Relevant bibliographies by topics / Francesco Algarotti

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Academic literature on the topic 'Francesco Algarotti'

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Published: 4 June 2021
Last updated: 10 March 2023

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Journal articles on the topic "Francesco Algarotti"

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Tretyakova, Marina V. "Project about medals by Francesco Algarotti." Izvestiya of Saratov University. History. International Relations 22, no. 1 (February 21, 2022): 50–56. http://dx.doi.org/10.18500/1819-4907-2022-22-1-50-56.

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The article discussesthe project aboutthemedals ofFrancesco Algarotti. In his «Essay on RussianHistory inMedals», Algarotti proposed to perpetuate important events in the history of Russia in medals, thus noting the periods of the reign of Peter I, Anna Ioannovna, Elizabeth Petrovna, Catherine II. The author of the article comes to the conclusion that Algarotti’s essay contributed to the creation of an objective image of Russia in the eyes of the enlightened part of Europeans and strengthened the prestige of Russia as a power.
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Fumaroli, Marc. "Francesco Algarotti et Frédéric II." Commentaire Numéro68, no. 4 (1994): 971. http://dx.doi.org/10.3917/comm.068.0971.

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Rita, Argentiero. "Aspetti del pensiero di Aristotele nel Saggio sopra la pittura di Francesco Algarotti: ἐμπειρία, εἰκóς, φαντασία, κάθαρσις." Storia della critica d'arte: annuario della S.I.S.C.A. 1 (2020): 171–82. http://dx.doi.org/10.48294/s2020.010.

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This article identifies and studies the Aristotelian elements contained in the Essay on Painting, written by Francesco Algarotti in the second half of the 18th century. The aspects taken into consideration and the subject of further study are ἐμπειρία, εἰκός, φαντασία and κάθαρσις. The ἐμπειρία is the starting point of artistic produc- tion and originates from what the painter can grasp through the senses. Starting from the cultured elements, φαντασία combines the φαντάσματα belonging to the same species in order to capture εἰκός, which is the object of imitation of the real painter. The κάθαρσις is that «sweet spell» that allows man to rise above himself. Finally, the reason for Algarotti’s interest in Aristotle’s philosophy is investigated: in this regard, the key role played by Francesco Maria Zanotti is underlined.
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MAZZOTTI, MASSIMO. "Newton for ladies: gentility, gender and radical culture." British Journal for the History of Science 37, no. 2 (May 24, 2004): 119–46. http://dx.doi.org/10.1017/s0007087404005400.

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Francesco Algarotti's Newtonianism for Ladies (1737), a series of lively dialogues on optics, was a landmark in the popularization of Newtonian philosophy. In this essay I shall explore Algarotti's sociocultural world, his aims and ambitions, and the meaning he attached to his own work. In particular I shall focus on Algarotti's self-promotional strategies, his deployment of gendered images and his use of popular philosophy within the broader cultural and experimental campaign for the success of Newtonianism. Finally, I shall suggest a radical reading of the dialogues, reconstructing the process that brought them to their religious condemnation. What did Newtonianism mean to Algarotti? In opposition to mainstream apologetic interpretations, he seems to have framed the new experimental methodology in a sensationalistic epistemology derived mainly from Locke, pointing at a series of subversive religious and political implications. Due to the intervention of religious authorities Algarotti's radical Newtonianism became gradually less visible in subsequent editions and translations. It is only through the study of the first – clandestine – edition of the dialogues that one can begin reconstructing the meaning of Algarotti's experiments (real and fictional) and his cultural battle for a regenerated Europe.
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Jung, Sandro. "William Mason and Count Francesco Algarotti: Two New Letters." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 18, no. 1 (January 2005): 32–34. http://dx.doi.org/10.3200/anqq.18.1.32-34.

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Talalay, Michail G. "Commento al Saggio di storia metallica della Russia di Francesco Algarotti." Colloquium 9788879168946 (October 2019): 91–98. http://dx.doi.org/10.7359/894-2019-tala.

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Mondot, Jean. "Klaus Werner HAUPT, Francesco Algarotti, Gelehrter, Connaisseur, Poet, Weimar, Bertuch, 2021, 102 p." Lumières N° 37-38, no. 1 (October 18, 2022): 296–98. http://dx.doi.org/10.3917/lumi.037.0296.

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Findlen, Paula. "Becoming a Scientist: Gender and Knowledge in Eighteenth-Century Italy." Science in Context 16, no. 1-2 (March 2003): 59–87. http://dx.doi.org/10.1017/s026988970300070x.

