Relevant bibliographies by topics / Art, Florentine

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Art, Florentine'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Art, Florentine"

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Cappellini, Patrizia. "Trading Old Masters in Florence 1890–1914: heritage protection and the Florentine art trade in Post-Unification Italy." Journal of the History of Collections 31, no. 2 (2018): 363–71. http://dx.doi.org/10.1093/jhc/fhy030.

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Abstract Between 1855 and 1873 many religious orders were abolished in Italy and the contents of convents, monasteries and churches found their way on to the art market. Meanwhile, economic troubles led many noble families to sell their estates, a situation that lasted until World War i. Focusing on the Florentine art market from 1890 to 1914, this paper seeks to shed new light on the roles of some Florentine merchants and their relationships with British antique dealers and German patrons and scholars (such as Wilhelm von Bode). It also reviews the evidence – anecdotal, archival and published
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Gáldy (book author), Andrea M., and Elizabeth Pilliod (review author). "The Art, History and Architecture of Florentine Churches." Renaissance and Reformation 41, no. 3 (2018): 225–26. http://dx.doi.org/10.33137/rr.v41i3.31599.

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Fiorani, Francesca, and Elizabeth Pilliod. "Pontormo, Bronzino, Allori: A Genealogy of Florentine Art." Sixteenth Century Journal 34, no. 1 (2003): 300. http://dx.doi.org/10.2307/20061407.

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Morucci, Valerio. "Florentine patricians, art, music and culture around 1600." Early Music 47, no. 3 (2019): 445–46. http://dx.doi.org/10.1093/em/caz059.

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Costamagna, Philippe. "De l'idéal de beauté aux problèmes d'attribution. Vingt ans de recherche sur le portrait florentin au XVIe siècle." Studiolo 1, no. 1 (2002): 193–220. http://dx.doi.org/10.3406/studi.2002.1099.

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From the ideal of beauty to issues of attribution. Twenty years of research on 16th century Florentine portraiture. Considered too familiar in its overall evolution or not eminent enough in relation to Quattrocento portraiture, 16th century Florentine portraiture has become a topic of research only since the 1980s, thanks to important exhibitions on art in Tuscany during the Medici rule and to studies on Medicean portraiture. The latter's magnitude, along with ancient sources, bear witness to the genre's success amongst painters. However, the recent and abundant bibliography reveals the diffic
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Simane, Jan. "The library of the Kunsthistorisches Institut in Florence." Art Libraries Journal 30, no. 4 (2005): 5–9. http://dx.doi.org/10.1017/s0307472200014176.

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The history of the library founded in 1897 at the Kunsthistorisches Institut in Florence is marked by a very close connection with the history and profile of the Institute itself. The demand for scientific literature for research on Florentine Renaissance art and culture was the key motivation for establishing a German research library in Florence, where this art and culture flourished. But from the very beginning the holdings covered Italian art as a whole, not just the Renaissance and Florentine art. The acquisition policy as well as the internal organisation and systematic structure of the
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Cohn, Samuel K. "Piété et Commande D'œuvres D'Art Après la Peste Noire." Annales. Histoire, Sciences Sociales 51, no. 3 (1996): 551–73. http://dx.doi.org/10.3406/ahess.1996.410868.

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Dans un ouvrage d'histoire interdisciplinaire tout à fait exemplaire, Millard Meiss proposait une explication au bouleversement radical de la peinture florentine et siennoise après la Peste noire. Son hypothèse a suscité depuis un débat continu, vif et fructueux, entre les historiens de l'art. Mais l'histoire littéraire, sociale et économique est peu représentée dans ce débat, bien que les arguments de Meiss lui-même aient été largement tributaires des données et des pratiques liées à ces disciplines, de l'interprétation des lettres de sainte Catherine de Sienne à l'évaluation des banqueroutes
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James, Sara Nair. ":The Art, History and Architecture of Florentine Churches." Sixteenth Century Journal 49, no. 1 (2018): 187–89. http://dx.doi.org/10.1086/scj4901129.

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Kudaev, Aleksandr Egorovich. "Berdyaev and Florence. Aesthetic Intersections." Философия и культура, no. 12 (December 2023): 48–90. http://dx.doi.org/10.7256/2454-0757.2023.12.39234.

