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I concorsi dell’Accademia dei Virtuosi al Pantheon scandiscono la vita della stessa istituzione a partire dal 1837. La documentazione presente in archivio e le opere lasciate dai concorrenti rappresentano, nonostante le lacune e la qualità discontinua, un nucleo significativo e sostanzialmente inedito del patrimonio accademico. Recentemente l’accademia ha inventariato e catalogato il patrimonio documentale e grafico della sezione di architettura: questo studio, seguendo e provando a implementare i criteri metodologici già utilizzati, si focalizza sulla parte documentale dell’area scultura.

Copyright of Ri-vista: Ricerche per la progettazione del paesaggio is the property of Firenze University Press 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.)

Pietro Lamo, in his Graticola di Bologna, moving throught the city, emphasises the artistic outcome, the product and the geographic culture of the author, and the customer. Pietro Lamo, pictor and writer, member of the Council of the Artists Society (where he is documented until april 15, 1574), died at the end of that month and on the first of May, was buried in the Cloister of the Dead of San Francesco: the Gothic church where he had worked and whose architecture and art he valued. Graticola di Bologna was left unfinished. Remains the cultural heritage's splendor that Lamo remind us: a chest full of treasures and creative energies.

A long list of works show homage to the figure of St Jerome, who was represented by many artists from the late ancient age to the modern age. In the centuries the image of the Saint was described as a scholar, as "Doctor of Church", who wrote during his reflection and his hermitage. The Florentine, Umbrian, Venetian, Bolognese and Neapolitan school are rich of works which describe the main episodes of his life. Masters as Masaccio, Gozzoli, Ghirlandaio, Perugino, Dürer, Lotto, Tiziano, Veronese, Guercino e Domenichino are only some of those ones who precede, support and follow chronologically the Jerome's Masterpieces of Leonardo, Caravaggio and Bernini. [ABSTRACT FROM AUTHOR]

This work by Domenico Gagini was the first Renaissance-style funerary monument realized in Palermo in the fifteenth century. It was commissioned to the artist by Pietro Speciale in 1463for his son Nicolò Antonio, for the family chapel in the church of San Francesco d'Assisi. This paper offers a novel, unprecedented hypothetical reconstruction of the original structure of the monument, based on a comparative analysis of its description in the contract with its remaining parts. It also proposes an analysis of the cultural sources for the busts of Pietro Speciale and his son, exquisite Renaissance marble portraits realized to be included in the funerary monument. [ABSTRACT FROM AUTHOR]

il contributo vuole analizzare le specificità tecnico-stilistiche e formali della scultura visigota proveniente dal sito di Begastri (Cehegín-Murcia) -ubicato nel sud-est peninsulare iberico-nel quadro della cul- tura artistica visigota della seconda metà del VI secolo. Nel suddetto studio si argomenterà come le botteghe begastrensi, contrariamente agli altri contesti produttivi del sud-est iberico, siano caratterizzate da forti ap- porti artistici di filiazione toledana assimilati, a nostro giudizio, in seguito alla conquista leovigildiana dell’Orospeda (regione storica che includeva la stessa Begastri) nell’ambito del confitto greco-gotico tra Im- pero e Regno visigoto. Si evidenzierà, inoltre, come la diffusione di questi modelli stilistici cortigiani ebbe, probabilmente, una funzione eminentemente ideologico-propagandistica in chiave anti bizantina.

Nel 1118 l’arcivescovo di Pisa riconsacrò solennemente la nuova cattedrale di Santa Maria Assunta di Mariana, sede dell’omonima diocesi. La più grande chiesa romanica corsa insiste su un’area che ha restituito importanti testimonianze dell’insediamento romano e degli edifici di culto cristiani a partire dal V secolo. Il presente intervento mira a rileggere il monumento nei suoi caratteri strutturali e decorativi per evidenziarne i legami con l’alta Toscana e la Liguria, in un più ampio quadro di circolazione di maestranze e tecniche costruttive nello spazio tirrenico.

‘Il volo di Hypnos’ è un viaggio che attraversa la poetica di Igor Mitoraj. Un viaggio ricco di suggestioni emotive e concettuali evocate da un’artista che, nell’antico e nel classico, reinterpretati attraverso il filtro delle correnti avanguardistiche novecentesche e la sensibilità personale, scorge le radici della contemporaneità, valorizzando la forza espressiva della materia e della forma.

Iconologia del Colosso nella Villa Farnesina a Roma.

