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Books on the topic 'Figurini'

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Published: 10 March 2023

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1

Sironi, Mario. Mario Sironi: I figurini ritrovati. Milano: Mazzotta, 1989.

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2

Biggi, Maria Ida. Bozzetti e figurini dall'archivio del Teatro La Fenice, 1938-1992. Venezia: Marsilio, 1992.

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3

Ferraro, Carla. Rossini sulla scena dell'ottocento: Bozzetti e figurini dalle collezioni italiane. Pesaro: Fondazione Rossini, 2000.

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4

Fabio, Battistini, and Pirina Caterina, eds. Gli Spazi dell'incanto: Bozzetti e figurini del Piccolo teatro, 1947-1987. [Italy]: Silvana, 1987.

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5

Isabella, Bigazzi, Todros Rossella, Università di Firenze, and Biblioteca marucelliana, eds. Via col valzer: L'abito da ballo nei figurini del Fondo Gamba, 1850-1870. Firenze: Aida, 2009.

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6

Bigazzi, Isabella. Via col valzer: L'abito da ballo nei figurini del Fondo Gamba, 1850-1870. Firenze: Aida, 2009.

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7

Rudolf, Leppien Helmut, Carrà Carlo 1881-1966, Sironi Mario 1885-1961, and Oppo Cipriano Efisio 1891-1962, eds. Carrà, Sironi, Oppo: Al Teatro alla Scala :boszetti e figurini 1935-1957 : moztra decima. Milan :4bEd. Amici della Scala: Mercedes-Benz Italia, 1992.

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8

Carlo, Argan Giulio, Buzzati Dino 1906-1972, and Maccari Mino 1898-1989, eds. Maccari e Buzzati: Al Teatro alla Scala : bozzetti e figurini, 1959-1973 : mostra sesta. Milano: Ed. Amici della Scala, 1990.

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9

Teresa, Binaghi Olivari Maria, Brignoli Marziano, Poli Gabriella, and Archivio di Stato di Milano., eds. L' Abito civico: I corpi dell'antica provincia di Milano nei figurini dell'Archivio di Stato. [Bergamo, Italy]: Edizioni Bolis, 1991.

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10

Maurizio, Calvesi, and Teatro alla Scala, eds. Fontana, Veronesi, Dorazio al Teatro alla Scala: Bozzetti e figurini 1967-1981 : mostra ottava. Milano: Edizione Amici della Scala, 1991.

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11

Novara, Museo di, ed. Favola, storia, moda nel costume teatrale dell'800: I figurini acquerellati del Museo di Novara. Novara: Regione Piemonte, 1985.

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12

Damiani, Luciano. Luciano Damiani al Teatro alla Scala: Bozzetti e figurini, 1955-1983 : ridotto dei palchi del Teatro alla Scala. Milano: Edizione Amici della Scala/Mercedes-Benz Italia, 1990.

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13

Renato, Guttuso. Renato Guttuso al Teatro alla Scala: Bozzetti e figurini, 1954-1978 : ridotto dei palchi del Teatro alla Scala. [Milan]: Amici della Scala, 1992.

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14

Mercanti, Lara. Quando l'abito faceva il monaco: 62 figurini monastici conservati nel Museo Diocesano di Santo Stefano al Ponte di Firenze. Firenze: Polistampa, 2006.

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15

Rudolf, Leppien Helmut, and Teatro alla Scala, eds. Carrà, Sironi, Oppo: Al Teatro alla Scala : bozzetti e figurini 1935-1957 : mostra decima : ridotto dei palchi del Teatro alla Scala. [Milan]: Amici della Scala, 1992.

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16

Carlo, Argan Giulio, Maccari Mino 1898-, and Buzzati Dino 1906-1972, eds. Maccari e Buzzati: Al Teatro alla Scala : bozzetti e figurini, 1959-1973 : mostra sesta, ridotto dei palchi del Teatro alla Scala. Milano: Amici della Scala, 1990.

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17

Leuzzi, Tony. Figuring. Rochester: Switcharooney! Productions, 1999.

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18

Na szczęście to Żyd: Polskie figurki Żydów = Lucky Jews : Poland's Jewish figurines. Kraków: Korporacja Ha!art, 2014.

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19

Châtelet, Gilles. Figuring Space. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-017-1554-6.

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20

Society, American Philosophical, ed. Figuring history. Philadelphia: American Philosophical Society, 2011.

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21

Pangmulgwan, Soŏl Yŏksa. Nun ŭro tŭta : Roma op'era kŭkchang ŭi ŭisang, mudae tijain 100-sŏn: Scenografie d'autore : L'arte figurativa italiana del'900 al teatro dell'opera di roma bozzetti, figurini e costumi. Sŏul: Sŏul Yŏksa Pangmulgwan, 2014.