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The article is devoted to Berdyaev's first Italian journey, which had a "tremendous influence" both on his creative destiny and on the development of his aesthetic views. It is significant that one of the defining motives for visiting Italy was his desire to "return to his homeland impressed by the greatest beauty"! Since the first journey of the philosopher was connected with Florence, it seemed appropriate to pay due attention to the achievements of this city and its decisive contribution to the formation and development of the culture of the Renaissance. The formation of revivalist principl
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Prygov, V. I. "Первый и единственный в России частный музей флорентийской мозаики Б. и Л. Ошкуковых". Iskusstvo Evrazii [The Art of Eurasia], № 2(21) (30 червня 2021): 104–17. http://dx.doi.org/10.46748/arteuras.2021.02.009.

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The article is devoted to the only private museum of Florentine mosaics in Russia by B. and L. Oshkukovs. The basis of its funds was the personal collection of the founders. It represents all the main forms of mosaics using: from easel decorative panels to inserts in jewelry. The museum's exposition reflects the achievements of all the major art centers of Florentine mosaics in Russia — the works of stone-cutting masters from Khabarovsk, Ufa, St. Petersburg, Moscow, etc. The greatest artistic value is represented by mosaic paintings made both according to well-known pictorial originals, and ac
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Dissertations / Theses on the topic "Art, Florentine"

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Knotts, Robert Marvin. "Judith in Florentine Renaissance Art, 1425-1512." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1261076833.

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Daly, Christopher R. "Jacopo del Sellaio's Altarpieces for the Florentine Oltrarno." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1429106675.

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Ley, Vicky. "Landscape in the secular paintings of Piero di Cosimo : an aspect of late Quattrocento and early Cinquecento art." Thesis, Birmingham City University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289475.

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Pichler, A. "Founders, floods and fathers : narratives of origins and renewal in Florentine art and culture." Thesis, University of Manchester, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.528430.

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This dissertation explores the understanding of origins in late medieval and Renaissance Florence as represented in art and in wider fields of literary and historiographic discourse. Its particular focus is a myth associating the foundation of Tuscany with Noah, which was promoted in a volume of forged texts published by Annius of Viterbo in 1498. Rather than focusing on Annius or his scholarly reception as other writers have done, the thesis attempts to set the myths that he publicised in the context of other stories about origins that circulated in Renaissance Florence. The central part of t
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Buccheri, Alessandra. "The architecture of clouds in art and theatre : a lost path from the Florentine Renaissance to the Roman Baroque." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508753.

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Bélanger, Stéphanie. "Un Flamand à Florence : Van der Straet et la vie florentine à la fin du 16e siècle." Master's thesis, Université Laval, 2021. http://hdl.handle.net/20.500.11794/70390.

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Jan van der Straet (1523-1605) est un artiste flamand qui migre des Pays-Bas vers l'Italie pour s'accomplir en tant que peintre et graveur. Son parcours en tant qu'artiste immigré à Florence à la fin du 16e siècle est unique en son genre, alors qu'il adopte un style à mi-chemin entre ses origines anversoises et le maniérisme florentin, qu'il maîtrisera avec succès. Le regard externe qu'il pose sur sa communauté adoptive est très éclairant pour en apprécier les préceptes qui la régissent. Ce mémoire a pour but d'explorer la manière dont Van der Straet assume sa double identité à travers les Nov
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Jeffers, Leah Rachel. "Fashion and Court-Building in the Sixteenth-Century Florentine Ducal Court: Politics, Agency, and Paleopathology in the Wardrobes of Eleonora di Toledo and Giovanna d'Austria." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1024.

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Fashion in the Renaissance became intensely political, highly gendered, and anatomized (i.e. emphasizing human anatomy rather than masking it). Court culture placed a particular emphasis on the body of the courtier, as skills such as dancing and dressing fashionably became crucial to political success in states throughout Europe. In sixteenth-century Florence, the Medici attempted to install a duchy in what was at the time a republican city (with strong republican heritage). Florentine fears of foreign domination and resentment towards non-republican forms of government made the Medici’s task
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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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Büscher, Mareile. "Künstlerverträge in der Florentiner Renaissance /." Frankfurt am Main : V. Klostermann, 2002. http://catalogue.bnf.fr/ark:/12148/cb399930253.

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Cyrus, Cynthia J. "Polyphonic borrowings and the Florentine chanson reworking, 1475-1515 /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb40063403k.

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Books on the topic "Art, Florentine"

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Olson, Roberta J. M. The Florentine tondo. Oxford University Press, 2000.

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Francesco, Solinas, Bartoli Roberta, and Contini Roberto, eds. The Frescobaldi: A Florentine family. Le lettere, 2004.

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Franco, Borsi. Firenze del Cinquecento. 2nd ed. Editalia, 1993.

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Licia, Bertani, ed. The Horne museum: A Florentine house of the Renaissance. Edizioni della Meridiana, 2001.