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ArgumentThis essay explores how and why women involved themselves in the sciences in eighteenth-century Italy. Using the case study of Diamante Medaglia Faini, a poet who attempted to become a mathematician, it argues that the image of the woman natural philosopher was shaped by the visible presence of woman in scientific institutions in the mid-eighteenth century and by the tradition of popular scientific writing, best embodied in the works of Bernard le Bovier de Fontenelle and Francesco Algarotti, that made the woman natural philosopher an important literary protagonist. Becoming a scientist, in other words, was both a reality and a fiction. The tensions between these two different images shaped the terrain in which women pursued science.
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Londero, Leandro, Monica Abrantes Galindo, and Marcos Serzedello. "História da Ciência e relações de gênero: a publicação de “Sir Isaac Newton’s philosophy explained for de use of ladies. In six dialogues on light and colours”." Revista Brasileira de Educação em Ciências e Educação Matemática 2, no. 3 (December 29, 2018): 325. http://dx.doi.org/10.33238/rebecem.2018.v.2.n.3.19695.

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Resumo: Analisamos na tradução feita para o inglês, por Elisabeth Carter, em 1739, a obra de Francesco Algarotti “Sir Isaac Newton’s philosophy explain’d for the use of ladies. In six dialogues on light and colours”. Buscamos compreender os aspectos que a caracterizam como uma publicação para damas e identificar possíveis questões de gênero. Identificamos na obra uma tendência machista na ciência e elementos que evidenciam um imaginário de que a mulher não teria as qualidades necessárias para compreender a ciência, elementos esses coerentes com a transição de um período em que as mulheres eram consideradas inferiores em todos os aspectos para um outro no qual a construção do papel materno aparece como fundante de uma concepção de mulher não mais inferior, mas fundamentalmente diferente do homem e com papeis complementares a ele. Podemos dizer que esses imaginários podem influenciar as possibilidades de participação das mulheres na empreitada científica.Palavras-chave: Educação em Ciências; História da Ciência; Ciência e Sociedade (Gênero). History of Science and gender relations: a publication of “Sir Isaac Newton’s philosophy explained for de use of ladies. In six dialogues on light and colours”Abstract: We analyze Elisabeth Carter's 1739 translation of Francesco Algarotti's "Sir Isaac Newton's philosophy explain'd for the use of ladies. In six dialogues on light and colors. "We seek to understand the aspects that characterize it as a publication for ladies and to identify possible gender issues. We identified in the work a macho tendency in science and elements that evidence an imaginary that women would not have the qualities necessary to understand science, elements that are consistent with the transition from a period in which women were considered inferior in all respects to a another in which the construction of the maternal role appears as the founder of a conception of woman no longer inferior but fundamentally different from man and with roles complementary to him. We can say that these imaginary can influence the possibilities of participation of women in the scientific enterprise.Keywords: Science Education, History of Science; Science and Society (Gender).
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Lukoschik, Rita. "Hors de Paris point de salut?: Francesco Algarotti als Kulturvermittler zwischen Preußen, Sachsen und Italien." Jahrbuch für Internationale Germanistik 2009, no. 1 (January 1, 2009): 9–45. http://dx.doi.org/10.3726/82033_9.

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Dissertations / Theses on the topic "Francesco Algarotti"

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Ceolin, Mark A. "Francesco Algarotti and Francesco Milizia, architectural and dramatic theorists of the Italian Enlightenment." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0020/NQ45681.pdf.

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Giardinelli, Vito. "La diffusione dell'ottica Newtoniana in Italia: il ruolo di Francesco Algarotti e dell'Istituto delle Scienze di Bologna." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/18397/.

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Questo lavoro si concentra sulla diffusione in Italia delle idee di Newton sull’ottica. Per approfondire questa tematica è stato esaminato nel dettaglio il contributo fornito da Francesco Algarotti, fisico italiano e studente dell'Istituto delle Scienze di Bologna a cavallo tra gli anni Venti e gli anni trenta del Settecento. In particolare è stato esaminato nel dettaglio il libro “Newtonianismo per le dame” scritto dall’Algarotti stesso. Il fisico rivestì un ruolo importante per la diffusione delle idee newtoniane essendo stato il primo in Italia a replicare i vari esperimenti già realizzati da Newton nell’ “Opticks”, il libro in cui Newton raccoglie tutte le sue esperienze riguardo l'ottica ed espone la sua teoria. Nei vari capitoli si mettono in luce gli aspetti della questione. Nel Capitolo 1 si parla situazione ideologica sullo sfondo, dell’Istituto delle scienze di Bologna e della biografia di Algarotti. Il Capitolo 2 si articola su una puntuale analisi degli esperimenti descritti nel “Newtonianismo per le dame” in confronto con le esperienze di Newton e in relazione alle teorie moderne. Nel Capitolo 3 ci si concentra invece sull’analisi del contenuto teorico del libro e sugli spunti filosofici in esso contenuti, alla luce della critica al razionalismo e dell’adesione all’empirismo del suo autore. Per concludere nel Capitolo 4 si discute brevemente sulle plausibili motivazioni che portarono alla censura della prima edizione del libro stesso.
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Smeall, Cheryl Lynn. "How to become a renowned writer: Francesco Algarotti (1712-1764) and the uses of networking in eighteenth-century Europe." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103523.

