Relevant bibliographies by topics / Painting, Italian

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Painting, Italian'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Painting, Italian"

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ELLIOTT, SARA. "ITALIAN RENAISSANCE PAINTING." Art Book 1, no. 2 (March 1994): 19. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00017.x.

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Chen, Changhuan. "Research on the Influence of Western Renaissance Thought on Modern Painting Art." Journal of Education, Humanities and Social Sciences 15 (June 13, 2023): 202–6. http://dx.doi.org/10.54097/ehss.v15i.9257.

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The comparison between poetry and painting in the Renaissance has ancient origins, which was directly inspired by some ancient scholars' comments on the relationship between poetry and painting. People admire outstanding works of art, but they think that artistic creation is contemptible physical labor. Therefore, even the best artists are just excellent craftsmen. In the Italian Renaissance, a large number of outstanding painters emerged, and they made great achievements in art, leaving behind a painting aesthetic theory that benefited the whole western painting field. In this paper, the author analyzes the influence of western Renaissance thought on modern painting art, taking Italian Renaissance paintings as representatives. The Renaissance not only had a far-reaching impact on European society and politics, but also affected modern painting art to another extent. Advocating individual freedom, with the help of rationality and scientific knowledge, vivid images and real scenes are reproduced, which creates realism.
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Tomić, Radoslav. "Novi podaci o slici Teodora Matteinija u trogirskoj katedrali." Ars Adriatica, no. 1 (January 1, 2011): 159. http://dx.doi.org/10.15291/ars.435.

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The article presents new information about the altar painting “Blessed Augustin Kažotić, St John Evangelist and St James” in Trogir Cathedral. In the lower right corner, a previously unknown inscription was discovered during the restoration: Teodoro Matteini F. in Venezia 1805. Apart from the name of the distinguished Italian painter, Teodoro Matteini (Pistoia, 1754 - Venice, 1831), it states that it was made in Venice in 1805. This indisputably confirms the opinion published so far by Croatian and Italian art historians. Based on Italian and Croatian documents, it can be concluded that the key role in the commission of the painting was played by brothers Ivan Dominik (1761-1848) and Ivan Luka Garagnin (1764-1841), the noblemen of Trogir and respectable representatives of Dalmatian society in the early nineteenth century. They knew Matteini well because he was the painter who in 1798 painted a portrait of Ivan Dominik Garagnin who is mentioned in a letter as a steward of Trogir Cathedral. In the process of commissioning and designing the painting’s composition and details, an active part was played by the learned brothers’ friend and confidant, Giovanni de Lazara (Padua 1744-1833), a nobleman from Padua, knight of Malta, bibliophile, collector and inspector-conservationist of paintings in Padua and its environment from 1793 onwards.The painting shows St James, St John the Evangelist and a Trogir saint - blessed Augustin Kažotić (c. 1260-1323) - who was a bishop of Zagreb and Lucera. According to archival records, the citizens of Trogir provided Matteini with information about the saint and an older painting which served as a model for the new portrait. The painting was set in the new marble altar which had been installed by Nicolò and Zuane Degani in 1802.At Ca’ Pesaro (Galleria Internazionale d’Arte Moderna) in Venice, there is a drawing from 1805 signed by Matteini (pencil on paper, 431 x 283 mm) which depicts St James and is a preparatory sketch for his portrait on the Trogir painting.
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Lemainque, Ingrid. "Les tableaux italiens du Settecento dans les ventes parisiennes au XVIIe siècle." Studiolo 2, no. 1 (2003): 138–66. http://dx.doi.org/10.3406/studi.2003.1118.

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Ingrid Lemainque, Italian paintings of the Settecento in 18th-century Parisian sales ; In 19th-century France, contemporary Italian painting seems to have been little valued, if one believes the artistic literature of the time. A statistical analysis based on the thorough survey of Parisian sales catalogues between 1730 and 1799 enables one to distinguish a different truth, the presence of a particular taste for Settecento Italian paintings and reveals the importance of landscape and the Venetian school in these sales, to the detriment of more conventional schools and artists.
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Shi, Xueyan, and Zainuddin Abindinhazir. "THE RELATIONSHIP BETWEEN TIME FACTOR AND FIGURATIVE FACTOR IN CHINESE AND ITALIAN FIGURE PAINTING IN THE 15TH CENTURY." International Journal of Heritage, Art and Multimedia 6, no. 20 (December 5, 2023): 01–14. http://dx.doi.org/10.35631/ijham.620001.

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The Time factor used or emerged in painting is an issue that has been discussed for almost 1 century. However, there has never been any specific study related to time and figure painting. In addition, the author finds the time factor used in Italian and Chinese painting in the 15th century, which always depends on the figurative factor of the painting. So, this study is to explore the presentation of time factors in figure paintings in Italy and China from the 15th century to the 16th century and find out the rules between figurative factors and time factors in figure painting during this period.
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Zhang, Muhan. "Impact Of “Rise of Burgher Class” On Art: Italian Renaissance Painting." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 303–11. http://dx.doi.org/10.54097/y50tnp05.

