Relevant bibliographies by topics / Florence. Palazzo Medici. Capella

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Academic literature on the topic 'Florence. Palazzo Medici. Capella'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Florence. Palazzo Medici. Capella"

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Gáldy, Andrea M. "Spectacular Antiquities: power and display of anticaglie at the court of Cosimo I de' Medici." Renaissance and Reformation 41, no. 1 (January 1, 2005): 45–57. http://dx.doi.org/10.33137/rr.v41i1.9071.

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Cet article examine certains moments importants de l'histoire de la décoration de la résidence ducale de Florence, le Palazzo Vecchio, et de la collection d'antiquités de Cosme 1er de Médicis. Les modes de développement de cette collection s'avèrent cohérents, d'une part, avec les traditions familiales des Médicis, et d'autre part, avec le développement de l'archéologie au XVIe siècle. En continuité avec ces observations, cet article montre aussi comment la politique culturelle de Cosme a été maintenue après 1560 au Palazzo Pitti (acquis en 1549), en particulier par ses fils François Ier et Ferdinand Ier, et dans quelle mesure cette politique a eu un effet à long terme sur le développement des collections à l'extérieur de Florence.
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Bonacchi, Andrea, Antonella Ferrari, Lelio Camilleri, and Francesca Chiesi. "Multidisciplinary Psychosomatic Assessment for UX Design Evaluation." Studies in Digital Heritage 2, no. 1 (February 10, 2019): 106–20. http://dx.doi.org/10.14434/sdh.v2i1.25652.

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“In the mirror of the Wonder of Luca Giordano” was a multi-sensorial experience created in the gallery frescoed by Luca Giordano in Palazzo Medici Riccardi, in Florence; the project involved different disciplines and researchers. The entire experience was subjected to an impact analysis, combining principally psycho-physiological, qualitative psychological and neuro-physiological aspects. In most of the visitors who participated in the study the experience evoked a sense of pleasure, enjoyment, relaxation, lightness, space-time suspension, involvement and immersiveness. In many of the visitors, the devices detected changes in heartbeat with a stastically significant decrease in blood pressure and heart rate, demontrating that the impact of artwork in a multi-sensorial experience and in an augmented perception environment is a psycho-somatic impact. Our experience suggests that projects such as "In the mirror of the Wonder of Luca Giordano" could be a very useful tool for cultivating emotional intelligence and could be developed in museums alongside the more classical paths of fruition.
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Miniati, Mara. "Birth and life of Scientific Collections in Florence." Museologia & Interdisciplinaridade 5, no. 9 (April 30, 2017): 14–41. http://dx.doi.org/10.26512/museologia.v5i9.17201.

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O artigo centra-se na história das coleções científicas em Florença. Na era dos Medici, Florença foi um importante centro de pesquisa científica e de coleções. Este aspecto da cultura florentina é geralmente menos conhecido, mas a ciência e coleções científicas foram uma parte consistente da história da cidade. O recolhimento de instrumentos científicos era um componente importante das estratégias políticas dos grão-duques florentinos, convencidos de que o conhecimento científico e controle tecnológico sobre a natureza conferiria solidez e prestígio ao seu poder político. De Cosimo I a Cosimo III, os grão-duques Médici concederam o seu patrocínio e comissões sobre gerações de engenheiros e cientistas, formando uma coleção de instrumentos matemáticos e astronômicos, os modelos científicos e produtos naturais, exibidos ao lado das mais famosas coleções de arte na Galleria Uffizi, no Palazzo Pitti, e em torno da cidade de Florença e outros lugares da Toscana. Esta coleção soberba, ainda existente, é uma expressão não só do "gosto" dos tempos, mas também dos interesses multifacetados do grão-duques. Após o fim da era Medici, no século 18, a dinastia Lorena Florence separou as coleções artísticas das coleções científicas e estas últimas foram colocados no novo Museu Imperial e Real de Física e História Natural, pelo Grão-Duque Pedro Leopoldo de Lorena e aberta ao público em 1775. A fundação deste museu pela dinastia Lorena representou um novo desenvolvimento e uma nova fase para esse material de interesse científico em Florença. Este artigo descreve as transformações ocorridas entre os séculos 18 e 19 na vida cultural da capital da Toscana: as artes e ciências foram promovidos, e os florentinos cultivados estavam interessadas no desenvolvimento recente da física, na Itália e no exterior. Nesse período, numerosas coleções científicas privadas e públicas de Florença existentes, que eram menos famosas, mas não menos importantes do que as coleções Médici e Lorena se destacaram. Finalmente, o artigo descreve como as coleções florentinas se desenvolveram. A fundação do Instituto e Museu de História da Ciência deu nova atenção aos instrumentos científicos antigos. Sua intensa atividade de pesquisa teve um impacto sobre a organização do Museu. Novos estudos levaram a novas atribuições aos instrumentos científicos, as investigações de arquivamento contribuiram para um melhor conhecimento da coleção, e os contactos crescentes com instituições italianas e internacionais feitas do Museu tornaram-no cada vez mais ativo em uma ampla rede de empreendimentos cooperativos sobre temas específicos. A última alteração de sua denominação (Museo Galileo) e a reorganização moderna são a expressão de uma "continuidade" do patrimônio histórico-científico, preservado pelo Museu, e do "Inovação" para permiti-lo "falar" e torna-lo inteligível a um público contemporâneo.
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Van Sasse Van Ysselt, Dorine. "Johannes Stradanus: de decoraties voor intochten en uitvaarten aan het hof van de Medici te Florence." Oud Holland - Quarterly for Dutch Art History 104, no. 3-4 (1990): 149–79. http://dx.doi.org/10.1163/187501790x00075.

