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Littérature scientifique sur le sujet « Cattadori Italian Art Galleries »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 29 juillet 2025

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Articles de revues sur le sujet "Cattadori Italian Art Galleries"

Gage, Frances. "Exercise for Mind and Body: Giulio Mancini, Collecting, and the Beholding of Landscape Painting in the Seventeenth Century*." Renaissance Quarterly 61, no. 4 (2008): 1167–207. http://dx.doi.org/10.1353/ren.0.0366.

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This article explores the intellectual foundations for the development of princely art collections, and of Italian picture galleries in particular, as spaces for combined physical and mental exercise and recreation. This study then establishes the relationship between the therapeutic function of picture galleries and the manner in which landscape paintings produced for princely collectors at this moment in Italy embodied ideals of both exercise and repose.

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Sanesi, Irene. "Visibility in the Italian Art World: How Far Along We Are." International Journal of Economics, Finance and Management Sciences 12, no. 5 (2024): 284–92. http://dx.doi.org/10.11648/j.ijefm.20241205.16.

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Even though the concept of “nationality” when we talk about an internationally acclaimed artists is more and more blurred and has little to do with the importance of the artworks, it is evident how small the Italian art presence in great international art manifestations is, sometimes almost negligible. It is then necessary to understand the causes of this situation, to draw a map of the current state of the contemporary Italian scene and state some resolutions from it. The first 2022 Report “How (well) known is Italian art abroad?” by BBS-Lombard Benefit Corporation, together with Arte General

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Tsirogiannis, Christos. "MAPPING THE SUPPLY: USUAL SUSPECTS AND IDENTIFIED ANTIQUITIES IN ‘REPUTABLE’ AUCTION HOUSES IN 2013." Cuadernos de Prehistoria y Arqueología de la Universidad de Granada 25 (December 8, 2016): 107–44. https://doi.org/10.30827/cpag.v25i0.5396.

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The confiscation of the Medici, Becchina and Symes-Michaelides archives by the Italian authorities (with the cooperation of the French and Swiss) and Greek police and judicial authorities, has led to more than 250 repatriations of antiquities so far. Apart from these successful claims, the main contribution of the on-going research on the archives lies in revealing the fundamental role played by the main members of the international antiquities market (auction houses and galleries) in circulating illicit material after the 1970 UNESCO convention (against the illicit traffic in cultural materia

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Depperu, Donatella, Giacomo Magnani, Lisa Crosato, and Caterina Liberati. "Growth of Firms in a Fragmented Cultural Industry: Italian Commercial Art Galleries’ Competitive Strategies." Sustainability 13, no. 9 (2021): 5057. http://dx.doi.org/10.3390/su13095057.

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The growth of cultural firms is important in developing local economies, enhancing employment, and improving urban sustainability, but it is difficult to achieve in fragmented industries that are populated by the smallest firms and offer a particularly unfavorable context for growth. The study takes a contingency perspective and contributes to both the literature on business strategy in fragmented industries and that on the growth of small and medium-sized enterprises (SMEs) by identifying the strategies implemented in a fragmented cultural industry, determining which of them are associated wi

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Shcherbakova, Marina I. "“A Trip through Italy” by Bishop Porphyrius (worldly Konstantin Uspensky) as a cultural and historical source." Two centuries of the Russian classics 2, no. 4 (2020): 186–207. http://dx.doi.org/10.22455/2686-7494-2020-2-4-186-207.

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The article presents the creative history of “A Trip through Italy” — an extensive section of “The Book of My Life”, a memoir and journalistic work of Bishop Porphyrius (worldly Konstantin Uspensky), who was an orientalist and a Byzantologist, a paleographer and an archaeologist. The basis for “A Trip through Italy” was the entries in his diary about his acquaintance with Italy in May to August, 1854. When preparing his work, Bishop Porphyrius significantly supplemented the travel notes with materials from rare publications. Thus, the narrative took the form of a unique historical and cultural

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Sijka, Katarzyna. "„Jak żyć po czymś takim w Polsce?” Edukacyjne walory podróży na przykładzie Dziennika podróży do Italii i Szwajcarii z lat 1815–1816 Rozalii Dunin-Borkowskiej." Biuletyn Historii Wychowania, no. 43 (September 15, 2020): 27–44. http://dx.doi.org/10.14746/bhw.2020.43.2.

