Relevant bibliographies by topics / Borromini, Francesco

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Academic literature on the topic 'Borromini, Francesco'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Borromini, Francesco"

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Echols, Robert. "A Classical Barrel Vault for San Giovanni in Laterano in a Borromini Drawing." Journal of the Society of Architectural Historians 51, no. 2 (1992): 146–60. http://dx.doi.org/10.2307/990711.

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Francesco Borromini's renovation of the basilica of San Giovanni in Laterano in Rome is one of his grandest conceptions. It remains frustratingly incomplete, however, because Borromini was not able to vault the nave as he had hoped. The nature of his design for a vault has been much discussed. The only surviving visual evidence consists of a drawing in a private collection, not heretofore studied in depth. It shows a section through the basilica with two superimposed roofing structures, a flat ceiling and a coffered barrel vault. Comparison to other Borromini drawings for the renovation of the
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Cipriani, Gabriele, Luca Cipriani, and Mario Di Fiorino. "Personality and destiny. Francesco Borromini: portrait of a tormented soul." History of Psychiatry 28, no. 3 (2017): 352–57. http://dx.doi.org/10.1177/0957154x17691448.

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Francesco Borromini, one of the great geniuses of Baroque architecture, was tormented and solitary, and was increasingly frustrated by the fame and success of his rival, Gian Lorenzo Bernini. Borromini was an unhappy man, constantly dogged by disaster, quarrelling even with his best patrons and closest friends. In the culmination of one of the fits of depression that overcame the architect more and more frequently as his life progressed, Borromini literally fell on his own sword; he lingered in excruciating pain for 24 hours before dying. Largely forgotten, his architecture has again been reco
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Cole, William. "Peter Maxwell Davies's Symphony No. 10, LSO and chorus, Barbican Centre, London." Tempo 68, no. 269 (2014): 69–70. http://dx.doi.org/10.1017/s0040298214000096.

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Sir Peter Maxwell Davies' Tenth Symphony was given its premiere by the London Symphony Orchestra and Chorus at the Barbican on 2 February 2014. The work concerns itself with both the architecture and the death of Francesco Borromini; while perhaps an unusual subject for a symphony, there is precedence in Maxwell Davies's work, as the same man is the subject of his Third Naxos Quartet, and the Third Symphony takes Brunelleschi as its subject. Maxwell Davies has suggested direct links between Borromini's creations and his own – in the programme note we discover that ‘the precise parameters and p
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Grau Fernández, Marta. "La construcción del convento de san Carlino alle Quattro Fontane: algunas notas sobre la historia y la génesis de la fábrica borrominiana." EGA Revista de expresión gráfica arquitectónica 22, no. 30 (2017): 130. http://dx.doi.org/10.4995/ega.2017.7844.

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<p>El presente artículo se centra en los orígenes y la geometría del convento de San Carlino alle Quattro Fontane, sede en Roma de la Orden de Trinitarios Descalzos españoles y obra maestra del gran arquitecto barroco Francesco Borromini, que le ocupó casi toda su carrera hasta su muerte en 1667. A pesar de que el complejo se construyó en distintas fases funcionalmente independientes en base a los recursos económicos disponibles, el conjunto diseñado por Borromini fue afrontado desde el principio como un proyecto unitario de acuerdo con una geometría base que gobierna todo el conjunto.&l
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Connors, Joseph. "S. Ivo Alla Sapienza: The First Three Minutes." Journal of the Society of Architectural Historians 55, no. 1 (1996): 38–57. http://dx.doi.org/10.2307/991054.

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Francesco Borromini's masterpiece, the university chapel of S. Ivo alla Sapienza in Rome, was built over three pontificates, with many radical changes after each conclave. This is a study of the first building period under Urban VIII Barberini, and in particular of the earliest known plan for the church, datable to 1642, now kept in the Archivio di Stato in Rome. The drawing shows the basic plan of the church-a triangle-plus-apses-minus-angles-being moved, manipulated, and stretched as Borromini fine-tuned his design. The plan contains echoes of centralized buildings by Baldassarre Peruzzi and
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Kim, Jungrak. "Sant'Ivo alla Sapienza of Francesco Borromini: Symbol and System of Meaning." Journal of Art Theory and Practice 21 (June 30, 2016): 104–31. http://dx.doi.org/10.15597/17381789201621104.

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Cuevas del Barrio, Javier. "El Palacio Carpegna de Roma: de la intervención de Francesco Borromini a sede de la Academia de San Lucas." Boletín de Arte, no. 30-31 (March 15, 2018): 47–72. http://dx.doi.org/10.24310/bolarte.2010.v0i30-31.4364.

