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Articles de revues sur le sujet « Studi AOD »

Auteur : Grafiati

Publié le 9 mars 2023

Mis à jour le 31 juillet 2025

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1

Dirgawati, Mila, and Nabila Ayu Larasati. "Hubungan Aerosol Optical Depth (AOD) dengan Materi Partikulat 10 Mikron (PM10): Studi Literatur." Jurnal Ilmu Lingkungan 22, no. 3 (2024): 704–11. http://dx.doi.org/10.14710/jil.22.3.704-711.

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Studi ini mengkaji berbagai penelitian mengenai hubungan aerosol optical depth (AOD) yang diperoleh dari pengukuran data satelit dengan materi partikulat 10 mikron (PM10) hasil pengukuran ground-based di negara dua dan empat musim. Referensi yang digunakan adalah jurnal yang telah dipublikasikan tahun 2013-2022 yang dengan menggunakan Mendeley dan Google Scholar. Hubungan AOD dan PM10 ditinjau dari nilai koefisien korelasi (r) dan koefisien determinasi (R2). Berdasarkan nilai r, ditemukan bahwa hubungan antara AOD dan PM10 di negara dua musim sangat kuat dengan nilai r ≥ 0,80, sedangkan di neg

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Mičínová, Ivana. "Přístupy ke studiu u studentů českých vysokých škol – Přehledová studie současného pedagogického výzkumu." CASALC Review 11, no. 1 (2021): 144. http://dx.doi.org/10.5817/casalc2021-1-12.

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Cílem této přehledové studie je identifikovat, jaké oblasti zkoumání přístupů k vysokoškolskému studiu jsou v českém badatelském prostředí tematizovány v letech 2010 –2020 a jaké výsledky přinášejí pro zkvalitňování výuky na vysokých školách. Zachycená témata se věnují adaptaci studentů prvních ročníků na nároky vysokoškolského studia, problematice organizace vlastního studia a postojů k samostudiu. Další oblastí zájmu jsou preference využívání studijních materiálů, prezentace učiva a forem výuky. Zrcadlením studijních přístupů je i analýza zpracování diplomových prací a koncepce státní zkoušk

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Unik, Mitra, and Sri Nadriati. "Overview: Random Forest Algorithm for PM2.5 Estimation Based on Remote Sensing." Jurnal CoSciTech (Computer Science and Information Technology) 3, no. 3 (2022): 422–30. http://dx.doi.org/10.37859/coscitech.v3i3.4380.

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Studi ini merangkum penelitian tentang estimasi PM2.5 menggunakan algoritme pembelajaran mesin random forest (RF), penginderaan jauh, dan keduanya. Tujuan dari tinjauan ini adalah menyajikan studi yang komprehensif untuk memfasilitasi dan menentukan batasan, luas dan kedalaman pengetahuan yang dieksplorasi untuk memperkirakan konsentrasi PM2.5 di masa depan menggunakan RF dan pengindraan jauh. PM2.5 merupakan parameter lingkungan atmosfer yang penting, terutama karena dampaknya terhadap kesehatan manusia dan lingkungan. Terlepas dari skala spasial-temporal, perkiraan PM2.5 yang akurat penting

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Kusumaningtyas, Sheila Dewi Ayu. "AEROSOL OPTICAL DEPTH (AOD) OVER FOUR INDONESIAN CITIES FROM THE AERONET MEASUREMENT: AN OVERVIEW." Jurnal Sains & Teknologi Modifikasi Cuaca 20, no. 2 (2020): 47–57. http://dx.doi.org/10.29122/jstmc.v20i2.3894.

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Abstract A large amount of aerosol, commonly known as Particulate Matter (PM), is emitted to the atmosphere from land-use conversion, urbanization, and the use of fossil fuels from a variety of sectors. Aerosol affect climate, environment, to human health. Each location might have different aerosols types due to various sources, sinks, and local characteristics. Aerosol Robotic Network (AERONET) has been established to investigate and monitor aerosol world-wide included in Indonesia. This work aims to study aerosol optical properties retrieved from AERONET in four locations namely Bandung, Jam

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Ramdhanu, Lalu Teguh Purnama, Shada Salsabila, and Lalu Muhamad Jaelani. "Dampak Emisi PLTU Suralaya terhadap Konsentrasi PM2.5 di Jakarta Raya: Analisis Spasio-Temporal Berbasis Citra Satelit MODIS (2019-2022)." Jurnal Ilmiah Geomatika 4, no. 2 (2024): 90. http://dx.doi.org/10.31315/imagi.v4i2.13765.