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A Diary of a Journey to Italy and Switzerland in 1815–1816 written by Rozalia Dunin-Borkowska is one of few preserved descriptions of a journey to Italy made by a Polish woman in the early 19th century. Rozalia and her husband Stanisław embarked on their expedition on 27 May 1815 in Lvov; they went to Italy and spent nine months there, from October 1815 to July 1816. The Italian tour started in Venice and included Padua, Bologna, Florence (twice), Rome, Naples, Milan and Geneva. The spouses spent the journey actively although their main goal was to learn about the culture of the Italian Penins

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Ingrassia, Marzia, Claudio Bellia, Chiara Giurdanella, Pietro Columba, and Stefania Chironi. "Digital Influencers, Food and Tourism—A New Model of Open Innovation for Businesses in the Ho.Re.Ca. Sector." Journal of Open Innovation: Technology, Market, and Complexity 8, no. 1 (2022): 50. http://dx.doi.org/10.3390/joitmc8010050.

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The choice of influencer marketing as an endorser for promoting products and services is becoming a more and more effective communication strategy of open innovation. Their use of social media platforms, such as Instagram, allows them to be reached by millions of followers all over the world. As a response to the economic crisis that affected Italy after the first wave of the COVID-19 pandemic, Chiara Ferragni, one of the most endorsed influencers worldwide, started a communication campaign with the aim to promote Italian food and tourist destinations (cities of art, seaside, ski and countrysi

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Vežić, Pavuša. "Ikonografija romaničke katedrale u Dubrovniku." Ars Adriatica, no. 4 (January 1, 2014): 63. http://dx.doi.org/10.15291/ars.489.

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In order to deepen our contemporary knowledge about the Romanesque cathedral of Dubrovnik, it is of utmost importance to turn to the archaeological remains and the documented material evidence in order to establish its ground plan. On the basis of the ground plan and in combination with the way the Cathedral was depicted in the art works produced during the period from the fifteenth to the seventeenth century, while also taking into account the contemporary written sources, we can propose a reconstruction of the Romanesque Cathedral together with a number of architectural features which have n

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Leslie, Fiona. "Inside Outside: Changing Attitudes Towards Architectural Models in the Museums at South Kensington." Architectural History 47 (2004): 159–200. http://dx.doi.org/10.1017/s0066622x0000174x.

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The union of these collections and the addition of the models of St. Paul’s and various classical buildings, betoken what an Architectural Museum may become, if the individuals and the State will act together. Every foreigner who has seen this commencement sees in it the germ of the finest Architectural Museum in Europe, if the public support the attempt.From the first years of its establishment in June 1857, to the end of the nineteenth century, the South Kensington Museum had amongst its collections over a hundred architectural models. First they were acquired through a policy of encouraged

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Angelini, Francesco, Massimiliano Castellani, and Pierpaolo Pattitoni. "Artist Names as Human Brands: Brand Determinants, Creation and co-Creation Mechanisms." Empirical Studies of the Arts, January 17, 2022, 027623742110729. http://dx.doi.org/10.1177/02762374211072964.

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Considering all transactions related to modern and contemporary visual artists mediated by galleries in Italy between 2007 and 2012, we propose an empirical measure of artist brand and explore its relationship with artist-specific characteristics, such as talent, fame, and popularity, through a structural model. We find that artist brand depends positively on talent, fame, and popularity. Moreover, we find that a co-creation mechanism is at work in the Italian art market, where galleries choose their specialization strategies in picking their artist portfolios. We interpret our findings in lig

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Thèses sur le sujet "Cattadori Italian Art Galleries"

Mortati, Sofia <1994&gt. "Internationalization of Italian contemporary art’s galleries in China. An analysis based on the case of Galleria Continua, a pioneer Italian art gallery in China." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14194.