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With the further development of Europe's overall economy, the seeds of capitalism began to appear, and cities also emerged. At the same time, the burgher class, the predecessor of the bourgeoisie, began to step onto the stage of history and began to transform society according to the needs of this class. The changes in the art of painting during the Italian Renaissance are closely related to the rise of the burgher class. The values advocated by the burgher class profoundly affected the painting art of this period, and the paintings also became the carrier of the new ideas of the Renaissance, then they further affected every member of society and embodied the social function of art. This article uses document analysis and work analysis methods to collect relevant historical materials and paintings, and conducts analysis based on the social background of the time, exploring the impact of the "rise of the burgher class " on art, and taking "Italian Renaissance painting art" for an example to explores the relationship between the two and clarifies that the class values advocated by the burgher class after the rise played a role in promoting the changes in the themes and connotations of paintings during this period.
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Bogomolov, Nikolai. "Вячеслав Иванов и искусство Ренессансa." Modernités Russes 12, no. 1 (2011): 109–23. http://dx.doi.org/10.3406/modru.2011.955.

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Viacheslav Ivanov’s interest in Italian Renaissance painting is well known, and it has been analyzed more than once. For the most part, however, such investigations have treated poems of his with elements of ekphrasis or with mentions of artists and their paintings, or articles of his that refer to painting. In our opinion much remains to be said about this matter, and we offer some new materials relating to it. Among them are letters to Ivanov from members of his immediate circle (and, to a lesser, degree his own letters), which note his interest in Renaissance masters ; the reproductions of works of art that he wanted to have before his eyes throughout his life ; the advice that he gave to his friend and housekeeper M. M. Zamjatnina, who heard lectures on the subject and wrote about Renaissane painting ; finally, the books Zamjatnina checked out from the Geneva Library, volumes that could not have escaped Ivanov’s attention. These new materials demonstrate, firstly, that we should pay attention not only to paintings of the Italian Renaissance, but to those of the Northern Renaissance as well (German and Flemish artists above all). Secondly, we should pay much greater attention than previously to Ivanov’s attitude towards Botticelli. And, finally, we should examine the broad historical context in which he perceived Renaissance painting.
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Volyk, Yu P., and O. N. Razumovskaya. "PROBLEMS OF RESTORATION OF DECORATIVE INTERIOR PAINTINGS OF CLASSICISM." National Association of Scientists 4, no. 26(53) (2020): 7–25. http://dx.doi.org/10.31618/nas.2413-5291.2020.4.53.178.

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In the first third of XIX century, the interiors of St. Petersburg buildings were often adorned with decorative paintings on plafonds and cambers. Polychrome painting and grisaille painting, which imitates plasterwork, were usually made with distemper colors. The focus of attention in the era of classicism was antiquity, mythological subjects and heroes. The article discusses the paintings in Kamennoostrovsky Palace, the General Staff building on the Palace square, the Laval's mansion. Decorative interior painting in St. Petersburg was created by artists of Italian origin, the most famous of them being D. B. Scotti. The time and environmental conditions affected these paintings, and their restoration takes a long time and very hard work. The article describes all the difficulties involved in restoration; one of the most important conditions is the use of natural materials. The article also has photos showing the paintings before restoration, in the process of restoration and after its completion
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Gandolfi, Giangiacomo. "Two Illustrated Horoscopes of the Italian Renaissance." Paragone Past and Present 4, no. 1 (May 31, 2023): 45–69. http://dx.doi.org/10.1163/24761168-00401002.

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Abstract Among astral representations in Renaissance paintings and frescoes, a particular and very complex class stands out: that of Illustrated Horoscopes, that is, complete charts disguised under the cover of innocent pastoral landscapes or conventional mythological scenes. Two examples pertaining to this elusive class are proposed and analyzed in this article. The first is a Giorgionesque painting in the Royal Gallery in Dresden, the so-called Horoscope, that probably portrays the casting of a birth-chart for Ercole II d’Este, the son of Lucrezia Borgia, and at the same time a scene from the epic of Orlando and the Paladins. The second is Zucchi’s Assembly of the Gods, a copper panel painted for Ferdinando de Medici’s studiolo in the Roman Villa Medici, which arranges the planetary divinities in correlation to the zodiacal constellations, building the extraordinary nativity of the owner. Both astrological charts, albeit veiled and ambiguous by nature, are substantiated by internal signals, verified on the basis of contemporary horoscopes, and justified by the overall painting narrative.
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Benjamin, Andrew. "On the Image of Painting." Research in Phenomenology 41, no. 2 (2011): 181–205. http://dx.doi.org/10.1163/156916411x580940.