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22

Figurina, Elena. Elena Figurina: Zhivopisʹ, skulʹptura = Elena Figurina : painting, sculpture. Sankt Peterburg: OOO "P.R.P.", 2003.

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23

Mikhaĭl, German, ed. Elena Figurina: Zhivopisʹ, skulʹptura = Elena Figurina: paĭnting, sculpture. Sankt Peterburg: P.R.P, 2003.

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24

Interpreting Judean pillar figurines: Gender and empire in Judean apotropaic ritual. Tübingen: Mohr Siebeck, 2014.

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25

Museo della figurina (Modena, Italy). Il Museo della figurina: Dagli antecedenti alla figurina moderna. Modena: Franco Cosimo Panini, 2014.

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26

Crato, Nuno. Figuring It Out. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-04833-3.

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27

Moore, Robert John. Figuring ground: Poems. Hamilton, ON: Wolsak and Wynn Publishers, 2009.

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28

Figuring ground: Poems. Hamilton, ON: Wolsak and Wynn Publishers, 2009.

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29

Gallery, Ateneo Art, ed. Figuring Filipino utopia. Quezon City, Philippines: Ateneo Art Gallery, 2017.

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30

Figuring out Frances. New York: Clarion Books, 1999.

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31

Bellini 1989: Mostra di stampe, figurini e costumi per i personaggi belliniani : catalogo. Catania: G. Maimone, 1989.

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32

Quaderno Da Disegno Moda: 168 Figurini per Disegnare Tutta la Moda Che Vuoi! Independently Published, 2021.

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33

Quaderno Da Disegno Moda: 168 Figurini per Disegnare Tutta la Moda Che Vuoi! Independently Published, 2021.

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34

Collective, Iconico. Quaderno Disegno Moda: +250 Figurini Femminili Libro per Disegnare Abiti e Vestiti. Formato XL. Independently Published, 2021.

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35

Breffort, Dominique. L'Art De La Figurine; Art Figurines. Histoire and Collections, 2001.

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36

Insoll, Timothy. Miniature Possibilities? An Introduction to the Varied Dimensions of Figurine Research. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.001.

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Prehistoric figurines are complex entities. Figurine definition and ‘meaning’ is variable, but critical is the realization that figurines require interpretation, not just description. Multiple meanings were probably ascribed to prehistoric figurines, and exploring this demands attention to figurine context. Figurine materiality is also diverse. They attest to human technical ingenuity and were also part of much larger material worlds. A shift beyond defining figurines in simplistic male and female terms is also apparent with figurines potentially representing gender, sex, age, bodies, personhood, and ontology. Ideal persons or essences or qualities of persons might be created through figurines with miniaturization perhaps significant as an agent for exploring material reality. Figurines could also have been considered as powerful, whole or in fragments, and as objects subject to manipulation and utilized in performance.
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37

Overholtzer, Lisa. Mesoamerica—Aztec Figurines. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.014.

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Aztec ceramic figurines are ubiquitous small finds in central Mexican domestic contexts. As expressive miniature representations of humans, animals, and temples that were distributed through an extensive market system, they provide a window into Aztec worldviews, regional economies, and the household realm. Yet they have received relatively scant archaeological attention, likely because of disciplinary bias toward the monumental and imperial. This chapter reviews this small but compelling corpus of research, identifying a series of six approaches that are loosely chronologically arranged: (1) defining Aztec figurines, (2) figurines as types and as representations of deities, (3) figurines in household ritual, (4) figurine production and exchange, (5) figurines and social identity, and (6) figurine materialities. This analysis also identifies challenges that remain, including a lack of published catalogues of figurine collections, and insufficient detailed contextual excavations of houses where figurines were produced and consumed.
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38

Blomster, Jeffrey P. Mesoamerica—Highland Formative (Early to Middle Formative) Figurines. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.013.

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Figurines are ubiquitous during the Early to Middle Formative (1400–500 bc) throughout the Mesoamerican highlands. As materializations of embodiment, figurines represent productions and performances of cultural practices. Two theses are pursued in this chapter: synchronic juxtapositions in figurine style evince strategies and negotiations of social actors, referencing identity, gender, social norms, affiliation, status and rank, and/or ethnicity, while diachronic changes in figurine frequency and style may reflect larger societal processes. Through comparisons of excavated Early and Middle Formative figurine assemblages from two major highland regions, the southern highlands (the Valleys of Oaxaca and Nochixtlán) and the central highlands (the Basin of Mexico, Puebla, and Morelos), as well as brief comparative detours to Olmec-style figurines from the Gulf Coast and Mokaya figurines from Soconusco, the chapter explores entanglements between synchronic aesthetic negotiations and diachronic changes in figurines and socio-political transformations.
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39

Lau, George F. South America—Andes. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.019.

