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Rinascimento Mediterraneo. Triangolazioni, effetto-koinè e alternative, tra artisti di frontiera e protagonisti costieri 文艺复兴时期地中海。边界艺术家和沿海演员之间的三角关系、科因尼效应和替代方案
Intrecci d Arte Pub Date : 2017-12-05 DOI: 10.6092/ISSN.2240-7251/7541
M. Spissu
{"title":"Rinascimento Mediterraneo. Triangolazioni, effetto-koinè e alternative, tra artisti di frontiera e protagonisti costieri","authors":"M. Spissu","doi":"10.6092/ISSN.2240-7251/7541","DOIUrl":"https://doi.org/10.6092/ISSN.2240-7251/7541","url":null,"abstract":"L'intervento intende mettere in luce come tutta una produzione definita come \"periferica\" sia finora sfuggita a ricognizioni monografiche. Fenomeni e fattori quali crogiolo mediterraneo e diffusione del gusto flandro-iberico, come pure, nella prima meta del Cinquecento, l'insorgenza a Napoli di un raffaellismo \"di fronda\", sono stati nel tempo scandagliati da studi panoramici. Partendo da scritti fondamentali, come quelli di Bologna, di Previtali e Leone de Castris, per giungere agli importanti cataloghi di Natale e Borchert, e agli scritti piu recenti di Martens e Naldi, si vedra come la felice e fruttuosa prospettiva di studio, che ha posto l'accento sulla circolazione mediterranea di idee, stilemi e artisti – fino agli scritti di Elsig, su taluni pittori itineranti – non ha purtroppo dato avvio a quelle sperate pubblicazioni dal focus piu propriamente monografico (fatte salve alcune eccezioni), tanto che parecchi dei piu sottili e affascinanti interpreti del Rinascimento mediterraneo e del Rinascimento meridionale non godano nemmeno ora di studi ampiamente specifici, di ricostruzioni serrate e aggiornate di corpus, i quali restano frammentari e/o contraddittori, con attribuzioni dubbie e oscillanti. Interpreti, per fare solo qualche nome, come Andrea Sabatini, o il polidoresco Marco Cardisco e limitrofi, o la preziosa e significativa produzione di Pietro e Michele Cavaro, o a ritroso, quella di Antoine de Lonhy, del Maestro del Retablo di Bolea, o del Maestro di Castelsardo, per fare solo qualche nome, meritano un rinnovato e serio interesse per la loro portata singolare, mediatrice e alternativa, anche a distanza di parecchi anni dal noto saggio su \"centro e periferia\" di Castelnuovo e Ginzburg, e soprattutto ora che e in corso una vivace stagione di studi, in cui parecchie risorse sono giustamente investite in progetti dedicati ai Mediterranean Studies, alle Connecting Art Histories e ai Transregionale Studien.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44241356","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
Affreschi agiografici iconico-narrativi della chiesa di San Lorenzo a Pistoia 皮斯托亚圣洛伦佐教堂的艺术和叙事壁画
Intrecci d Arte Pub Date : 2016-11-30 DOI: 10.6092/ISSN.2240-7251/6433
Nicoletta Matteuzzi
{"title":"Affreschi agiografici iconico-narrativi della chiesa di San Lorenzo a Pistoia","authors":"Nicoletta Matteuzzi","doi":"10.6092/ISSN.2240-7251/6433","DOIUrl":"https://doi.org/10.6092/ISSN.2240-7251/6433","url":null,"abstract":"In the almost ruined Augustinian church of San Lorenzo in Pistoia many frescoes are preserved, although in a poor state of conservation. Many of them are arranged in little narrative scenes set around a central standing saint, which is the main character of the hagiographical cycle, as in Vita-Icon panels. This is a common type of decoration in Tuscany during the 14th and 15th centuries, but the frescoes in San Lorenzo show some peculiarities in the disposition of the scenes and in the themes of the representation: for instance the mural painting with Mary and Eve’s stories, or the one dedicated to Saint Catherine, or the gigantic Saint Christopher .","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71264641","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: 1
Proposta di lettura delle pitture di cultura paleologa all’interno del Duomo di Genova 建议在热那亚大教堂内阅读古生物学家的文化绘画
Intrecci d Arte Pub Date : 2016-11-30 DOI: 10.6092/issn.2240-7251/6435
Federica Volpera
{"title":"Proposta di lettura delle pitture di cultura paleologa all’interno del Duomo di Genova","authors":"Federica Volpera","doi":"10.6092/issn.2240-7251/6435","DOIUrl":"https://doi.org/10.6092/issn.2240-7251/6435","url":null,"abstract":"This article is dedicated to the analysis of the early Fourteenth Century byzantine cycle in the Saint Lawrence Cathedral in Genoa: in particular its purpose is to illustrate the iconographic program realized on the counter facade. The questions this article explains are: what is the relationship between painted images and spatial context, which means first the wall on which was carried out, and second the space of the Cathedral; what are the complex meanings of the iconographic themes of the Last Judgement and the Deesis , also in connection to the local devotional culture; and finally, considering the relation patron – subject of the cycle – artist, what are the connections between the Latin devotional needs of patrons and also of the public to which the cycle was intended, and the eastern compositional and expressive repertories of the Byzantine painters.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71264748","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
