Thematische Bibliographien / Palazzo Medici

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Auswahl der wissenschaftlichen Literatur zum Thema „Palazzo Medici“

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Veröffentlicht am 4. Juni 2021

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Zeitschriftenartikel zum Thema "Palazzo Medici"

Strehlke, Carl Brandon. „Pontormo, Alessandro de' Medici, and the Palazzo Pazzi“. Philadelphia Museum of Art Bulletin 81, Nr. 348 (1985): 3. http://dx.doi.org/10.2307/3795338.

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Ames-Lewis, Francis. „Donatello's bronze David and the Palazzo Medici courtyard“. Renaissance Studies 3, Nr. 3 (September 1989): 235–51. http://dx.doi.org/10.1111/j.1477-4658.1989.tb00186.x.

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Ames-Lewis, Francis. „Donatello's Bronze David and the Palazzo Medici Courtyard“. Renaissance Studies 3, Nr. 3 (September 1989): 235–51. http://dx.doi.org/10.1111/1477-4658.00072.

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Stones, Anthony. „‘Venus and Cupid’: a relief carving by Michelangelo?“ Papers of the British School at Rome 61 (November 1993): 245–61. http://dx.doi.org/10.1017/s0068246200009995.

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‘VENERE E CUPIDO’: UN RILEVO SCOLPITO DA MICHELANGELO?Quest'articolo discute un piccolo rilievo in marmo proveniente dal Palazzo Medici-Riccardi a Firenze, a lungo esibito insieme alle altre antichità riccardiane. Sulla base dell'evidenza visuale e di alcune notizie storicoartistiche si suggerisce l'attribuzione del lavoro al giovane Michelangelo.

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Gáldy, Andrea M. „Spectacular Antiquities: power and display of anticaglie at the court of Cosimo I de' Medici“. Renaissance and Reformation 41, Nr. 1 (01.01.2005): 45–57. http://dx.doi.org/10.33137/rr.v41i1.9071.

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Cet article examine certains moments importants de l'histoire de la décoration de la résidence ducale de Florence, le Palazzo Vecchio, et de la collection d'antiquités de Cosme 1er de Médicis. Les modes de développement de cette collection s'avèrent cohérents, d'une part, avec les traditions familiales des Médicis, et d'autre part, avec le développement de l'archéologie au XVIe siècle. En continuité avec ces observations, cet article montre aussi comment la politique culturelle de Cosme a été maintenue après 1560 au Palazzo Pitti (acquis en 1549), en particulier par ses fils François Ier et Ferdinand Ier, et dans quelle mesure cette politique a eu un effet à long terme sur le développement des collections à l'extérieur de Florence.

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Farneti, Fauzia. „Il quadraturismo in Pallazzo Pitti da Cosimo II a Cosimo III de' Medici“. Varia Historia 24, Nr. 40 (Dezember 2008): 369–86. http://dx.doi.org/10.1590/s0104-87752008000200002.

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Nei primi decenni del Seicento la pittura decorativa a Firenze risulta ancora legata all'ornamentazione tradizionale tardomanierista attuata nei modi di Alessandro Allori o di Bernardino Barbatelli detto il Poccetti. L'interesse per le novità e per l'aggiornamento dell'ambiente artistico fiorentino portarono il granduca Ferdinando II a chiamare a Firenze tra il 1636 ed il 1637 Pietro da Cortona, Angelo Michele Colonna e Agostino Mitelli. I due bolognesi completarono il ciclo pittorico celebrativo del governo di Ferdinando cui aveva dato inizio Giovanni da San Giovanni, con la decorazione delle tre sale di rappresentanza del quartiere estivo di palazzo Pitti realizzata tra il 1637 ed il 1641. L'intervento, condotto secondo il più moderno linguaggio barocco che vede la perfetta integrazione dell'illusionismo architettonico, che supera i limiti dello spazio reale, con le scene figurative, verrà a costituire nell'ambiente fiorentino un ineludibile modello di riferimento nella decorazione d'interni, soluzioni di grande modernità su cui si formerà Jacopo Chiavistelli e i giovani della sua scuola. Anche Giovan Carlo, fratello del granduca, nel 1637 diede inizio ad una serie di trasformazioni che si protrassero per oltre un ventennio, trasformando gli ambienti a lui assegnati in Pitti in veri e propri luoghi di delizie, decorati dagli artisti più significativi del momento quali ad esempio Angelo Michele Colonna, Agostino Mitelli, Pietro da Cortona, Jacopo Chiavistelli. Fu quest'ultimo frescante che con i suoi 'scolari', fin dagli anni Cinquanta fu attivo in palazzo Pitti, decorando a quadratura gli ambienti dei quartieri dei membri della famiglia granducale, ambienti che in gran parte sono andati perduti in quanto interessati dalle ristrutturazioni lorenesi e sabaude. Con i lavori commissionati dal gran principe Ferdinando si chiude in palazzo Pitti la grande stagione del quadraturismo barocco fiorentino.

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Brown, Beverly Louise. „An Enthusiastic Amateur: Lorenzo de' Medici as Architect“. Renaissance Quarterly 46, Nr. 1 (1993): 1–22. http://dx.doi.org/10.2307/3039145.