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AbstractPainting can only be thought in relation to the image. And yet, with (and within) painting what continues to endure is the image of painting. While this is staged explicitly in, for example, paintings of St. Luke by artists of the Northern Renaissance—e.g., Rogier van der Weyden, Jan Gossaert, and Simon Marmion—the same concerns are also at work within both the practices as well as the contemporaneous writings that define central aspects of the Italian Renaissance. The aim of this paper is to begin an investigation into the process by which painting stages the activity of painting. This forms part of a project whose aim is an investigation of the way philosophy should respond to the essential historicity of art (where the latter is understood philosophically).
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Dissertations / Theses on the topic "Painting, Italian"

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Taschian, Helen. "Naturalism and Libertinism in Seventeenth-Century Italian Painting." Thesis, University of California, Santa Barbara, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3612041.

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The work of Caravaggio, which was recognized as revolutionary in his own time and exerted a profound influence on seventeenth century painting all over Europe, has prompted a wide range of interpretations among modern art historians. Some, emphasizing the controversy generated by his religious pictures, have seen him as a daringly irreverent artist, while others have found his unidealized "naturalistic" style fundamentally well-suited to the spirit of the Catholic Counter-Reformation. Some detect a boldly overt homoeroticism in many of his pictures, while others claim not to see it at all. Some understand him to have worked in an unprecedentedly direct, almost visceral way, while others emphasize his sympathy with new directions in the sciences or the intellectual sophistication with which he played his naturalistic style against the precedents of classical and earlier Renaissance art.

Caravaggio's difficult personality has also lent itself to different readings. Some see him as a sociopath, if not a psychopath, while others see him calculatedly performing the role of social rebel in a manner that looks forward to the self-consciously dissident posturings of modern artists. Some art-historians have been led to conclude that he had highly-developed non-conformist values and tendencies that could be described as "libertine" in at least some of the varied senses in which that word was used during his time.

The aim of this dissertation is to discuss the relation of Caravaggio's work and personal example to his immediate art-historical and cultural context, but also to trace their influence on an ever-more-disparate group of artists active in the seventeenth century in order to see whether his style, sometimes characterized as "Baroque Naturalism," actually implied a set of values beyond its efficacy as an artistic strategy, whether a commitment to it implied or was understood to imply a non-conformist or libertine orientation that might be a matter of deep conviction on the part of the artist or a position felt to be appropriate to certain themes or in certain contexts.

The first chapter examines Caravaggio himself, while the second discusses three artists—Giovanni Baglione, Orazio Gentileschi, and Guido Reni—who knew him personally and responded to his work as it burst so dramatically on the scene in the very first years of the century. The third chapter discussed three artists who were active shortly afterward, whose engagement with Caravaggio testifies to a wider field of influence: Valentin de Boulogne, Domenico Fetti, and Guido Cagnacci. The final chapter sets two very different artists—Salvator Rosa and Nicolas Poussin—side by side in order to expose both the radically different responses to Caravaggio's legacy and the diverse senses in which the word "libertine" must be understood.

While the evidence does seem to suggest that at least some artists utilized Caravaggesque naturalism in order to invoke a well-defined "alternative tradition," one that was understood to imply a certain range of values, very few committed themselves to his approach strictly or for very long. Poussin rejected it emphatically. Yet Poussin, too, deliberately positioned himself on the margins of the Roman art world in order to cultivate a distinctive approach to art, one that seems to have been consciously based on deeply-held philosophical convictions. The lesson seems to be that Caravaggio's example made it possible for later artists to develop strategies with which to express their dissent from the prevailing values and practices of their time, and that even if their work did not look like his, they were indebted to him.

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Zimmerman, Joann. "The city as practice : urban topography, pictorial construction and liminality in Venetian Renaissance painting, 1495-1595 /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Green, David M. "The depiction of musical instruments in Italian Renaissance painting." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241296.

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Taylor, Chloë. "The aesthetics of sadism and masochism in Italian renaissance painting /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79810.

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This thesis analyses selected paintings and aspects of life of the Italian Renaissance in terms of the aesthetic properties of sadistic and masochistic symptomatologies and creative production, as these have been explored by philosophers such as Michel Foucault, Roland Barthes, Marcel Henaff, and Gilles Deleuze. One question which arises from this analysis, and is considered in this thesis, is of the relation between sexual perversion and history, and in particular between experiences of violence, (dis)pleasure and desire, and historically specific forms of discourse and power, such as legislation on rape; myths and practices concerning marriage alliance; the depiction of such myths and practices in art; religion; and family structures. A second question which this thesis explores is the manners in which sadistic and masochistic artistic production function politically, to bolster pre-existing gender ideologies or to subvert them. Finally, this thesis considers the relation between sadism and masochism and visuality, both by bringing literary models of perversion to an interpretation of paintings, and by exploring the amenability of different genres of visual art to sadism and masochism respectively.
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Ragazzi, Alexandre. "Os modelos plásticos auxiliares e suas funções entre os pintores italianos = com a catalogação das passagens relativas ao tema extraídas da literatura artística." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280014.