Copyright of Santo: Rivista Francescana di Storia Dottrina Arte is the property of Associazione Centro Studi Antoniani 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 paper claims to reflect upon some critical essays in which Gianni Celati deals with the issues of vision, perception, and literary description of the space. Through the analysis of some texts where Celati refers to painting and sculpture (particularly Alberto Giacometti's works), it will emerge the author's thought about art and the characteristics of his non-fiction writing will be highlighted as well. [ABSTRACT FROM AUTHOR]

Archival sources for the first half of the fifteenth century in Dubrovnik are well preserved and therefore provide a thorough insight into the use and function of drawings or models in construction of buildings and related stonework. The former simple references to already existing stonemasonry work were in case of more complex commissions replaced by drawings or models. In the case of the choir screen for the church of St. Blaise, made by Bonino da Milano in the mid-1420s, we can follow the usual commission procedure: preparatory drawings were selected (or confirmed) by the client, in this case Minor Council, thereafter more detailed plans and models were prepared and finally the contract was signed. In the case of reconstruction of the Rector's Palace, the use of drawings and models in the contracts with various artisans confirms the existence of a single plan from 1439 onwards. [ABSTRACT FROM AUTHOR]

Always neglected by history of art as it was believed to be the negation of formalism, argentinian sculpture, both baroque and folk, today intrigues scholars who are rediscovering in its structure formal significance, anthropological and theological, and are able to make sense of the existential complexity of the country. The present essay, supported by critical and documented texts, sheds light on the force of a decorative language that extracts reasoning from both european culture, as well as South American Civilization. Therefore plastic imagery does not imitate Iberian or Italian models, but translates to another reality, impregnating faith and magic, christianity and animism. [ABSTRACT FROM AUTHOR]

Ad un primo riscontro è impossibile non notare che le statue-ritratto di donne ad Aquileia formano un gruppo piuttosto ristretto e non ancora studiato nel suo complesso, sebbene il materiale sia noto da tempo. Si intende quindi riprenderne l’analisi per verificare da quando è attestato l’impiego di questa forma di rappresentazione per le donne, la durata, la funzione, privata o pubblica, i modelli di riferimento e il suo valore all’interno della produzione figurativa aquileiese.

Il testo è dedicato allo scultore sardo recentemente scomparso attraverso il ricordo di un’opera figurativa 'dimenticata' rispetto alle ben più note pietre sonore, per le quali Sciola è conosciuto in campo internazionale

Alla stregua di un viaggio che valica i confini di tempo e materia, colore e originalità, archeologia e storia dell’arte, la mostra Serial Classic, curata da S. Settis e A. Anguissola ed allestita dal 9 maggio al 24 agosto 2015 presso le sale del Podium della Fondazione Prada di Milano, ha affrontato con rinnovata e audace vitalità il concetto di ‘classico’ attraverso il rapporto tra originali, copie e riproduzioni delle grandi manifestazioni statuarie greche, svelando al mondo moderno quanto i valori di classicità in essi insiti siano vivi, energici e attuali.

Il contributo ha l’obiettivo di fornire una presentazione preliminare della testa marmorea recentemente rinvenuta nelle Terme Milano a Gortina, analizzandola dal punto di vista morfologico e stilistico, per permetterne un inquadramento cronologico ed attribuirla ad una determinata tipologia scultorea. L’osservazione dei tratti somatici, della posizione del capo, ma soprattutto della resa della capigliatura, permette di riconoscere la scultura come una delle rappresentazioni della dea Igea appartenente al tipo Hope, ed avvicinarla ad altre raffigurazioni della stessa divinità, rinvenute in vicini contesti gortinei.

The contribution starting from the analytical study of five small water-stair fountains of Aquileia tries to place these pieces in the larger class of miniature fountains with steps. Their spreading, rather limited, seems to be related to a purely urban fashion, accepted in Italy only in Lazio and in Cisalpine. As an essential premise to this study there are some remarks and clarifications about the terminology, the shape, the decorations, the style and the chronology of this kind of furniture, which lay the bases for the comprehensive study of the material. The fountains with steps of Aquileia, a valid evidence of the will to adapt to the fashion of the capital, although showing the characteristics commonly found in this class of material, make it possible to find out new structural variants and to confirm or correct the dating of some formal changes noted.

The article wants to analyze what and how futurist sculpture contributed to the creation and communication of the official image of fascism during the Thirties, through the examination of a number of works by some of the most active futurist sculptors of the decade (Rosso, Thayaht, Regina,Di Bosso, Peschi, Bot, Delle Site). Particularly, the examination proceeds by analyzing the plastic solutions by which these sculptors presented some issues of particular relevance in terms of propaganda (Mussolini's portraiture, the aviation's theme, the imperial theme, the catholic religion's theme), and concludes with a hypothesis of correlation between the oscillating consent enjoyed byfascist system in the different moments of the decade and the frequency of the considered themes' appearance in futurist sculptures.