Log in

Relevant bibliographies by topics / Vincenzo

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers
Reports

Academic literature on the topic 'Vincenzo'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Vincenzo.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Vincenzo"

1

Fix, Adam. "Esperienza, Teacher of All Things." Nuncius 34, no. 3 (December 10, 2019): 535–74. http://dx.doi.org/10.1163/18253911-03403016.

Full text

Abstract:

Abstract This paper reexamines the music and experimental science of Vincenzo Galilei through the lens of artisanal epistemology. Where previous scholars have questioned the veracity of Vincenzo’s experiments, I unpack how Vincenzo himself understood and utilized esperienza. Arguing against Cohen and Prins especially, I assert that Vincenzo’s esperienza functioned as a rational-empirical way of studying nature. I then show how esperienza played analogous roles in his science and practice. By treating his music as artisanal epistemology, I portray Vincenzo’s musical composition, like his experimentalism, as a form of natural knowledge-making. He deployed esperienza in science to capture knowledge of consonance and in art to express knowledge of music’s effects on passions. Finally, I situate Vincenzo within broader humanistic and artistic trends and consider his influence on Galileo. This study explores Renaissance music at the nexus of mathematical theory and empirical and instrumental practice while reinterpreting the early modern concept of esperienza.

APA, Harvard, Vancouver, ISO, and other styles

2

Gómez-Ferrer, Mercedes, and Yolanda Gil. "Vincenzo Vincenzi, “Geometer and Engineer to Cardinal Borja”." Nuncius 32, no. 1 (2017): 111–45. http://dx.doi.org/10.1163/18253911-03201005.

Full text

Abstract:

This paper analyses the figure of Vincenzo Vincenzi on the basis of documents that place him in Valencia in 1635 as engineer and geometer to Cardinal Gaspar de Borja y Velasco. Vincenzi, who was born in the Urbino region, worked as a hydraulic engineer at the Villa d’Este in Tivoli. In Rome he made his name as the inventor of the wind gun and the mobile fountain, inventions that were disseminated through the works of Benedetto Castelli and, above all, those of Giovanni Faber who also served as an intermediary, recommending Vincenzi’s services to cardinals such as Emmanuele Pio di Savoia and taking it upon himself to find buyers for the wind gun. Vincenzi worked for the Bentivoglios on the bonifica del Gualtieri, and the Venetian Republic expressed its desire to purchase a number of his inventions, after which he travelled to Spain at the request of Borja in order to drain a salt marsh on the cardinal’s estates.

APA, Harvard, Vancouver, ISO, and other styles

3

Meißner, Thomas. "Vincenzo Bellini." Heilberufe 68, no. 5 (April 28, 2016): 74. http://dx.doi.org/10.1007/s00058-016-2186-4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Weber, P. J. "Vincenzo Camuccini:." KUR - Kunst und Recht 17, no. 3 (2015): 92–100. http://dx.doi.org/10.15542/kur/2015/3/6.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Beltrame, Francesco. "Vincenzo Tagliasco." Artificial Intelligence in Medicine 44, no. 2 (October 2008): 77–78. http://dx.doi.org/10.1016/j.artmed.2008.08.005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Vitale, Vincenzo. "Dialogo: Vincenzo Vitale." Forum Italicum: A Journal of Italian Studies 53, no. 2 (May 12, 2019): 566–74. http://dx.doi.org/10.1177/0014585819846866.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Pines, R. "Zaira. Vincenzo Bellini." Opera Quarterly 14, no. 4 (January 1, 1998): 140–43. http://dx.doi.org/10.1093/oq/14.4.140.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Schauer, John. "Norma. Vincenzo Bellini." Opera Quarterly 6, no. 2 (1988): 141–43. http://dx.doi.org/10.1093/oq/6.2.141.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Cole, Michael, and Diletta Gamberini. "Vincenzo Danti’s Deceits." Renaissance Quarterly 69, no. 4 (2016): 1296–342. http://dx.doi.org/10.1086/690314.

