316 research outputs found
Thoughts on the Importance of the Meso Perspective: the “ Plattform Produktives Stadtgrün” / Gedanken zur Bedeutung der Mesoperspektive: „Plattform Produktives Stadtgrün“
No full textInvited to contribute to a book section on Berlin, Katrin Bohn thinks about the importance of a middle ground between the big pressing macro questions of climate change and the micro spaces of individual food system activities. She writes: ‘Judging by the realities of environmental degradation, traditional urban planning has failed. Concerns of experts have not been sufficiently acknowledged. It requires a middle ground—a meso perspective—to better enable conversation between the various urban stakeholders and bring about widely supported and lasting change. How can this be initiated? In a time of social media, the author proposes to look at a recently developed tool for information, communication, networking, and—ultimately—urban planning’.Bohn uses the Plattform Produktives Stadtgrün [Plattform Productive Urban Green], a Berlin-based interactive online tool developed in a collaboration between the local council, local community gardeners and external experts, including Katrin, to illustrate such a meso perspective.The book Urban Open Space + is edited by Carolin Mees and published by Jovis. Subtitled Strategies inbetween architecture and open space planning, the bi-lingual publication (English/German) explores ‘commonly used and designed open spaces [as] anchor points in the city and a possible response to the consequences of urbanization and climate change, as well as to the presence of social and cultural differences’
Plates by George Cruikshank from The works of Henry Fielding: complete in one volume with the memoir of the author
No full textCruikshank's plates from The works of Henry Fielding: complete in one volume with the memoir of the author / by Thomas Roscoe. Illus. by George Cruikshank.1116 p. front., [22] leaves of plates : ill. ; 24 cm
Views of nature, or, Contemplations on the sublime phenomena of creation : with scientific illustrations / by Alexander von Humboldt ; translated from the German by E.C. Otté and Henry G. Bohn ; with a frontispiece from a sketch by the author, a fac-simile of his handwriting, and a comprehensive index.
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Marietta Robusti, La Tintoretta: a critical discussion of a Venetian pittrice
No full textMarietta Robusti, known also as Marietta Tintoretta, is recognized today primarily as a beloved pupil of her famous father, Jacopo Tintoretto. Before her premature death around 1590, Robusti earned international fame for her painted portraits and was praised by contemporary biographers. Though she was never granted the opportunity to practice autonomously outside of her father’s workshop, her role within it was multifaceted, working as an assistant, a portraitist, and most likely a model. Robusti was one of the earliest examples of a new but growing tradition of female painters being trained by their fathers in Cinquecento Italy. Robusti’s artistic legacy, however, is established by her biographers in terms of virtuous qualities pertaining to her gender and the adoration of her father rather than artistic achievement. As a result, no extant works by Robusti are securely known today. Chapter one discusses Marietta Robusti and the Tintoretto bottega, along with the rise of women artists in Cinquecento Venice and Renaissance constructs of feminine virtu in early modern biographies. The second chapter critically considers Robusti’s historiography, with specific attention to her earliest biographers and their gendered treatment of Robusti and her work. Chapter two also examines the trend of collecting works by women artists as curiosities. Chapter three includes a critical discussion of Robusti’s highly disputed oeuvre and range of paintings documented in collection history
Domenico Piola and his drawings: a study of his fresco preparations
No full textOne of the leading artists in late seventeenth-century Genoa, Domenico Piola (1627-1703) created and maintained his own successful and highly organized workshop, “Casa Piola.” Piola and his Casa Piola completed grand illusionistic interiors for noble residences through the unification of painting, sculpture, and architectural adornment, catering to the Genoese patronage’s taste for the ornate. Piola’s artistic production also includes a large number of drawings (some 4000) that drastically outnumber his paintings and frescos. These drawings display a careful and methodical technique utilized in preparing works in a variety of media from fabrics to frescoes. Using Piola’s five known preparatory drawings for his Allegory of Winter and Allegory of Autumn frescoes as a case study, this thesis will study Piola’s process of fresco design and argue that he used drawings to develop ideas that are reused and reworked in both final fresco compositions. My first chapter contextualizes Domenico Piola and his Casa Piola within seventeenth-century Genoese visual culture and highlights piolesque production’s inherent ties to the local aristocratic decoration. This introductory chapter traces the artist’s development from his early training through his rise to a prominent position in the city.The second chapter provides an overview of Piola’s draftsmanship, emphasizing his large output of highly finished compositional studies, often as iterations of similar subject matter. With comparisons to drawings by earlier influential Genoese artists such as Giovanni Benedetto Castiglione and Valerio Castello, I explore Piola’s corpus of drawings as indicative of the larger Genoese drawing tradition of full compositional designs. My third chapter examines Piola’s use of preparatory drawings for his frescoed Allegory of Autumn and Allegory of Winter decorations in the piano nobile of the Palazzo Rosso. Not completely corresponding to the final frescoes, Piola’s drawings show how he experiments with ideas through drawings, actively reworking elements to create innovative compositions that are not conceived until their final iteration in fresco. At various states of finish, these drawings show his specific approach to fresco design, while also continuing to design in complete compositional entities
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