Relevant bibliographies by topics / Casa Buonarroti (Florence, Italy)

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

Academic literature on the topic 'Casa Buonarroti (Florence, Italy)'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Casa Buonarroti (Florence, Italy)"

1

Stine, Darin. "A Reconsideration of Michelangelo's Unrealised Façade for the Basilica of San Lorenzo in Florence." Architectural History 62 (2019): 39–67. http://dx.doi.org/10.1017/arh.2019.2.

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AbstractThis article reconsiders Michelangelo's unrealised façade project for the church of San Lorenzo in Florence. While surviving evidence, particularly the extant wooden model preserved today in the Casa Buonarroti, gives a good indication of the façade's planned appearance, we are still unclear about how Michelangelo intended it to attach to the church. By reassessing surviving graphic and written sources for the commission, the article argues for a reconstruction of Michelangelo's design as a narthex. It draws further support from an analysis of the intended building site on Piazza San Lorenzo, which, due to its restricted space, suggests that only a narthex construction was possible. By envisaging the façade of the church as a narthex, Michelangelo may have intended it to function as a focal point for religious and civic ceremonies that took place in the piazza.
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Wallace, William E. ""Dal disegno allo spazio": Michelangelo's Drawings for the Fortifications of Florence." Journal of the Society of Architectural Historians 46, no. 2 (June 1, 1987): 119–34. http://dx.doi.org/10.2307/990181.

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Since Charles de Tolnay first published them in 1940, Michelangelo's drawings for the fortifications of Florence have stimulated considerable scholarly interest. Tolnay likened the zoomorphic shapes of Michelangelo's sketches to crustaceous creatures. The analogy has become a commonplace, and while helping to describe the formal appearance of these unexpected designs, it has led most scholars to question their purpose and practicality. Furthermore, every scholar has followed Tolnay's general view that the series proceeds from the simple to the complex, with the drawings becoming increasingly abstract and fantastic. This paper proposes that Michelangelo's process of design was exactly the opposite. Beginning with abstract and complex ideas, Michelangelo proceeded to develop and refine his conceptions in a series of drawings that reflect a rational process of design. This hypothesis is more in accord with the historical facts and the documentary evidence and is based on a close analysis of the drawings themselves. The 20 sheets preserved in the Casa Buonarroti are evidence of Michelangelo's practical concern with particular problems of Florence's defense in 1528-1529 and represent the first stage of his successful activity as a military engineer for the Republic.
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Cole, Janie. "Cultural Clientelism and Brokerage Networks in Early Modern Florence and Rome: New Correspondence between the Barberini and Michelangelo Buonarroti the Younger*." Renaissance Quarterly 60, no. 3 (2007): 729–88. http://dx.doi.org/10.1353/ren.2007.0255.

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AbstractThis study draws on the unpublished correspondence between Michelangelo Buonarroti the Younger, a Florentine poet and grandnephew of the artist, and the Barberini family, in an attempt to examine the wider concepts of cultural clientelism and brokerage networks in the early modern process of cultural dissemination (in the areas of literature, music, theater, painting, architecture, and science) in Florence and Rome. Reconsidering the definition and role of a Seicento cultural broker added to the traditional model of patron and client, it analyzes Michelangelo the Younger’s activity as broker, patron-broker, and broker-client in connection with such significant figures as Maffeo Barberini (the future Urban VIII), Galileo, and the painter Lodovico Cigoli, exploring the ways in which these roles supported his personal commitment to promote his family’s social status and revealing the fluidity of roles in the patronage system. By obtaining Barberini patronage for his theatrical works and public recognition of the mythology of his illustrious forebear, Buonarroti’s cultural brokerage supported these dynastic ambitions. Spanning nearly half a century, this archival documentation casts new light on a little-known, but significant, area of Italian social relations and suggests directions for further research on other Seicento cultural brokers and new definitions for a broader concept of cultural brokerage in early modern Italy.
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O’Regan, Noel. "Janie Cole. Music, Spectacle and Cultural Brokerage in Early Modern Italy: Michelangelo Buonarroti il giovane . 2 vols. Fondazione Carlo Marchi Quaderni 44. Florence: Leo S. Olschki, 2011. xiv + 789 pp. €89. ISBN: 978–88–222–5989–9." Renaissance Quarterly 66, no. 1 (March 2013): 224–25. http://dx.doi.org/10.1086/670442.

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"Michelangelo: drawings and other treasures from the Casa Buonarroti, Florence." Choice Reviews Online 39, no. 11 (July 1, 2002): 39–6215. http://dx.doi.org/10.5860/choice.39-6215.

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Fadda, Elisabetta. "La circolazione dei modelli: calchi da Michelangelo tra Emilia e Veneto, nella seconda metà del Cinquecento." 28 | 2019, no. 1 (December 11, 2019). http://dx.doi.org/10.30687/va/2385-2720/2019/01/004.