Full text

Abstract:

AbstractThe great sculptor Vincenzo Danti wrote one of the longest poems to have survived from a Renaissance artist, but the text’s close thematic and conceptual connections to its author’s art have gone entirely unnoticed. What Danti’s poem and sculpture share, this essay argues, is a concern with mystified identity. Danti’s poetic sensibility stands at odds with the biographical frameworks that typically guide the interpretation of Renaissance art and literature. At the same time, his example shows how much there is to be gained from an investigation of how artists learned to be writers, and of what came of those efforts.

APA, Harvard, Vancouver, ISO, and other styles

10

Limansky, N. E. "Vincenzo Bellini: Norma." Opera Quarterly 21, no. 3 (January 1, 2005): 551–55. http://dx.doi.org/10.1093/oq/kbi052.

Full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Vincenzo"

1

Waldeck, Anik. "Vincenzo Catena." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708299.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Marchesin, Matteo <1994&gt. "Vincenzo Borghini, De Romanis Familiis." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15112.

Full text

Abstract:

Si propone una edizione critica dell'opera giovanile di Vincenzo Borghini(1515-1580) De Romanis Familiis, basata sul manoscritto BNF II.X.139, testimone unico. Oltre al testo critico viene proposto un breve commento esegetico teso a illustrare le personalità e gli interessi culturali degli intellettuali fiorentini Iacopo e Pietro Vettori, Giovanni Cavalcanti, Braccio Ricasoli e Giovan Battista Adriani presenti nell'opera, nonché gli interessi eruditi della Firenze del primo principato mediceo.

APA, Harvard, Vancouver, ISO, and other styles

3

Leonardi, Federica <1994&gt. "Vincenzo Eulisse, l'artista veneziano del '36." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/18601.

Full text

Abstract:

V. Eulisse nacque a Venezia nel 1936, è un pittore, scultore e performer considerato “provocatore”, nel corso della sua carriera si affiancò a diverse tecniche artistiche e fu sempre in continua evoluzione, divenne l’artista eclettico e rivoluzionario che si conosce oggi. A soli ventidue anni espose in una delle fondazioni più importanti del periodo, la Galleria Bevilacqua la Masa, correva l’anno 1958, scelse opere realiste ove raffigurano scene di vita quotidiana. Successivamente studiò disegno e scultura in Germania, da quel momento si caratterizzò l’espressionismo nelle sue opere e divenne assistente di Emilio Vedova alla Sommer Kunstakademie a Salisburgo. Negli anni si avvicinò ai dibattiti culturali e politici partecipando a diverse esposizioni alla Biennale d’arte, specialmente nel 1986 allestì il padiglione del “Sud Africa” in modo alquanto provocatorio, lo scopo fu quello di protestare contro l’apartheid. Passando fra le calli di Venezia, attualmente è possibile notare una vetrina con delle sue opere. Questo volume si svolgerà grazie allo studio e condivisione di disegni, tele, sculture, alla riscoperta del famoso Eulisse, col tempo dimenticato.

APA, Harvard, Vancouver, ISO, and other styles

4

Omodeo, Christian. "Le peintre romain Vincenzo Camuccini (1771-1844)." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040132.

Full text

Abstract:

L’objectif de cette thèse est de contribuer à la connaissance de l’histoire de l’art en Europe entre la Révolution et la Restauration, à travers l’étude du profil artistique, intellectuel et social du peintre Vincenzo Camuccini (1771-1844). Considéré dès son plus jeune âge comme l’un des artistes les plus influents de son époque, Camuccini occupe pendant plusieurs décennies de nombreuses charges au sein de l’administration pontificale (Académie de Saint-Luc et musée du Vatican). L’étude de sa production de tableaux d’histoire atteste qu’il est le principal représentant en Europe d’un néoclassicisme tardif, qui attribue une valeur fondante à la fidélité aux sources anciennes et qui filtre l’histoire contemporaine à travers des formes antiques. Ses tableaux religieux documentent, en outre, sa participation à l’élaboration de la politique culturelle de la papauté. Cet artiste résolument académique a été condamné par la critique dès sa mort en 1844. La présente monographie souhaite évaluer à sa juste mesure une personnalité artistique qui permet d’apporter un regard renouvelé sur les rapports entre art, politique et religion au sein des États pontificaux et en Europe entre la fin du XVIIIe et la première partie du XIXe siècle. L’objectif de cette thèse et de contribuer à la connaissance de l’histoire de l’art en Europe entre la Révolution et la Restauration, à travers l’étude du profil artistique, intellectuel et social du peintre Vincenzo Camuccini (1771-1844)
Through the study of the artistic, intellectual and social aspects of painter Vincenzo Camuccini’s (1771-1844) career, this PhD research is meant to expand the knowledge of European art history between the French Revolution and the Bourbon Restoration.Regarded as one of the leading artists of his time since he was young, Camuccini held high office in the Pontifical administration for several years (Saint Luke Academy and Vatican Museums). From the study of his historical paintings he emerges as the leading representative in Europe of a late neoclassicism characterized by an axiomatic adherence to historical sources and a mediated approach to contemporary history through the lens of past styles. His religious paintings attest his participation in the development of the papacy’s cultural policy. Since his death in 1844 such firmly academic artist has been condemned by the critics. This monographic study is aimed at a reassessment of Camuccini’s career allowing for a new regard on the relationship between art, politics and religion both within the Vatican State and in Europe between the end of the 18th century and the first part of the 19th century

