1,758,688 research outputs found
What happens to a dream deferred? Venice, 1993-1995
No full textWhat happens to a dream deferred? Venice, 1993-1995. Venice High School, exterior yard, 13000 Venice Boulevard (at Walgrove Avenue). These images integrate the so-called "high art" forms of Cubism and Pop Art with HipHop street art, while addressing the underlying causes of the 1992 post-Rodney King violence in the city. The title comes from a poem by Harlem Renaissance poet Langston Hughes. Acrylic, 2 panels, 15' x 20' (each), by students from 5 high schools under the direction of artist/teachers Joann Carrabbio and Marco Elliott. Sponsored by public and private grants (including SPARC). -- Dunitz, Street gallery, rev. 2nd ed., p. 195, #28
Parti prese nell'Eccell. Conseglio di Pregadi. Et Maggior Conseglio : in materia di quelli che sono debitori di Tanse, & Decime, & in materia delli beni conditionati
No full textParti prese nell'Eccell. Conseglio di Pregadi. Et Maggior Conseglio : in materia di quelli che sono debitori di Tanse, & Decime, & in materia delli beni conditionati. [Venice] : Stampata in Calle dalle rasse, [1570?]. http://morris.law.yale.edu/record=b128360
Urbs/passion/politics: Venice in selected works of Ruskin and Pound
No full textPhDThis thesis argues that the representations of Venice found in the works of John Ruskin and
Ezra Pound can only fully be understood in the light of historico-political contexts such as the
Austrian occupation of Venice, the rise of revolutionary Nationalism and Fascist uses of
Venetian history. In contrast to critical approaches that concentrate on the construction of
Venice as aestheticised fantasy, this project draws on a range of archival materials to place
these two modern literary visions of Venice within their respective historical ‘moments’.
The first chapter examines a range of cultural representations of Venice in the nineteenth and
twentieth centuries. Using examples from Ernest Hemingway, Hugo von Hofmannsthal and
Thomas Mann, it argues against the prevailing myth of the ‘Dream’ of Venice and proposes
that literary and other representations of the city should be understood in relation to specific
historical events and political anxieties.
The second chapter focuses on Ruskin and demonstrates how his text The Stones of
Venice can be seen as a counter to the nineteenth-century myth of the ‘dark legend’ of Venice
as propagated by historians like Pierre Daru. The third chapter then demonstrates how
Ruskin’s Venetian works can be situated within a spectrum of European Nationalist concerns,
particularly examining how the 1848 Venice revolution and its aftermath creates an
atmosphere of political tension in The Stones of Venice.
The following two chapters on Ezra Pound place Pound’s Venetian engagement
against the backdrop of early twentieth-century Italian Nationalism. Beginning by discussing
the cultural uses of Venetian history under the Fascist regime, these chapters show how
Pound’s engagement with the idea of a ‘renewed’ Venice proposed by Nationalist writers
such as D’Annunzio, along with Pound’s own Fascist commitment, provide contexts for his
visions of Venice in the Cantos. Thus the representations of the city in both writers are seen to
be crucially connected to the political concerns of Nationalism and the Nationalistic use of
Venetian history
Parte presa nell'illustriso. Conso. di X. Adì 27. Agosto, 1577 : co[n]tra quelli, che sotto spetie di matrimonio ingannano le donne
No full textParte presa nell'illustriso. Conso. di X. Adì 27. Agosto, 1577 : co[n]tra quelli, che sotto spetie di matrimonio ingannano le donne. [Venice] : Stampata in Calle dalle rasse, [1577]. http://morris.law.yale.edu/record=b128366
English impressions of Venice up to the early seventeenth century: a documentary study
No full textThe first Englishmen to write about the city-state
of Venice were the pilgrims passing through on their way to
the Holy Land. Their impressions are recorded in the travel diaries
and collections of advice for prospective fellow pilgrims
between the early fourteenth and early sixteenth
centuries, the most substantial being those of William Wey,
Sir Richard Guylforde and Sir Richard Torkington, who visited
Venice in 1458 and '62, 1506, and 1517 respectively. In the
1540s arrived the men who saw Venice as part of the new Europe--Andrew Borde and William Thomas. Thomas's study of the
Venetian state emphasized the efficiency of its
administration, seeing it as an example of constructive
government, where effective organisation for the common good
led directly to national stability and prosperity. The mid-sixteenth
century saw the beginnings of Venice as a tourist
centre; the visitors who came between 1550 and the end of the
century described the sights and the people, the traditions
and way of life. Fynes Moryson's extensive account details
what could be seen and learned in the city by an observant and
enquiring visitor.