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AbstractSources show that the Flemish artist Johannes Stradanus, whose career flourished from about 1555 in Florence, collaborated on several occasions on large-scale, temporary decorations, most of them commissioned by the grand dukes de'Medici, for important dynastic events such as baptisms, entries into cities and funerals. A multitude of artists and craftsmen carried out these decorations on the basis of often complicated iconographic programmes. In 1564, for instance, on the occasion of Michelangelo's funeral in S. Lorenzo, Stradanus painted the grisaille Michelangelo in 1529 in his dwelling in the Giudecca being received by the nobles of Venice by order of the Doge Andrea Gritti and the Signoria. In 1565, for the triumphal entry into the city of Johanna of Austria, he painted all the pictures decorating the triumphal arch erected on the Canto de' Tornaquinci. These consisted of five scenes glorifying the following exploits of rulers of the House of Austria: Rudolf conferring the Archdukedom of Austria on Albrecht I, Maximilian II being crowned emperor, Ferdinand I defending Vienna against the Turks, Albrecht slaing Adolf of Nassau in a battle, Philip II of Spain receiving the corona obsidionalis from Malta and two large trompe-l'oeil street views. In 1574, for the funeral of Cosimo I de'Medici in S. Lorenzo, Stradanus was probably involved in the painting of the skeletons and coats of arms. Furthermore, on the occasion of Francesco I de' Medici's funeral in S. Lorenzo in 1587, he painted the grisaille Francesco visiting his betrothed, Johanna of Austria, in Innsbruck; in 1588, for the entry of Ferdinando I de' Medici into Pisa, the canvas The burial of Pope Stephen I in the catacomb of Callixtus for the decoration of S. Stefano dei Cavalieri; in 1589, for the entry of Christina of Lorraine, the painting The retreat of the Turks after the siege of Vienna, as part of the decorations on the Canto de' Bischeri. Finally, in 1598, for the obsequies in memory of Philip II of Spain in S. Lorenzo, the grisaillc The siege and capture of Antwerp; for the same occasion he also provided the design for the grisaille The conquest of the Philippine islands, painted by his son Scipione. Stradanus' first commissions date from the start of his career in Florence, when he was working in Vasari's studio. As one of the master's assistants in decorating the Palazzo Vecchio, he had already gained ample experience in large-scale painting for the Medici. After leaving Vasari's studio in about 157 and setting up as an independent artist, Stradanus remained one of the leading Florentine artists who received commissions for official large-scale decors. He retained this status up to a venerable age, a sign of the appreciation he continued to enjoy in this field. Unfortunately none of Stradanus' decorative work has survived, with the exception of the canvas in Pisa. An impression of his skill in this field in conveyed by contemporary sources and the sketches, drawings, etchings and engravings presented in this article. This material clearly shows that in his long and productive life Stradanus was not only active as a painter of frescos and altarpieces and a designer of tapestries and engravings, but also played a prominent role at the court of the Medici as a painter of decorations.
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Brandon Strehlke, Carl. "Carlo Falciani and Antonio Natali, eds. Bronzino: Artist and Poet at the Court of the Medici. Exh. Cat. Florence: Palazzo Strozzi. With CD-Rom. Florence: Mandragora/Maschietto Editore, 2010. 358 pp. illus. bibl. €40. ISBN: 978–88–7461–15." Renaissance Quarterly 64, no. 2 (2011): 592–93. http://dx.doi.org/10.1086/661829.

