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Journal articles on the topic 'Art, Florentine'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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2

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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3

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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4

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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5

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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Mykhailova, Rada. "Simonetta Vespucci in the Mirror of Renaissance Art: Image or Art Image?" Culture and Arts in the Modern World, no. 21 (July 22, 2020): 220–30. https://doi.org/10.31866/2410-1915.21.2020.208259.

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This article deals with the portraits of the Florentine court lady of the 15th century Simonetta Vespucci. The analysis of the content and meaning of the works of one of the prominent Renaissance artists Sandro Botticelli was conducted on the basis of the study of image methods and particular artistic approaches to the model characteristic. To study the artist’s paintings – portrait and genre – cultural and art studying analysis was used, in particular, a comprehensive examination of the material (hairstyle and accessories) and nonmaterial (ideas and art image) levels of Simo

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12

Long, Jane C. "Dangerous Women: Observations on the Feast of Herod in Florentine Art of the Early Renaissance." Renaissance Quarterly 66, no. 4 (2013): 1153–205. http://dx.doi.org/10.1086/675090.

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AbstractThis article investigates four widely studied versions of the biblical story of the Feast of Herod produced by Florentine artists in the fourteenth and fifteenth centuries: Giotto’s fresco from the Peruzzi Chapel at Santa Croce (ca. 1320), Andrea Pisano’s panels on the south doors of Florence’s baptistery (ca. 1335), Donatello’s relief for the baptismal font at Siena (ca. 1425), and Filippo Lippi’s fresco in the main chapel at the cathedral of Prato (ca. 1465). The study explores how the narrative is interpreted by each artist and suggests social messages that contemporary audiences mi

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Herlihy, David, and Samuel Y. Edgerton. "Pictures and Punishment: Art and Criminal Prosecution during the Florentine Renaissance." Journal of Interdisciplinary History 17, no. 2 (1986): 450. http://dx.doi.org/10.2307/204785.

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Cohn, Samuel Kline, and Samuel Y. Edgerton. "Pictures and Punishment: Art and Criminal Prosecution during the Florentine Renaissance." American Historical Review 91, no. 2 (1986): 424. http://dx.doi.org/10.2307/1858231.

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15

Rosenberg, Charles M., and Samuel Y. Edgerton. "Pictures and Punishment. Art and Criminal Prosecution during the Florentine Renaissance." Sixteenth Century Journal 17, no. 3 (1986): 381. http://dx.doi.org/10.2307/2540339.

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16

Neher, Gabriele. "Art, Marriage, & Family in the Florentine Renaissance Palace - Jacqueline Marie Musacchio." Renaissance Studies 24, no. 3 (2010): 447–49. http://dx.doi.org/10.1111/j.1477-4658.2010.00654.x.

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17

Colish, Marcia L. "Machiavelli's Art of War: A Reconsideration*." Renaissance Quarterly 51, no. 4 (1998): 1151–68. http://dx.doi.org/10.2307/2901963.

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AbstractMachiavelli's Art of War contains an unexplored and unexplained paradox: the dialogue's chief interlocutor is Fabrizio Colonna, a condottiere in the employ of Ferdinand of Aragon, who played a critical role in the Spanish conquest of northern Italy and in the collapse of the Florentine republic led by Piero Soderini, in which Machiavelli worked as a civil servant. Yet, Machiavelli chooses Fabrizio to defend the superiority of the citizen militia, which he associates with republican civic virtue, over mercenary troops. This paradox has remained unaccounted for because literary scholars

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18

Basagni, Carla. "Introducing our secondary school students to an important art library: Internships at the Uffizi Prints and Drawings Library." Art Libraries Journal 42, no. 4 (2017): 195–97. http://dx.doi.org/10.1017/alj.2017.35.

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How can we entice adolescents into a “behind- the- scenes” world of an art library? The internship project at the Prints and Drawings Library is now in its 7th successful year. Young Florentine students are introduced to the working of the bibliographic research done by the librarians and are given the opportunity to carry out their own projects. At the end of the week they visit the masterpieces on show in the Uffizi Gallery.