APA, Harvard, Vancouver, ISO, and other styles

5

Scorza, Richard Anthony. "Vincenzo Borghini (1515-1580) as iconographic advisor." Thesis, University of London, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319731.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Calderoni, Elisabetta <1985&gt. "Raccontare gli Antichi: le "Imagini" di Vincenzo Cartari." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amsdottorato.unibo.it/6782/1/calderoni_elisabetta_tesi.pdf.

Full text

Abstract:

Con le "Imagini degli dei degli antichi", pubblicate a Venezia nel 1556 e poi in più edizioni arricchite e illustrate, l’impegnato gentiluomo estense Vincenzo Cartari realizza il primo, fortunatissimo manuale mitografico italiano in lingua volgare, diffuso e tradotto in tutta l’Europa moderna. Cartari rimodula, secondo accenti divulgativi ma fedeli, fonti latine tradizionali: come le ricche "Genealogie deorum gentilium" di Giovanni Boccaccio, l’appena precedente "De deis gentium varia et multiplex historia" di Lilio Gregorio Giraldi, i curiosi "Fasti" ovidiani, da lui stesso commentati e tradotti. Soprattutto, però, introduce il patrimonio millenario di favole ed esegesi classiche, di aperture egiziane, mediorientali, sassoni, a una chiave di lettura inedita, agile e vitalissima: l’ecfrasi. Le divinità e i loro cortei di creature minori, aneddoti leggendari e attributi identificativi si susseguono secondo un taglio iconico e selettivo. Sfilano, in trionfi intrisi di raffinato petrarchismo neoplatonico e di emblematica picta poesis rinascimentale, soltanto gli aspetti figurabili e distintivi dei personaggi mitici: perché siano «raccontate interamente» tutte le cose attinenti alle figure antiche, «con le imagini quasi di tutti i dei, e le ragioni perché fossero così dipinti». Così, le "Imagini" incontrano il favore di lettori colti e cortigiani eleganti, di pittori e ceramisti, di poeti e artigiani. Allestiscono una sorta di «manuale d’uso» pronto all’inchiostro del poeta o al pennello dell’artista, una suggestiva raccolta di «libretti figurativi» ripresi tanto dalla maniera di Paolo Veronese o di Giorgio Vasari, quanto dal classicismo dei Carracci e di Nicolas Poussin. Si rivelano, infine, summa erudita capace di attirare appunti e revisioni: l’antiquario padovano Lorenzo Pignoria, nel 1615 e di nuovo nel 1626, vi aggiunge appendici archeologiche e comparatistiche, interessate al remoto regno dei faraoni quanto agli esotici idoli orientali e dei Nuovi Mondi.
With his work "Imagini degli dei degli antichi" published in Venice in 1556 and, later, in multiple extended and illustrated editions, the committed Vincenzo Cartari, protégé of the Este dukes, created the first Italian mythographic volume in vulgar language, circulated and translated in all modern Europe. Cartari revised the traditional Latin sources with educational intents and accuracy towards the sources: like the detailed "Genealogie deorum gentilium" by Giovanni Boccaccio, the previous "De deis gentium varia et multiplex historia" by Lilio Gregorio Giraldi, the remarkable "Fasti" by Ovid, which he also commented and translated. Above all, he introduced the fantastic heritage of fables and commentaries of the Classics, with Egyptian, Middle-Eastern, Saxon influences to a bright and lively original interpretation: the Ekphrasis. The Gods and the procession of inferior creatures, the legendary tales and their attributes follow one another with an iconic and selective approach. In a triumph of refined Neoplatonic Petrarchism and classic Renaissance picta poesis, he represented only the conceivable and distinctive attributes of these mythical figures: so that all matters relevant to the ancient figures are «thoroughly explained», «with images of almost all the gods and the reasons they were thus depicted». Hence, "Imagini" was favoured by elegant educated courtiers as well as artists and writers, ceramists and artisans. It staged a sort of «user manual» ready for the ink of the poet or the brush of the painter, an evocative collection of «figurative booklets» evoked by Paolo Veronese and Giorgio Vasari, the Carracci and Nicolas Poussin. Finally, it proved to be an erudite summa that attracts criticism and revisions: the antiquarian Lorenzo Pignoria from Padua, in 1615 and again in 1626, added archeological and comparative appendices with regard to the Ancient Reign of the Pharaohs and the exotic idols of the Orient and the New World.

