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Relevant bibliographies by topics / Museu do Vaticano

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Academic literature on the topic 'Museu do Vaticano'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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Journal articles on the topic "Museu do Vaticano"

1

Carvalho, Aivone, and Dulcília Lúcia De Oliveira Silva. "Conservação preventiva, intervenção e restauro em acervo etnológico: sugestões metodológicas." Revista do Museu de Arqueologia e Etnologia, no. 15-16 (December 14, 2006): 347. http://dx.doi.org/10.11606/issn.2448-1750.revmae.2006.89726.

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Este artigo teve como fundamento trabalhos e pesquisas realizados no setor de Etnologia do Museu Dom Bosco de Campo Grande, durante o projeto de transferência do acervo para um novo espaço museal, obedecendo a normas e técnicas desenvolvidas a partir de consultorias com especialistas nacionais e internacionais, dos quais citamos: Gedley Braga, Museu de Arqueologia e Etnologia da Universidade de São Paulo, Agostinho Eibajwu e Ayrton Meri Ekureu, Centro de Cultura Bororo da Aldeia de Meruri- Mato Grosso; Dra. Claudia Kusch, restauradora em diversos museus da Itália, principalmente do Museu do Vaticano, e professora do Instituto Central de Restauração de Roma; Axel Nielsen, arqueólogo, professor e restaurador radicado em Roma; Ester Console, curadora do departamento de Etnologia do Museo Missionario Etnologico Vaticano, na Itália.

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Da Silva, Paula Rafaela. "O sagrado e o profano no museu: uma mediação através da moda." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 11, no. 24 (December 5, 2018): 353–59. http://dx.doi.org/10.26563/dobras.v11i24.790.

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A exposição Heavenly Bodies: Fashion and the Catholic Imagination (Corpos sagrados: moda e a imaginação católica), realizada pelo Metropolitan Museum of Arts and Costume Institute (MET) em Nova York, de 10 de maio a 8 de outubro de 2018, teve como objetivo promover a reflexão sobre o diálogo entre moda, religião e arte1 . A mostra esteve pautada em três elementos principais: trajes assinados por renomados estilistas que tiveram inspiração na arte sacra, a coleção de arte medieval do MET e peças raras do Museu do Vaticano, cedidas exclusivamente para a exibição. [...]

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Cabral, Newton Darwin de Andrade, Cícero Williams Da Silva, and Lucy Pina Neta. "Fronteiras do Arcebispo: a casa de Dom Helder Camara." Fronteiras - Revista de Teologia da Unicap 1, no. 2 (December 15, 2018): 431. http://dx.doi.org/10.25247/2595-3788.2018.v1n2.p431-459.

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A partir da última casa habitada por Dom Helder Camara (anexa à Igreja das Fronteiras, no Recife), o artigo estuda o quanto aquela residência foi emblemática em sua perspectiva de não encarar limites como intransponíveis, mas, ao contrário, enxergar a possibilidade de ampliá-los ou aboli-los. Assim, foram abordados três eixos: o primeiro explora aspectos da construção, desde a capela primitiva, localizada na fronteira da estância de Henrique Dias, até quando, após visita do Imperador Pedro II, ela recebeu o título de Capela Imperial; o segundo trata das inquietações de Dom Helder que, ao assumir a Arquidiocese local, morou no Palácio Episcopal embora desejasse despojar-se daquele simbolismo de poder. Foram percorridas as opções cogitadas e a escolha da Igreja das Fronteiras, investigando tanto o alcance da mudança representando rompimento de limites, quanto a ampliação do seu testemunho de bispo coerente com debates e compromissos firmados intra e extra Concílio Vaticano II. Tudo é analisado sob o prisma do lema do seu episcopado – Em tuas mãos! –, inclusive seu posicionamento quando muros da Igreja foram alvejados e ele experimentou a iminência da morte enquanto última fronteira. Como consequência, o local passou a demarcar outra extinção de divisas ao tornar-se referência para visitas de estadistas, religiosos, artistas e gente do povo; o terceiro analisa os processos pelos quais passou a igreja – tombamento (1947), inventário dos bens (2003) – e o reconhecimento como Casa-museu, condição atual da residência do falecido arcebispo, conferida também pelo fluxo regular de visitantes e pelas exposições permanentes nela realizadas acerca do legado helderiano.