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Orientador: Luiz Cesar Marques Filho
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-17T07:36:06Z (GMT). No. of bitstreams: 1 Ragazzi_Alexandre_D.pdf: 130803920 bytes, checksum: c31f1fe5f72d513ab06d0886a0f294cb (MD5) Previous issue date: 2010
Resumo: Procedimento surgido na Itália central durante o Quatrocentos, o uso de modelos plásticos auxiliares estava entre as diversas etapas que compunham o longo processo de realização de uma pintura. Essa prática artística consistia na elaboração de estatuetas de argila ou cera que deveriam atuar como modelos para o pintor. Podiam ser vestidos ou não, utilizados como figuras isoladas ou em uma composição. Devido aos frágeis materiais com os quais eram feitos e ao desinteresse dos contemporâneos em preservá-los pouquíssimos resistiram à ação do tempo, e os meios agora disponíveis para atestar sua existência são sobretudo a análise de pinturas e desenhos, de inventários e da literatura artística. Com efeito, embora dispersos, há um grande número de testemunhos a respeito dessa prática nos escritos sobre arte, e através desses registros é possível compreender as funções e o valor atribuídos a esses modelos no processo criativo dos pintores. O momento de maior difusão dessa prática parece ter se dado durante o século XVI. Os testemunhos existentes apontam para um uso disseminado de tais modelos entre os artistas italianos, tanto em ambiente romano-toscano quanto setentrional. Entretanto, a partir do final daquele século também é possível perceber que seu emprego começou a ser questionado, ora sendo incentivado, ora reprovado. A análise desse período, portanto, oferece a possibilidade de demarcar essa prática artística e, ao mesmo tempo, aquilatar sua extensão e seu alcance.
Abstract: Procedure emerged in central Italy during the Quattrocento, the use of auxiliary plastic models was among the various stages that made up the long process of creating a painting. This practice consisted in developing artistic figurines of clay or wax, which should act as models for the painter. They could be dressed up or not, used as isolated figures or in a composition. Due to the fragile materials with which they were made and the lack of interest of the contemporaries in preserving them, just a few could resist the action of time, and the resources now available to attest to their existence are primarily the analysis of paintings and drawings, of inventories and of the artistic literature. Actually, although sparse, there are a lot of testimonies about this practice in the writings on art, and through these records it is possible to understand the functions and the value attributed to these models in the creative process of painters. The moment of greatest diffusion of this practice seems to have taken place during the sixteenth century. The existing evidences point to a widespread use of such models among Italian artists, both in central and northern Italy. However, from the end of the century it is also possible to notice that this practice came into question, sometimes being encouraged and sometimes disapproved. The analysis of this period, therefore, offers the possibility of demarcating this artistic practice and, at the same time, assessing its extent and scope.
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Macneil, Georgina Sybella. "Giovannino Battista: the boy Baptist in quattrocento Italian art." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10299.

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This thesis explores the imagery of the young John the Baptist in Renaissance art. The phenomenon of John’s juvenescence has been noted but insufficiently explored by previous scholarship. The present study reassesses the figure of the youthful Baptist by means of rigorous theological exegesis of biblical, apocryphal and late medieval textual sources and a thorough investigation of the visual corpus. Beginning with the mosaics of the Florentine Baptistery, a handful of narrative cycles locate the onset of John’s prophetic career in the desert at an ever-earlier point in his life. However, it was not until the mid-fifteenth century that the boy John was released from the confines of his own narrative to become an independent figure in devotional imagery. Innovative altarpieces by Filippo Lippi commissioned by the Medici family in the late 1450s and 60s are shown to be crucial in promoting and disseminating this new vision of Florence’s beloved patron saint. The thesis demonstrates the enormous popularity of the youthful Baptist in the following decades, first in Florence and subsequently elsewhere in Italy, and interrogates the significance of his presence as infant, boy and adolescent across a wide range of pictorial and sculptural representations. One of the most famous examples of the child John, Leonardo da Vinci’s “Virgin of the Rocks”, is recontextualised within this existing pictorial current, to show that this masterpiece is at once more traditional and more innovative in its treatment of subject matter than has hitherto been recognised. Key narrative moments, such as a meeting between Christ and John, and new ways of visualising the intimate bond between the two children formulated towards the end of the fifteenth century, including physical embraces and shared exposure of vulnerable infant flesh, are also investigated. Through such investigations, the thesis aims to advance understanding of the multiple and intersecting roles played by the boy Baptist in Renaissance art and devotion.
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Collier, Carly Elizabeth. "British artists and early Italian art c. 1770-1845 : the pre Pre-Raphaelites?" Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/62965/.