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"The Medici and Palazzo Vecchio: the Florentine Republic and ducal Florence." Choice Reviews Online 27, no. 07 (March 1, 1990): 27–4213. http://dx.doi.org/10.5860/choice.27-4213.

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"The chapel of the Magi: Benozzo Gozzoli's frescoes in the Palazzo Medici-Riccardi Florence." Choice Reviews Online 32, no. 07 (March 1, 1995): 32–3687. http://dx.doi.org/10.5860/choice.32-3687.

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Dissertations / Theses on the topic "Florence. Palazzo Medici. Capella"

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Bailie, Lindsey Leigh. "Staging Privacy: Art and Architecture of the Palazzo Medici." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11049.

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xii, 112 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The Palazzo Medici was a site of significant social and political representation for the Medici. Access to much of the interior was limited, ostensibly, to the family. In republican Florence, however, visitors were a crucial component in the maintenance of a political faction. Consequently, the "private" spaces of the Palazzo Medici were designed and decorated with guests in mind. Visitor accounts reveal that the path and destination of each visitor differed according to his status and significance to the family. The common citizen waited, sometimes for great lengths, in the courtyard, taking in the anti-tyrannical message of the space. The privileged guest, who had more to provide the Medici, was given access to the more private spaces of the residence. Surrounded by art and architecture that demonstrated the faith, education, and wealth of the Medici, he was assured that his support of the family was beneficial to his own pursuits.
Committee in charge: James Harper, Chairperson; Jim Tice, Member; Jeff Hurwit, Member
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Manucci, Carole. "I Ragionamenti de Giorgio Vasari ou l’édifice de la Mémoire." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3110.

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Giorgio Vasari naît le 30 juillet 1511 ; il s'éteint le 27 juin 1574. À la fin de l'année 1554, il entre au service de Cosme Ier de Médicis, duc de Florence, et se voit rapidement confier la responsabilité des travaux de transformation du Palais de la Seigneurie en Palais Ducal. L'artiste livre les clefs de lecture du cycle pictural déployé sur les plafonds et les murs du célèbre monument florentin, connu sous le nom de Palazzo Vecchio, dans une oeuvre peu étudiée : Ragionamenti del Sig. Cavaliere Giorgio Vasari, pittore et architetto aretino, sopra le invenzioni da lui dipinte in Firenze nel Palazzo di loro Altezze Serenissime. Rédigé entre 1558 et 1567, mais publié à titre posthume seulement en 1588, ce texte met en scène Giorgio Vasari et le prince François Ier de Médicis, fils aîné de Cosme Ier et d'Éléonore de Tolède. Sous une plume ekphrastique, au sein de laquelle le mot et l'image s'unissent, l'artiste compose un dialogue distribué sur trois journées et conduit dans trois lieux emblématiques du palais : le Quartier des Éléments, le Quartier de Léon X et la Salle des Cinquecento. L'intérêt de cet ouvrage réside dans les différents niveaux de lecture comme dans les différents "dialogues" qu'il suppose. Si la réécriture de certains épisodes mythologiques, mis en relation directe avec l'histoire de la dynastie médicéenne, participe du dessein officiel de l'oeuvre, à savoir la glorification ducale, le mythe prélude, en raison de son appartenance à un univers ésotérique, à une lecture dérobée du texte vasarien qui, au-delà de servir le règne médicéen, révèle une aura mémorielle nous invitant à appréhender I Ragionamenti de Giorgio Vasari comme un édifice de la Mémoire
Giorgio Vasari was born on 30 July 1511 ; he died on 27 June 1574. At the end of 1554, he starts to be on the service of Cosimo I de' Medici, the Duke of Florence and he quickly sees himself entrusted with the transformation works of the seigneurial palace into a ducal one. The artist delivers the reading guides of the pictorial cycle deployed on the ceilings and the walls of the famous Florentine monument known as Palazzo Vecchio, in Ragionamenti del Sig. Cavaliere Giorgio Vasari, pittore e architetto aretino, sopra le invenzioni da lui dipinte in Firenze nel Palazzo di loro Altezze Serenissime, a little-known and little-studied work. Written between 1558 and 1567, but only posthumous published in 1588, this text stages Giorgio Vasari and Prince Francesco I de' Medici, the elder son of Cosimo I and Eleonora di Toledo. Under a descriptive hand, in which the word and the image unite, the artist composes a dialogue spread over three days and lead in three emblematic places of the palace: the Elements Area, the Leo X Quarter and the Cinquecento Room. The interest of this work lies in the different reading levels as in the different "dialogues" that it means to suggest. If the rewriting of some mythological episodes, directly viewed in relation to the history of the Medici dysnasty, contributes to the official aim of the work - namely the ducal glorification - the myth preludes, owing to its belonging to an esoteric world, a hidden reading of the Vasarian text that, beyond serving the Medici reign, reveals a memory aura inviting us to comprehend Giorgio Vasari's Ragionamenti as an edifice of Memory
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Deibel, Danielle Marie. "The Piazza della Signoria: The Visualization of Political Discourse through Sculpture." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent149298059548259.

