4,569 research outputs found
La maturità di Alessandro Fei del Barbiere, in bilico tra Maniera e Riforma
No full textThis article studies the mature career of the Florentine painter Alessandro Fei del Barbiere (1537-1592), beginning with the rediscovery of the 'Ascension' altarpiece formerly in the Albizi Chapel in the destroyed church of San Pier Maggiore, Florence. Studying this painting and others recorded in 1584 by the biographer Raffaello Borghini, such as the two altarpieces for Santa Maria delle Grazie and the Madonna dell'Umiltà in Pistoia, the author reconstructs a body of works showing how in the 1580s Fei gradually went beyond the archaic style of his apprenticeship - he had been trained by Ridolfo del Ghirlandaio and Pierfrancesco Foschi, but was also marked by the Maniera of Vasari - evolving towards naturalism in both mimesis and pictorial handling. In Florence, his development partly parallels that of Santi di Tito and his circle, but Fei was also influenced by a probable sojourn during the early part of that decade in Rome, where he could have been inspired by Girolamo Muziano and the painters working for Pope Gregory XIII. Among other proposals, the author suggests that the artist was responsible for decorating the chancel of Fiesole Cathedral (c. 1584-1589), which consisted of an altarpiece, only rarely discussed by scholars, and a cycle of frescoes hitherto attributed to Nicodemo Ferrucci
Nuovi contributi su Alessandro Fei del Barbiere
No full textThe article focuses on the early career of the Florentine painter Alessandro Fei, known as ‘del Barbiere’ (1537-1592), with new attributions (drawings, panels for a studiolo, and por- traits) and some secure dates for the hitherto relatively uncertain chronology of his altarpieces and frescoes in the late 1570s and early 1580s. The stylistic evidence points inevitably to the im- pact of Vasari and other artists who were active in the Studiolo, such as Giovan Battista Naldini, but it also reveals an individual penchant for reviving the simplicity of language of the early six- teenth-century Florentine painters such as Fra Bartolomeo and Andrea del Sarto, together with a hint of the complex luminosity of Beccafumi, no doubt absorbed during Fei’s probable sojourn in Sienese territory in 1575-1576
Römischer, italienischer oder deutscher Humanismus? Zum Verhältnis zwischen Mythos und individuellem Leben bei Walter F. Otto und Ernesto Grassi in der Nachkriegszeit
No full textThis chapter focuses on the relationship between the classical philologist Walter Friedrich Otto (1874-1958) and the philosopher Ernesto Grassi (1902-1991) in the post-war period. Although after World War II Otto and Grassi were not as close as they used to be in the 1940s, they went on cooperating on a variety of topics until the late 1950s. Otto's views on humanism depend on his theory of Greek myth, whereas for Grassi myth is key to understanding the individuum as a living reality, which is counterposed to the illusory of technology. In his later writings, Grassi will abandon this view, and confine his interest for ancient myth to his studies on metaphor
Preface
No full textThe annual Conference of the “Unione Italiana di Termofluidodinamica” (UIT) aims to promote cooperation in the field of heat transfer and thermal sciences by bringing together scientists and engineers working in related areas.
The 32nd UIT Conference was held in Pisa, from the 23rd to the 25th of June, 2014 in the buildings of the School of Engineering, just a few months after the celebration of the 100th anniversary of the first Institution of the School of Engineering at the University of Pisa.
The response was very good, with more than 100 participants and 80 high-quality contributions from 208 authors on seven different heat transfer related topics: Heat transfer and efficiency in energy systems, environmental technologies, and buildings (25 papers); Micro and nano scale thermo-fluid dynamics (9 papers); Multi-phase fluid dynamics, heat transfer and interface phenomena (14 papers); Computational fluid dynamics and heat transfer (10 papers); Heat transfer in nuclear plants (8 papers); Natural, forced and mixed convection (10 papers) and Conduction and radiation (4 papers). To encourage the debate, the Conference Program scheduled 16 oral sessions (44 papers), three ample poster sessions (36 papers) and four invited lectures given by experts in the various fields both from Industry and from University. Keynote Lectures were given by Dr. Roberto Parri (ENEL, Italy), Prof. Peter Stephan (TU Darmstadt, Germany), Prof. Bruno Panella (Politecnico di Torino), and Prof. Sara Rainieri (Universitá di Parma). This special volume collects a selection of the scientific contributions discussed during this conference. A total of 46 contributions, two keynote lectures and 44 papers both from oral and poster sessions, have been selected for publication in this special issue, after a second accurate revision process. These works give a good overview of the state of the art of Italian research in the field of Heat Transfer related topics at the date
Author Correction: Coronavirus disease 2019 (COVID-19) in Italy: features on chest computed tomography using a structured report system (Scientific Reports, (2020), 10, 1, (17236), 10.1038/s41598-020-73788-5)
No full textThe original version of this Article contained errors in the spelling of the authors Roberto Grassi, Roberta Fusco, Maria Paola Belfiore, Alessandro Montanelli, Gianluigi Patelli, Fabrizio Urraro, Antonella Petrillo, Vincenza Granata, Palmino Sacco, Maria Antonietta Mazzei, Beatrice Feragalli, Alfonso Reginelli & Salvatore Cappabianca which were incorrectly given as Grassi Roberto, Fusco Roberta, Belfiore Maria Paola, Montanelli Alessandro, Patelli Gianluigi, Urraro Fabrizio, Petrillo Antonella, Granata Vincenza, Sacco Palmino, Mazzei Maria Antonietta, Feragalli Beatrice, Reginelli Alfonso & Cappabianca Salvatore. These errors have now been corrected in the PDF and HTML versions of the Article