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19

Belting, Hans. "Perspective: Arab Mathematics and Renaissance Western Art." European Review 16, no. 2 (2008): 183–90. http://dx.doi.org/10.1017/s106279870800015x.

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This paper deals with the transfer of Arab visual theory in the Middle Ages, as it is believed that the cultural significance of this transfer needs a new emphasis. Mathematical perspective was invented in Florentine Renaissance Art. However, except in the history of science, it is a little known fact that this visual theory was based on the Book of Optics, written by Ibn al Haithan, also known as Alhazen, and was translated, probably in Spain, with the Latin title Perspectiva. We therefore can speak of a double history of perspective, as visual theory and as pictorial theory. The main argumen

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Pchelov, Evgeny. "The Horseman of the Seal of Ivan III: Sources of Visual Image." ISTORIYA 14, no. 6 (128) (2023): 0. http://dx.doi.org/10.18254/s207987840027125-6.

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The article analyzes the image of a rider defeating a dragon on the front side of the seal of Ivan III of the 1490s. This image has a number of characteristic features, including a special method of sitting on a horse and holding a spear. These features are not characteristic of the old Russian art of the XV century, however, they find analogues in the works of art of the Italian Quattrocento. They go back to the ancient tradition of depicting a horseman armed with a spear, which Renaissance masters could get acquainted with by the example of the monumental monuments of Rome. Thus, the master

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Daniels, Tobias. "Das Rom der Frührenaissance in den Imbreviaturen des Notars Angelo degli Atti da Todi 1423–1432." Quellen und Forschungen aus italienischen Archiven und Bibliotheken 101, no. 1 (2021): 232–347. http://dx.doi.org/10.1515/qufiab-2021-0012.

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Abstract This essay analyses the previously unexplored protocol of the notary Angelo degli Atti da Todi, which contains 141 new sources on the history of Rome – City and Curia – during the pontificate of Martin V and the early pontificate of Eugenius IV. After an overview of notarial research on early Renaissance Rome, it presents Angelo degli Atti’s career and cultural profile, based partly on his will, found in a legal dispute over inheritance with the Florentine Alberti family. Possibilities for analysing the protocol are then discussed. For the first time, this protocol provides insights i

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22

Blum, Shirley Neilsen. "Earthly Saints: The concordance of Flemish and Florentine art in the fifteenth century." Konsthistorisk Tidskrift/Journal of Art History 65, no. 3 (1996): 151–78. http://dx.doi.org/10.1080/00233609608604409.

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Zhou, Yutong. "A Brief Analysis of Alberti’s Art Theory - Taking On Painting” as an Example." Journal of Soft Computing and Decision Analytics 2, no. 1 (2024): 86–91. http://dx.doi.org/10.31181/jscda21202436.

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People’s perceptions of artists in Italy, particularly Florence, have transformed since the 15th century. Artists have created works of art that reflect the humanistic ethos of the era, which has fostered the study of art theory by humanist scholars and contributed to the development of an art historical consciousness. In his artistic theory, the Italian humanist Alberti of the early 15th century reflected the new development of Florentine art. Alberti, an artist and theorist of the early Renaissance, examined the changes in artistic creation in the new era with a very avant-garde and contempo

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Østermark-Johansen, Lene. "SERPENTINE RIVERS AND SERPENTINE THOUGHT: FLUX AND MOVEMENT IN WALTER PATER’S LEONARDO ESSAY." Victorian Literature and Culture 30, no. 2 (2002): 455–82. http://dx.doi.org/10.1017/s1060150302302055h.

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ON AUGUST 21, 1911 THE MONA LISA was stolen from the Louvre, not to reappear again until well over two years later when the thief tried to sell the work to a Florentine art dealer. The patriotic Italian workman who had stolen the painting had wanted to bring some of the Italian masterpieces in French collections back to where they belonged, and he had commenced his grand project with the Mona Lisa because, as he explained, “mi sembrava la piú bella” — she seemed to him to be the most beautiful of them all.1 For Bernard Berenson the disappearance of the Mona Lisa brought about a major rebellion

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Verin-Galitskaya, Alena D. "Political Intrigues of the Court of Florence as a Prerequisite for Giulio Caccini’s Opera The Abduction of Cephalus." Contemporary Musicology, no. 2 (2022): 187–206. http://dx.doi.org/10.56620/2587-9731-2022-2-187-206.