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David, Alexander, and Sakıp Sabancı Müzesi, eds. From the Medicis to the Savoias: Ottoman splendour in Florentine collections. Sabanci University, Sakip Sabanci Müzesi, 2003.

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Ladislav, Daniel, Valdštejnská jízdárna, Muzeum umění Olomouc, and Galerie výtvarného umění v Chebu., eds. The Florentines: Art from the time of the Medici grand dukes. Národní galerie v Praze, 2002.

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Library, Bridgeman Art, ed. The art of Florentine drawings: A compilation of works from the Bridgeman Art Library. Parragon, 1996.

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Licia, Bertani, and Museo Horne (Florence Italy), eds. The Horne Museum: A Florentine house of the renaissance. Meridiana, 2001.

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Florentine, Mütherich, Bierbrauer Katharina, Klein Peter K, and Sauerländer Willibald, eds. Studien zur mittelalterlichen Kunst 800-1250: Festschrift für Florentine Mütherich zum 70. Geburtstag. Prestel-Verlag, 1985.

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Dow, Douglas N. Bernardino Poccetti and the Art of Religious Painting at the End of the Florentine Renaissance. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463729529.

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By almost any measure Bernardino Barbatelli, called Poccetti, was a successful and sought after painter in late sixteenth-century Florence, but his works have remained largely overlooked. This study situates representative examples of his religious painting within their respective contexts to demonstrate how Poccetti and his patrons negotiated the increasingly fraught terrain of sacred painting in the period of religious reform. These case studies demonstrate how patrons ranging from the Dominicans to the Carthusians to prominent Florentine patricians relied on Poccetti’s skill in creating com
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Book chapters on the topic "Art, Florentine"

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Ciatti, Marco. "CHAPTER 12. Science and Conservation at the Florentine O. P. D. and Raphael's Madonna of the Goldfinch." In Science and Art. Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781839161957-00252.

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Giorgi, R., D. Chelazzi, and D. Magaloni Kerpel. "CHAPTER 7. Unveiling the Artistic Technique of the Florentine Codex: When the Old World and the New World Met." In Science and Art. Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781839161957-00147.

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Cardini, Agnese. "Venere e Cupido di palazzo Pandolfini a Firenze: una scultura inedita di Chiarissimo Fancelli." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.05.

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This paper aims to add another piece of knowledge for Chiarissimo Fancelli, one of the leading sculptors in the Florentine art scene of the first thirty years of the Seventeenth century. The artwork, credited to the sculptor from Settignano, is located in palazzo Pandolfini (Florence) and represents Venus and Cupid. Through the analysis of both its style and available bibliographical and historical sources, the marble group can now be included in the corpus of Fancelli’s sculptures and dated to 1620-1625.
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Romeo, Ilaria. "«L’eterno femminino che ci attira in alto accanto a sé»: celebri Veneri tra Roma e Firenze." In Strumenti per la didattica e la ricerca. Firenze University Press, 2024. http://dx.doi.org/10.36253/979-12-215-0376-0.38.

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Rome and Florence in modern centuries competed as Italian capitals of art, and two of the most appreciated ancient sculptures cannot be excluded from this rivalry: the Venus de’ Medici, exhibited since the 17th century in the Uffizi Gallery, and the Capitoline Venus, which in the following century it found its place in the New Museum on the hill of the same name. This contribution, in addition to summarizing the state of the art of research on the two works, considers their different fortunes and the multiple and varied reactions that they aroused in modern observers. We will therefore investi
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Bruttini, Elisa. "Le Lettere del beato Colombini come esempio di dialetto senese secondo Giovan Girolamo Carli." In Le vestigia dei gesuati. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-228-7.24.

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Giovan Girolamo Carli, a Sienese scholar (1719-1786), focused on the language of the Letters, usually considered a secondary aspect compared to their historical and theological value. Probably pushed by an anonimous client, Carli was planning to publish the first critical edition of the Letters, strictly philological, supported by insights on the life of the Blessed and a dictionary. His manuscript drafts, even incomplete, are however a precious source for reconstructing the original documents tradition, since he directly consulted and compared different and authoritative copies. Carli's purpo
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Leonelli, Lisa. "Per un profilo di Francesco Soderini, pittore «assai ragionevole nella storia e nei paesi, in grande e più in piccolo»." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.10.