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Ottavio Vannini's Fresco, Lorenzo the Magnificent as a Patron of the Arts (Fig. I), forms part of a cycle painted around 1623 in the Palazzo Pitti to celebrate the marriage of Ferdinando II and Vittoria della Rovere. Lorenzo is seen surrounded by artists who proffer the fruits of their creative endeavor. Among them we immediately recognize the young Michelangelo, who presents a marble copy of an antique fawn's head, made, Vasari tells us, at Lorenzo's urging, and to the extreme left Giuliano da Sangallo, who holds under his arm a drawing from the façade of the Medici villa, Poggio a Caiano. The implication of Vannini's fresco is beyond doubt. By evoking the history of the early Medici, the Grand Dukes hoped to establish a framework within which their own glory might shine all the more brilliantly.

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Luccas, Luís Henrique Haas. „Patrimônio e intervenção em preexistências no renascimento italiano: três casos exemplares“. Pós. Revista do Programa de Pós-Graduação em Arquitetura e Urbanismo da FAUUSP 25, Nr. 46 (09.08.2018): 134–49. http://dx.doi.org/10.11606/issn.2317-2762.v25i46p134-149.

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O estudo oferece uma contribuição ao tema da intervenção em edificações existentes. Examina a prática no renascimento italiano, quando se configura a noção de patrimônio, como efeito da reverência dos humanistas pela antiguidade clássica; ali surgiam os monumentos “não intencionais”, segundo a classificação de Riegl. A reflexão se desenvolve através da análise de três casos exemplares, amparada em uma revisão bibliográfica concisa. A primeira examina a pequena intervenção de Michelangelo na base do Palazzo Medici, realizada em 1517, quando ele insere as chamadas janelas inginocchiati ou ajoelhadas. O segundo caso examina a construção do Palazzo Savelli-Orsini sobre as ruínas do Teatro di Marcello, realizada por Peruzzi nos anos 1520, assim como outras camadas de intervenção: uma do período Mussolini, onde ocorreu o diradamento edilizio; outra de linhagem moderna, entre 1962 e 1964, com o autor Quaroni atuando de modo similar a Scarpa. E o terceiro caso trata da conversão da Terma de Diocleciano em Basílica de Santa Maria degli Angeli, concebida por Michelangelo em 1561: sem dúvida, a atualidade da economia de meios utilizados ali seria uma de suas últimas e maiores lições.

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Bonacchi, Andrea, Antonella Ferrari, Lelio Camilleri und Francesca Chiesi. „Multidisciplinary Psychosomatic Assessment for UX Design Evaluation“. Studies in Digital Heritage 2, Nr. 1 (10.02.2019): 106–20. http://dx.doi.org/10.14434/sdh.v2i1.25652.

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“In the mirror of the Wonder of Luca Giordano” was a multi-sensorial experience created in the gallery frescoed by Luca Giordano in Palazzo Medici Riccardi, in Florence; the project involved different disciplines and researchers. The entire experience was subjected to an impact analysis, combining principally psycho-physiological, qualitative psychological and neuro-physiological aspects. In most of the visitors who participated in the study the experience evoked a sense of pleasure, enjoyment, relaxation, lightness, space-time suspension, involvement and immersiveness. In many of the visitors, the devices detected changes in heartbeat with a stastically significant decrease in blood pressure and heart rate, demontrating that the impact of artwork in a multi-sensorial experience and in an augmented perception environment is a psycho-somatic impact. Our experience suggests that projects such as "In the mirror of the Wonder of Luca Giordano" could be a very useful tool for cultivating emotional intelligence and could be developed in museums alongside the more classical paths of fruition.

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Cooper, James G. „Michelangelo's Laurentian Library: Drawings and Design Process“. Architectural History 54 (2011): 49–90. http://dx.doi.org/10.1017/s0066622x00004007.

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Re-examination of a key group of Michelangelo's sketches for the Laurentian Library, located in the monastic complex of Florence's S. Lorenzo, offers a new understanding of his design process and the project as it was built. While drawings by Michelangelo survive for all three of the library's intended spaces, this study concentrates on a number of drawings on four sheets for the entrance vestibule, or ricetto, and the two drawings for what would have constituted the third space, the unbuilt rare books room. It offers a major revision of Rudolf Wittkower's pioneering study of the library's design stages, and will also allow for the identification and discussion of key precedents and their role in the development of Michelangelo's design. These included ancient Roman and Renaissance sources, as well as his own designs both for the unbuilt façade of S. Lorenzo, and for the Medici Chapel attached to the same church (Fig. 1). Consideration of the drawings for the Laurentian Library ricetto in conjunction with letters written to Michelangelo from his Roman agent, Giovanni Francesco Fattucci, and the papal secretary Pier Paolo Marzi, recording Pope Clement VII's responses to a number of important design ideas, allows for a reliable reconstruction of Michelangelo's penultimate scheme for the ricetto, which enables the recognition of a key ancient precedent that inspired Michelangelo, and throws new light on the genesis of the final design. It becomes clear, too, that Michelangelo would later rework certain design ideas that he developed in these Laurentian Library sketches for subsequent projects in Rome, including an early design for the Palazzo dei Conservatori, and also the final form of both this palace and the Palazzo Senatorio.

