1,721,095 research outputs found
Giovanni Maria Fara, Scheda num. 9 (L. Cranach il Vecchio, Doppio ritratto del principe elettore Federico di Sassonia e del fratello il duca il duca Giovanni), in I volti della Riforma. Lutero e Cranach nelle collezioni medicee, catalogo della mostra (Firenze, Galleria degli Uffizi, 31 ottobre 2017 - 7 gennaio 2018) a cura di Francesca de Luca, Giovanni Maria Fara, Firenze-Milano, Giunti, 2017.
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Alcune osservazioni su Joachim Camerarius biografo (e traduttore) di Albrecht Dürer
No full textIn this essay the author reconsiders Joachim Camerarius’s long
preface to the Latin edition of Albrecht Dürer’s Human Proportion (De symmetria
partium in rectis formis humanorum corporum) translated by Camerarius himself
and published in 1532 in Nuremberg «at the expense of Dürer’s widow». This
edition is analyzed here in comparison with the Latin translations of Albrecht
Dürer’s Instruction on Measurement (Institutiones geometricae) and Instructions on
Fortification (De urbibus, arcibus castellisque condendis ac muniendis) published in
Paris by Christian Wechel between 1532 and 1535, without the widow’s permission.
Thanks to this analysis, with new evidence, the author investigates
how Camerarius himself helps to defend Dürer’s legacy, as a creative artist and
as a theorist on art.– In this essay the author reconsiders Joachim Camerarius’s long preface to the Latin edition of Albrecht Dürer’s Human Proportion (De symmetria partium in rectis formis humanorum corporum) translated by Camerarius himself and published in 1532 in Nuremberg «at the expense of Dürer’s widow». This edition is analyzed here in comparison with the Latin translations of Albrecht Dürer’s Instruction on Measurement (Institutiones geometricae) and Instructions on Fortification (De urbibus, arcibus castellisque condendis ac muniendis) published in Paris by Christian Wechel between 1532 and 1535, without the widow’s per-mission. Thanks to this analysis, with new evidence, the author investigates how Camerarius himself helps to defend Dürer’s legacy, as a creative artist and as a theorist on art
La recezione di Martin Schongauer incisore nell'arte e nella letteratura italiana del XVI e XVII secolo. Modelli di lettura
No full textIn this article the author proposes an overall reconsideration of the Martin Schongauer’s reception as engraver in Italian art and literature during the sixteenth and seventeenth centuries, paying constant attention to the surviving sources. Especially, the author investigates Schongauer’s position as Dürer’s master, his recognized role as initiator of the Nordic engraving, and the different ways in which his famous prints were reproduced in Italy
La ' città ideale' di Albrecht Dürer. Fonti e fortuna fra XVI e XVII secolo
No full textIn this article the author proposes an overall reconsideration of the Albrecht Dürer’s plan for a quadrate town published in his Treatise on Fortification (Nuremberg 1527), paying constant attention to the surviving sources. In particular, the author demonstrates that it is likely that Dürer drew formal inspiration for his quadrate town plan, and for the accurate external defensive system from earlier Italian architectural models – drawings by Leonardo and some parts of the Libro dell’arte della guerra by Machiavelli. For this reasons, it’s dismissed any dependence of Dürer’s quadrate town plan from utopian or different models, such as Thomas More’s Amauroto or the Aztec capital Tenochtitlan. Furthermore, in this article the author investigates also the significative reception of Dürer’s treatise in Italy, well-known thanks to the Latin version (Paris 1535)
Albrecht Dürer (e Marcantonio Raimondi) nella Felsina pittrice di Carlo Cesare Malvasia: biografia, autografia e collezionismo
No full textThanks to a new analysis of some passages from the Life of Marcantonio Raimondi, both in the printed version of Felsina pittrice and in the manuscript submitted by Carlo Cesare Malvasia in 1677 to the approval of the Inquisition, the author proposes a more complete evaluation of the role that Malvasia recognizes to Albrecht Dürer, with new considerations on the autography of his prints, on their importance in the artistic training of Marcantonio Raimondi, on their widespread collecting in Bologna shortly after the mid-seventeenth century
Historiography and Print Collecting: Venice in the Sixteenth Century
No full textIn these dense essay the author presents an exhaustive analysis of the historiography and collecting of prints in Venice during the sixteenth centur
"Teofilo Gallaccini in His Library: Reflections and Critical Catalog", in "Teofilo Gallaccini: Selected Writings and Library", edited by A. Payne with the Contribution of G.M. Fara, Firenze, Olschki, 2012, pp. 1-40.
No full textScheda n. 36 in Il teatro di tutte le scienze e le arti. Raccogliere libri per coltivare idee in una capitale di età moderna: Torino 1559-1861, catalogo della mostra (Torino, Archivio di Stato, 22 novembre 2011 - 29 gennaio 2012), Torino, Centro Studi Piemontesi, 2011.
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