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Journal articles on the topic 'Italian artist'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

Temel, Özge Parlak. "THE EAST PERCEIVED THROUGH WESTERN PERSPECTIVE: FAUSTO ZONARO AND ISTANBUL." Socialis Series in Social Science 6 (March 15, 2024): 110–24. http://dx.doi.org/10.20319/socv6.110124.

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For many centuries, Istanbul, as a city of culture, has been a source of inspiration for artists from many different countries. Italian artists were especially influenced by the Eastern world and reflected this influence in their work in almost every era. When we talk about "Western Orientalists on Ottoman lands", we doubtlessly first think of Italian Orientalists such as Gentile Bellini, Fausto Zonaro, Leonardo de Mango, Amadeo Preziosi, Salvatore Valeri, Luigi Acquarone, Raimondo D'Aronco, whose paths crossed through the Ottoman Empire, and who built bridges between these foreign cultures by

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Ginzburg, G. N. "What should be the specifi city of the works of quantum artists?" Voprosy kul'turologii (Issues of Cultural Studies), no. 9 (September 30, 2024): 808–10. http://dx.doi.org/10.33920/nik-01-2409-05.

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In this article, the author relies on the provisions of the Quantum Art Manifesto, created in 2008 by Roberto Denti, an Italian theorist, architect, artist, computer graphic artist and designer. The ideas of the Manifesto were logically continued in the creation of the International Group of Artists Quantum Movement in 2012, which was then transformed into the International Academy of Arts and Quantum Science IAMAQ-Italy in 2020.

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Stakhevych, Halyna, and Natalia Kokhan. "Creativity of female artists in Italian fine arts of XV–XVII centuries." Culturology Ideas, no. 22 (2'2022) (2022): 46–62. http://dx.doi.org/10.37627/2311-9489-22-2022-2.46-62.

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The article provides an overview and reveals the features of the professional formation, development and social status of female artists’ creativity in the Italian fine arts of the XVI-XVII centuries. The value of their artistic heritage for future generations has been established. It was stated that the role of a female artist in society was influenced by both social and gender factors, in particular, the fact that the profession of a master artist was assigned to men, and the teaching of art to girls was related to obligatory household chores or hobbies. It has been proven that already in th

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Churga, Yu. "THE INFLUENCE OF ANTHROPOCENTRISM ON THE WORK OF ARTISTS OF THE HIGH RENAISSANCE." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 148 (2021): 71–74. http://dx.doi.org/10.17721/1728-2640.2021.148.12.

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The article describes a number of factors that influenced the work of artists of the High Renaissance, in particular the philosophical thought of this period and changes in the worldview of people of this era. The article focuses on the origins of anthropocentrism in the intellectual sphere. The author outlines how Italy became the center of new ideas and the center of their implementation. This article was conducted to explore the impact of the philosophy of anthropocentrism on the work of Italian artists (their goals, means and evolution of the concept of "artist"). In conclusion, we can obs

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Biancoshock, Biancoshock, and Fiona Cashell. "Challenging Art: An Interview with Italian Artist, Biancoshock." Studies in Arts and Humanities 2, no. 2 (2016): 57–61. http://dx.doi.org/10.18193/sah.v2i2.79.

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6

Mazzitello, Pantalea. "The Intellectual Education of the Italian Renaissance Artist." Italica 99, no. 4 (2022): 581–83. http://dx.doi.org/10.5406/23256672.99.4.14.

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Sanesi, Irene. "Visibility in the Italian Art World: How Far Along We Are." International Journal of Economics, Finance and Management Sciences 12, no. 5 (2024): 284–92. http://dx.doi.org/10.11648/j.ijefm.20241205.16.