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Salah satu polutan udara yang menjadi perhatian utama adalah Particulate Matter 2.5 (PM2.5), yang salah satunya bersumber dari pembakaran bahan bakar fosil, seperti pembangkit listrik tenaga uap (PLTU).Penelitian ini mengkaji dampak emisi PLTU Suralaya, yang berlokasi di Banten, terhadap konsentrasi PM2.5 di Jakarta Raya. Lokasi PLTU yang relatif dekat dengan Jakarta Raya menjadi dasar pemilihan objek studi ini. Penelitian ini memanfaatkan data citra satelit karena keunggulannya dalam hal cakupan wilayah, frekuensi pengamatan, dan efisiensi biaya operasional. Data satelit yang digunakan adalah

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Yuliana, Dewi, and Athifah Athifah. "Literature Review : Studi Rasionalitas Penggunaan Obat Antidibetes Pada Penyakit Diabetes Melitus Tipe 2 Yang Mengalami Komplikasi Nefropati." Makassar Pharmaceutical Science Journal (MPSJ) 2, no. 1 (2024): 156–68. https://doi.org/10.33096/mpsj.v2i1.185.

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Diabetes mellitus is a disease characterized by increased levels of glucose in the blood or exceeding normal limits. In uncontrolled diabetes mellitus will cause various chronic complications in diabetic patients, one of which is diabetic nephropathy. The purpose of this study was to determine the rationality of the use of antidiabetic drugs in diabetic nephropathy. The research method is that this research uses literature review, in searching literature sourced from 2 databases (Pubmed and Google Scholar) using keywords according to the theme. Unlike previous studies, this study focused on th

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Tůma, František. "Dialogism and classroom interaction in English language teaching: A review of Czech research." Pedagogická orientace 24, no. 6 (2014): 878–902. http://dx.doi.org/10.5817/pedor2014-6-878.

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Cílem předkládané studie je podat přehled o českém výzkumu interakce ve výuce angličtiny. Interakci chápeme jako vzájemné ovlivňování mezi učitelem a žáky během výuky. Na interakci ve třídě nahlížíme pohledem dialogismu, který chápeme jako teoretický a epistemologický rámec předpokládající interakci jako jednotku analýzy. V přehledové studii analyzujeme 9 empirických studií uveřejněných v letech 2006–2014 jako články v časopise, knihy, kapitoly v knize nebo disertační práce. Tyto studie byly kriticky analyzovány z pohledu dialogismu. Významným zjištěním je například skutečnost, že řada studií

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Whitfield, Clovis. "Domenichino and the ‘Carracci’ Landscape." Studiolo 12, no. 1 (2015): 214–41. http://dx.doi.org/10.3406/studi.2015.1005.

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Domenichino e la pittura di paesaggio in “stile Carracci” Questo articolo si propone di esaminare il dipinto Il riposo durante la fuga in Egitto conservato alla galleria Doria Pamphilj di Roma. Dopo la mostra L’ideale classico del Seicento e la pittura di paesaggio del 1962, a Bologna, il dipinto è stato considerato elemento centrale di una visione che vedeva in Annibale Carracci l’iniziatore della pittura di paesaggio, pratica che conobbe tanta fortuna, a Roma come ovunque in Europa. L’esiguo numero di paesaggi dipinti da Carracci risalgono tuttavia agli anni in cui il pittore viveva a Bologn

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Warwick, Genevieve. "Bernini’s Louis XIV, between Production and Display." Studiolo 9, no. 1 (2012): 52–72. http://dx.doi.org/10.3406/studi.2012.858.

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Il Luigi XIV di Bernini tra produzione ed esposizione ; Lo studio si propone di dimostrare come la produzione e la presentazione delle opere d’arte avvenga nel contesto culturale della loro creazione. Così, il busto di Bernini raffigurante Luigi XIV, che posò per l’artista nel corso di sedute pubbliche in presenza della corte, rimase esposto per tutto il tempo della sua realizzazione. È in tale contesto che si pose il problema della presentazione del busto dopo il suo compimento. Tra le varie proposte, figurava quella per un supporto dorato riccamente decorato e recante un’iscrizione. Sebbene

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Levy, Evonne. "Architecture and Religion in 17th-century Rome." Studiolo 2, no. 1 (2003): 219–53. http://dx.doi.org/10.3406/studi.2003.1122.

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Evonne Levy, Architektur und Religion im Rom des Seicento ; Diese Untersuchung der Literatur der letzten zwanzig Jahre zu Architektur und Religion im Rom des Seicento faßt den Stand der Forschung zu diesem Thema zusammen ; ausgehend von der Aufwertung des Barock durch die Rhetorik, die Argan in den 1950er Jahren vomahm. Dieser Aufsatz beschränkt sich auf drei Hauptsträmungen der Literatur : Die Auswirkungen der post-tridentinischen liturgischen und spirituellen Reform sowie der Historiographie auf Architektur und Urbanismus ; die Entstehung neuer religiöser Einrichtungen und ihr symbolischer A

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Welch, Evelyn. "Engendering Italian Renaissance art — a bibliographic review." Papers of the British School at Rome 68 (November 2000): 201–16. http://dx.doi.org/10.1017/s0068246200003925.