In addition to information available in first-hand
accounts of Venice, much could be learned from the work of the
late sixteenth-century English translators. Linguistic,
cultural, geographical, historical and literary translations
yielded further knowledge and, more importantly, new
perspectives, Venice being seen through the eyes of Italians
and, through Lewkenor's comprehensive work, The Commonwealth
and Government of Venice, of Venetians themselves.
Finally, to assess the general impressions of
Venice and the Venetians, we consider the literature of the
turn of the sixteenth-seventeenth century; what, and how
much, of the three-hundred year accumulation of knowledge of
the city and people of Venice had most caught the attention
and imagination of the English mind, and how close was the
relationship between the popular impression and the
documentary information from which it had largely developed
Parte presa nell'eccellentissmo. Conseglio di Pregadi. 1573. Adì 6. Febraro : in materia delle tenute dell'officio delli clarissimi Signori Gouernatori dell'intrade, & delli debitori di esso officio in materia di tanse, & decime
No full textParte presa nell'eccellentissmo. Conseglio di Pregadi. 1573. Adì 6. Febraro : in materia delle tenute dell'officio delli clarissimi Signori Gouernatori dell'intrade, & delli debitori di esso officio in materia di tanse, & decime. [Venice] : Stampata in Calle dalle rasse, per il Rampazetto, [1573]. http://morris.law.yale.edu/record=b128588
Venice reconstituted, Venice, 1989
No full textVenice reconstituted, Venice, 1989. Venice Beach Hotel (formerly St. Mark's Hotel), exterior, 25 Windward Avenue (mural on Speedway), Venice. This mural reinterprets "Venus on the Halfshell," a work by Italian Renaissance painter Boticelli, and Cronk's own Venice on the Halfshell, which was painted on this same wall in 1980. The current work addresses the artist's concern over the lack of spirituality in contemporary society by showing the underlying harmony of Western tradition in the context of the familiar Venice Beach setting. Liquitex acrylic/air brush, 100' x 21', by Rip Cronk, assisted by Juan Burgueno, Mishell Caldwell, Dimitree Kadlev, Bruce Smith, Elizabeth Tenchavez. Sponsored by Social and Public Art Resource Center. -- Dunitz, Street gallery, rev. 2nd ed., p. 191, #14
Sea defence works in Venice
No full textShort description of the MOSE shystem to protect Venice against floods from the Adriatic sea
Images of Moses and sixteenth-century Venice
Get PDFThis thesis addresses the striking proliferation of Moses imagery in sixteenth-century Venice by considering the images as a distinctive category. Although the narratives of Moses can be found elsewhere in Italy, the Venetian treatment of these subjects is distinguished by their number and their placement not in private chapels but in locations available to a broad audience. Additionally, a contrast can be made between the central Italian examples, which display variations on a political theme originally established by St. Thomas Aquinas, and the peculiar Venetian approach to the prophet, influenced by the city’s Byzantine roots and its constitution. In tracing the development of this imagery in the sixteenth century, initial consideration must be given to the roots of its stylistic interpretation in the Veneto where paintings for chapels of the Sacrament exhibit the group-oriented compositions that characterize the works throughout the period. In this context, the pioneering work of Jacopo Tintoretto forms the principal focus of this thesis, arguing that he was the first to introduce Moses imagery into Venice on a monumental scale. In his works for the main chapel of the Church of the Madonna dell’Orto and the ceiling of the Scuola Grande di San Rocco, the image of Moses takes on heightened theological significance in the general religious context of the Counter Reformation and in particular Venetian contexts of parish and confraternity. The interplay of such monumental painting and printed book illustration is also considered. It is the influence of Tintoretto’s approach to Moses on later artists that forms in part the foundation for the proliferation of the subjects in the later years of the sixteenth and the early years of the seventeenth century
Interview with Clinton Jennifer about Venice Beach, Maryland (June 21, 2024)
No full textA link to the oral interview with Clinton Jennifer, Class of 1976, essentially about Venice Beach, Maryland, and his family's house and history in the community. There is information about his father, Harold J. Jennifer (Class of 1943). The interview was conducted on June 21, 2024 by Dr. Eric Elson (?) for the Venice Beach Citizen Association's Venice Beach Oral History Project. The interview is almost 20 minutes long. The interview is held in the Digital Maryland digital collections site.A mp4 file has been downloaded and added to the Springfield College Digital Collections. Please see file name, jennifer-harold-oral-history-venice-beach.mp4. This was only done to ensure that the materials survive (LOCKSS). Access should be reserved for the Venice Beach Citizens Associations
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