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Venetian polymath Francesco Algarotti (1712-1764) was an internationally-renowned intellectual in his time. In 1737, he published a wildly successful popularization of Newtonian science for women entitled Il Newtonianismo per le dame, or Newtonianism for the Ladies. The fame he acquired after its appearance continued to increase over the course of his career, with the result that he was invited to join the court of Frederick II (the Great) of Prussia, and subsequently that of Augustus III of Saxony-Poland. In addition his sojourns at their respective courts in Berlin and Dresden, Algarotti travelled to and lived in many other European cultural centres, including Venice, Bologna, Rome, Paris, London, and St. Petersburg. Over the course of his travels, he forged friendships with many of the leading thinkers of the period, including Eustachio Manfredi, Francesco Maria Zanotti, Laura Bassi, Voltaire, Emilie du Châtelet, Pierre-Louis Moreau de Maupertuis, Lord Hervey, Lady Mary Wortley Montagu, and Antioch Cantemir. These contacts, and the numerous others he would come to form, would prove to be indispensable in the pursuit of his intellectual and financial goals. Algarotti's ambition was to become an internationally renowned writer. In a century in which scholarship was becoming increasingly international, and the market for, and reach of, printed material was considerably widened, aspiring writers faced both increased opportunities for fame and greater competition in securing the financial support they needed in order to pursue their art. Algarotti's example illuminates both the structures behind these conditions, and the strategies that could be employed in order to negotiate them, in a pan-European context. As an examination of his activities reveals, the formation, expansion, and maintenance of one's networks was crucial to one's intellectual success in eighteenth-century Europe.
Le penseur vénitien Francesco Algarotti (1712-1764) était un intellectuel de renommée internationale à son époque. En 1737, il a obtenu un franc succès en publiant un ouvrage de vulgarisation de la science newtonienne destiné à un public féminin, intitulé Il Newtonianismo per le dame, ou Le Newtonisme pour les dames. La notoriété qu'Algarotti a acquise avec cette publication a continué d'augmenter tout au long de sa carrière, et il fut conséquemment invité à joindre la cour de Frédéric II (Le Grand) de Prusse, puis celle d'Auguste III de Saxe-Pologne. En plus de ses séjours aux cours respectives de Berlin et de Dresde, Algarotti a voyagé et vécu dans plusieurs autres centres culturels européens, y compris Venise, Bologne, Rome, Paris, Londres et Saint-Pétersbourg. Au cours de ses voyages, il a forgé des amitiés avec plusieurs des grands penseurs de son temps, parmi lesquels Eustachio Manfredi, Francesco Maria Zanotti, Laura Bassi, Voltaire, Émilie du Châtelet, Pierre-Louis Moreau de Maupertuis, Lord Hervey, Lady Mary Wortley Montagu et Antioch Cantemir. Ces relations, ainsi que de nombreuses autres qu'il sera amené à développer, s'avéreront indispensables dans la poursuite de ses objectifs intellectuels et financiers. L'ambition d'Algarotti était de devenir un écrivain internationalement reconnu. Ce dernier a vécu au cours d'un siècle où le savoir devient de plus en plus international, un savoir à plus grande portée qui fait l'objet d'un marché, et dans lequel le monde de l'imprimé s'est considérablement développé. Les aspirants auteurs étaient confrontés, d'une part, à ces opportunités accrues d'acquérir la gloire, et d'autre part, à davantage de compétition afin de dénicher le support financier nécessaire à la poursuite de leur art. L'exemple d'Algarotti met en lumière les structures qui sous-tendent ces conditions, de même que les stratégies qui pouvaient être employées afin de les négocier, dans un contexte pan-européen. Ainsi que le révèle une analyse de ses activités, la formation, l'expansion et le maintien de ses réseaux était cruciale afin d'assurer son succès intellectuel dans l'Europe du dix-huitième siècle.
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Accorsi, Roberto Aparecido Zaniquelli 1972. "Sobre a obra de Sebastiano Ricci = "A recusa de Arquimedes", painel que pertence à Fundação Cultural Ema Gordon Klabin - SP e o ambiente do colecionismo veneziano do século XVIII." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278816.

