Gotowa bibliografia na temat „Castello Sforzesco”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Zobacz listy aktualnych artykułów, książek, rozpraw, streszczeń i innych źródeł naukowych na temat „Castello Sforzesco”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Artykuły w czasopismach na temat "Castello Sforzesco"
1
Mossakowski, Stanisław. "Między rzymskim uniwersalizmem a „niebem i zwyczajem polskim”. Próba rozpoznania kilku projektów budowli świeckich autorstwa Giovanniego Battisty Gisleniego". Biuletyn Historii Sztuki 85, nr 1 (31.05.2023): 5–46. http://dx.doi.org/10.36744/bhs.1458.
Pełny tekst źródłaStreszczenie:
Próba rozpoznania czasu i okoliczności powstania oraz przeznaczenia kilku projektów budynków świeckich wykonanych przez Giovanniego Battistę Gisleniego (1600–1672), przechowywanych w zbiorach Sir John Soane’s Museum w Londynie, Castello Sforzesco w Mediolanie oraz Staatliche Kunstsammlungen w Dreźnie, ukazana na tle rozwoju architektury XVII w. w Polsce i we Włoszech.
2
Носов, Константин Сергеевич. "THEORY AND PRACTICE OF THE RENAISSANCE ITALIAN MILITARY ARCHITECTURE: ALBERTI’S AND FILARETE’S VIEWS CONCERNING CASTELLO SFORZESCO". ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, nr 2(13) (5.06.2020): 257–71. http://dx.doi.org/10.25995/niitiag.2020.13.2.012.
Pełny tekst źródłaStreszczenie:
В работе рассматриваются взгляды на военное зодчество двух итальянских архитекторов XV в. - Леона Баттисты Альберти и Антонио Аверлино (Филарете). Трактат Альберти «Десять книг о зодчестве» стал первым архитектурным трактатом со времен Витрувия, а Филарете писал свой «Трактат об архитектуре» параллельно с руководством строительными работами в Кастелло Сфорцеско. Проводится сопоставление представленных в этих трактатах теоретических взглядов на военное зодчество с реализацией их на практике на примере строившегося в то же время этого миланского замка. В результате исследования было выявлено, какие рекомендации Альберти и Филарете нашли воплощение на практике, а какие остались лишь в теории. Самым удивительным представляется тот факт, что главная воротная башня Кастелло Сфорцеско, даже получившая название Башня Филарете в честь строившего ее архитектора, не имеет практически ничего общего с описанием ворот как цитадели, так и города Сфорцинды из трактата. Сравнение описаний военного зодчества в трактатах Альберти и Филарете позволило выявить как черты сходства, так и отличия. К чертам сходства автор работы считает возможным отнести общую концепцию планировки города с цитаделью и главной башней внутри и одинаковый концептуальный подход к фортификации - оба архитектора относятся еще к эпохе башенной фортификации, описания бастионов в их работах нет. Различия состоят в подходе к источникам и общем осмыслении системы обороны. Если Альберти в основном следует античной традиции, Филарете опирается на реалии современной ему итальянской фортификации. Однако в трактатах обоих архитекторов есть новаторские идеи, которые начнут широко применяться только в Новое время в так называемой «новой фортификации». У Альберти это гласис, у Филарете - треугольный равелин перед воротами. The work deals with the views on military architecture of two 15th century Italian architects - Leon Battista Alberti and Antonio Averlino (Filarete). Alberti’s treatise “De re aedificatoria” became the first architectural treatise since Vitruvius, while Filarete wrote his “Libro architettonico” while directing the building works in Castello Sforzesco. Theoretical views on military architecture presented in these treatises are compared here with their realization in Milan castle (Castello Sforzesco), erected at the same time. The research reveals which of Alberti’s and Filarete’s recommendations were implemented and which remained only in the realm of theory. The most surprising is the fact that Castello Sforzesco’s main gate tower, named Filarete Tower after the architect who erected it, has nothing in common with either the citadel gate or the city Sforzinda gate described in the treatise. Comparing military architecture described by Alberti and Filarete reveals similarities as well as differences. The general conception of the city - with the citadel and the main tower inside - and identical conceptual approach to fortification can be attributed to similarities in their approaches: both architects belong to the era of tower fortification, their works lack any descriptions of bastions. The differences constitute their approach to sources as well as their general comprehension of defense systems. Whereas Alberti mainly follows ancient tradition, Filarete is guided by realistic contemporary Italian fortification. Both treatises, however, are comprised of new ideas, which will begin to be widely used only in the Early Modern period in the so-called fortificazione alla moderna. They are Alberti’s glacis and Filarete’s triangular ravelin in front of the gate.