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The beginnings of opera history are usually associated with Euridice by Ottavio Rinuccini and Jacopo Peri as the first staged and preserved example of the genre. Not many people know that Euridice was by no means the main event during the wedding celebrations in honour of Maria de’ Medici and King Henry IV of France in 1600, to which the opera was timed. The audience was much more drawn to the opera Il rapimento di Cefalo (The Abduction of Cephalus) by Giulio Caccini, a direct rival of Peri. As the music has not completely survived, we know about Il rapimento di Cefalo mainly from the reviews

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Hughes-Johnson, Samantha. "“I Buonomini di San Martino: Patrons and Facilitators of the Visual Arts in Quattrocento Florence”." Confraternitas 25, no. 1 (2014): 5–31. http://dx.doi.org/10.33137/confrat.v25i1.21864.

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The charitable activities carried out by the Buonomini di San Martino during the Quattrocento have been reasonably well documented by modern historians. Nevertheless, the patronage and financial aid bestowed on fifteenth-century Florentine artists and artisans by this lay confraternity remains unexplored. Accordingly, this article, by employing previously unpublished archival data, will demonstrate how the Buonomini used social networks to procure art- works for the confraternity. Furthermore, the investigation will estab- lish that the confraternity also provided financial aid to artists both

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Hoysted, Elaine. "The art of death and childbirth in Renaissance Italy." Boolean: Snapshots of Doctoral Research at University College Cork, no. 2011 (January 1, 2011): 93–98. http://dx.doi.org/10.33178/boolean.2011.21.

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Pregnancy was a dangerous event in the life of a fifteenth-century Florentine patrician woman. One-fifth of all deaths among females that occurred in Florence during this period were in fact related to complications in childbirth or ensuing post-partum infections. In the years 1424-25 and 1430, the Books of the Dead recorded the deaths of fifty-two women as a result of labour. As conditions for pregnant women did not improve in the ensuing half a century, childbirth remained a dangerous event for women to endure. Husbands took many precautions to ensure a successful birth as can be seen in the

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Rozin, Vadim Markovich. "The artistic reality of Salman Rudshi's novel "The Florentine Enchantress"." Культура и искусство, no. 9 (September 2024): 57–71. http://dx.doi.org/10.7256/2454-0625.2024.9.71802.

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The article presents a reconstruction and analysis of Salman Rushdie's famous book "The Florentine Enchantress". It is not very clear why she is so named, there are more significant figures in the novel, for example, Emperor Akbar. The question is raised about the integrity of artistic reality and the peculiarities of readers' understanding of the novel. In connection with this statement, the author recalls his distinction between two ways of constructing a modern work of art: in the first, the artist recreates the world opposed to him (including in some cases himself, but as alienated), in th

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Cornelison, Sally J. "Tales of Two Bishop Saints: Zenobius and Antoninus in Florentine Renaissance Art and History." Sixteenth Century Journal 38, no. 3 (2007): 627. http://dx.doi.org/10.2307/20478481.

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Krause, Elizabeth L. "Merchants in the city of art: work, identity, and change in a Florentine neighborhood." Journal of Modern Italian Studies 23, no. 5 (2018): 692–94. http://dx.doi.org/10.1080/1354571x.2018.1535957.

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Bercusson, Sarah. "Giovanna d'Austria and the art of appearances: textiles and dress at the Florentine court." Renaissance Studies 29, no. 5 (2014): 683–700. http://dx.doi.org/10.1111/rest.12089.

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Moldovan, Anca-Delia. "Oleum Olivarum: Stradano's Engraving and the New Art of Olive-Oil Making in Sixteenth-Century Tuscany." Renaissance Quarterly 77, no. 2 (2024): 573–622. http://dx.doi.org/10.1017/rqx.2024.111.

