1,052 research outputs found
The pictorial wit of Domenico Tiepolo
No full textThis thesis takes a new approach to Domenico Tiepolo’s (1727-1804), Divertimento Per li Regazzi (c.1795-1804), it is arguably the artists most enigmatic graphic work, which features the commedia dell’arte character Pulcinella. The drawings have hitherto been subject to rigorous connoisseurial analysis. Indeed, in his introduction to ten of the drawings in a catalogue of Italian Eighteenth-Century Drawings in The Robert Lehman Collection at the Metropolitan Museum of Art, New York, James Byam Shaw states that this particular series of drawings has now become so famous ‘that it is hardly necessary to add to the literature of the series.’1 In my opinion it would be a great pity if future generations of scholars were discouraged by this remark, for I believe the drawings still have much to ‘tell’ the contemporary art historian and would further benefit from increasingly interpretative readings. Previously, scholars have regarded Domenico Tiepolo as an imitator of his father, Giambattista Tiepolo (1696-1770), and interpreted the re-appropriation of motifs in the Divertimento as signs of old age and fatigue. I suggest, on the contrary, that in this series of drawings in particular, Domenico was an innovator.
This project carves out new territories within the study of the series in that it focuses on the playful nature of the drawings, and how the suite can be understood in relation to contemporary theory concerning games and play, and ludic musical/improvisatory forms. Additionally, the drawings are discussed as a case history in a now popular emerging dialectic on the late works of aged artists: here I consider how these drawings, often funny, poignant, sensitive and delicate reveal how the elderly painter reconciles himself not only to the passing of his own life and the extinction of his family line but to an entire political, cultural and visual tradition
Transcending Giambologna: Domenico Pieratti and his experiments
No full textThe author maps out the career of Domenico Pieratti (Florence, 1600 - Rome, 1656), sheding light on this remarkable brilliant and highly original sculptor at the service of the Medici and Barberini
Domenico Venier's Poetics and Petrarchism in Sixteenth-Century Veneto
No full textreservedIl presente elaborato si propone di indagare il fenomeno del petrarchismo cinquecentesco in area veneta, concentrandosi in particolare sulla figura di Domenico Venier, tra i più rappresentativi interpreti della lirica petrarchesca nel contesto veneziano del XVI secolo. Attraverso un’analisi delle principali istanze tematiche e stilistiche rintracciabili nella sua produzione poetica, la tesi intende delineare un profilo letterario dell’autore che tenga conto non solo della tradizione petrarchesca, ma anche delle caratteristiche culturali e sociali del contesto lagunare. Particolare attenzione è riservata al cenacolo venieriano, luogo privilegiato di scambio intellettuale e di sperimentazione poetica, che svolse un ruolo significativo nella diffusione e nella rielaborazione del canone lirico stabilito da Pietro Bembo nella prima metà del Cinquecento. La tesi prende inoltre in esame la ricezione critica della poesia di Venier, con l’obiettivo di ricostruire le diverse prospettive interpretative che hanno contribuito a delineare l’immagine letteraria del poeta nel corso dei secoli.This thesis aims to investigate the phenomenon of sixteenth-century Petrarchism in the Veneto region of Northern Italy, with a particular focus on the figure of Domenico Venier, one of the most prominent exponents of Petrarchan lyric poetry of the time. Through an analysis of the main thematic and stylistic features that characterize his poetic production, the study seeks to outline a literary profile of the author, considering not only the Petrarchan tradition but also the cultural and social characteristics of the Venetian context. Special attention is given to Venier’s social circle, a privileged space for intellectual exchange and poetic experimentation, which played a significant role in the dissemination and reworking of the lyric canon established by Pietro Bembo in the first half of the sixteenth century. The thesis also examines the critical reception of Venier’s poetry, aiming to reconstruct the various interpretative perspectives that have contributed to shaping the poet’s literary image throughout the centuries
Domenico Gerosolimitano a Venezia
No full textIn this article, the author provides the Hebrew name of Domenico Gerosolimitano, a famous ecclesiastical censor of Hebrew books who lived in Italy from the end of the sixteenth through the second decade of the seventeenth centuries. Based on the discovery of his baptismal act, recorded in Venice, Domenico Gerosolimitano's Hebrew name was Rabbi Samuel Vivas, of Jerusalem. The aforementioned act determines the exact date of his conversion to Catholicism, as 6 August, 1593. The author presents new information concerning Domenico´s life in Venice as well as his activities as censor of Hebrew books.El artículo se ocupa de la identificación hebrea de Domenico Gerosolimitano, célebre censor de libros hebreos que trabajó en Italia entre fines del siglo XVI y los primeros veinte años del XVII. Gracias a haber descubierto en Venecia el acta de bautismo, el autor ha logrado identificar a Domenico Gerosolimitano con el rabino Samuel Vivas de Jerusalén y precisar la fecha exacta de su conversión al catolicismo (6 de agosto de 1593). El estudio arroja además nueva luz sobre la estancia en Venecia de Domenico y sobre sus inicios como censor de libros hebreos
Domenico Faccenna (1923-2008)
No full textThe author traces the biography of the great archaeologist prof. Domenico Faccenna, one of the most influential authorities in the field of Buddhist architecture and art, who passed away in 2008. Having collected information regarding all the phases of the life of Domenico Faccenna and on his manyfold activities, a special stress is placed on the Oriental section of his biography. A comprehenisve bibliography has been traced with the collaboration of Claudio Faccenna.