3
Di Barbora, Monica. "Cesare Colombo. Fotografie / Photographs 1952-2012 (Milano, Castello Sforzesco, febbraio-ottobre 2020): il catalogo della mostra". STORIA IN LOMBARDIA, nr 2 (styczeń 2022): 147–53. http://dx.doi.org/10.3280/sil2020-002010.
Pełny tekst źródła
4
Guzzetti, F., K. L. N. Anyabolu, F. Biolo i R. Dell’Orto. "BIM AND CASTELLO SFORZESCO IN MILAN. A PARTICULAR APPROACH TO DIGITIZATION OF THE ARCHITECTURAL AND INFORMATION HERITAGE". International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-5/W1-2022 (3.02.2022): 115–22. http://dx.doi.org/10.5194/isprs-archives-xlvi-5-w1-2022-115-2022.
Pełny tekst źródłaStreszczenie:
Abstract. In the architectural and construction field, the BIM methodology is becoming increasingly predominant and it has become widespread in recent years thanks to the advantages provided in the framework of project management and interoperability. These digitization processes have led to efficient standards for new construction interventions. On the contrary, more applications have shown how this process is far from univocal and linear for Architectural Cultural Heritage. These difficulties derive from the complexity of the constructions but also, and above all, from managing the information heritage connected to the digitized object. The work presented in this paper aims to define a general operating model, widely applicable, for the digitization of the information asset related to the architectural heritage, exploiting the digital model of the object. This theme has been declined concerning a particular case study, with monumental characteristics and value: the Castello Sforzesco in Milan. This research work starts from the information connected to this particular building, a countless and often extremely articulated heritage, due to its stratification over time. To better manage this complex aspect, an approach has been developed that starts from a 3D digital model of the Cultural Heritage (CH), associated to different levels concerning as many information packages (history, documentation, facility management, tourist fruition, etc).
5
Bernabei, Mauro, Nicola Macchioni, Maria Ricetti Valentina i Luigi Sisto. "A multi-analytical study on the Mango Longo Guitar, a Baroque masterpiece from the Castello Sforzesco, Milan, Italy". Journal of Cultural Heritage 34 (listopad 2018): 69–73. http://dx.doi.org/10.1016/j.culher.2018.04.005.
Pełny tekst źródła
6
Albano, Michela, Giacomo Fiocco, Daniela Comelli, Maurizio Licchelli, Claudio Canevari, Francesca Tasso, Valentina Ricetti, Pacifico Cofrancesco i Marco Malagodi. "X-rays investigations for the characterization of two 17th century brass instruments from Nuremberg". ACTA IMEKO 11, nr 3 (6.09.2022): 1. http://dx.doi.org/10.21014/acta_imeko.v11i3.1077.