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L'IDENTITÀ SESSUALE NELL'ARTE RINASCIMENTALE ITALIANA — UNA RASSEGNA BIBLIOGRAFICAQuesto saggio fornisce una rassegna di precedenti approcci allo studio della figura femminile nell'arte rinascimentale italiana e dei recenti sviluppi negli studi femministi e sull' identità sessuale. Mentre gli storici hanno in anni recenti adottato nuovi metodi e domande di ricerca nell'esplorare in maniera produttiva il ruolo economico e sociale della donna, gli storici dell'arte rinascimentale si sono mostrati più reticenti verso queste innovazioni. Solo di recente sono venuti alla luce nuovi libri ed articol

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Fiorani, Francesca. "Reflections on Leonardo da Vinci Exhibitions in London and Paris." Studiolo 10, no. 1 (2013): 266–74. http://dx.doi.org/10.3406/studi.2013.909.

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Rubin, Patricia Lee. "The Cinderella Syndrome : Giovanni Bellini, Andrea Mantegna, Rome and Paris 2008." Studiolo 7, no. 1 (2009): 235–44. http://dx.doi.org/10.3406/studi.2009.1243.

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Hančil, Jan. "Systém a metody : některé aspekty přenosu Stanislavského systému do Spojených států." Theatralia, no. 2 (2023): 30–58. http://dx.doi.org/10.5817/ty2023-2-4.

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Studie se zaměřuje na přenesení Stanislavského systému do Spojených států prostřednictvím emigrantů z různých souborů a tří emigračních vln a na působení první generace amerických hereckých pedagogů inspirovaných postupy, které emigranti v první polovině 20. století americkým studentům předávali. Autor ve studii shrnuje jak fakta, která jsou dobře známa (například působení American Laboratory Theatre či Group Theatre), tak méně známé linie přenosu formou působení jednotlivých pedagogů, kteří zakládali vlastní herecká studia či školy. Akcentuje vliv Vachtangova, především pozdní fáze jeho divad

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Bavaro, Vincenzo. "La trasformazione del lavoro nella prospettiva dell'azione collettiva. Un esercizio metodologico fra diritto e sociologia." SOCIOLOGIA DEL LAVORO, no. 164 (December 2022): 91–107. http://dx.doi.org/10.3280/sl2022-164005.

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L'articolo ha l'obiettivo di sottoporre a verifica metodologica gli studi sulle tra-sformazioni del lavoro per verificare se la sociologia del lavoro e il diritto del lavoro riescono a dialogare e convergere su un medesimo e reale oggetto di studio. Prendendo come punto di osservazione l'azione di autotutela sindacale, l'Autore intende mettere in evidenza la necessità che studi sociali e studi giuridici sul lavoro siano sempre più intrecciati.

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Rubin, Patricia Lee. ""Contemplating fragments of ancient marbles" : sitters and statues in sixteenth-century portraiture." Studiolo 4, no. 1 (2006): 17–38. http://dx.doi.org/10.3406/studi.2006.1160.

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"Betrachtung zu Fragmenten von antiken Marmorarbeiten" ; Bildthema und Statuen in der Porträtkunst des 16. Jahrhunderts. Die Betrachtung der Fragmente antiker Werke, und auf welche Weise sie in Porträts der Renaissance erscheinen, läßt einige Besonderheiten der Kultur der Renaissance erkennen. Obwohl die Porträts, in denen zerbrochene Statuen dargestellt sind, keine eigene Porträt-Kategorie der Renaissance darstellen, handelt es sich aber doch um ein verbreitetes Phänomen. Die Fragmente antiker Werke, die neben Personen der modemen Zeit präsentiert werden, stellen historische Zeugnisse der Wie

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Sickel, Lothar. "Serious Merchant or Charlatan? Guglielmo Banzi and Michelangelo’s Cartoon for the Leda." Studiolo 9, no. 1 (2012): 272–92. http://dx.doi.org/10.3406/studi.2012.868.

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Lothar Sickel. Vrai marchand ou charlatan ? Guglielmo Banzi et le carton de la Léda de Michel-Ange ; Cet article examine la figure d’un marchand d’art actif à Rome, mais demeuré presque inconnu, Guglielmo Banzi. Né à Piombino vers 1560, Banzi grandit à Parme avant de rejoindre Rome où il se trouve dès 1587. À la suite de sa tentative ratée de faire carrière dans la finance à Rome, après s’être vu accusé de falsifier les livres de comptes, Banzi poursuivit sans doute ces pratiques douteuses dans sa nouvelle carrière de marchand d’art. Des documents inédits montrent que Banzi était étroitement l

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Sickel, Lothar. "Francesco Salviati's inventory and his lost Life of Christ on silver cloth." Studiolo 7, no. 1 (2009): 125–38. http://dx.doi.org/10.3406/studi.2009.1235.

