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Étiqueté : Italian Renaissance Art

Séminaire : David Young Kim, « The Desert and the Lagoon », Londres, The Courtauld Institute, 31 mai 2022, 18h-20h

This seminar will examine formats that develop art historical arguments outside the conventional methods of printed publications and conference talk. David Young Kim will screen his new film “The Desert and the Lagoon” (co-directed with Amelia Saul) which offers a close reading of Giovanni Bellini’s Saint Francis in the Desert. This experimental film essay uncovers the painting’s background and setting, putting them in relation with the abandoned and deserted islands in the Venetian Lagoon. Shooting locations include...

Exposition : “Michelangelo: l’effigie in bronzo di Daniele da Volterra”, Florence, Galleria dell’Accademia di Firenze, du 15 février au 19 juin 2022

Michelangelo: l’effigie in bronzo di Daniele da Volterra, a cura di Cecilie Hollberg, è una mostra studio unica e inconsueta che parte da un discorso fatto di quesiti ancora aperti per arrivare a soluzioni nuove con metodi innovativi. È la prima volta che vengono riuniti questi nove busti simili, alcuni apparentemente quasi uguali, che riportano i tratti di Michelangelo Buonarroti (1475 – 1564). Proprio quell’effigie che tutti noi siamo abituati a collegare con l’incomparabile artista...

Parution : Olivier Chiquet, « Penser la laideur dans l’art italien de la Renaissance », Presses Universitaires de Rennes, 2022

L’art italien de la Renaissance a longtemps été assimilé à la seule recherche de la beauté et de l’harmonie. Cet ouvrage fait pièce à cette légende dorée. En effet, les théoriciens et les artistes parviennent progressivement, selon un processus historique qui se déroule tout au long du XVIe siècle et se parachève à l’époque baroque, à penser la laideur en art autrement que comme un simple écart volontaire (transgression) ou involontaire (raté) par rapport à...

Exposition : “Titian and the female image: beauty, love, poetry”, Milan, Palazzo Reale, 23 février-5 juin 2022

This exhibition focuses on the women painted by Titian and his contemporaries: their beauty, elegance, sensuality and the particular status that their representation acquired in Venetian society at that time. (Sylvia Ferino) In sixteenth-century Venice, the female image acquired unprecedented importance in the history of painting. To celebrate this theme, Palazzo Reale opens its 2022 programme with the “Tiziano e l’immagine della donna” (Titian’s Vision of Women) exhibition. From February 23rd to June 5th, 2022...

Parution : Sylvia Ferino-Pagden, “Titian’s Vision of Women”, Skira, Lausanne, 2022

How the culture of Renaissance Venice shaped Titian’s timeless paintings of women A new ideal of feminine beauty arose in 16th-century Venice, as women acquired new rights of inheritance and more social power. As a result, through the writings of poets and humanists, the construction of the desired, beloved woman began to acquire civic significance. The crucial impetus for the visual realization of this ideal came from Venice’s greatest artist: Titian. For him, artistic beauty...

Parution : Marsha Libina, “Sebastiano del Piombo and the Sacred Image”, Turnhout, Brepols, 2022

On account of the artists’ collaborative practice, Sebastiano del Piombo’s oeuvre is often misconstrued as a coloristic supplement to Michelangelo’s disegno or as a mere extension of the older master’s drawings and ideas. Marsha Libina’s book complicates this narrative by offering a critical reevaluation of the devotional art of Sebastiano del Piombo (1485–1547), an important Venetian artist whose Roman work stands at the nexus of questions regarding art, religious reform and the largely unexplored history of artistic collaboration. Investigating...

Exposition : “Michelangelo: i bronzi della Passione”, Mantoue, Palazzo Ducale, du 18 mars au 15 juin 2022.

Michelangelo Buonarroti è semplicemente il “divino” Michelangelo, l’archetipo degli artisti di tutti i tempi. Grande fu la sua fama, anche in vita: nonostante la sua attività si sia concentrata su Roma e Firenze, anche la Mantova dei Gonzaga dovette fare i conti con l’ineludibile influenza di quel gigante. Il 22 febbraio del 1527 Federico II scriveva di essere da “molt’anni (…) amatore dello excellentissimo messer Michele Angelo” e – in un significativo ribaltamento di ruoli...

Exposition : « Raphael », Londres, National Gallery, du 9 avril au 31 juillet 2022.

His life was short, his work prolific, and his legacy immortal. A painter, draughtsman, architect, archaeologist, and poet, Raphael captured in his art the human and the divine, love and friendship, learning and power. In his brief career, spanning just two decades, Raphael shaped the course of Western culture like few artists before or since. This exhibition, one of the first ever to explore Raphael’s complete career, looks at his celebrated paintings and drawings as...

Exposition : “Le pareti delle meraviglie. Corami di corte tra i Gonzaga e l’Europa”, Mantoue, Palazzo Te, du 26 mars au 26 juin 2022

    La mostra Le pareti delle meraviglie. Corami di corte tra i Gonzaga e l’Europa, a Palazzo Te a Mantova dal 26 marzo al 26 giugno 2022, indaga e riscopre l’eccezionalità dei preziosi apparati decorativi in cuoio che nel Rinascimento adornavano gli ambienti dei palazzi delle più importanti corti europee, esprimendone il lusso e la grandezza. Curata da Augusto Morari, l’esposizione inaugura la stagione espositiva 2022 di Fondazione Palazzo Te “Mantova: l’Arte di vivere”,...

Conférence : Marco Scansani, « Giovanni de Fondulis. A Forgotten Protagonist of North Italian Renaissance Sculpture », Londres, The Courtauld Institute, 28 février 2022, 17h-18h30

When we think of terracotta sculpture from northern Italy, the first works that come to mind are the impressive Paduan Lamentation groups, especially the masterpieces of Guido Mazzoni and Niccolò dell’Arca. The name of Giovanni de Fondulis is certainly not among the most well-known, neither among specialists, nor among the general public. After all, his name was only rediscovered in 2006 and his artistic personality was not outlined until an exhibition two years ago. Yet he was, without a shadow of a doubt,...