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In Reggio Emilia, the sculptor Prospero Spani, also known as Clemente (1516-1584), created two statues representing Adam and on the facade of the cathedral. Along with Saint Daria and Saint Crisanto, they were both commissioned in 1552. The two statues indisputably draw inspiration from Dawn and Dusk, which are part of the monument dedicated to Lorenzo de’ Medici in the New Sacristy of San Lorenzo in Florence, work of Michelangelo Buonarroti. In January 1892, Eva’s leg by Prospero Clemente broke and fell to the ground. During the restoration, it was noticed that the leg and all other statues were empty inside. There is no formal documentary evidence of Clemente travelling to Florence, where Buonarroti's New Sacristy was opened to the public in 1556 and where, only later on, by the will of Cosimo I, were carried out some engravings representing the whole composition. Despite the existence of other drawings, casts were mainly responsible for spreading Michelangelo’s inventions for the Medici tombs. In the sixteenth century, it was only possible to talk of a culture of casts after 1540 King Francis I Valois’ initiative to ask Francesco Primaticcio – who was already occupied working for him at the decoration of Fontainebleau – to procure the moulds of Rome’s best ancient statues in order to reproduce them. Among the commissioned casts there were also those from Michelangelo, an artist who was extremely admired by the French. As known, masterpieces realised for the King of France had an immediate impact in Italy, which was primarily possible thanks to Primaticcio’s numerous trips in Emilia, where the painter had his own home and used to recruit his collaborators.
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Fadda, Elisabetta. "Circulation of Models: Casts from Michelangelo Between Emilia and Veneto, in the Second Half of the Sixteenth Century." Body of Art, no. 1 (December 11, 2019). http://dx.doi.org/10.30687/va/2385-2720/2019/05/004.

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In Reggio Emilia, the sculptor Prospero Spani, also known as Clemente (1516-1584), created two statues representing Adam and on the facade of the cathedral. Along with Saint Daria and Saint Crisanto, they were both commissioned in 1552. The two statues indisputably draw inspiration from Dawn and Dusk, which are part of the monument dedicated to Lorenzo de’ Medici in the New Sacristy of San Lorenzo in Florence, work of Michelangelo Buonarroti. In January 1892, Eva’s leg by Prospero Clemente broke and fell to the ground. During the restoration, it was noticed that the leg and all other statues were empty inside. There is no formal documentary evidence of Clemente travelling to Florence, where Buonarroti's New Sacristy was opened to the public in 1556 and where, only later on, by the will of Cosimo I, were carried out some engravings representing the whole composition. Despite the existence of other drawings, casts were mainly responsible for spreading Michelangelo’s inventions for the Medici tombs. In the sixteenth century, it was only possible to talk of a culture of casts after 1540 King Francis I Valois’ initiative to ask Francesco Primaticcio – who was already occupied working for him at the decoration of Fontainebleau – to procure the moulds of Rome’s best ancient statues in order to reproduce them. Among the commissioned casts there were also those from Michelangelo, an artist who was extremely admired by the French. As known, masterpieces realised for the King of France had an immediate impact in Italy, which was primarily possible thanks to Primaticcio’s numerous trips in Emilia, where the painter had his own home and used to recruit his collaborators.
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8

Milani, C., G. Occhini, C. Francini, G. Orsini, L. Baggiani, G. Maciocco, and G. Bonaccorsi. "Health needs, community and network in primary care: an action research program." European Journal of Public Health 30, Supplement_5 (September 1, 2020). http://dx.doi.org/10.1093/eurpub/ckaa166.549.

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Abstract Issue According to the Alma Ata Declaration, Comprehensive Primary Health Care (C-PHC) addresses the main health problems in the community, promotes participation and involves all health related sectors. In Italy the so called Case della Salute model aims at realizing these principles. The purpose of the project is to understand how this model should be implemented in order to better answer the community needs. In the outskirts of Florence there is an area mostly made of public housing, devoted to people with housing and economic problems. There it is Casa della Salute (a health center where a PHC multidisciplinary team works), which could represent the key to cope with health inequalities and to create a network with the multiple associations rooted in the community. The implementation of an experimental model of C-PHC needs to involve local population, community actors, health professionals and researchers in a process of action-research. Results • An epidemiological study described a heavily deprived population compared with the rest of the city, with a burden of mortality especially affecting those most deprived and women. Mental health and addictions showed a deep need of care. A map of the neighbourhood was created in order to analyse formal and informal resources.The health needs of the community were deepened using social and ethnographic methodologies (semi-structured interviews, participant observation and focus groups with health workers, associations' representatives and individuals).Standing multi professional briefings were launched in order to facilitate the process of taking care of complex situations as a team. Lessons Preliminary results show the need for stronger collaborations with the actors in the community; further exploration of health related topics; community participation in the process of informing and transforming health practices; involvement of health workers in interprofessional practices to create a shared knowledge. Key messages Local health networks need a methodology to expand knowledge of peoples’ needs. Complexity in health and inequalities require a paradigm based on social determinants of health such as PHC.
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Dissertations / Theses on the topic "Casa Buonarroti (Florence, Italy)"

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Amy, Michaël J. Michelangelo Buonarroti. "Michelangelo's commission for apostle statues for the Cathedral of Florence." 1997. http://catalog.hathitrust.org/api/volumes/oclc/54102488.html.