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Dissertationen zum Thema "Palazzo Medici"

Bailie, Lindsey Leigh. „Staging Privacy: Art and Architecture of the Palazzo Medici“. Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11049.

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xii, 112 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The Palazzo Medici was a site of significant social and political representation for the Medici. Access to much of the interior was limited, ostensibly, to the family. In republican Florence, however, visitors were a crucial component in the maintenance of a political faction. Consequently, the "private" spaces of the Palazzo Medici were designed and decorated with guests in mind. Visitor accounts reveal that the path and destination of each visitor differed according to his status and significance to the family. The common citizen waited, sometimes for great lengths, in the courtyard, taking in the anti-tyrannical message of the space. The privileged guest, who had more to provide the Medici, was given access to the more private spaces of the residence. Surrounded by art and architecture that demonstrated the faith, education, and wealth of the Medici, he was assured that his support of the family was beneficial to his own pursuits.
Committee in charge: James Harper, Chairperson; Jim Tice, Member; Jeff Hurwit, Member

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Thieryung, Lisa Morgan. „The Palazzo Medici and its Polyvalent Message: Cosimo de Medici Navigates the Shifting Meaning of Pride“. Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/7099.

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This thesis investigates the Medicean ability to present divergent messages to different audiences through the manipulation of art and architecture of the Palazzo Medici. I examine several works of art commissioned and authored by the Medici. First, Donatello’s bronze David, located in the Medici Courtyard, is interpreted through the traditional Christian perspective as seen by the vicini, making the Medici appear pious, reverent, and religiously devout. This work is also interpreted from the amici point of view using ancient and contemporary authors to trace the development of ideas amongst the circle of Classically educated friends of the Medici. Second, Donatello’s bronze Judith and Holofernes, located in the adjacent Medici Garden, is examined in the same way to highlight the divergent message of humility juxtaposed with pride. This exercise shows the Medici had the ability to use one piece of art to set the stage for several different messages. Each type of visitor would view the same piece of art and come away with a different message specifically tailored to them, which allowed the family to increase support for their political faction and maintain their status as de facto rulers of Florence. The Medici family’s success is undisputed amongst scholars, but Cosimo’s use of the Augustan model and his use of the palace as propaganda is a subject that has been left scarcely examined. Much research has been conducted on the exterior due to what is extant, but how those in the Medici faction viewed it is non-existent. This work builds upon F.W. Kent’s position that Renaissance palace were built with several groups in mind. Through this examination of the Medici’s use of polyvalent messaging, a new understanding of the Medici emerges, which shows they were masters of propaganda and can explain why the Palazzo Medici became the model for palaces through Florence, the Italian Peninsula, and eventually greater Europe.

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Edwards, Karen Victoria. „Rethinking the reinstallation of the studiolo of Francesco I de' Medici in the Palazzo Vecchio“. online version, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=case1175875929.

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Capobianchi, Livia. „Diagnostica delle strutture storiche: il caso di studio del Palazzo Malvezzi De' Medici in Bologna“. Master's thesis, Alma Mater Studiorum - Università di Bologna, 2009. http://amslaurea.unibo.it/578/.

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Pisa, Veronica. „Le ragioni del Restauro nella Prevenzione Incendi: il caso di studio di Palazzo Medici-Riccardi-Servadio-Pinucci a Firenze“. Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020.

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Il caso di studio di Palazzo Medici-Riccardi-Servadio-Pinucci si inserisce in una ricerca, tutt'ora in corso, protesa a dimostrare che l'adeguamento alle norme antincendio, deve sempre essere preceduto da un'attenta analisi storico-critica della preesistenza. Tale assunto costituisce la base fondante di un ragionamento utile a conciliare tutela e norma. Gli edifici storici, complessi per dimensione e varietà tecnico-costruttiva, sono caratterizzati da numerosi vincoli esistenti, che possono essere sanati mediante l'attuazione di un livello di sicurezza equivalente prevedendo misure compensative nel campo della prevenzione attiva, tramite una strategia gestionale consapevole dell'incendio. Il recente aggiornamento della normativa italiana ha favorito il conseguimento della messa a norma del patrimonio storico: infatti il legislatore nel 2011, con il D.P.R. n.151, istituisce l'attività n. 72 "Edifici sottoposti a tutela ai sensi del D.lgs. 22 gennaio 2004, n. 42", rendendo la protezione dell'involucro indipendente dalle destinazioni d'uso. Nel 2015 con il Codice di Prevenzione Incendi si fa un ulteriore passo in avanti poiché si prevede che le soluzioni per le differenti attività esercitate possano essere compensate in modo uniforme e organico. Infine, nel 2016 emana congiuntamente al MIBACT le Linee guida per facilitare la valutazione in deroga, dei progetti degli edifici sottoposti a tutela. L'elaborato inizia con un'attenta ricerca storica, prosegue con il progetto di prevenzione e protezione antincendio, una complessa elaborazione che indaga in forma integrata, le istanze tradizionali del restauro, inteso come atto di cultura, e l'attuazione pratica delle norme semi-prescrittive, con focus su compartimentazioni, impianti tecnologici e vie di esodo, in particolare di due collegamenti verticali. Si conclude con una verifica del tempo di evacuazione con il metodo dell'ingegneria antincendio per dimostrare che il "coefficiente di sicurezza" già ottenuto sia opportuno.