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Even though the concept of “nationality” when we talk about an internationally acclaimed artists is more and more blurred and has little to do with the importance of the artworks, it is evident how small the Italian art presence in great international art manifestations is, sometimes almost negligible. It is then necessary to understand the causes of this situation, to draw a map of the current state of the contemporary Italian scene and state some resolutions from it. The first 2022 Report “How (well) known is Italian art abroad?” by BBS-Lombard Benefit Corporation, together with Arte General

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Malița, Ramona. "The Masks of the Commedia Dell’arte Depicted in the Paintings of Arcimboldo and Tiepolo." Analele Universității de Vest. Seria Științe Filologice 60, no. 60 (2022): 25–41. http://dx.doi.org/10.35923/autfil.60.02.

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This interdisciplinary study (literature – painting) focuses on Italian carnival masks. As objectives, we propose a) to illustrate the aesthetic connection between the characters of the Commedia dell’arte and the allegorical portraits made by Arcimboldo and the painters of the Tiepolo artistic dynasty, and b) to highlight the dramatic character of the figures depicted in Mannerist paintings. We have identified some features of the carnivalesque character behind the mask, such as social and professional type, satirized human defects, and moral and physical qualities. Our critical working hypoth

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Vacchelli, Carlotta. "The Intelligible Book: Timothy Ely's and Luigi Serafini's Book Arts." Italica 96, no. 2 (2019): 281–302. http://dx.doi.org/10.5406/23256672.96.2.05.

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Abstract Italian artist Luigi Serafini and American bookbinder Timothy Ely share the same aesthetics of communication in book art. Both authors conceive their works as a book format, producing a clash between the unreadable content of the books – otherworldly images combined with invented indecipherable codes – and their intelligible material and visual characteristics, that imitate existing artefacts. This study draws a comparison between these two artists’ book production. It is my conviction that the books by Ely and Serafini convey the idea of a universal readability and can be interpreted

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Katmakov, A. "М. Фуко и Дж. Агамбен: философия киников и роль художника в культуре". Studia Culturae, № 55 (30 червня 2023): 150. http://dx.doi.org/10.31312/2310-1245-2023-55-150-165.

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What can be common between a politician, a philosopher and an artist? The French philosopher and culturologist Michel Foucault, based on a thorough and detailed analysis of ancient culture, identified several significant problems for European culture: ethics of telling the truth, the meaning of philosophy, the style of existence and the form of subjectivation, which are illustrated by the example of the ancient Socratic philosophical school of the Cynics. Michel Foucault himself suggested that perhaps this philosophical school laid the «matrix of the ethical experience» of European man. The au

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Sliwinska, Maria. "Discovering intercultural relations in the digital age with school students. A few Polish-Italian cases." DigItalia 16, no. 1 (2021): 82–88. http://dx.doi.org/10.36181/digitalia-00027.

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This article briefly presents how the implementation of ICT in cultural institutions has improved education and research. The article emphasizes discovering the activity of Italian artists in Poland, thanks to digitization, which was carried out with particular intensity in the last two decades. Digitization has become a great achievement thanks to the funding of numerous international projects by the European Commission. Special recognition in this action should be given to Rossella Caffo and her team, under whose guidance the plan for the coordination of digitization in Europe and numerous d

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Long, Jane C., and John Richards. "Altichiero: An Artist and His Patrons in the Italian Trecento." Sixteenth Century Journal 32, no. 1 (2001): 153. http://dx.doi.org/10.2307/2671407.

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SHPYG, Yuliya. "FRANCESCA CACCINI: A “HISTORICAL PORTRAIT” OF THE LEGENDARY ITALIAN ARTIST." Humanities science current issues 3, no. 75 (2024): 134–39. http://dx.doi.org/10.24919/2308-4863/75-3-19.

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de Dominicis, Serena. "Antonietta Raphaël: The Transcultural Experience of a Litvak-Italian Artist." Meno istorijos studijos 14 (December 29, 2023): 177–98. http://dx.doi.org/10.53631/mis/2023.14.6.

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15

Toni, Franco. "Antonio Canova’s drawings in the Rare Books Collection of the Istituto Superiore di Sanità Library (Rome, Italy)." Journal of EAHIL 15, no. 4 (2019): 13–17. http://dx.doi.org/10.32384/jeahil15352.

