MDCCC 1800最新文献_第2页

Il museo archeologico di uno scrittore: Carlo Dossi a Corbetta 作家的考古博物馆：科尔贝塔的卡罗-多西

MDCCC 1800 Pub Date : 2023-12-04 DOI: 10.30687/mdccc/2280-8841/2023/01/014

G. Perani

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Drawing the Masters: The Formation of Giovan Battista Bassi and the Methods of the Accademia Clementina 绘画大师：乔凡-巴蒂斯塔-巴斯的成长与克莱门蒂纳美术学院的教学方法

MDCCC 1800 Pub Date : 2023-12-04 DOI: 10.30687/mdccc/2280-8841/2023/01/001

Orfeo Cellura

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I ritratti di Napoleone dipinti da Andrea Appiani: un inedito e alcune precisazioni 安德烈亚-阿皮亚尼绘制的拿破仑肖像：未发表的作品和一些说明

MDCCC 1800 Pub Date : 2023-12-04 DOI: 10.30687/mdccc/2280-8841/2023/01/012

F. Leone

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Los dibujos del escenógrafo Charles Ciceri (1782-1868) El mundo a escena: entre la evocación romántica y la precisión positivista 布景设计师查尔斯-西塞里（Charles Ciceri，1782-1868 年）的绘画作品《舞台上的世界》：介于浪漫主义的唤起与实证主义的精确之间

MDCCC 1800 Pub Date : 2023-12-04 DOI: 10.30687/mdccc/2280-8841/2023/01/006

T. Muñoz

{"title":"Los dibujos del escenógrafo Charles Ciceri (1782-1868)\u0000 El mundo a escena: entre la evocación romántica y la precisión positivista","authors":"T. Muñoz","doi":"10.30687/mdccc/2280-8841/2023/01/006","DOIUrl":"https://doi.org/10.30687/mdccc/2280-8841/2023/01/006","url":null,"abstract":"Set designers’ drawings have a similar instrumental character to painters’ drawings, but unlike painters’ drawings, set designers’ drawings refer to works that are not exhibited in museums, are not studied by art historians and, for the most part, are not preserved. These circumstances explain the usual reluctance to approach set designers’ drawings. However, these drawings have similar characteristics to those of contemporary painters and can give a very accurate picture of the spirit of an era. This is the case with the drawings of Charles Ciceri (1782‑1868), chief decorator at the Paris Opera and the most important set designer of the first half of the 19th century. His drawings, of unquestionable mastery, represent a wide repertoire of sets imbued with a romantic spirit: ancient ruins, medieval fantasies, orientalist evocations, picturesque natures, etc. The typology of the drawings is also varied: sketches from life, sketches and drawings as inventions for final works (decorations, in the case of Ciceri) and drawings with an autonomous value. The variety of techniques and typologies of Ciceri’s drawings is similar to that of the most important painters of the time, although they have a number of specifically ‘theatrical’ nuances, such as the framing of the scenes, the variety of lighting effects, especially the underlining, and – perhaps most importantly – the arrangement in successive planes. These drawings are an exemplary combination of romantic evocation and positivist precision. It is no coincidence that Ciceri was a student, son-in-law and friend of the Romantic painter Isabey, and that his closest collaborator in his early years was Daguerre, inventor of the diorama and father of photography. At this crossroads of aesthetic and multidisciplinary convergences, Ciceri’s drawings are undoubtedly a significant expression of the drawing art of his time.","PeriodicalId":32525,"journal":{"name":"MDCCC 1800","volume":"22 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138603499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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De Itália a Portugal, e mais além A colecção de vasos gregos de Francisco Zea Bermudez y Navarro 从意大利到葡萄牙及其他地区Francisco Zea Bermudez y Navarro的希腊花瓶收藏

MDCCC 1800 Pub Date : 2022-10-24 DOI: 10.30687/mdccc/2280-8841/2022/11/004

V. Mariz

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Industrial Art, art industriel, Kunstgewerbe… Dmitry Grigorovitch et le concept de l’'art industriel' dans la Russie des années 1860 工业艺术、工业艺术、Kunstgewerbe……德米特里·格里戈罗维奇和19世纪60年代俄罗斯的“工业艺术”概念

MDCCC 1800 Pub Date : 2022-10-24 DOI: 10.30687/mdccc/2280-8841/2022/11/007

Karina Pronitcheva

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«Ai tempi di Cimabue non era sì barbara in Lombardia, quanto Vasari la vuol far credere, l’arte della pittura» Prime tracce di ‘primitivi’ negli scritti di Carlo Amoretti “在Cimabue时代，伦巴第的绘画艺术并不像瓦萨里希望它相信的那样野蛮”卡洛·阿莫雷蒂笔下的“原始人”的最初痕迹