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Francesco Salviatis Nachlassinventar und seine verlorene Darstellung des Leben Christi auf Silbertuch. Gegenstand der Studie ist das bislang unbekannte Nachlassinventar Francesco Salviatis, das am 12. November 1563 im Auftrag des Arztes Vincenzo Perini erstellt wurde. Das Dokument bestätigt den Bericht Vasaris, wonach Salviatis letzte Lebensjahre von Krankheit gekennzeichnet waren. Perini hatte Salviati behandelt und war von ihm deshalb zum Testamentsvollstrecker bestimmt worden. Am 19. Januar 1564 liefß Perini eine Kopie des Inventars erstellen, der zu entnehmen ist, dass verschiedene Kunstwe

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Ledbury, Mark. "Stages of Creation : History, Epic and Theatre in David's Early History Paintings Projects." Studiolo 3, no. 1 (2005): 169–90. http://dx.doi.org/10.3406/studi.2005.1142.

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Sur la base de notes inédites prises par David d'après ses propres lectures concernant l'histoire ancienne publiées en annexe, l'article examine les sujets choisis par David pendant les premières années de la décennie décisive de 1780, et se concentre sur ses choix de récits et de sources. Le document apporte quelques éclaircissements sur les goûts historiques et théâtraux de l'artiste, ainsi que sur des projets de tableaux d'histoire, en particulier Les Horaces et La Douleur et les Regrets d'Andromaque. Le témoignage de ces feuillets nous aide à comprendre l'intérêt de David pour le motif de

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Griener, Pascal. "The Conflict of the Faculties. The Human Eye Versus Scientific Experience (Nineteenth and Twentieth Centuries)." Studiolo 11, no. 1 (2014): 52–63. http://dx.doi.org/10.3406/studi.2014.953.

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Der Konflikt der Fähigkeiten. Das menschliche Auge contra wissenschaftliche Untersuchung im 19. und 20. Jahrhundert Die moderne connoisseurship (Kennerschaft) schwankt zwischen zwei wetteifernden Validationssystemen : das eine erhebt den Anspruch, eine Erfahrungswissenschaft zu gründen, das andere, das von der Macht des Kunstmarkts beherrscht wird, beruht auf einer treuhänderischen Auffassung des optischen Gutachtens. Der Artikel zeigt, wie die connoisseurship trotz der Fortschritte der Erfahrungswissenschaften im 19. Jahrhundert und trotz des Interesses, das große Physiker der Kunst entgegeng

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Anderson-Riedel, Susanne. "The Prix de Rome de Gravure in light of artistic and political debate in 18th century France." Studiolo 7, no. 1 (2009): 181–200. http://dx.doi.org/10.3406/studi.2009.1238.

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Le Prix de Rome de gravure dans le contexte des débats artistiques et politiques en France au XVIIIe siècle. Depuis l'admission de graveurs à l'Académie royale de peinture et de sculpture à la fin du XVIIe siècle, nombreuses furent les demandes adressées à la direction pour, d'une part, permettre à certains graveurs de séjourner en tant que pensionnaires à l'Académie de France à Rome et, de l'autre, intégrer les arts graphiques à l'enseignement qui y était dispensé. Artistes, mécènes et dirigeants apportèrent leur soutien à la formation artistique des graveurs à Rome pour une multitude de rais

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Fagiolo dell'Arco, Marcello. "Il Tempo del Desiderio e della Metamorfosi nel giovane Bernini." Studiolo 14, no. 1 (2017): 84–104. http://dx.doi.org/10.3406/studi.2017.1334.

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The Berninian poetics are expressed through the modulation of surfaces, the sense of metamorphosis and psychological introspection, also investigating movement and measure of time : the pebble-dice in Apollo and Daphne dialogues with the icosahedron stone thrown by David. Borghesian sculptures are agitated by twists and turns of various nature, in order to simulate a painful breath and even tears. Figures translate the meaning of "fleeting beauty" and sometimes even the movement of lips can be read... The representation of loving desire through carnal looks and contacts reaches extraordinary h

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Lurin, Emmanuel. "Paysages, documents ou vedute? Les vues gravées d’Étienne Dupérac et leurs fonctions à Rome au XVIe siècle." Studiolo 11, no. 1 (2014): 160–87. http://dx.doi.org/10.3406/studi.2014.964.

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Landscapes, Documents or Vedute ? Étienne Dupérac’s Engraved Views and their Function in Rome in the 16th Century. On the basis of Renaissance descriptions of Rome, this essay outlines a critical and methodological reflection on the notion of “ views” at that period, the character of these images and their use in the fields of topography, urban landscape and the study of individual monuments. Through the analysis of drawings and prints, “views” are revealed as an ideal form of description (descriptio) that provides a variety of authors a perfect articulation between the aims of the text and th

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Bardati, Flaminia, and Tommaso Mozzati. "Jérôme Pacherot et Antoine Juste : artistes italiens à la cour de France." Studiolo 9, no. 1 (2012): 208–54. http://dx.doi.org/10.3406/studi.2012.866.

