Relevant bibliographies by topics / San Giovanni Crisostomo (Church), Venice

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

Academic literature on the topic 'San Giovanni Crisostomo (Church), Venice'

Author: Grafiati
Published: 27 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "San Giovanni Crisostomo (Church), Venice"

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Tulić, Damir. "Spomenik ninskom biskupu Francescu Grassiju u Chioggi: prilog najranijoj aktivnosti venecijanskog kipara Paola Callala." Ars Adriatica, no. 4 (January 1, 2014): 335. http://dx.doi.org/10.15291/ars.507.

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The oeuvre of the sculptor Paolo Callalo (Venice 1655-1725) is a paradigmatic example of how the oeuvres of seventeenth- and eighteenth-century Venetian sculptors have been expanded, supplemented and revised during the last twenty years. Until Simone Guerriero’s ground-breaking article of 1997, Paolo Callalo was almost completely unknown. In his search for Callalo’s earliest preserved work, Simone Guerriero suggested that Callalo was responsible for the stipes of the altar of St Joseph, featuring the relief of the Flight into Egypt flanked by two putti which are almost free standing, which was
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Chekan, Yurii. "Teatro San Cassiano in Opera History." Art Research of Ukraine, no. 23 (November 28, 2023): 162–69. http://dx.doi.org/10.31500/2309-8155.23.2023.297536.

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The study is devoted to the first publicly accessible opera house Teatro San Cassiano (Venice, 1637), the establishment of which became a cardinal factor in the transformation of opera from aristocratic court entertainment to creative industry. The author considers the issues related to the history of the theater’s construction and the actions of its owners, the Venetian nobles, the Tron brothers, aimed at turning opera into a profitable business. The article reveals possible prototypes and reasons for the constructive solutions in the theater, in particular the boxes and the U-shaped audience
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Warren, John. "The First Church of San Marco in Venice." Antiquaries Journal 70, no. 2 (1990): 327–59. http://dx.doi.org/10.1017/s0003581500070827.

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In the past century there have been a number of proposed reconstructions of the First Church built in Venice to house the relics of Saint Mark, the Apostle. The proposal which follows differs from its predecessors in identifying the survival of the very large bulk of the original church. It holds that the ancient structure stands encapsulated within the surviving fabric (fig. 1) and thereby rediscovers, largely extant, the greatest Byzantine church of the Middle Ages, completed some time between 832 and 836 for Doge Giovanni Participacio (fig. 2). That church was generally held to have been de
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Trška, Tanja. "Marco Boschini, Matteo Ponzone, and the Altar of the Scuola di San Giorgio degli Schiavoni in Venice." Confraternitas 27, no. 1-2 (2017): 62–78. http://dx.doi.org/10.33137/confrat.v27i1-2.28225.

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In the first decades of the seventeenth century the altar of the Scuola di San Giorgio e Trifone (also known as the Scuola di San Giorgio degli Schiavoni), at the time situated in the Venetian church of San Giovanni del Tempio, was adorned by an altarpiece by Matteo Ponzone (today in the church of Madonna dell’Orto), mentioned in 1664 by Marco Boschini as being “di Casa Stefani.” Boschini’s definition of Ponzone’s altarpiece as belonging to the Stefani family is explained by a 1582 request by the Guardian Grande Paulo (Paolo) de Stefano, who appealed to the general chapter for permission to co
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Tulić, Damir. "Cristoforo Tasca i Giovanni Battista Augusti Pitteri: nepoznate slike i njihovi naručitelji na sjevernom Jadranu." Ars Adriatica 9 (February 28, 2020): 89–106. http://dx.doi.org/10.15291/ars.2926.

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In the first two decades of the 18th century, Cristoforo Tasca (Bergamo, 1661 – Venice, 1735) produced numerous artworks for Rijeka, Krk, and Karlobag. His oeuvre has now been complemented by a signed and dated altarpiece from 1725 at the main altar of the Collegiate, today a parish church in Rijeka. The author elucidates the complex circumstances behind the construction of the main marble altar and the role of its donators, the Orlando family, who created the altar iconography as directly related to the family’s patron saints. Based on the last will of Giovanni Michele Androcha from 1728, the
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Tulić, Damir. "Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija." Ars Adriatica, no. 5 (January 1, 2015): 141. http://dx.doi.org/10.15291/ars.523.

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Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom the author of the article attribut
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Tulić, Damir. "Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija." Ars Adriatica, no. 5 (January 1, 2015): 141. http://dx.doi.org/10.15291/ars.937.

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Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom the author of the article attribut
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Farbaky, Péter. "Giovanni d’Aragona (1456‒1485) szerepe Mátyás király mecénásságában." Művészettörténeti Értesítő 70, no. 1 (2022): 47–91. http://dx.doi.org/10.1556/080.2021.00002.

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King Matthias Corvinus of Hungary (1458‒1490), son of the “Scourge of the Turks,” John Hunyadi, was a foremost patron of early Renaissance art. He was only fourteen years old in 1470 when he was elected king, and his patronage naturally took some time and maturity to develop, notably through his relations with the Neapolitan Aragon dynasty. In December 1476, he married Beatrice, daughter of Ferdinand of Aragon, who brought to Buda a love of books and music she had inherited from her grandfather, Alphonse of Aragon.I studied the work of Beatrice’s brother John of Aragon (Giovanni d’Aragona), pr
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Hilje, Emil. "Još jednom o datiranju poliptiha Vittorea Carpaccia iz zadarske katedrale: tragom dokumenta iz 1497. godine." Radovi Instituta za povijest umjetnosti, no. 47 (March 2024): 7–20. http://dx.doi.org/10.31664/ripu.2023.47.01.