Pełny tekst źródłaStreszczenie:
<!--[if gte mso 11]><w:PermStart w:id="682764414"
w:edGrp="everyone"/><![endif]--><p>A recent finding at the Castello Sforzesco in Milan of two brass natural horns from the end of the 17th century and assigned to the Haas family from Nuremberg brought to light new information about this class of objects. The instruments were heavily damaged, but their historical value was great. In this study, a multidisciplinary approach mainly based on non-invasive analytical techniques and including X-rays investigations (X-ray radiography, X-ray fluorescence and X-ray diffraction) was used. The present study was aimed at: i) pointing out the executive techniques for archaeometric purposes; ii) characterizing the morphological and the chemical features of materials; and iii) identifying and mapping the damages of the structure and the alterations of the surface.</p><p class="Abstract"><span lang="EN-US"><br /><!--[if gte mso 11]><w:PermEnd w:id="682764414"/><![endif]--></span></p>
7
Biolo, F., F. Guzzetti i K. L. N. Anyabolu. "INTEGRATION OF DIFFERENT TYPES OF SURVEY OUTPUT AND THE INFORMATION ASSET IN A 3D MODEL OF THE CASTELLO SFORZESCO IN MILAN". International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-M-2-2023 (24.06.2023): 219–26. http://dx.doi.org/10.5194/isprs-archives-xlviii-m-2-2023-219-2023.
Pełny tekst źródłaStreszczenie:
Abstract. In recent years, the architecture domain, driven by today's digital transition, has been actively exploring the world of digital twins, also thanks to the technological advancement that supports the progress on the issue. Within this context, the present work deals with the wide world of Architectural Cultural Heritage digitization. It aims to obtain a tool to support knowledge, investigation, and management of the built heritage. The research proposes an approach for digital twin development that comprehensively describes the architectural asset, including elements that are no longer present or visible. For this purpose, the three-dimensional model collects the available heterogeneous geometric datum, inevitably characterized by different levels of accuracy. The digitization model designed involves the coexistence of objects belonging to different Levels of Geometric Information (LOGI). All types of data then cooperate in defining the overall geometric information. Therefore, this framework allows for exploiting geometric information from both geomatics digital surveys and historical sources. This system allows obtaining a digital model that includes the different evolutionary phases of architectural assets by providing an overall view of these structures, an essential notion for operating properly on this kind of architecture. The digitization system was tested on a particular case study, the Ghirlanda of the Castello Sforzesco in Milan. The complexity of the property and the richness of the information heritage guided this choice, providing the basis for an appropriate and effective experimental activity.
8
Navarro de Pablos, Javier, i Ángel Martínez García-Posada. "Bloques de hielo y piedra. Relatos sobre tiempo y materia en la obra de Miguel Ángel". ZARCH, nr 22 (27.06.2024): 210–23. http://dx.doi.org/10.26754/ojs_zarch/zarch.2024229868.
Pełny tekst źródłaStreszczenie:
A través del ambiguo estado inacabado de ciertas obras de Miguel Ángel Buonarroti se recorren sus experimentaciones con el tiempo y la materia, asumidos como instrumentos de proyecto consciente. Desde una desconocida escultura efímera de hielo en el Palacio Medici hasta su última obra, la Piedad Rondanini, Miguel Ángel explora los límites de la piedra en un camino que le conduce desde la perfección del mármol pulido a la abstracción del bloque en bruto. Registrando cronológicamente sus trabajos se reconocen los achaques de la edad, como si las esculturas fuesen una extensión de sí mismo, desde el rostro adolescente de la Piedad Vaticana a la deformación física de la serie de Esclavos de la tumba de Julio II. Siglos después de su muerte, resuenan dilemas patrimoniales como el acomodo de la Rondanini en el Castello Sforzesco de Milán, que propiciaría un primer proyecto del estudio BBPR y una posterior recolocación en la que participaría infructuosamente Álvaro Siza, o la protección de las obras de la Academia de Florencia y el Museo Pushkin de Moscú durante los bombardeos aliados de la Segunda Guerra Mundial a través de sistemas efímeros que rescatan la condición liminal de las obras en construcción. A través de todas estas obras, seguimos reflexionando desde el presente sobre la idea de obra abierta, que encauza nuestras reflexiones arquitectónicas sobre arquitectura, materialidad y tiempo.
