Bibliographies thématiques / Fiorentini a Roma

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Littérature scientifique sur le sujet « Fiorentini a Roma »

Auteur : Grafiati
Publié le 10 mars 2023

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Articles de revues sur le sujet "Fiorentini a Roma"

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Gori, AnnaRita. "Tra patria e campanile. Gli operai fiorentini alle mostre di Roma del 1911." MEMORIA E RICERCA, no. 37 (July 2011): 173–92. http://dx.doi.org/10.3280/mer2011-037011.

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Melro Salzedas, Nelyse A., and Rivaldo Alfredo Paccola. "Hibridização de imagens: cinema/pintura / Hybridization of Images: Film/Painting." Revista Internacional de Cultura Visual 3, no. 1 (2016): 1–7. http://dx.doi.org/10.37467/gka-revvisual.v3.488.

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ABSTRACTThis paper discusses the hybridization of images of paintings and film particles in Italian and American films, including establishing a metaphorical field whose interstitium a common field to both arises. The Italian critic De Santi (Cinema and pittura, 2008) brings up this process of hybridization: Pasolini, the film "Rage" (1963), uses the backdrop of the screen Rosso Fiorentino, "The Descent from the Cross" (1521); in another, "Mamma Roma" (1962) and Fellini, "Satyricon" (1969), inspired by the Mantegna screen "Dead Christ" (1485). Also, Newel (Mona Lisa smile, 2003) uses Picasso s
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Bruquetas Galán, Rocío. "Créditos." Ge-conservacion 5 (December 22, 2013): 2. http://dx.doi.org/10.37558/gec.v5i0.209.

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Dirección Editorial: Rocío Bruquetas Galán y Ana Calvo Manuel Consejo de Redacción: María Aguiar, Emilio Cano Ruiz, Emma García Alonso, Marisa Gómez González, Ana Laborde Marqueze, Emilio Ruiz de Arcaute Martínez, Margarita San Andrés Moya, Sandra Zetina Ocaña. Secretario de Edición: Christhiam Fiorentino Vásquez Revisores en esta edición: Isabel Argerich Fernández, Maite Barrio Olano, Ana Carrasson-López de Letona, José Manuel de la Roja de la Roja, Silvia García Fernández-Villa, Sara González Cambeiro, María Isabel Herráez Martín, Juan Antonio Herráez Ferreiro, Pilar Ineba Tamarit, Domingo M
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Solano Rojo, Montserrat, and Elisa Valero Ramos. "La materialización de lo abstracto. Corviale, del paisaje a la textura del hormigón." EN BLANCO. Revista de Arquitectura 6, no. 14 (2014): 12. http://dx.doi.org/10.4995/eb.2014.5893.

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<p>Corviale (Roma, 1971-1982), dirigido por Mario Fiorentino, se presenta como un ejemplo significativo de la vivienda colectiva en Italia y de la arquitectura del siglo XX. Un proyecto que apuesta por la definición de un sistema lineal de gran escala en la periferia, concentrando el ambicioso programa de vivienda social en tres únicos volúmenes. Será, sin duda, su gran bloque residencial de alta densidad el que sintetice los objetivos perseguidos, permitiendo además resaltar valores significativos desde dos grados de percepción: desde la escala territorial, y desde la escala arquitectón
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Pon, Lisa. "Caraglio and Rosso Fiorentino between Pen and Press." Bulletin of the John Rylands Library 96, no. 1 (2020): 44–59. http://dx.doi.org/10.7227/bjrl.96.1.3.

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The John Rylands Library’s recently rediscovered Spencer Album 8050 contains a proof state of the Battle of the Romans and the Sabines, an engraving pivotal in the short-lived but ambitious collaboration between Jacopo Caraglio (1500–65) and Rosso Fiorentino (1495–1540) in Rome. This proof impression was first printed in black ink, and then densely covered with hand-drawn ink. A comparison between the new proof state and previously identified states of the engraving using a novel technical approach involving long-wave infrared light to isolate the printed lines optically indicates that the Spe
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Vittorini, Rosalia. "Reloaded Corviale, a City with a Single Building (1973–84). Mario Fiorentino Architect, Rome." Housing Reloaded, no. 54 (2016): 44–51. http://dx.doi.org/10.52200/54.a.11em7w13.

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The Corviale is one of the most controversial pieces of 20th century Roman architecture, having been simultaneously debated, demonized, mythologized, loved and hated. The architecture is unquestionably extraordinary, and not only for its size. The complex, comprised of public housing and services for more than 8,000 residents, was designed between 1972 and 1974 by Mario Fiorentino, along with a large group of associates, and was built in the following ten years. As a result of deterioration due to its incompletion, lack of maintenance, continuous squatting and difficulties for diverse resident
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Lopukhova, Marina A. "A PROVINCIAL TUSCAN PAINTER OF THE 1ST THIRD OF THE 16TH CENTURY IN SEARCH OF THE GRAND MANNER: THE CURIOUS CASE OF AGOSTINO MARTI." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2022): 249–69. http://dx.doi.org/10.28995/2686-7249-2022-1-249-269.

