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Journal articles on the topic 'Italian Decorative arts'

Author: Grafiati

Published: 11 December 2022

Last updated: 31 July 2025

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1

Galán, Ignacio G. "Furnishing Italian Colonialism: “Nomad” Interiors and the Habitations of the Empire." Modernism/modernity 30, no. 4 (2023): 681–716. http://dx.doi.org/10.1353/mod.2023.a925904.

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abstract: This article explores the display and circulation of furniture and decorative arts between Italy and its African colonies, and discusses the relationship between pieces conceived in the occupied territories, those defined for Italian households, and those envisioned to accompany Italians in their colonial endeavors. The circulation of these different pieces was thought to embody the “expansion of life horizons” characteristic of modernity. However, modernist designers worked alongside ethnographers through the delineation of distinct identities for the inhabitants of the Italian nati

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Bindman, Catherine. "Disegno: Italian Renaissance Designs for the Decorative Arts,Beth L. Holman." Studies in the Decorative Arts 7, no. 1 (1999): 128–30. http://dx.doi.org/10.1086/studdecoarts.7.1.40662732.

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KRYSHTANOVYCH, Myroslav. "ДОСВІД ФОРМУВАННЯ ПРОФЕСІЙНОЇ КОМПЕТЕНТНОСТІ В МАЙБУТНІХ ФАХІВЦІВ ОБРАЗОТВОРЧОГО І ДЕКОРАТИВНОГО МИСТЕЦТВА У ЄВРОПЕЙСЬКИХ КРАЇНАХ". Освітні обрії 52, № 1 (2021): 111–14. http://dx.doi.org/10.15330/obrii.52.1.111-114.

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A study of the experience of forming professional competence among future specialists in fine and decorative arts was carried out. The main task is to study the experience of forming professional competence in future professionals of fine and decorative arts. It has been determined that the system of training future specialists in fine and decorative arts exists in all European countries. However, Great Britain, Spain, Italy, Germany and others are recognized as leaders in this area. In our study, we will take a closer look at the features of the training system for future specialists in fine

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Tsoumas, Johannis. "WHITE GOLD’ IN EARLY TO MID-EIGHTEENTH CENTURY VENICE AND FLORENCE: THE FIRST ITALIAN PORCELAIN FACTORIES AND THEIR HIGHLY COVETED PRODUCTION." ARTis ON, no. 1 (December 12, 2015): 6–16. http://dx.doi.org/10.37935/aion.v0i1.12.

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An inaccessible material both in terms of technology and manufacture for the aristocratic classes and the royal courts of Europe and especially for the prominent politically, socially and culturally Italy, porcelain was until the beginning of the eighteenth century an ‘impossible dream’ which only through a limited number of Chinese wares could be satisfied. However in the early highly decorative and playful Rococo period, its discovery in Germany inaugurated a new era in the European decorative arts. Hard-paste porcelain was soon introduced in Northern Italy and started being produced in the

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String, Tatiana C. "A Neglected Henrician Decorative Ceiling." Antiquaries Journal 76 (March 1996): 139–51. http://dx.doi.org/10.1017/s0003581500047442.

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Surprisingly little attention has been paid by scholars of Henry VIII to the heraldic ceiling of the Chapel Royal in St James's Palace (fig. 1). Study of its decoration has fallen somewhere in between surveys of Tudor architecture and painting. In this article specific problems relating to the ceiling will be addressed: when it was made, the iconography, the reasons for the iconography, the visual source of the ceiling and how it was transmitted, and who made it. The ceiling warrants attention because its programme of Henrician heraldry is a key to the understanding of the political iconograph

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Haskell, Heather R. "The Horace Smith Collection of Plaster Casts." Sculpture Review 51, no. 4 (2002): 14–17. http://dx.doi.org/10.1002/j.2632-3494.2002.tb00202.x.

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The George Walter Vincent Smith Art Museum opened to the citizens of Springfield, Massachusetts, in 1896. The museum, modeled after an Italian palazzo, houses the large decorative arts collection of George Walter Vincent Smith (1832–1923) and his wife, Belle Townsley (1845–1928). Smith served as the museum's first curator and combined his vast, diverse collection into consciously assembled still‐life arrangements. Over the years, one gallery within the museum remained devoted to a single art form—the plaster cast.

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Ha, Sha. "An Intercultural Experience in European Art and Decorative Design by Chinese Students in Italy." Advances in Social Sciences Research Journal 9, no. 8 (2022): 483–93. http://dx.doi.org/10.14738/assrj.98.12948.