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Este artículo repasa la historia de la construcción del palacio Carpegna de Roma desde sus orígenes en el siglo XVI y la intervención de Francesco Borromini en el siglo XVII para ampliar el palacio adquirido por la familia Carpegna, hasta la restauración de Gustavo Giovannoni en los años 30 del siglo XX para adaptarlo como nueva sede de la Academia de San Lucas de Roma.
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Cuevas del Barrio, Javier. "La evolución de las iglesias de planta ovalada. Hipótesis para la planta de San Carlo alle Quattro Fontane." Boletín de Arte, no. 28 (March 25, 2018): 105–26. http://dx.doi.org/10.24310/bolarte.2007.v0i28.4476.

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La planta ovalada es una de las tipologías más características del lenguaje manierista en arquitectura. Las causas de su aparición son de diversa índole, desde las ideológicas a las formales. Los ensayos teóricos de Peruzzi y, sobre todo, de Serlio fueron llevados a la práctica en Roma por Vignola y Francesco Capriani da Volterra. Esta experiencia manierista será clave para entender la génesis geométrica de la planta de San Carlo alle Quattro Fontane de Borromini.
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Hill, Michael. "Practical and Symbolic Geometry in Borromini’s San Carlo alle Quattro Fontane." Journal of the Society of Architectural Historians 72, no. 4 (2013): 555–83. http://dx.doi.org/10.1525/jsah.2013.72.4.555.

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Leo Steinberg’s doctoral dissertation of 1960 contained an exposé of the complex geometry of Francesco Borromini’s San Carlo alle Quattro Fontane, and while his scheme has been the starting point for subsequent interpretations, Joseph Connors points out that the majority of drawings relied upon by Steinberg were in fact reworked by Borromini in the 1660s, after the church was built. The geometrical armature of the 1660s plans must therefore be read with caution, measured against the dimensions of the actual building and the geometry discernible in the drawings of the design stage. Whatever the
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Chavardes, Benjamin. "De Francesco Borromini à Paolo Portoghesi. L’église de la Sacra Famiglia à Salerne." Livraisons d'histoire de l'architecture, no. 27 (June 10, 2014): 21–31. http://dx.doi.org/10.4000/lha.352.

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Dissertations / Theses on the topic "Borromini, Francesco"

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MacElwee, Andrea L. (Andrea Laurel). "Allegory and the architecture of Francesco Borromini." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22545.

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This thesis relates the aspirations (examined in political treatises, literary programs and scientific treaties) of Pope Urban VIIIth with the allegorical spaciality of the architecture of Francesco Borromini. The projects initiated under the patronage of the Pope are particularly related to the Pope's election. Urban's personal impressa, the Angelic Sun is an emblem of this election, a reborn sun, a second personal birth and the elevation of the Angelic Pope (the leader of the age of the Holy Spirit). This is allegorically a metamorphosis like the re-birth of Daphne into Laurel; the Tree of A
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Burbaum, Sabine. "Die Rivalität zwischen Francesco Borromini und Gianlorenzo Bernini /." Oberhausen : Athena, 1999. http://catalogue.bnf.fr/ark:/12148/cb390522569.

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Grau, Fernández Marta. "San Carlino Alle Quattro Fontane: La ampliación del siglo XVIII." Doctoral thesis, Universitat Politècnica de València, 2015. http://hdl.handle.net/10251/59225.

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[EN] The thesis is focused on the monastery of San Carlino alle Quattro Fontane, internationally recognized as the masterpiece of the great Baroque architect Francesco Borromini (1599-1667). In this work, which occupied most of his career until his death, all the principles of his architecture are collected and summarizes his professional career. The small and humble community of Spanish Discalced Trinitarians arrived in Rome in 1609, entrusted the architect the construction of its new headquarters in Rome in 1634 who took charge without claiming any compensation. The monastery stands as an ar
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Chiu, Chiung-Yu, and 邱瓊玉. "The Religious Buildings of Francesco Borromini, the Baroque Architect, and Their Influence." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/dc56aq.

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碩士<br>國立臺北藝術大學<br>美術學系碩士班美術史組<br>103<br>Francesco Borromini (1599-1667) is an Italian High Baroque architect, who was born in Switzerland. Borromini learned architectural knowledge and techniques in Milan, and had built a world-famous church in Rome. As for the architectural style of Borromini’s churches, he adopted concave and convex curves for the appearance; for the interior, he created continuous spaces with complex and magnificent decorations. Borromini was also good at creating illusions on the domes to make churches look taller than actual from the inside. He used curvy entablatures, ma
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Queiroz, Mónica Ribas Marques Ribeiro de 1972. "O arquitecto Mateus Vicente de Oliveira (1706-1785): uma práxis original na arquitectura portuguesa setecentista." Doctoral thesis, 2013. http://hdl.handle.net/10451/9425.

