Bibliografías temáticas / Gonzaga, duke of Mantua

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Literatura académica sobre el tema "Gonzaga, duke of Mantua"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 28 de julio de 2025

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Artículos de revistas sobre el tema "Gonzaga, duke of Mantua"

1

James, Carolyn. "Marriage by Correspondence: Politics and Domesticity in the Letters of Isabella d’Este and Francesco Gonzaga, 1490–1519*." Renaissance Quarterly 65, no. 2 (2012): 321–52. http://dx.doi.org/10.1086/667254.

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The marriage in 1490 of Francesco Gonzaga, Marquis of Mantua, and Isabella d’Este, daughter of the Duke of Ferrara, cemented an important Italian dynastic alliance and was in no sense a love match. Francesco and Isabella were well aware, however, that they had to establish a harmonious conjugal rapport if the strategic aims of their union were to be realized. This study examines the ways in which the Este-Gonzaga couple built familiarity, affection, and shared interests through frequent letter exchanges that both shaped and facilitated their domestic and political collaboration. The epistolary
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2

Chambers, D. S. "The 'Bellissimo Ingegno' of Ferdinando Gonzaga (1587-1626), Cardinal and Duke of Mantua." Journal of the Warburg and Courtauld Institutes 50 (1987): 113. http://dx.doi.org/10.2307/751320.

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Strainchamps, Edmond. "The life and death of Caterina Martinelli: new light on Monteverdi's ‘Arianna’." Early Music History 5 (October 1985): 155–86. http://dx.doi.org/10.1017/s0261127900000693.

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In the early spring of 1608 a calamity befell the Gonzaga court at Mantua with the sudden death of their young virtuoso singer, Caterina Martinelli. And the shock felt at her untimely demise was made all the worse by the realisation that the court's prestige and the standing of Duke Vincenzo himself were thereby threatened. More precisely, what was at risk were the elaborate plans that the Mantuans had made – plans in which Caterina Martinelli had figured very prominently – for an extraordinary series of musical-theatrical events to be held later in that spring to which the whole world (or at
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4

Nugent, George. "Anti-Protestant Music for Sixteenth-Century Ferrara." Journal of the American Musicological Society 43, no. 2 (1990): 228–91. http://dx.doi.org/10.2307/831615.

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This study explores the motivations that lie behind three polyphonic works by musicians active at Ferrara and Mantua in the first half of the sixteenth century: a motet by Maistre Jhan, and a motet and mass by Jacquet. The background that links all three is the intense campaign that was waged between reform and orthodoxy. Music and visual art were sometimes put to use as propaganda. The Este and Gonzaga families who ruled the two states were related by blood and political alliances. They had strong reasons to defend the orthodox religion; they were also deeply persuaded of music's communicativ
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5

Tucker, J. Allan, and Aaron H. DeGroft. "From Renaissance Art to Contemporary Electron Microscopy: DeGroft's Rediscovery of Titian's "Lost" Portrait of Federico II Gonzaga, Duke of Mantua, of 1539-40." Ultrastructural Pathology 26, no. 4 (2002): 195–201. http://dx.doi.org/10.1080/01913120290076874.

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Bowers, R. "Claudio Monteverdi and Sacred Music in the Household of the Gonzaga Dukes of Mantua, 1590-1612." Music and Letters 90, no. 3 (2009): 331–71. http://dx.doi.org/10.1093/ml/gcp050.

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Jaffe-Berg, Erith. "Performance as Exchange: Taxation and Jewish Theatre in Early Modern Italy." Theatre Survey 54, no. 3 (2013): 389–417. http://dx.doi.org/10.1017/s0040557413000276.

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In early modern Italy, an unusual form of exchange between Jewish and Christian communities materialized in Mantua: Jews in Mantua were required to perform an annual play as a tribute to their Gonzaga rulers. Elsewhere in the Italian peninsula, far more onerous “performances” were extorted from the Jews during carnival, but in the Mantuan performances, several communities—the ruling Gonzaga family, the Jewish community, and Christian audience members—interacted. I consider these performances a form of taxation because the full cost, which was extensive, was borne by the Jewish community. Howev
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8

Even, Yael, and Joanna Woods-Marsden. "The Gonzaga of Mantua and Pisanello's Arthurian Frescoes." Sixteenth Century Journal 21, no. 2 (1990): 328. http://dx.doi.org/10.2307/2541109.

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Eden, Bradford Lee. ":Music at the Gonzaga Court in Mantua." Sixteenth Century Journal 45, no. 1 (2014): 218–19. http://dx.doi.org/10.1086/scj24247538.