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Orientador: Luciano Migliaccio
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-18T07:29:18Z (GMT). No. of bitstreams: 1 Accorsi_RobertoAparecidoZaniquelli_M.pdf: 7996410 bytes, checksum: 5ec8b451dc3d6a8db56e7f8da4cacddc (MD5) Previous issue date: 2011
Resumo: Sebastiano Ricci tornou-se um pintor de especiais e particulares ações nos mercados de artes de Veneza e da Inglaterra, durante o século XVIII. Ele soube agir como artista e negociador e conseguiu relacionar-se com os principais mecenas do período, em especial com dois dos mais importantes difusores da sua arte: Joseph Smith, Cônsul inglês, e Francesco Algarotti, Conde veneziano - ambos ligados ao processo de difusão e discussão dos princípios racionais associados ao iluminismo europeu. Em cartas enviadas e recebidas pelo artista, e por alguns de seus mecenas, nota-se uma variada abordagem dos meios de compra e venda de obras e arte. As cartas também revelam uma valorização ou redescoberta dos modos e temas da arte de Paolo Veronese, reconhecíveis na obra de Sebastiano Ricci intitulada Arquimedes se recusa a seguir o soldado, pertencente a Fundação Cultural Ema Gordon Klabin, de São Paulo
Abstract: Sebastiano Ricci became a painter of special and private actions around the market of arts from Venice and England, during the XVIII century. He has known how to act as an artist and a negotiator and could relate himself with the main Maecenas of this period, especially with two of the most importants diffusers of his art: Joseph Smith,British Consul, and Francesco Algarotti,Venetian Earl - both connected with the process of propagation and discussion of the rational principles associated with the European Enlightenment. Analyzing letters that were sent and received by the artist and for some of his maecenas, is possible to realize a variety of approach about sorts of arts marketing. These letters show a recovery or a rediscovery about modes and themes of Paolo Veronese's art which can be recognized in the work of Sebastiano Ricci entitled Arquimedes se recusa a seguir o soldado, that belongs to Fundação Cultural Ema Gordon Klabin
Mestrado
Historia da Arte
Mestre em História
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Ton, Denis. "Giambattista Crosato." Doctoral thesis, Università degli studi di Padova, 2009. http://hdl.handle.net/11577/3425655.

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The dissertation is a monography about Giambattista Crosato, one of the most important Venetian painters among artists of generation of Tiepolo and Canaletto, working not only in Venetian but also in Piedmont, at Savoy Court. First of all a catalogue raisonné of his paintings has been drafted, with some new attributions, while numerous attributions, regarded wrong, have been expunged. Beside the painting of Crosato is been valued in its totality tempting to offer a chronology as much possible accurate about his production. The study has tried to solve the problem of painter's youth: it gives up theories that can't be proved, about Emilian journey of painter, to put back his formation in artistic Venetian environment in the early decades of the eighteenth century till Ca' Pesaro's frescoes in 1731. Therefore it's prefer to explain the artist's young works, through a contact, in the one hand, with the “Barocchetto” of academics of the of the eighteenth century, as Bellucci, Bambini and, above all, Angelo Trevisani and, on the other hand, through the knowledge of the early works of current of "neotenebrosi" as Bencovich, Piazzetta and the young Tiepolo. About his stays in Piedmont, the study of testimonies allows to check the permanence of a connection almost continuous both with his native land and, from thirty years, with Savoy Court, especially to solve the several contracts with Royal Theatre. Therefore the painter wasn’t in Turin only for two extended periods. This study argues the stylistic exchanges in Turin, with Piedmontese art, in those years and the rule of various painters (Beaumont, Trevisani, Giaquinto, Solimena) in order to explain the particular Crosato’s style. Beside this essay has studied the importance of the link with Algarotti's family, in the cultural environment of Venetian art of forty years, in order to make clear the development of poetic of feelings in Crosato's painting. This work has also analysed the last activity of the painter, around the paintings of Via Crucis of Santa Maria del Giglio. Moreover the research has valued the making of replicas, an activity in common with some of Venetian artists as, for example, Giambattista Pittoni. A chapter of the dissertation is dedicated to the fortune of the painter through the analysis of texts of travellers that visited Stupinigi, until more recent rehabilitation from Fiocco to more recent considerations about his activity. Another new aspect of the study is the first attempt of a profile of graphic production of the painter. Beside a chapter is dedicated to this very problematic aspect because few drawings are sure. The text indicates the sheets more likely identified as by Crosato, for example a couple of new drawings, and gives shortly information about main attributions appeared during the years.
Il presente lavoro si propone come una monografia sulla pittura di Giambattista Crosato, uno dei pittori veneziani più importanti, fra quelli della generazione di Tiepolo e di Canaletto, attivo non solo in Veneto, ma anche in Piemonte, per la corte Sabauda. Si è innanzitutto redatto il catalogo ragionato dei suoi dipinti, giungendo ad alcune nuove assegnazioni, mentre sono state espunte numerose attribuzioni ritenute errate. L’opera pittorica di Crosato è stata poi valutata nella sua interezza, cercando di offrire una cronologia il più possibile precisa della sua produzione. Lo studio ha tentato di risolvere il problema della giovinezza del pittore, rinunciando alle ipotesi, non documentabili, di un soggiorno emiliano, per ricollocare la sua formazione entro l’ambiente artistico veneziano dei primi decenni del Settecento, sino agli affreschi di Ca’ Pesaro del 1731. Si è ritenuto dunque che l’opera giovanile dell’artista, così come si manifesta nelle prime prove torinesi, possa meglio spiegarsi attraverso un contatto da un lato, con il ‘barocchetto’ degli accademici degli inizi del XVIII secolo, quali Bellucci, Bambini e, soprattutto, Angelo Trevisani, dall’altro, con la conoscenza delle prime opere della corrente ‘neotenebrosa’ di Bencovich, Piazzetta e del primo Tiepolo. Per quanto riguarda i soggiorni in Piemonte, si è ritenuto di rinunciare alle consuetudini che volevano il pittore presente solo per due prolungati momenti a Torino, perché la lettura delle testimonianze rimaste consente di verificare il permanere di un rapporto quasi continuo sia con la terra d’origine sia, a partire dagli anni trenta, con la corte sabauda, soprattutto per assolvere ai vari impegni contratti con il Teatro Regio. A proposito dell’arte piemontese, il lavoro dà conto degli scambi linguistici in atto a Torino in quegli anni, e del ruolo svolto dalle varie componenti (Beaumont, Trevisani, Giaquinto, Solimena) nella creazione del particolare stile di Crosato. Inoltre si è approfondita l’importanza del rapporto intercorso con la famiglia Algarotti, nel contesto culturale dell’arte veneziana degli anni quaranta, giungendo a chiarire lo sviluppo della poetica degli affetti nella pittura di Crosato. Anche per quanto concerne l’ultima attività del pittore, da collocare intorno alle tele per la Via Crucis di Santa Maria del Giglio, lo studio si è indirizzato ad un approfondimento che ha consentito il riconoscimento di un nucleo ben distinguibile, che chiarisce l’evoluzione dello stile del maestro. L’indagine si è rivolta anche alla valutazione della redazione di repliche, attività che egli ha in comune con alcuni degli artisti veneziani di quegli anni, come ad esempio Giambattista Pittoni. Un capitolo della tesi è dedicato alla fortuna del pittore, attraverso la lettura delle fonti, dei viaggiatori di passaggio a Stupinigi, sino alla riabilitazione più recente, a partire da Fiocco sino alle più recenti valutazioni sulla sua attività. Un altro aspetto di novità del lavoro è il primo tentativo di un profilo della produzione grafica del pittore. Un capitolo è dunque dedicato a tale aspetto assai problematico, a causa dell’esiguo numero di fogli assegnabile con certezza al maestro. Oltre a segnalare le opere ritenute più verosimili, tra cui un paio di fogli di nuova attribuzione, si dà brevemente notizia delle principali attribuzioni emerse nel corso degli anni.
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Chassot, Jean-Fabrice. "Le dialogue scientifique au XVIIIe siècle : postérité de Fontenelle et vulgarisation des sciences." Paris 4, 2008. http://www.theses.paris-sorbonne.fr/these.chassot.pdf.

