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Dissertations / Theses on the topic 'Italian Art'
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Hydes, Carol Ann. "Italian mosaic art 1270-1529." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/67655/.
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McCue, Maureen Clare. "British Romanticism and Italian Renaissance art." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2680/.
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This study examines British Romantic responses to Italian Renaissance art and argues that Italian art was a key force in shaping Romantic-period culture and aesthetic thought. Italian Renaissance art, which was at once familiar and unknown, provided an avenue through which Romantic writers could explore a wide range of issues. Napoleon’s looting of Italy made this art central to contemporary politics, but it also provided the British with their first real chance to own Italian Old Master art. The period’s interest in biography and genius led to the development of an aesthetic vocabulary that might be applied equally to literature and visual art. Chapter One discusses the place of Italian art in Post-Waterloo Britain and how the influx of Old Master art impacted on Britain’s exhibition and print culture. While Italian art was appropriated as a symbol of British national prestige, Catholic iconography could be difficult to reconcile with Protestant taste. Furthermore, Old Master art challenged both eighteenth-century aesthetic philosophy and the Royal Academy’s standing, while simultaneously creating opportunities for new viewers and new patrons to participate in the cultural discourse. Chapter Two builds on these ideas by exploring the idea of connoisseurship in the period. As art became increasingly democratized, a cacophony of voices competed to claim aesthetic authority. While the chapter examines a range of competing discourses, it culminates in a discussion of what I have termed the ‘Poetic Connoisseur’. Through a discussion of the work of Lord Byron, Percy Shelley and William Hazlitt, I argue that Romantic writers created an exclusive aristocracy of taste which demanded that the viewer be able to read the ‘poetry of painting’. Chapter Three focuses on the ways in which Romantic writers used art to produce literature rather than criticism. In this chapter, I argue that writers such as Byron, Shelley, Lady Morgan, Anna Jameson and Madame de Staël, created an imaginative vocabulary which lent itself equally to literature and visual art. Chapter Four uses Samuel Rogers’s Italy as a case study. It traces how the themes discussed in the previous chapters shaped the production of one of the nineteenth century’s most popular illustrated books, how British art began to appropriate Italian subjects and how deeply intertwined visual and literary culture were in the period. Finally, this discussion of Italy demonstrates how Romantic values were passed to a Victorian readership. Through an appreciation of how the Romantics understood Italian Renaissance art we can better understand their experience and understanding of Italy, British and European visual culture and the Imagination.
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Kline, Jonathan Dunlap. "Christian Mysteries in the Italian Renaissance: Typology and Syncretism in the Art of the Italian Renaissance." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/4976.
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Art History<br>Ph.D.;<br>My dissertation studies the typological juxtaposition and syncretic incorporation of classical and Christian elements-subjects, motifs, and forms-in the art of the Italian Renaissance and the significant meaning of classical subjects and figures in such contexts. In this study, I analyze the interpretative modes applied to extra-Biblical and secular literature in the Italian Tre- and Quattrocento and the syncretic philosophies of the later Quattro- and early Cinquecento and reevaluate selected works of art from the Italian Renaissance in light of the period claims and beliefs that are evident from such a study. In summary, my dissertation considers the use of classical subjects, motifs, and forms in the art of the Italian Renaissance as a means to gloss or reveal aspects of Christian doctrine. In chapter 1, I respond to the paradigm proposed by Erwin Panofsky (Renaissance and Renascences) and establish a new criteria for understanding the difference between medieval and Renaissance perceptions of classical antiquity. Chapter 2 includes a study of the mythological scenes painted in the Cappella Nova of Orvieto Cathedral, which are here shown to gloss and reveal aspects of the developing Christian doctrine of Purgatory. In chapter 3, I study the Renaissance use of representational ambiguity as a means of signifying the propriety of pursuing an allegorical interpretation of a work and specifically address the typological significance of figures in Botticelli's Primavera. In chapter 4, I examine the philosophical concepts of prisci theologii and theologicae poetae and their significance in relation to the representation of classical figures in medieval and Renaissance works of art. This study provides the necessary background for a reevaluation of syncretic themes in Raphael's Stanza della Segnatura, which is the subject of the final chapter. In chapter 5, I identify classical figures in the frescoes of the Stanza della Segnatura-among them, Orpheus in the Parnassus and Plato and Aristotle in the Disputa-and offer a new interpretation of the iconographic program of the Stanza della Segnatura frescoes as a representation of the means by which participants in the Christian tradition, broadly conceived, approach God through the parallel paths of dialectic and moral philosophy.<br>Temple University--Theses
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Strobbe, Ilde <1997>. "THE DECOLONIZATION OF THE MUSEUM. CENTRING AFRO-ITALIAN PRESENCE IN THE ITALIAN ART SYSTEM." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21745.
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The following thesis investigates the need to decolonise the Italian museum institution that still does not adequately represent the community of Afro-Italian artists.
The issue of inclusivity and equal representation in art institutions is not new, and has been highlighted since the last century, underlying the presence of an art system characterised by the privileging of some social groups and the marginalisation of others.
In the specific case of Italy, the problem of decolonisation is rooted in Italy's colonial past, which we talk about too little and which still conditions the present with dynamics of exclusion towards otherness and the persistent idea of an Italian identity that does not take into account its multi-ethnic composition. The ethnographic museum, a symbol of European colonialism par excellence, can be a good starting point for the decolonial debate in Italy, as it is showing that it is coming to terms with its colonial responsibilities and therefore could also be a valid example for contemporary art museums. Indeed, the inclusion of Afro-Italian artists in Italian contemporary art museums is almost absent but their invisibility in the system of art institutions is present in Italian society in general, where Afro-descendants are invisible in the eyes of society because of their blackness but at the same time their appearance makes them easy targets for prejudice and discrimination. This is a problem that Italian society struggles to recognise, pointing the finger at countries such as the United States that are usually the reference point when it comes to racial issues and discrimination against black people. The United States is certainly a curious case to analyse in this sense if we consider its huge African-American community and the struggles it has faced to obtain equal civil rights, even in the art system. Although the United States has experienced significant collective mobilisations throughout history and its activism has inspired the whole world, its art institutions are still trying to improve in terms of inclusivity and equal representation just as Italy is doing; the difference is that Italy has practically just started.
The thesis will present some examples of Italian contemporary art museums and cultural initiatives that show a willingness to change direction, considering their strengths but also their limitations, and finally, the case studies of three Afro-Italian artists with a focus on their artistic production and an insight into the black presence in Italian museums from their perspective as protagonists of the art system.
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Thomas, Ben. "The paragone debate and sixteenth-century Italian art." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336249.
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Ashton, Anne M. "Interpreting breast iconography in Italian art, 1250-1600." Thesis, University of St Andrews, 2006. http://hdl.handle.net/10023/2675.