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The paper describes the encounter with Italian fine arts and decorative design by a group of 17 Chinese Junior High School, art loving students, during their 2019 summer vacations. According to a ‘cooperative learning’ strategy, the students had been subdivided into four groups, under the guidance of four Chinese teachers, each one responsible for a single group, and the assistance of an Italian artist and an expert teacher herself. During the period of two weeks the students visited historical buildings and museums in the art cities of Venice, Padua, Florence and Rome. In the evening, in the

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Maulsby, Lucy M. "Giustizia Fascista." Journal of the Society of Architectural Historians 73, no. 3 (2014): 312–27. http://dx.doi.org/10.1525/jsah.2014.73.3.312.

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Designed by the architect most closely associated with fascism, Marcello Piacentini, the Palace of Justice was the largest building constructed in Milan in the interwar period. Piacentini intended that the building, with its extensive decorative program, would assert the state’s authority in Milan, the commercial and financial center of Italy and the birthplace of fascism, and serve as a permanent monument to the legal system that structured the fascist state. In Giustizia Fascista: The Representation of Fascist Justice in Marcello Piacentini’s Palace of Justice, Milan, 1932–1940, Lucy M. Maul

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Achten, Anastasiia R. "Imitation of Ottoman ornaments the Italian ceramics of the 14th – 20th centuries." Vestnik of Saint Petersburg State University of Culture, no. 1 (58) (2024): 108–13. http://dx.doi.org/10.30725/2619-0303-2024-1-108-113.

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This article is devoted to the Italian tradition of imitation of Ottoman ceramics from the 14th century to the beginning of the 20th century. The first period covers the pottery industry of the 14th and 15th centuries; the second period lasts from the end of the 15th century to the 18th century, and the last one is the industrial age, the end of the 19th – the beginning of the 20th century. The first period represents only regional touches and the use of similar artistic techniques and colors. The second period is illustrated with more specific examples, such as the use of the Turkish ornament

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Sciorra, Joseph. "“The Strange Artistic Genius of This People”: The Ephemeral Art and Impermanent Architecture of Italian Immigrant Catholic Feste." Buildings & Landscapes: Journal of the Vernacular Architecture Forum 30, no. 1-2 (2023): 4–35. http://dx.doi.org/10.1353/bdl.2023.a911882.

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abstract: During the late nineteenth and early twentieth centuries, Italian working-class immigrants in the United States staged religious feste (street feasts) in honor of the Madonna and other Catholic saints to express their beliefs in a socially acceptable, aesthetically pleasing, and recognizable manner. Impermanent edifices and other ephemeral constructions were integral parts of these cultural-religious extravaganzas. Hanging decorative illuminations, elaborate sidewalk altars, freestanding multistoried chapels, and various ambulatory structures were architectural wonders that boldly tr

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Jing, Xiao. "Exploring “Galant Style” in 18^th-Century German, French, and Italian Composers’ Pieces." SHS Web of Conferences 183 (2024): 03021. http://dx.doi.org/10.1051/shsconf/202418303021.

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This paper explores the Galant style of music, which emerged in the mid-18th century as a bridge between the Baroque and Classical periods. The characteristics of this style are simplicity and elegance, and it focuses on melody and harmony over complex counterpoint. Most people would classify the Galant style as Rococo, and this paper proves this opinion is wrong. Compared to the Galant style, the Rococo style is associated with visual arts. Comprehensive research of the Galant style illustrates that this style prioritizes clarity and musical structure rather than ornamental and decorative fea

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POLONSKIY, VADIM. "GEOPOETICS OF THE ART NOUVEAU ERA: SOUTHERN ITALY THROUGH THE EYES OF RUSSIAN AUTHORS OF THE LATE 19TH - EARLY 20TH CENTURY." Lomonosov Journal of Philology, no. 3, 2023 (June 19, 2023): 89–106. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-3-8.

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The article dwells on the semantically integral system of Southern Italy Russian reception in the heyday of Belle époque. Its connection with the European context dating back to Goethe and purely national features are shown. Based on Berdyaev’s relevant texts, the imagological constants of the Silver Age ‘Russian Italy’ are reconstructed. Three different models of it are demonstrated, opposing the aesthetic line of Italy reflection in the mirrors of the arts, embodied by P.P. Muratov (Images of Italy, 1912): in the works of D.S. Merezhkovsky, M.A. Osorgin and I.A. Bunin. It is proved that they

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Madersbacher, Lukas. "Armorial Lockplates: A Story of Success in Renaissance Rome." Rijksmuseum Bulletin 69, no. 4 (2021): 302–21. http://dx.doi.org/10.52476/trb.11390.