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Tese de doutoramento, Belas-Artes (Ciências da Arte), Universidade de Lisboa, Faculdade de Belas-Artes, 2013<br>Vol. 1: 332 ; Vol. 2: Anexo I : imagens. - 216 ; Vol. 3: Anexo II : Documentos. Anexxo III : sumários dos contratos de obras dos XII cartórios notariais de Lisboa : 1735-1785<br>Apenas o volume da Tese estará disponível em formato digital, os restantes dois volumes só poderão ser consultados na Biblioteca da FBAUL<br>O arquitecto Mateus Vicente de Oliveira viveu entre 1706 e 1785. Trabalhou ao longo de cinquenta anos em obras de construção de palácios e igrejas do país, ao serviço do
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Books on the topic "Borromini, Francesco"

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Portoghesi, Paolo. Francesco Borromini. Electa, 1990.

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Pittoni, Leros. Francesco Borromini: L'iniziato. De Luca, 1995.

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Bonaccorso, Giuseppe, and Elisa Debenedetti. Francesco Borromini: Itinerario romano. Lithos, 1998.

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Borromini. Belknap Press of Harvard University Press, 1990.

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Francesco Borromini: L'architetto occulto del barocco. Luigi Pellegrini, 2010.

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Bruschi, Arnaldo. Francesco Borromini: Manierismo spaziale oltre il barocco. Testo & immagine, 1999.

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Die Rivalität zwischen Francesco Borromini und Gianlorenzo Bernini. Athena, 1999.

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Borromini, Francesco. Francesco Borromini e Roma: Nelle immagini di Franco Tibaldi = Francesco Borromini and Rome : through the images of Franco Tibaldi. Artemide, 1999.

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Borromini, Francesco. Borromini: E l'universo barocco. Electa, 2000.

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Convegno internazionale Francesco Borromini (2000 Rome, Italy). Francesco Borromini: Atti del convegno internazionale : Roma, 13-15 gennaio 2000. Electa, 2000.

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Book chapters on the topic "Borromini, Francesco"

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Canciani, Marco, Giovanna Spadafora, María del Pilar Pastor Altaba, Giovanni Formica, Marco D’Angelico, and Camilla Lebboroni. "Geometric Constructive Traces in Drawings by Francesco Borromini." In Advances in Intelligent Systems and Computing. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95588-9_16.

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Hatch, John G. "The Science Behind Francesco Borromini’s Divine Geometry." In Architecture and Mathematics from Antiquity to the Future. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-00143-2_14.

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"31 The Architecture of Francesco Borromini." In Rome Is Love Spelled Backward. Cornell University Press, 1998. http://dx.doi.org/10.1515/9781501757518-033.

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Canciani, Marco. "Drawing, Geometry and Construction." In Advances in Media, Entertainment, and the Arts. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0029-2.ch025.

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The link between the design drawing to an architectural work, sometimes goes through the definition of geometric paths which establish alignments, proportions, correspondences. The comparison of the geometric construction of survey data of an architecture and design data is very important for understanding the original design idea, highlighting not only the artist's modus progettandi, but also matches, modifications or changes respect of precisely geometric paths and its building architecture. In these studies, the church of San Carlo alle Quattro Fontane in Rome, by Francesco Borromini, is an exemplar case. The project of the church, built between 1638 and 1675 and characterized by a coffered vault with an oval planimetric shape, is documented by a consistent corpus of Borromini drawings. This research, based on survey data, can allow to make new contributions to Borromini work and formulate new hypotheses regarding his construction practice.
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Amoruso, Giuseppe. "The Relief-Perspectives of Bitonti and Borromini." In Advances in Media, Entertainment, and the Arts. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0029-2.ch018.

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The research represents principles of projective-geometric design of illusory spaces and proposes a study about the relief-perspective which featured the applications of science and art to interior decoration and architectural spaces during the sixteenth and the seventeenth century. The research has analyzed a selection of figurative and built illusory spaces, going to deepen the formation of the concepts of perception and illusion. During Renaissance was given emphasis to projective methods, of which were investigated the principles of geometric and optical ones in the proportions and in the visualization of architectural works, and the use of projective system accelerating or slowing the effects of the natural perspective to modify certain environmental aspects, external and internal, to the built volumes. The research also compares two major applications, the relief-perspectives of Francesco Borromini and Giovanni Maria da Bitonto and their partnership in the design of the perspectival tabernacle in Bologna and in the perspectival gallery for the Spada palace in Rome.
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Spadafora, Giovanna. "Geometry and Drama in Borromini's Architectural Details." In Advances in Media, Entertainment, and the Arts. 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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"4. Virgilio Spada, Francesco Borromini, and the Foundations of St. Peter’s." In Bernini and the Bell Towers: Architecture and Politics at the Vatican. Yale University Press, 2003. http://dx.doi.org/10.37862/aaeportal.00028.008.

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"8. Fear and Trembling in Francesco Borromini’s Sant’Ivo alla Sapienza." In Baroque Visual Rhetoric. University of Toronto Press, 2015. http://dx.doi.org/10.3138/9781442617698-011.

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