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The motif of the uncovered female breast is ubiquitous in art of all ages and cultures. Modern analysis of breast imagery tends to be biased by the sexual significance that breasts have now. However in Italian renaissance art the exposed breast appears in many different manifestations. The purpose of this thesis is to explore several specific types of breast iconography. The first chapter will examine images of Maria lactans, and consider the religious, cultural and psychological meaning held within the image and the social changes which were to lead to its loss of popularity. Chapter Two will consider the appearance of secular images of breastfeeding, particularly in the city-states of north Italy in the early Renaissance, and examine possible sociological reasons for the political use of the depiction of breast feeding. Other associated breast iconography will also be considered. Chapter Three will focus on images of the tortured breast, particularly depictions of St. Agatha suffering the removal of her breasts during martyrdom. Both the sacred and sado-sexual elements of such images will be examined. The fourth chapter will look at images of Lucretia. It will be examined why in so many cases artists chose to depict her with her breasts exposed (in contradiction to ancient sources) and with the dagger actually pointing at or embedded in her breast. It will be argued that the breast was used in art as external symbol of the female heart. The final chapter of the thesis will focus on paintings Cleopatra. Again, there is an even more marked contradiction to ancient sources when Cleopatra is depicted dying by a snakebite to the breast. A full-circle will be achieved in the contrast of paintings of Mary suckling Christ with images of Cleopatra apparently breastfeeding a snake.
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Tobey, Elizabeth MacKenzie. "The palio in Italian Renaissance art, thought, and culture." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2458.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2005.<br>Thesis research directed by: Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Macneil, Georgina Sybella. "Giovannino Battista: the boy Baptist in quattrocento Italian art." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10299.
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This thesis explores the imagery of the young John the Baptist in Renaissance art. The phenomenon of John’s juvenescence has been noted but insufficiently explored by previous scholarship. The present study reassesses the figure of the youthful Baptist by means of rigorous theological exegesis of biblical, apocryphal and late medieval textual sources and a thorough investigation of the visual corpus. Beginning with the mosaics of the Florentine Baptistery, a handful of narrative cycles locate the onset of John’s prophetic career in the desert at an ever-earlier point in his life. However, it was not until the mid-fifteenth century that the boy John was released from the confines of his own narrative to become an independent figure in devotional imagery. Innovative altarpieces by Filippo Lippi commissioned by the Medici family in the late 1450s and 60s are shown to be crucial in promoting and disseminating this new vision of Florence’s beloved patron saint. The thesis demonstrates the enormous popularity of the youthful Baptist in the following decades, first in Florence and subsequently elsewhere in Italy, and interrogates the significance of his presence as infant, boy and adolescent across a wide range of pictorial and sculptural representations. One of the most famous examples of the child John, Leonardo da Vinci’s “Virgin of the Rocks”, is recontextualised within this existing pictorial current, to show that this masterpiece is at once more traditional and more innovative in its treatment of subject matter than has hitherto been recognised. Key narrative moments, such as a meeting between Christ and John, and new ways of visualising the intimate bond between the two children formulated towards the end of the fifteenth century, including physical embraces and shared exposure of vulnerable infant flesh, are also investigated. Through such investigations, the thesis aims to advance understanding of the multiple and intersecting roles played by the boy Baptist in Renaissance art and devotion.
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Taschian, Helen. "Naturalism and Libertinism in Seventeenth-Century Italian Painting." Thesis, University of California, Santa Barbara, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3612041.
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<p> The work of Caravaggio, which was recognized as revolutionary in his own time and exerted a profound influence on seventeenth century painting all over Europe, has prompted a wide range of interpretations among modern art historians. Some, emphasizing the controversy generated by his religious pictures, have seen him as a daringly irreverent artist, while others have found his unidealized "naturalistic" style fundamentally well-suited to the spirit of the Catholic Counter-Reformation. Some detect a boldly overt homoeroticism in many of his pictures, while others claim not to see it at all. Some understand him to have worked in an unprecedentedly direct, almost visceral way, while others emphasize his sympathy with new directions in the sciences or the intellectual sophistication with which he played his naturalistic style against the precedents of classical and earlier Renaissance art. </p><p> Caravaggio's difficult personality has also lent itself to different readings. Some see him as a sociopath, if not a psychopath, while others see him calculatedly performing the role of social rebel in a manner that looks forward to the self-consciously dissident posturings of modern artists. Some art-historians have been led to conclude that he had highly-developed non-conformist values and tendencies that could be described as "libertine" in at least some of the varied senses in which that word was used during his time. </p><p> The aim of this dissertation is to discuss the relation of Caravaggio's work and personal example to his immediate art-historical and cultural context, but also to trace their influence on an ever-more-disparate group of artists active in the seventeenth century in order to see whether his style, sometimes characterized as "Baroque Naturalism," actually implied a set of values beyond its efficacy as an artistic strategy, whether a commitment to it implied or was understood to imply a non-conformist or libertine orientation that might be a matter of deep conviction on the part of the artist or a position felt to be appropriate to certain themes or in certain contexts. </p><p> The first chapter examines Caravaggio himself, while the second discusses three artists—Giovanni Baglione, Orazio Gentileschi, and Guido Reni—who knew him personally and responded to his work as it burst so dramatically on the scene in the very first years of the century. The third chapter discussed three artists who were active shortly afterward, whose engagement with Caravaggio testifies to a wider field of influence: Valentin de Boulogne, Domenico Fetti, and Guido Cagnacci. The final chapter sets two very different artists—Salvator Rosa and Nicolas Poussin—side by side in order to expose both the radically different responses to Caravaggio's legacy and the diverse senses in which the word "libertine" must be understood. </p><p> While the evidence does seem to suggest that at least some artists utilized Caravaggesque naturalism in order to invoke a well-defined "alternative tradition," one that was understood to imply a certain range of values, very few committed themselves to his approach strictly or for very long. Poussin rejected it emphatically. Yet Poussin, too, deliberately positioned himself on the margins of the Roman art world in order to cultivate a distinctive approach to art, one that seems to have been consciously based on deeply-held philosophical convictions. The lesson seems to be that Caravaggio's example made it possible for later artists to develop strategies with which to express their dissent from the prevailing values and practices of their time, and that even if their work did not look like his, they were indebted to him.</p>
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Norris, Rebecca M. "Carpaccio's Hunting on the lagoon, and Two Venetian ladies a vignette of fifteenth-century Venetian life /." [Kent, Ohio] : Kent State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1185214455.
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Thesis (M.A.)--Kent State University, 2007.<br>Title from PDF t.p. (viewed November 14, 2007). Advisor: Gustav Medicus. Keywords: Carpaccio; Vittore Carpaccio; Hunting on the Lagoon; Two Venetian Ladies; Social Studies, Venice; Renaissance, Venice; Material Culture, Venice; Gender Studies, Venice; Furniture, Venice; Domestic, Venice; Women's Fashion, Venice; Letter Rack; Venetian Soceity. Includes bibliographical references (p. 71-75).
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Leeker, Laura. "Narrative and Experimentation in Fourteenth-Century Italian Chapter Houses." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587636941131244.
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Zaho, Margaret Ann. "Imago triumphalis : the function and significance of triumphal imagery for Italian Renaissance rulers /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/6242.
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Giorio, Maria-Beatrice. "Gli scultori italiani e la Francia : influenze e modelli francesi nella prima metà del novecento." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100053/document.