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This article was prompted by a gilt bronze lockplate in the Rijksmuseum, originally the decorative fastening of a chest and one of a large group of similar objects. Hardly any other metalwork design was more extensively reproduced in Italian Mannerism. Its success was based on the appealing design and the fact this type of lockplate offered the possibility of integrating coats of arms and thus personalizing a chest. The paper presents new examples not yet listed in Charles Avery’s comprehensive overview (2001), identifies a whole series of clients for these lockplates on the basis of heraldic

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Hirji, Zulfikar. "A Corpus of Illuminated Qurʾāns from Coastal East Africa". Journal of Islamic Manuscripts 14, № 2-4 (2023): 356–95. http://dx.doi.org/10.1163/1878464x-01401006.

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Abstract This article examines a little-known corpus of illuminated Qurʾān manuscripts that were produced between ca. 1750–ca. 1850 in the Swahili city-states of Pate, Siyu, and Faza on Pate Island in the Lamu archipelago (Kenya). Now dispersed in collections in Kenya, Tanzania, Oman, the UK, and the USA, the manuscripts have many distinctive features: decorative frontispieces, sūra titles, basmalas, and division and prostration markers; locally developed Arabic script styles; colophons containing names of copyists and completion dates; endowment dedications; northern Italian-made paper; and,

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Rusteikaitė, Ieva. "Elegant and Practical: Bindings of Books Printed in the Middle of 16th and the First Half of the 17th Centuries in Italy and the Polish–Lithuanian Commonwealth in the Library of Vilnius Jesuit Academy." Knygotyra 80 (July 18, 2023): 228–62. http://dx.doi.org/10.15388/knygotyra.2023.80.130.

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In the early modern period, the relentless growth in the copies of printed books and the increasing competition between craftsmen meant that, since the invention of Gutenberg until the 19th century, European bookbinders were forced to look for cheaper and quicker binding techniques. Based on this assumption, the article focuses on some of the bindings of books printed from the middle of the 16th until the middle of the 17th century which belonged to the library of Vilnius Jesuit Academy. This study is part of a broader research on the bindings of the Vilnius Jesuit Academy Library, and the art

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Mascarenhas, Arun, and Suvidha P. . "Catholic Art: Mangaluru, a Case Study (1878-2023)." International Journal of Arts Architecture & Design 2, no. 2 (2024): 14–48. http://dx.doi.org/10.62030/2024julypaper2.

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‘Catholic Art’ is art produced for catholic patrons, which includes iconographic works in visual arts, sculptures, architecture, and decorative and applied arts. Jesus Christ, his disciples, followers, saints, and biblical narratives have been the subject matter of Catholic art. There is an ecumenical relationship between Christian theology and Catholic Art. However, not all Christians are Catholics, but all Catholics are Christians. The Mangaluru case study centers on the prominent Italian Artist Priest, Fra. Antonio Moscheni SJ (1854-1905). He was entrusted to embellish the newly built cathe

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Тарасенко, А. А., та Г. В. Акрідіна. "ІКОНОСТАСИ СПАСО-ПРЕОБРАЖЕНСЬКОГО КАФЕДРАЛЬНОГО СОБОРУ ОДЕСИ: ТЕМАТИКА І СТИЛІСТИКА". Art and Design, № 2 (21 вересня 2020): 114–28. http://dx.doi.org/10.30857/2617-0272.2020.2.10.

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The purpose is to study the themes and the stylistics of the upper and lower churches’ iconostases of the Transfiguration Cathedral in Odessa. The comparative method was used in order to study the topic and identify the artistic and stylistic features of Odessa Cathedral iconostases. It allows comparing the objects of study with analogues from the world art. Iconological, iconographic methods and figurative-stylistic analysis were also applied. The iconostases of the Transfiguration Cathedral upper and lower churches in Odessa are organically inscribed in the architectural environment, thanks

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Akimov, Sergey S. "The 17th Century Dutch Art in E.I.Rotenberg’s Studies." Vestnik of Saint Petersburg University. Arts 13, no. 3 (2023): 413–31. http://dx.doi.org/10.21638/spbu15.2023.302.