Problemi di organizzazione narrativa a Mezzaratta 夹层叙事组织问题
Intrecci d Arte Pub Date : 2016-11-30 DOI: 10.6092/issn.2240-7251/6429
G. Monaco
{"title":"Problemi di organizzazione narrativa a Mezzaratta","authors":"G. Monaco","doi":"10.6092/issn.2240-7251/6429","DOIUrl":"https://doi.org/10.6092/issn.2240-7251/6429","url":null,"abstract":"The paper presents a first systematic analysis of the issues of pictorial narrative raised by the well known Trecento fresco cycle with Stories of the Old and New Testament formerly decorating the church of Santa Maria di Mezzaratta on the Bolognese hills. Painted by a few generations of artists during at least four decades after 1338, the murals were mostly detached with the technique of strappo in the mid-twentieth century and displayed in a room prepared for their exhibition in the Pinacoteca Nazionale of Bologna, where one can still admire them as the most complete cycle of frescoes survived from the Bolognese Trecento painting. After reconstructing the original narrative order of the mural cycle by using early modern artistic literature to fill the gaps left by lost scenes, the paper investigates some problems raised by the narrative distribution of the stories, particularly focusing on the reasons why the whole counter-facade was painted with the Annunciation and the Nativity .","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71264927","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 condizione estetica e storiografica delle cornici architettoniche giottesche 日冕建筑框架的美学和历史状态
Intrecci d Arte Pub Date : 2016-11-30 DOI: 10.6092/ISSN.2240-7251/6434
A. Volpe
{"title":"La condizione estetica e storiografica delle cornici architettoniche giottesche","authors":"A. Volpe","doi":"10.6092/ISSN.2240-7251/6434","DOIUrl":"https://doi.org/10.6092/ISSN.2240-7251/6434","url":null,"abstract":"Contemporary esthetic discourse on Giotto’s architectural frames shall confront with historiography and philosophy of history. The artist’s Duecento motivations can be considered as antithetical to the consequences produced by Giotto techniques in the following century. Boccaccio’s observations on Giotto’s illusionism, which were followed by Longhi’s thought, are here considered to be in contrast to the postmodern gaze resting on the same pictorial objects.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"5 1","pages":"121-133"},"PeriodicalIF":0.0,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71264698","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
«Antichi affreschi a San Pier D’Arena». Riflessioni e nuovi argomenti sul ciclo genovese di Sant’Agostino Della Cella “古代圣皮尔竞技场壁画”。关于牢房里圣奥古斯丁热那亚循环的思考和新话题
Intrecci d Arte Pub Date : 2016-11-30 DOI: 10.6092/ISSN.2240-7251/6431
C. D. Fabio
{"title":"«Antichi affreschi a San Pier D’Arena». Riflessioni e nuovi argomenti sul ciclo genovese di Sant’Agostino Della Cella","authors":"C. D. Fabio","doi":"10.6092/ISSN.2240-7251/6431","DOIUrl":"https://doi.org/10.6092/ISSN.2240-7251/6431","url":null,"abstract":"Gli affreschi di Sant’Agostino della Cella a Sampierdarena sono uno dei piu discussi ma meno conosciuti cicli pittorici del Medioevo genovese, datati in un arco di tempo amplissimo, tra gli inizi del XII e la fine del XIII. Questo studio ne riconsidera gli aspetti archeologici, iconografici e stilistici, utilizzando i dati delle piu aggiornate indagini scientifiche insieme a quelli forniti da una ricca e puntuale documentazione d’archivio ottocentesca (una relazione curata nel 1882 da Alfredo d’Andrade e alcuni suoi disegni) per datarli intorno al 1280 e leggerli in una diversa prospettiva storiografica.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71264552","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
Le pitture murali di Santa Maria Del Gradaro a Mantova 曼图阿的圣玛丽亚·德尔·格拉达罗壁画
Intrecci d Arte Pub Date : 2016-11-30 DOI: 10.6092/ISSN.2240-7251/6432
C. Guarnieri
{"title":"Le pitture murali di Santa Maria Del Gradaro a Mantova","authors":"C. Guarnieri","doi":"10.6092/ISSN.2240-7251/6432","DOIUrl":"https://doi.org/10.6092/ISSN.2240-7251/6432","url":null,"abstract":"The essay discusses the painted decoration of the church of Santa Maria in Gradaro, which is here considered in relation to the constructive phases of the building it-self. The paintings in the apse and in the northern chapel, as well as the ornamental patterns on the walls of the central nave and the counter-facade, were conceived as part of the same, uniform decorative project. It involved the whole architectural container and can be dated immediately after 1295. Such date is indeed inscribed on the left jamb of the portal, and has likely been written after the completion of the church. Some frescoed fragments with figures of Saints painted in the northern chapel can instead be dated to a slightly later phase, having been done at the very beginning of the Trecento. Some fragments with a painted decoration and a velarium in the main chapel date back to an older phase, as well as the geometric decoration painted on the beginning of the right wall of the nave, at the bottom. The author thus argues that a first oratory did exist here. According to her, it was smaller and consisted of a single rectangular hall, which is now included in the apse and in the lower part of the present church.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71264595","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 Compagnia del Nodo, o di Santo Spirito, e la committenza di Niccolò Orsini nella chiesa di Santa Maria Jacobi a Nola (1354-1359) 尼古拉斯·奥尔西尼在圣玛丽亚·雅比·诺拉教堂的承诺(1354-1359)