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This paper concerns the paintings of Agostino Marti, who was active in Lucca in the 1510–1530s. His early work was based on local tradition at the turn of the 15th and 16th centuries, which was strongly influenced by Florentine models, though in the 1520s he began to adopt the visual language of the High Renaissance. The main source of his paintings in this period was the art of Fra Bartolomeo, who was well known in Lucca. But citations from Raphael’s and Michelangelo’s Roman works in his “Marriage of Virgin” (1523) and the evidence of Lucchese archives both suggest that he visited Rome in 151
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Gryglewski, Piotr. "Wpływ fundacji papieskich na polską architekturę początku XVI wieku. Watykański kontekst mauzoleum prymasa Jana Łaskiego." Roczniki Humanistyczne 68, no. 4 Zeszyt specjalny (2020): 109–38. http://dx.doi.org/10.18290/rh20684-8s.

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The analysis is devoted to the St. Stanislaus chapel erected near Gniezno Cathedral on the initiative of Primate Jan Łaski between 1518 and 1523 (pulled down in the late 18th century). Foundation of this central, free-standing mausoleum plays an important role in the history of the beginnings of Renaissance art in Poland. Its realisation took place simultaneously with construction of the chapel: the mausoleum of King Sigismund I the Old at Wawel. Archbishop Jan Łaski was involved in bringing to Poland Bartolommeo Berrecci, a designer of the royal chapel, who perhaps also participated in prepar
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Lowe, K. J. P. "A Florentine prelate's real estate in Rome between 1480 and 1524: the residential and speculative property of Cardinal Francesco Soderini." Papers of the British School at Rome 59 (November 1991): 259–82. http://dx.doi.org/10.1017/s0068246200009739.

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LA PROPRIETA DI UN PRELATO FIORENTINO TRA IL 1480 E IL 1524: LA PROPRIETA RESIDENZIALE E QUELLA SPECULATIVA DEL CARDINALE FRANCESCO SODERINIL'articolo tratta dell'acquisto e dell'incremento, tra il 1480 e il 1524, della proprietà romana del Card. Francesco Soderini, vescovo di Firenze. Si concentra sulla questione di come il Soderini rispose alle condizioni abitative ed edilizie del mercato durante questo periodo e del rapporto di tale risposte con le esigenze famigliari e quelle dell'suo ufficio e livello sociale. Oltre a realizzare i progetti dei propri palazzi egli era anche interessato all
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Karmon, David. "Review: Giovan Antonio Dosio da San Gimignano: Architetto e scultor fiorentino tra Roma, Firenze e Napoli by Emanuele Barletti, ed." Journal of the Society of Architectural Historians 73, no. 1 (2014): 167–69. http://dx.doi.org/10.1525/jsah.2014.73.1.167.

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Thèses sur le sujet "Fiorentini a Roma"

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GUIDI, BRUSCOLI FRANCESCO. "Un banchiere fiorentino a Roma durante il pontificato di Paolo III (1534-49): Benvenuto Olivieri." Doctoral thesis, 1998. http://hdl.handle.net/2158/613375.

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PIGA, CARLO. "Pierfrancesco Borgherini: storia del mecenatismo artistico di un banchiere fiorentino del Rinascimanto, alla corte dei papi a Roma." Doctoral thesis, 2014. http://hdl.handle.net/11573/918163.

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ABSTRACT L’oggetto di questa tesi è la storia del mecenatismo artistico di Pierfrancesco Borgherini (e della sua famiglia), il maggiore esponente di una nobile dinastia di banchieri toscani del Rinascimento, attivi tra Firenze e Roma, in un arco temporale compreso dagli inizi del Quattrocento, alla fine del quarto decennio del secolo successivo. La scelta dell’argomento è nata dalla constatazione che a fronte del prestigio raggiunto dal banchiere e dalla sua casata al principio del XVI secolo, suggellato dall’avvio di una fiorente mecenatismo, la carenza d’informazioni a riguardo, costituiv
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CAPORALI, ALESSIO. "Bernardo Bini, un banchiere fiorentino alla corte di Leone X: architettura e commissioni artistiche fra Roma e Firenze nel primo Cinquecento." Doctoral thesis, 2017. http://hdl.handle.net/2158/1075933.

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Il presente contributo delinea la figura di Bernardo di Piero Bini (1461-1548), ricco mercante fiorentino e abile uomo politico, il quale, durante il pontificato di Leone X, è uno dei banchieri più potenti dello Stato della Chiesa. Attraverso lo studio del mecenatismo di questo personaggio è stato possibile ricostruire la storia di opere d’arte e di palazzi poco conosciuti ma che si inseriscono a pieno titolo nel panorama artistico rinascimentale. In questo contesto, l’individuazione nell’Archivio Bini Smaghi Bellarmini dei registri contabili relativi alle spese personali di papa Leone X ha pe
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Ng, Aimee. "Ruptures in Painting after the Sack of Rome: Parmigianino, Rosso, Sebastiano." Thesis, 2012. https://doi.org/10.7916/D8ZS2TKZ.