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The contribution of Evsei Rotenberg to the studies in history of the 17th century Dutch art is analyzed in this article. Investigations in Dutch art of the Golden Age were one of the main lines in scientific interests of Evsei Rotenberg, great specialist in classical West-European art, during all his activity. He also wrote about Italian Renaissance, especially Michelangelo and Titian, and about the most important esthetic and creative problems and tendencies of the 17th century art, the greatest masters of this epoch. The paper highlights his evolution as a researcher from point of view subje

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Karyakina, Tatyana Dmitrievna. "The Allegorical and Symbolic Meaning in West European Porcelain Craft of the 18th Century." Исторический журнал: научные исследования, no. 2 (February 2020): 30–37. http://dx.doi.org/10.7256/2454-0609.2020.2.32607.

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The article takes a look at the works of various porcelain manufactories: Italian Docchia, German Meissen and Nymphenburg, Viennese and French S&egrave;vres. These works are subject to allegorical interpretation and symbolic meaning. This content feature is one of the characteristic features of Baroque and Rococo art. The author pays particular attention to the identification of allegorical attributes and specific elements of form and decor that carry symbolic meaning. Porcelain artifacts, the authors of which are prominent European masters (Soldani, K&auml;ndler, Eberlein, Bustelli, N

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OKUDA, Koichiro. "ON THE MODERNIZATION OF ITALIAN FURNISHINGS THROUGH THE NATIONAL CONTESTS OF THE ECONOMIC FURNISHINGS AND THE DECORATIVE ARTS FOR PUBLIC HOUSING ORGANIZED BY THE O.N.D. IN 1928-1929." Journal of Architecture and Planning (Transactions of AIJ) 76, no. 669 (2011): 2233–39. http://dx.doi.org/10.3130/aija.76.2233.

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Simões, João Miguel. "AS ARTES DECORATIVAS NAS ESCADARIAS DE APARATO DE LISBOA NO SÉCULO XVIII." ARTis ON, no. 1 (December 12, 2015): 55–67. http://dx.doi.org/10.37935/aion.v0i1.15.

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A escadaria de aparato no palácio barroco é um fenómeno artístico típico do século XVIII, subsidiário da cultura arquitectónica italiana, que pretendia manifestar junto do visitante o estatuto social do residente. Porém, em Portugal, as composições arquitectónicas ao modo italiano serão consideradas demasiado frias e austeras, tendo os seus encomendantes procedido, numa fase posterior, ao seu “melhoramento” através da aplicação de artes decorativas, como o azulejo, os estuques ou as guardas metálicas. Noutros casos, mais desligados da matriz italiana, a escadaria é projectada para receber pain

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Паньків, Г. С. "ІСТОРИЧНИЙ КОНТЕКСТ ПРОЯВЛЕННЯ РОДОВИХ ДЕФІНІЦІЙ У МИСТЕЦТВІ ЖИВОПИСУ". Вісник Харківської державної академії дизайну і мистецтв, № 3 (30 серпня 2018): 81–88. https://doi.org/10.5281/zenodo.1406666.

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The purpose of the article is to study the historical conditionality of the manifestation of generic characteristics in the art ofpainting. The conceptual methodological core of the research is the historical and logical analysis of objects of fine arts in the context of the prevalence of easel and monumental characteristics. It is impossible to formulate unambiguous definitions of the concepts of “easel”, “monumental” and “decorative and applied” because the historical context and the time itself introduce new meaningful, functional, technological and

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Baskins, Cristelle L., Marilyn Aronberg Lavin, and Patricia Fortini Brown. "The Place of Narrative: Mural Decoration in Italian Churches, 431-1600." Art Bulletin 74, no. 1 (1992): 161. http://dx.doi.org/10.2307/3045857.

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Goldthwaite, Richard A. "The Economic and Social World of Italian Renaissance Maiolica*." Renaissance Quarterly 42, no. 1 (1989): 1–32. http://dx.doi.org/10.2307/2861915.

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Italian maiolica has a long history extending back into the Middle Ages. That history recounts a slow evolutionary process, with its main themes being: first, the importation of tin-glazed pottery from the Islamic world in the eleventh and twelfth centuries, which has survived primarily as architectural decoration (the bacini inserted into church façades); secondly, the development of the local production of ceramics with lead glazes and then improved tin glazes and with modest painted and incised decoration; thirdly, the diffusion of that production, presumably from Sicily and southern Italy,

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Schulz, Vera-Simone. "Bild, Ding, Material: Nimben und Goldgründe italienischer Tafelmalerei in transkultureller Perspektive." Zeitschrift für Kunstgeschichte 79, no. 4 (2016): 508–41. http://dx.doi.org/10.1515/zkg-2016-0037.