APA, Harvard, Vancouver, ISO, and other styles

7

Calderoni, Elisabetta <1985&gt. "Raccontare gli Antichi: le "Imagini" di Vincenzo Cartari." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amsdottorato.unibo.it/6782/.

Full text

Abstract:

Con le "Imagini degli dei degli antichi", pubblicate a Venezia nel 1556 e poi in più edizioni arricchite e illustrate, l’impegnato gentiluomo estense Vincenzo Cartari realizza il primo, fortunatissimo manuale mitografico italiano in lingua volgare, diffuso e tradotto in tutta l’Europa moderna. Cartari rimodula, secondo accenti divulgativi ma fedeli, fonti latine tradizionali: come le ricche "Genealogie deorum gentilium" di Giovanni Boccaccio, l’appena precedente "De deis gentium varia et multiplex historia" di Lilio Gregorio Giraldi, i curiosi "Fasti" ovidiani, da lui stesso commentati e tradotti. Soprattutto, però, introduce il patrimonio millenario di favole ed esegesi classiche, di aperture egiziane, mediorientali, sassoni, a una chiave di lettura inedita, agile e vitalissima: l’ecfrasi. Le divinità e i loro cortei di creature minori, aneddoti leggendari e attributi identificativi si susseguono secondo un taglio iconico e selettivo. Sfilano, in trionfi intrisi di raffinato petrarchismo neoplatonico e di emblematica picta poesis rinascimentale, soltanto gli aspetti figurabili e distintivi dei personaggi mitici: perché siano «raccontate interamente» tutte le cose attinenti alle figure antiche, «con le imagini quasi di tutti i dei, e le ragioni perché fossero così dipinti». Così, le "Imagini" incontrano il favore di lettori colti e cortigiani eleganti, di pittori e ceramisti, di poeti e artigiani. Allestiscono una sorta di «manuale d’uso» pronto all’inchiostro del poeta o al pennello dell’artista, una suggestiva raccolta di «libretti figurativi» ripresi tanto dalla maniera di Paolo Veronese o di Giorgio Vasari, quanto dal classicismo dei Carracci e di Nicolas Poussin. Si rivelano, infine, summa erudita capace di attirare appunti e revisioni: l’antiquario padovano Lorenzo Pignoria, nel 1615 e di nuovo nel 1626, vi aggiunge appendici archeologiche e comparatistiche, interessate al remoto regno dei faraoni quanto agli esotici idoli orientali e dei Nuovi Mondi.
With his work "Imagini degli dei degli antichi" published in Venice in 1556 and, later, in multiple extended and illustrated editions, the committed Vincenzo Cartari, protégé of the Este dukes, created the first Italian mythographic volume in vulgar language, circulated and translated in all modern Europe. Cartari revised the traditional Latin sources with educational intents and accuracy towards the sources: like the detailed "Genealogie deorum gentilium" by Giovanni Boccaccio, the previous "De deis gentium varia et multiplex historia" by Lilio Gregorio Giraldi, the remarkable "Fasti" by Ovid, which he also commented and translated. Above all, he introduced the fantastic heritage of fables and commentaries of the Classics, with Egyptian, Middle-Eastern, Saxon influences to a bright and lively original interpretation: the Ekphrasis. The Gods and the procession of inferior creatures, the legendary tales and their attributes follow one another with an iconic and selective approach. In a triumph of refined Neoplatonic Petrarchism and classic Renaissance picta poesis, he represented only the conceivable and distinctive attributes of these mythical figures: so that all matters relevant to the ancient figures are «thoroughly explained», «with images of almost all the gods and the reasons they were thus depicted». Hence, "Imagini" was favoured by elegant educated courtiers as well as artists and writers, ceramists and artisans. It staged a sort of «user manual» ready for the ink of the poet or the brush of the painter, an evocative collection of «figurative booklets» evoked by Paolo Veronese and Giorgio Vasari, the Carracci and Nicolas Poussin. Finally, it proved to be an erudite summa that attracts criticism and revisions: the antiquarian Lorenzo Pignoria from Padua, in 1615 and again in 1626, added archeological and comparative appendices with regard to the Ancient Reign of the Pharaohs and the exotic idols of the Orient and the New World.