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This article demonstrates the merited inclusion of Giovanni Stradano's olive-oil engraving in the “Nova Reperta,” a series showcasing postclassical inventions that Florentine nobleman and Alterati member Luigi Alamanni commissioned in the late 1580s. The image and accompanying inscription must be understood within their broader cultural, scientific, legal, political, and socioeconomic contexts. The print reflects olive oil's economic potential and the evolving dietary preferences in Medici Florence. It evinces the flexibility of the concept of invention. Rather than being technological, the no

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Katritzky, M. A. "Aby Warburg's ‘Costumi teatrali’ (1895) and the Art Historical Foundations of Theatre Iconography." Theatre Research International 24, no. 2 (1999): 160–67. http://dx.doi.org/10.1017/s0307883300020782.

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In 1895, Aby Warburg drew attention to ways in which information of theatre historical significance can be gained from visual images, in an article which outlines a clear methodology for their evaluation as historical documents, based on a comparative approach in the context of the surviving documentation concerning the event under investigation as a whole, the Florentine intermedi of 1589. ‘Probably the most described theatrical production in history’, these intermedi were especially devised to embellish dramatic performances by professional commedia dell'arte actors (La Zingana and Pazzia of

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Soares, Clara Moura. "Della Robbia’s Majolicas in Portugal Devotion, Collecting and Musealisation." Acta Historiae Artium 61, no. 1 (2020): 69–80. http://dx.doi.org/10.1556/170.2020.00004.

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AbstractIn Portugal there is an important set of pieces from the Florentine workshop of the Della Robbia, composed of about a dozen objects. This article intends, through the combination of several primary sources, to analyse the path that these pieces conceived in the fifteenth and sixteenth centuries as devotional objects had in the nineteenth century in Portugal, framing them in the art market and in collecting phenomena. The contexts behind the incorporation of these objects into public collections, and their musealisation, will also be taken into account, as a determining factor in the hi

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Struhal, Eva. "Natural Painting and the New Science in Seventeenth-Century Florence." Nuncius 32, no. 3 (2017): 683–708. http://dx.doi.org/10.1163/18253911-03203008.

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This article compares the techniques of observation and experimentation (“esperienze”) practiced by members of the Accademia del Cimento with the “pure imitation of truth” pursued by Florentine painter Lorenzo Lippi (1606–1665). Lippi’s art reveals striking parallels between developments in the fine arts and the sciences in seventeenth-century Florence, particularly in their moral commitment towards the truthful representation of nature and a matter-of-fact style of representation. Despite these parallels, it is interesting to note that in his mock-epic Il Malmantile Racquistato, Lippi parodie

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Riccucci, Marco, and Jens Rydell. "Bats in the Florentine Renaissance: from darkness to enlightenment (Chiroptera)." Lynx new series 48, no. 1 (2017): 165–82. http://dx.doi.org/10.2478/lynx-2017-0010.

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We highlight the use of the bat (Chiroptera) in the Florentine Renaissance art. Michelangelo Buonarroti, Bernardo Buontalenti, Albrecht Dürer and several others used images of bats in their sketches, sculptures and decorations and many bat images are still to be seen on the palaces and monuments in the Historic Centre of Florence, a UNESCO World Heritage Site. The bats can usually be identified as such by the large ears or the characteristic wing membranes, although they constitute highly stylized artwork, often grotesque and certainly not intended to be morphologically correct. Furthermore, d

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Riccucci, Marco, and Jens Rydell. "Bats in the Florentine Renaissance: from darkness to enlightenment (Chiroptera)." Lynx new series 48, no. 1 (2017): 165–82. https://doi.org/10.5281/zenodo.13432931.

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(Uploaded by Plazi for the Bat Literature Project) We highlight the use of the bat (Chiroptera) in the Florentine Renaissance art. Michelangelo Buonarroti, Bernardo Buontalenti, Albrecht Dürer and several others used images of bats in their sketches, sculptures and decorations and many bat images are still to be seen on the palaces and monuments in the Historic Centre of Florence, a UNESCO World Heritage Site. The bats can usually be identified as such by the large ears or the characteristic wing membranes, although they constitute highly stylized artwork, often grotesque and certainly not int

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Riccucci, Marco, and Jens Rydell. "Bats in the Florentine Renaissance: from darkness to enlightenment (Chiroptera)." Lynx new series 48, no. 1 (2017): 165–82. https://doi.org/10.5281/zenodo.13432931.