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Jérôme Pacherot and Antoine Juste : Italian Artists at the French Court ; Among the artists that Charles VIII recruited in Naples in 1495 was Jérôme Pacherot, an Italian sculptor and master-stonemason. About ten years later, the Florentine sculptor Antoine Juste burst on the French scene, along with his brother Jean. Highly esteemed by Anne de Bretagne and later François I, they executed, among other works, the tombs of the children of Charles VIII in Tours, of the Dukes of Brittany in Nantes and of Louis XII and Anne de Bretagne at Saint-Denis. However, their early training and the motivation

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Andreoli, Ilaria. "“Pensare il falso” : un percorso critico-bibliografico." Studiolo 11, no. 1 (2014): 16–39. http://dx.doi.org/10.3406/studi.2014.951.

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Thinking the Fake : a Critical-Bibliographic Survey, In recent years falsification of works of art, in relation with questions of material and conceptual authenticity, sparked a growing interest among scholars, art market operators and academics as well as in the general press. The fake and its parent notions of copy, authenticity, originality and reproducibility of works of art are essential not only to the study of artistic practice and its reception but the history of art and of aesthetics. Using a selection of major publications in the field, the essay proposes a bibliographic survey that

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Chevillot, Catherine. "Peut-on parler d'une sculpture d'histoire ? Essai comparatif sur les monuments aux grands hommes en France et en Italie au XIXe siècle." Studiolo 5, no. 1 (2007): 63–76. http://dx.doi.org/10.3406/studi.2007.1189.

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Is there such a thing as a history sculpture ? A comparative essay on the monuments to great men in 19th century France and Italy. Numerous studies have shown the extent to which sculpture, to an even greater degree than painting, was linked to ideologies and therefore to the interpretation of history. To question the validity of the term "history sculpture" can seem incongruous. Yet, public commemorative monuments rarely veer out of the field of portraiture. The present essay seeks to study the motives and consequences of such visual and iconographical choices by focusing on two countries, It

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Cordellier, Dominique. "Blason de la Vénus de Breuilhamenon : un tableau de Luca Penni au musée de Bourges." Studiolo 6, no. 1 (2008): 39–64. http://dx.doi.org/10.3406/studi.2008.1211.

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The emblem of the Venus of Breuilhamenon : a painting by Luca Penni in the musée de Bourges. A painting depicting Venus and Cupid, kept in the musée du Berry in Bourges, is one of the most important works from the first school of Fontainebleau that has not yet been definitively attributed. It comes from the castle of Breuilhamenon, once owned by Guillaume Bochetel, secrétaire du Roi under Francis I. and Henry II. A humanist and translator of ancient languages, Bochetel also wrote poetry, whose amorous and erotic sentiment astutely echoes that expressed by the present painter. The latter, judgi

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Montanari, Tomaso. "Percorsi per cinquant'anni di studi berniniani." Studiolo 3, no. 1 (2005): 269–98. http://dx.doi.org/10.3406/studi.2005.1148.

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Thoughts on fifty years of Bernini studies. This overview of the past and extremely prolific half-century of studies dedicated to the greatest 17th-century Italian artist begins with Rudolf Wittkower's fundamental monograph (1955) and goes up to more recent years. The essay follows the division of the Bernini volume (a lengthy interpretative study and the catalogue of his works) and is split into two extensive paragraphs : the first (Knowing Bernini) takes stock of the acquisitions and gives an account of the main arguments of the debate on attribution, principally surrounding Bernini's sculpt

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Verger, Annie. "Le devenir artistique et professionnel des pensionnaires de l'Académie de France à Rome après 1968." Studiolo 6, no. 1 (2008): 233–87. http://dx.doi.org/10.3406/studi.2008.1219.

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The artistic and professional development of the pensionnaires of the French Academy in Rome after 1968. The primary mission of the French Academy in Rome today is "to promote artistic and literary creation in all fields and exchanges with Italy". Following the abolition of the Grand Prix de Rome in 1968, was the institution able to endow the title of "new pensionnaire" with enough weight on the labor and contemporary art markets, and thus succeed in fashioning a new legitimacy ? Annie Verger and Louis Pinto, researchers at the European Sociology Centre, set out to examine this issue. They con

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Bordini, Silvia. "Appunti sul paesaggio nell'arte elettronica." Studiolo 4, no. 1 (2006): 291–306. http://dx.doi.org/10.3406/studi.2006.1174.

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Notes on landscape in electronic art The transformations of the vision of nature as landscape, undergone in contemporary art of the past years, are here examined. Particular attention is granted to the displacement of artistic practice, from painting to other forms of representational means, languages and experiments. From the 1960s onwards in fact, art was no longer conceived in pictorial terms but developed the concept of a work of art as a relationship, as a place for perceptive and dynamic experimentation in space and time, as well as an experience linked to the behaviors of the artist and

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Bayard, Marc. "La théâtralité picturale dans l'art italien de la Renaissance." Studiolo 3, no. 1 (2005): 39–64. http://dx.doi.org/10.3406/studi.2005.1138.