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Cette étude a analysé la présence des sculpteurs italiens à Paris du début du XX siècle à la fin des années Trente, afin de reconstituer un chapitre important de l'histoire des échanges artistiques en France. Nous nous sommes servis d'une méthode historique et philologique, qui a bien été appliquée aux écrits critiques et à la presse de l'époque. Pour ce qui concerne le début du siècle, nous avons remarqué une participation considérable de la part des italiens aux principaux événements expositifs de la capitale comme les Salons officiels; le succès de public et commercial leur avait permis d'obtenir une place parmi les artistes à la mode les plus connus. Pendant les années Vingt, nous avons constaté un nombre moins significatif de sculpteurs; nous avons lu ce fait en nous rapportant à la situation historique italienne, qui en ce temps subissait des importants changements dus à l'ascension du régime fasciste. Les italiens qui étaient encore présents en France après la Guerre ne s'inséraient guère dans le cadre des nouvelles recherches artistiques italiennes, ils poursuivaient, au contraire, des orientations esthétiques plutôt dépassées. La dernière partie de notre étude s'est intéressée à l'essor du nouveau langage artistique de la péninsule italienne qui pendant les années Trente se répandit enfin même à l'étranger. Les sculpteurs italiens pouvaient donc participer activement à la vie expositive parisienne, tout en montrant le visage d'une plastique qui avait enfin pris conscience de ses potentialités. La France de sa part accueillait volontiers ces expérimentations, dans le but d'instituer une relation d'amitié durable avec le pays voisin<br>This study has analyzed the presence of Italian sculptors in Paris from the beginning of the 20th Century to the end of the third decade, with the aim of reconstructing an important chapter of the history of artistic exchanges between Italy and France. We have favored an historical-philological method, based on critical publications and old French and Italian press.Concerning the beginning of the century, we have remarked a considerable participation of Italians in the main expositions in the French capital, such as official Salons; critical and market success allowed them to get a main role in the crew of the most popular artists.During the twenties, we have noted a less considerable participation of Italian sculptors; we have interpreted it in relation to historical context of fascist Italy, where the government was trying to develop a national cultural program. The Italian artists in France, after the First World War, didn't share the new Italian artistic orientation; they went on with outdated aesthetic choices.The last part of our research was interested in the development of the new Italian artistic language, finally known out of Italy. The Italian sculptors consequently could take part in arts activity in Paris, showing the face of a new sculpture, finally aware of its potentialities. France gave these experimentations a good welcome in the aim of constituting a longtime friendship with the Italian country
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Ragazzi, Alexandre. "Os modelos plásticos auxiliares e suas funções entre os pintores italianos = com a catalogação das passagens relativas ao tema extraídas da literatura artística." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280014.
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Orientador: Luiz Cesar Marques Filho<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-17T07:36:06Z (GMT). No. of bitstreams: 1
Ragazzi_Alexandre_D.pdf: 130803920 bytes, checksum: c31f1fe5f72d513ab06d0886a0f294cb (MD5)
Previous issue date: 2010<br>Resumo: Procedimento surgido na Itália central durante o Quatrocentos, o uso de modelos plásticos auxiliares estava entre as diversas etapas que compunham o longo processo de realização de uma pintura. Essa prática artística consistia na elaboração de estatuetas de argila ou cera que deveriam atuar como modelos para o pintor. Podiam ser vestidos ou não, utilizados como figuras isoladas ou em uma composição. Devido aos frágeis materiais com os quais eram feitos e ao desinteresse dos contemporâneos em preservá-los pouquíssimos resistiram à ação do tempo, e os meios agora disponíveis para atestar sua existência são sobretudo a análise de pinturas e desenhos, de inventários e da literatura artística. Com efeito, embora dispersos, há um grande número de testemunhos a respeito dessa prática nos escritos sobre arte, e através desses registros é possível compreender as funções e o valor atribuídos a esses modelos no processo criativo dos pintores. O momento de maior difusão dessa prática parece ter se dado durante o século XVI. Os testemunhos existentes apontam para um uso disseminado de tais modelos entre os artistas italianos, tanto em ambiente romano-toscano quanto setentrional. Entretanto, a partir do final daquele século também é possível perceber que seu emprego começou a ser questionado, ora sendo incentivado, ora reprovado. A análise desse período, portanto, oferece a possibilidade de demarcar essa prática artística e, ao mesmo tempo, aquilatar sua extensão e seu alcance.<br>Abstract: Procedure emerged in central Italy during the Quattrocento, the use of auxiliary plastic models was among the various stages that made up the long process of creating a painting. This practice consisted in developing artistic figurines of clay or wax, which should act as models for the painter. They could be dressed up or not, used as isolated figures or in a composition. Due to the fragile materials with which they were made and the lack of interest of the contemporaries in preserving them, just a few could resist the action of time, and the resources now available to attest to their existence are primarily the analysis of paintings and drawings, of inventories and of the artistic literature. Actually, although sparse, there are a lot of testimonies about this practice in the writings on art, and through these records it is possible to understand the functions and the value attributed to these models in the creative process of painters. The moment of greatest diffusion of this practice seems to have taken place during the sixteenth century. The existing evidences point to a widespread use of such models among Italian artists, both in central and northern Italy. However, from the end of the century it is also possible to notice that this practice came into question, sometimes being encouraged and sometimes disapproved. The analysis of this period, therefore, offers the possibility of demarcating this artistic practice and, at the same time, assessing its extent and scope.<br>Doutorado<br>Doutor em História
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Vülser, Ingrid. "The theme of death in Italian art : the triumph of death." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33944.
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This paper focuses on the evolution of the theme the Triumph of Death, the representation of the personification of death and the dead in the late Middle Ages. The first part of this thesis represents different points of view of art historians and historians concerning the death and the afterlife. There follows a short description and analysis of the cultural environment especially regarding literature which closely relates to the visual art and the representation of death. The last part describes three themes of death and the most important representations in frescoes, panels, bas-reliefs of the Triumph of Death evincing the main idea and the underlying structure and composition. Two different ways of representation can be distinguished: the Triumph of Death in the shape of the apocalyptic rider as appearing in the Revelation of Saint John the Evangelist and the Triumph of Death based on Petrarch's poem the Trionfi.
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Rogers, Mark Christopher. "Art and public festival in Renaissance Florence studies in relationships /." Full text available online (restricted access), 1996. http://images.lib.monash.edu.au/ts/theses/Rogers.pdf.
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Russell, Lucy. "Domesticating Winckelmann : his critical legacy in Italian art scholarship, 1755-1834." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:8e2d3058-1ae8-46ab-8fab-8f2c9b473860.
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This thesis explores the reception of Johann Joachim Winckelmann in Italian art scholarship, 1755-1834. Winckelmann posed a problem: he was a presence in Italy that could not be ignored, yet the views he expounded were Italophobic and contentious to an Italian readership. In light of this dilemma, the research question asked is how did Italian art scholarship respond to Winckelmann in this period and why did it respond in that way. The core argument advanced is that there were two opposing reactions to Winckelmann, both of which were motivated by nationalism. On the one hand, Italian art scholars presented Winckelmann, his works, and his views as less attractive to an Italian readership than they would otherwise have appeared and, on the other hand, they presented him as more attractive. Through these reactions â termed foreignization and domestication respectively â art scholarship either defended against and ostracized Winckelmann or, when presented as less offensive, welcomed and embraced him amongst Italians. Thus this thesis argues that both reactions demonstrate a nationalistic attempt to portray Winckelmann in the manner most auspicious to the yet-to-be-united peninsula. In order to explore this response to the German scholar, the thesis centres on three media: translations, art literature, and artistic journalism. Both foreignization and domestication are evident throughout the sources analysed, yet there is a predominance of domestication, achieved through a variety of methods. This investigation adds to existing literature by examining the previously overlooked dilemma that Winckelmann posed. Moreover, employing the original conceptual framework of foreignization and domestication allows for a re-evaluation of how the art scholarship of the period engaged with the German scholar. Finally, demonstrating the infiltration of nationalistic sentiment in this period, even extending to Italian art scholarship, this thesis is the first to posit that nationalism played a significant role in Winckelmann's critical legacy.