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4

Wasmuth, Melanie. "Persika in der Repräsentation der ägyptischen Elite." Journal of Egyptian Archaeology 103, no. 2 (December 2017): 241–50. http://dx.doi.org/10.1177/0307513317743725.

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Egyptian elite representation in the Twenty-seventh Dynasty features a number of statues with Persian honour awards. The following paragraphs discuss the socio-cultural significance of displaying Persian jewellery in the statues of Udjahorresnet in the Musei Vaticani, of Ptahhotep in the Brooklyn Museum, and of a man of unknown name in the Landesmuseum Karlsruhe. The context of these persika will be contrasted to those in the tomb reliefs of Petosiris in Tuna el-Gebel, which open up very different lines of interpretation.

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Mandelli, A., L. Perfetti, F. Fiorillo, F. Fassi, C. Rossi, and C. Greco. "THE DIGITALIZATION OF ANCIENT EGYPTIAN COFFINS: A DISCUSSION OVER DIFFERENT TECHNIQUES FOR RECORDING FINE DETAILS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 23, 2019): 743–50. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-743-2019.

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<p><strong>Abstract.</strong> This work starts from the request to have a physical high-resolution 3D model of the external, anthropoid coffin of the scribe Butehamon, held at the Museo Egizio, Turin. At the time of writing, a replica of the coffin, based on this survey work, functions as final and focal installation of the temporary exhibition Archeologia Invisibile of the Museo Egizio, Turin, running from March 2019 to January 2020. The replica acts as support for a micro-mapping installation meant to re-project a pattern of images onto the coffin’s surface, including the results of different radiometric and colourimetric analyses performed in the recent past by Museo Egizio and Musei Vaticani. This collaborative work encouraged a thorough discussion on the interaction between scientists and humanists engaged in the study of archaeological finds, on the needs and expectations of both sides, and on the technical problems relating to handling objects of different sizes.</p>

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Collins, Jeffrey. "Marshaling the Muses: The Vatican's Pio-Clementino Museum and the Greek Ideal." Studies in the Decorative Arts 16, no. 1 (September 2008): 35–63. http://dx.doi.org/10.1086/652813.

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de Puma, Richard Daniel, Roger Lambrechts, Alba Frascarelli, and Gabriele Cateni. "Corpus Speculorum Etruscorum, Stato della Citta del Vaticano 1. Citta del Vaticano, Museo Profano della Biblioteca Apostolica Vaticana; Roma, Collezione di antichita dell'Abbazia di San Paolo fuori le mura." American Journal of Archaeology 101, no. 3 (July 1997): 609. http://dx.doi.org/10.2307/507127.

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Costa, Roberto. "Building an Indigenous Museum in the Vatican." TSANTSA – Journal of the Swiss Anthropological Association 25 (September 21, 2020): 141–52. http://dx.doi.org/10.36950/tsantsa.2020.025.14.

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Debates around the significance, function and social value of museums are still challenging museum practices and models. In particular, the demands of “source communities” for self-representation and self-emancipation in the global community continue to call into question the role of the museum as a catalyst for promoting social change across cultures. In this paper, I push this question further by discussing the desires of a group of Roman Catholic woodcarvers in central Asmat (Indonesian Papua) to build a museum for exhibiting their carvings in the Vatican. To them, the Vatican is not only the sacred centre of Catholicism but also an integral part of their mythical world of ancestors. After a brief examination of their considerations, I attempt to put their ambitious museum idea into dialogue with current debates on “the postcolonial museum” to highlight how it can dictate new directions for indigenising museums.

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Gennaccari, Cristina. "Museo Pio Cristiano in Vaticano. Inediti e additamenta." Mélanges de l’École française de Rome. Antiquité 109, no. 2 (1997): 833–54. http://dx.doi.org/10.3406/mefr.1997.2006.

