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Drawings by Giulio Campi for the Frescoes Located in the Choir of the Church of Sant’Agata in Cremona: 1537 朱利奥·坎皮为壁画绘制的壁画位于克雷莫纳圣阿加塔教堂的唱诗班：1537年
Intrecci d Arte Pub Date : 2021-08-02 DOI: 10.6092/ISSN.2240-7251/13156
Martin Zlatohlávek
{"title":"Drawings by Giulio Campi for the Frescoes Located in the Choir of the Church of Sant’Agata in Cremona: 1537","authors":"Martin Zlatohlávek","doi":"10.6092/ISSN.2240-7251/13156","DOIUrl":"https://doi.org/10.6092/ISSN.2240-7251/13156","url":null,"abstract":"On 5 April 1537, Giulio Campi (or “magister Giulio Campi Pictor Cremonese”) entered into a contract with the administrators (or “signori Massari et fabriceri”) of the Church of Sant’Agata in Cremona. It concerned decorating both sides of the presbytery of the aforementioned church with four paintings depicting scenes from the life of St. Agatha, two artworks on each side, using good and pure colours, for an agreed price of 200 imperial liras. This succession of the individual scenes complies with the legend of St. Agatha, as recorded by Jacobus de Varagine.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"10 1","pages":"7-21"},"PeriodicalIF":0.0,"publicationDate":"2021-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45137869","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
La processione a Forlì del 1636 in onore della Madonna del Fuoco e gli incroci dei saperi. Il progettista degli apparati 1636年的forli游行，以纪念火之女和圣贤的十字路口。设备设计师
Intrecci d Arte Pub Date : 2021-08-02 DOI: 10.6092/ISSN.2240-7251/13161
Marinella Pigozzi
{"title":"La processione a Forlì del 1636 in onore della Madonna del Fuoco e gli incroci dei saperi. Il progettista degli apparati","authors":"Marinella Pigozzi","doi":"10.6092/ISSN.2240-7251/13161","DOIUrl":"https://doi.org/10.6092/ISSN.2240-7251/13161","url":null,"abstract":"«A map with no figure and our woman in the middle» miraculously escaped the fire that had devastated the school-house of the master Lombardino da Ripetrosa in Forli on the night between 4 and 5 February 1428. That night – as we are told by the painter and fifteenth-century chronicler Giovanni di Mastro Pedrino from Forli, pseudonym of Giovanni Merlini – the master’s house burned down entirely, so that «non ne romaxe altro che le mura e una carta con alcuna figura e nostra Donna in mezzo. E perche parve grande miracolo fo tolta dai calonixe de Santa Croxe con reve(re)ncia: e questa fa assa(e) miraculi». We will illustrate the engravings by Floriano Dal Buono for the decorations that in 1637 accompanied Bezzi’s account on the procession of 1636 for the translation of the woodcut with the Madonna del Fuoco into the new chapel of the Forli cathedral and we will propose Giovanni Battista Aleotti as a possible identification for their designer.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"10 1","pages":"109-125"},"PeriodicalIF":0.0,"publicationDate":"2021-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47070586","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
Ercole a Brescello. Nuove testimonianze per Jacopo Sansovino 大力神到布雷塞洛。对雅格布·桑索维诺的新证词
Intrecci d Arte Pub Date : 2020-12-09 DOI: 10.6092/ISSN.2240-7251/11847
Marinella Pigozzi
{"title":"Ercole a Brescello. Nuove testimonianze per Jacopo Sansovino","authors":"Marinella Pigozzi","doi":"10.6092/ISSN.2240-7251/11847","DOIUrl":"https://doi.org/10.6092/ISSN.2240-7251/11847","url":null,"abstract":"Jacopo Sansovino, born Jacopo Tatti known as Sansovino (Florence, July 2, 1486 – Venice, November 27, 1570), was a Tuscan architect and sculptor active for a long time in several locations, where he has always been worthy of positions of great responsibility. On this occasion I will focus on the commission for the statue of Hercules requested from him in 1550 by Duke Ercole II d’Este through his ambassador to Venice, Girolamo Faruffini. The giant in Istrian stone will reach Brescello, the «nova Cittade Erculea», its definitive seat, in 1553. So far, the model for the head of Hercules is unpublished, and in a private collection, on this occasion he presents and confronts himself with the sculpture created.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"9 1","pages":"16-33"},"PeriodicalIF":0.0,"publicationDate":"2020-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48193137","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
«Non volle perdersi a formar ritratti». Jacopo Alessandro Calvi e i ritratti di Eustachio Zanotti e degli Arcadi della Colonia Renia 他不想在画肖像时迷路。雅可布·亚历山德罗·卡尔维和尤斯塔斯·扎诺蒂和勒尼亚殖民地阿克尼人的画像
Intrecci d Arte Pub Date : 2020-12-09 DOI: 10.6092/ISSN.2240-7251/11834
Irene Graziani