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This chapter details major figurine developments in the ancient Andes and discusses new understandings based on figurine form, function, and imagery. Great formal diversity characterizes the long history of their use. The most active traditions occurred along the coast, while data from the highlands and eastern slopes are more limited. Certain regions, especially the north coast, show longevity in the use of figurines, especially in household, funerary, and offering contexts. Figurines were important for their role in embodying identity (e.g. gender, fertility, status) as well as alterity. Production and ritual embued them with divine powers and agency. Figurine use and imagery also show dual structures, often manifested in gendered pairs or object sets. Finally, Andean figurines were important for their interactions with other contexts and things, including other figurine-like items: they inspired their own small worlds of sociality.
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40

Insoll, Timothy, ed. The Oxford Handbook of Prehistoric Figurines. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.001.0001.

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Written by the foremost scholars in figurine studies, this volume provides the definitive Handbook on prehistoric figurines in relation to their subject matter, form, function, context, chronology, meaning, and interpretation. Global in focus, the figurines from Africa, Asia, Australasia and the Pacific, the Americas, and Europe are all considered. Chronologically, the coverage ranges from the Middle Palaeolithic through to areas and periods where an absence of historical sources renders figurines ‘prehistoric’ even though they might have been produced in the mid-2nd millennium AD, as in parts of sub-Saharan Africa. Specific themes that are discussed by contributors include, for example, theories of figurine interpretation, meaning in processes and contexts of figurine production, use, destruction and disposal, and the cognitive and social implications of representation.
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41

Schoeman, Alex. Southern Africa. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.007.

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Excavations of Southern African farming community sites have yielded two figurine types. The first comprises coarse clay figurines found in clusters in central areas in homesteads. These clusters contained anthropomorphic and animal figurines that resemble material culture used in twentieth-century southernmost African initiation schools. The second figurine type, associated with domestic areas, is finer and included toys and stylized human figurines. The stylized human figurines resemble historical figures that embodied ideas about male ownership over the female body, procreative powers, and spirit. The decorations on the stylized female figurines resemble body scarification that might have been used to express personhood. This chapter suggests that the production and use of these clay figurines were enmeshed in ideas about sex and gender, and that figurines materialized ideas, in both ceremonial and domestic contexts, about the adult body as sexed and gendered.
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42

Manifesti, documenti, foto, bozzetti di scena, figurini, abiti per Richard Strauss a Firenze: Firenze 12 giugno-30 luglio '89. [Firenze]: Piercarlo Resta & Partners Edizioni, 1989.

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43

Pool, Christopher A. Mesoamerica—Olmec Figurines. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.012.

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The study of Olmec figurines has proven contentious with respect to defining Olmec style, the relation of Olmec style to the Olmec archaeological culture of Mexico’s southern Gulf lowlands, and the representation of social categories, particularly gender categories. Focusing on the Early and Middle Formative ceramic figurine traditions of Olman, the ‘Olmec heartland’ of the southern Gulf lowlands, this chapter reviews previous classifications, examines variation and change in technical and aesthetic styles from a community-of-practice perspective, and discusses the figural representation of gender, age, and other social categories. Variation in the contexts and social uses of Olmec-style figurines outside of the southern Gulf lowlands underscores their reinterpretation within different webs of social identities. Viewing variation in figurine assemblages as the consequence of differential participation of makers and users in overlapping communities of practice offers advantages for conceptualizing the formal variation within Formative figurine styles.
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44

Belcher, Ellen, and Karina Croucher. Prehistoric Figurines in Anatolia (Turkey). Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.021.

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This chapter discusses prehistoric (c.10,000—5000 bc) figurines from archaeological sites in modern Turkey. Sources and methods of excavation, publication, interpretation, and display are presented and critiqued. We propose a new interpretive method, focusing on manufacture and materials, ambiguities and relationships, gender, and fragmentation. Two case studies of figurine assemblages—Domuztepe and Çatalhöyük—are presented and discussed, demonstrating new possibilities for the interpretation of figurine datasets.
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45

Scarre, Chris. Neolithic Figurines of Western Europe. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.042.