MDCCC 1800 Pub Date : 2022-10-24 DOI: 10.30687/mdccc/2280-8841/2022/11/002

G. Truglia

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The (Re)birth of Genre Painting during the Danish Golden Age The Case of the Studio ‘Portrait’ 丹麦黄金时代绘画流派的重新诞生——以“肖像”工作室为例

MDCCC 1800 Pub Date : 2022-10-24 DOI: 10.30687/mdccc/2280-8841/2022/11/003

Kasper Lægring

{"title":"The (Re)birth of Genre Painting during the Danish Golden Age\u0000 The Case of the Studio ‘Portrait’","authors":"Kasper Lægring","doi":"10.30687/mdccc/2280-8841/2022/11/003","DOIUrl":"https://doi.org/10.30687/mdccc/2280-8841/2022/11/003","url":null,"abstract":"In standard twentieth-century accounts of the state of painting during the Danish Golden Age (1801-1864), genre painting is seldom credited with any share of the painterly innovativeness of the period. And although contemporary attempts at a scholarly revision have done much to remedy this situation, Danish Golden Age genre painting is usually not considered outside of its immediate historical context. In contrast, this article, which focuses on the genre of art students painting each other in their studios, argues that genre painting was a driving force in the Romantic turn in Danish painting. It concerns a series of interconnected paintings from the late 1820s, painted by Wilhelm Bendz, Ditlev Blunck and Albert Küchler, and it argues that these works not only stand in relation to past examples from the Dutch Golden Age, they also reinvent conventional concepts in the image of Romanticism. Furthermore, these canvases testify to an intense aesthetic exchange between theatre and painting, it is argued, which is substantiated with reference to the outputs by the poet and playwright Henrik Hertz and the philosopher F. C. Sibbern. Whilst this reciprocity constituted a rapprochement to realism, it by no means implies that the studio ‘portrait’ was just an outcome of an interest in the quotidian; in fact, it is argued that the term ‘reality effect’ might better explain the artistic ambition at work. Lastly, this article makes the case for an interpretation of the studio ‘portrait’ as being equally indebted to, and compositionally carefully balanced between, conventionality and experimentation.","PeriodicalId":32525,"journal":{"name":"MDCCC 1800","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42560608","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

«Quei deboli fili che mi legano a quella corte». Antonio Canova, Giovanni Gherardo de Rossi e il Portogallo “那些把我束缚在法庭上的薄弱环节。”Antonio Canova、Giovanni Gherardo de Rossi和葡萄牙

MDCCC 1800 Pub Date : 2022-10-24 DOI: 10.30687/mdccc/2280-8841/2022/11/009

Michela Degortes

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Giorgione stupisce Tiziano e Giovanni Bellini di Cesare dell’Acqua Un’allegoria ottocentesca del Rinascimento veneziano 《乔治·焦尼惊艳提香和乔瓦尼·贝利尼》作者：Cesare dell’Acqua 19世纪威尼斯文艺复兴寓言

MDCCC 1800 Pub Date : 2022-10-24 DOI: 10.30687/mdccc/2280-8841/2022/11/006

Ermanna Panizon

{"title":"Giorgione stupisce Tiziano e Giovanni Bellini di Cesare dell’Acqua\u0000 Un’allegoria ottocentesca del Rinascimento veneziano","authors":"Ermanna Panizon","doi":"10.30687/mdccc/2280-8841/2022/11/006","DOIUrl":"https://doi.org/10.30687/mdccc/2280-8841/2022/11/006","url":null,"abstract":"This article aims at presenting a painting by Cesare dell’Acqua (Piran 1821-Bruxelles 1905) as an interesting example of the nineteenth-century genre of history painting depicting scenes from the lives of Renaissance artists. The analysis of this work, that has never been examined by the critics, will concentrate on Giorgione’s fortuna in ninteenth-century Venice, especially as a subject of this genre of representation. The painting was exhibited at the Cercle Artistique et Litteraire di Bruxelles in 1861 with the title Giorgione stupisce Tiziano e Giovanni Bellini and is today held in a private collection in Trieste. Cesare dell’Acqua has depicted Giorgione in the act of painting under the gaze of a boy, Titian, and an old man, Giovanni Bellini. Dell’Acqua’s work thus presents the triad of Venetian Renaissance art highlighting Giorgione's pivotal role and reflecting an iconographic theme that is typical of Venetian and Giorgione's painting, the 'Three Ages of Man'. The contribution analyses the visual and literary sources of dell’Acqua’s composition and compares it with other coeval paintings of the same genre, with the aim of deepening the fortuna of Renaissance artists through this new evidence.","PeriodicalId":32525,"journal":{"name":"MDCCC 1800","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49592937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0