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Pinkston, Pamela. "Philosophic and scientific concepts of space : their effects on sixteenth century Italian art and architecture." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/21733.
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Ker, Dorian. "Twelve perspectives on Arte Povera." Thesis, University of Essex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242260.
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Fermor, Sharon Elizabeth. "Studies in the Depiction of the Moving Figure in Italian Renaissance Art, Art Criticism and Dance Theory." Thesis, University of London, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492194.
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Stowell, Steven. "The mystical experience of art : Medieval Christian themes in the literature on art of the Italian Renaissance." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517020.
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SIGARI, DARIO. "Upper Palaeolithic rock art of the Italian peninsula. A general review, reframing it into an Euro- Mediterranean context." Doctoral thesis, Universitat Rovira i Virgili, 2018. http://hdl.handle.net/10803/670910.
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La present tesi constitueix una investigació sistemàtica sobre l'art rupestre paleolític a la Península Italiana, inserint-lo en el més ampli debat a nivell euromediterrani i oferint un suport vàlid per futures recerques en el mateix camp.
Han estat seleccionats onze casos d’estudi principals, per la seva riquesa i importància a nivell bibliogràfic: Balzi Rossi (coves Florestano, Blanc-Cardini i Caviglione - Ventimiglia, Imperia), la cova de la Bàsura (Toirano, Savona), la cova de les Arene Candide (Toirano, Savona), els espais a camp obert de Luine (Rocce No. 6 e 34 - Darfo-Boario Terme, Brescia), la cova de Fumane (Fumane, Verona), el refugi del Romito, la cova Paglicci (Rignano Garganico, Foggia) i la cova Romanelli (Costra, Lecce).
Els espais seleccionats han estat analitzats adoptant una aproximació interdisciplinària, introduint tots els aspectes rellevants: la geologia, l'arqueologia, la història dels estudis i els anàlisis de les conservacions, abans d'arribar a la discussió final sobre l'art rupestre.
La revisió dels espais ja coneguts ha permès reorganitzar millor totes les dades a nivell cronològic i de distribució espacial. Així mateix, la nova proposta metodològica ha suposat, per primera vegada, la introducció sistemàtica d'una sèrie de nous anàlisis i variables en l'estudi d'aquesta temàtica, tals com la primera datació amb el sistema U/Th i la valoració geològica de les línies glacials sobre les roques de la Valcamonica. Una aproximiació a l'estudi que va més enllà de la simple anàlisi morfològica, aportant una llum innovadora sobre el fenomen de l'art rupestre durant el paleolític superior a la Península Italiana.
És així com ha estat possible identificar una forta varietat en les qüestions presentades, en la cronologia i en les relacions amb altres àrees, evidenciant possibles dinàmiques socials que es troben a la base de la difusió dels símbols, demostrant així com la Península Italiana ha estat un cap de pont i no pas un cul-de-sac, en el més ampli panorama de l'art rupestre paleolític de la regió euromediterrània.<br>Esta tesis constituye un trabajo sistemático sobre el arte rupestre paleolítico en la península italiana, insertándolo en un debate más amplio a nivel de la región euro-mediterránea y ofreciendo un soporte valido por futuras investigaciones.
Once yacimientos han sido seleccionados como casos de estudio principal debido a la riqueza patrimonial y a su importancia a nivel bibliográfico: Balzi Rossi (cuevas de Florestano, Blanc-Cardini and Caviglione - Ventimiglia, Imperia), cueva della Bàsura (Toirano, Savona), cueva delle Arene Candide (Toirano, Savona), y los sitios al aire libre de Luine (rocas No. 6 e 34 - Darfo-Boario Terme, Brescia), cueva di Fumane (Fumane, Verona), abrigo del Romito, cueva Paglicci (Rignano Garganico, Foggia) y cueva Romanelli (Castro, Lecce).
Los yacimientos se han analizado desde un enfoque multidisciplinar, introduciendo todos los aspectos relevantes: la geología, la arqueología, la historia de los estudios, la análisis de conservación y la descripción del componente iconográfico, antes de llegar a la valoración y discusión.
La revisión de yacimientos ya conocidos ha permitido reorganizar mejor todos los datos a nivel cronológico y de distribución espacial. Además, la nueva propuesta metodológica ha favorecido la introducción, por la primera vez de manera sistemática, de nuevos análisis y variables en el estudio de ese tema: la primera datación con el sistema U/Th y la evaluación geológica de las líneas glaciales en las rocas de Valcamonica. Un enfoque que va mas allá del simple análisis morfológico, dando enfoque diferente sobre el fenómeno del arte rupestre paleolítico en la península italiana.
De este modo, se ha podido documentar una gran variabilidad en los temas, en la cronología y en las relaciones con otras áreas, evidenciando posibles dinámicas sociales que están a la base de la difusión de los símbolos, y demostrando cómo la península italiana ha sido “un puente” y no un “cul-de-sac” en el más amplio panorama del arte rupestre paleolítico de la región euro-mediterránea.<br>This thesis manuscript is a systematic work on the Palaeolithic rock art in the Italian peninsula including it into a wider debate involving the Euro-Mediterranean region, and offering a valid support for further researches in this field.
Eleven sites were selected as main review cases, according to their richness and significance from a bibliographic point of view: Balzi Rossi (Florestano, Blanc-Cardini and Caviglione caves - Ventimiglia, Imperia), Bàsura cave (Toirano, Savona), Arene Candide cave (Toirano, Savona), Luine open air rock art sites (Rocks No. 6 and 34 - Darfo-Boario Terme, Brescia), Fumane cave (Fumane, Verona), Romito shelter, Paglicci cave (Rignano Garganico, Foggia) and Romanelli cave (Castro, Lecce).
The sites were separately discussed adopting a multidisciplinary approach introducing all the relevant aspects, the geology, the archaeology, the history of the studies and the preservation analysis, before getting to a final discussion of the rock art evidence.
The review of the already known sites has permitted to better re-arrange all the data, in terms of chronology and spatial distribution. Moreover the new methodological proposal let introduce for the first time in systematic way a series of analysis and variables in the study of this topic, e.g. the first U/Th dating, the geological evaluation of the glacial lines on the Valcamonica rocks. An approach which goes beyond the mere morphological analysis, casting a different light on the rock art phenomenon during the Upper Palaeolithic in the Italian peninsula.
So it was possible to notice a high variability in the rock art themes, in its chronology and in the relationships with the other areas, highlighting possible social dynamics occurred which are the cause of the symbol diffusion, and showing how the Italian peninsula was a bridgehead and not a dead-end in the wider panorama of the Palaeolithic rock art of the Euro-Mediterranean region.
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JAFARYAN, Faezeh. "Italian Neorealism and Iranian Cinema: A Deleuzian Reading." Doctoral thesis, Università degli studi di Ferrara, 2016. http://hdl.handle.net/11392/2403414.