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Teng, Hui-Wen, and 鄧慧雯. "A Study on Frescos “Procession of the Magi ”in the Palazzo Medici-Riccardi of Florence." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/99j5ju.

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碩士
國立臺北藝術大學
美術史研究所
99
The aim of this paper is to investigate the frescoes Procession of the Magi made in the chapel of Palazzo Medici-Riccardi in Florence by the fifteenth-century artist Benozzo Gozzoli (1421-1497) during 1459-60. By studying the figure layout, theme, form, style and image of these works, the features of these frescoes, the origin of styles and the fusion of styles are examined; the artistic taste of Italians in the fifteenth century is reviewed, and the art style development in Florence in the fifteenth century is elaborated. Apparently, these works of Gozzoli made in the beginning of the Renaissance show a strong sense of decoration in a delicate, rich and lustrous style under harmony. This is different from his contemporaries Masaccio (1401-1428) and Piero della Francesca (ca 1415-1492) who exploited lineal perspective and 3 dimensions to express the new simplistic and rational style of the Renaissance. Although Gozzoli already showed mastery perspective techniques in his works made in the 1450s, a preference to the multipoint perspective landscape as found in the Middle Age reveals in the Procession of the Magi. This is probably because of the special aesthetics flavor in the fifteenth-century Florence based on which he developed such a kind of integrated style. In addition to investigating the form, content and theme, this paper focuses on the rich creativity and decorative expressions in these frescoes. This includes an in-depth analysis of the details of the animals, people and landscapes depicted in the frescoes in order to facilitate the understanding of the features of these works. Also, by studying these frescoes, the trend of style integration of Gozzoli presented in his works is examined in order to delineate the demand for luxury and sophisticated decorative beauty of nobles and privileged people in Florence in the fifteenth century as reflected in the Procession of the Magi.
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Books on the topic "Florence. Palazzo Medici. Capella"

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Gozzoli, Benozzo. La Cappella dei Magi. Milan: Electa, 1993.

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Gozzoli, Benozzo. The chapel of the Magi: Benozzo Gozzoli's frescoes in the Palazzo Medici-Riccardi, Florence. London: Thames & Hudson, 1994.

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Barenboĭm, Petr. Myshʹ Medichi i Mikelandzhelo: Kapella Medichi = Il topo dei Medici e Michelangelo : capella Medicea. Moskva: "Letniĭ sad", 2006.

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The Chapel of the Magi: Benozzo Gozzoli's frescoes in the Palazzo Medici-Riccardi Florence. [London: Thames and Hudson, 1994.

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Gennaioli, Riccardo. Le gemme dei Medici al Museo degli argenti: Cammei e intagli nelle collezioni di Palazzo Pitti. Firenze: Giunti, 2007.

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Hyman, Isabelle. Fifteenth century Florentine studies: The Palazzo Medici and a ledger for the Church of San Lorenzo. Mansfield Centre, Conn: Martino Pub., 2006.

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Danti, Ignazio. Le trentacinque cartelle della Guardaroba Medicea di Palazzo Vecchio in Firenze =: The thirty five scrolls of the Medici Guardaroba of Palazzo Vecchio in Florence. Ponte San Giovanni (Perugia): Benucci, 2002.

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Danti, Ignazio. Le trentacinque cartelle della Guardaroba Medicea di Palazzo Vecchio in Firenze =: The thirty five scrolls of the Medici Guardaroba of Palazzo Vecchio in Florence. Ponte San Giovanni (Perugia): Benucci, 2002.

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Gli arazzi con Storie di Giuseppe Ebreo per Cosimo I de' Medici: Il restauro. Firenze: Edizioni Polistampa, 2013.

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Ornella, Casazza, and Museo degli argenti (Florence, Italy), eds. Il tesoro dei Medici al Museo degli argenti: Oggetti preziosi in cristallo e pietre dure nelle collezioni di Palazzo Pitti. Firenze: Giunti, 2009.

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Book chapters on the topic "Florence. Palazzo Medici. Capella"

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Schofield, Richard. "A local Renaissance: Florentine Quattrocento palaces and all’antica styles1." In Local antiquities, local identities, 13–36. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526117045.003.0002.