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Saalman, Howard, Livio Volpi Ghirardini, and Anthony Law. "Recent Excavations under the "Ombrellone" of Sant'Andrea in Mantua: Preliminary Report." Journal of the Society of Architectural Historians 51, no. 4 (1992): 357–76. http://dx.doi.org/10.2307/990735.

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Recent excavations have revealed the existence of an integrated complex of vaulted rooms, stairs, and passages under the so-called ombrellone of the western portico of Sant'Andrea in Mantua. The authors suggest that this complex and its adjacent rooms may have been intended to serve for the exposition of the relics of the Most Precious Blood of Christ, preserved in Sant'Andrea, possibly in times of danger and plague, and for the guardian brotherhood of the relics, the Venerable Company of the Most Precious Blood, established in Sant'Andrea by Pius II in 1462. The adjacent rooms over the first
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Tesis sobre el tema "Gonzaga, duke of Mantua"

1

Zeitz, Lisa. "Tizian, Teurer Freund : Tizian und Federico Gonzaga : Kunstpatronage in Mantua im 16. Jahrhundert /." Petersberg : Imhof Vlg, 2000. http://catalogue.bnf.fr/ark:/12148/cb38940844p.

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BARBIERI, NICOLETTA ILARIA. "CULTURA LETTERARIA INTORNO A FEDERICO GONZAGA, PRIMO DUCA DIMANTOVA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1860.

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Tra il XIX ed il XX secolo, sono stati effettuati diversi studi riguardo al patronato letterario di Isabella d’Este e al mecenatismo praticato verso gli artisti da suo figlio, Federico II Gonzaga, primo duca di Mantova. Una nuova prospettiva di ricerca induce oggi a indagare il ruolo di Federico II come committente letterario, distinto dalla Marchesana Isabella, e i suoi interessi letterari. Vari autori, più o meno celebri, risultano avere avuto relazioni con Federico II Gonzaga, in quanto o gli hanno dedicato le loro opere o lo hanno citato in esse oppure perché è stato loro richiesto di comp
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BARBIERI, NICOLETTA ILARIA. "CULTURA LETTERARIA INTORNO A FEDERICO GONZAGA, PRIMO DUCA DIMANTOVA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1860.

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Tra il XIX ed il XX secolo, sono stati effettuati diversi studi riguardo al patronato letterario di Isabella d’Este e al mecenatismo praticato verso gli artisti da suo figlio, Federico II Gonzaga, primo duca di Mantova. Una nuova prospettiva di ricerca induce oggi a indagare il ruolo di Federico II come committente letterario, distinto dalla Marchesana Isabella, e i suoi interessi letterari. Vari autori, più o meno celebri, risultano avere avuto relazioni con Federico II Gonzaga, in quanto o gli hanno dedicato le loro opere o lo hanno citato in esse oppure perché è stato loro richiesto di comp
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4

Di, Pietro Marica. "Il codice Mscr.Dresd.Ob.21: una possibile collocazione in area mantovana." Sächsische Landesbibliothek - Staats- und Universitätsbibliothek Dresden, 2020. https://slub.qucosa.de/id/qucosa%3A70940.

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Il presente elaborato intende approfondire le ipotesi avanzate nel mio precedente lavoro di ricerca, Il Codice inedito di falconeria della Biblioteca di Dresda (Mscd.Dresd.Ob.21), stampato e catalogato presso la SLUB, sulla base delle argomentazioni dello studioso croato Grmek riguardo la tradizione letteraria del trattato di Iacobello Vitturi contenuto nel codice Ob.21. L’intento è quello di definire la collocazione spaziale del manoscritto e, al fine di raggiungere tale obbiettivo, la ricerca è stata incentrata sul raffronto linguistico del codice dresdense col manoscritto conservato presso
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5

Schockmel, Bryn Critz. "The historical procession of Andrea Mantegna’s Triumphs of Caesar: from Mantua to Hampton Court." Thesis, 2019. https://hdl.handle.net/2144/38723.

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This dissertation centers on Andrea Mantegna’s masterful series of nine canvases, the Triumphs of Caesar, painted for the Gonzaga family of Mantua in the late Quattrocento. The project considers the history of the series, including the circumstances of its commission, the use of the Triumphs within the court culture of Mantua, and the recontextualization of the series in England after its sale to King Charles I in 1630. I argue that the series was intended to serve as a form of permanent palatial decoration, and that only through a series of unforeseen events was the Triumphs ultimately used
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Weston, Inez Lesley. "Francesco II Gonzaga and Isabella d'Este: new perspectives on music and art at the Mantuan court, 1484-1519." Thesis, 2006. http://hdl.handle.net/1828/1925.