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The paper aims to promote the knowledge of the extraordinary collection of anatomical subject drawings by Antonio Canova, the most important Italian neoclassic artist, owned by the National Institute of Health Library in Rome. The history of acquisition by the library and the analysis of their importance in the long career of the artist is also treated. A short story about the fortune of the drawings in the last 20 years completes the study.

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MYERS, LINDSAY. "Meo's Fists – Fighting For or Against Fascism? The Subversive Nature of Text and Image in Giovanni Bertinetti's I pugni di Meo." International Research in Children's Literature 1, no. 1 (2008): 1–15. http://dx.doi.org/10.3366/e1755619808000069.

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During the 1920s and 1930s Italian children's literature was heavily influenced by fascist propaganda. Stories which celebrated patriotism, militarism and obedience appeared in great numbers as did biographies of Mussolini. Children's book illustrations also underwent stylistic changes becoming more statuary and geometric in accordance with the principles behind fascist architecture and propagandist art. Not all of the Italian writers and artists who ostensibly endorsed fascist ideologies, however, were entirely compliant with fascist dictates. Careful reading of some of the key works by write

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Agratina, Elena Evgen'evna. "K. -J. Verne (1714-1789) in Italy. Travels and Encounters." Философия и культура, no. 5 (May 2025): 60–77. https://doi.org/10.7256/2454-0757.2025.5.74433.

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For painters of the 18th century, travel was one of the most important sources of knowledge and inspiration. An educational trip to Italy became traditional for representatives of the French art community. Claude-Joseph Vernet (1714-1789) spent nearly twenty years in the country of the Renaissance. This study focuses on the impressions gained by the landscape artist during his travels and their reflection in his work. The master lived in Rome and thoroughly explored its surroundings. The southern part of Italy became Vernet's favorite region. The artist visited Naples several times and travele

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Ульянова, Наталия, and Nataliya Ulyanova. "The Art of the Renaissance Era As an Interlink of the World Culture." Scientific Research and Development. Socio-Humanitarian Research and Technology 6, no. 4 (2017): 68–70. http://dx.doi.org/10.12737/article_5a2e741f3393d8.02235297.

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The article is devoted to the analysis of the features of Italian artistic culture, the Renaissance period, on the example of the work of the outstanding artist Michelangelo Buonarroti. Particular attention is paid to the significance and influence of the Italian culture of the Renaissance period on the world artistic culture. An analysis is made of the patterns of the further development of cultural relations based on the principles of the aesthetics of humanism.

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Brunetti, Francesca. "Delicious Bodies, Beautiful Food, Powerful Pleasure." Exchanges: The Interdisciplinary Research Journal 9, no. 2 (2022): 55–81. http://dx.doi.org/10.31273/eirj.v9i2.924.

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I am an artist and a scholar. In my work, I adopt an interdisciplinary approach to drawing, feminism and ecology to explore the stereotype of the southern Italian woman, the terrona. In my research, I investigate how the terrona has been represented in media as attractive, buxom and sexualized. I use drawing to visualize and transform the stereotypical characteristics of the southern Italian woman and connect the terrona's traditional traits to the natural resources of the Mediterranean environment.

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20

Poggioli-Kaftan, Giordana. "Modernity’s fears of depopulation and sterility in Mario Sironi’s urban landscapes." Forum Italicum: A Journal of Italian Studies 55, no. 1 (2021): 185–203. http://dx.doi.org/10.1177/0014585820976549.

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This article focuses on Fascist artist Mario Sironi’s urban landscapes as a site of modernity and its contradictions. With their gloomy buildings and deserted streets, Sironi’s landscapes highlight two of modernity's woes: The periferia of the “liberal” city and the fear for its inhabitants’ degeneration and sterility. In his “Il discorso dell’Ascensione,” Mussolini openly accuses industrial urbanism of its sterilizing effect on the Italian race, thus, jeopardizing his imperial ambitions. By giving an aesthetic form to the Regime’s fears, Sironi reaches two goals: The aestheticization of fasci

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21

DeLue, Rachael Ziady. "Mauro in America: An Italian Artist Visits the New World (review)." University of Toronto Quarterly 74, no. 1 (2004): 433–34. http://dx.doi.org/10.1353/utq.2005.0021.