APA, Harvard, Vancouver, ISO, and other styles

8

Schallert, Regine. "Studien zu Vincenzo de Rossi : Die frühen und mittleren Werke (1536-1561) /." Hildesheim : Georg Olms, 1998. http://catalogue.bnf.fr/ark:/12148/cb38988112w.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Franz, Rainald. "Vincenzo Scamozzi (1552-1616) : Der Nachfolger und Vollender Palladios /." Petersberg : Imhof, 1998. http://catalogue.bnf.fr/ark:/12148/cb39123215h.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Casotto, Elena <1973&gt. "Vincenzo De Stefani (1859-1937): la ricerca della modernità." Doctoral thesis, Università Ca' Foscari Venezia, 2008. http://hdl.handle.net/10579/689.

Full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Vincenzo"

1

Russo, Nino, Nadia Rega, and Carlo Adamo, eds. Vincenzo Barone. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-34462-6.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Vincenzo Migliaro. Napoli: Grimaldi, 2001.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Mangili, Renzo. Vincenzo Bonomini. Bergamo: Edizioni Bolis, 1996.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Scotucci, Walter. Vincenzo Pagani. Cinisello Balsamo, Milano: Silvana, 1994.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Bruno, Corà, Tomassoni Italo, and Centro italiano Arte contemporanea (Foligno, Italy), eds. Vincenzo Agnetti. Italy]: 3Arte, 2012.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Vincenzo Bellini. Palermo: Sellerio, 2001.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Migliaro, Vincenzo. Vincenzo Migliaro. Napoli: Grimaldi, 2001.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Paliaga, Franco. Vincenzo Campi. Soncino (CR): Edizioni dei Soncino, 1997.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Vincenzo Agnetti. Milano: Skira, 2008.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

1459-1490, Foppa Vincenzo fl, ed. Vincenzo Foppa. Brescia: Grafo, 1997.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Vincenzo"

1

Russo, Nino, Nadia Rega, and Carlo Adamo. "Preface to the special collection in honour of Vincenzo Barone." In Vincenzo Barone, 1–3. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-34462-6_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Jaccob, Madhavan, Gopalan Rajaraman, and Federico Totti. "On the kinetics and thermodynamics of S–X (X = H, CH3, SCH3, COCH3, and CN) cleavage in the formation of self-assembled monolayers of alkylthiols on Au(111)." In Vincenzo Barone, 99–109. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-34462-6_10.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Meskaldji, Samir, Abdellah Zaiter, Lotfi Belkhiri, and Abdou Boucekkine. "A relativistic DFT study of magnetic exchange coupling in ketimide bimetallic uranium(IV) complexes." In Vincenzo Barone, 111–20. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-34462-6_11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Terentjevs, Aleksandrs, Eduardo Fabiano, and Fabio Della Sala. "Theoretical investigation of molecular excited states in polar organic monolayers via an efficient embedding approach." In Vincenzo Barone, 121–28. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-34462-6_12.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Poater, Albert, and Luigi Cavallo. "Deactivation of Ru-benzylidene Grubbs catalysts active in olefin metathesis." In Vincenzo Barone, 129–34. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-34462-6_13.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Malrieu, Jean-Paul, Hongjiang Zhang, and Jing Ma. "Is the dynamical polarization a significant part of the contribution of the triples to the correlation energy?" In Vincenzo Barone, 135–41. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-34462-6_14.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Biancardi, Alessandro, Roberto Cammi, Chiara Cappelli, Benedetta Mennucci, and Jacopo Tomasi. "Modelling vibrational coupling in DNA oligomers: a computational strategy combining QM and continuum solvation models." In Vincenzo Barone, 143–52. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-34462-6_15.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Ferrante, Francesco, Giampaolo Barone, and Dario Duca. "Relativistic coupled cluster calculations of the electronic structure of KrH+, XeH+ and RnH+." In Vincenzo Barone, 153–59. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-34462-6_16.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Avanzini, Francesco, Maurizio Casarin, Daniel Forrer, Luciano Pandolfo, Mauro Sambi, and Andrea Vittadini. "[Zn10(μ4-S)(μ3-S)6(Py)9(SO4)3] as a molecular model of ZnS surfaces: an experimental and theoretical study." In Vincenzo Barone, 161–68. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-34462-6_17.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

