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Florentine Festivals from the Middle Ages to the Modern Age and their Relationship with Art
This volume retraces the history, art and culture of the city of Florence through three unique festivities: the festival of New Year ab Incarnatione Domini and those celebrating the figures of Saint Anne and of Saint Reparata. All these festivals with their sacred connotations have been characterised, since ancient times, by political, civic or secular values. As Florentine citizens, curious about the world and in love with our city, the authors would like to underline how these values have continued to be vigorously represented up to the present day in new forms, and have also contributed to forming the distinctive character of the city of the lily. In this book, the reader will find both very famous and lesser-known artists and works of art that will allow them to better understand the history of this Tuscan city.
The First Modern Museums of Art
In the eighteenth and early nineteenth centuries the first modern, public museums of art—civic, state, or national—appeared throughout Europe, setting a standard for the nature of such institutions that has made its influence felt to the present day. Although the emergence of these museums was an international development, their shared history has not been systematically explored until now. Taking up that project, this volume includes chapters on fifteen of the earliest and still major examples, from the Capitoline Museum in Rome, opened in 1734, to the Alte Pinakothek in Munich, opened in 1836. These essays consider a number of issues, such as the nature, display, and growth of the muse...
Elisa Morucci. Ignis super aquam. Ediz. italiana e inglese
Even if Elisa Morucci's work belongs to an atavistic world, enriched of ancestral primitivism, the artist highly esteems and respects the Italian anatomical dimensions, which she investigates and sometimes intentionally modifies to define a concept. The effects of the spiritual practice and research have resulted in highly suggestive works and have contributed in giving an aura of magic to every single work. The detail becomes the Whole: macrocosm and microcosm mirror each other in order to "humbly show the travelling soul new and ancient paths to follow". Her work represents the condensation of innumerable inspirations and of visual and iconographic stimuli. In fact, in the imagination of t...
Italian Renaissance and Baroque Bronzes in the Metropolitan Museum of Art
he revival of the bronze statuette popular in classical antiquity stands out as an enduring achievement of the Italian Renaissance. These small sculptures attest to early modern artists' technical prowess, ingenuity, and desire to emulate—or even surpass—the ancients. From the studioli, or private studies, of humanist scholars in fifteenth-century Padua to the Fifth Avenue apartments of Gilded Age collectors, viewers have delighted in the mysteries of these objects: how they were made, what they depicted, who made them, and when. This catalogue is the first systematic study of The Metropolitan Museum of Art's European Sculpture and Decorative Arts collection of Italian bronzes. The colle...
Public Painting and Visual Culture in Early Republican Florence
Street corners, guild halls, government offices, and confraternity centers contained paintings that made the city of Florence a visual jewel at precisely the time of its emergence as an international cultural leader. This book considers the paintings that were made specifically for consideration by lay viewers, as well as the way they could have been interpreted by audiences who approached them with specific perspectives. Their belief in the power of images, their understanding of the persuasiveness of pictures, and their acceptance of the utterly vital role that art could play as a propagator of civic, corporate, and individual identity made lay viewers keenly aware of the paintings in their midst. Those pictures affirmed the piety of the people for whom they were made in an age of social and political upheaval, as the city experimented with an imperfect form of republicanism that often failed to adhere to its declared aspirations.
Grazia Tomberli. Il colore dei fiori. Ediz. italiana e inglese
Catalog of the exhibition held on April 2014 at Palazzo Medici Riccardi (Florence). “What is topical today is what has always been true, what is capable of enduring, what grows from within in the long process of interior maturing, and not from the superficial urging of the outer world. Our painter is linked to her poetic truth, and her paintings of the last decade represent its ripe, long-lasting fruits. Each work is a meaningful phrase in a faultless linguistic system whose historical/cultural origins are clearly apparent.” (Anita Valentini). Texts by Andrea Barducci, Luigi Bicchi, Cristina Acidini, Anita Valentini.
Annigoni
Introduzione di Antonio Paolucci; Testi di Vittorio Sgarbi, Raffaele De Grada, Ferruccio Ulivi, Tommaso Paloscia, Anita Valentini; Biografia a cura di Gilberto Grilli; Cronologia delle esposizioni ed opere principali di Gabriele Mazzanti.
Santa Maria degli Angeli: un monastero camaldolese “dimenticato” nel centro di Firenze
Il tema di questa pubblicazione è il monastero camaldolese di Santa Maria degli Angeli, situato nel centro storico di Firenze, in un’area compresa tra via degli Alfani, via del Castellaccio e piazza Brunelleschi. Lo studio del complesso religioso, fondato nel 1295, è stato affrontato con il duplice scopo di ricostruirne le vicende storico-architettoniche degli ultimi quattro secoli e individuare le ragioni del frazionamento successivo alla sua soppressione del 1866. Dalla divisione tra diverse proprietà è derivata l’attuale perdita di leggibilità architettonica del cenobio camaldolese, al punto da rendere quasi “dimenticato” non solo dai cittadini, ma anche da parte della storiografia, uno dei centri religiosi e culturali più importanti del Tre-Quattrocento fiorentino.