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22

Markov, A. V. "ITALIAN PRIMITIVE AND CRITICAL REVIVAL IN RUSSIAN MODERNISM." Arts education and science 1, no. 1 (2020): 114–20. http://dx.doi.org/10.36871/hon.202001014.

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The word primitive as applied to art is a lexical Gallicism, requiring special critical contexts for correct use, and therefore the word was not frequently used in Russian literature. This concept was part not so much of academic research as of art criticism, which argued against academic standard. At the same time, Russian modernism legalized the concept of the Italian primitive as a special mode of optics, as a form of fantasy shared by the artist and the viewer. The article proves that the primitive in Russian culture was not a stylistic, but a plot characteristic of the image, revealed in

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23

Hecker, Sharon. "Remo Bianco, plastic and the trauma of the post-war Italian artist." Sculpture Journal 33, no. 4 (2024): 625–46. http://dx.doi.org/10.3828/sj.2024.33.4.11.

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This article examines how Italian artist Remo Bianco (1922–88) used plastic to manage the traumatic transition from Fascism to the post-war period. It contends that the post-war optimism and enthusiasm associated with plastic that is evident in the art of Bianco’s compatriots (Alberto Burri, Carla Accardi, Piero Gilardi and Gino Marotta) masks a dark undercurrent of the past, one expunged from later narratives of Italian art, but which can be found in Bianco’s works. Beginning by examining plastic as material, signifier and artistic medium, the article analyses plastic’s development and adopti

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Wouk, Edward. "Picturing Art History in Eighteenth-Century Britain." Bulletin of the John Rylands Library 95, no. 2 (2019): 83–113. http://dx.doi.org/10.7227/bjrl.95.2.5.

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Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few sources available in English at the time, but that part of the project was abandoned. This arti

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Panzarella, Gioia. "Narratives Beyond books: Artistic Agency and Encounter with an Audience in the Work of the Compagnia delle poete and Gabriella Ghermandi." Forum for Modern Language Studies 57, no. 4 (2021): 476–91. http://dx.doi.org/10.1093/fmls/cqab047.

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Abstract Building on recent critical contributions on contemporary transnational literature in the Italian language, this article explores the link between the literary production of the artist Gabriella Ghermandi and the Compagnia delle poete – a collective of 20 female artists from different countries – and some of their respective performances. I argue that these performances reduce the space for interventions by the cultural intermediaries involved in the organization of events aimed at disseminating the Compagnia’s and Ghermandi’s literary production: the performances constitute new inter

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Ślarzyńska, Małgorzata. "Foscolo w „Kłosach” w 1872 roku: polski epizod pośmiertnej wędrówki." Przegląd Humanistyczny 61, no. 4 (459) (2018): 139–50. http://dx.doi.org/10.5604/01.3001.0012.0671.

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The aim of the article is to present the issue of reception of Ugo Foscolo’s works in Poland. A particular attention is paid to the multipart article in Kłosy from 1872 (No. 374–386) devoted to the Italian artist in connection with the transfer of the poet’s remains – many years after his death in England in 1827 – to the Basilica of Santa Croce in Florence in 1871. The paper discusses the strategies adopted in the description of elements of the poet’s biography, including a sentimental key related to the figure of Quirina Mocenni Magiotti, an economic key and a moralizing key. Emphasizing the

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Romano, Alessandro. "Karl Bryullov and Italian women opera singers: On the portrait of Giuseppina Ronzi de Begnis." Imagologiya i komparativistika, no. 23 (2025): 79–96. https://doi.org/10.17223/24099554/23/4.

