Bibliografías temáticas / Michele Arcangelo (Schifanoia, Italy)

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Literatura académica sobre el tema "Michele Arcangelo (Schifanoia, Italy)"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 1 de febrero de 2022

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Artículos de revistas sobre el tema "Michele Arcangelo (Schifanoia, Italy)"

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Forgia, Vincenza, Robert H. Tykot, Andrea Vianello y Elena Natali. "Obsidian from the Neolithic Layers of “Grotta di San Michele Arcangelo di Saracena” (Cosenza), Italy. A Preliminary Report". Open Archaeology 7, n.º 1 (1 de enero de 2021): 615–30. http://dx.doi.org/10.1515/opar-2020-0151.

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Abstract The paper presents the results obtained by techno-typological analysis of a lithic assemblage from the Neolithic layers of Grotta San Michele Arcangelo di Saracena (Cosenza) together with the results of micro-wear analysis obtained from a preliminary selection of obsidian artifacts with different provenances distinguished by pXRF analysis. The site provides one of the best preserved Neolithic sequences in the area, from the earliest Impressed Wares (or Impresse Arcaiche) (early sixth millennium BC) to the Spatarella pottery style (end fifth – early fourth millennium BC). Along the Neolithic sequence, it is possible to observe some major changes within lithic resources management. In particular, it is possible to notice some techno-typological breakages between the Early Neolithic and the further stages, until the second phase of the Late Neolithic, when another rupture, corresponding to the Spatarella facies, is evident.
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Bruni, S., F. Cariati, L. Consolandi, A. Galli, V. Guglielmi, N. Ludwig y M. Milazzo. "Field and Laboratory Spectroscopic Methods for the Identification of Pigments in a Northern Italian Eleventh Century Fresco Cycle". Applied Spectroscopy 56, n.º 7 (julio de 2002): 827–33. http://dx.doi.org/10.1366/000370202760171482.

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The pigments of an XI-century fresco cycle in a small pre-alpine church of northern Italy were characterized by means of field techniques, in particular imaging spectroscopy, and laboratory spectroscopic techniques, namely total reflection X-ray fluorescence, micro-Raman, micro-Fourier transform-Raman, and micro-Fourier transform infrared spectroscopies, thus achieving a complete identification of the ancient painter's palette. Advantages and limitations of each technique in its application to the study of fresco pigments are discussed. The artistic value of the fresco cycle and the religious role in the year 1000 of the church where it is located (S. Michele Arcangelo in Gornate Superiore, Varese, Italy) were demonstrated by the precious and elaborate materials used by the painter. Different pigments were used for different hues of the same color, e.g., azurite, carbon, and the most precious lapis-lazuli for blue, while mixtures of pigments were recognized in details having a particular tint, e.g., lapis-lazuli and minium for violet.
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Manzo, Elena. "Sacred Architecture in the Neapolitan Baroque Era. Space, Decorations, and Allegories". Resourceedings 2, n.º 3 (12 de noviembre de 2019): 46. http://dx.doi.org/10.21625/resourceedings.v2i3.624.

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In Naples (Italy), the passage from Renaissance to Baroque architectonic language could be identified between 1580 and 1612. During this era, one of the most significant topics of the architectonic research on the sacred space was the right compromise among the Counter-Reformation patterns, the central space and the oval plan. Giovanni Antonio Dosio and Dionisio di Bartolomeo were the most representative architects of this passage. They provide the access to new experimental varieties. So, when the architect Cosimo Fanzago arrived in Naples in 1612, the city was almost ready to use the emblematic ellipse plan of the Baroque, such as the churches Santa Maria della Sanita` and San Giovanni dei Fiorentini by Fra’ Nuvolo prove. Fanzago’s architectonic research was followed by the studies by Bartolomeo and Francesco Antonio Picchiatti, father and son, up to Domenico Antonio Vaccaro that was the most representative director of the Baroque sacred space scene. Moving from the analysis and comparison of the most representative churches of Neapolitans Baroque era, the paper proposes an unedited studio about the evolution of sacred space’s idea related to decoration, symbology and allegory, with a focus on Domenico Antonio Vaccaro’s works, such as the churches of Santa Maria della Concezione in Montecalvario neighbourhood, San Michele Arcangelo in Naples’ Piazza Dante, San Michele in Anacapri (on Capri Island), the Palazzo Abbaziale di Loreto and Saviour Church in San Guglielmo al Goleto Monastery, both near Avellino.
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Libros sobre el tema "Michele Arcangelo (Schifanoia, Italy)"

1

Belli, Gianluca. La cappella di San Michele Arcangelo a Petrognano. Empoli [Italy]: Editori dell'Acero, 1997.

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Medolago, Gabriele. La Chiesa prepositurale di San Michele Arcangelo in Mapello. Mapello [Italy]: Prepositura di Mapello, 1998.

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Lisetti, Lidia Scuderi. Il santo guerriero: L'arcangelo Michele e la chiesa di Campodimele. Gaeta (Latina): Alges, 2003.

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Maurizio, Lazzari, ed. Il complesso monumentale di San Michele Arcangelo di Vignole: La storia, l'arte e il restauro. [Vignole?]: Banca di credito cooperativo di Vignole, 2005.

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5

Montorsi, William. Le basiliche di S. Silvestro e S. Michele (secc. VIII-XII). Modena: Aedes Muratoriana, 1988.

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6

Padua Regia Civitas: Identität und Gedächtnis um 1400 im Oratorio di San Michele Arcangelo : eine Fallstudie zum frühen Porträt. Weimar: VDG, 2013.

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7

Regalini, Antonella. --e quel filo d'Arianna era di seta!: Cremia e il suo San Michele Arcangelo di Paolo Veronese : ricerca di arte e storia / c Antonella Regalini. Milano: A. Regalini, 1998.

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8

Regalini, Antonella. --e quel filo d'Arianna era di seta!: Cremia e il suo San Michele Arcangelo di Paolo Veronese : ricerca di arte e storia / c Antonella Regalini. Milano: A. Regalini, 1998.

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9

Filippo, Michele De. L'icona lapidea di Bernardo Monaco. Monte Sant'Angelo: Basilica Santuario di San Michele Arcangelo, 2012.

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10

Annigoni, Pietro. Pietro Annigoni: Oltre l'apparenza. Assisi (PG) [Italy]: Edizioni S. Pietro, 2006.

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