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Manucci, Carole. „I Ragionamenti de Giorgio Vasari ou l’édifice de la Mémoire“. Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3110.

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Giorgio Vasari naît le 30 juillet 1511 ; il s'éteint le 27 juin 1574. À la fin de l'année 1554, il entre au service de Cosme Ier de Médicis, duc de Florence, et se voit rapidement confier la responsabilité des travaux de transformation du Palais de la Seigneurie en Palais Ducal. L'artiste livre les clefs de lecture du cycle pictural déployé sur les plafonds et les murs du célèbre monument florentin, connu sous le nom de Palazzo Vecchio, dans une oeuvre peu étudiée : Ragionamenti del Sig. Cavaliere Giorgio Vasari, pittore et architetto aretino, sopra le invenzioni da lui dipinte in Firenze nel Palazzo di loro Altezze Serenissime. Rédigé entre 1558 et 1567, mais publié à titre posthume seulement en 1588, ce texte met en scène Giorgio Vasari et le prince François Ier de Médicis, fils aîné de Cosme Ier et d'Éléonore de Tolède. Sous une plume ekphrastique, au sein de laquelle le mot et l'image s'unissent, l'artiste compose un dialogue distribué sur trois journées et conduit dans trois lieux emblématiques du palais : le Quartier des Éléments, le Quartier de Léon X et la Salle des Cinquecento. L'intérêt de cet ouvrage réside dans les différents niveaux de lecture comme dans les différents "dialogues" qu'il suppose. Si la réécriture de certains épisodes mythologiques, mis en relation directe avec l'histoire de la dynastie médicéenne, participe du dessein officiel de l'oeuvre, à savoir la glorification ducale, le mythe prélude, en raison de son appartenance à un univers ésotérique, à une lecture dérobée du texte vasarien qui, au-delà de servir le règne médicéen, révèle une aura mémorielle nous invitant à appréhender I Ragionamenti de Giorgio Vasari comme un édifice de la Mémoire
Giorgio Vasari was born on 30 July 1511 ; he died on 27 June 1574. At the end of 1554, he starts to be on the service of Cosimo I de' Medici, the Duke of Florence and he quickly sees himself entrusted with the transformation works of the seigneurial palace into a ducal one. The artist delivers the reading guides of the pictorial cycle deployed on the ceilings and the walls of the famous Florentine monument known as Palazzo Vecchio, in Ragionamenti del Sig. Cavaliere Giorgio Vasari, pittore e architetto aretino, sopra le invenzioni da lui dipinte in Firenze nel Palazzo di loro Altezze Serenissime, a little-known and little-studied work. Written between 1558 and 1567, but only posthumous published in 1588, this text stages Giorgio Vasari and Prince Francesco I de' Medici, the elder son of Cosimo I and Eleonora di Toledo. Under a descriptive hand, in which the word and the image unite, the artist composes a dialogue spread over three days and lead in three emblematic places of the palace: the Elements Area, the Leo X Quarter and the Cinquecento Room. The interest of this work lies in the different reading levels as in the different "dialogues" that it means to suggest. If the rewriting of some mythological episodes, directly viewed in relation to the history of the Medici dysnasty, contributes to the official aim of the work - namely the ducal glorification - the myth preludes, owing to its belonging to an esoteric world, a hidden reading of the Vasarian text that, beyond serving the Medici reign, reveals a memory aura inviting us to comprehend Giorgio Vasari's Ragionamenti as an edifice of Memory

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Deibel, Danielle Marie. „The Piazza della Signoria: The Visualization of Political Discourse through Sculpture“. Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent149298059548259.

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Ballerini, Giulia. „Ardengo Soffici : la grande mostra del 1920 (Firenze, Palazzo Horne, 27 maggio-15 giugno) /“. Prato : Pentalinea, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016223420&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Miyake, Mônica Aidar Menon. „"Efeitos da infusão de Luffa operculata sobre o epitélio e a atividade mucociliar do palato isolado de rã"“. Universidade de São Paulo, 2004. http://www.teses.usp.br/teses/disponiveis/5/5143/tde-20102005-113139/.

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Luffa operculata é uma planta medicinal popularmente usada para tratamento de rinites e rinossinusites. A infusão de seu fruto seco é usada no nariz, liberando secreção mucosa profusa, mas pode causar irritação, epistaxe ou anosmia. Avaliamos os efeitos de diferentes concentrações da infusão do fruto seco da Luffa operculata na velocidade de transporte mucociliar (VTM), freqüência de batimento ciliar (FBC), diferença de potencial transepitelial (DPT) e morfologia do epitélio (microscopia de luz e eletrônica de transmissão), no modelo do palato isolado de rã. Os resultados apontam para dano epitelial dose-dependente no epitélio mucociliar, sugerindo que ela seja potencialmente nociva à mucosa nasal humana
Luffa operculata is a medicinal plant popularly used for treatment of rhinitis and rhinosinusitis. Its dry fruit infusion is used into the nose, delivering profuse mucous secretion, but may cause nasal mucosa irritation, epistaxis or anosmia. We evaluated the effects of different concentrations of Luffa operculata dry fruit infusion on mucociliary transport velocity (MTV), ciliary beat frequency (CBF), transepithelial potential difference (TPD) and epithelial morphology (light and electron transmission microscopy) of the isolated frog palate preparation. Results pointed to dose-dependent epithelial damage on mucociliary epithelium, suggesting that it is potentially noxious to the human nasal mucosa

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Teng, Hui-Wen, und 鄧慧雯. „A Study on Frescos “Procession of the Magi ”in the Palazzo Medici-Riccardi of Florence“. Thesis, 2011. http://ndltd.ncl.edu.tw/handle/99j5ju.