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Abstract With a special focus on processes of artistic transfer between the Apennine peninsula and other regions in the Mediterranean and beyond, this paper sheds new light on haloes and gold grounds in thirteenthto fifteenth-century Italian painting. By means of case studies, it analyzes both (1) the role of haloes and gold grounds within the specific logic of the images, and (2) the impact of imported artifacts (their techniques, decoration, and materiality) on Italian panel painting as well as the complex interplays between imports and local production. Elucidating the intersections, fricti

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Babic, Valentina. "The sculpture of the church of the holy virgin of the Studenica Monastery. Origin and models." Zograf, no. 43 (2019): 89–112. http://dx.doi.org/10.2298/zog1943089b.

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The paper deals with the architectural sculpture of the twelfth century Church of the Holy Virgin at the Studenica Monastery. Its parallels with Italian Romanesque sculpture have long been identified in academic literature, and attention has been drawn to the influence of classical sculpture, mostly in terms of style, which has been attributed to the impact of Byzantine art. The paper demonstrates that all the motifs present in Studenica?s sculptural decoration originate from Romanesque sculpture in the Italian regions of Emilia Romagna and Apulia. Most of them rely on ancient Roman models and

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Carrier, David, and Marilyn Aronberg Lavin. "The Place of Narrative: Mural Decoration in Italian Churches, 431-1600." Leonardo 25, no. 1 (1992): 104. http://dx.doi.org/10.2307/1575644.

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Lanz, Francesca. "The Interior Decoration of Ocean Liners: A Chapter in Italian Design History." Interiors 3, no. 3 (2012): 247–69. http://dx.doi.org/10.2752/204191212x13470263746997.

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Šitina, Ana. "Časoslov Blažene Djevice Marije (Horae Beatae Mariae Virginis) iz Znanstvene knjižnice u Zadru." Ars Adriatica, no. 4 (January 1, 2014): 267. http://dx.doi.org/10.15291/ars.500.

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The illuminated Book of Hours dedicated to the Blessed Virgin Mary which was originally held in the former Paravia Library is today located at the Research Library in Zadar. Unfortunately, no information exists about this manuscript. It is bound between covers made of wood veneer and sheathed with black leather. It consists of 156 folios which contain the Office of the Blessed Virgin Mary, the book of hours dedicated to the Blessed Virgin Mary, the book of hours dedicated to the Holy Spirit, Holy Cross, a portion of the office for the dead, seven funerary psalms and various prayers for specifi

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Busto Zapico, Miguel. "Los influjos estilísticos europeos en las producciones de cerámica asturiana de la Edad Moderna." Liño 25, no. 25 (2019): 9. http://dx.doi.org/10.17811/li.25.2018.9-22.

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A través del estudio de 3.237 piezas cerámicas de cronologías que van desde el siglo XIII al XVIII queremos conocer cuáles eran los influjos estilísticos europeos en las producciones de cerámica asturiana. A comienzos de la Edad Moderna los mercados asturianos comienzan a estar inundados por cerámicas de importación, principalmente procedentes de Holanda, Talavera de la Reina, Portugal, Sevilla, País Vasco e Inglaterra. La llegada de estas producciones influirá en las decoraciones desarrolladas en los alfares asturianos de Faro de Limanes y Miranda de Avilés. En esta investigación veremos como

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Gómez Aragüete, Juan Carlos, and Teresa Zapata Fernández de la Hoz. "Cuatro dibujos de Sebastián Muñoz para La Mantería." Archivo Español de Arte 93, no. 372 (2020): 335–46. http://dx.doi.org/10.3989/aearte.2020.22.

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Los frescos de la Iglesia de Santo Tomás de Villanueva de Zaragoza, conocida como La Mantería, constituyen el mayor conjunto decorativo conservado de Claudio Coello. Según Antonio Palomino, el pintor trabajó en ellos más de un año, si bien cuando su discípulo Sebastián Muñoz regresó de su estancia en Italia se fue a Zaragoza a ayudarle. En este artículo se estudia una serie de dibujos preparatorios para dichos frescos, que confirman las palabras de Palomino y obligan a reconsiderar el papel jugado por Muñoz en la elaboración de la obra.

