{"title":"《蓝天上的珍珠》《海浪上的珍珠","authors":"Pierpaolo Luderin","doi":"10.30687/978-88-6969-294-9/012","DOIUrl":null,"url":null,"abstract":"In 1868 Félix Ziem, already known as peintre de Venise, made two trips to the city of the Doges in order to renew his art. From the drawings and notes of the two carnets he elaborated during these stays, the figure of a complex artist emerges, who pursues commercial success but also the motives of his own being, curious, a lover of the city and of local life, in many ways very different from that known through his most famous paintings.","PeriodicalId":179706,"journal":{"name":"Venezia 1868: l’anno di Ca’ Foscari","volume":"344 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2018-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"«Perle sull’azzurro del cielo mille volte contemplate sull’onda»\",\"authors\":\"Pierpaolo Luderin\",\"doi\":\"10.30687/978-88-6969-294-9/012\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In 1868 Félix Ziem, already known as peintre de Venise, made two trips to the city of the Doges in order to renew his art. From the drawings and notes of the two carnets he elaborated during these stays, the figure of a complex artist emerges, who pursues commercial success but also the motives of his own being, curious, a lover of the city and of local life, in many ways very different from that known through his most famous paintings.\",\"PeriodicalId\":179706,\"journal\":{\"name\":\"Venezia 1868: l’anno di Ca’ Foscari\",\"volume\":\"344 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-12-14\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Venezia 1868: l’anno di Ca’ Foscari\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.30687/978-88-6969-294-9/012\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Venezia 1868: l’anno di Ca’ Foscari","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.30687/978-88-6969-294-9/012","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
«Perle sull’azzurro del cielo mille volte contemplate sull’onda»
In 1868 Félix Ziem, already known as peintre de Venise, made two trips to the city of the Doges in order to renew his art. From the drawings and notes of the two carnets he elaborated during these stays, the figure of a complex artist emerges, who pursues commercial success but also the motives of his own being, curious, a lover of the city and of local life, in many ways very different from that known through his most famous paintings.