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碩士
國立臺北藝術大學
美術史研究所
99
The aim of this paper is to investigate the frescoes Procession of the Magi made in the chapel of Palazzo Medici-Riccardi in Florence by the fifteenth-century artist Benozzo Gozzoli (1421-1497) during 1459-60. By studying the figure layout, theme, form, style and image of these works, the features of these frescoes, the origin of styles and the fusion of styles are examined; the artistic taste of Italians in the fifteenth century is reviewed, and the art style development in Florence in the fifteenth century is elaborated. Apparently, these works of Gozzoli made in the beginning of the Renaissance show a strong sense of decoration in a delicate, rich and lustrous style under harmony. This is different from his contemporaries Masaccio (1401-1428) and Piero della Francesca (ca 1415-1492) who exploited lineal perspective and 3 dimensions to express the new simplistic and rational style of the Renaissance. Although Gozzoli already showed mastery perspective techniques in his works made in the 1450s, a preference to the multipoint perspective landscape as found in the Middle Age reveals in the Procession of the Magi. This is probably because of the special aesthetics flavor in the fifteenth-century Florence based on which he developed such a kind of integrated style. In addition to investigating the form, content and theme, this paper focuses on the rich creativity and decorative expressions in these frescoes. This includes an in-depth analysis of the details of the animals, people and landscapes depicted in the frescoes in order to facilitate the understanding of the features of these works. Also, by studying these frescoes, the trend of style integration of Gozzoli presented in his works is examined in order to delineate the demand for luxury and sophisticated decorative beauty of nobles and privileged people in Florence in the fifteenth century as reflected in the Procession of the Magi.

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Bücher zum Thema "Palazzo Medici"

Ada, Gunnella, und Saladino V, Hrsg. Le antichità di Palazzo Medici Riccardi. Firenze: L.S. Olschki, 1998.

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Borchgrave, Isabelle De. I Medici: Il sogno ritorna : Isabelle de Borchgrave a Palazzo Medici Riccardi. Herausgegeben von D'Ursel Laetitia und Palazzo Medici Riccardi. Florence, Italy]: Alias, 2009.

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1951-, Acidini Luchinat Cristina, und Ricciardi Lucia, Hrsg. The Chapel of the Magi in Palazzo Medici. Firenze: Mandragora, 2001.

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Gozzoli, Benozzo. The chapel of the Magi: Benozzo Gozzoli's frescoes in the Palazzo Medici-Riccardi, Florence. London: Thames & Hudson, 1994.

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La cavalcata d'Oriente: I Magi di Benozzo a Palazzo Medici. Roma: Tomo edizioni, 1991.

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Gozzoli, Benozzo. La Cappella dei Magi. Milan: Electa, 1993.

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M, Fileti. Eredità del cardinale Leopoldo de' Medici: 1675-1676. Pisa: Scuola normale superiore, 1997.

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The Chapel of the Magi: Benozzo Gozzoli's frescoes in the Palazzo Medici-Riccardi Florence. [London: Thames and Hudson, 1994.

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Anna Maria Luisa de' Medici, elettrice palatina: Atti delle celebrazioni, 2005-2008, Palazzo Vecchio, Firenze. Firenze: Edizioni Polistampa, 2009.

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L'architettura contesa: Federico da Montefeltro, Lorenzo de' Medici, gli Sforza e Palazzo Salvatico a Milano. Milano: Bruno Mondadori, 2008.

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Buchteile zum Thema "Palazzo Medici"

Betti, Marco. „Amori proibiti in palazzo Mondragone Carnesecchi. Un’inedita cupola di Antonio Puglieschi e una memoria medicea“. In Studi e saggi, 147–64. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.09.

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The recent discovery of a dome painted by Antonio Puglieschi in the Mondragone Carnesecchi palace, representing Mars and Venus surprised by Vulcan, offers the occasion to reflect on the symbols used by Francesco I de’ Medici and Bianca Cappello. According to an ancient rumor, the clandestine love encounters between Francesco and Bianca had taken place in that very same palace and the depiction of the mythological infidelity may alluded to that relationship. The paper analyses different sources which show that Francesco was often portrayed as Mars and Bianca as Venus: specific attention is given to the detailed description of their wedding celebrations which revolved around the theme of the meeting and love of Venus and Mars. It’s possible that the Del Vernaccia family, who owned the palace and commissioned the painting to Antonio Puglieschi, wanted to remember and somehow celebrate events that took place in those rooms more than a century before.

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„CHAPTER TWELVE. COSIMO DE' MEDICI, A NEW MOSES“. In Bronzino’s Chapel of Eleonora in the Palazzo Vecchio, 294–319. University of California Press, 1993. http://dx.doi.org/10.1525/9780520375994-016.