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The Sack of Rome of 1527 was the greatest disruption to the history of sixteenth-century Italian art. Sufficient attention has been paid to its ramifications in terms of the diaspora of artists from Rome that disseminated "Mannerism" throughout Europe and monumental papal projects executed in its wake, including Michelangelo's Last Judgment (1534-41), Perino del Vaga's decoration of the Sala Paolina in Castel Sant'Angelo (1545-47), and the propagation of a more disciplined use of classicism in architecture and literature by the papacy of Pope Paul III. Focus on these consequences, of a grand s
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THAU, MARIA VITTORIA. "Restauri e restauratori. Approfondimenti sulla storia del restauro a Firenze attraverso le carte dell’Archivio Storico delle RR. Gallerie fiorentine e dell’Archivio Centrale dello Stato di Roma (1829-1892)." Doctoral thesis, 2011. http://hdl.handle.net/2158/593802.

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Livres sur le sujet "Fiorentini a Roma"

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Vicioso, Julia. Costanza Francini tra Artemisia Gentileschi e le committenze della Compagnia della Pietà in San Giovanni dei Fiorentini a Roma. GBE/Ginevra Bentivoglio editoriA, 2014.

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Benvenuto Olivieri: I mercatores fiorentini e la Camera Apostolica nella Roma di Paolo III Farnese, 1534-1549. L.S. Olschki, 2000.

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La "politica dell'equilibrio" di Lorenzo de' Medici nel carteggio degli oratori fiorentini alle corti di Roma, Napoli e Milano (1486-1489). Edizioni di storia e letteratura, 2015.

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D'Orazio, Costantino, and Ludovico Pratesi. Intorno a Borromini: Roma, 16 dicembre 2003-1 febbraio 2004 : Giovanni Anselmo, Francesco Gennari, Marisa Merz--Palazzo Falconieri : Grazia Toderi--Cripta Falconieri in San Giovanni dei Fiorentini. Comune di Roma, 2005.

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Colavero, Enrica, ed. Fiorentini abusivi. Firenze University Press, 2008. http://dx.doi.org/10.36253/978-88-8453-720-1.

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Through a precious labour of retrieval, transcription and the attentive and painstaking annotation of an unpublished correspondence made up of 311 pieces, Enrica Colavero gives voice to two important and retiring Italian poets of the later twentieth century: Francesco Tentori (1924-1995) and Ercole Ugo D'Andrea (1937-2002), the last impassioned witnesses and disciples of hermeticism. Tentori was a major translator of Spanish and Spanish-American poets and novelists; it was he who introduced Borges into Italy. Before settling permanently in Rome, he established close ties with Florence, in part
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Vicioso, Julia. Leonardo da Vinci e la Nazione fiorentina a Roma. GBE/Ginevra Bentivoglio editoriA, 2019.

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Querzoli, Serena. Il sapere di Fiorentino: Etica, natura e logica nelle Institutiones. Loffredo Editore, 1996.

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Baccio Pontelli a Roma: L'attività dell'architetto fiorentino per Giuliano della Rovere. Felici, 2010.

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Lidia, Saraca Colonnelli, Thau Rosanna, and S. Giovanni de' Fiorentini (Church : Rome, Italy). Museo d'arte sacra., eds. Il Museo d'arte sacra di San Giovanni de' Fiorentini. E. De Rosa, 2002.

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Rosanna, Thau, and Saraca Colonnelli Lidia, eds. Il Museo d'arte sacra di San Giovanni de' Fiorentini. E. De Rosa, 2002.

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Chapitres de livres sur le sujet "Fiorentini a Roma"

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Dufal, Blaise. "Nicholas Trevet : le théologien anglais qui parlait à l’oreille des Italiens." In The Dominicans and the Making of Florentine Cultural Identity (13th-14th centuries) / I domenicani e la costruzione dell'identità culturale fiorentina (XIII-XIV secolo). Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-046-7.08.

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The commentaries composed by the English theologian Nicholas Trevet at the beginning of the fourteenth century not only bear witness to his connections with Santa Maria Novella. They also testify to the importance of his contribution to the transfer of knowledge about Antiquity and the rebirth of antiquarianism in the Italian peninsula. This essay argues that Trevet’s Scholastic commentaries, presented as an expositio, met the need that Italian intellectuals had of a fuller understanding of classic literature, pagan mythology and Roman history.
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ROPER, GREGORY. "PHILIP NERI (1515–95 CE) AT THE CATACOMBE DI S. SEBASTIANO, THE CHIESA DI SAN GIROLAMO DELLA CARITÀ, THE BASILICA DI SAN GIOVANNI DEI FIORENTINI, AND THE CHIESA NUOVA." In People and Places of the Roman Past. Arc Humanities Press, 2019. http://dx.doi.org/10.2307/j.ctvmd83p9.21.

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"Chapter Fifteen. Philip Neri (1515–95 CE) at the Catacombe di S. Sebastiano, the Chiesa di San Girolamo della Carità, the Basilica di San Giovanni dei Fiorentini, and the Chiesa Nuova." In People and Places of the Roman Past. ARC, Amsterdam University Press, 2019. http://dx.doi.org/10.1515/9781942401568-018.

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