L’articolo ricorda al pubblico internazionale del periodico in lingua inglese “East and West” la figura del grande studioso di architettura ed arte buddhista, Domenico Faccenna, fondatore della Missione Archeologica Italiana dell’IsMEO in Pakistan, scomparso nel 2008 e, partendo dalla descrizione analitica della sua imponente opera, evidenzia i concetti fondamentali che emergono dell’unico studio dell’arte del Gandhara basato su una meticolosa attività di scavo
The Hirsch spectrum: a novel tool for analysing scientific journals
No full textThis paper introduces the Hirsch spectrum (h-spectrum) for analyzing the academic reputation of a scientific journal. h-Spectrum is a novel tool based on the Hirsch (h) index. It is easy to construct: considering a specific journal in a specific interval of time, h-spectrum is defined as the distribution representing the h-indexes associated to the authors of the journal articles. This tool allows defining a reference profile of the typical author of a journal, compare different journals within the same scientific field, and provide a rough indication of prestige/reputation of a journal in the scientific community. h-Spectrum can be associated to every journal. Ten specific journals in the Quality Engineering/Quality Management field are analyzed so as to preliminarily investigate the h-spectrum characteristic
Una tragedia cinquecentesca italo-spagnola: La Reyna Matilda di Giovan Domenico Bevilacqua
No full textThe subject of the intervention, a curious example of Italian-Spanish translingualism of the late 16th Century, the tragedy La Reyna Matilda, written in Naples in Spanish by an Italian writer, Giovanni Domenico Bevilacqua, secretary of the Prince of Conca, Matteo di Capua, and preserved in a single, very rare Neapolitan edition of 1597. It necessarily precedes a brief overview of the other few previously printed works by the author, all in Italian, including the renown octave-rhyme translation of the De raptu Proserpinae by Claudiano. Set in the city of Tarragona at the time of Reconquista, the fabula ficta is characterized by the contamination of tragic plot and novelistic themes, the representation and exaltation of Spanish values and customs, with some reflections of contemporary Neapolitan reality, the pietistic and edifying motivations. Through detailed findings, both formal and intertextual, the analysis focuses, in particular, on the debts that the tragedy has, even before the contemporary Spanish developments of the genre, towards the 16th Century Italian tragic grammar, along the entire arc of its codification, from Trissino’s Sofonisba to Tasso’s Re Torrismondo
Private Shrines: Domestic Experiences of Surrealism in Three Italian Interiors from the Early 1970s
No full textThe COVID-19 pandemic has highlighted the importance of private spaces. As a result, the link between Surrealism and domesticity has gained new relevance. In this essay, Di Domenico explores the impact of surrealist artworks exhibited inside collectors' homes focusing on three case studies: three Italian rooms from the early 1970s featuring artworks by Man Ray and René Magritte. Photographs of these rooms were featured in popular art and interior design magazines such as Domus, Casa Vogue, and BolaffiArte. By analyzing how surrealist artworks functioned within the bathroom of the Agnelli family, the "playroom" of actress Sophia Loren, and the bedroom of gallery owner Luciano Anselmino, the author examines the impact of surrealist works in domestic settings, the role of gender dynamics in the construction of personal identity through collecting, the reception of Surrealism in Italy, and its relationship with interior and product design. By delving into the biographies of the collectors, he offers insights into the role, function, and significance of the surrealist artworks they chose to display in their most intimate spaces: their private shrines
Rileggere la certosa di Padula e i suoi scultori. Domenico Lemico, Andrea Carrara e la ritrovata Madonna annunciata con l'Arcangelo Gabriele di Domenico Guidi
No full textL'autore analizza e delinea per la prima volta il patrimonio scultoreo di età barocca conservato presso la certosa di San Lorenzo in Padula, luogo scelto quale deposito delle opere d'arte scampate al terremoto in Irpinia del 1980, attribuendo allo scultore barocco Domenico Guidi i busti raffiguranti la Madonna annunciata e l'Arcangelo Gabriele, già attribuiti a François Duquesnoy e a Domenico Lemico. La nuova paternità ha consentito all'autore di ricostruire in modo esaustivo il corpus delle opere di Domenico Lemico e di Andrea Carrara. L'analisi del contesto architettonico della certosa ha consentito inoltre di attribuire all'architetto Giovanni Antonio Dosio la facciata del cenobio e il chiostro della foresteria dove compare la citazione del cortile di palazzo Farnese a Roma eseguito da Antonio da Sangallo il Giovane. Infine è stato attribuito a Giuseppe Mazzuoli il busto raffigurante il Salvator Mundi, ritenuto in antico opera di Michelangelo.The author analyzed for the first time the Baroque-era sculptural heritage preserved at the Carthusian Monastery of San Lorenzo in Padula, a place chosen as a repository for the works of art that escaped the 1980 Irpinia earthquake. He attributed to Baroque sculptor Domenico Guidi the busts depicting the Virgin Annunciate and the Archangel Gabriel, previously attributed to François Duquesnoy and Domenico Lemico. The new authorship enabled the author to comprehensively reconstruct the corpus of works by Domenico Lemico and Andrea Carrara. Analysis of the architectural context of the Carthusian monastery also allowed the architect Giovanni Antonio Dosio to be attributed the facade of the Carthusian monastery and the cloister of the guest quarters. Here the architect was inspired by the courtyard of the Farnese Palace in Rome executed by Antonio da Sangallo the Younger. Finally, the bust depicting the Salvator Mundi, believed in ancient times to be the work of Michelangelo, has been attributed to Giuseppe Mazzuoli
L'assordante silenzio nero e le ostentate rivendicazioni rosse: gli antitetici modelli comunicativi dei due terrorismi italiani
No full textThe author introduces a comparative examination among the antithetical communicative expressions of the two terrorist experiences, appeared in the second Italian postwar period: the "black carnages" and the "red paramilitary attacks". Starting from their inverse correlation among the "meaning" and the "meant" of the terrorist "sign", the author reconstruct the opposite languages communicated by these different typologies of attempts
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