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(Uploaded by Plazi for the Bat Literature Project) We highlight the use of the bat (Chiroptera) in the Florentine Renaissance art. Michelangelo Buonarroti, Bernardo Buontalenti, Albrecht Dürer and several others used images of bats in their sketches, sculptures and decorations and many bat images are still to be seen on the palaces and monuments in the Historic Centre of Florence, a UNESCO World Heritage Site. The bats can usually be identified as such by the large ears or the characteristic wing membranes, although they constitute highly stylized artwork, often grotesque and certainly not int

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Riccucci, Marco, and Jens Rydell. "Bats in the Florentine Renaissance: from darkness to enlightenment (Chiroptera)." Lynx new series 48, no. 1 (2017): 165–82. https://doi.org/10.5281/zenodo.13432931.

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(Uploaded by Plazi for the Bat Literature Project) We highlight the use of the bat (Chiroptera) in the Florentine Renaissance art. Michelangelo Buonarroti, Bernardo Buontalenti, Albrecht Dürer and several others used images of bats in their sketches, sculptures and decorations and many bat images are still to be seen on the palaces and monuments in the Historic Centre of Florence, a UNESCO World Heritage Site. The bats can usually be identified as such by the large ears or the characteristic wing membranes, although they constitute highly stylized artwork, often grotesque and certainly not int

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40

Riccucci, Marco, and Jens Rydell. "Bats in the Florentine Renaissance: from darkness to enlightenment (Chiroptera)." Lynx new series 48, no. 1 (2017): 165–82. https://doi.org/10.5281/zenodo.13432931.

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Abstract:

(Uploaded by Plazi for the Bat Literature Project) We highlight the use of the bat (Chiroptera) in the Florentine Renaissance art. Michelangelo Buonarroti, Bernardo Buontalenti, Albrecht Dürer and several others used images of bats in their sketches, sculptures and decorations and many bat images are still to be seen on the palaces and monuments in the Historic Centre of Florence, a UNESCO World Heritage Site. The bats can usually be identified as such by the large ears or the characteristic wing membranes, although they constitute highly stylized artwork, often grotesque and certainly not int

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Riccucci, Marco, and Jens Rydell. "Bats in the Florentine Renaissance: from darkness to enlightenment (Chiroptera)." Lynx new series 48, no. 1 (2017): 165–82. https://doi.org/10.5281/zenodo.13432931.

Full text

Abstract:

(Uploaded by Plazi for the Bat Literature Project) We highlight the use of the bat (Chiroptera) in the Florentine Renaissance art. Michelangelo Buonarroti, Bernardo Buontalenti, Albrecht Dürer and several others used images of bats in their sketches, sculptures and decorations and many bat images are still to be seen on the palaces and monuments in the Historic Centre of Florence, a UNESCO World Heritage Site. The bats can usually be identified as such by the large ears or the characteristic wing membranes, although they constitute highly stylized artwork, often grotesque and certainly not int

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42

Nazarova, O. A., and R. R. Gaynullina. "The Courtesan in the Italian Renaissance Art: Portraits of Barbara Salutati by Domenico Puligo." Art Studies Journal, no. 4 (2024): 110–43. https://doi.org/10.51678/2073-316x-2024-4-110-143.

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The paper addresses a long-debated issue of whether and how courtesans were represented in Italian Renaissance painting. The first part presents a historiographical review of the art-historical literature on the subject, demonstrating which types of Renaissance painted images used to be associated with courtesans, and how radically approaches to interpreting these works have changed in recent years. The second part analyses a unique set of three portrait images – the only one that can be plausibly linked to the historical figure of a specific courtesan, the Florentine Barbara Salutati, who was

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Новгородова, Дарья Дмитриевна. "Произведения искусства и игры природы в каталогах минерального кабинета Кунсткамеры XVIII в." ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 6 (7 грудня 2018): 77–106. http://dx.doi.org/10.21900/j.vivliofika.v6.545.