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Although there is no trace of Bryullov’s passion for Italian opera in his published epistolary, there is no doubt that he loved it selflessly. Bryullov’s melomania becomes evident, if we consider the genesis of his most famous work, The Last Day of Pompeii, inspired not only by his visit to the ancient ruins, but also by the eponymous musical drama of 1825 by the Sicilian composer Giovanni Pacini. Bryullov’s love for Italian musical drama, which was at its peak in the first half of the 1830s, obviously manifested in three portraits of famous Italian opera singers: Fanny Tacchinardi Persiani as

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Rybakova, N. А. "About Spiritually-Aesthetic Appearance of Old Age." Izvestiya of Saratov University. Philosophy. Psychology. Pedagogy 9, no. 3 (2009): 47–52. https://doi.org/10.18500/1819-7671-2009-9-3-47-52.

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In the article the pictures of the Italian humanist F. Petrarka and sculptor and artist of Renaissance age Mikelandzhelo are analysed of old age. It becomes firmly established that in this epoch there is new appearance of old age, which did not find the continuation in subsequent epochs. At the same time the Italian thinkers pulled out in relation to age of old age a number of ideas which appear actual and in our epoch. Among them is an idea of productive and creative life of man to extreme old age.

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Kok, Erna E. "Joachim von Sandrart, aristocrat-painter in Amsterdam, 1637-1645." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 70, no. 1 (2020): 258–93. http://dx.doi.org/10.1163/22145966-07001012.

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In this article, the central issue is the interaction between Sandrart’s friendship networks, his art production and success in Amsterdam. His famous literary life’s work the Teutsche Academie, and Lebenslauf, his (auto) biography, will also be involved. Sandrart’s stay in Amsterdam (1637-1645) was the true springboard for his career. Upon arrival in Amsterdam, he immediately positioned himself in the network of influential entrepreneurs, connoisseurs and magistrates by moving into a patrician residence on the Keizersgracht. Sandrart’s wealthy bloedvrienden (family members) with important soci

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Rojewski, Oskar Jacek. "“Quien será un gran pintor...” Análisis de las condicionantes y de las capacidades necesarias para ser artista según Durero." Revista de Humanidades, no. 42 (May 4, 2021): 59. http://dx.doi.org/10.5944/rdh.42.2021.25543.

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Resumen: La historiografía artística de la Edad Moderna, plasmada en tratados, paragonae, discursos y correspondencias entre humanistas, permite a los historiadores del arte reconstruir y analizar distintos aspectos de la producción artística italiana de esa época. En el caso de los territorios del Norte de Europa, la ausencia de esta documentación no permite precisar con claridad de detalle fenómenos análogos para los pintores flamencos o acerca de la llamada escuela alemana hasta las primeras décadas del siglo XVI. La poca documentación conservada imposibilita una definición profunda de los

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Visconti, Laura. "THE ARTIST AND THE ARTISAN: Beckett as a Translator of Italian Poetry." Samuel Beckett Today / Aujourd'hui 6, no. 1 (1997): 387–98. http://dx.doi.org/10.1163/18757405-90000076.

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Varade, Kristina. "Portrait of the Artist and His Mother in Twentieth-Century Italian Culture." Italica 99, no. 4 (2022): 574–76. http://dx.doi.org/10.5406/23256672.99.4.11.

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Wamsley, Douglas W. "Albert L. Operti: chronicler of Arctic exploration." Polar Record 52, no. 3 (2015): 276–93. http://dx.doi.org/10.1017/s0032247415000753.

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ABSTRACTThe great wave of immigrants to the United States during the late 1800s brought many talented individuals who enriched American culture and society. Notable among them stands the Italian-born artist, Albert L. Operti (1852–1927), a versatile painter, illustrator and sculptor. For much of his professional career, Operti served as a scenic artist for the Metropolitan Opera House and later as an exhibit artist for the American Museum of Natural History. However, he maintained an avid personal interest in polar explorers and the history of polar exploration, ultimately turning his artistic

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Ravizza, Carlalberto, Gilles Vinçon, and Jean-Paul G. Reding. "The origins of the names of Plecoptera genera and species occurring in the Italian Region." Bollettino della Società Entomologica Italiana 152, no. 3 (2020): 115–32. http://dx.doi.org/10.4081/bollettinosei.2020.115.