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Pictorial Theatricality in Italian Renaissance Art. Pictorial theatricality in 16th-century Italian painting cannot be solely considered from the point of view of influence and quotation. After isolating the methodological trends used by art and theatre historians regarding the relationship between the two art forms, we intend to establish a historical and methodological distinction between two kinds of pictorial theatricality. The aim of referential pictorial theatricality and processional pictorial theatricality is to show that the relationship between painting and theatre is not of the orde

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Madinier, Pauline. "Le sacrifice eucharistique dans la chapelle de la Bâtie d'Urfé." Studiolo 6, no. 1 (2008): 17–38. http://dx.doi.org/10.3406/studi.2008.1210.

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Eucharistic sacrifice in the chapel of the Bâtie d'Urfé The chapel of the Bâtie d'Urfé, located near Saint-Étienne, was built between 1547 and 1550 by Claude d'Urfé, Francis I's ambassador to the Council of Trent. Its iconographie program, focused on the Eucharistic sacrifice, draws the viewer into the heart of the religious, artistic and philosophical issues of the first half of the 16th century. The painting cycle by Girolamo Siciolante and woodworks by Fra Damiano da Bergamo, as well as works in other media (low-relief, ceramic, stucco), evoke the debates on the Eucharist held at the Counci

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Ribouillault, Denis. "Le Salone de la Villa d'Este à Tivoli : un théâtre des jardins et du territoire." Studiolo 3, no. 1 (2005): 65–94. http://dx.doi.org/10.3406/studi.2005.1139.

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The Salone of the Villa d'Este in Tivoli : a Stage of Gardens and of the Land. This essay examines the frescoed landscapes that adorn the walls of the Salone, the main room of the Villa d'Este in Tivoli. Conceived in direct relation with the villa's famed gardens, the room purposely reuses the decorative and structural vocabulary of antique dining rooms. The interdependent relationship between the interior and exterior is further underlined by the topographical nature of the painted landscapes, which depict, following a geographically-accurate layout, not only the fountains in the garden but a

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Nuttall, Geoffrey. "The Studiolo of Paolo Guinigi : Valois Influence in Early Renaissance Italy." Studiolo 8, no. 1 (2010): 39–56. http://dx.doi.org/10.3406/studi.2010.1289.

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The princely studiolo is associated more than any other feature of the Italian renaissance palace with its owner's cultural identity and humanist credentials. Its Italian history begins in February 1414 when Paolo Guinigi, lord of Lucca from 1400 to 1430, paid Arduino da Baese 100 gold florins for a wooden study in his palace of the Augusta. The assumption is generally made that the importance of Guinigi's now lost studiolo rested on the novelty of Arduino's intarsia and its influence on the more famous studioli of Belriguardo and Belfiore in Ferrara, the Medici palace in Florence, and ultimat

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Sambo, Elisabetta. "1. Michele Lazzaroni (1863-1934), tra contraffazione e restauro." Studiolo 11, no. 1 (2014): 94–107. http://dx.doi.org/10.3406/studi.2014.957.

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A Fake Renaissance ? Research on the history of the art market and collecting in the 18th and 19th century often evoke, albeit until now in passing, the singular figure of an amateur dealer : Baron Michele Angelo Lazzaroni (1863-1934). These essays explore the dealing and collecting activities of Michele Lazzaroni, a great mind and financier at the time of the Italian unification. I. Michele Lazzaroni, between Counterfeiting and Restauration The first essay uses hitherto unpublished documents to shed light on Baron Lazzaroni’s activities as a dealer, carried out, often shamelessly, between Rom

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Galimberti, Jacopo. "Brûler l’aura. Un incendie de tableaux à Paris en 1964." Studiolo 9, no. 1 (2012): 142–57. http://dx.doi.org/10.3406/studi.2012.862.

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Burning the Aura. The Destruction by Fire of Paintings in Paris in 1964 ; On 7 December 1964, a Milanese dealer, Ivanhoe Trivulzio, travelled to Paris in order to publicly burn thirteen works by artists such as Roberto Matta, Wilfredo Lam, Jean-Jacques Lebel, Pierre Alechinsky, Eduardo Arroyo, Valerio Adami and Mimmo Rotella, who had all given their permission. The event, titled “ Festoman”, is all but forgotten today. This article recounts its circumstances and places Trivulzio’s stance within the history of multiple works and the debates on painting spurred by Robert Rauschenberg’s success a

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Chavanne, Blandine. "Regarder au-delà d’un titre (Alberto Magnelli, Deux femmes debout, 1917)." Studiolo 10, no. 1 (2013): 162–65. http://dx.doi.org/10.3406/studi.2013.898.

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Looking beyond a Title (Alberto Magnelli, Two Standing Women, 1917) A native of Tuscany, Alberto Magnelli (1888-1971) trained by looking at Trecento and Quattrocento frescoes and assiduously visiting chapels and churches in the region. He scrutinised and studied the works of Giotto, Fra Angelico, Paolo Uccello and above all Piero della Francesca, whose "composition in a surface" he particularly admired. Magnelli created Two Standing Women having already discovered the avant-gardes during a trip to Paris in 1914. By then, he had produced his first non-figurative works. By reintroducing the huma

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Golsenne, Thomas. "L'Annonciation de Carlo Crivelli et le problème de l'ornement." Studiolo 1, no. 1 (2002): 149–76. http://dx.doi.org/10.3406/studi.2002.1096.