A imagem de Alessandro Baricco no Brasil
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2013.Com a intenção de delinear o modo pelo qual o escritor italiano Alessandro Baricco se inseriu no sistema literário brasileiro e os caminhos percorridos pelos seus livros traduzidos, esta dissertação dá voz às experiências tradutórias de seus tradutores. A inserção de Bariccono Brasil tem seu início em 1997, através de uma proposição da Profa. Dra. Roberta Barni à editora Iluminuras da tradução de Oceano Mare. A partir daí, outras sete obras foram publicadas no Brasil, sendo três delas traduzidas por Roberta Barni e as outras quatro por quatro tradutores diferentes. De um lado, considera-se o tradutor como figura principal namediação entre culturas, e, de outro, se analisa a realidade desta figuradentro do sistema literário, sua invisibilidade, seus limites e o exercíciode sua profissão. A pesquisa conta, ainda, com críticas e resenhas referentes ao autor italiano publicadas em jornais consagrados no Brasil, considerando estas como parte constituinte da imagem de Baricco refletida em território nacional. Abstract : Intending to delineate the way the Italian writer Alessandro Baricco has been inserted in the Brazilian literary system and the paths his translated books have followed, this thesis gives voice to the translating experiences of his translators. Baricco's insertion in Brazil began in 1997, through a personal project of Dr. Roberta Barni, with her translation of Oceano Mare. Since then, seven other of his works have been published in Brazil, three of which were translated by Roberta Barni and the other four by four different translators. On the one hand,the translator is considered as the main figure in mediation betweencultures and, on the other, this figure's reality is analyzed within theliterary system: its invisibility, its limits and its professional practice. Criticisms and reviews of this Italian author published in well established Brazilian newspapers are also considered, with the understanding that they are part of Baricco's image reflected here
Le Notizie del Volterrano: un caso di studio sul metodo di lavoro di Filippo Baldinucci
No full textAs the publishing history suggests, the Notizie dei professori del disegno by Filippo Baldinucci had a long and troubled process. Deepening the ideas of Paola Baroc- chi, this essay wants to shed light on some aspects of Baldinucci’s modus operandi, through the analysis of the biography of the painter Baldassarre Franceschini, called il Volterrano. Thanks to recent documentary acquisitions, it is possible to ascertain that a first draft of the text, written on the artist’s memories, was re-elaborated after his death: this explains the coexistence of some extremely accurate and other wrong or non-coherent information. The son of Baldinucci, Francesco Saverio, finished pub- lishing the Notizie thirty years after his father’s death, but decided not to correct their inaccuracies, perhaps as a sign of a conservative choice typical of culture of the late Medici Florence
Pensieri del Volterrano per le architetture dipinte nelle logge della Petraia
No full textThe article presents a drawing containing an initial quadratura design made in 1636 by Baldassare Franceschini (il Volterrano) for the frescoes in the courtyard of the Villa della Petraia, near Florence. The artist’s interest in a coherent architectural layout remained strong even when his patron Don Lorenzo de’ Medici opted for a cycle with narra- tive scenes; this is borne out by the attention given in other drawings to details relating to the basamenti of the principal episodes
Ancora il Cigoli a Figline (con una data per Tommaso Gherardini)
No full textA study of the documentation relating to the Compagnia del Corpus Domini in Figline Valdarno, housed in the Florence State Archives, makes it possible to usnquestionably establish the authorship of two oil paintings on wood panel of the Sorrowful Virgin and Saint John the Evangelist in mourning, now in the sacristy of the local Collegiate Church of Santa Maria, to the early period of Ludovico Cigoli. These formed the lateral elements of a macchina d’altare dedicated to the Holy Crucifix, dismantled in the eighteenth century during a modernisation project that also involved the painting of a fresco in the vault above by Tommaso Gherardini, in 1774. Cigoli’s two panels, datable to 1586-1587, provide a key element for the understanding of his stylistic evolution, when after his early works, influenced by Pontormo’s maniera, he turned to the more experimental stimuli prompted by his discovery of Correggio and Barocci
La cappella Albizi da San Pier Maggiore a San Paolino di Firenze
No full textProtagonisti della vita politica del Comune e della Repubblica di Firenze fra il XIII e il XV secolo, gli Albizi detennero il padronato di molte cappelle nell’antica chiesa cittadina di San Pier Maggiore. Mediante una ricca e inedita documentazione, il volume ripercorre le diverse fasi della decorazione della cappella di Santa Lucia, dalla sua facies tre-quattrocentesca sino al suo completo trasferimento e rimontaggio nella chiesa di San Paolino, a seguito della demolizione di San Pier Maggiore decretata dal granduca Pietro Leopoldo di Lorena nel 1784. Lo studio si configura come una sorta di indagine stratigrafica che evidenzia le caratteristiche formali dei vari allestimenti in rapporto alle motivazioni dinastiche legate al prestigio del patronato, alla visibilità delle sepolture e alle successioni ereditarie fra alcune linee degli Albizi. Si avanzano quindi ipotesi ricostruttive sulla natura e sull’originaria conformazione delle emergenze artistiche che, nel corso del tempo, sono state via via modificate: come, ad esempio, il sarcofago di Maso il Cavaliere, lavorato da Lorenzo Ghiberti, e il rifacimento in chiave barocca ideato da Giovan Battista Foggini
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