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Francesco Soderini (1671-1736), father of Mauro Soderini (1703-1751), was a Florentine painter who worked for the last members of the Medici dynasty, expecially for the Electress of the Palatinate Anna Maria Luisa, the only daughter of the granduke Cosimo III de’ Medici. Among the artist’s works, only the paintings for Villa La Quiete, the place where Anna Maria Luisa stayed during her last years, are well studied. This paper proposes new attributions to Soderini by recognising his style in some canvases presented on the art market and attributed to anonymous artists. These paintings contribut
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Davis, Charles. "The Florentine Studia and Dante’s “Library”." In The Divine Comedy and the Encyclopedia of Arts and Sciences. John Benjamins Publishing Company, 1988. http://dx.doi.org/10.1075/z.34.17dav.

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Conte, Maria. "Gli “Ammaestramenti degli Antichi” di Bartolomeo da San Concordio." In The Dominicans and the Making of Florentine Cultural Identity (13th-14th centuries) / I domenicani e la costruzione dell'identità culturale fiorentina (XIII-XIV secolo). Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-046-7.11.

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Bartholomew of San Concordio translated his Documenta antiquorum into the vernacular presumably around 1297-1302, during his stay at the convent of Santa Maria Novella. Cesare Segre suggested such a date based on the dedication of the translation to Geri Spini, a Florentine banker and politician who was a supporter of the Black Guelfs and a close friend of Corso Donati. However, the relationships between the Dominican Friar and the Commune of Florence, as well as the potential connections between Bartholomew’s self-translation and Florentine political contingencies, are still to be investigate
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Wolfthal, Diane. "Florentine Bankers, Flemish Friars, and the Patronage of the Portinari Altarpiece." In Museums at the Crossroads. Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.mac-eb.3.774.

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Pegoretti, Anna. "Lo “studium” e la biblioteca di Santa Maria Novella nel Duecento e nei primi anni del Trecento (con una postilla sul Boezio di Trevet)." In The Dominicans and the Making of Florentine Cultural Identity (13th-14th centuries) / I domenicani e la costruzione dell'identità culturale fiorentina (XIII-XIV secolo). Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-046-7.09.

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Building on recent scholarship, this article sketches the development of the Florentine studium of Santa Maria Novella in the thirteenth century, before it became a studium generale between 1305 and 1311. The catalogue of Santa Maria Novella’s library and the information regarding works which were conceived there are collected and analysed to outline the core of the ancient library. The first quire of the manuscript Florence, Biblioteca Nazionale Centrale, Conv. soppr. G 3.451 (cc. 1-8) constitutes a notable case study for the learning interests of Dominican friars. Finally, this article discu
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Conference papers on the topic "Art, Florentine"

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Holt, Charlotte, Bosiljka Glumac, Silas Kopf, and Eric Jensen. "ART AND GEOSCIENCE OF PIETRE DURE – FLORENTINE STONE MOSAICS." In GSA Annual Meeting in Phoenix, Arizona, USA - 2019. Geological Society of America, 2019. http://dx.doi.org/10.1130/abs/2019am-335732.

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Costa, Maria Luiza Calim de Carvalho. "América Latina: cartografias poéticas." In Encontro de História da Arte. Universidade Estadual de Campinas, 2012. http://dx.doi.org/10.20396/eha.8.2012.4237.

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O cartógrafo alemão Martin Waldseemüller, em 1507, desenhou o mapa “Universalis Cosmographia” a partir de epistolas de Américo Vespúcio em que relatava suas viagens a Pier Soderini, supremo magistrado da República Florentina, e também aos Médici onde o navegador florentino reconhece as terras descobertas por Colombo como terras novas, Mundus Novus- o título de uma das três epistolas enviadas aos Médici.É a imagem inaugural da América.
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Iblova, Radmila. "LANDSCAPE OF HUMANISM." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024. SGEM WORLD SCIENCE, 2024. http://dx.doi.org/10.35603/sws.iscah.2024/fs06.16.

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The place to live and the living space fundamentally shape each person and the possibilities of their own existence. The landscape of humanism defines an environment where the unique local landscape and architecture inspire people to free their minds from the principles and rules that protect the supremacy of the powerful in a way that invites new exploration. The landscape of humanism, as conceived in my work, begins to be born during the early 13th century in central Italy. The progenitor who initiated this transformation by his life example is Saint Francis of Assisi. The life of this man s
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Castiglia, Roberto, and Lorenzo Ceccarelli. "La torre Belforti e il Sistema difensivo di Montecatini Val di Cecina." In FORTMED2024 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2024. http://dx.doi.org/10.4995/fortmed2024.2024.17963.