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García Álvarez, César. "La transmisión formal e iconográfica de modelos en cuatro ejemplos del arte renacentista en León." Estudios humanísticos. Geografía, historia y arte, no. 19 (February 9, 2021): 273. http://dx.doi.org/10.18002/ehgha.v0i19.6765.

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<span>The iconological method lies on the basic idea of iconographic type, understood as the inluence that a previous visual or textual model has over a concrete artistic work. The discovery of four different models in four works from the Renaissance art of León (an engraving of Marcantonio Raimondi for a possible relief of Hércules; a german engraving of G. Pencz for a triumph of Venus; different drawings by N. Rosex for a decorative panel, and another engraving, by H. B. Grien, as a model for a St. Sebastian) supports the thesis of a general influence exerted by the Italian and German

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Sheewasukthaworn, Wiroj. "Definition of Decorative Pediment Elements of the Building in Palladian Architecture in Thailand." Herança 7, no. 4 (2024): 146–60. https://doi.org/10.52152/heranca.v7i4.1004.

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This article presents the development of symbolic interpretations that appear on the pediment in Palladian architecture in Thailand. Palladian architecture originated from an Italian architect, Andrea Palladio. The distinctive identity is that it has beautiful proportions that are harmoniously consistent, with the style unraveled from ancient Greco-Roman architecture. It emphasizes symmetry and incorporates classic building elements into the design, especially in pediment. Studies have shown that pediment is an important element. It is located on the top of the building. In the Greco-Roman per

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Van Den Boogert, C. "Habsburgs imperialisme en de verspreiding van renaissancevormen in de Nederlanden: de vensters van Michiel Coxcie in de Sint-Goedele te Brussel." Oud Holland - Quarterly for Dutch Art History 106, no. 2 (1992): 57–80. http://dx.doi.org/10.1163/187501792x00082.

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AbstractThe introduction and diffusion of Italian Renaissance forms in sixteenth-century Netherlandish art has usually been described as a process initiated by artists who travelled south, adopted the new style and reaped success after their return to the Netherlands. In giving full credit to the artists and considering this phcnomenon to be a process of artistic exchange in the modern sense, art historians have wrongly disregarded the historical circumstances that caused patrons' preference for the new style. The earliest use of Renaissance forms in the Low Countries on a large scale may be o

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Sandrolini, F., E. Franzoni, H. Varum, and R. Nakonieczny. "Materiales y tecnologías en la Arquitectura Modernista: Casos de Estudio de decoración de fachadas en Italia, Portugal y Polonia persiguiendo una restauración racional." Informes de la Construcción 63, no. 524 (2011): 5–11. http://dx.doi.org/10.3989/ic.10.053.

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Shepherd, Rupert. "Giovanni Sabadino degli Arienti, Ercole I d'Este and the decoration of the Italian Renaissance court." Renaissance Studies 9, no. 1 (1995): 18–57. http://dx.doi.org/10.1111/j.1477-4658.1995.tb00300.x.

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Shepherd, Rupert. "Giovanni Sabadino Degli Arienti, Ercole I D'este and the Decoration of the Italian Renaissance Court." Renaissance Studies 9, no. 1 (1995): 18–57. http://dx.doi.org/10.1111/1477-4658.00165.

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Bernal Sánchez, Pablo. "La medición del tiempo en la oscuridad. Dos relojes nocturnos en el Museo Nacional de Artes Decorativas." Además de. Revista on line de artes decorativas y diseño, no. 8 (September 21, 2022): 67–90. http://dx.doi.org/10.46255/add.2022.8.113.

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El ser humano siempre se ha preocupado por la medición del tiempo desde la Antigüedad, produciendo objetos que sirvieran para ello. Al principio se dependía directamente de los factores climáticos hasta que irrumpieron los relojes mecánicos en la Edad Media. La tipología de reloj nocturno nace en la Península Itálica en el siglo XVII buscando dar solución a dos problemas: el sonido de su maquinaria y la visión de la hora durante la noche. Fueron los hermanos Campani quienes lograron introducir los avances necesarios para conseguirlo y rápidamente estos relojes se popularizaron entre las élites

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Goja, Bojan. "Maestro di Pico i iluminacije u inkunabuli De Civitate Dei (Nicolas Jenson, Venecija, 1475.) u samostanu Sv. Duje u Kraju na Pašmanu." Ars Adriatica, no. 4 (January 1, 2014): 235. http://dx.doi.org/10.15291/ars.497.