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Since the Chinese consumer has lately shown an interest towards the art market, the art galleries should try to answer this demand. Therefore, the purpose of this thesis is to hypothesize good practices for successfully internationalize Italian contemporary art’s galleries in China by responding to the main difficulties that a gallery can face inside the Chinese market. These difficulties have been highlighted trough an analysis between marketing to China’s literature and international gallery’s system literature, and have been identified as: how can an Italian contemporary art gallery succes

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Livres sur le sujet "Cattadori Italian Art Galleries"

Valcanover, Francesco. The galleries of the Accademia. Storti, 1986.

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Scire, Giovanna Nepi. The Accademia Galleries in Venice. Electa, 1998.

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Rosi, Angela. Oltre il colore. PortoSeguro editore, 2018.

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Stefano, Pronti, and Agazzani Alberto, eds. L' arte contemporanea a Piacenza e la Galleria di Antonio Braga, 1966-2002. Tipolito Farnese, 2005.

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Gualdoni, Flaminio, and Silvia Mascheroni. Miracoli a Milano: 1955-1965 : artisti, gallerie, tendenze. Museo della Permanente, 2000.

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Perelda, Severino. Ennio Casciaro: Memorie e propositi di un gallerista. Silvana, 2011.

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Stich, Sidra. Art-sites Northern Italy: The indispensable guide to contemporary art, architecture, design. Art-Sites Press, 2005.

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Claudio, Rotta Loria, ed. Catalogarte: La produzione documentaria delle gallerie d'arte contemporanea e degli spazi espositivi non pubblici del Piemonte. Regione Piemonte, Assessorato beni e sistemi culturali, 1994.

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Casorati, Cecilia, and Achille Bonito Oliva. Italia 2000: Arte e sistema dell'arte. G. Prearo, 2000.

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Trioschi, Paolo. Una storia ravennate: 1965-2005 : la "Bottega d'arte" di Angela e Giuseppe Maestri. Longo editore, 2020.

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Plus de sources

Chapitres de livres sur le sujet "Cattadori Italian Art Galleries"

Berghaus, Günter. "Theatre Performances In Art Galleries." In Italian Futurist Theatre 1909-1944. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198158981.003.0009.

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Abstract The expansion of the Futurist movement into the fine arts was first signalled to the general public through the publication of a number of manifestos: Manifesto of Futurist Painters (II February 19rn), Technical Manifesto of Futurist Painting (II April 19rn), Futurist Sculpture (II April 1912), and Painting of Sounds, Noise and Odours (II August 1913). The first examples of Futurist paintings and sculptures were presented in March/April 19rn in an exhibition of the Famiglia Artistica in Milan, followed by a number of mixed shows in Venice CTuly 19rn) and Milan CTuly 19rn, December 19r

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Lansdown, Richard. "A Marginal Interest? Byron and the Fine Arts." In Byron and Marginality. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474439411.003.0014.

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Byron has always been regarded as the possessor of a tin ear when it came to art. But once he took up residence on the Continent in 1816 he could hardly avoid paintings, especially when fellow-travellers like John Polidori, John Cam Hobbhouse and Stendhal insisted on showing him the galleries full of Flemish art in Belgium or Italian old masters in Milan, Venice, Florence and Rome.The essay works out what exactly he saw in all these places, and comments on what he had to say. In particular, it draws together an ‘Italian composite’ of feminine portraits, and ponders the question whether it is s

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Actes de conférences sur le sujet "Cattadori Italian Art Galleries"

dos Santos, Camila, and Andreia Machado Oliveira. "Communication Action Zones in Art and Technology - ZACAT." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.101.

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Communication Action Zones in Art and Technology, in portuguese Zonas de Ações Comunicacionais em Arte e Tecnologia – ZACAT – is a master's research developed in Brazil, made before and during the SARS-CoV-2 virus pandemic, which causes the New Coronavirus disease. This artistic and academic work includes a set of sound and visual poetics based on an investigation of artistic communicational practices of an activist character, with the mediation of several questions about the current Brazilian history. Firstly, through diversified strategies and proposals for different interlocutors, with expe

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