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Carlo Crivelli's Annunciation and the problem of ornament. Carlo Crivelli's Annunciation is here examined in iconological and formal, historical and theoretical terms, allowing for the possibility of a renewed approach of the ornament. After drawing the political and religious implications of the work, its function as a civic ex-voto, the author focuses on its formal workings, revealing an ornamental order, which determines the decorative scheme as well as the work's system of signification.

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Gerbron, Cyril. "Les Annonciations de Fra Angelico, Pollaiuolo, Piero della Francesca et Robert Campin : questions d’ornementalité et de couleur." Studiolo 10, no. 1 (2013): 58–73. http://dx.doi.org/10.3406/studi.2013.892.

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The Annunciations by Fra Angelico, Pollaiuolo, Piero della Francesca and Robert Campin : Issues of Ornamentality and Colour. This study focuses on Tuscan Annunciations, with the addition of one from Umbria, created between the 1420s and the 1470s by, among others, Fra Angelico, the Pollaiuolo brothers, Piero della Francesca, Filippo and Filippino Lippi. It seeks to demonstrate that these painters used a high degree of ornamentality in order to embody the presence of the divine on earth. Indeed, ornamentality was intrinsically linked to the idea of beauty, itself an attribute of God and a heave

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Pincelli, Maria Agata. "La Roma triumphans e la nascita dell'antiquaria: Biondo Flavio e Andrea Mantegna." Studiolo 5, no. 1 (2007): 19–28. http://dx.doi.org/10.3406/studi.2007.1186.

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Roma triumphans and the birth of antiquarianism : Biondo Flavio and Andrea Mantegna. Biondo Flavio completed his Roma triumphans, the foundation of the Renaissance antiquarian movement, in 1459 while in Mantua. The work was immediately successful : in a letter written in December 1460 to Ludovico Gonzaga, Biondo himself reported that it was already being read and copied in courts all over Europe. First published in Mantua in 1473 and continually reprinted from the late 15th century to the mid-16th century, Roma triumphans rapidly became a crucial point of reference for the study of Roman antiq

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Lemainque, Ingrid. "Les tableaux italiens du Settecento dans les ventes parisiennes au XVIIe siècle." Studiolo 2, no. 1 (2003): 138–66. http://dx.doi.org/10.3406/studi.2003.1118.

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Ingrid Lemainque, Italian paintings of the Settecento in 18th-century Parisian sales ; In 19th-century France, contemporary Italian painting seems to have been little valued, if one believes the artistic literature of the time. A statistical analysis based on the thorough survey of Parisian sales catalogues between 1730 and 1799 enables one to distinguish a different truth, the presence of a particular taste for Settecento Italian paintings and reveals the importance of landscape and the Venetian school in these sales, to the detriment of more conventional schools and artists.

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Corneloup, Anne. "Le corps de saint Marc et celui de Rangone. Ou le principe d'imitatio selon Tintoret." Studiolo 2, no. 1 (2003): 107–37. http://dx.doi.org/10.3406/studi.2003.1117.

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Anne Corneloup, The body of saint Mark and that of Rangone. Or the principle of imitatio according to Tintoretto ; In each of the four hagiographical episodes painted by Tintoretto for the Scuola Grande di San Marco recurs the inset portrait of a confratello, most probably Tommaso Rangone, relatively well known for his personality cult. However, starting from this fourfold mandatory motif, the painter took pleasure in establishing a strange relationship between the figure of his contemporary and that of the saint, to the point that a true parallel theme to the miracles of saint Mark runs throu

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Surlapierre, Nicolas. "La fabrique de l'Atelier : les trajets italiens de Ferdinand Springer (1926-1939)." Studiolo 1, no. 1 (2002): 177–92. http://dx.doi.org/10.3406/studi.2002.1097.

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The fabric of the Atelier : the Italian journeys of Ferdinand Springer (1926-1939). The influence of Italy in Ferdinand Springer's work allows not only to assess the ascendancy of contemporary Italian painting but also to broach the issue of surrealism and metaphysical painting. In addition to the «Old Masters», Ferdinand Springer's two main references are Carlo Carrà and Giorgio Morandi. Morandi's «anti-rhetoric of the everyday» contrasts with Carlo Carrà's metaphysical painting which multiplies the references to a reflection on art and the wider dialogue between modernity and memory. Ferdina

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Savettieri, Chiara. ""Il avait retrouvé le secret de Pygmalion" : Girodet, Canova e l'illusione della vita." Studiolo 2, no. 1 (2003): 14–42. http://dx.doi.org/10.3406/studi.2003.1113.