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Schofield, Richard. „A local Renaissance: Florentine Quattrocento palaces and all’antica styles1“. In Local antiquities, local identities, 13–36. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526117045.003.0002.

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Florence is a city which demonstrates the power of Local Renaissance traditions and how they could delay the introduction of all’antica architecture. Authoritative medieval communal buildings, particularly the Palazzo Vecchio, established an architectural vocabulary which was appropriated for palaces, which, as a rule, were provided with massive rusticated ground-floors or, later, with rusticated corners running up their full height; the majority of Florentine palaces of the Quattrocento and Cinquecento are of this type and were notable for the absence of the orders. The resistance to the orders is remarkable since painters and sculptors had frequently represented buildings, usually biblical or antique, with orders on the façades: and the use on palaces of stucco decoration which represented the orders may have predated the only example of a palace façade decorated with three different orders, Alberti’s Palazzo Rucellai. The power of this tenacious tradition of palace façade- building is powerfully demonstrated by the fate of the Palazzo Rucellai, which, assessed in terms of its influence in Florence, was a failure; no architect copied it. Other examples of attempts to adjust, enrich or disrupt the local tradition of façade-building – particularly Palazzo Medici Riccardi and the Palazzo Bartolini Salimbeni - are discussed.

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„CHAPTER ELEVEN. COSIMO DE' MEDICI AS AN OLD TESTAMENT HERO“. In Bronzino’s Chapel of Eleonora in the Palazzo Vecchio, 282–93. University of California Press, 1993. http://dx.doi.org/10.1525/9780520375994-015.

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Terry-Fritsch, Allie. „Staging Gendered Authority: Donatello’s Judith, Lucrezia Tornabuoni de’Medici’s sacra storia, and the Somaesthetics of Justice“. In Somaesthetic Experience and the Viewer in Medicean Florence. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463722216_ch03.

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Chapter Three analyzes Donatello’s bronze sculpture of Judith, located in the garden of Palazzo Medici between the mid-1460s to the early 1490s, in relation to a sacred narrative of the Jewish heroine written by Lucrezia Tornabuoni de’Medici in the early 1470s. Considering the performative interplay between the matron’s words and the sculpture’s form, the chapter investigates the strategies by which Lucrezia’s text enlivens Donatello’s Judith as the sacred heroine of her story and somaesthetically situates her audience as “eye-witnesses” to a demonstration of justice. Ultimately, the chapter analyzes how the theatricality of viewing the sculpture in the garden simulated communal punishment rituals and contributed to a reaffirmation of Florentine values that bound the audience and author together.

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Terry-Fritsch, Allie. „Mobilizing Visitors: Political Persuasion and the Somaesthetics of Belonging in the Chapel of the Magi“. In Somaesthetic Experience and the Viewer in Medicean Florence. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463722216_ch02.

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Chapter Two provides a thick reading of the set up and action of somaesthetic experience in the Chapel of the Magi, constructed by Michelozzo inside Palazzo Medici and lavishly decorated by Benozzo Gozzoli and Fra Filippo Lippi in the 1450s. Linking the mindful movements of viewers in the room to contemporary rituals of Epiphany, the analysis recasts the chapel as a virtual Florence that was practiced by the visitor in a time-based experience. By reconstructing the ways in which theater and ritual were enfolded into the artistic program and the process of viewing itself, the chapter recovers the somaesthetic co-involvement of the visitor in the processional drama of the room and demonstrates how somaesthetic experience is a critical key to understanding the style and content of the chapel within its dynamic political dimensions.

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„8. Embodied temporality: Lucrezia Tornabuoni de’ Medici’s sacra storia, Donatello’s Judith, and the performance of gendered authority in Palazzo Medici, Florence“. In Gendered Temporalities in the Early Modern World, 187–212. Amsterdam University Press, 2018. http://dx.doi.org/10.1515/9789048535262-009.

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Spadafora, Giovanna. „Geometry and Drama in Borromini's Architectural Details“. In Advances in Media, Entertainment, and the Arts, 666–93. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0029-2.ch027.

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This paper is based on some considerations on the inter-scalar figurative relations which bind all of its constituents and elements of detail, within a work of architecture. This relation can be an environment in which to study the portal created by Francesco Borromini and the door cornices, inside Palazzo Falconieri, so far ignored by historiography. The text contextualizes these analysis and observations within Borromini's relationship with antiquity focusing on the role of design and of geometry in the definition of his language. The original drawings of the project and the construction of the entry portal to the apartment of Orazio Falconieri were used to evaluate the relationship between the drawings and what was built, based on the data of the direct survey considered, in this case, as the most effective instrument of knowledge. The results, though partial, permit the clarification of some of the construction events related to the Palazzo.

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„CHAPTER NINE. HISTORY, MYTH , AND PROPAGANDA IN COSIMO DE' MEDICI'S EARLY ART“. In Bronzino’s Chapel of Eleonora in the Palazzo Vecchio, 250–59. University of California Press, 1993. http://dx.doi.org/10.1525/9780520375994-013.

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Porfiri, Francesca. „Interpretative Reading of an Illusory Painted Wall“. In Advances in Media, Entertainment, and the Arts, 403–19. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0029-2.ch017.