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Moignard, Elizabeth. "(M.) Iozzo Vasi antichi dipinti del Vaticano. La Collezione Astarita nel Museo gregoriano Etrusco 2.1: Ceramica attica a figure nere. Vatican City: Monumenti, Musei e Gallerie Pontificie, 2002. Pp. 246, illus. 110." Journal of Hellenic Studies 125 (November 2005): 188–89. http://dx.doi.org/10.1017/s0075426900007436.

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Books on the topic "Museu do Vaticano"

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Steinby, Eva Margareta. La necropoli della via Triumphalis: Il tratto sotto l'autoparco Vaticano. Roma: Quasar, 2003.

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City), Museo Pio-Clementino (Vatican. Vatican. [Vatican City]: Musei Vaticani, 2004.

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Vatican City. Direzione generale dei musei, ed. Le meraviglie dei Musei Vaticani. Milano: Mondadori, 2014.

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Lega, Claudia. Le iscrizioni cristiane di Roma conservate nei Musei vaticani: Indice dei vocaboli. Città del Vaticano: Monumenti musei e gallerie pontificie, 2000.

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5

York, New. The Metropolitan Museum of Art guide. New York: The Museum, 1987.

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New York. The Metropolitan Museum of Art guide. Edited by De Montebello Philippe. 2nd ed. New York: The Museum, 1994.

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7

editor, Buranelli Francesco, and Vatican City. Direzione generale dei musei, eds. L'idea del museo: Identità, ruoli, prospettive : atti del Convegno internazionale promosso in occasione del quinto centenario dei Musei Vaticani (1506-2006), 13-15 dicembre 2006, Città del Vaticano. Roma: "L'Erma" di Bretschneider, 2013.

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I musei vaticani: Cinque secoli di storia. Roma: Quasar, 1985.

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Pietrangeli, Carlo. Opere di provenienza tuderte nei musei vaticani. Todi (Perugia) [Italy]: EDIART, 1993.

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10

Consoli, Gian Paolo. Il Museo Pio-Clementino: La scena dell'antico in Vaticano. Modena: F.C. Panini, 1996.

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Book chapters on the topic "Museu do Vaticano"

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"Tagging the Vatican Museum with Vernon Lee:." In Reading with the Senses in Victorian Literature and Science, 103–32. University of Virginia Press, 2019. http://dx.doi.org/10.2307/j.ctvsn3n5j.8.

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Siegel, Jonah. "Failure and Revision at the Vatican." In Material Inspirations, 222–27. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198858003.003.0007.

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Every museum is the repository not only of the objects it gathers together, but also of the spoken and unspoken concepts that determined the accumulation of its collections. The previous two chapters have addressed the intersection of idea, experience, and mediation in the reception of antique art in literature. This brief interchapter traces changes in the account of the classical antiquities on display at the Vatican museums as reflected in changes to the text of the most influential travel guide to Rome when it was revised at the end of the nineteenth century. The transformations in these volumes vividly demonstrate the cultural challenges that result when concept and collection no longer match up as they once had. As new claims about the history of classical art emerged, and new kinds of antique objects came to be valued, language had to be found to address the unbridgeable gaps that opened up between history and aesthetic values as a tradition of admiration became ever more distant from the materials on which it has been built.

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Siegel, Jonah. "The Experience of Form (Bewilderment at the Vatican in George Eliot and Vernon Lee)." In Material Inspirations, 203–21. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198858003.003.0006.

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The consolidation of the fields of art history and archeology in the nineteenth century was characterized by a number of fundamental revisions that were bound to track unevenly with developments in taste. Shifts in aesthetic values and in the history of art itself presented unavoidable challenges to the status of major collections. And yet, some collections were so esteemed that it was difficult for public interest in them to shift along with the vicissitudes of advanced taste. This chapter analyzes the place of the Vatican museum in two distinct but characteristic works of the later part of the nineteenth century in which the intersection of the history of taste and individual aesthetic response is made a matter of deep affective significance: Vernon Lee’s essay, “The Child in the Vatican” and George Eliot’s Middlemarch. Whether the experience of the sculpture collection at the Vatican becomes an occasion to represent an unresolvable emotional crisis framed around a formal issue, or an opportunity to address a formal issue given force by its manifestation as a profound emotional turning point, both texts register fundamental shifts in taste that were bound to affect the objects around which that taste had developed. By registering the limits of powerful concepts that had attempted to establish the relationship of subjects to admired objects, George Eliot and Vernon Lee reveal the emotional determinants and uncertainties accompanying and helping to shape the emergence of formal concerns out of material concepts.

