Relevant bibliographies by topics / Galleria Sciarra (Rome, Italy)

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Academic literature on the topic 'Galleria Sciarra (Rome, Italy)'

Author: Grafiati
Published: 26 July 2024

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Journal articles on the topic "Galleria Sciarra (Rome, Italy)"

1

Balzotti, Caterina, Maya Briani, Alessandro Corbetta, Emiliano Cristiani, Marina Minozzi, Roberto Natalini, Sara Suriano, and Federico Toschi. "Forecasting Visitors’ behaviour in Crowded Museums." Collective Dynamics 5 (August 12, 2020): A82. http://dx.doi.org/10.17815/cd.2020.82.

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In this paper, we tackle the issue of measuring and understanding the visitors’ dynamics in a crowded museum in order to create and calibrate a predictive mathematical model. The model is then used as a tool to manage, control and optimize the fruition of the museum. Our contribution comes with one successful use case, the Galleria Borghese in Rome, Italy.
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2

Tizzoni, Marco, and Costanza Cucini. "A Blast Furnace Painting by Jan Brueghel the Elder (1568-1625): a New Interpretation." METALLA 27, no. 1 (June 30, 2023): 81–94. http://dx.doi.org/10.46586/metalla.v27.2023.i1.81-94.

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A small painting by Jan Brueghel the Elder, portraying a blast furnace, is to be found at Galleria Doria - Pamphilj in Rome. The authors discuss this painting while considering the contemporary Flemish paintings of ironworks. From the peculiarity of this painting, from the scene it portrayed and from news about Jan Brueghel´s stay in Italy, the authors conclude that this painting may represent a Bergamasque blast furnace built in Latium.
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3

Lerda, Martina. "Mostre didattiche e musei: Giulio Carlo Argan e le sperimentazioni italiane nel secondo dopoguerra (1949-1952)." Opus Incertum 9 (December 13, 2023): 100–109. http://dx.doi.org/10.36253/opus-14844.

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This article reconstructs ministerial developments relating to the creation of educational exhibitions in Italian museums in the immediate post-war period and the first exhibitions of this type set up at the Museo Nazionale di San Matteo in Pisa (exhibition dedicated to the Polittico dei Carmelitani by Masaccio) and at the Galleria Nazionale d’Arte Moderna in Rome (exhibition on Nuragic bronzes). It is one of the first forms of reception and implementation in Italy of the principles promoted by ICOM on the educational function of museums and among its main promoters was Giulio Carlo Argan who dedicated articles to the ministerial initiative, not only in the Bolletino d’Arte, but also in Museum, the official journal of UNESCO. The aim of the paper is to bring the Italian experience into dialogue with contemporary international debate on the role of museums.
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4

Onofri, Elia, and Alessandro Corbetta. "RSSi-Based Visitor Tracking in Museums via Cascaded AI Classifiers and Coloured Graph Representations." Collective Dynamics 6 (January 19, 2022): 1. http://dx.doi.org/10.17815/cd.2021.131.

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Individual tracking of museum visitors based on portable radio beacons, an asset for behavioural analyses and comfort/performance improvements, is seeing increasing diffusion. Conceptually, this approach enables room-level localisation based on a network of small antennas (thus, without invasive modification of the existent structures). The antennas measure the intensity (RSSi) of self-advertising signals broadcasted by beacons individually assigned to the visitors. The signal intensity provides a proxy for the distance to the antennas and thus indicative positioning. However, RSSi signals are well-known to be noisy, even in ideal conditions (high antenna density, absence of obstacles, absence of crowd, ...). In this contribution, we present a method to perform accurate RSSi-based visitor tracking when the density of antennas is relatively low, e.g. due to technical constraints imposed by historic buildings. We combine an ensemble of "simple" localisers, trained based on ground-truth, with an encoding of the museum topology in terms of a total-coloured graph. This turns the localisation problem into a cascade process, from large to small scales, in space and in time. Our use case is visitors tracking in Galleria Borghese, Rome (Italy), for which our method manages >96% localisation accuracy, significantly improving on our previous work (J. Comput. Sci. 101357, 2021).
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5

Fusconi, Giulia, Jorge Fernández-Santos, and Brigitte Kuhn-Forte. "NEW INSIGHTS INTO THE ‘CARPIO ALBUM’ (SAL ms 879): COMMISSIONING, AUTHORSHIP AND CULTURAL AGENDA." Antiquaries Journal, March 26, 2021, 1–36. http://dx.doi.org/10.1017/s0003581521000019.