Intrecci d Arte Pub Date : 2016-11-30 DOI: 10.6092/ISSN.2240-7251/6430
Cristiana Di Cerbo
{"title":"La Compagnia del Nodo, o di Santo Spirito, e la committenza di Niccolò Orsini nella chiesa di Santa Maria Jacobi a Nola (1354-1359)","authors":"Cristiana Di Cerbo","doi":"10.6092/ISSN.2240-7251/6430","DOIUrl":"https://doi.org/10.6092/ISSN.2240-7251/6430","url":null,"abstract":"In the Angevin Kingdom of Naples, in the early fourteenth century the Orsini family initiated an urban enrichment in the Campanian city of Nola, that lasted for the entire century. This renovatio urbis focused on the representation of Orsini identity and authority in a variety of settings: during the 1354-1359, Count Niccolo, in fact, promoted the decoration of the conventual female church of Santa Maria Jacobi ordinis sanctae Clarae , making use of both secular and sacred themes, inspired by the medieval bestiaries, the courtly literature (the Lay of Aristotle ), the Ovid's Metamorphoses and the st. Augustine's De Musica . The elaborate iconographic program, with its ties to the monarchical order of the Knot - or the Holy Spirit -, shows the role attributed to the nobility as champion of virtue and defensor of the Divine Order upon earth.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"34 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71264544","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
Le Cappelle Pepoli in San Domenico a Bologna: storia e arte di un mausoleo famigliare mancato 博洛尼亚圣多梅尼科的佩波利斯教堂:一个失去亲人的陵墓的历史和艺术
Intrecci d Arte Pub Date : 2016-11-30 DOI: 10.6092/issn.2240-7251/6428
P. Cova, Ilaria Negretti
{"title":"Le Cappelle Pepoli in San Domenico a Bologna: storia e arte di un mausoleo famigliare mancato","authors":"P. Cova, Ilaria Negretti","doi":"10.6092/issn.2240-7251/6428","DOIUrl":"https://doi.org/10.6092/issn.2240-7251/6428","url":null,"abstract":"This essay focuses on the reconstruction of the historical and artistic vicissitudes of the Pepoli chapels in the church of San Domenico in Bologna, using archival and chronicle sources, and comparing sculptural and painting decorations. In the first part Ilaria Negretti investigates the Pepoli family’s commission, highlighting the construction and changes of their six chapels and of the family mausoleum from the age of Taddeo Pepoli (1337) to the damnatio memoriae - due to the unsuccessful policy of Taddeo’s sons, Giovanni and Giacomo -, till the rehabilitation of the family’s memory obtained by Guido Pepoli and his heirs in 1551. In the second part Paolo Cova focuses on the style of the fresco decoration of the San Michele Chapel commissioned by the Pepoli family, representing saint Thomas Aquinas and saint Antony the Great. Technical and stylistic features of these frescoes, in combination with historical events and documentary sources, allow to refer the frescoes to Jacopo Benintendi called ‘Il Biondo’ (the father of Cristoforo Benintendi), active from 1347 to 1350, and to identify the patronage of the Pepoli family. The presence of this painter together with foreign artists working at the reliefs of Taddeo’s Tomb at the same time, proves that the Pepoli’s aim was to transform the left transept of the church into a proper family mausoleum.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71264917","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
ARTICOLO RITIRATO: Achille Maramotti: dalla filosofia dell'imprenditore al percorso delle scelte del collezionista 撤回的文章:阿基里斯·马拉莫蒂:从企业家的哲学到收藏家的选择之路
Intrecci d Arte Pub Date : 2016-11-14 DOI: 10.6092/ISSN.2240-7251/6368
Chiara Pirozzi
{"title":"ARTICOLO RITIRATO: Achille Maramotti: dalla filosofia dell'imprenditore al percorso delle scelte del collezionista","authors":"Chiara Pirozzi","doi":"10.6092/ISSN.2240-7251/6368","DOIUrl":"https://doi.org/10.6092/ISSN.2240-7251/6368","url":null,"abstract":"The article analyzes Achille Maramotti’s figure and links between entrepreneurship and his passion for art and contemporary collections: from the desire to expose his private collection inside Max Mara factory to create a collection that was the mirror of the artistic experiments of his time. The article analyzes the critical contributions in the development of Maramotti Collection and, in particular, the relationship between Achille Maramotti and Mario Diacono that, as the Emilian collector, is expert and admirer of European and American painting of the second half of the twentieth century. Achille Maramotti, sons and daughter are considered among the most influential collectors in the world, and represents a successful example of contemporary art collection linked to the image and business management; the Max Mara fashion house.","PeriodicalId":40113,"journal":{"name":"Intrecci d Arte","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71264480","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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