Italian.

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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life, analysing them in the light of a considerable quantity of archival documents, some of which are completely unpublished.

Art, Italian.

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The first thorough overview of the artist in many years, Donatello: The Renaissance reconstructs the outstanding career of one of the greatest sculptors in Western art. Famed for his incredibly sensual sculpture of David--the first freestanding nude male sculpture since antiquity--Donatello (c. 1386-1466) also made reliefs, but was best known for statues in the round. Accompanying a truly historic exhibition at the Palazzo Strozzi and Museo Nazionale del Bargello in Florence, and featuring a wealth of color plates of the artist's key works, this volume also contextualizes Donatello's innovations by juxtaposing them with masterpieces by other Renaissance masters such as Brunelleschi, Masaccio, Andrea Mantegna, Giovanni Bellini, Raphael and Michelangelo. These revelatory, expert juxtapositions help define Donatello's style: for example, comparison of his Madonna col Bambino relief with Giovanni di Pietro da Pisa's Madonna col Bambino shows how Donatello eschewed decorative gestures (such as putti, garlands and vases) in favor of a more vital simplification of form.

Donatello, --- Sculpture --- Italian Renaissance-Baroque styles --- Donatello --- Art, Renaissance --- Art, Italian

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Der Band beleuchtet erstmals die zentrale Rolle des Verseschreibens als kulturelle Strategie von italienischen Renaissancekünstlern. Die Autorin unterzieht Gedichte von Malern, Bildhauern, Architekten und Goldschmieden, die in Florenz unter Cosimo I. und Francesco I. de' Medici tätig waren, einer umfassenden Analyse. Am Hof der Medici waren viele Künstler auch literarisch aktiv und eigneten sich das Medium der Dichtkunst an, um darin Themen zu behandeln, die mit dem Kunstschaffen zu tun hatten. Die Studie leistet einen wichtigen Beitrag zum wissenschaftlichen Diskurs über den frühneuzeitlichen doctus artifex, der in einer Vielzahl von intellektuellen Aktivitäten bewandert war. Gleichzeitig stellt sie die traditionelle Marginalisierung der Poesie gegenüber der Prosa-Schriften der Künstler infrage. This book breaks new ground by illuminating the key role of verse-writing as a cultural strategy on the part of Italian Renaissance artists. It does so by undertaking a wide-ranging study of poems by painters, sculptors, architects, and goldsmiths who were active in Florence under Cosimo I and Francesco I de’ Medici – a milieu in which many practitioners of the visual arts appropriated the literary medium to address issues related to their primary professions. New Apelleses, and New Apollos intervenes in the burgeoning scholarly discourse on the intellectual life of artists in early modern Italy, revealing how poetry often provides fresh insights into art-theoretical debates, patronage questions, workshop cultures, issues of professional identity, and networks of personal relations.

Art, Italian --- Artists --- History. --- 1500-1599 --- Italy. --- poetry, patronage/arts, Italy, Florence.

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"Curating fascism" examines how art exhibitions have retrospectively shaped collective memory, historical narratives, and political discourse about the fascist regime in Italy. The volume explores how curatorial methods can rethink the typically excluded or marginalized issues of gender, race, and sexual orientation, considering thoughtful ways to include the often-tragic plight of Jews, women, LGBTQs, and victims of colonialism under fascism, as well as antifascist voices of restistance. By interweaving historical perspectives, critical theory, and direct accounts of exhibitions from the people who xconceived them or responded to them, the book presents an innovative transdisciplinary approach to the field of exhibition history. A century on from its ascent to power, "Curating fascism" unpicks the legacy of the Mussolini regime by offering fresh new perspectives on the historiography, collective memory, and understanding of fascist art and culture from a contemporary standpoint.

Art, Italian --- Fascism and art --- Fascism in art --- Exhibitions --- Exhibitions. --- Fascism. --- Aesthetics --- Art --- Fascism --- Fascisme --- Esthétique --- In art --- Dans l'art --- Dans l'art. --- Art and fascism --- Aesthetics.