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The origins of the names of the 177 species of stoneflies occurring in the Italian region are listed. These names chiefly refer to a taxonomic characteristic (56 species), then a dedication to a well-known entomologist or to the collector (52), then to either a geographical - ethnological (45) or to an ecological aspect (9). The remaining species are dedicated to someone in the author’s family (6) or to an artist or scientist (3). Finally, 6 other species have a symbolic name. In addition, we also provide an exhaustive bibliography of the original species descriptions of the Italian Plecoptera

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James, W. Ellis. "Albrecht Dürer's Large Passion: Art, History, and Theology." Journal of Social and Political Sciences 2, no. 3 (2019): 467–88. https://doi.org/10.31014/aior.1991.02.03.88.

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This essay analyzes a series of woodcuts collectively entitled the Large Passion (of Christ), which the German Renaissance artist Albrecht Dürer created between 1496 and 1511. The Passion illustrates the biblical story of Jesus Christ’s betrayal, trial, and crucifixion. The essay explores various artistic, religious, and philosophical contexts that affected Dürer’s imagery. The artist’s identification as an Augustinian Catholic, his interest in Italian humanism, and the influence of Venetian Renaissance art played crucial roles in the iconography and style of D&uuml

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Anheim, Étienne. "An Italian Workshop at the Avignon Court: Matteo Giovannetti, Painter to Pope Clement VI (1342–1352)." Annales. Histoire, Sciences Sociales 72, no. 3 (2017): 453–88. http://dx.doi.org/10.1017/ahsse.2020.5.

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The artist Matteo Giovannetti, originally from Viterbo, arrived at the papal court of Avignon in the early 1340s. During the reign of pope Clement VI (1342–1352), he succeeded in organizing a court-based workshop of an unprecedented size, which has left numerous traces in the papal administrative archives. This exceptional documentation makes it possible to reconstruct the administrative, financial, material, and technical phases of this workshop’s development, corresponding to the increasing affirmation of Matteo’s artistic position. As well as his mastery of the new Italian visual culture, M

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Ferrer-Ventosa, Roger. "The demiurge in the convex mirror. The Hermetic keys of Parmigianino’s Self-Portrait in a Convex Mirror." Eikon / Imago 13 (May 14, 2024): e90725. http://dx.doi.org/10.5209/eiko.90725.

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The article analyses the conceptual foundations of Parmigianino in relation to his Hermetic and Neoplatonic ideas and alchemical practice, which were important in Renaissance Italian culture. Parmigianino's Self-Portrait in a Convex Mirror is viewed as an embodiment of the artist as a demiurge, a creator of a brand new universe. The article highlights the symbolic and metaphysical significance of the convex mirror, reflecting the artist's creative power and the hidden values of reality. Melancholy, associated with Saturn, was a characteristic of artists and intellectuals in that cultural conte

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Gravanis, Konstantinos. "False Religion and Hypocrisy in Signorelli's Antichrist." Studies in Church History 60 (May 23, 2024): 121–47. http://dx.doi.org/10.1017/stc.2024.6.

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This article discusses the iconography of Luca Signorelli's Sermon and Deeds of the Antichrist (c.1502–3) in the Cappella Nuova at the cathedral of Orvieto. A combined investigation of the Antichrist's subject matter, Signorelli's literary and visual sources, as well as his discarded drawings for the entire fresco decoration of the Cappella Nuova, brings fresh insights to the thematic intentions of the artist and his advisers. Signorelli's entire view of eschatology marked a renewed interest of Italian artists in the apocalyptic sublime. It also signified a revival of the medieval tradition of

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Balkan, Osman. "Haunting Europe: Bodies, Borders, and the Arts of Commemoration." Performance Philosophy 9, no. 2 (2025): 221–31. https://doi.org/10.21476/pp.2024.92544.