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This study concerns architectural representation, and it focuses on the Quadratura issue: an illusory architecture painting where perspective creates the illusion of spatial depth on a flat surface. The main subject of this work is the study of the perspective scenes frescoed in the yards of historical building, during the 18th century in northern Italy, especially in Bologna; they represent architectural scenes, placed at the end of a promenade through the building. One of the most interesting example of these perspective frescoes in Bologna has been designed in 1761 by Antonio Galli Bibiena in Palazzo Vizzani's yard. This study aimed to approach a digital 3D-reconstruction of the scene, based on an accurate documentation and a combination of architectural survey techniques. Finally the digital reconstructed scene can be video-projected on the wall: it can simulate a viewer's eye guided across the building towards and inside the scene.

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Konferenzberichte zum Thema "Palazzo Medici"

Fantozzi, F., F. Leccese, G. Salvadori, M. Rocca und I. Capranelli. „Opportunities for energy savings with interventions on the lighting systems of historical buildings: The case of “Palazzo Medici” in Pisa, Italy“. In 2016 IEEE 16th International Conference on Environment and Electrical Engineering (EEEIC). IEEE, 2016. http://dx.doi.org/10.1109/eeeic.2016.7555569.

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Falvo, Perla Gianni. „In the mirror of the wonder of Luca Giordano: Multisensory experience itinerary with impact assessment at Palazzo Medici Riccardi (Florence, Italy)“. In 2012 18th International Conference on Virtual Systems and Multimedia (VSMM). IEEE, 2012. http://dx.doi.org/10.1109/vsmm.2012.6365901.

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Falvo, Perla Gianni, Antonello Grippo, Tiziana Atzori, Giampiero Cicalini, Lelio Camilleri, Francesca Chiesi, Alessandro Toccafondi und Andrea Bonacchi. „Workshop with impact assessment in the chapel of the Magi in Palazzo Medici Riccardi, Florence Augmented reality with multimedia and cognitive technologies“. In 2014 International Conference on Virtual Systems & Multimedia (VSMM). IEEE, 2014. http://dx.doi.org/10.1109/vsmm.2014.7136677.

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Falvo, Perla Gianni. „Exhibit design with multimedia and cognitive technologies impact assessment on Luca Giordano, Raphael and the Chapel of the Magi in Palazzo Medici Riccardi, Florence“. In 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7419569.

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Velasquez Hernández, Víctor Hugo. „Los dibujos para el Palacio“. In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.678.

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Resumen: El concurso para la Sede del Palacio de Naciones en Ginebra, realizado en 1927, significa para Le Corbusier un momento crucial en su trabajo, entre otras cosas por la repercusión mediática que suscita, ayudando a proyectar su imagen a nivel internacional. La compleja propuesta del palacio sintetiza y aplica algunas de las principales preocupaciones de Le Corbusier, al tiempo que abre nuevos frentes de investigación para futuros proyectos. Un importante trabajo de dibujo acompaña el reto arquitectónico. La rica información proyectual, contenida en esos dibujos, documenta tanto los grandes planteamientos paisajísticos y de funcionamiento, como sutiles detalles constructivos. Los dibujos, en sus aspectos formales y técnicos, forman parte de una serie de pruebas en los sistemas de representación que Le Corbusier hace en estos años. Si bien la exploración en las técnicas gráficas pone en riesgo la posibilidad de ganar el concurso, le brinda la oportunidad de reutilizar los documentos para alimentar nuevas aventuras editoriales: “Une maison, un palais”, “Vers une architecture” y “Œuvre Complète”. El estudio de los dibujos ahonda en sus procedimientos de trabajo, tanto para la investigación en el proyecto arquitectónico como para su difusión en medios masivos. A la vez, reafirma una visión innovadora propia de su labor como agitador y divulgador de la arquitectura moderna. Abstract: The 1927 “Palace of the league of Nations in Geneva” contest meant a crucial moment for Le Corbusier in his work, amongst other things due to the subsequent raising media repercussion, helping him scheme his image to an international level. The complex palace proposal synthetizes and applies some of Le Corbusier’s main preoccupations, and opens at the same time new research fronts for future projects. An important drawing work ushers the architecture challenge. The rich design information, contained in those drawings, documents both the landscaping and the functioning proposal, as subtle constructive details. The drawings, in the formal and technical aspects, shape part of a series of proof on Le Corbusier’s representation system for these years. Although the exploration on graphic techniques risks the possibility of him winning the contest, it also gives him the opportunity to reutilize such documents for new editorial adventures such as: “Une maison, un palais”, “Vers une architecture” and “Œuvre Complète”. The study of the drawings deepens the work procedure, as well as the research he went through for an architecture project when is meant to be published in massive media. At the same time, it reasserts an innovation perspective unique of his work as an agitator and divulging person of modern architecture. Palabras clave: Dibujos; Libros y escritos; Artes visuales; Técnica; Colaboradores; Palacio de Naciones. Keywords: Drawings; Books and writings; Visual Arts; Technique Partners; Palace of Nations. DOI: http://dx.doi.org/10.4995/LC2015.2015.678

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Soriano-Colchero, Jose-Antonio, und Inmaculada López-Vílchez. „La práctica artística como medio de representación de los modos de percibir la realidad espacial en el occidente contemporáneo. Un análisis teórico del proyecto plástico y visual No Vanishing Point ;).“ In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9223.