9
Guzzetti, F., K. L. N. Anyabolu, F. Biolo i L. D’Ambrosio. "FROM THE DIGITAL TWIN OF ARCHITECTURAL HERITAGE TO THE DEFINITION OF THE CONSTRAINT MAPS. THE CASE STUDY OF THE CASTELLO SFORZESCO IN MILAN". ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences X-M-1-2023 (23.06.2023): 101–8. http://dx.doi.org/10.5194/isprs-annals-x-m-1-2023-101-2023.
Pełny tekst źródłaStreszczenie:
Abstract. The work presented here is part of the widespread digitisation process that is affecting the world of architecture and cultural heritage. The text reports part of the activities carried out on the Castello Sforzesco in Milan, in collaboration with its Superintendence bodies. This work proposes an innovative way to draft, in a digital environment, 3D constraint maps, capable of describing and protecting the complex system of structures in that area, especially in the subsoil. The activity began with the creation of a georeferenced 3D model of all the existing architectural elements in the analyzed area of the Castle. The work was carried out on the northwest corner of the fortress, the area between the Torre della Colubrina and the Porta del Soccorso. The modeling activity was based both on data obtained from surveys and historical documentation describing structures that are no longer visible. From the 3D model, it was then possible to obtain all useful data to draw up constraint maps in GIS (Geographic Information System) environment. This latter allows multiple interactions both with the normal surface cartographic information (Topographic Database and others) and with the multitude of datasets available for managing the territory and its subsystems. The constraints consider a ‘safety’ offset, applied in all three directions. These maps describe the various three-dimensional areas, referring to the different structures present in the subsoil, within which it is recommended to operate with extreme caution, in relation to the position and conformation of the same identified assets.
10
Bortolotto, S., E. Ciocchini, A. Garzulino, R. Simonelli i F. Zangheri. "THE “DIAGNOSTIC SURVEY”: A METHODOLOGY FOR THE KNOWLEDGE OF A COMPLEX ARCHITECTURAL PALIMPSEST". ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W9 (31.01.2019): 157–63. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w9-157-2019.
Pełny tekst źródłaStreszczenie:
<p><strong>Abstract.</strong> A multidisciplinary approach that availing of the use of different techniques, such as topography, three-dimensional laser scans, photogrammetry, archival studies and stratigraphical analysis, can permit to define a whole methodology of analysis useful for the knowledge of complex architectures and for the identification of potential problems related to the static structure of the buildings, as well as the deepening of their evolutionary framework.</p><p> This outline was so applied for the analysis of the northern portion of the Castello Sforzesco of Milan (Torre Falconiera and Ponticella), where Sala delle Asse is located, allowing the acquisition of a <i>corpus</i> of information. The diagnostic detection operations carried out were therefore conducted with the primary purpose in order to verify the geometries of the buildings and to define an exhaustive framework of the equilibrium and imbalance of the factory.</p><p> The comparison between the documentary sources and the direct sources has made it possible to correlate the information to identify the construction phases and the subsequent interventions of restoration, rearrangement and to define new possible functions. The <i>corpus</i> of diagnostic-cognitive investigations conducted on the Torre Falconiera and contiguous spaces also allowed us to delineate the state of art in which the structure has come up to date and to highlight its critical points interpreting the phenomenology with awareness.</p>
Rozprawy doktorskie na temat "Castello Sforzesco"
1
BARBIERI, ALESSANDRO. "LE TERRECOTTE DECORATIVE DEL MUSEO D'ARTE ANTICA DEL CASTELLO SFORZESCO DI MILANO: PRODUZIONE FITTILE E ARCHITETTURA NELL'ETA' SFORZESCA". Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6605.