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In the last decade, more than 70,000 people have died while attempting to cross an international border. Half of these deaths occurred in the Mediterranean, the world’s deadliest border zone. In response to the alarming number of border deaths, artists and activists have staged various interventions aimed at publicly commemorating the dead while calling attention to the structural violence of militarized borders and racialized membership. This article examines three such interventions in Europe, focusing on the Berlin-based Center for Political Beauty’s The Dead are Coming campaign, as well as

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Măgureanu, Ioana. ":The Traveling Artist in the Italian Renaissance: Geography, Mobility and Style." Sixteenth Century Journal 47, no. 1 (2016): 276–78. http://dx.doi.org/10.1086/scj4701198.

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Matić, Aleksandra. "„QUESTI SCHIAVONI”: ITALIJANSKA RENESANSA I SLOVENI U DELU RASTKA PETROVIĆA." Nasledje, Kragujevac XX, no. 54 (2023): 285–301. http://dx.doi.org/10.46793/naskg2354.285m.

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This paper explores Rastko Petrović’s last essay entitled Questi Schiavoni, which represents a trilogy about Italian Renaissance artists of Slavic origin. In his recognizable genealogically fluid manner, Petrović shapes three essayistic-documentary texts with historical-novelistic ele- ments, with the aim of illuminating the key features of the brightest era of European art, but also to point out the Slavic participation and importance in building the Italian cultural herit- age. Rastko Petrović’s two major themes, Slavism and Renaissance art, intertwine in this essay, created during his stay

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De Nicolo, Francesco. "Obras y artistas italianos en Arequipa entre los siglos XIX y XX." Illapa Mana Tukukuq, no. 18 (December 21, 2021): 32–43. http://dx.doi.org/10.31381/illapa.v0i18.4419.

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El ensayo pretende investigar la presencia artística italiana en Arequipa, entre los siglos XIX y XX. Las obras y artistas procedentes de la península italiana han desempeñado un papel determinante en la reconstrucción de la ciudad y en la orientación del gusto de la élite local. Destacan, de modo particular, las obras de muchos arquitectos, como Martino Pietri, quien realiza la Iglesia de San Camilo, así como de Teófilo Fioretti, Giovanni Albertazzi y otros empeñados en la reconstrucción tras el terremoto del 1868. Entre las obras importadas de Italia hay que recordar, en cambio, el grupo del

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Smołucha-Sładkowska, Agnieszka. "Giovanni Maria Mosca (Called Padovano) and Giovanni Jacopo Caraglio. A Revision of the Oeuvre of Italian Medallists at the Court of the Last Jagiellons." Notae Numismaticae - Numismatic Notes, no. 18 (2023): 251–83. https://doi.org/10.52800/ajst.1.18.a12.

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The article presents new findings and arguments on the attribution of a group of medals produced during the reign of the last Polish kings from the Jagiellonian dynasty – Sigismund I the Old and Sigismund II Augustus. These medals were created in the first half of the 16th century at the courts in Krakow and Vilnius by two artists who came from Italy – Giovanni Maria Mosca (called Padovano) and Giovanni Jacopo Caraglio. The artists had different artistic formations, and they work differ significantly from each other in both technique and style. Mosca’s and Caraglio’s medals, being among the ol

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Zhou, Yutong. "A Brief Analysis of Alberti’s Art Theory - Taking On Painting” as an Example." Journal of Soft Computing and Decision Analytics 2, no. 1 (2024): 86–91. http://dx.doi.org/10.31181/jscda21202436.

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People’s perceptions of artists in Italy, particularly Florence, have transformed since the 15th century. Artists have created works of art that reflect the humanistic ethos of the era, which has fostered the study of art theory by humanist scholars and contributed to the development of an art historical consciousness. In his artistic theory, the Italian humanist Alberti of the early 15th century reflected the new development of Florentine art. Alberti, an artist and theorist of the early Renaissance, examined the changes in artistic creation in the new era with a very avant-garde and contempo

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Battelli, Cesare. "AI and Synaesthetic Space: Architecture from Hybrid Visions of Intelligent Machines." Architectural Design 94, no. 3 (2024): 46–53. http://dx.doi.org/10.1002/ad.3054.