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Isabella d'Este (1474-1539), the wife of Francesco II Gonzaga (1466-1519), Marquis of Mantua, is widely acknowledged for her patronage of the arts at the Gonzaga court in Mantua, during a formative period in her life, 1490 to c.1523. This thesis draws attention to a dilemma in Renaissance studies: namely, that musicologists have a far great[er] appreciation of Isabella's work as a patron of music, whereas she has been less positively appreciated in some of the art historical literature. A similar phenomenon is observed in the case of Francesco II, who was, for many years, the patron of the wel
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Libros sobre el tema "Gonzaga, duke of Mantua"

1

Simon, Kate. A Renaissance tapestry: The Gonzaga of Mantua. Harper & Row, 1989.

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Simon, Kate. A Renaissance tapestry: The Gonzaga of Mantua. Harrap, 1988.

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3

Simon, Kate. A Renaissance tapestry: The Gonzaga of Mantua. Harper & Row, 1988.

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4

Behne, Axel Jürgen. Das Archiv der Gonzaga von Mantua im Spätmittelalter. [s.n.], 1990.

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5

Bonoldi, Lorenzo. Mantova: Splendore dei Gonzaga. Skira, 2021.

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6

Glassman, Nina. Lettere proibite: I "cimenti" del principe Vincenzo Gonzaga. Longo, 1991.

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7

Rosa, Palvarini Maria, and Signorini Rodolfo, eds. Palazzo Valenti Gonzaga in Mantova. [s.n., 1993.

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8

Syre, Cornelia. Tintoretto: Der Gonzaga-Zyklus. Hatje Cantz, 2000.

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9

1946-, Malacarne Giancarlo, ed. Dai Gonzaga agli Asburgo: L'inventario del 1714 di Palazzo ducale. Edizioni sperioniane, 2008.

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10

Baden-Württemberg, Landesarchiv, and Hauptstaatsarchiv Stuttgart, eds. Von Mantua nach Württemberg: Barbara Gonzaga und ihr Hof = Da Mantova al Württemberg : Barbara Gonzaga e la sua corte. Landesarchiv Baden-Württemberg, 2011.

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Capítulos de libros sobre el tema "Gonzaga, duke of Mantua"

1

Lazzarini, Isabella. "«Recevì la vostra litera a la quale e respondo». Qualche nota intorno alle reti epistolari del Trecento padano." In Reti Medievali E-Book. Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-423-6.11.

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My essay focuses on the correspondences sent to the Gonzaga of Mantua and received and preserved in the Mantuan chancery during the 14th century. The broad range of correspondences gathered in the Mantuan archives covers almost all the north and central Italy, from Tuscany to the Val d’Adige, from Genoa to Venice. Its quantity and variety open the gate to a most needed investigation of the epistolary forms of political and diplomatic communication in the 14th century, therefore fostering a better understanding of this crucial period, squeezed between the better known communal Duecento and prin
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2

Macneil, Anne. "Behold, now there are Amazons of Learning." In Music and Women of the Commedia dell’ Arte in the Late Sixteenth Century. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198166894.003.0003.

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Abstract In 1601, the year the Conte de Fuentes petitioned Vincenzo Gonzaga to send Isabella Andreini and her company to Pavia to perform for the negotiators of the treaty between France and Savoy, the Duke of Mantua set out for Hungary on his third campaign against the Turks, and academic interests in Mantuan music and theatre came to a boil.
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3

Arnold, Denis. "Mantua." In Monteverdi. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164654.003.0002.

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Abstract The visitor to Mantua may find it hard to believe how great was Monteverdi's success. The town today seems rather forlorn, its huge palace a museum, its present raison d'etre a market for the rich countryside by which it is surrounded. In the later years of the sixteenth century it was very different. Although never destined to be one of the greatest cities of Europe, Mantua was no mere provincial centre. The house of Gonzaga had brought the city to a fine prosperity, and encouraged by a succession of dukes who loved all the outward signs of richness, artists and musicians, actors and
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4

Talbot, Michael. "Years of travel." In Vivaldi. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164975.003.0004.