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Le dialogue scientifique est une forme majeure de vulgarisation des sciences au XVIIIe siècle. Fontenelle en donne le modèle. Les dialogues scientifiques, bien qu’ils mettent souvent en scène un échange entre une marquise et un philosophe, comportent aussi des scénographies très variées. Le genre évolue vers un didactisme accru. Il est un élément majeur de diffusion de la physico-théologie. Diderot le subvertit. Le dialogue n’est pas tant utilisé pour sa valeur pédagogique que pour sa fonction de propagande. Mettant en scène un parcours d’apprentissage et la réception d’une théorie scientifique plus ou moins orthodoxe dans la société, il concourt à transformer la science en culture, et malgré ses visées parfois apologétique il contribue au développement de l’esprit des lumières. Il contribue à transformer les représentations du monde, remet en cause l’anthropocentrisme comme le principe d’autorité. Il initie à de nouvelles formes de démonstrations et de raisonnement
During the first eighteenth century, in France, scientific dialogue was the best way to popularize science. Fontenelle’s On the plurality of worlds was mostly imitated, but the dialogue became more and more didactic. As Pluche’s “Spectacle de la nature” shows, dialogue proved to be very useful for imposing an pious vision of the world. At the other side, Diderot’s “Rêve de d’Alambert” puts forward a materialist vision of the world. In fact, dialogue has less an educational value tha a propagandist one. Beyond differences between dialogue writers, it has mostly contributed to spread the Enlightenment
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BINDA, LAURA. "NUOVE RICERCHE PER LA BIOGRAFIA E LA PRODUZIONE STORIOGRAFICA DI CARLO BIANCONI (1732-1802)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/18751.