{"title":"«Non volle perdersi a formar ritratti». Jacopo Alessandro Calvi e i ritratti di Eustachio Zanotti e degli Arcadi della Colonia Renia","authors":"Irene Graziani","doi":"10.6092/ISSN.2240-7251/11834","DOIUrl":"https://doi.org/10.6092/ISSN.2240-7251/11834","url":null,"abstract":"The essay presents an unpublished pencil portrait of Jacopo Alessandro Calvi in a private collection, which captures the scientist Eustachio Zanotti in profile. It also proposes to refer to Calvi’s hand the portrait of the same astronomer preserved in the university collections of Palazzo Poggi, on the basis of a comparison with a further oil portrait by him, also in a private collection, which came to us through the painter’s heirs and was painted in pairs with that of Calvi’s father, the spice merchant Giuseppe Maria, a great friend of the scientist.  \u0000The painting in Palazzo Poggi is in fact currently in search of an authorship, after a past attribution to the name of Giampietro Zanotti, secretary of the Accademia Clementina, father of Eustachio as well as master of Jacopo Alessandro himself. The attributive hypothesis therefore widens Calvi’s known activity as a portraitist, to which the painter very rarely devoted himself, but that was very significant in order to document the literary interests cultivated by the young artist, and his academic and Arcadian acquaintances.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"9 1","pages":"80-90"},"PeriodicalIF":0.0,"publicationDate":"2020-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46860942","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
Un nuovo sguardo alla collezione Rimoldi di Cortina d’Ampezzo 让我们来看看Cortina d ' amazzo的Rimoldi系列
Intrecci d Arte Pub Date : 2020-12-09 DOI: 10.6092/ISSN.2240-7251/11846
Federica Aramu
{"title":"Un nuovo sguardo alla collezione Rimoldi di Cortina d’Ampezzo","authors":"Federica Aramu","doi":"10.6092/ISSN.2240-7251/11846","DOIUrl":"https://doi.org/10.6092/ISSN.2240-7251/11846","url":null,"abstract":"The article aims to reconstruct the Mario Rimoldi collection path, based on a new analysis of the works hosted at the “Mario Rimoldi” Museum of Modern Art in Cortina d’Ampezzo. The collection, comprising 360 works, antiques and an archive fund, was donated by Rosa Braun, the widow of Rimoldi, in 1972 to the Regole d’Ampezzo, thousand-year-old custodians of the local heritage. In 2017, the Renato Balsamo Fund was added to this donation, including further evidence of the original Rimoldi collection, in particular photographic documents and the Libro d’Oro.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"9 1","pages":"91-108"},"PeriodicalIF":0.0,"publicationDate":"2020-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45686403","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
Bartolomeo Passerotti per gli “Strazzaroli”: il «San Girolamo» di Dublino “流浪汉”:都柏林的“圣吉罗拉莫”
Intrecci d Arte Pub Date : 2020-12-09 DOI: 10.6092/ISSN.2240-7251/11844
Angela Ghirardi
{"title":"Bartolomeo Passerotti per gli “Strazzaroli”: il «San Girolamo» di Dublino","authors":"Angela Ghirardi","doi":"10.6092/ISSN.2240-7251/11844","DOIUrl":"https://doi.org/10.6092/ISSN.2240-7251/11844","url":null,"abstract":"The St. Jerome (Dublin, National Gallery of Ireland), coming from the Fesch collection and already attributed to Michelangelo, has long since been returned to Bartolomeo Passerotti, but is still little known in the artist’s catalog. This contribution intends to identify the St. Jerome with the lost altarpiece of the powerful “Compagnia degli Strazzaroli”, which the Bolognese sources of the seventeenth-eighteenth century (Masini, Malvasia and Oretti’s Notize) recall as executed by Bartolomeo Passerotti, and to propose a chronological placement of the Irish painting, inserting it within the production of the Bolognese painter.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"9 1","pages":"46-53"},"PeriodicalIF":0.0,"publicationDate":"2020-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45797051","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
Per una revisione della cronologia dei disegni francesi di Nicolò dell’Abate: «L'Amore sulla mezzaluna» della Biblioteca Ambrosiana e il «Bacco» del Louvre 修订修道院院长尼科洛(nicolo)的法国绘画年表:安布罗西亚图书馆(Ambrosiana library)的《新月上的爱》(love on the mezzaluna)和卢浮宫(Louvre)的《巴克斯》(bacu)
Intrecci d Arte Pub Date : 2020-12-09 DOI: 10.6092/ISSN.2240-7251/11845
G. Brusori
{"title":"Per una revisione della cronologia dei disegni francesi di Nicolò dell’Abate: «L'Amore sulla mezzaluna» della Biblioteca Ambrosiana e il «Bacco» del Louvre","authors":"G. Brusori","doi":"10.6092/ISSN.2240-7251/11845","DOIUrl":"https://doi.org/10.6092/ISSN.2240-7251/11845","url":null,"abstract":"The article examines two drawings by Nicolo dell’Abate (Modena, 1509? – Paris, 1571), representing Cupid on the crescent and Bacchus, preserved in the Biblioteca Ambrosiana in Milan and in the Louvre Museum, executed during the artist’s period of activity in France (1552-1571). Their iconographic and stylistic analysis, coupled with the discovery of new archival documents, led to a review of the chronology of the master's French drawings. The two sheets were dated on stylistic basis to the last decade of Nicolo’s career (1560-1570): however, the presence of the croissant de lune, emblem of Henry II, in the Ambrosiana’s drawing, signals the need to backdate it before 10th July 1559, at the time of the death of the sovereign, while the analysis of the style expressed in the two drawings leads to a reassessment of the development of the artist’s modus operandi at the French court, supported by the recent discovery of two notarial documents in the State Archives of Bologna.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"9 1","pages":"34-45"},"PeriodicalIF":0.0,"publicationDate":"2020-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48023120","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