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The polyptych for the altar of St Martin in the Zadar Cathedral, commissioned from Vittore Carpaccio by Canon Martin Mladošić, is one of those works from the painter’s oeuvre whose chronology is still not agreed upon. Various authors dated the Zadar polyptych to almost the entire range of the painter’s activities, from those who considered it a youthful work to those who considered it a late work, created at the very end of his career. The document that was recently found in the Zadar archive sheds a completely new light on the issue of dating the polyptych, excluding all dating in the early y
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Tulić, Damir, and Mario Pintarić. "Antonio Michelazzi i Francesco Cabianca: nova djela u Italiji i Hrvatskoj." Ars Adriatica 10, no. 1 (2020). http://dx.doi.org/10.15291/ars.3196.

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New scholarly insights about the sculptor and altar builder Antonio Michelazzi (Gradisca d’Isonzo, 1707 – Rijeka, 1771) have revealed him as a far more complex creative personality than it has been known so far. In this paper, the authors have attributed to him the marble statues of St John the Baptist and St Mark on the high altar of the parish church of San Biagio in Cinto Caomaggiore. Michelazzi’s authorship of the marble altar of the Holy Cross in the parish church of the Assumption of Mary in Rijeka has also been confirmed, based on a certificate from 1740 on the receipt of 150 gold coins
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Dissertations / Theses on the topic "San Giovanni Crisostomo (Church), Venice"

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Jiráková, Hana. "Benátské vlivy na dílo Boccaccia Bocaccina." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-327847.

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(in English) The key theme of my thesis are venetian influences on the Boccaccio Boccaccino's work, who was one of the most important exponents of the Cremonese school of painters. Initially he worked in Genoa, Cremona and Milan and he was influenced by the painters as Leonardo, Bramantino and Boltraffio. In the years 1497-1500 Boccaccino is documented in Ferrara. In this period he executed so-called tondo Gronau, The Christ on the way to Calvary, The Virgin and Child, now in Boston, The Virgin and Child, now in Padua, The Adoration of the Shepherds, now in Naples and Dead Christ supported by
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Books on the topic "San Giovanni Crisostomo (Church), Venice"

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Odenthal, Anna Maria. Die Kirche San Giovanni Crisostomo in Venedig: Ein Beitrag zur venezianischen Sakralarchitektur des späten 15. Jahrhunderts. Rheinische Friedrich-Wilhelms Universität Bonn, 1985.

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2

Fabrizio, Torella, ed. Giovanni Bellini: Il polittico di San Vincenzo Ferrer. Arsenale editrice, 1985.

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M. Agnese Chiari Moretto Wiel. Chiesa di San Giovanni in Bragora: Arte e devozione. Marsilio, 1994.

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Fina, Matteo De. La basilica dei santi Giovanni e Paolo: Pantheon della Serenissima. Marcianum Press, 2013.

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Quinto, Riccardo. Manoscritti medievali nella Biblioteca dei Redentoristi di Venezia (S. Maria della consolazione, detta "della Fava"): Catalogo dei manoscritti, catalogo dei sermoni ; identificazione dei codici dell'antica biblioteca del Convento domenicano dei Santi Giovanni e Paolo di Venezia. Il poligrafo, 2006.

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Vinco, Mattia. Antonio Vivarini in San Zanipolo a Venezia: Iconografia e nuovi documenti. Enrico Frascione antiquario, 2018.

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7

Romano, S. Tullio Lombardo, il monumento al doge Andrea Vendramin. Arsenale, 1985.

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Romano, S. Tullio Lombardo : il monumento al doge Andrea Vendramin. Arsenale, 1985.

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Pagnes, Andrea. Uno studio per gli affreschi medioevali di San Zan Degolà. Helvetia, 1987.

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10

Il matrimonio nel pensiero di san Giovanni Crisostomo. Pontificia università lateranense, 2002.

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Book chapters on the topic "San Giovanni Crisostomo (Church), Venice"

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Ó Carragáin, Éamonn. "A Renaissance Synthesis of Ancient Christian Themes: Architecture, Altarpieces and Imagined Spaces in San Giovanni Crisostomo, Venice, 1495–1520." In Studies in the Early Middle Ages. Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.sem-eb.5.119636.

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2

Siracusano, Luca. "A Family Affair: The High Altar of San Giacomo di Rialto, or Alessandro Vittoria’s Last Work." In The Layers of Venice Architecture, Arts and Antiquities at Rialto. Fondazione Università Ca’ Foscari, 2023. http://dx.doi.org/10.30687/978-88-6969-729-6/007.

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San Giacomo at Rialto, a church under the patronage of the Doge, was restored by the State in the years around 1600. Three new altars were financed by three different guilds. The high altar was commissioned by the Casaroli guild and adorned with sculptures. In 1604, Giovanni Stringa listed the statue of St. James as a work by Alessandro Vittoria. However, at this date the artist was certainly too elderly to carve stone sculptures by himself. The investigation of the hitherto little-studied Casaroli Altar may shed new light both on the dynamics of the later Vittoria's workshop and on his closes
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Agazzi, Michela. "The Medieval Rialto: The Transformation of an Area in the Developing City." In The Layers of Venice Architecture, Arts and Antiquities at Rialto. Fondazione Università Ca’ Foscari, 2023. http://dx.doi.org/10.30687/978-88-6969-729-6/002.

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The Rialto area, where the church of San Giacomo stands, has a central role in medieval Venice: a market place from the earliest centuries that developed during the Middle Ages. De ’Barbari documents the medieval quarter in 1500 before the fire of 1514. The territory was already characterized in the 11th century by long shop buildings. The churches are witnessed from the 11th century (S. Giovanni Elemosinario) and from the 12th (S. Giacomo and S. Matteo). In the 12th century the area was almost completely built. In the 13th century, a stream was buried creating the main road, connected with th
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