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This thesis examines the hitherto largely-overlooked multifarious response by British artists to early Italian art which pre-dated the activity of the Pre-Raphaelites and their greatest champion, John Ruskin. The title of this thesis does not endeavour to claim that the artists under examination consciously formed or naturally constituted a group with clearly defined common interests and aims, as was the case with their aforementioned successors. Rather, the collective ‘pre’ Pre-Raphaelites is intended to demonstrate that, contrary to the impression given by the standard scholarship on this area, there were British artists prior to the dawn of the Pre-Raphaelites who found worth in periods of art beyond what was conventionally considered both generally tasteful and also useful for an artist to imitate, and who indeed made many of the important steps which facilitated the Pre-Raphaelites’ rediscovery of early Italian art in the late 1840s. The temporal span of the main investigative thrust of this thesis is, approximately, 1770 - 1845. Its structure is intended to reflect the multiplicity of both the catalysts and then the subsequent responses of British artists to the Italian primitives. The first part of the thesis comprises a number of chapters which offer a broad contextual framework - encompassing analyses of taste, artistic education and historiography - within which the varied activities of the artists explored in the subsequent chapters are set. Parts two and three reveal the very different approaches taken by a series of artists in the decades either side of the turn of the century in their attempts to study, learn from and sometimes emulate the visual lessons of the past. Thus this thesis rescues the often marginalised contributions of a selection of British artists to the resurgence of interest in early Italian art, and demonstrates how fundamental their interpretive filter was for the nature of the quasi-revolution in taste in the last half of the nineteenth century.
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Toreno, Elisabetta. "Fifteenth-century Italian and Netherlandish female portraiture in context : a legal-anthropological interpretation." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6728/.

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This thesis contributes to the study of portraiture by delivering an appraisal of female portraits produced in the urban areas of Italy and Flanders in the fifteenth century. Scholarship on individual and selections of these items exists, but it is fragmented and influenced by Marxist-feminist views about genders and their roles in the system of patriarchy. The term ‘patriarchy’ describes a socio-political and economic organization that is male-controlled. By applying patrilineal rules of patrimonial and political transmission through social stabilisers such as the institution of marriage, it disenfranchises women from decisions that affect their life directly, and ultimately their sense of entitlement. However, in order to function successfully, it creates forms of compensation that diminish the risks of uprising by the marginalised. Concerning women, this could be seen as their feminine experience of these conditions, which feminist analyses tend to overlook. With an original survey of one-hundred and four individual female portraits dated c.1400-c.1500, this thesis explores the relationship between the image and such experience during the rise of entrepreneurial communities, because these groups relied principally on this system to prosper individually and collectively. For the task, this thesis uses a legal-anthropological method that eschews the Marxist-feminist trappings. Its results show that female agency in the domestic environment and the dowry-system produced a binary relationship between men and women and forms of public and private recognition that challenge the basic notion of female marginalisation. Secondly, the Christocentric practices developed by evangelical groups from the early-thirteenth century proved very popular amongst women because they offered varieties of autonomy and public intervention that were otherwise precluded to them. Thirdly, humanism affected a small but important group of women, whose desire for learning challenged conventional propaganda about female inadequacies. This thesis explains the ways in which these facets are integrated in the likenesses of this survey. It demonstrates that fifteenth-century spectatorship received two types of stimuli. One that invested on an affinity of appreciation of the social values of female beauty, fashion and domestic skills, and that articulated ideas of commonwealth and kinship. One other that sought affinity that was more intimate and consistent with the sitter’s psychological condition. These strands ramified into social and ethical discourses that this thesis charts and examines. The one-hundred and four portraits featured in this survey originated predominantly in Flanders and central-northern Italy, the early strongholds of European mercantile groups. Current scholarship compares Netherlandish and Italian portraiture in terms of modernity versus obsolescence because the former developed naturalistic portraits in located backgrounds in c.1430, whilst the latter preferred the profile format until the end of the century. This thesis contests this polarisation because visual and contextual evidence together suggest that sociocultural interests informed choices of formats and the circulation of likenesses to the effect that modernity in portraiture cannot be measured in mere technical terms. Fifteenth-century Netherlandish portraits are, indeed, the earliest examples of modern portraiture but this phenomenon must be understood, this thesis explains, as the product of concomitant conditions that include new media and new attitudes towards the self, caused by the secularisation of culture and the revival of Greco-Roman literature. This thesis also contributes to the knowledge of the genre because it uncovers types of female portraiture that are new to the existing assessments, thereby setting the parameters for a classification of the topic from the perspective of the feminine experience of her own mimesis.
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DeLancey, Julia Anne. "Aspects of colour modelling in Florence from 1480-1530." Thesis, University of St Andrews, 1997. http://hdl.handle.net/10023/15316.

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This thesis sets out to examine two new issues; the use of the colour modelling system in Florence in the late fifteenth and early sixteenth-centuries and the way it impacts the relationship between six artists who lived and worked for the most part in Florence during that period. Among these artists exist strong ties of studios, common patrons and working locations. Florence has traditionally been identified with disegno and Venice with colorito, although these associations are gradually being overturned; by looking at the clear and consistent use by Florentine artists of colour for expressive and volumetric means, it is hoped to gain a greater and more sophisticated understanding of these relationships. The first chapter looks at the work of Domenico Ghirlandaio and his bottega, one of the largest and for our purposes most influential studios in Florence; for comparison and also because of his role in the issue, Filippino Lippi enters as well. A chapter on Michelangelo, Ghirlandaio's most famous pupil, follows; the cleaned frescoes of the Sistine chapel provide one of the main foci of discussion for colour in the thesis, due to their great fame and dramatic colour use. These are discussed together with the Doni Tondo and the London Entombment. The middle two chapters focus on Andrea del Sarto, Fra Baitolommeo and the San Marco compagnia, the artists to stay in Florence after the departure of Leonardo, Michelangelo and Raphael and who taught many of the next generation of artists. The last two chapters deal with Jacopo Pontormo and Rosso Florentino; as heirs and successors to these earlier artists, Rosso and Pontormo continue in the use of this same colour modelling tradition, but employing it with dramatically different results.
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Archer, Carol. "Skin to work : shifting materialities, ambiguous boundaries." Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/380.

