1,721,862 research outputs found
Giuseppe Sanmartino, San Luca e San Matteo
No full textLa scheda discute due terrecotte di Giuseppe Sanmartino, un San Luca e un San Matteo, preparatorie per gli omologhi marmi scolpiti da Angelo Viva nella cappella di San Giovanni dei Pappacoda a Napoli
Raffaello. L'Accademia di San Luca e il mito dell'Urbinate
Full text linkThe exposition forms part of the celebrations being overseen by the National Committee for the Celebration of the Fifth Centennial of the Death of Raphael, a committee appointed by the Ministry of Culture and Tourism under whose patronage the
exhibition takes place.
Five hundred years ago, celebrated as no artist had ever been before him, Raffaello Sanzio (1483-1520) died in Rome. A maestro
and lodestar whose importance was exalted by the biographer-artist Giorgio Vasari, he was accorded a stature both artistic and
moral which would be universally recognised for centuries to come. In Raphael, the Accademia di San Luca – whose dual raison
d’être lay in providing artistic training and, simultaneously, elevating the social position of its artists – found the ideal figure of
inspiration for its own activities, and the Academy thus became a key player in the creation and promotion of the legend of the
artist from Urbino. Featuring works from the Academy’s own collections and a number of very significant loans, this exhibition
aims to illustrate the institution’s central contribution to Raphael’s near-mythical status.
As early as the sixteenth century, the Academy had already chosen as its symbol the altarpiece representing St Luke Painting the
Virgin, a painting traditionally attributed to Raphael, who is portrayed (or portrays himself) standing next to the patron saint of
painters – the suggestion clearly being that this is the figure to whom aspiring young artists should look for inspiration. One of
the clearest examples of the importance attributed to the painting is the celebrated copy – recently restored by the Accademia di
San Luca – made by Antiveduto Gramatica in 1623 and currently conserved in the church of Santi Luca e Martina, with its ornate
frame which was donated by Carlo Maratti in 1700. The exhibition offers the public an opportunity to see the two paintings
side-by-side for the first time in centuries, along with a selection of more recent drawings and prints inspired by them.
Stars of the exhibition include the Putto with Garland which first made its appearance in the Academy’s gallery in 1834, to the
joy of artists and connoisseurs for whom it represented the only fresco by Raphael that could be studied at close quarters, giving
rise to what would become a veritable mania for making copies of the subject. The most famous and best documented of these
is the copy made in 1858 by the young French painter Gustave Moreau, which here, on loan from the Musée Gustave Moreau
in Paris, is at long last reunited with the original. The exhibition has provided the occasion for new and important investigations
regarding the Academy’s Putto, and the additional scholarly evidence emerging from these will undoubtedly nourish the debate
surrounding the painting – which some believe to be the first version of the putto represented alongside the Prophet Isaiah in the
Roman church of Sant’Agostino, a fresco whose authorship has long been a subject of dispute.
Surpassing all others as a model for young artists-in-training, over the centuries Raphael’s work was the subject of countless
copies, made as exercises in painting and sculpture within the Academy’s various disciplinary ambits, as is illustrated by the
competition entries and teaching material featured in the exhibition.
The exhibition concludes with a gallery of works by some of the Academy’s great masters, exemplifying the many ways in which
the example offered by the greatest of painters was studied, assimilated and re-elaborated, powerfully influencing the history of
art in Rome for many generations, up to and including the twentieth century, as is attested by the remarkable self-portrait by
Achille Funi with which the exhibition ends.
Defender of Raphael’s legendary status, champion of the beau idéal, and always a leading participant in celebrations dedicated
to his anniversaries and centenaries, with this exhibition the Accademia di San Luca renews its historical undertaking to honour
the memory of Raphael and everything he has represented for the academies and artists of Rome
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
SS Luca e Martina
No full textClose view of the drum, looking up; SS Luca e Martina (the church of the painter's guild Accademia di S Luca in Rome) is planned as a Greek cross with apsidal endings and a dome over the crossing, set on a drum. The internal wall surface is vigorously articulated with pilasters and paired free-standing columns recessed under a continuous entablature, recalling Michelangelo's usage at the Biblioteca Laurenziana in Florence. The lower storey of the façade is structured in the same way, with engaged columns and projecting pilasters. In both storeys of the façade the wall describes a gentle convex curve between the central bay and the coupled pilasters at the sides: thus a main theme of Baroque church façade design appeared in Rome. Source: Grove Art Online; http://www.groveart.com/ (accessed 11/5/2007
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
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