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Abstract The duchy of Mantua, bordering the Veneta, was a flourishing centre of the arts during the seventeenth century. Indirectly, lavish spending on court entertainment led to the downfall of the Gonzaga dynasty, for the last duke, Ferdinando Carlo, being greatly in debt, was bribed into an alliance with the French during the War of the Spanish Succession. As Mantua was a fief of the Austrian Empire, this constituted treason; accordingly, the victorious Austrians made Mantua an hereditary imperial possession, appointing as governor the younger brother of the Landgrave of Hesse-Darmstadt, Pr
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Chambers, E. K. "International Companies." In The Elizabethan Stage. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199567492.003.0003.

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Abstract The England of Elizabeth and James was a lender rather than a borrower of players. No records have been disinterred of French actors in this country between 1495 and 1629 ; and although there are a few of Italian actors, their visits seem to have been confined to a single brief period. The head-quarters of Italian comedy during the middle of the sixteenth century was at the Court of Mantua, and when Lord Buckhurst went as ambassador to congratulate CharlesIX of France on his wedding, it was by Louis Gonzaga, Duke of Nevers and brother of the Duke of Mantua, that he was entertained on
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Fenlon, Iain. "The Origins of the Seventeenth-Century Staged Ballo." In Con che soavità Studies in Italian Opera, Song, and Dance, 1580-1740. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198163701.003.0002.

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Abstract The autumn of 1615 found Claudio Monteverdi at work on a new commission for his old masters, the Gonzaga. More precisely, a court official, Annibale Iberti, had recently been in touch with the composer through the Mantuan Resident in Venice, Camillo Sordi, with instructions that the composer should be commissioned to compose a hallo at the specific request of Ferdinando Gonzaga, who now found himself somewhat unexpectedly destined to become the sixth Duke of Mantua. The reasons for the commission are unknown, but it seems likely that it was intended for performance as part of the cele
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Bernhardt, Elizabeth Louise. "The Wheel of Fortune." In Genevra Sforza and the Bentivoglio. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463726849_ch05.

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Recruited by Pope Julius II due to his close and conflicting interests with the Bentivoglio, Marchese Francesco Gonzaga led a military expedition to regain Bologna. As a result, Genevra Sforza was forced into exile against custom and tradition with the downfall of the Bentivoglio (November 1506). Although Gonzaga led papal troops against the Bentivoglio, he and his wife, Isabella d’Este, hosted and covered for many Bentivoglio, including Genevra. In Mantua Genevra awaited direction from others while Julius II hounded her, forcing her out; she soon after died at the Pallavicino court in Busseto
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Fabbri, Paolo. "On the Origins of an Operatic Topos: The Mad-Scene." In Con che soavità Studies in Italian Opera, Song, and Dance, 1580-1740. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198163701.003.0008.

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Abstract The Venetian poet and librettist Giulio Strozzi (1583-1652) exploited the theme of feigned madness at least twice on the musical stage: in La finta pazza (1641) written for Francesco Sacrati (the long-lost opera rediscovered by Lorenzo Bianconi); and in Licori finta pazza innamorata d’Aminta, a text offered to Claudio Monteverdi more than a decade earlier. The latter is mentioned for the first time in Monteverdi’s letter of 1 May 1627 (L. 91 [92]).1 On 2January 1627 (L. 89 [90]), Monteverdi had noted that on a visit to Venice the Mantuan singer Francesco Campagnolo raised the possibil
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Owens, Jessie Ann. "Palestrina as Reader: Motets from the Song of Songs." In Hearing The Motet. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195097092.003.0016.

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Abstract Palestrina’s fourth book of five-voice motets, Motettorum quinque vocibus fiber quartus (Rome, 1584), was one of his most unusual and interesting publications. The little information that has survived about its genesis can be quickly recounted. The book must have been in production by the end of 1583 because two of the five partbooks (tenor and bassus) bear this date. The printing was complete by 27 April 1584, the date when Palestrina sent “un libbro nuovo de Mottetti della Cantica” to Duke Guglielmo Gonzaga in Mantua. The volume was printed in Rome by Alessandro Gardano, heir with h
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Weiss, Piero. "Monteverdi Criticizesalibretto." In Opera. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195116373.003.0005.

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Abstract By the latest count, 127 letters of Monteverdi have survived, a gratifying number for a composer of such importance to the development of Western music in general and of opera in particular. The present letter, written from Venice in 1616, three years after he had settled there as Director of Music at St. Mark’s, is addressed to Alessandro Striggio (1573-1630), a diplomat-poet at the court of the Gonzagas in Mantua and author of the text for Monteverdi’s first opera, Orfeo (1607). In view of the Duke of Mantua’s forthcoming wedding, Striggio had sent him a “maritime fable,” asking him
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