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This thesis challenges existing readings of paintings by Alberto Burri which discuss the work in relation to matter or the body or the psyche. The reading of Burri's Ferro, Sacco, Combustione Legno and Grande Legno G59 demonstrates how the work effects a dynamic quality of alternation between the skin and 'brute' matter. The signification of the work shifts between two types of materiality - that of sheet metal, hessian, plastic and plywood and that of the wounded human skin and psyche.It is argued that the ambiguity of the materiality of Burri's paintings effects a dynamic reciprocity between subject and object. The author argues that Burri's painting alerts the viewer to the reciprocities between industrial materials, corporeal surfaces and subjectivities, to the continuities and ambiguities with and between the skin and work
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Books on the topic "Painting, Italian"

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Christiansen, Keith. Italian painting. New York: Hugh Lauter Levin Associates, 1992.

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1945-, Aspinwall Margaret, and Silberblatt Ellin, eds. Italian painting. New York: Hugh Lauter Levin Associates, 1992.

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Cavalcaselle, G. B. (Giovanni Battista), 1820-1897, Jameson Mrs (Anna) 1794-1860, and Jameson Mrs (Anna) 1794-1860, eds. Early Italian painting. New York: Parkstone Press International, 2011.

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Ludiková, Zuzana. Talianska mal̕ba: Italian painting. Edited by Slovenská národná galéria. Bratislava: Slovenská národná galéria, 2013.

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Britain), National Gallery (Great. Italian painting before 1400. London: National Gallery, 1989.

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Gallery, Piacenti Art. Maestri della pittura italiana: Masters of Italian painting. Firenze: Polistampa, 2007.

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1923-, Miller Dwight C., Derstine Andria, and Detroit Institute of Arts, eds. Masters of Italian baroque painting. Detroit: Detroit Institute of Arts, 2005.

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Alessandro, Cecchi, and Petrioli Tofani Annamaria, eds. Italian painting: The Uffizi, Florence. Köln: Taschen, 2000.

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Maritz, Reiner E. The Italian Renaissance. Edited by Reimann Elke, Greene James, RM Arts (Firm), Films for the Humanities (Firm), and Reiner Moritz Associates. Princeton, NJ: Films for the Humanities & Sciences, 2006.

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Giorgio, Verzotti, and Castello di Rivoli (Museum : Rivoli, Italy), eds. Pittura italiana =: Italian painting : Castello di Rivoli, Museo d'arte contemporanea. Milano: Charta, 1997.

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Book chapters on the topic "Painting, Italian"

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Kaborycha, Lisa. "Painting as profession, craft, and art." In Voices from the Italian Renaissance, 159–65. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003284284-35.

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Parker, Stanley. "His Death." In St. Francis in Italian Painting, 86–87. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003232278-28.

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Parker, Stanley. "Cure of Bartholomew of Narni." In St. Francis in Italian Painting, 110–11. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003232278-40.

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Parker, Stanley. "Apparition to Gregory IX." In St. Francis in Italian Painting, 92–93. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003232278-31.

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Parker, Stanley. "The Fiery Chariot at Riva-Torto." In St. Francis in Italian Painting, 52–53. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003232278-12.

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Parker, Stanley. "Liberating a Prisoner." In St. Francis in Italian Painting, 106–7. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003232278-38.

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Parker, Stanley. "Redeeming Two Lambs." In St. Francis in Italian Painting, 68–69. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003232278-20.

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Parker, Stanley. "Stigmata." In St. Francis in Italian Painting, 84–85. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003232278-27.

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Parker, Stanley. "The Meeting of St. Francis and St. Dominic." In St. Francis in Italian Painting, 74–75. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003232278-22.

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Parker, Stanley. "Vision of the Heavenly Palace." In St. Francis in Italian Painting, 42–43. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003232278-7.

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Conference papers on the topic "Painting, Italian"

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Cacciari, I., D. Ciofini, and S. Siano. "THZ Characterization of Painting Layers." In 2015 Fotonica AEIT Italian Conference on Photonics Technologies. Institution of Engineering and Technology, 2015. http://dx.doi.org/10.1049/cp.2015.0170.

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Durão, Maria. "Considerations on colour techniques in Italian Renaissance painting." In The 2nd International Multidisciplinary Congress Phi 2016 – Utopia(S) – Worlds and Frontiers of the Imaginary. CRC Press, 2016. http://dx.doi.org/10.1201/9781315265322-33.