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L’influenza del neorealismo italiano sui film realizzati dopo la sua stagione e sui movimenti cinematografici sorti sia in Italia sia all’estero è stata oggetto di analisi per molti studiosi. Anche il cinema iraniano, in particolare l’opera di Abbas Kiarostami, è stata indagata alla luce dell’esperienza neorealista. Tuttavia, la quasi totalità di queste ricerche e di questi studi si è concentrata principalmente sul contenuto sociale e su alcune caratteristiche stilistiche ed estetiche proprie del neorealismo. Ci riferiamo a caratteristiche come “l’uso di ambienti reali, di attori non professionisti, di campi lunghi, di trame poco complesse… ” che sono state ripetutamente indicate da studiosi e storici del cinema come identificative del neorealismo. Ci sono, però, alcuni intellettuali che hanno cercato di andare oltre le definizioni convenzionali date a questo movimento e di prestare attenzione alle sue implicazioni filosofiche. In tal senso, Gilles Deleuze, che ha dedicato un intero capitolo del suo L’immagine-movimento. Cinema 1 (1984) al neorealismo e che ha citato, all’interno di entrambi i suoi due volumi di argomento cinematografico, molti film italiani per esemplificare le sue teorizzazioni, è uno dei filosofi più importanti. Secondo Deleuze il neorealismo italiano rappresenta un punto di svolta nella storia del cinema, un momento in cui viene alla luce un nuovo tipo d’immagine, un’immagine ottica che offre una diretta rappresentazione del tempo. In questa dissertazione abbiamo cercato di stabilire un confronto tra la new wave iraniana e il neorealismo sulla base dei concetti e delle definizioni che Gilles Deleuze attribuisce a quest’ultimo e abbiamo cercato di esplorare i diversi tipi di immagine-tempo e di immagine-pensiero in alcuni film italiani e iraniani.<br>The influences of Italian neorealism on subsequent films and cinematic movements either in Italy or abroad have been studied by a great deal of scholars. Iranian cinema particularly Abbas Kiarostami’s films, also, have been investigated from the viewpoint of neorealism. The common ground of all these researches and studies, however, is the social content and some aesthetic and stylistic features of neorealism; the features such as ‘real locations, non-professional actors, long shots, simple plots, etc.’ which have been repeated by critics and historians of cinema as the defining features of neorealism. There are some thinkers, though, who tried to go beyond conventional definitions of this movement and pay heed to its philosophical dimensions. Gilles Deleuze is one of the most important philosophers, in this sense, who dedicated a chapter of his Cinema 1 (1986) to Italian neorealism and cited many Italian films as examples of his theories throughout his two-volume cinematic books. According to him, Italian neorealism is a turning point in history of cinema, where a new cinematic image came to exist for the first time, a pure optical image which gives a direct presentation of time. In this study, we tried to make a comparison between neorealism and Iranian new-wave in terms of concepts and definitions Deleuze ascribed to neorealism and we tried to explore different kinds of time-image and thoughtimage in some Italian and Iranian films.
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Ellison, Melinda Jane. "Images of venus in epithalamic art of the Italian Renaissance, 1460-1540." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ42234.pdf.
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Butterworth, Annetta Judith Helen. "The depiction of deformity in Italian art, c.1450 to c.1600." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415271.
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Addis, Ginevra. "The re-identification of Pop Art: its reception from an Italian perspective." Thesis, IMT Alti Studi Lucca, 2019. http://e-theses.imtlucca.it/287/1/Addis_phdthesis.pdf.
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The Pop Art phenomenon has been a subject of discussion for art critics,
gallerists, collectors and the artists themselves, since its first appearance
in the ’50s. However, since the ’80s there has been a strong interest in
retrospectively studying the current, trying not only to define its spread
in geographical and chronological terms, but also to identify which
artists and single pieces of artwork can be labeled as ‘Pop’. Despite the
efforts made in describing the current, previous research has trivialized
it, so much so that the term Pop has been misattributed, and its features
are not precise.
Within this framework, this thesis aims to investigate the artistic
fortunes of Pop Art in Italy, trying to understand whether what
happened in Italy could be identified as such, especially focusing on the
period between 1962 and 1964, and the period immediately after. Among
the centers where Pop Art spread, Milan and Rome are the focus of this
investigation that works to observe their possible connections with the
US. For this reason, the research has been conducted according to a
linguistic and visual philological methodology, analyzing primary
material (such as the archives of the so-called Italian Pop artists), as well
as critical primary and secondary sources (from the end of the Fifties to
nowadays).
Additionally, due to the influence of other art forms, such as
music, cinema and theater, the topic calls for an inter-disciplinary
approach in order to describe the socio-cultural context in which Pop Art
appeared. In light of such analysis, this research provides a
comprehensive overview of the Pop current based on historical data,
redefining the term, the socio-cultural context and the issues to resolve,
in order to re-read such a phenomenon. Finally, the thesis suggests that
the work done here be followed as a methodological approach to reidentify
Pop Art in single territories, in order to better understand the
diverse iterations of either the current itself or its aesthetic characteristics.
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Frétigny-Ryczek, Marie. "L'Ecole romaine de 1918 à nos jours : histoire d'une fortune critique." Thesis, Paris, Institut d'études politiques, 2013. http://www.theses.fr/2013IEPP0051/document.
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Cette thèse de doctorat ne vise pas tant à questionner la pertinence de la formule d'École romaine (Scuola Romana) appliquée à un groupe de peintres et de sculpteurs actifs à Rome dans l'entre-deux-guerres qu'à tenter de comprendre le succès de cette étiquette jusqu'à nos jours. Différentes méthodes sont utilisées pour aborder les écrits de critique d'art et les discours scientifiques, mais aussi les productions textuelles plus liées à la fiction et au témoignage. D'autre part, ce travail analyse les carrières singulières des artistes ainsi que le devenir des œuvres afin de replacer l'École romaine par rapport à une histoire du goût en Italie et au-delà. L'étude suit une progression chronologique. Elle porte d'abord sur la réception de l'École romaine du temps de son activité, entre 1918 et 1945, puis interroge la place des artistes du mouvement dans l'Italie de l'après-Seconde Guerre mondiale, dans un contexte marqué par les divisions politiques. Enfin, à partir des années 1980, l'on assiste à une tentative de revalorisation marchande de l'École romaine sans précédent. Il s'agit alors d'évaluer les résultats de cette action et de comprendre ce qui l'a rendue possible. Les questions de la modernité artistique ainsi que celles des liens de la scène artistique romaine avec le fascisme puis avec la mémoire du régime sont au cœur de cette recherche, constituant des approches neuves pour étudier un objet encore mal connu en France<br>This PhD thesis questions the label « Ecole romaine » (also known as Scuola romana) used to designate a group of painters and sculptors in Rome between 1918 and 1945. We aim to understand the reasons for the success of this expression until now. We use various methods in order to investigate the discourses of both art critics and scholars as well as more fictional texts, often written as testimonies. Furthermore, this work analyses the singular career of each artist and the reception of their works in order to consider the Ecole Romaine within a history of taste in Italy and abroad. Our study follows a chronological development. First, we analyse the reception of the School when active, between 1918 and 1945. Then, we examine the place of our artists in post-war Italy, in a context of great political divisions. Finally, we study how, in the early 1980s, various actors on the artistic scene tried to raise the value of the Ecole Romaine's works on the art market. What were the results of their attempt, and to what extent this renewal of interest had a lasting impact, especially in the museums field ? The questions of artistic modernity and of the relationship between the Ecole Romaine and the fascist regime are central in this research. These constitute new approaches to a theme which has remained relatively unknown outside of Italy
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Takakjian, Cara Elizabeth. "The Italian Graphic Novel: Reading Ourselves, Reading History." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11002.
