1,757,337 research outputs found
Barbieri e il Certamen Catullianum
Get PDF1° Premessa 2° Lanfranco Vecchiato, la profezia di mons. Angelo Grazioli e il rettorato Mosele 3° Dalla Scuola di Scienze Storiche all'Accademia Catulliana 4° Lanfranco Vecchiato e Gino Barbieri 5° "Elegia per i non nati" 6° La Cassa di Risparmio e il Certamen Catullianum prima della presidenza Barbieri 7° La presidenza Barbieri e il Certamen Catullianum 8° Con Barbieri scompare il Certamen Catullianum 9° Lanfranco Vecchiato rimpiange l'amico e il maestr
Prosas dispersas de Vicente Barbieri
No full textTabla de contenidos: Prosas dispersas. Contribución a la bibliografía de Vicente Barbieri
Il codice civile cinese: qualche interrogativo per la discussione
No full textIl volume raccoglie gli atti del Seminario tenuto a Bari il 24 febbraio 2023, e la Presentazione di Marco Barbieri pone ai relatori una serie di interrogativi riguardo alla codificazione civile cinese, al suo rapporto con la tradizione storico-filosofica di quel Paese e con le tradizioni giuridiche europee, a cominciare dalla scelta di inserirsi nell'eredità romanistica
Prosas dispersas de Vicente Barbieri
No full textTabla de contenidos: Prosas dispersas. Contribución a la bibliografía de Vicente Barbieri
Prosas dispersas de Vicente Barbieri
No full textTabla de contenidos: Prosas dispersas. Contribución a la bibliografía de Vicente Barbieri
Ko‘z o‘ngimizdagi avangard. Namoyishning burungi va yangi usullari
No full textTwo locations, a single project, a single catalogue. The two events La luce e il colore (Florence, Palazzo Pitti, Andito degli Angiolini, 16 April – 30 June 2024) and La forma e il simbolo (Venice, Ca’ Foscari Esposizioni, 17 April – 29 September 2024), promoted and supported by the Foundation for the Development of Art and Culture of Uzbekistan (ACDF), present for the first time in Europe the fascinating development of painting in Uzbekistan from the late 19th century until after the mid-1930s, when the dictates of Socialist Realism were imposed.
In little more than twenty years, an extraordinary and fruitful interaction took place between the most advanced artistic trends of the European avant-garde, filtered through the Russian artistic and cultural milieu, with Islamic artistic culture, which had dominated Central Asia for centuries, and with the long Uzbek tradition of ornamentalism, which characterised the art, architecture and applied arts of this region.
After the October Revolution, the People’s Commissariat for Education sent some fifty works by the historical avant-garde to Uzbekistan. From the late 1950s, Igor Savitsky collected in Nukus an enormous quantity of archaeological finds, handicrafts and folk art, works and graphic designs by Uzbek and Soviet artists, so creating the extraordinary collections of the museum that today bears his name.
The result of this mingling is the remarkable collections of the Uzbek State Museums in Nukus and Tashkent, of which a careful selection is now being presented, exhibited and published for the first time in Europe.
In the catalogue, edited by Giuseppe Barbieri and Silvia Burini, professors at the Ca’ Foscari University of Venice and directors of the Centre for Studies on Russian Art, a series of essays explores the historical and cultural context of this very fertile period, illustrating it with the 175 works on display
Témoignage de Laurent Barbieri, Entraîneur National de Gymnastique Sportive
No full textBarbieri Laurent. Témoignage de Laurent Barbieri, Entraîneur National de Gymnastique Sportive . In: Les Cahiers de l'INSEP, n°16-17, 1996. Sélection et préparation terminale pour les championnats du monde et les Jeux olympiques. pp. 95-100
GIUSEPPE BARBIERI, PROFESSORE DI GEOGRAFIA
No full textAnalisi della figura di Giuseppe Barbieri e del suo ruolo nella storia della geografia italiana
L’Avanguardia vista da vicino. Vecchie e nuove modalità di display
No full textTwo locations, a single project, a single catalogue. The two events La luce e il colore (Florence, Palazzo Pitti, Andito degli Angiolini, 16 April – 30 June 2024) and La forma e il simbolo (Venice, Ca’ Foscari Esposizioni, 17 April – 29 September 2024), promoted and supported by the Foundation for the Development of Art and Culture of Uzbekistan (ACDF), present for the first time in Europe the fascinating development of painting in Uzbekistan from the late 19th century until after the mid-1930s, when the dictates of Socialist Realism were imposed.
In little more than twenty years, an extraordinary and fruitful interaction took place between the most advanced artistic trends of the European avant-garde, filtered through the Russian artistic and cultural milieu, with Islamic artistic culture, which had dominated Central Asia for centuries, and with the long Uzbek tradition of ornamentalism, which characterised the art, architecture and applied arts of this region.
After the October Revolution, the People’s Commissariat for Education sent some fifty works by the historical avant-garde to Uzbekistan. From the late 1950s, Igor Savitsky collected in Nukus an enormous quantity of archaeological finds, handicrafts and folk art, works and graphic designs by Uzbek and Soviet artists, so creating the extraordinary collections of the museum that today bears his name.
The result of this mingling is the remarkable collections of the Uzbek State Museums in Nukus and Tashkent, of which a careful selection is now being presented, exhibited and published for the first time in Europe.
In the catalogue, edited by Giuseppe Barbieri and Silvia Burini, professors at the Ca’ Foscari University of Venice and directors of the Centre for Studies on Russian Art, a series of essays explores the historical and cultural context of this very fertile period, illustrating it with the 175 works on display
Muqaddima
No full textTwo locations, a single project, a single catalogue. The two events La luce e il colore (Florence, Palazzo Pitti, Andito degli Angiolini, 16 April – 30 June 2024) and La forma e il simbolo (Venice, Ca’ Foscari Esposizioni, 17 April – 29 September 2024), promoted and supported by the Foundation for the Development of Art and Culture of Uzbekistan (ACDF), present for the first time in Europe the fascinating development of painting in Uzbekistan from the late 19th century until after the mid-1930s, when the dictates of Socialist Realism were imposed.
In little more than twenty years, an extraordinary and fruitful interaction took place between the most advanced artistic trends of the European avant-garde, filtered through the Russian artistic and cultural milieu, with Islamic artistic culture, which had dominated Central Asia for centuries, and with the long Uzbek tradition of ornamentalism, which characterised the art, architecture and applied arts of this region.
After the October Revolution, the People’s Commissariat for Education sent some fifty works by the historical avant-garde to Uzbekistan. From the late 1950s, Igor Savitsky collected in Nukus an enormous quantity of archaeological finds, handicrafts and folk art, works and graphic designs by Uzbek and Soviet artists, so creating the extraordinary collections of the museum that today bears his name.
The result of this mingling is the remarkable collections of the Uzbek State Museums in Nukus and Tashkent, of which a careful selection is now being presented, exhibited and published for the first time in Europe.
In the catalogue, edited by Giuseppe Barbieri and Silvia Burini, professors at the Ca’ Foscari University of Venice and directors of the Centre for Studies on Russian Art, a series of essays explores the historical and cultural context of this very fertile period, illustrating it with the 175 works on display
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