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Cacciari, I., D. Ciofini, and S. Siano. "Deconvolution technique for THZ characterization of painting layers." In 19th Italian National Conference on Photonic Technologies (Fotonica 2017). Institution of Engineering and Technology, 2017. http://dx.doi.org/10.1049/cp.2017.0207.

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Лещинский, К. В., and А. С. Березина. "THE SIGNIFICANCE OF DRAWING, UNDERPAINTING AND IMPRIMATURA IN COPYING OIL PAINTINGS OF THE OLD MASTERS." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.30.

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Одной из основных задач копирования произведений минувших эпох является послойное «прочтение» подлинника и точное и последовательное воспроизведение каждого слоя, начиная от первой проклейки основы и заканчивая завершающими лессировками и покровным лаковым слоем. Рисунок, нанесение имприматуры, выполнение подмалевка всегда играли огромную роль во всех школах живописи, начиная со старо- фламандской и заканчивая поздней итальянской. Это была незыблемая основа живописи, необходимая самостоятельная стадия, от которой зависела успешность всей живописи целиком. One of the main tasks of copying works of past eras is to «read» the original painting layer by layer and reproduce, as accurately and consistently as possible, each layer, starting from the first sizing of the base and ending with the final glazes and the top varnish layer. Drawing, applying imprimatura, performing liquid or impasto underpainting have always played a huge role in all schools of painting, from Old Flemish to Late Italian. This was a necessary independent stage, requiring painstaking elaboration, completeness, a stage on which the success of the entire painting depended.
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Marcattili, Letizia, and Maria Canavan. "Retouching a Retouched Painting: Evaluation and re-treatment of historic retouchings in the conservation of a painting by Lavinia Fontana." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13544.

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A major conservation and research project on The Visit of the Queen of Sheba to King Solomon by Lavinia Fontana was completed at the National Gallery of Ireland in Dublin in 2021. The painting, a large-scale oil on canvas (256 x 325 cm), was one of a number of pictures restored in the late 1960s by a team of conservators from the Istituto Centrale del Restauro in Rome, who came to Dublin during the establishment of the first conservation studio at the Gallery. The visiting restorers brought novel ideas and materials with them from the Istituto that would shape the Irish approach to conservation for decades to come. The prevailing ethos at the time in Italy was based on a minimal intervention approach with the use of novel, synthetic materials that had not yet been introduced to the collection of the National Gallery of Ireland. The painting, after treatment by the Istituto team, recorded material evidence of a particular moment in the development of conservation in Italy and Ireland. Large areas of historic loss and damage across the surface of the painting had been reintegrated by the Italian restorers with the application of retouchings in the tratteggio style, also known as rigatino, using a Paraloid-based medium. In some cases, portraits and other significant details in the image were fully reconstructed by the retouchings. Underlying instability required the removal of some of these retouchings during the most recent treatment, but others could be retained if desired. With the help of archival images and documentation, a decision-making model was developed to evaluate the quality and historic value of these retouchings and to determine which to preserve, which to modify and which to remove. Reduction of retouchings often necessitates replacement, and the partial preservation of the historic retouchings brought further factors to bear on the decision-making model for the chromatic reintegration of the painting. A return to the tratteggio technique was chosen for the larger instances of loss compensation in the treatment, albeit with a finer hatching so that the newer reintegration remains distinguishable from the historic one. This was complemented with a pointillist technique over textured fillings for smaller and shallower losses. Furthermore, where blistering and heat damage in the paint layers resulted in uneven topography, a third auxiliary technique was used. The desired texture was found when testing Paraloid-based gels on a mock-up and applied to bring continuity the surface texture in these areas of the painting. With this approach we intend to meet the conservation needs of the object, restore the legibility of the image and retain the evidence of the historic intervention of this founding team of Italian restorers at the National Gallery of Ireland.
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Bianco, Antonio, Claudia Roberta Combei, and Chiara Zanchi. "Painting the Senate #Green: A Corpus Study of Twitter Sentiment Towards the Italian Environmentalist Blitz." In INTERNATIONAL CONFERENCE on Computational Linguistics and Intellectual Technologies. RSUH, 2023. http://dx.doi.org/10.28995/2075-7182-2023-22-1021-1031.

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This study analyzes the reactions of the Italian Twitter community to an environmental demonstration that occurred in Rome on January 2nd, 2023. We compiled a corpus of 368,531 tokens consisting of 11,780 tweets, collected during a 7-day period. We propose a mixed-method approach that combines automated and manual corpus analyses of sentiment, emotions, and implicit language. Our findings offer insights into how tweets reflected the users’ attitudes toward a variety of subjects and entities. Although the sentiment of the overall debate was distributed rather evenly, the incident itself seems to have sparked negative sentiment and emotions among Twitter users. The results of our manual analyses revealed some issues with respect to the automatic classification of sentiment, due to the fact that some tweets contained irony, sarcasm, and slurs. Non-literal interpretations were ignored by the tools at hand that could not account for complex rhetorical-argumentative strategies.
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Гришин, Р. В., and Д. А. Гребенникова. "THE MEANING OF LIGHT IN THE WORKS OF MICHELANGELO MERISI DA CARAVAGGIO." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.62.