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This study seeks to unravel the intricate connection between a selection of graphic novels, the moments in which they were created, and the process of weaving an Italian cultural history. It analyzes graphic novels and comics from three periods in Italian contemporary history – 1968, 1977 and 2001 – and asks how the hybrid image-text language of graphic novels might provide a unique insight into the relationship between the individual and history in contemporary Italy. More specifically, it looks at how the comic medium not only reflects or represents historical events, but effectively re-writes and re-traces them, allowing us to re-think History. Ultimately, this work reveals how the graphic novel medium has been used as an instrument in the process of weaving an Italian cultural history since 1968. Comics not only reflect the time in which they are created, either explicitly or implicitly, but also work as cultural agents in the formation and re-telling of history. Whether they attempt to speak to and for a generation seeking change and a new reality of freedom, are a means of aggressive socio- political criticism in a moment of apathy and disillusion, or a space to reflect on and work through personal and historical trauma, graphic novels are shaped by, and help to shape, our vision of ourselves and our society.<br>Romance Languages and Literatures
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Demori, Lara. "Degree zero art : Piero Manzoni and Hélio Oiticica." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25732.
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This thesis seeks to unfold the concept of the ‘degree zero art’ as an artistic and cultural project as manifested in the practices of two very different artists, Milan-based Piero Manzoni (Soncino 1933- Milan 1963) and Rio-born Hélio Oiticica (Rio de Janeiro 1937-1980), during the second half of the twentieth century. Despite the clear contrasts between their works and their very different cultural formations, the thesis focuses on these artists in order to show how their practices align around the challenge to aesthetic categories, stylistic labels and political frameworks employed by much recent critical literature. In order to discuss intellectual and critical structures developed to narrate varieties of North American conceptual practices, this thesis proposes a new interpretative frame: a ‘degree zero aesthetics’, creating a transnational dialogue between the work of Manzoni and Oiticica. Borrowing from the understanding of zero proposed by the German Zero group at the beginning of the sixties, I argue that the idea of zero denotes a fresh start and constructive will; it therefore explains the process of erasing and rebuilding from scratch that has characterised the post-war generation. Alongside the process of construing an aesthetic around the notion of ‘zero’, this thesis aims to deconstruct popular sites of discourse around the tropes of ‘participation’ and ‘politics’, critically readdressing the historiography surrounding these themes. Lastly, this project attempts to discuss the literature on both artists, who have become paradigmatic of certain key movements and moments in Latin American and European art respectively, and in recent elaborations of global art histories.
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Rachele, Cara Paul. "Building Through the Paper: Disegno and the Architectural Copybook in the Italian Renaissance." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467183.
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The dissertation looks at architectural theory in early modern Italy through a history of its drawings. It examines a group of early-sixteenth-century drawing books, made in and around Rome, that comprised reproductive drawings based on circulating drawing exemplars from the late fifteenth century. The drawing books are identified as study tools made by artisans who aspired to the practice of architecture. The study illuminates the broader shift toward drawing as the primary means of architectural design.
The first chapter contends that the distinctive drawing practices of architecture arose from the merging of the representational traditions of figural and mechanical drawing, identifying this progression in architectural texts by Cennino Cennini, Leon Battista Alberti, Filarete, Francesco di Giorgio Martini, Leonardo, and Raphael. The next chapter reconsiders the “treatise-books” of the 1510s-1530s as copybooks for architectural draftsmen, analogous to the commonplace books created by humanist scholars, using the Codex Coner (Soane’s Museum, London) as a case study. Chapter 3 looks at the widespread phenomenon of drawing and copying architectural details and tracks its development from detail drawing series made in the fifteenth century to the precisely measured images of the early sixteenth century. The case study is the Codex Fogg (Harvard Art Museums, Cambridge). Chapter 4 traces the empirical development of orthographic section drawing as an established component of the drawing palette of the architectural draftsman, taking the Codex Mellon (Pierpont Morgan Library, New York) as an example. Chapter 5 investigates the circumstances that influenced the end of the architectural copybook phenomenon in the late 1530s-40s. Two examples demonstrate the transition, the Codex Lille by Raffaello da Montelupo (Musée des Beaux-Arts, Lille) and the Codex Campori App. 1755 of Giovanni Antonio Dosio (Biblioteca Estense, Modena).<br>History of Art and Architecture
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Pieri, Giuliana. "The influence of English Pre-Raphaelitism on 19th-century Italian art and literature." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313182.
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Quiviger, François. "Aspects of the criticism and exegesis of Italian art c.1540-c.1600." Thesis, University of London, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251841.
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Collier, Carly Elizabeth. "British artists and early Italian art c. 1770-1845 : the pre Pre-Raphaelites?" Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/62965/.
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This thesis examines the hitherto largely-overlooked multifarious response by British artists to early Italian art which pre-dated the activity of the Pre-Raphaelites and their greatest champion, John Ruskin. The title of this thesis does not endeavour to claim that the artists under examination consciously formed or naturally constituted a group with clearly defined common interests and aims, as was the case with their aforementioned successors. Rather, the collective ‘pre’ Pre-Raphaelites is intended to demonstrate that, contrary to the impression given by the standard scholarship on this area, there were British artists prior to the dawn of the Pre-Raphaelites who found worth in periods of art beyond what was conventionally considered both generally tasteful and also useful for an artist to imitate, and who indeed made many of the important steps which facilitated the Pre-Raphaelites’ rediscovery of early Italian art in the late 1840s. The temporal span of the main investigative thrust of this thesis is, approximately, 1770 - 1845. Its structure is intended to reflect the multiplicity of both the catalysts and then the subsequent responses of British artists to the Italian primitives. The first part of the thesis comprises a number of chapters which offer a broad contextual framework - encompassing analyses of taste, artistic education and historiography - within which the varied activities of the artists explored in the subsequent chapters are set. Parts two and three reveal the very different approaches taken by a series of artists in the decades either side of the turn of the century in their attempts to study, learn from and sometimes emulate the visual lessons of the past. Thus this thesis rescues the often marginalised contributions of a selection of British artists to the resurgence of interest in early Italian art, and demonstrates how fundamental their interpretive filter was for the nature of the quasi-revolution in taste in the last half of the nineteenth century.
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El-Hanany, Efrat. "Beating the devil : images of the Madonna del Soccorso in Italian Renaissance art /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3230546.
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Webster, Andrew. "The Embedded Self-Portrait in Italian Sacred Art of the Cinquecento and Early Seicento." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13006.
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Cases of Italian embedded self-portraiture appear in the sacred art of some of the most renowned artists of the Cinquecento and early Seicento, artists such as Bronzino, Michelangelo, Titian, Tintoretto, and Caravaggio. This thesis first examines the history of the practice from its origins in Quattrocento Florence and Venice then argues that an important development in the function and presentation of embedded self-portraits can be observed as Cinquecento artists experienced broad shifts in religious and cultural life as a result of the Reformation and Counter-Reformation. It also assesses three works by Caravaggio to suggest that embedding self-portraits in religious art was a variable and meaningful convention that allowed artists to inject both their personal and public emotions. This thesis argues that in the Cinquecento and early Seicento, the very gesture of embedding a self-portrait in sacred artworks provided a window into an artist's individuality, personality, and piety.