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Muscillo, Alessandro. "Sulla via di Dioniso." In Antichistica. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-328-1/006.

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The aim of this paper is to propose a new placement for a little sculpture representing a lying winged child that is today in Florence, at the Tesoro dei Granduchi in Palazzo Pitti: ascribed until now to an unknown XVI-century sculptor, the artwork shows stylistic and iconographical elements that allow to suppose a roman origin and a possible dating to the Antonine age. The most curious detail, the forced position of the right wrist, unnaturally wheeled, finds until now just one known matching in an antique sleeping Cupid at the Musei Vaticani, and it is possible to consider some details of the sculpting method as typical of the II century AD. Otherwise, the depiction reveals a mixture of two iconographies, the ‘sleeping Cupid’ and the ‘bacchic child’ (putto bacchico), according to the eclectic practice attested in the late imperial age: the child’s posture is in fact similar to the ‘sleeping Cupid’ type, but the crown held in his left hand (and his heavy eyelids on the ajar eyes) helps to evoke the drunkenness induced by Dionysus, ideally connecting the image to the large tradition of representations of drunken bacchic children, attested here by sarcophagi and an ivory pyxis from Grumentum. Furthermore, the crown finds matches in depictions of deceased on the covers of the Klinentypus sarcophagi, showing dionysian attributes with an apparent connection to the otherwordly life. Given the analogue funerary destination of similar images of sleeping Cupids (surely attested, for example, by the setting of one of these on the cover of a sarcophagus in Copenhagen), it is therefore possible to suppose that the artwork was anciently pertinent to a similar context, as an allegorical portrayal of a deceased child or adult initiated to the mysteries of Dionysus.

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GISH, DUSTIN. "POPE JULIUS II (1443–1513, r. 1503–13 CE) AT THE BASILICA DI SAN PIETRO, THE MUSEI VATICANI, AND BASILICA DI SAN PIETRO IN VINCOLI." In People and Places of the Roman Past, 185–98. Arc Humanities Press, 2019. http://dx.doi.org/10.2307/j.ctvmd83p9.22.

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"Chapter Sixteen. Pope Julius II (1443–1513, r. 1503–13 CE) at the Basilica di San Pietro, the Musei Vaticani, and Basilica di San Pietro in Vincoli." In People and Places of the Roman Past, 185–98. ARC, Amsterdam University Press, 2019. http://dx.doi.org/10.1515/9781942401568-019.

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Conference papers on the topic "Museu do Vaticano"

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Hennessey, Michael P., Alex J. Beaulier, and Cheri Shakiban. "Modeling and 3D Printing of Ruled Surfaces." In ASME 2015 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/detc2015-46494.

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Ruled surfaces play an important role in disciplines such as applied mathematics, mechanical engineering, and architecture. We present a general methodology for creating handheld-sized 3D printed models of such surfaces, which can be useful for educational, research, and design purposes. The process begins with a mathematical description of the surface, either by means of establishing a series of line segment endpoint coordinates followed by a “connect the dots” approach or continuously sweeping a portion of a line throughout 3D space using a time-varying homogeneous transformation, thereby defining an array of line segments on the surface. Next, MATLAB is used to numerically generate the endpoint coordinates which are imported into SolidWorks via Excel and employs a custom macro to permit graphical display of the line segments in a part file. The array of line segments is then stitched together “manually” into a surface, thickened into a part, and printed out in plastic using a 3D printer. The methodology is illustrated for some simple surfaces in addition to several well-known exotic surfaces that have an architectural theme to them. Specifically, we showcase Antoni Gaudi’s conoids and elliptic hyperboloids from La Sagrada Familia, in addition to a twisted circular drum arch and a Solomonic column, both of which are seen in southern European architecture, in particular they are present at either the Museum of Cycladic Art in Athens or at The Vatican (includes museum). In summary, the work presented should be of general interest to the 3D printing, ruled surface, and architecture communities.

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