438 research outputs found

    Sir Abraham Hume as Collector and Writer

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    Francis Haskell recognised Abraham Hume as one of the most discerning collectors in England at the time of the exhibition of the Orléans collection in London in 1798-1799. His amateur interests included the collecting of minerals and precious stones but above all paintings of Italian and Flemish Old Masters. This paper will focus on one of the enduring characteristics of Hume’s activity as collector: his passion for Titian, quite unique in the context of the English art collecting between the end of XVIII century and the beginning of XIX century. Among the 21 pictures attributed to the Venetian master bought by Hume, only the Death of Actaeon (London, National Gallery) was actually an autograph. But more important, is the evolution of Hume’s special interest in Titian, that later prompted him to write the first monograph on the painter in English, published in 1829. In the present paper attention will be focused on the analysis of Hume’s changing attitude to Vecellio and on defining the critical approach that underlies his monograp

    The Display of Art Collections In Venice (c. 1650-1850)

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    Profoundly different to the general European approaches to collecting, the display of art collections in Venice from the 17th to the 19th century is connected with the gradual transformation of the Venetian residences into a stage for exhibiting objects, which were meant to gather different kind of people who were involved with the owner and his collections. Most sources at our disposal to reconstruct the installation of Venetian art collections in the Early Modern Age are predominantly textual, since the original spaces in which the works of art were exhibited have been altered or destroyed and the objects scattered to various museums worldwide. How can we reconstruct the way these objects were shown and how they interacted with their environment? What was the role of the collectors in organizing the display in their galleries? The essay explore these questions taking into account textual evidence and visual documents such as inventories of works of art, views of Venetian interiors and guides for tourists

    Raffaello e Venezia nel XVII e XVIII secolo. Spunti critici, connoisseurship e circolazione di opere

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    Gli studi più recenti sul collezionismo e sul mercato in area veneziana in età moderna, hanno portato alla luce inediti materiali che gettano luce su un aspetto ancora poco indagato in merito alla figura di Raffaello, connesso alla ricezione e conseguente circolazione a Venezia di opere pittoriche e grafiche a lui attribuite (sia originali sia copie sia opere ‘alla maniera di’). Questo intervento mette a fuoco alcuni orientamenti di carattere generale sulla considerazione critica riservata all’arte di Raffaello - in un arco compreso tra Sei e Settecento - da intendenti e critici veneziani, che svolgono spesso il ruolo di agenti e intermediari per grandi collezionisti locali o forestieri, da Daniel Nijs a Marco Boschini a Paolo Del Sera (al servizio del cardinale Leopoldo de’ Medici) sino ad Anton Maria Zanetti il Vecchio. Vengono analizzati alcuni casi emblematici della circolazione di dipinti e disegni dell’urbinate nella Serenissima nel periodo considerato, tra cui spiccano il tondo raffigurante il ritratto dello scultore vicentino Valerio Belli, di cui si è potuta ricostruire la storia ‘veneziana’ e una serie di fogli - alcuni associati agli affreschi delle Stanze Vaticane e attualmente conservati in diversi musei - appartenuti al gabinetto di disegni di Zanetti il Vecchio, figura di primo piano per il collezionismo e la connoisseurship del disegno nell’Europa della prima metà del Settecento

    Paolo Veronese revisited: art collecting and connoisseurship in Eighteenth-Century Venice

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    Among the Renaissance masters, Paolo Veronese (1528-1588) was one of the most admired in Eighteenth century Venice being one of the greatest colorists of all time famed for his complex compositions and remarkable architectural settings. Modern literature shed light at what extent Veronese’s legacy has been renovated and transformed by artist such as Sebastiano Ricci and Giambattista Tiepolo. However, scholars paid little consideration to the success and fortune of Veronese among collectors, art dealers and connoisseurs of the time, such as Francesco Algarotti. The matter is quite extensive; for this reason in the present essay we explore relevant aspects concerning: a) the nature of connections between the revival of Veronese’s art and the increasing demand of Veronese’s works for contemporary art collections in Venice, which stimulated of course the production of copies and pastiches but also incited modern painters to take inspiration from the pictorial solutions of the famous Renaissance master; b) the expertise on Veronese’s paintings formulated by Giambattista Tiepolo and Giambattista Piazzetta; c) the display of Veronese’s paintings in Venetian private galleries d) the sale of Veronese’s works in the international art market and of paintings by Tiepolo and Ricci as autographs by Caliari

    Dynamic ride sharing service: are users ready to adopt it?

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    Nowadays we are experiencing a shift of paradigm from ownership of goods to sharing goods and experiences. The "sharing economy" paradigm will change the way people experience everyday life in many sectors. In this paper we are focusing on the urban transportation experience presenting a user centric design of an experimental dynamic ridesharing service for Italian users, called VirtualBus [1]. The proposed service is based on a mobile application that allows people to get arrangement in real time for sharing car rides in an urban area, both as "driver" or "passenger". A smart matching algorithm will provide, within a short time, the best matching between the driver and the passenger learning from users' feedbacks and improving its suggestions overtime to better fulfill users' expectations. The service was designed, prototyped and tested involving users in every step, starting from a vision board with the target Personas. Then, a first raw prototype of the mobile application was designed and tested during specific focus group sessions. During the focus groups users highlighted both the importance of defining rewarding and payment rules and some concerns about privacy and reliability of drivers and passengers. Moreover, a large scale questionnaire, with more than 500 respondents, was distributed with the focus on two big Italian cities, Turin and Rome. The questionnaire analysis gave many interesting insights about the city commuting habits and its results were used to enrich the previously designed Personas with the aim of enhancing real users' scenarios. Next steps will involve real users on selected cities as a test-bed of both the technical solution and the users' acceptability of a new way of experiencing the urban commutin
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