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Nuovi dati e considerazioni sulla biografia e gli scritti di Carlo Bianconi che emergono principalmente dallo spoglio di materiale archivistico inedito. Con questo studio viene ad essere chiarita la fase formativa di Bianconi cresciuto in una casa di bibliofili e collezionisti d’arte. Aggiornato sulle elaborazioni teoriche di Winckelmann e Mengs entrambi conosciuti personalmente, lo vedono progressivamente avvicinarsi e aderire ai modi del classicismo, mediato anche dal rapporto instaurato con Francesco Algarotti, a cui viene in questa sede ridato valore. Uno spiraglio viene aperto sul biennio trascorso a Roma, la frequentazione del cardinale Albani e sul viaggio a Napoli con importanti risvolti per la sua maturazione intellettuale. Seguono i motivi della scelta di Bianconi a segretario dell’Accademia di Brera, le sue iniziative a livello didattico e il rapporto con Carlo di Firmian. Vengono, di volta in volta ricordati i suoi numerosi corrispondenti, la sua produzione figurativa e soprattutto commentati i suoi scritti editi (guide di Bologna e Milano) e inediti (Vitruvio, scritti teorici sull’origine dell’architettura e dell’incisione, orazioni) e riconsiderata la collaborazione all’Enciclopedia Metodica di Pietro Zani. Artista, collezionista, scrittore d’arte e insegnante, immerso in una temperie di matrice razionalista è precoce assertore dei dettami del nuovo gusto per il classico.
New information and analysis about Carlo Bianconi’s biography and writings mainly appear from unpublished archival material bare. This work allows to clarify the education of Bianconi, who grew up in a family of bibliophiles and art collectors. He kept abreast of theoretical development of Winckelmann and Mengs, who personally knew and he gradually moved closer and accepted the models of the classicism that was also mediated by the relationship established with Francesco Algarotti, who is here reevaluate. Regarding his two-year period spent in Rome, the relationship with the Cardinal Albani and moreover his trip to Naples, a glimmer is opened, with important implications for his intellectual maturity. Furthermore, there are: the reason regarding the choice of Bianconi as Secretary of the Academy of Brera, his educational initiatives and the relationship with Carlo di Firmian. From time to time, his many correspondents, his figurative works of art and especially his published writings were commented (for example the guide of Bologna and Milan) and his unpublished writings (such as Vitruvius, theoretical writings on the origin of architecture and engraving, orations) are remembered and also the collaboration with the Enciclopedia Metodica of Pietro Zani is reconsidered. Artist, collector, art writer and teacher, immersed in a climate of a Rationalism, he is a early supporter of the new taste for the classic.
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8

BINDA, LAURA. "NUOVE RICERCHE PER LA BIOGRAFIA E LA PRODUZIONE STORIOGRAFICA DI CARLO BIANCONI (1732-1802)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/18751.

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Nuovi dati e considerazioni sulla biografia e gli scritti di Carlo Bianconi che emergono principalmente dallo spoglio di materiale archivistico inedito. Con questo studio viene ad essere chiarita la fase formativa di Bianconi cresciuto in una casa di bibliofili e collezionisti d’arte. Aggiornato sulle elaborazioni teoriche di Winckelmann e Mengs entrambi conosciuti personalmente, lo vedono progressivamente avvicinarsi e aderire ai modi del classicismo, mediato anche dal rapporto instaurato con Francesco Algarotti, a cui viene in questa sede ridato valore. Uno spiraglio viene aperto sul biennio trascorso a Roma, la frequentazione del cardinale Albani e sul viaggio a Napoli con importanti risvolti per la sua maturazione intellettuale. Seguono i motivi della scelta di Bianconi a segretario dell’Accademia di Brera, le sue iniziative a livello didattico e il rapporto con Carlo di Firmian. Vengono, di volta in volta ricordati i suoi numerosi corrispondenti, la sua produzione figurativa e soprattutto commentati i suoi scritti editi (guide di Bologna e Milano) e inediti (Vitruvio, scritti teorici sull’origine dell’architettura e dell’incisione, orazioni) e riconsiderata la collaborazione all’Enciclopedia Metodica di Pietro Zani. Artista, collezionista, scrittore d’arte e insegnante, immerso in una temperie di matrice razionalista è precoce assertore dei dettami del nuovo gusto per il classico.
New information and analysis about Carlo Bianconi’s biography and writings mainly appear from unpublished archival material bare. This work allows to clarify the education of Bianconi, who grew up in a family of bibliophiles and art collectors. He kept abreast of theoretical development of Winckelmann and Mengs, who personally knew and he gradually moved closer and accepted the models of the classicism that was also mediated by the relationship established with Francesco Algarotti, who is here reevaluate. Regarding his two-year period spent in Rome, the relationship with the Cardinal Albani and moreover his trip to Naples, a glimmer is opened, with important implications for his intellectual maturity. Furthermore, there are: the reason regarding the choice of Bianconi as Secretary of the Academy of Brera, his educational initiatives and the relationship with Carlo di Firmian. From time to time, his many correspondents, his figurative works of art and especially his published writings were commented (for example the guide of Bologna and Milan) and his unpublished writings (such as Vitruvius, theoretical writings on the origin of architecture and engraving, orations) are remembered and also the collaboration with the Enciclopedia Metodica of Pietro Zani is reconsidered. Artist, collector, art writer and teacher, immersed in a climate of a Rationalism, he is a early supporter of the new taste for the classic.
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9

Romanelli, Martina. "Il formicaio, il nuvolo, il caos della lingua. Francesco Algarotti critico e teorico della letteratura." Doctoral thesis, 2021. http://hdl.handle.net/2158/1238086.