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Свет в творчестве Караваджо традиционно воспринимается как образно- пластическое средство. В результате же настоящего исследования обнаруживается философскоэстетическая нагрузка света в работах итальянского художника, реформатора европейской живописи XVII в., основателя реализма в живописи, одного из крупнейших мастеров барокко. С помощью хронологического метода выявлены предпосылки формирования художественного языка Караваджо, проработана проблема интерпретации света. Light in Caravaggio’s work is traditionally perceived as a figurative and plastic means. As a result of this research, the philosophical and aesthetic load of light is revealed in the works of the Italian artist, reformer of European painting of the 17th century, founder of realism in painting, one of the greatest masters of the Baroque. Using the chronological method, the prerequisites for the formation of Caravaggio’s artistic language were identified, and the problem of interpreting light was worked out.
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Makarevičs, Valerijs, and Dzintra Ilisko. "Figuratively Semantic Analysis of Works of Art." In 14th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2021. http://dx.doi.org/10.22616/reep.2021.14.044.

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Topicality of the study is related to the in-depth study of the art of works of Van Gogh, Velázquez and Repin by relating art to the biography of these authors. The aim of the study is to explore the symbolism and the biography of the painters using the examples of analysis from the works of Van Gogh, Velasquez, and Repin and also to determine the conditions that contribute to the awareness of the process of perception and understanding of paintings. The methodology of this study is figuratively symbolic method used with the purpose to compare the plots of the art and to relate them to the life experience of their creators. Results obtained and the most important conclusions: This is important for the author of a painting to convey his/her thoughts and feelings to the viewer. Still, there remains a problem. The author uses the language of the image and symbol, which the viewer needs to reveal. Psychology of art offers two main options for solving this problem. The essence of the first option which is the ability of the painter to direct the viewer's sight. It is called the Dutch approach. The second approach to the analyses of art is called the Italian approach. In this case this is important to understand the symbolism and knowledge gained historically by relating one’s art works to the biography of the painter. The authors of this article focus on the second approach by illustrating it with examples of analysis from the works of Van Gogh, Velázquez, and Repin. The results of this study might be of interest for those who are interested in arts and psychology.
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Tselikova, Aleksandra. "ITALIAN PAINTING 14TH-16TH CENTURIES IN THE COLLECTION OF THE STATE HERMITAGE (SAINT PETERSBURG, RUSSIA): THE HISTO-RY AND SOLUTIONS OF THE EXHIBITION." In 8th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH Proceedings 2021. SGEM World Science, 2021. http://dx.doi.org/10.35603/sws.iscah.f2021/s05.03.

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Pajić, Sanja, and Roza G. Damiko. "UMETNIČKO – ISTORIJSKE VEZE KRAJEM 13. I POČETKOM 14. VEKA: ZAJEDNIČKE TEME U SRPSKOJ I ITALIJANSKOJ UMETNOSTI." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.581p.

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The paper considers the relations between art created on the territory of the Serbian medieval state and Italian painting from the end of the 13th and the first two decades of the 14th century in the context of contemporary historical events, as well as political and family ties between the Angevin, Nemanjić and Árpád dynasties. Representations of standardized forms of rare iconographic solutions appear in the monumental painting in the endowments of King Milutin (1282–1321), spread predominantly in the art at the territory of Serbia and Macedonia. The monumental Mother of God Pelagonitissa was shown in the church of the mon- astery in Staro Nagoričino, as well as Christ’s Ascent of the Cross in its trium- phant version, while the same scene, a different iconographic scheme empha- sizing the strong emotional charge, is preserved in the church of St. Nikita in Čučer. Moreover, a fairly unknown motif of the Mother of God kissing the Son in the cradle-sarcophagus was painted on the scene of the Birth of Christ in the Sts. Joachim and Anna Church (King's Church) in Studenica. Variations of these themes appeared in Italy in the same period, most often on small-size panels. These works, intended primarily for the Franciscans, were created in the centres where this monastic order maintained strong connections with the Guelfs, the Angevin dynasty and the popes. Thus, the interpretations of the Mother of God Pelagonitissa are found primarily in Romagna and Rimini, where Giovanni da Rimini presented this theme as the central part of the triptych, on whose side wing there was, among others, the scene of the Birth of Christ with the motif of the Mother kissing the Child. The triumphant version of Christ's ascent to the cross was painted in Tuscany and Siena, while the variation seen in the fresco in Santa Maria Donnaregina Vecchia in Naples is close to the fresco from Čučer. The significant role of the political and cultural mediator of the Serbian state was confirmed in the time of Milutin and his mother Jelena, whose relations with Angevins and Franciscans, widely present in the Balkans, are well known, simultaneously being in close contacts with popes, starting with Franciscan Pope Nicholas IV.
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