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Thesis (Ph. D.)--New York University, 1997.
Includes catalogs of the sculptures and the drawings for Michelangelo's commission for the apostle statues. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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Carlson, Raymond Edward. "Michelangelo between Florence and Rome: Art and Literary Culture in Sixteenth-Century Italy." Thesis, 2020. https://doi.org/10.7916/d8-mnyb-pv07.

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This dissertation considers how the artistic output of Michelangelo Buonarroti (1475-1564) was related to his poetic development and associations with different communities in Florence and Rome. The author of more than 300 poems, Michelangelo was arguably the most prolific artist-poet of the Renaissance. Still, no study has scrutinized the dynamic relationship between his work across media in relation to contemporary shifts in Italian literary culture. Centered on the decades surrounding Michelangelo's permanent move to the Eternal City in 1534, this dissertation shows how he used his creative production to achieve stability in an era buffeted by war and political upheaval. The fortunes of Florence and Rome were inextricably bound, and this dissertation uses surviving visual and written evidence to reconstruct Michelangelo's links to dense intellectual and homosocial networks in these cities. Michelangelo wrote poems to build social ties at a time when the status of artists was in great flux, and this dissertation demonstrates why his poetry, drawing, painting, sculpture, and architecture cannot be and would not have been understood apart from one another.
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LOMBARDI, Daniela. "Povertà maschile, povertà femminile: l'Ospedale dei mendicanti nella Firenze medicea." Doctoral thesis, 1986. http://hdl.handle.net/1814/5884.

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Books on the topic "Casa Buonarroti (Florence, Italy)"

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Giovanna, Ragionieri, and Vasarri Vittorio Ernesto, eds. Casa Buonarroti. Firenze: S.P.E.S., 1987.

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2

1475-1564, Michelangelo Buonarroti, Ragionieri Pina, and Casa Buonarroti (Florence Italy), eds. I bozzetti michelangioleschi della Casa Buonarroti. Florence: Mandragora, 2000.

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Pina, Ragionieri, ed. I bozzetti michelangioleschi della Casa Buonarroti. Firenze: Mandragora, 2000.

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1475-1564, Michelangelo Buonarroti, Cecchi Alessandro, Natali Antonio 1951-, and Casa Buonarroti (Florence Italy), eds. Michelangelo: I disegni di Casa Buonarroti. Firenze: Cantini edizioni d'arte, 1985.

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Italy), Casa Buonarroti (Florence, and Accademia italiana delle arti e delle arti applicate (London, England), eds. Michelangelo: An Invitation to Casa Buonarroti. Milano: Charta, 1994.

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Casa, Buonarroti (Florence Italy). Casa Buonarroti: Arte e storia in biblioteca. Milano: Charta, 1995.

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1475-1564, Michelangelo Buonarroti, Casa Buonarroti (Florence Italy), and Castello sforzesco, eds. Michelangelo architetto nei disegni della Casa Buonarroti. Cinisello Balsamo (Milano): Silvana, 2011.

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Bimbi, Adriano. Una facciata ottocentesca per la Casa Buonarroti. Firenze: Mandragora, 2002.

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1475-1564, Michelangelo Buonarroti, and Casa Buonarroti (Florence Italy), eds. Il primato del disegno: Sedici disegni di Michelangelo dalla Casa Buonarroti. Firenze: Edizioni Polistampa, 2017.

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Pina, Ragionieri, and Michelangelo Buonarroti 1475-1564, eds. Michelangelo: Disegni e altri tesori dalla Casa Buonarroti di Firenze. Perugia: Quattroemme, 2007.

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Book chapters on the topic "Casa Buonarroti (Florence, Italy)"

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Karlin, Daniel. "The child in the street." In Street Songs, 36–61. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198792352.003.0003.

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In the optimistic opening of Elizabeth Barrett Browning’s Casa Guidi Windows (1851), street song appears as a sign of political regeneration. Hearing a little child singing ‘O bella libertà’ in a street in Florence in 1847, Barrett Browning projects a future for Italy in which the poetry of loss and lament will be replaced by a modern song of enlightenment and freedom. These hopes, raised by the revolutions of 1848, were crushed in the defeats that followed, and the second part of Casa Guidi Windows reflects with mordant irony on these events. The figure of the child in the street is replaced by that of her own child, born in 1849; yet Barrett Browning returns, in a number of later poems, to the child singing of liberty, especially in poems written in the last year of her life, when the prospects for a united Italy were again resurgent.
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