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An outstanding cultural promoter, collector and patron of the arts in his native Spain, Gaspar de Haro y Guzmán (1629–87), 7th Marquess del Carpio, left his mark as ambassador in Rome (1677–82) and as viceroy in Naples (1682–7). In Italy, Carpio assembled forty-three volumes of drawings, of which only four, including SAL ms 879, have been spared dismemberment. Yet, lumping the ‘Carpio Album’ together with the nobleman’s collection of original drawings completely misses the point. Unlike the others, which were assembled to boost Carpio’s connoisseurship of Italian art, the Album was commissioned to showcase the collection of (largely antique) sculpture he had acquired in Rome and the series of modern fountains he commissioned, also in Rome. Like Vincenzo Giustiniani’s epoch-making Galleria Giustiniana of 1636–7, the Album was to be printed. The marquess’s departure for Naples cut short an ambitious publication project, the theoretical background and pedagogic scope of which have been largely overlooked. The attribution of drawings to artists Philipp Schor and Paolo De Matteis, amongst others, underlines the complex cultural agenda underpinning an Album conceived to reinstate the Roma antica myth by linking it to its Roma moderna counterpart. A new understanding of De Matteis’s artistry and objectives in configuring the Album is complemented with findings regarding Carpio’s commissioning or acquisition of antique, pseudo-antique and modern sculpture. The collection’s fateful dispersal helps unravel the Album’s most likely provenance.
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Books on the topic "Galleria Sciarra (Rome, Italy)"

1

Villa Sciarra-Wurts sul Gianicolo: Da residenza aristocratica a sede dell'Istituto italiano di studi germanici. Roma: Artemide, 2007.

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2

Velestino, Daniela. La Galleria lapidaria dei Musei capitolini. Roma: De Luca editori d'arte, 2015.

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3

Torlonia, Musei di Villa, and Rome (Italy). Galleria comunale d'arte moderna e contemporanea, eds. Percorsi del Novecento romano dalla Galleria comunale d'arte moderna. Roma: Gangemi, 2010.

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4

Rome (Italy). Galleria comunale d'arte moderna e contemporanea. Catalogo generale: Della Galleria comunale d'arte moderna e contemporanea. [Rome]: Edizioni De Luca, 1994.

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5

Daniela, Di Castro, Pedrocchi Anna Maria, and Waddy Patricia, eds. Il Palazzo Pallavicini Rospigliosi: E la galleria Pallavicini. Torino: U. Allemandi, 1999.

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Galleria comunale d'arte moderna e contemporanea (Rome, Italy). Catalogo generale: Della Galleria comunale d'arte moderna e contemporanea. [Rome]: Edizioni De Luca, 1995.

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7

Rossella, Vodret, and Mochi Onori Lorenza, eds. Palazzo Barberini: Capolavori della Galleria nazionale d'arte antica. Roma: Ministero per i beni culturali e ambientali, Soprintendenza per i beni artistici e storici di Roma, 1998.

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8

Balla, Giacomo. Balla and Futurist Italy: Paintings from the Galleria Nazionale d'Arte Moderna, Rome. London: Estorick Collection, 1998.

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9

Annalisa, Zanuttini, ed. Villa Borghese: The collections and the park. Rome: Fratelli Palombi Editori, 1993.

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10

Annalisa, Zanuttini, ed. Villa Borghese: Le collezioni e il parco. Roma: F.lli Palombi, 1993.

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Book chapters on the topic "Galleria Sciarra (Rome, Italy)"

1

Rodinò, Simonetta Prosperi Valenti. "Padre Sebastiano Resta (1635–1714) and the Italian Schools of Design." In Art and Its Geographies. Amsterdam University Press, 2024. http://dx.doi.org/10.5117/9789463728140_ch07.

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During the second half of the seventeenth century in Italy, Padre Sebastiano Resta, a prominent collector and connoisseur of drawings who was based in Rome, assembled drawings in nearly 30 volumes. He organised the drawings in his albums to demonstrate a particular art historical point of view: the early development of visual art in Italy according to artists and schools, and in strict chronological order. Every volume illustrated a complete history of ‘disegno’, because his purpose was to display the history of Italian art in figures. This essay discusses the volumes entitled ‘Galleria portatile’ and ‘Felsina vindicata contra Vasarium’, which place him both in the tradition of Giorgio Vasari and in the anti-Vasarian polemic of the seventeenth century.
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