Cut/up semantico creatore di spazio sociale: la rivista «A/traverso» e la geourbanistica bolognese nei primi anni Ottanta 社会空间的语义切割创造者：《A/traverso》杂志与20世纪80年代初的博洛尼亚城市主义
Intrecci d Arte Pub Date : 2020-12-09 DOI: 10.6092/ISSN.2240-7251/11851
A. Capriolo
{"title":"Cut/up semantico creatore di spazio sociale: la rivista «A/traverso» e la geourbanistica bolognese nei primi anni Ottanta","authors":"A. Capriolo","doi":"10.6092/ISSN.2240-7251/11851","DOIUrl":"https://doi.org/10.6092/ISSN.2240-7251/11851","url":null,"abstract":"By analyzing the \"summer\" issue of «A/traverso» of 1981, we'll try to reconstruct the libertarian and socializing environment of Bologna after 1977. In this new artistic articulation will be fundamental to verify the influence that new digital technologies brought to artistic heritage over the decade. Therefore, we can see that inside the Bolognese autonomy magazine there were texts by William Burroughs, who has always been interested, through the cut-up technique - also digital - in the possibilities of linguistic experimentation, and texts by the videomaker Gabrinsky’s collective, which, through collages of apparently disconnected images, restored a social value to the Bolognese city planning. Ultimately, to confirm these intentions, it will be necessary to consider Renato de Maria's 1991 film Il trasloco, a medium-length film that shows the last days of \"Bifo\" in his home in Bologna in Marsili street, who, using an institutional system no longer destroyed, represented the end of the \"socializing\" experiences era of Bologna in ‘77.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"9 1","pages":"109-127"},"PeriodicalIF":0.0,"publicationDate":"2020-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41388569","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
Some Notes to the Technique of Boccaccino’s Drawings 关于薄伽契诺绘画技巧的几点注记
Intrecci d Arte Pub Date : 2020-12-09 DOI: 10.6092/ISSN.2240-7251/11849
Martin Zlatohlávek
{"title":"Some Notes to the Technique of Boccaccino’s Drawings","authors":"Martin Zlatohlávek","doi":"10.6092/ISSN.2240-7251/11849","DOIUrl":"https://doi.org/10.6092/ISSN.2240-7251/11849","url":null,"abstract":"In terms of the hitherto known body of Boccaccio Boccaccino’s drawings, the only support used was paper, clean, tinted, and colourfully prepared. Boccaccino drew, to a limited extent, using a metal stylus (lead stylus was also employed for squaring) and a pen. Much more often, he would use a brush, red chalk, or black chalk. The support used for Boccaccino’s drawing of St. Jerome, nowadays kept in Munich, was a green-ochre prepared paper.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"9 1","pages":"1-15"},"PeriodicalIF":0.0,"publicationDate":"2020-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47906960","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
Il Miracolo del Crocifisso di Beirut del fiorentino Jacopo Coppi in San Salvatore a Bologna: architettura picta e tentativi per una nuova tolleranza ebraica nell’età di Paleotti 佛罗伦萨人雅各布·科皮在博洛尼亚圣萨尔瓦多创作的《贝鲁特十字架的奇迹》：皮克塔建筑和古罗马时代犹太人新宽容的尝试
Intrecci d Arte Pub Date : 2020-12-09 DOI: 10.6092/ISSN.2240-7251/11850
Valeria Rubbi
{"title":"Il Miracolo del Crocifisso di Beirut del fiorentino Jacopo Coppi in San Salvatore a Bologna: architettura picta e tentativi per una nuova tolleranza ebraica nell’età di Paleotti","authors":"Valeria Rubbi","doi":"10.6092/ISSN.2240-7251/11850","DOIUrl":"https://doi.org/10.6092/ISSN.2240-7251/11850","url":null,"abstract":"The altarpiece by the Florentine Jacopo Coppi kept at the church of San Salvatore in Bologna represents the Miracle of the Crucifix of Beirut, a rare iconography that the Florentine painter inserts in a complicated architectura picta. This studio reconsiders the iconographic and stylistic aspects through the data of the most updated artistic literature pieces in order to read them in a new and different historiographic perspective, which also shows an unexpected policy of tolerance towards Jews in the Palaeottian context.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"9 1","pages":"54-79"},"PeriodicalIF":0.0,"publicationDate":"2020-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47941103","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
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