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Florence is a city which demonstrates the power of Local Renaissance traditions and how they could delay the introduction of all’antica architecture. Authoritative medieval communal buildings, particularly the Palazzo Vecchio, established an architectural vocabulary which was appropriated for palaces, which, as a rule, were provided with massive rusticated ground-floors or, later, with rusticated corners running up their full height; the majority of Florentine palaces of the Quattrocento and Cinquecento are of this type and were notable for the absence of the orders. The resistance to the orders is remarkable since painters and sculptors had frequently represented buildings, usually biblical or antique, with orders on the façades: and the use on palaces of stucco decoration which represented the orders may have predated the only example of a palace façade decorated with three different orders, Alberti’s Palazzo Rucellai. The power of this tenacious tradition of palace façade- building is powerfully demonstrated by the fate of the Palazzo Rucellai, which, assessed in terms of its influence in Florence, was a failure; no architect copied it. Other examples of attempts to adjust, enrich or disrupt the local tradition of façade-building – particularly Palazzo Medici Riccardi and the Palazzo Bartolini Salimbeni - are discussed.
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Terry-Fritsch, Allie. "Staging Gendered Authority: Donatello’s Judith, Lucrezia Tornabuoni de’Medici’s sacra storia, and the Somaesthetics of Justice." In Somaesthetic Experience and the Viewer in Medicean Florence. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463722216_ch03.

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Chapter Three analyzes Donatello’s bronze sculpture of Judith, located in the garden of Palazzo Medici between the mid-1460s to the early 1490s, in relation to a sacred narrative of the Jewish heroine written by Lucrezia Tornabuoni de’Medici in the early 1470s. Considering the performative interplay between the matron’s words and the sculpture’s form, the chapter investigates the strategies by which Lucrezia’s text enlivens Donatello’s Judith as the sacred heroine of her story and somaesthetically situates her audience as “eye-witnesses” to a demonstration of justice. Ultimately, the chapter analyzes how the theatricality of viewing the sculpture in the garden simulated communal punishment rituals and contributed to a reaffirmation of Florentine values that bound the audience and author together.
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Terry-Fritsch, Allie. "Mobilizing Visitors: Political Persuasion and the Somaesthetics of Belonging in the Chapel of the Magi." In Somaesthetic Experience and the Viewer in Medicean Florence. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463722216_ch02.

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Chapter Two provides a thick reading of the set up and action of somaesthetic experience in the Chapel of the Magi, constructed by Michelozzo inside Palazzo Medici and lavishly decorated by Benozzo Gozzoli and Fra Filippo Lippi in the 1450s. Linking the mindful movements of viewers in the room to contemporary rituals of Epiphany, the analysis recasts the chapel as a virtual Florence that was practiced by the visitor in a time-based experience. By reconstructing the ways in which theater and ritual were enfolded into the artistic program and the process of viewing itself, the chapter recovers the somaesthetic co-involvement of the visitor in the processional drama of the room and demonstrates how somaesthetic experience is a critical key to understanding the style and content of the chapel within its dynamic political dimensions.
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"8. Embodied temporality: Lucrezia Tornabuoni de’ Medici’s sacra storia, Donatello’s Judith, and the performance of gendered authority in Palazzo Medici, Florence." In Gendered Temporalities in the Early Modern World, 187–212. Amsterdam University Press, 2018. http://dx.doi.org/10.1515/9789048535262-009.

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Conference papers on the topic "Florence. Palazzo Medici. Capella"

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Falvo, Perla Gianni. "In the mirror of the wonder of Luca Giordano: Multisensory experience itinerary with impact assessment at Palazzo Medici Riccardi (Florence, Italy)." In 2012 18th International Conference on Virtual Systems and Multimedia (VSMM). IEEE, 2012. http://dx.doi.org/10.1109/vsmm.2012.6365901.

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Falvo, Perla Gianni, Antonello Grippo, Tiziana Atzori, Giampiero Cicalini, Lelio Camilleri, Francesca Chiesi, Alessandro Toccafondi, and Andrea Bonacchi. "Workshop with impact assessment in the chapel of the Magi in Palazzo Medici Riccardi, Florence Augmented reality with multimedia and cognitive technologies." In 2014 International Conference on Virtual Systems & Multimedia (VSMM). IEEE, 2014. http://dx.doi.org/10.1109/vsmm.2014.7136677.

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Falvo, Perla Gianni. "Exhibit design with multimedia and cognitive technologies impact assessment on Luca Giordano, Raphael and the Chapel of the Magi in Palazzo Medici Riccardi, Florence." In 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7419569.

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