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The Franciscan Monastery of St Domnius at Kraj on the island of Pašman houses an incunable edition of Augustine’s The City of God (De Civitate Dei) which was printed in Venice by Nicolas Jenson in 1475. The incunable features beautiful Renaissance multi-coloured illuminations painted in tempera, sepia, ink and water colours while gold foils and gold dust were used on fol. 17 (the page number is not original but was subsequently added in pencil; this folio contains the beginning of Book 1) and a number of other folios. The illumination on fol. 17 consists of two phytomorphic initials, a decorat

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Clough, Cecil H. "Art as Power in the Decoration of the Study of an Italian Renaissance Prince: The Case of Federico Da Montefeltro." Artibus et Historiae 16, no. 31 (1995): 19. http://dx.doi.org/10.2307/1483497.

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Amaro Martos, Ismael. "De Palermo a Mazara del Vallo:." Atrio. Revista de Historia del Arte, no. 29 (December 19, 2023): 72–95. http://dx.doi.org/10.46661/atrio.7424.

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Ugone Papè di Valdina (1724-1791) acumuló un importante número de insignias y ornamentos sagrados en Palermo, antes de ser nombrado obispo de Mazara del Vallo (Trápani, Sicilia, Italia) en 1772, cargo que ocupó hasta el día de su muerte. Esta colección, junto a otros bienes, fue inventariada en el año de su partida, para después llevarla hasta su nueva jurisdicción. En este trabajo se estudian las piezas textiles enumeradas en el documento histórico, ordenadas por tipologías y colores litúrgicos, se analizan sus características técnicas y matéricas, se proponen distintas hipótesis sobre los es

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Murer, Cristina. "From the Tombs into the City: Grave Robbing and the Reuse of Funerary Spolia in Late Antique Italy." Acta ad archaeologiam et artium historiam pertinentia 30 (March 20, 2019): 115–37. http://dx.doi.org/10.5617/acta.6868.

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Archaeological evidence demonstrates that funerary spoil (e.g. sarcophagus lids, funerary altars, epitaphs, reliefs, and statues) were frequently reused to decorate the interiors of public and private buildings from the third to the sixth century. Therefore, the marble revetments of high imperial tombs must have been spoliated. Imperial edicts, which tried to stamp part the overly common practice of tomb plundering, confirm that the social practice of tomb plundering must have been far more frequent in late antiquity than in previous periods. This paper discusses the reuse of funerary spoil in

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Romero Medina, Raúl. "Entre traza y decoración en la arquitectura tardogótica. De vueltas con el problema de Diego de Riaño (ca.1490-1534) y colaboradores." De Medio Aevo Avance en línea (January 21, 2024): 1–28. http://dx.doi.org/10.5209/dmae.92845.

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A finales de la Edad Media la arquitectura en Europa está dominada por las fórmulas “al uso moderno” impuestas por el lenguaje del tardogótico. Paralelamente, se recurre al lenguaje decorativo y formal a la italiana como sistema simbólico de referencia del poder. Maestros de cantería hispanos —arquitectos— y maestros de la ornamentación desempeñan diferentes responsabilidades profesionales en unas fábricas complejas, a veces alejadas del problema del Renacimiento o, en el caso, de un supuesto bilingüismo arquitectónico. En la región de la Baja Andalucía este capítulo cobra especial interés de

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Li, Qiang. "Peculiarities of the mutual influence of Italian and Chinese musical theater tradition in historical development." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 67, no. 67 (2023): 56–77. http://dx.doi.org/10.34064/khnum1-67.04.

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Statement of the problem. Modern opera performance art in China is closely related to the national theater tradition, which has a thousand-year history. Despite the fact that Italian (and generally European) musical and dramatic art has been known in China for more than a few century, the public did not perceive it for a long time due to significant differences in many aspects: from stage dramaturgy, vocal roles to behavioral norms in the theater institutions. This study draws historical parallels between Italian opera and national Chinese music-theatre art and examines attempts to adapt Itali

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Kozlova, S. I. "Герберт Хорн — историк искусства, коллекционер и основатель музея". Iskusstvo Evrazii [The Art of Eurasia], № 4(19) (30 грудня 2020): 146–55. http://dx.doi.org/10.46748/arteuras.2020.04.012.