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El presente texto pretende desarrollar una aproximación teórica de la obra plástica y visual constituyente del proyecto artístico No Vanishing Point ;) realizado específicamente para su exposición en la Sala Ático del Palacio de los Condes de Gabia de Granada; a través de sus conceptos y claves principales. Proyecto que tiene como objetivo la reflexión acerca de la percepción y procesado de la información que recibimos durante nuestro día a día a través de las imágenes proyectadas desde los mass media como la televisión y las redes sociales principalmente; como metáfora de la percepción que los seres humanos tenemos actualmente de la realidad en la que habitamos. La sobreinformación que recibimos desde los medios nos impide la asimilación y digestión de la misma, dando lugar a un mensaje superficial que anula la capacidad de autocrítica, generando la planicidad del pensamiento, y con ello una percepción plana de la realidad. El concepto frontera se presenta como paradigma del no-espacio, como obstáculo insuperable hacia la búsqueda del espacio tridimensional con un punto de fuga. Como seres humanos occidentales pertenecemos a un espacio común interconectado a nivel global, totalmente virtual, cuyo único límite es la frontera en la que desaparecen los valores de consumismo compulsivo, así como la conceptualización superficial y la falta de profundidad argumental. Todo ello tiene como consecuencia el surgir de nuevas formas de representar el espacio, acordes al modo en que percibimos y conceptualizamos el mismo en nuestra contemporaneidad; continuando así con la serie de diferentes sistemas de representación espacial aplicados al arte que han tenido lugar a lo largo de la historia. Buscamos finalmente aportar una serie de conclusiones que den lugar a nuevas preguntas que permitan emprender un camino conductor hacia la reflexión crítica sobre la percepción contemporánea de nuestra realidad utilizando la práctica artística como medio.

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GARCÍA CLARIANA, INÉS. „Render-punctum: El efecto de la imagen en el pensamiento y la gestión de la ciudad“. In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6978.

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El 30 de noviembre de 2011 el periódico El Mundo publica la noticia: «Así será el nuevo Palacio de Congresos de Valencia» diseñado por Norman Foster. Un escaso texto y un par de imágenes sintéticas (render) ilustran la noticia. Poco interés podría suscitarnos la misma si no rescatamos las imágenes de archivo en torno al Palacio de Congresos de Valencia; desde 1992 —fecha por el que establece el encargo ˈa dedoˈ que la alcaldesa Rita Barberá firmó con Sir Norman Foster— hasta 1998 (seis años más tarde) cuando aparece un amplio reportaje de la inauguración del edificio realizado por José Aleixandre del periódico Levante bajo el titular: «El Rey ve en el palacio de Foster un símbolo de la nueva Valencia». ¿Qué acontecía pues la noticia del periódico El Mundo en el año 2011? La futura ampliación que nunca llegó a ejecutarse y de la que a fecha de hoy, es conocida por todos el final de esta historia. Ahora bien, si la noticia en torno a la ampliación del Palacio de Congresos ha quedado (hoy por hoy) en el deseo que marcó su existencia a través de una imagen (render), este hecho nos puede hacer reflexionar sobre el posible efecto que la aparición de la imagen en los medios pudiera generar con el paso del tiempo. Esta reaparición en formato imagen evoca a la memoria en torno al edificio, pero también imputa en cierto modo a todos los procesos de gestión urbanística que desde los años ´90 hasta la fecha, han acontecido en la ciudad. Hablamos en definitiva de todo aquel pasado que un render (ni siquiera una realidad existente) puede provocar y traer a nuestro presente. Un efecto punctum que llamaría Barthes, o lo que es lo mismo, un cierto movimiento de conciencias y de estados del pasado que vuelven a través de un efecto visual al presente, mediante este render-punctum. Este poder que tiene la imagen en ciertos contextos, de ejercer en sí misma como herramienta de pensamiento, este viaje al pasado en los estados de la ciudad, ayuda a repensarla para mejorarla. De hecho, estos estados de la cuestión, estas escenas fijas sobre las que pensar, tal y como ejercen en la sociología visual, crean un observatorio urbano improvisado, y desde ese mirar prestando atención que tanto demandó Berger, abren reflexiones sobre la ciudad a través de las imágenes. Son muchas las imágenes en la actualidad que generan nostalgia hacia una Valencia que podría haber sido, y no por el deseo de la arquitectura y de la construcción que muestra el render, sino por poner sobre la mesa la importancia de generar un ojo sociológico (Bourdier) urbano que incida directamente sobre las necesidades reales de la ciudad y los ciudadanos. El caso del Palacio de Congresos es tan sólo un ejemplo que se suma a la imagen-falla de la Torre de Comunicaciones no construida de Santiago Calatrava, a la imagen escala 1:1 de la arquitectura del Centro de Investigación Príncipe Felipe —cerrado, y sin presupuesto para la investigación, a la vista aérea de Google Earth que muestra las 170 crestas de hierro del Ágora posadas y abandonadas, hasta los renders de los rascacielos de acceso a la ciudad. El render, la imagen, remueve y provoca el cuestionamiento en la gestión de la ciudad.

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