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Chiara Savettieri, "Il avait retrouvé le secret de Pygmalion" : Girodet, Canova and the illusion of life ; This paper intends to highlight the relationship between the French painter Anne-Louis Girodet-Trioson and the Italian sculptor Antonio Canova. The works by Girodet in which one can distinguish connections with the sculptor are the Endymion and Pygmalion and Galatea. In the former, one can observe various similarities with the aesthetics of Canova : these are particularly recognizable in the staging of the light in order to reproduce the smooth texture of flesh and in a conception of beau

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Del Pesco, Daniela. "Luigi XIV e il cardinale Flavio Chigi: i segreti di un arazzo." Studiolo 11, no. 1 (2014): 198–211. http://dx.doi.org/10.3406/studi.2014.966.

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Louis XIV and Cardinal Flavio Chigi : Secrets of a Tapestry. This essay examines the Gobelins tapestry representing the public audience given by Louis XIV to Cardinal Flavio Chigi on 29 July 1664. Its purpose is to show how this monumental and sophisticated image skillfully emphasized the King’s prestige by making alterations to the historical record as it is laid out in documents and iconographical evidence.

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Vale, Teresa Leonor. "Uno scultore portoghese a Roma: José de Almeida (1708-1770) e l’Accademia di Portogallo nella prima metà del Settecento." Studiolo 13, no. 1 (2016): 58–67. http://dx.doi.org/10.3406/studi.2016.1026.

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A Portuguese sculptor in Rome : José de Almeida (1708-1770) and the Academy of Portugal in the first half of 18th century José de Almeida (1708-1770) trained as a sculptor in the Academy of Portugal based in Rome where he was appreciated for his talent when he won the second prize of the first class of sculpture in the ’ Concorso Clementino’, an academic competition, in 1725. That same year, Pietro Bracci and Filippo della Valle won first prize ex aequo. Almeida did not experience his dépaysement in Rome, as one might think, but in his own country. After returning to Portugal in 1728, Almeida

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Bégoc, Janig. "L’objet de la performance. Pour une réévaluation du rôle des « accessoires » produits et exposés dans les centres artistiques italiens des années 1970." Studiolo 9, no. 1 (2012): 158–84. http://dx.doi.org/10.3406/studi.2012.863.

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The Object of the Performance. Towards a Reassessment of the Role of “Accessories” Produced and Displayed in Italian Artistic Centers in the 1970s ; A large part of the historiography on performance art still tends to focus on the ephemeral nature of its actions, taking for granted the rejection of commercial structures on which the ideology of the dematerialization of art was founded. By reducing performance art to an attitude, such discussions overlook the existence of its display environment. In order to understand the material culture of the art of performance, the essay focuses on the Ita

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Dominici, Tamara. "Quentin Metsys e l’Italia: immagini di un viaggio." Studiolo 13, no. 1 (2016): 10–29. http://dx.doi.org/10.3406/studi.2016.1023.

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Quentin Metsys and Italy : Pictures of a Trip The hypothesis that Quentin Metsys went for a trip to Italy has only been suggested by Limentani Virdis, who gives the painter the authorship of the fresco in the Oratory of Santa Maria di Rovegnano Abbey. Beyond its Italian features, the master of Antwerp’s artistic production shows proximity to Leonardo’s painting, both in the use of iconography of grotesque and in the sentimentalism expressed in depictions of the Madonna and Child, hardly explainable since there is not a direct, even short, experience in the peninsula. It is therefore possible t

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Lagrange, Marion. "Giovanni Boldini (1842-1931) et la scène artistique parisienne, une réception équivoque." Studiolo 5, no. 1 (2007): 203–25. http://dx.doi.org/10.3406/studi.2007.1197.

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Giovanni Boldini (1842-1931) and the Parisian artistic scene : an ambiguous reception. By the early 1870s, Giovanni Boldini (1842-1931), an Italian-born painter active in Paris, was very popular in the exclusive world of dealers and collectors - both Parisian and foreign - thanks to his genre scenes placed within Rococo or Empire settings. A shift occurred in the 1880s, both in the choice of subject matter as well as in his desire to take part in public exhibitions. From then on, his fame would rest on the success of his female portraits. Forsaking the vast Salon des Artistes français, Boldini

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Gouzi, Christine. "L’Annonciation dans l’espace ecclésial parisien au XVIIIe siècle : liturgie française et modèle italien." Studiolo 10, no. 1 (2013): 128–49. http://dx.doi.org/10.3406/studi.2013.896.

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The Annunciation in the Ecclesial Settings of 18th century Paris : French Liturgy and the Italian Model. In the late 17th century and throughout the 18th century, the Annunciation was one of the most popular subject matters for Parisian altarpieces. Adopted for specific liturgical purposes following the revocation of the Edict of Nantes, it also served as the basis for a new aesthetic in ecclesial decoration. The Annunciation played a key role in 18th-century theological writings as well as in the theoretical debates of the 1750s on the Italian model, and thus occupies an unprecedented place a

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