De Nicola, Antonio, Ying Zhao, Toshihiro Kawakatsu, Danilo Roccatano, and Giuseppe Milano. "Validation of a hybrid MD-SCF coarse-grained model for DPPC in non-lamellar phases." In Vincenzo Barone, 169–84. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-34462-6_18.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Vincenzo"

1

Molteni, Elisabetta, and Alberto Pérez Negrete. "Assedi della guerra di Morea nel ciclo celebrativo di Francesco Morosini. Arte, topografia e storia militare." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11440.

Full text

Abstract:

Sieges of the Morea War in the celebratory cycle of Francesco Morosini. Art, topography and military historyThe forty-eight paintings executed between the seventeenth and eighteenth centuries to celebrate the military campaigns of Francesco Morosini (1619-1694) are an exceptional repertoire of military genre painting. The canvas uses different figurative registers to represent naval battles, cities and territories, siege operations. If the relations with war literature and propaganda prints, which spread across Europe and which had their official “historiographer” in Vincenzo Coronelli in Venice, are evident, equally strong relationships can be established between the paintings, war reports and the plans made on the battlefield by military engineers. This paper deals with the paintings dedicated to the sieges of Corone and Negroponte are examined here.

APA, Harvard, Vancouver, ISO, and other styles

2

Morigi, Maria Pia, Franco Casali, Andrea Berdondini, Matteo Bettuzzi, Davide Bianconi, Rosa Brancaccio, Alice Castellani, et al. "X-ray 3D computed tomography of large objects: investigation of an ancient globe created by Vincenzo Coronelli." In Optical Metrology, edited by Costas Fotakis, Luca Pezzati, and Renzo Salimbeni. SPIE, 2007. http://dx.doi.org/10.1117/12.725986.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Gompertz, Alexandra. "De la conservation à la reconstruction : Vincenzo Borghini et l’apparat dédié au Dessin pour les noces de François de Médicis et de Jeanne d’Autriche." In Les éphémères, un patrimoine à construire. Fabula, 2015. http://dx.doi.org/10.58282/colloques.2910.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Silva, Maria do Carmo Couto da. "O Cristo e a mulher adúltera, de Rodolfo Bernardelli e a escultura italiana do século XIX." In Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3689.

Full text

Abstract:

O tema central dessa comunicação é a análise da produção do escultor brasileiro Rodolfo Bernardelli (1852–1931) na Itália, no final do século XIX, enfocando especialmente a realização do grupo monumental em mármore Cristo e a mulher adúltera (1881-1884). Apesar da importância de Rodolfo Bernardelli no cenário artístico brasileiro, a sua trajetória ainda não foi estudada por completo. Percebendo a ausência de estudos nessa área, enfocamos o período de sua formação em nossa pesquisa de mestrado, concluída em 2005. O artista, que freqüentou a Academia Imperial de Belas Artes, na década de 1870, estudou em Roma por vários anos, onde também criou algumas de suas obras mais conhecidas. Na Itália, o jovem escultor foi aluno de Giulio Monteverde e manteve contato com a obra de destacados artistas como Vincenzo Gemito, Achille d’Orsi e Michetti. Em 1885, ele regressou ao Rio de Janeiro e expôs, em mostra individual, os trabalhos realizados no exterior, obtendo grande repercussão na imprensa e crítica cariocas e também na Academia. O seu grupo escultórico Cristo e a Mulher Adúltera, apresentado nessa mostra, tanto pelo tema como por sua ousada execução formal, revela o diálogo com a escultura italiana contemporânea. É esse aspecto da produção de Bernardelli, presente também em outras obras suas desse período, que faz com que o artista seja prestigiado em seu retorno da Europa e indica novas direções para a escultura no Brasil, no final do Segundo Reinado.