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The activity of Herbert Horne, an art collector, is regarded in the article due to his great significance as an italianist scolar. Hence, the emphasis is made on the Horne’s work starting from the 1880-s when he dedicated himself to studying different aspects of the Italien Renaissance art and culture. His role in the study of Trecento and Quatrocento art (his articles and his monograph on Sandro Botticelli) is shown, as well as his leadership in the art and antique sphere and his participation as an expert in the creation of new museums, while the stress is put on Horne’s figure as an outstan

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Cheney, Liana De Girolami. "Edward Burne-Jones’s The Planets: Luna, A Celestial Sphere." Culture and Cosmos 21, no. 1 and 2 (2017): 283–300. http://dx.doi.org/10.46472/cc.01221.0631.

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Edward Burne-Jones (1833–98), a Pre-Raphaelite painter, was fascinated with astronomy as noted in his memorials and accounts. In 1879 he executed cartoon drawings for a cycle on the planets for the artisans of the William Morris firm, who would transform them into stained-glass windows. The commission was for the decoration of Woodlands, the Victorian home of Baron Angus Holden (1833–1912), a mayor of Bradford. Presently, seven of the cartoons – The Moon (Luna), Earth (Terra), Sol (Apollo), Venus, Jupiter, Saturn, and Evening Star) – are in the Torre Abbey Museum in Torquay, UK, while the cart

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Cheney, Liana De Girolami. "Edward Burne-Jones’s The Planets: Luna, A Celestial Sphere." Culture and Cosmos 21, no. 0102 (2017): 283–300. http://dx.doi.org/10.46472/cc.01221.0231.

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Edward Burne-Jones (1833–98), a Pre-Raphaelite painter, was fascinated with astronomy as noted in his memorials and accounts. In 1879 he executed cartoon drawings for a cycle on the planets for the artisans of the William Morris firm, who would transform them into stained-glass windows. The commission was for the decoration of Woodlands, the Victorian home of Baron Angus Holden (1833–1912), a mayor of Bradford. Presently, seven of the cartoons – The Moon (Luna), Earth (Terra), Sol (Apollo), Venus, Jupiter, Saturn, and Evening Star) – are in the Torre Abbey Museum in Torquay, UK, while the cart

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Vedriš, Trpimir. "Ponovno otkriveni srednjovjekovni rukopis Codex Filippi i zadarska redakcija Pasije sv. Anastazije*." Ars Adriatica, no. 6 (January 1, 2016): 61. http://dx.doi.org/10.15291/ars.177.

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Zadar’s medieval manuscript known as Cod. Lat. Iaderensis Filippi (S. Mariae) has been rediscovered after its whereabouts were unknown following its translocation from Zadar during World War II and its acquisition in London in 1997. The most recent research on the manuscript, which was familiar to the older experts on Zadar’s hagiography, has confirmed many of the previous conclusions and suggestions, but the possibility to work on the manuscript itself after almost a century has also brought new insights about its nature and the nature of the legends contained therein. As the older experts ar

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Elokhin, Kirill A. "Heraldic Elements in the Design of Milanese Sforza Coins at the Be-ginning of the 16th Century." GRAPHOSPHAERA Writing and Written Practices 4, no. 1 (2024): 79–109. http://dx.doi.org/10.32608/2782-5272-2024-4-1-79-109.

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On the coins of the dynasty of the Sforza dukes of Milan of the 16th century, various heraldic elements were minted – coats of arms, verbal and pictorial mottos, armorial figures, etc. Of-ten these elements were multiplied, creating an effect of symbolic concentration for the purpose of baroque multiplication of entities through repetition of stylistic elements. This was one important way of promoting the power of the Visconti-Sforza family, by means of which their hereditary rights to this power, the unity of their clan, the Christian basis of their power and their kinship with other aristocr

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Fisković, Igor. "Još o romaničkoj skulpturi s dubrovačke katedrale." Ars Adriatica, no. 5 (January 1, 2015): 39. http://dx.doi.org/10.15291/ars.516.

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Medieval Dubrovnik was rich in Romanesque figural and decorative sculpture but only a small group of fragmentary carvings has been preserved to date due to the fact that the town suffered a devastating earthquake in 1667. The earthquake completely destroyed the monumental Cathedral of the Assumption of the Virgin which had been considered “la piu bella in Illyrico” on the basis of its sculptural abundance. Archaeological excavations undertaken beneath the present-day Baroque Cathedral, consecrated in 1713, unearthed several thousand fragments of high-quality sculptures. Their analysis has conf

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