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The small village of Montecatini Val di Cecina, capital of one of the largest municipalities in the province of Pisa is perched at an altitude of approx. 420m above sea level and located on one of the last southern offshoots of the Pisan hills. The Montecatini’s first attestation, subject to the civil jurisdiction of the bishop of Volterra, important city of Etruscan origin, dates back to the end of XI century. Montecatini is mentioned as a castle only in May 1225, under the bishopric of Pagano Pannocchieschi. The Belforti family, with the taking of power in Volterra in 1340 and especially fol
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Ceriachi, Melissa. "RECOVERY OF A SEVERELY DETERIORATED PAINTING: THE MARTYRDOM OF SAINT SEBASTIAN BY GIOVANNI SANTI (15TH CENTURY). INTEGRATIVE PROPOSAL." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13492.

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This contribution examines a painting on wood: The Martyrdom of Saint Sebastian, by Giovanni Santi. This work of art is the altarpiece of the chapel dedicated to the saint, located in Urbino's Church of San Bartolomeo. The history of this work of art is inextricably linked to that of its conservation: initially, the artwork was difficult to read due to the serious state of deterioration of the paint layer, with a loss of significant portions of the painting, including pictorial parts that played a decisive role in the rendering of the image. This had significant implications when it came to ch
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Ventura, Rejane Bernal. "Lodovico Dolce e Giorgio Vasari: conexões." In Encontro da História da Arte. Universidade Estadual de Campinas, 2011. http://dx.doi.org/10.20396/eha.7.2011.4165.

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Esta comunicação tem por objetivo discorrer sobre alguns aspectos que ligam o tratado Dialogo della Pittura intitolato L´Aretino (1557), do humanista veneziano Lodovico Dolce à obra do historiador florentino, Giorgio Vasari, Le Vite de´più eccellenti architetti, pittori et scultori italiani, da Cimabue, insino a´tempi nostri, publicada em 1550. Dolce tinha como propósito primeiro sustentar a relevância da produção artística vêneta, alçando-a ao mesmo patamar da arte Tosco-romana, a qual fora exaltada de modo proeminente por Vasari em sua obra, em detrimento da arte de outras regiões italianas.
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Gomes, Waldemar. "Os relatos de Giorgio Vasari e de Ascanio Condivi sobre as esculturas da vida ativa e da vida contemplativa do sepulcro de Julio II, de Michelangelo." In Encontro da História da Arte. Universidade Estadual de Campinas, 2011. http://dx.doi.org/10.20396/eha.7.2011.4174.

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Idealizado em 1505 e planejado para ser erigido na Basílica de São Pedro, o sepulcro do Papa Júlio II, de Michelangelo Buonarroti, só seria finalizado em 1545 na Igreja de San Pietro in Vincoli, em Roma (Fig.1). Ao escrever a biografia do mestre florentino, na edição de 1550 das suas Vite, Giorgio Vasari forneceu pouca informação sobre aquele monumento fúnebre - não fazendo qualquer referência às esculturas da Vida Ativa e Vida Contemplativa.
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Berbara, Maria. "A correspondência de Michelangelo e a tradução da prosa quinhentista italiana." In Encontro de História da Arte. Universidade Estadual de Campinas, 2009. http://dx.doi.org/10.20396/eha.5.2009.3977.

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Em uma carta escrita em sua maturidade a seu sobrinho, Michelangelo afirma: “o maior aborrecimento que tenho em Roma é o de precisar responder cartas”. Àquele que se debruce sobre o estudo e tradução da correspondência michelangeana, a mensagem é clara desde o início: o grande artista florentino jamais pretendeu produzir um corpus epistolar análogo ao de Bembo, Aretino ou Castiglione; nunca foi sua intenção colecionar suas cartas, e muito menos prepará-las para publicação.
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Marinho, Fernanda. "Considerações sobre a obra Madona com menino e São João Batista da fundação Eva Klabin." In Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3860.

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Abstract:
Apesar de atualmente ser atribuída na Fundação Eva Klabin a Sandro Botticelli, a pintura Madona com Menino e São João Batista, possui uma autografia polêmica que também já circundou os nomes de Lorenzo di Credi e Filippino Lippi. Seu estilo predominantemente clássico traça uma forte relação com a tradição florentina do Renascimento. Apresenta uma notável qualidade pictórica, mas com as diversas restaurações e limpezas pelas quais passou, seus traços originais foram sendo encobertos, dificultando assim o seu estudo iconográfico e autográfico. A sua análise, portanto, visa prioritariamente a abo
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10

Arlet, Joanna. "THE INFLUENCE OF THE FLORENTINE RENESSANCE ON THE ARCHITECTURE OF POLAND IN THE SPHERE OF IDEAS, FORMS AND DETAILS." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocialf2018/2.3/s20.019.

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