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Hockemeyer, L. "Italian ceramics 1945-1958 : a synthesis of avant-garde ideals, craft traditions and popular culture." Thesis, Kingston University, 2008. http://eprints.kingston.ac.uk/20224/.
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Italy's post World War II art and artisan produce and her small and medium scale ceramic production between 1945 and 1958 has been characterised I by an apparent aesthetic synthesis of avant-garde ideals, craft traditions and popular culture. This thesis examines this particular occurrence through a multi and interdisciplinary approach. It has profited from the application of methodologies deriving from the different fields of history, ceramic-, art-, applied art-, design and architectural history and from information obtained from economic and naval histories and tourist guides. This has enabled on the one hand to explain this phenomenon and to situate the ceramic manufacturing sector and the objects within their socio-historical, economic and cultural framework and on the other to employ the objects themselves to challenge dominant ideas within contemporary design-, art-, craft- and ceramic history. The majority of the data that informs this work derives from the analysis of primary sources collected and researched in Italy such as the objects and works themselves, contemporary magazines, archives and interviews. Whilst the time-span has been defined by the perceived birth and decline of the synthesis phenomenon, the period studied in this thesis includes a brief introduction to the tradition and revival of Italy's post-unification ceramic culture and industry and the general aesthetic and artistic developments which have significantly influenced the post 1945 developments. This is followed by an in-depth account of the aesthetic panorama of Italian ceramics between 1945 and 1958 through the works of its protagonists and an analysis of ceramics used as an ornamental medium in architectural structures and modem interior decorating schemes and exteriors. Another part analyses the ceramic industry from a production, economical, commercial and consumption point of view and establishes its significant role not only in relation to Italy's overall economic reconstruction efforts but in the creation of the image that constituted the ideals associated with the 'Made in Italy' label. The last part examines Italian ceramic culture between 1945 and 1958 in its contemporary design, art and craft context. It will present the history of Italian material culture and design as based on an evolutionary model which is incompatible with modernist-lead design histories. In addition, this thesis challenges the under-representation of Italian ceramics within 20th century British ceramic, art, craft and design history and the British approach to ceramic writing and aims to incite further multi and interdisciplinary approach to the history of design.
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Thomas, Jenna Caye. "Visions of the East: Influence of the Levant on the Italian Renaissance." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1448533555.
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Rattalino, Elisabetta. "The seasons in the city : artists and rural worlds in the era of Calvino and Pasolini." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/15588.
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The Seasons in the City. Artists and Rural Worlds in the Era of Calvino and Pasolini explores rurality in postwar Italy. Between 1958 and 1963, the country underwent an unprecedented yet uneven industrialisation, a period known as the Economic Miracle. Drawing on a relational and dynamic understanding of rural space provided by human geography, this thesis investigates the impact of these economic and socio-cultural transformations on the countryside, and on the ways in which the rural world was perceived and conceptualised in the following decades, especially by contemporary artists and intellectuals. Works of Gianfranco Baruchello, Claudio Costa, Piero Gilardi, Maria Lai, Ugo La Pietra, Antonio Paradiso, Pino Pascali, Giuseppe Penone, and Superstudio have been selected and analysed for the complex views on the topography of the country they convey, whilst challenging more conventional forms of art. Organised in themed chapters that find resonance in the contemporary works of two iconic Italian intellectuals, Italo Calvino and Pier Paolo Pasolini, these artistic practices manifest the ways in which Marxist theory and anthropology contributed to artists' identification of rural landscapes and communities at the time. More importantly, this thesis offers an alternative geographical perspective on 1970s Italian art, one that challenges the pastoral myths that were constructed in the country's metropolitan centres.
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Lindsey, Renee J. "The Truth of Night in the Italian Baroque." UKnowledge, 2015. http://uknowledge.uky.edu/art_etds/10.
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In the sixteenth century, the nocturne genre developed in Italian art introducing the idea of a scene depicted in the darkness of night. This concept of darkness paired with intense light was adopted by Caravaggio in the late sixteenth century and popularized by himself and his followers. The seemingly sudden shift towards darkness and night is puzzling when viewed as individual occurrences in artists’ works. As an entire genre, the night scene bears cultural implications that indicate the level of influence culture and society have over artists and patrons. The rising popularity of the theater and the tension between Protestantism and Catholicism intersected to create a changing view on the perception of darkness and light. This merging of cultural phenomena affected Caravaggio and his contemporaries, prompting them to develop the nocturne genre to meet the growing demands for darker images.
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Silva, José Enrique. "The art of the theatrical fountain in the Italian Baroque : Rome and her surroundings." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23919.
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Napolitano, Ennio G. [Verfasser], and Lorenz [Akademischer Betreuer] Korn. "Arabic inscriptions and pseudo-inscriptions in Italian art / Ennio G. Napolitano ; Betreuer: Lorenz Korn." Bamberg : Otto-Friedrich-Universität Bamberg, 2019. http://d-nb.info/1183679459/34.
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Hudson, Hugh. "Paolo Uccello : the life and work of an Italian Renaissance artist /." Connect to thesis, 2005. http://eprints.unimelb.edu.au/archive/00002997.
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Trevisan, Tommaso <1989>. "Intelligenza collettiva e cultura partecipativa: il caso della community Italian Subs Addicted." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4389.
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Questa tesi analizza la community online di fansubber di Italian Subs Addicted. In particolare si vuole descrivere i processi di intelligenza collettiva che portano alla produzione, mediante gruppi ad hoc, di sottotitoli gratuiti per diversi prodotti mediali e all’amministrazione di un infinito spazio di negoziamento creativo.
Questa forma di cultura partecipativa, all’interno della cultura massmediatica popolare, presenta tratti distintivi di sharing economy e si configura come spazio di affinità, nel quale gli utenti apprendono numerose competenze.
In conclusione si dimostra come ItaSA abbia applicato nel proprio ambito, attraverso gli strumenti del Web 2.0, l’idea utopistica di intelligenza collettiva di P. Levy.
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Mortati, Sofia <1994>. "Internationalization of Italian contemporary art’s galleries in China. An analysis based on the case of Galleria Continua, a pioneer Italian art gallery in China." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14194.
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Since the Chinese consumer has lately shown an interest towards the art market, the art galleries should try to answer this demand. Therefore, the purpose of this thesis is to hypothesize good practices for successfully internationalize Italian contemporary art’s galleries in China by responding to the main difficulties that a gallery can face inside the Chinese market. These difficulties have been highlighted trough an analysis between marketing to China’s literature and international gallery’s system literature, and have been identified as: how can an Italian contemporary art gallery successfully go international in China despite the low level of education of the Chinese consumers about the Italian contemporary art and how can find and deal with the right network of Chinese players? After a description of the present situation of the Italian and the Chinese contemporary art’s markets, the questions about the difficulties of internationalize in China have been answered using a qualitative analysis consisting in an investigation of the experience of Galleria Continua, one of the first Italian contemporary art gallery to open in China. By combining marketing to China’s practices and the experience of Galleria Continua the research reaches its conclusions.
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Hayden, Margaret. "The Medici Example: How Power Creates Art and Art Creates Power." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3917.