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La ricerca prende in considerazione l’esperienza teorico-letteraria di Francesco Algarotti (Venezia, 1712 – Pisa, 1764), proponendo un’edizione di quelle opere che meglio rappresentano i tornanti obbligati di una personale riforma estetica. Si dà edizione di quattro testi, finora rimasti esclusi da un intervento che possa considerarsi realmente organico e approfondito sia in senso filologico sia ermeneutico, al punto da essere ancor oggi solo reperibili o tramite edizioni settecentesche o in ristampe di taglio antologico e prive di commento: la "Vita di Stefano Benedetto Pallavicini" (1744), le nove "Lettere di Polianzio ad Ermogene intorno alla traduzione dell’Eneide del Caro" (1745), il "Saggio sopra la rima" (1755) e la "Sinopsi di una Introduzione alla Nereidologia" (1758). Da un lato, l’approccio filologico ne evidenzia i tempi e le strategie di composizione; dall’altro, il commento illustra scritture nelle quali le scelte stilistiche e i numerosi richiami culturali sono rimodellati sulla base di un forte vincolo necessitante, orientato dall’acquisizione critica del patrimonio letterario e speculativo antico e moderno. The research takes into account the theoretical-literary experience of Francesco Algarotti (Venice, 1712 - Pisa, 1764), proposing an edition of those works that best represent the hairpin bends obliged to a personal aesthetic reform. It gives edition of four texts, hitherto excluded from an intervention that can be considered really organic and in depth both philological and hermeneutical, to the point of being still today only available either through eighteenth-century editions or in anthological reprints and without commentary: "Vita di Stefano Benedetto Pallavicini" (1744), "Lettere di Polianzio ad Ermogene intorno alla traduzione dell’Eneide del Caro" (1745), il "Saggio sopra la rima" (1755) e la "Sinopsi di una Introduzione alla Nereidologia" (1758). The philological approach highlights the timing and the composition strategies; the commentary illustrates writings in which the stylistic choices and numerous cultural references are reshaped on the basis of a strong constraint in need, oriented by the critical acquisition of ancient and modern literary and speculative heritage.
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Books on the topic "Francesco Algarotti"

1

Schmitz, Norbert. Der italienische Freund: Francesco Algarotti und Friedrich der Grosse. Hannover: Wehrhahn Verlag, 2012.

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2

Arato, Franco. Il secolo delle cose: Scienza e storia in Francesco Algarotti. Genova: Marietti, 1991.

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3

1955-, Unfer Lukoschik Rita, and Miatto Ivana, eds. Lettere prussiane di Francesco Algarotti, 1712-1764: Mediatore di culture. Sottomarina di Chioggia (Venezia): Il leggio, 2011.

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Arato, Franco. Il secolo delle cose: Scienza e storia in Francesco Algarotti. Genova: Marietti, 1991.

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5

lettere ed arti) Convegno "Nel terzo centenario della nascita di Francesco Algarotti (1712-1764)" (2012 Istituto veneto di scienze. Nel terzo centenario della nascita di Francesco Algarotti 1712-1764. Venezia: Istituto veneto di scienze, lettere ed arti, 2014.

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Aricò, Denise. L'arte della guerra nel Settecento: I "Discorsi militari" di Francesco Algarotti. Ariccia (RM): Aracne editrice int.le S.r.l., 2016.

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La finestra di Pietroburgo: La geografia culturale e la frontiera europea di Francesco Algarotti. Viterbo: Sette città, 2009.

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Algarotti, Francesco, and Ivana Miatto. Francesco Algarotti : Annotazioni Biografiche = Francesco Algarotti: Biografische Anmerkungen. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2011.

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Francesco Algarotti: Ein philosophischer Hofmann im Jahrhundert der Aufklärung. Hannover: Wehrhahn, 2009.

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Ceolin, Mark Anthony. Francesco algarotti and francesco milizia: Architectural and dramatic theorists of the Italian enlightenment. 1999.

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Book chapters on the topic "Francesco Algarotti"

1

Romanelli, Martina. "Costruire libri «secondo il grado di latitudine»: il metodo geografico di Francesco Algarotti." In Studi e ricerche del Dipartimento di Lettere e Filosofia, 331–50. Firenze: Società Editrice Fiorentina, 2023. http://dx.doi.org/10.35948/dilef/978-88-6032-688-1.19.

