Étiqueté : XVIe

Journée d’études : Les traces d’un temps nouveau ? Percevoir la nouveauté du présent entre XVIe et XVIIe siècle, Lyon, 22 septembre 2023

Événement organisé en partenariat avec l’Université de Genève, dans le cadre du projet IUF de Delphine Reguig « Le Temps du Roi ».La modernité, selon Reinhart Koselleck, commencerait lorsque le passé, le présent et le futur deviennent trois dimensions proprement historiques, c’est-à-dire des représentations distinctes, mais liées entre elles par des rapports de causalité. La modernité serait ainsi le résultat final d’un long processus, entre 1500 et 1800. Or, les décennies entre XVIe et XVIIe siècle sont une époque qui ne maîtrise...

Appel à contribution : « Material Metamorphosis. Natural Resources, Artmaking and Sustainability in the Early Modern World », date limite le 15 juillet 2023

Please consider submitting an abstract for the following edited volume, to be published with Brepols: Material Metamorphosis: Natural Resources, Artmaking and Sustainability in the Early Modern World Between the Sixteenth and the early Nineteenth century, raw materials circulated globally to be traded, studied, and transformed into luxury goods for the consumption of Europeans, whose mishandling of the colonies’ natural resources turned some of the potentially wealthiest countries into the poorest ones. This volume proposes to investigate...

Exposition : « Vittore Carpaccio. Master Storyteller of Renaissance Venice », Washington, National Gallery of Art, 20 novembre 2022-12 février 2023

A leading figure in the art of Renaissance Venice, Vittore Carpaccio (c. 1460/1466–1525/1526) is best known for his large, spectacular narrative paintings that brought sacred history to life. Although for centuries he has been loved and celebrated in his native city for his observant eye, fertile imagination, and storytelling prowess, this exhibition marks the first retrospective of the artist ever held outside Italy. In a focused selection of some 45 paintings and 30 drawings, large-scale canvases painted...

Conférence : Alexander Marr, « Holbein’s Wit », Londres, Paul Mellon Centre, 16 novembre 2022

16 November 2022, 6:00 – 8:00 pm Book tickets This talk will address the tactical ambiguity of Hans Holbein the Younger (1497/8–1543)’s art as a form of wit. In a number of important pictures, including The Ambassadors, Portrait of Georg Gisze and Lady with a Squirrel and a Starling, Holbein deployed verbal-cum-visual puns to draw attention to his sitters’ and his own ingenuity (ingenium). The productive ambiguity of his pictures will be set within the context...

Exposition : « Pope Adrian VI. World Leader from Utrecht », Utrecht, Museum Catharijneconvent, 2 juin-13 novembre 2022

Adrian VI is the only Dutch pope ever. He was elected completely unexpectedly exactly five hundred years ago, in 1522. Adrian grew up in Utrecht and made a career in the service of Emperor Charles V. At the time, the church in Western Europe was experiencing a major crisis. Many church leaders were corrupt and the Vatican was bankrupt. There was no worse time to become pope. What does Adrian run into in the Roman...

Conférence : Antonio Sgamellotti, « Raphael in Villa Farnesina. From the colours of prosperity to the Egyptian Blue », Londres, The Courtauld, 15 septembre 2022

Villa Farnesina, the house of Agostino Chigi designed by Baldassarre Peruzzi, and decorated by the masters of Renaissance painting is one of the highest artistic expressions of this period. The fable of Apuleius, frescoed in the Loggia of Cupid and Psyche by Raphael and his workshop, is framed by vegetable festoons: their rich hues associated with fruits from all continents represent the colours of prosperity. The chromatic richness of these fruits, many of them still...

Parution : Daniel M. Unger, « Titian’s Allegory of Marriage. New Approaches », Amsterdam, Amsterdam University Press, 2022

This book offers nine new approaches toward a single work of art, Titian’s Allegory of Marriage or Allegory of Alfonso d’Avalos, dated to 1530/5. In earlier references, the painting was named simply Allegory, alluding to its enigmatic nature. The work follows in a tradition of such ambiguous Venetian paintings as Giovanni Bellini’s Sacred Allegory and Giorgione’s Tempest. Throughout the years, Titian’s Allegory has engendered a range of diverse interpretations. Art historians such as Hans Tietze,...

Exposition : « The Lost Murals of Renaissance Rome », Los Angeles, The Getty Center, 31 mai-4 septembre 2022

In Renaissance Rome, the facades of many prominent buildings were painted with spectacular narrative frescoes. Once part of the fabric of the city, only a few now remain. Using works from the Getty’s collection, including the celebrated drawings series “Early Life of Taddeo Zuccaro” in which murals play a central role, the exhibition explores this extraordinary Renaissance phenomenon. This exhibition complements Judy Baca: Hitting the Wall. Source

Parution : Gautier Amiel et al. (dir.), « Les Regrets, Les Antiquités de Rome et Le Songe de Du Bellay », Bouquet XXII, 2022

Sommaire Introduction d’Adeline Lionetto : Du Bellay ou la grandeur du petit. Du Bellay et les arts Corinne Noirot : Janet contre Michel-Ange : l’art du portrait d’après nature selon le sonnet XXI des Regrets de Du Bellay. Jean Balsamo : Poésie et architecture françaises à l’antique : un programme royal. (Du Bellay, Les Regrets, sonnets 157-159). Du Bellay et la satire Mylène Prélat : “Il fait bon voir” : lexique de la vue et...

Journées d’étude : « Estampes et dessins de l’école de Fontainebleau. Production, diffusion, collection », Paris, École nationale des chartes, 9-10 juin 2022

L’École nationale des chartes et la Bibliothèque nationale de France (BnF) s’associent dans l’organisation de deux journées d’étude consacrées à l’avancée des travaux menés ces dernières années sur les estampes et les dessins de l’école de Fontainebleau, et à l’identification des perspectives de recherche à poursuivre. Le département des Estampes et de la Photographie de la BnF conserve un exceptionnel ensemble d’estampes et de dessins de l’école de Fontainebleau. Son fonds de gravures bellifontaines est...

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