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This paper draws upon learning from three action research projects conducted as part of a Europe-wide project exploring young people's social and political participation. Challenging dominant discourses about what 'counts' as participation and what does not, the paper explores how, through the action research projects, young people engaged in knowledge democracy in 'new democratic arenas'. Building upon experiential knowing and creating knowledge and learning through practice, the young people explored their own democratic knowledge production, communication and engagement within a context of shifting discourses of participation, democratic engagement and active citizenship. The increasing preference of young people for more informal forms of participation as lived practice reflects a shift to young people constructing their own modes of participation and 'remaking democracy' in their own vision and according to their own needs. By working outside of the confines of normative assumptions of democratic practice and participation, young people exercised their own 'political' agency in response to their own priorities, interests and concerns and, in doing so, illustrated that new forms, understandings and practices of knowledge democracy can emerge that reflect the promise of inclusive democratic societies more meaningfully.

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Whilst the link between young people's well‐being and the creative arts is strengthening, there is a lack of research which focuses on the roles that artists play to help teachers and parents engage young people in the creative arts. This paper explores the benefits of and barriers to artists working in education in six European countries (England, Iceland, Germany, Greece, Italy and Austria). Using the '5A's model of creativity' and a view of professional development taking place within 'landscapes of practice', the data were analysed in order to explain how creativity is operationalised in the different contexts. Our study highlights the need for policy at a national and transnational level to value the creative arts in order to help teachers cross boundaries and utilise the full potential of the creative arts in schools. Our study also highlights that further research is needed into how artists shape teaching and curriculum and how schools engage parents in the creative arts in order to build an evidence‐base relating to young people's positive mental health that can affect policy at these levels. [ABSTRACT FROM AUTHOR]

The article offers a look into the early years of the book collection of Ferrarese count and artist Leopoldo Cicognara of Italy. It highlights events in the life of Cicognara that shaped the development of his collection including his diplomatic mission in Turin, impact of the political situation during the Austro-Russian offensive on his collecting activities, changes to his book collecting during his time in Milan in 1802, and influence of his aesthetic studies on his collection.

The Italian artist Giovanni Anselmo (b. Borgofranco d'Ivrea, 1934) was a member of Arte Povera group, which was put together by Germano Celant back in 1967. Anselmo has addressed the invisible in art since the beginning of his activity, mainly with projections of concepts and opposite pairs, such as the visible and the invisible, the finite and the infinite, the close and the open, the clear and the blurred, the being and the non-being. In the works discussed in the paper, the intangible element of the light beam is made visible only through the projection. It is always the projection of something immaterial on something material, an entity that participates in the dimension of non-being that is projected onto the world of being. [ABSTRACT FROM AUTHOR]

Copyright of L'Idomeneo is the property of Salento University Publishing, Dipartimento di Beni Culturali and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dos Algarves: A Multidisciplinary e-Journal is the property of Dos Algarves: A Multidisciplinary e-Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study deals with the post-treatment evaluation of the elastic crossbar system already designed and installed on the recently restored panel paintingDeposition from the Crossby an anonymous artist from Abruzzo (sixteenth century). After the restoration, the panel and the crossbars were subjected to mechanical tests to identify their elastic characteristics. Then the panel, equipped with the elastic crossbar system, was subjected for about two months to controlled environmental cycles made up of approximately constant humidity periods. During the two months, the forces exerted by the springs and the deformations of both panel and crossbars were continuously monitored. A mathematical model, calibrated on the specific parameters derived from the analysis of the panel, provided the deformation that the panel would have shown without the crossbars; comparing the model output with the measured data provided a restraining effect (RE) of approximately 7% (RE could range between zero – no restraint – and 100% – total restraint). Future developments of this project will define appropriate procedures to design an elastic crossbar system for a given panel, once the expert judgement of restorers has identified the most desirable RE to be achieved. [ABSTRACT FROM PUBLISHER]

The great sculptor Vincenzo Danti wrote one of the longest poems to have survived from a Renaissance artist, but the text's close thematic and conceptual connections to its author's art have gone entirely unnoticed. What Danti's poem and sculpture share, this essay argues, is a concern with mystified identity. Danti's poetic sensibility stands at odds with the biographical frameworks that typically guide the interpretation of Renaissance art and literature. At the same time, his example shows how much there is to be gained from an investigation of how artists learned to be writers, and of what came of those efforts. [ABSTRACT FROM AUTHOR]

Between 1370 and 1384 Ugolino di Prete Ilario, a local artist, honored the long-standing Marian devotion in Orvieto by painting in the cathedral tribune one of the most comprehensive monumental narratives ever created of the life of the Virgin. In the sixteenth century Giorgio Vasari, attributing the murals to Ambrogio Lorenzetti, praised them for their composition, invention, and handling of historical scenes, but modern scholars have paid them little notice. Comparisons with other monumental Marian and Christological programs before 1350, however, especially Lorenzo Maitani's reliefs on the cathedral facade, support Vasari's acclaim. Because of the large size of the tribune, several episodes seldom seen outside illuminated manuscripts appear, whereas other, customary scenes either are omitted or contain something exceptional. Some of these variants depend on textual sources, which extend beyond the usual canonical, noncanonical, and legendary texts to include devotional manuals, writings of St. Bernard of Clairvaux and St. Bridget, and the local cycle of liturgical dramas. Most remarkably, the frescoes convey both a substantial reverence for St. Joseph several decades before his cult gained widespread acceptance and a precocious local devotion. Joseph, officially declared the patron saint of Orvieto only in the seventeenth century, not only participates in several traditional scenes that usually omit or marginalize him but is present in each of the uncommon scenes, where he is vital to the story. The rare scene of Joseph in his workshop subtly discloses Joseph's divinely ordained role as paterfamilias, "artisan of the soul," and counterpart of, and collaborator with, the heavenly father. [ABSTRACT FROM AUTHOR]

This essay is a preliminary sketch for a book that examines Michelangelo Buonarroti's final eighteen years, from his appointment as architect of St. Peter's until his death in 1564, that is, from age seventy-one to a few weeks shy of eighty-nine. This period represents nearly a quarter of his approximately seventy-five-year artistic career, yet it remains the least familiar segment of Michelangelo's long life. It is paradoxical that in the final phase of his career, Michelangelo remained prodigiously creative and influential without being prolific--as he had been earlier in his career. His late life was concerned less with making things than with finding the courage and devotion to continue tasks that he knew he would never see to fruition, and this despite the loss of his closest friends, greatest patron, and his entire family. [ABSTRACT FROM AUTHOR]

The article focuses on the destruction of the works of Italian artist Maurizio Cattelan in Milan, Italy in May 2004, particularly his installation called, "Untitled," showing three life-size hyper-realistic figures of children hung from the oak in Piazza Ventiquattro Maggio. It mentions that the destruction of the installation, which was commissioned by the Fondazione Nicola Trussardi, became a political affair which revealed conflicting ideas about the city and its public spaces.

The article examines the Dutch Renaissance painter Pieter Bruegel the Elder. Particular focus is given to his travels throughout Italy between 1552 and 1555. Additional topics discussed include travel conditions and motives for the artist, the artist's work in ink drawing and Bruegel's time spent in Rome, Italy.

The article discusses the signatures of sculptors including Pierre-Étienne Monnot, Flaminio Vacca, and Pietro Paolo Olivieri who worked in Rome and other cities in Italy during the Baroque period. The history and format of artists' signatures are examined, the typography and methodology employed by Italian sculptors when engraving their names upon their works are analyzed, and the production of unsigned artworks is described. Various reasons are posited for the comparatively small proportion of signed sculptures.