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Scrivendo di letteratura (traduzioni, metrica, stilistica…), alla scelta di autori e testi appartenenti a latitudini diverse Francesco Algarotti associa un preciso programma ideologico e un altrettanto netto giudizio sullo spirito nazionale dei contemporanei. Un riordino geografico delle fonti, insomma, che si articola e trasfigura tra sodalizi, punte polemiche e, non ultime, ambiguità sfuggenti.
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Teodoro Peris, Josep L. "El Saggio sopra la necessità di scrivere nella propia lingua (1750) de Francesco Algarotti. Una aportació a la Questione della lingua i al debat sobre l’ús literari del llatí." In Actas del XXVI Congreso Internacional de Lingüística y Filología Románica, edited by Emili Casanova and Cesáreo Calvo, 667–82. Berlin, Boston: DE GRUYTER, 2013. http://dx.doi.org/10.1515/9783110300017.667.

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"Count Francesco Algarotti (1712–1764)." In The Emergence of Modern Architecture, 378–80. Routledge, 2004. http://dx.doi.org/10.4324/9780203380512-74.

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Henze-Döhring, Sabine. "Francesco Algarotti: Musikberater Friedrichs des Großen." In Oper der Aufklärung – Aufklärung der Oper, edited by Frieder von Ammon, Jörg Krämer, and Florian Mehltretter. Berlin, Boston: De Gruyter, 2017. http://dx.doi.org/10.1515/9783110545920-004.

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Zava, Alberto. "San Pietroburgo andata e ritorno." In «Un viaggio realmente avvenuto». Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-344-1/006.

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As a result of a travel experience in Russia in 1739, Viaggi di Russia by Francesco Algarotti, published in its final version in 1764, represents a text of certain interest in the panorama of studies related to travel literature and its dynamics. The genre of travel reportage, much frequented by twentieth-century Italian writers after the encounter between literature and journalism on the Third page of Italian newspapers, finds in Algarotti a sure antecedent: despite the clear literary intent of the writing back from St. Petersburg, in the reportage we can find elements of interest also in relation to the travel reports of twentieth-century writers-journalists.
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Chico, Tita. "Scientific Seduction." In The Experimental Imagination, 76–103. Stanford University Press, 2018. http://dx.doi.org/10.11126/stanford/9781503605442.003.0004.

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Beginning with Bacon, natural philosophy texts frequently present scientific practice as an erotic quest, establishing a correspondence between sexual seduction and natural philosophical inquiry. Bernard de Fontenelle’s and Francesco Algarotti’s scientific dialogues, translated by Aphra Behn and Elizabeth Carter, respectively, adopt the literary plot of seduction to explain and promote Cartesianism, Copernicanism, and Newtonianism. Both Behn and Carter embrace the suitability of natural philosophical education for women. For Fontenelle and Algarotti, understanding science necessitates new ways of thinking that are possible only with one’s imagination and requires that characters undergo a process of seduction. Learning science is a conversion process, simultaneously rational and affective. Mathematicians, like lovers, are persuasive and persistent, ultimately demanding submission. These scientific dialogues reframe erotic plots to promote intellectual and moral self-improvement, qualities posited as uniquely modern and widely available to the texts’ readers.
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Polin, Giovanni. "NOTE SUL PROCESSO CREATIVO DEL SAGGIO SOPRA L’OPERA IN MUSICA DI FRANCESCO ALGAROTTI:." In Diplomacy and the Aristocracy as Patrons of Music and Theatre in the Europe of the Ancien Régime, 453–70. Hollitzer Verlag, 2019. http://dx.doi.org/10.2307/j.ctvt6rjwm.19.

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Roos, Anna Marie. "Taking Newton on Tour." In Martin Folkes (1690-1754), 141–82. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198830061.003.0005.

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Although he failed in his first bid to be Royal Society President, Folkes continued to promote Newtonianism abroad. Folkes took a Grand Tour from 1732/3 to 1735, recording the Italian leg of his journey from Padua to Rome in his journal. Chapter five examines Folkes’s travel diary to analyse further his Freemasonry, his intellectual development as a Newtonian and his scientific peregrination in which he used metrology to understand not only the aesthetics but the engineering principles of antique buildings and artefacts, as well as their context and place in the Italian landscape. For Folkes, natural philosophy and antiquarianism went hand in hand. Using Folkes’s diary of his journey, and letters to/from natural philosophers such as Francesco Algarotti, Anders Celsius and Abbé Antonio Conti, this chapter analyses to what extent Folkes’s tour established his reputation as an international broker of Newtonianism as well as the overall primacy of English scientific instrumentation to Italian virtuosi.
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Krämer, Jörg. "Francesco Algarottis Saggio sopra l’opera in musica und die europäische Operntheorie in der ersten Hälfte des 18. Jahrhunderts." In Oper der Aufklärung – Aufklärung der Oper, edited by Frieder von Ammon, Jörg Krämer, and Florian Mehltretter. Berlin, Boston: De Gruyter, 2017. http://dx.doi.org/10.1515/9783110545920-002.

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