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AbstractOne of AI's core abilities is the conjuring up of images that seem familiar to us, based on our individual visual and architectural preoccupations. This splicing of the known with the unknown can create a sense of déjà vu that is both centred and defamiliarised. Italian artist, architect and researcher in visionary architecture Cesare Battelli takes us through some of the characters of the past who have utilised such creative tactics.

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Chatterjee, Sria. "Political Plants." Cultural Politics 19, no. 1 (2023): 86–106. http://dx.doi.org/10.1215/17432197-10232502.

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Abstract This essay considers a series of examples of contemporary and early twentieth-century artistic projects done in collaboration and conversation with plant scientists around the theme of plant sentience. In particular, it zooms in on the work of the Indian biophysicist Jadagish Chandra Bose and the Indian artist Gaganendranath Tagore in the 1920s and the Italian plant scientist Stephano Mancuso and German artist Carsten Höller in the 2020s. The essay has four interconnected aims. The first is to investigate how and why plant sentience is visually and spatially represented by artists. Th

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Ceolin, Mark. "Funding Agencies for Italian Canadian Theatre Projects." Canadian Theatre Review 104 (September 2000): 42–44. http://dx.doi.org/10.3138/ctr.104.008.

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For a small, newly formed theatre company in Toronto, the first several years can prove to be its making or unmaking. The most innovative ideas and promising actors alone cannot always sustain a group in the absence of the funding necessary to move from conception to production. It is commonly understood that arts funding from municipal, provincial and federal sources is not to be expected during the start-up year, forcing producers to look elsewhere for the dollars necessary to create their first project or season. With respect to the creation of a corpus of works giving representation to Can

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Tal, Guy. "Magical Monsters: Hybrids and Witchcraft in Early Modern Art." Poetics Today 44, no. 4 (2023): 589–630. http://dx.doi.org/10.1215/03335372-10824198.

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Abstract Studies of early modern images of witchcraft interpret the motif of hybrid creatures as representations of demonic incarnations intended in part to demonstrate the artists’ inventive prowess and capacity for phantasia. This article broadens the scope of analysis by arguing that the hybrid functions as a prolific site of reflection on the symbolic analogy between art and witchcraft, highlighting the common creativity attributed to the artist and the magician both. A comparative analysis of Italian, German, and Dutch images produced in the long sixteenth century identifies three distinc

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Koshelev, Georgy, and Alexandra Spiridonova. "Alexander Melamid’s Portraiture of the 2010s." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (2020): 33–46. http://dx.doi.org/10.36340/2071-6818-2020-16-2-33-46.

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The article focuses on a comprehensive study of Alexander Melamid’s portraiture included in his first independent project after thirty years of collaborative creativity with Vitaly Komar. Throughout the entire thirty-year period of cooperation, the painters signed their works with the Komar and Melamid trademark making it difficult to determine the artists’ individual characters. A detailed analysis of the solo works of the 60-70s, before the beginning of collaborative creativity, is presented; it helps us to detect individual traits in the works of the duet and to better identify the artists’

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Mattiello, Elisa. "On the productivity of the Italian suffix -ista and the English -ist." Languages in Contrast 20, no. 1 (2019): 1–30. http://dx.doi.org/10.1075/lic.18003.mat.

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Abstract This study compares the Italian suffix -ista with its English counterpart -ist in terms of productivity. While in English -ist is often used to designate a person who devotes himself to some science or branch of knowledge (linguist), or refers to an adherent of some creed, doctrine, or art (idealist), Italian -ista has extended its use to new meanings (e.g. supporter of a politician, an artist, etc.), and possible bases, from roots to phrases. Moreover, -ista has also extended its applicability to recent loan words and abbreviations, thus becoming more frequent than -ist and often cor

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