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Western Europe has relatively few figurines of Neolithic or Chalcolithic date by comparison with the large numbers known from Southeast Europe and Southwest Asia. Human figurines (mainly of fired clay) are, however, found in Bandkeramik contexts from Central Europe to the North Sea, with others in eastern France. The scarcity of human figurines from areas such as Britain illustrates the diversity of cultural and symbolic practice that privileged human representations in some areas but not others. In the Baltic region, a separate figurine tradition drawing probably on Late Palaeolithic or Mesolithic origins persisted into the Neolithic. It is, however, the Iberian peninsula that stands apart from other regions of western Europe for the abundance and diversity of its human figurines, most of them of Late Neolithic or Chalcolithic date (mid-fourth to late third millennium bc). They include carved schist plaques and ‘eye-idols’ of bone and other materials. The florescence of Iberian figurine production is associated with the emergence of societies on the verge of complexity, characterized by craft specialization and long-distance exchange.
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46

Daems, Aurelie. From a Bird’s Eye View. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.030.

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This chapter discusses human figurines from later Iranian prehistory and pays special attention to the figurines from the sites of Tepe Sarab, Zaghe, Hajji Firuz, and Choga Mish. It also presents an overview of human figurines produced at other Iranian sites. Drawing on the analyses of the figurines’ morphologies, materials used, production processes, contexts of disposition, breakage patterns, bodily details, and representation of attire, these figurine industries from the Neolithic and Chalcolithic periods of Iran have the potential to enlighten us about communal and private matters, bodily concerns through the life cycle, and issues related to identity constructions via dress, posture, and corporeality.
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47

Schaafsma, Polly. North America—Southwest. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.016.

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This broad overview considers the long discontinuous and diverse history of anthropomorphic figurine production in the ancient American Southwest. While the primary focus is on the Hohokam, Fremont, and Ancestral Pueblos, other cultural contexts are considered. Numerous figurine styles are described, as are close stylistic relationships between certain figurine traditions and rock art. Stylistic trends in the graphic rock art may have influenced the aesthetics of figurine production and vice versa. Discarded in refuse mounds, cached in association with burials and cremations or in crypts within architectural confines, figurines and their roles were diverse between cultures and changed through time. Regarded as active agents within their respective cultural frameworks, the chapter proposes that they functioned as social mediators, promoted fertility, increase, and community well-being, and as they served as conduits to the ancestors and cosmological entities.
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48

Joyce, Rosemary A. Breaking Bodies and Biographies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190614812.003.0002.

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Figurines made in Honduras between 900 and 400 BCE established connections among persons through fragmentation, partibility, and enchainment. These figurines were made in two distinct sizes, both miniaturized. Their miniaturization requires concentrated attention to worked surfaces that reveal, on close examination, fine detail, requiring handling and rotation. Larger figurines are rarely recovered intact, often forming assemblages of heads or bodies that imply the dispersal of a partible body. Smaller figurines pierced for suspension as pendants normally are completely intact. They differ in their range of subjects, including both animals and the human subjects typical of the larger figurines. The small figurine pendants were likely to have been objects worn as part of costume. They thus can also be seen as fragmented, separated from the human bodies of which they once formed prosthetic extensions. Together, the larger and smaller figurines create social relations through their miniaturization, focusing attention, and partibility, creating connections.
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49

Antczak, Magdalena, and Andrzej Antczak. Caribbean. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.010.

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Pottery figurines made by the indigenous peoples in precolonial times have been a relatively rare finding in the Caribbean. A few dozen recovered across the Greater and Lesser Antilles cannot ‘compete’ with the thousands known from the neighbouring mainland. The lack of sound contextual and chronological data has severely limited the role of figurines in the pageant of the region’s past. Rarely addressed in the archaeological literature, figurines have been the focus of scant substantial research. This chapter examines what is currently known about precolonial figurines in the Greater and Lesser Antilles, and on the Southern Caribbean islands. It discusses the precolonial archaeology of the region in order to facilitate the overview of figurines which follows. The case studies are ordered diachronically and include Puerto Rico, Cuba, St Lucia, and the Los Roques Archipelago. Existing figurine interpretations are addressed and the chapter concludes with suggestions for future research.
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50

Morris, Christine. Minoan and Mycenaean Figurines. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.033.

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This chapter explores the figurine traditions of the Bronze Age inhabitants of Crete (Minoan) and mainland Greece (Myceanean), covering c.3000–1100 bc. As in many cultures, Aegean figurines are predominantly made from terracotta or fired clay, but stone, ivory and bone, metal, and faience are also utilized. Early Minoan ‘vessel figurines’ and the votive figurines deposited on Middle Minoan Cretan peak sanctuaries in large numbers are presented as case studies for the Minoan terracotta tradition. The faience ‘Snake Goddesses’ and bronze figurines illustrate elite traditions and Minoan technical virtuosity. Restricted largely to the Late Bronze Age, Mycenaean terracottas can be characterized as figurines and figures. The former are small, handmade, and found across a range of contexts, while the latter have wheel-made bodies and are mostly restricted to sanctuaries. Discussion is framed around form, function, performance, and context, while keeping in mind issues of gender and identification.
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