1,355,233 research outputs found
Avanguardia Orientalis
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
Avanguardia Orientalis
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
Avanguardia Orientalis
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
Introduzione
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
Introduction
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
Dihydrofolate reductase: a new molecular target for gold(I) drugs?
No full textDehydrofolate reductasi : a new molecular target for gold(I) drugs?
R. Galassi,a A. Burini,a D. Micozzi,a A. Dolmella,b S. Pucciarellic
a School of Science and Technology, Chemistry Division, University of Camerino, 62032 Camerino (Italy);
b Department of Pharmaceutical Sciences, University of Padova, 35131 Padova (Italy);
c School of Biosciences and Biotechnology, University of Camerino, 62032 Camerino (Italy).
[email protected]
DHFR is an important enzyme mainly involved in the synthesis of pyrimidine and thymine basilar for the DNA replication and hence the cell proliferation. To perform its functions the DHFR enzyme needs the presence of a substrate and a cofactor such as NADPH and H2F.[1] Despite its fundamental importance in the cell’s metabolism this enzyme has never been tested as molecular target for gold(I) compounds which anti-proliferative action was ascertained. In fact, it is generally accepted that gold compounds act as multi-target drug and the proposed mechanisms mainly involve enzymes. Moreover, their action is function of their overall structure and of the nature of the ligands around the central metal atom.
Some pyrazolyl and imidazolyl gold(I) phosphane complexes synthesized by us have shown anticancer properties and they successfully inhibit some seleno-dependent enzymes such as thioredoxina reductase and glutathione peroxidase.[2] To investigate in depth their action on the regards of enzyme, inhibitory studies on DHFR have been carried out. Moreover, appropriate modifications in their structure have been performed in order to get information about the structure/properties relationship.
DTNB assays, stability studies in solution and affinity constant determinations have been performed too. Some conclusions about the possible mechanism of action may be taken accordingly.
Acknowledgements
Authors are grateful to CIRCSMB for Daniela Micozzi fellowship.
References
[1] M. Brandsch, I. Knütter, E. Bosse-Doenecke, J. Pharm. Pharmacol. 2008, 60, 543.
[2] R. Galassi, A. Burini, S. Ricci, M. Pellei, M. P. Rigobello, A. Citta, A. Dolmella, V. Gandin, C Marzano. Dalton Trans., 2012, 41, 530
Lena Herzog In a Vanishing World
No full textThis first comprehensive monograph on the work of Lena Herzog is an exhaustive review of three decades of activity, described in essays by professors Silvia Burini and Giuseppe Barbieri of Ca’ Foscari University in Venice.
Lena Herzog’s undaunted and engaging look spans over boundaries and chasms between different levels of life, time, and memory.
Her work investigates the universal mystery of being human, from the Cabinets of Wonder and Curiosities of the 18th and 19th centuries to the hollowed out rock formations atop of tepuis in Amazonia, from the deep rituals of the West to the emptiness of nameless lands in the Far East.
The various portfolios, here transversally arranged, provide a fascinating cartography of our time and history.
Through innovative experimentation, Lena Herzog fuses Renaissance engraving practices, early techniques of developing and printing photographic images, and cutting edge virtual reality and immersive technologies.
In her latest projects, she confronts and denounces the extinction of thousands of languages and foretells the possible and final collapse of the planet.
These are images between shadow and light, which, as in Goya, pursue the truth of things, gestures, and faces, and in which we find echoes of her childhood phantoms at the foothills of the Ural Mountains
Supramolecular Chemistry and photophysical Properties of a New Gold (I) Cyclic Trinuclear Complex, [Au(μ-C2,N3-1-vinylimidazole)]3
No full textSupramolecular Chemistry and photophysical Properties of a New Gold (I) Cyclic Trinuclear Complex, [Au(μ-C2,N3-1-vinylimidazole)]3
R. Galassia, A. Burinia, C. S. Oumaroua, V. N. Nesterov b, M. A. Omary b.
a Dipartimento di Scienze Chimica, Università di Camerino, Via Sant Agostino, 1, 62032 Camerino, Italia
b Department of Chemistry, University of North Texas, Denton, TX 76203, USA
email: [email protected]
In the past years several cyclic trinuclear complexes (CTC’s) have been synthetized and characterized on the basis of the capacity of d10 transition metal ions to give bicoordinated linear compounds. This intriguing class of compounds display pi-acid/ pi-base properties that can be finely tuned by: the nature of the metal, the substituents on the ligand or the ligand itself. [1] These complexes are attractive building blocks to obtain supramolecular compounds showing interesting photopysical properties [2] or heterobimetallic cyclic trinuclear complexes with potential use in mixed-metal catalysis [3]. Here we report the synthesis of a novel gold (I) CTC, [Au(μ-C2,N3-1-vinylimidazole)]3, and the study of some photophysical properties of its supramolecular derivatives obtained by the intercalation of metal ions in between the metallocycles.
[1] S.M. Terkali, T.R. Cundari, M.A. Omary, J. Am. Chem. Soc. 2008, 130, 1669
[2] a) A. Burini, R. Bravi, J. P. Fackler Jr, Galassi R., T. A. Grant, M. A. Omary, B. R. Pietroni, R. J. Staples . Inorg. Chem. 2000, 39; 3158.b) Burini A, Fackler J. P, JR, Galassi R., Grant T. A, Omary M. A, Rawashdeh-Omary M. A, Pietroni B. R, Staples R.J. J. Am. Chem. Soc. 2000, 122; 11264.
[3] A. Mohamed, R. Galassi, F. Papa, A. Burini, J.P. Fackler , Jr. Inorg. Chem. 2006, 45, 7770-7776
[5] R. Galassi, S. Ricci, A. Burini, A. Macchioni, L. Rocchiagiani, F. Marmottini, S.M. Terkali, V.N. Nesterov, M.A. Omary, Inorg. Chem. 2013, 52, 14124-1413
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