2,656 research outputs found
Il cardinale Gianfrancesco Albani e le arti tra Roma e Urbino. Il ritratto ritrovato / Cardinal Gianfrancesco Albani and the Arts between Rome and Urbino. A Rediscovered Portrait
No full textDivenuto cardinale nel 1690, l’urbinate Gianfrancesco Albani iniziò ad assumere un ruolo chiave nella politica artistica dello Stato della Chiesa, tanto a Roma quanto a Urbino, anticipando diversi aspetti che sarebbero diventati centrali una volta salito al soglio papale con il nome di Clemente XI (1700-1721): l’attenzione per Raffaello e le Stanze vaticane, il rapporto con le accademie, le premure nei confronti del territorio marchigiano. Avviata in occasione del ritrovamento, presso l’Università di Urbino, di un suo ritratto marmoreo scolpito da Domenico Guidi nel 1692, la ricerca che qui si presenta mira a offrire un primo inquadramento al tema del rapporto del cardinale Albani con le arti, e in particolare al suo collezionismo e al suo legame con alcuni pittori e scultori, che conobbe durante gli anni della prelatura e ai quali avrebbe affidato da papa la direzione artistica della Roma clementina e l’avvio di un ‘secondo Rinascimento’ a Urbino. Primo tra tutti, Carlo MarattiUpon his elevation to the cardinalate in 1690, Gianfrancesco Albani began to take on a key role in the art policy of the State of the Church, as much in Rome as in the city where he was born, Urbino. As cardinal he anticipated various aspects that became central when he rose to the papal throne as Clement XI (1700–1721): his interest in Raphael and the Vatican Stanze, his relationship with academies and the attention he reserved for the Marche territory. The research presented in this volume, which developed out of the discovery, at the University of Urbino, of a marble portrait of Albani made by Domenico Guidi in 1692, aims to offer an initial contextualisation of Albani’s relationship with the arts, and in particular his collecting activity and ties to a few particular painters and sculptors he met while a prelate. To these he entrusted, once he became pope, the artistic direction of Clementine Rome and the launch of a ‘second Renaissance’ in Urbino. First and foremost, Carlo Maratti
Studiare la Collezione di medaglie Mario Scaglia : genesi e ragioni di un progetto editoriale
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Giovanni Battista Pacichelli e l’idea di scultura a Roma allo scadere del Seicento (con qualche annotazione sulla cappella del Battesimo in San Pietro)
No full textIl saggio mette in luce l'originale posizione critica sulla scultura barocca romana di Giovanni Battista Pacichelli, poligrafo seicentesco di vasta esperienza europea, più noto per i suoi studi sull'arte napoletana e del Vicereame. A partire dal suo ricco epistolario dato alle stampe allo scadere del Seicento, nel contributo non solo sono presentate notizie ad oggi malnote su artisti e opere, ma si indagano anche il modo e le categorie con cui busti-ritratto, statue e arredi potevano essere valutati e apprezzati nella Roma della seconda metà secolo
The Drill in Sculpture from Ancient Egypt to Modernism
No full text“The story of the use of the drill in European sculpture has not yet been written, although it should be fascinating.” So argued Rudolf Wittkower in one of the lectures on the processes and principles of sculpture that he gave as Slade Professor of Fine Arts at Cambridge in 1970. In agreement with Wittkower’s view, this volume presents a series of case studies on the use of the drill ranging from ancient Egypt to the beginning of the twentieth century. Conceived as a catalogue for an ideal exhibition, the book illustrates, in chronological order, various works of art whose creation significantly depended on this tool: not only statues and bas-reliefs, but also architectural decoration, vases in precious stone and utilitarian objects, made in a range of materials including marble, wood, clay, ivory and more.
This variety highlights the extraordinary challenge faced over millennia by the drill in its numerous forms (bow drills, gimlets, pump drills, to name but a few), which did not undergo significant technological transformation until the advent of electricity. This tool directly confronted, to a greater extent than others, the hardness of the sculptural materials, piercing them, splitting them and manipulating them beyond any apparent limitation set by nature. In its tussle with the drill, the very affordance of the material was threatened, defeated by the expressive will of the sculptors, their visual cultures, their frames of reference and their notions of nature and art.
This volume is devoted to the exploration and understanding of this challenge
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