APA, Harvard, Vancouver, ISO, and other styles

5

Mackiewicz, Lukasz, and Francho Melendez. "Loving vincent." In SIGGRAPH '16: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2897839.2927394.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Lee, Minha, Sander Ackermans, Nena van As, Hanwen Chang, Enzo Lucas, and Wijnand IJsselsteijn. "Caring for Vincent." In CHI '19: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3290605.3300932.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Boyanov, Kiril Lubenov. "John Vincent Atanasoff." In the 4th international conference conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/973620.973621.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

"VINCENT - Visualization of Network Centralities." In International Conference on Information Visualization Theory and Applications. SciTePress - Science and and Technology Publications, 2012. http://dx.doi.org/10.5220/0003822207030712.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Wood, Richard. "The Contribution of Vincent Burnelli." In 41st Aerospace Sciences Meeting and Exhibit. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2003. http://dx.doi.org/10.2514/6.2003-292.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Herrin, D. W., and G. Sampath. "Application of the Vincent Circle to Noise Suppression." In ASME 2008 Noise Control and Acoustics Division Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ncad2008-73009.

Full text

Abstract:

The Vincent Circle principle may be stated as follows. If a structure is excited harmonically, the response at another position at a particular frequency will trace a circle in the complex plane as a result of a dynamic stiffness modification between two points. As either the real or imaginary part of an introduced dynamic stiffness is varied from plus and minus infinity, the structural or acoustic response will map a circle in the complex plane. This paper summarizes the basis for this little known principle. Two numerical simulations are included to demonstrate how the principle can be applied. In the first example, a cantilevered plate is used to confirm that the principle is amenable to noise problems. A similar analysis is then performed on a construction cab to illustrate the applicability of the method if the structure is excited at multiple locations. The results suggest that the principle can be used in place of or in conjunction with more sophisticated numerical optimization schemes.

APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Vincenzo"

1

Kukushkina, Nataliya. Political administrative map of the Saint Vincent and the Grenadines. Edited by Nikolay Komedchikov, Aleksandr Khropov, and Larisa Loginova. Entsiklopediya, September 2015. http://dx.doi.org/10.15356/dm2015-12-14-1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Smith, M. L., K. Fontaine, and S. J. Lewis. Regional Hydrogeological Characterisation of the St Vincent Basin, South Australia: Technical report for the National Collaboration Framework Regional Hydrogeology Project. Geoscience Australia, 2015. http://dx.doi.org/10.11636/record.2015.016.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Steen, M., L. Lisell, and G. Mosey. Feasibility Study of Economics and Performance of Solar Photovoltaics at the Vincent Mullins Landfill in Tucson, Arizona. A Study Prepared in Partnership with the Environmental Protection Agency for the RE-Powering America's Land Initiative: Siting Renewable Energy on Potentially Contaminated Land and Mine Sites. Office of Scientific and Technical Information (OSTI), January 2013. http://dx.doi.org/10.2172/1062472.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Health hazard evaluation report: HETA-92-273-2312, St. Vincent Hospital, Indianapolis, Indiana. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, May 1993. http://dx.doi.org/10.26616/nioshheta922732312.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Health hazard evaluation report: HETA-95-0239-2553, St. Vincent Medical Center, Staten Island, New York. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, December 1995. http://dx.doi.org/10.26616/nioshheta9502392553.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Assessment of the effect of road construction and other modifications on surface-water flow at St. Vincent National Wildlife Refuge, Franklin County, Florida. US Geological Survey, 2000. http://dx.doi.org/10.3133/wri004007.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!