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По описаниям в каталогах Минерального кабинета Кунсткамеры прослежено какими значениями в собрании минералов XVIII в. наделялись несколько плакеток флорентийской мозаики и как эти значения менялись. Рассматриваемые флорентийские мозаики в современном Минералогическом музее им. А.Е. Ферсмана РАН входят в коллекцию Поделочных и драгоценных камней, иллюстрирующую применение природного камня в искусстве, а в XVIII в. они обладали научными «минералогическими» значениями и отсылали к важному сюжету играющей Природы. Это их значение исчезает из описаний коллекции Минерального кабинета в 1788 г., одна

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Konik, Roman. "Leonardo północy. O estetyce Albrechta Dürera." Studia Philosophica Wratislaviensia 15, no. 1 (2020): 61–69. http://dx.doi.org/10.19195/1895-8001.15.1.5.

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Albrecht Dürer was German, but it was Italy he loved and followed the example of. Along with Erasmus of Rotterdam, he was one of the first to instil the ideas of Italian humanism in northern Europe, paying attention to the study of ancient culture, and thus fighting for the renewal of art in the spirit of the Renaissance. Dürer believed that using the patterns developed in Florence, the art of imaging would achieve unprecedented narrative power. The uniqueness of the artist from Nuremberg was also that he was able not only to assimilate and synthesise German Gothic art with the achievements of

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Trexler, Richard C. "Pictures and Punishment: Art and Criminal Prosecution during the Florentine Renaissance. Samuel Y. Edgerton, Jr." Speculum 61, no. 3 (1986): 642–44. http://dx.doi.org/10.2307/2851612.

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Perini, Giovanna. "Carlo Cesare Malvasia's Florentine Letters: Insight into Conflicting Trends in Seventeenth-Century Italian Art Historiography." Art Bulletin 70, no. 2 (1988): 273. http://dx.doi.org/10.2307/3051120.

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Perini, Giovanna. "Carlo Cesare Malvasia's Florentine Letters: Insight into Conflicting Trends in Seventeenth-Century Italian Art Historiography." Art Bulletin 70, no. 2 (1988): 273–99. http://dx.doi.org/10.1080/00043079.1988.10788566.

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Terpstra, Nicholas. ":Cosimo I de' Medici and His Self-Representation in Florentine Art and Culture." Sixteenth Century Journal 39, no. 1 (2008): 198–99. http://dx.doi.org/10.1086/scj20478801.

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Castrillón Vizcarra, Alfonso. "Ecos de una polémica no olvidada." Illapa Mana Tukukuq, no. 16 (December 26, 2019): 14–27. http://dx.doi.org/10.31381/illapa.v0i16.2565.

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ResumenLa limpieza de la bóveda Sixtina a partir de los años 80 creó entre los estudiosos del arte y los restauradores una polémica que no termina todavía. Arthur C. Danto en cuyo libro ¿Qué es elarte?, pone en tela de juicio la restauración conducida por Gianluigi Colalucci, cree que el hecho de haber limpiado la bóveda de sustancias extrañas le ha quitado la nobleza a la obra de Miguel Ángel, confundiendo la pátina con la suciedad acumulada a través de los años. Castrillón piensa que con toda razón se puede argumentar que al quitar la suciedad y devolverle los colores originales a la obra de

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Levin, William R. "The <i>Bigallo Triptych</i>: A Document of Confraternal Charity in Fourteenth-Century Florence." Confraternitas 29, no. 1 (2018): 55–101. http://dx.doi.org/10.33137/confrat.v29i1.29895.

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This article will attempt to place securely an important work of fourteenth-century Florentine painting by one of its greatest artists in its original social milieu and confraternal location, applying several methodologies to accomplish this. It takes up the challenge first by addressing the style of the painter and by reviewing an often overlooked aspect of his career. It then examines the object in question within the historical development of its form and general content, aided by comparison with others of its type and with reference to the theological climate in which such artworks appea

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