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This project looks at two members of Florence’s Medici family, Cosimo il Vecchio (1389-1464) and Duke Cosimo I (1519-1574), in an attempt to assess how they used the patronage of art to facilitate their rule. By looking at their individual political representations through art, the specifics of their propagandist works and what form these pieces of art came, it is possible to analyze their respective rules. This analysis allows for a clearer understanding of how these two men, each in very different positions, found art as an ally for their political endeavors. While they were in power only one hundred years apart, they present uniquely different strategies for the purpose of creating and maintaining their power through the patronage of art.
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McKever, Rosalind. "Futurism and the past : temporalities, avant-gardism and tradition in Italian art and its histories 1909-1919." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/25095/.
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This thesis re-evaluates Italian Futurist art's relationship with the past, focusing on the years 1909-1919. This aspect of the movement is fundamental to its complex identity, yet has not received prolonged scholarly attention. In order to reconsider Futurism's temporality this thesis focuses on the fine art practice and theoretical writings of Giacomo Balla, Umberto Boccioni, Carlo Carra, Luigi Russolo and Gino Severini, and also the writings on the movement's leader F.T. Marinetti, plus the Florentine Futurists Giovanni Papini and Ardengo Soffici. The historiography of Futurism, which both produces the reductive antipassatista model of the movement and highlights the presence of formal similarities between the Italian artistic tradition and Futurism, is also interrogated. The first part of this thesis argues that the Futurist temporality is more nuanced than the widely accepted model of adoration of the future and repudiation of the past, and that it is related to the conflicting notions of time present in the decade in question. Using the Futurists' concept of time to analyse their relationships with the past, present and future, it argues that the present is the most important temporal mode for Futurism, but that the past and future are part of this present. This thesis approaches Futurism's relationship with Italy's artistic past in tandem with its interrogation of its temporality. This requires a consideration of the temporality of art history, the temporal orientation of avant-gardism and the connotations of tradition and appropriation in art historical practice in order to produce a spiralling art historical model in which returns to the past can be forms of progress. In the second part of this thesis, these possible appropriations of the Italian artistic tradition from Magna Graecia to Giovanni Battista Tiepolo are surveyed, using the reception of earlier art historical periods in early twentieth century Italy to consider how and why the Futurists could have appropriated them. The Futurists' continuation of the recent past of Italian and French art from Italian unification up to the launch of Futurism is also addressed, noting the anti passatismo of these precedents to show that the Futurist relationship with the past, as reconstructed in this thesis, was not sui generis. The aim of this thesis is to bring together Futurism's rhetoric about the past, understanding of time, and relationship with art history in order to offer a more nuanced understanding of the movement's antipassatismo.
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Ruvoldt, Maria. "The Italian Renaissance imagery of inspiration : metaphors of sex, sleep, and dream /." Cambridge : Cambridge University Press, 2004. http://catalogue.bnf.fr/ark:/12148/cb39938823k.
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McHale, Katherine Jean. "Ingenious Italians : immigrant artists in eighteenth-century Britain." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/13854.
Full textAbstract:
Italian artists working in eighteenth-century Britain played a significant role in the country's developing interest in the fine arts. The contributions of artists arriving before mid-century, including Pellegrini, Ricci, and Canaletto, have been noted, but the presence of a larger number of Italians from mid-century is seldom acknowledged. Increasing British wealth and attention to the arts meant more customers for immigrant Italian artists. Bringing with them the skills for which they were renowned throughout Europe, their talents were valued in Britain. Many stayed for prolonged periods, raising families and becoming active members in the artistic community. In a thriving economy, they found opportunities to produce innovative works for a new clientele, devising histories, landscapes, portraits, and prints to entice buyers. The most successful were accomplished networkers, maintaining cordial relationships with British artists and cultivating a variety of patrons. They influenced others through teaching, through formal and informal exchanges with colleagues, and through exhibition of their works that could be studied and emulated.
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Troncelliti, Latifah. "Cennino Cennini and Leon Battista Alberti : two parallel realities in the Italian Quattrocento /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3018397.
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Thesis (Ph. D.)--University of Oregon, 2001.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 314-327). Also available for download via the World Wide Web; free to University of Oregon users.
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Clark, Leah Ruth. "Value and symbolic practices: objects, exchanges, and associations in the Italian courts (1450-1500)." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66682.
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Arguing for a reconsideration of the object's function in court life, this thesis investigates how the value of an object is tied to the role it plays in symbolic activities, which formed the basis of court relations at the end of the fifteenth century. This study thus examines the courts of Italy (particularly Ferrara and Naples) through the myriad of objects—statues, paintings, jewellery, furniture, and heraldry—that were valued for their subject matter, material forms, histories, and social functions. Such objects are considered not only as components of court life, but also as agents which activated the symbolic practices that became integral to relations within and between courts. These activities—the exchange of diplomatic gifts, the consumption of precious objects, the displaying of collectibles, and the bestowing of knightly orders—were all ways that objects acted as points of contact between individuals, giving rise to new associations and new interests. The end of the fifteenth century was a pivotal moment in the courts of Italy, fraught with alliances and counter-alliances involving not only the courts on the Italian peninsula but also abroad. The court was an important space where individuals sought to assert and legitimise their power, and this was often done through material and visual means. The court is thus examined from diverse angles, taking the object as a starting point, and tracing relationships and networks through visual, textual, material, and literary sources. Shifting the focus away from artistic intentions and patronage, this study examines how objects constitute relations, often in unpredictable ways, not only forging connections but also revealing instabilities and latent hostilities. The constant circulation of precious objects in the late fifteenth century reveals a system of value which placed importance not only on ownership, but also on the replication, copying,<br>En considérant la fonction de l'objet dans la vie à la cour princière, cette thèse examine comment la valeur d'un objet est liée au rôle qu'il joue dans les pratiques symboliques qui, à la fin du quinzième siècle, est à la base même des relations à la cour. Ce projet examine les cours d'Italie (en particulier celles de Ferrare et de Naples) à travers une multitude d'objet (statues, peintures, bijoux, meubles, et emblèmes héraldiques) qui étaient évalués pour leurs matériaux, leur forme, leur historique, et leurs fonctions sociales. Ces objets sont ici étudiés non seulement comme représentatifs de la vie à la cour, mais aussi comme des agents actifs des pratiques symboliques importantes aux relations entre les différents cours. Ces pratiques – l'échange de cadeaux diplomatiques, la consommation d'objets précieux, étalage d'objets de collection, et investitures dans des ordres chevaleresques – sont autant de manières par lesquelles les objets servent de point d'attache entre individus et génèrent, de la sorte, de nouvelles associations et de nouveaux intérêts.La fin du quinzième siècle était un moment clé pour les cours d'Italie, chargé des alliances et contre-alliances entre non seulement les cours de la péninsule italienne mais aussi celles de l'étranger. La cour est alors un espace important où les individus cherchent à revendiquer et à légitimer leur pouvoir par des moyens matériels et visuels. En plaçant l'objet au centre de l'investigation, ce projet, plutôt que de se préoccuper des intentions artistiques ou mécénales, redirige l'attention sur la fonction certaine, mais combien variable, des objets dans la formation de relations sociales et démontre comment elle peut révéler l'existence de tensions et d'hostilités latentes. La circulation continue d'objets précieux met en relief un système de valeurs qui est à l'œuvre à la fin du quinzièm