Pełny tekst źródłaStreszczenie:
Le attività di ricerca e catalogazione effettuate durante lo stage condotto tra il 2010 e il 2011 sui materiali fittili conservati nel deposito del Museo d’Arte Antica del Castello Sforzesco di Milano sono state all’origine di alcune riflessioni e considerazioni sul tema delle terrecotte decorative del primo Rinascimento in Lombardia - in particolar modo a Milano e a Cremona - che ha trovato un primo importante esito nella presentazione al convegno del 2011 Terrecotte nel Ducato di Milano. Artisti e cantieri del primo Rinascimento. La scelta, in seno alle ricerche per il dottorato, è stata quella di proseguire, incrementandoli, gli studi sulla collezione fittile delle Civiche Raccolte d’Arte di Milano, approfondendo il tema della produzione coroplastica decorativa nell’età sforzesca, non tralasciando di analizzare, per alcuni casi rilevanti, il coevo contesto architettonico. I risultati ottenuti, riordinati e raccolti nelle pagine di questa tesi, costituiscono il tentativo di una prima mappatura dei repertori ornamentali, dove partendo dai patterns decorativi esibiti dalle singole formelle presenti nel deposito del museo è stato possibile stabilire confronti e tracciare relazioni con i numerosi complessi architettonici con decorazione fittile sparsi sul territorio lombardo e nelle regioni confinanti.The research and cataloguing activities conducted during the internship in 2010-2011 on the clay materials preserved in the deposit of the Museo d’Arte Antica at the Castello Sforzesco in Milan, were what sparked off a series of considerations and reflections on the subject of decorative terracottas during the early Renaissance in Lombardy - particularly Milan and Cremona - the results of which were discussed during the presentation at a conference held in 2011 entitled Terrecotte nel Ducato di Milano. Artisti e cantieri del primo Rinascimento. The decision behind the research conducted for my PhD was to continue and extend the studies to include the collection of clay products preserved by the Art Collections of the Municipality of Milan, more specifically the decorative coroplast productions in the Sforzesca era, which included an in-depth analysis of the contemporary architectonic context of some of the most significant cases. The results obtained, indexed and included in this thesis aim to present an initial mapping of the ornamental repertoires where, starting from the decorative patterns of the individual tiles preserved in the deposit of the Museum, it was possible to establish comparisons and trace relations with the countless architectonic complexes highlighting clay decorations scattered throughout the Lombardy region and bordering areas.
2
BARBIERI, ALESSANDRO. "LE TERRECOTTE DECORATIVE DEL MUSEO D'ARTE ANTICA DEL CASTELLO SFORZESCO DI MILANO: PRODUZIONE FITTILE E ARCHITETTURA NELL'ETA' SFORZESCA". Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6605.
Pełny tekst źródłaStreszczenie:
Le attività di ricerca e catalogazione effettuate durante lo stage condotto tra il 2010 e il 2011 sui materiali fittili conservati nel deposito del Museo d’Arte Antica del Castello Sforzesco di Milano sono state all’origine di alcune riflessioni e considerazioni sul tema delle terrecotte decorative del primo Rinascimento in Lombardia - in particolar modo a Milano e a Cremona - che ha trovato un primo importante esito nella presentazione al convegno del 2011 Terrecotte nel Ducato di Milano. Artisti e cantieri del primo Rinascimento. La scelta, in seno alle ricerche per il dottorato, è stata quella di proseguire, incrementandoli, gli studi sulla collezione fittile delle Civiche Raccolte d’Arte di Milano, approfondendo il tema della produzione coroplastica decorativa nell’età sforzesca, non tralasciando di analizzare, per alcuni casi rilevanti, il coevo contesto architettonico. I risultati ottenuti, riordinati e raccolti nelle pagine di questa tesi, costituiscono il tentativo di una prima mappatura dei repertori ornamentali, dove partendo dai patterns decorativi esibiti dalle singole formelle presenti nel deposito del museo è stato possibile stabilire confronti e tracciare relazioni con i numerosi complessi architettonici con decorazione fittile sparsi sul territorio lombardo e nelle regioni confinanti.The research and cataloguing activities conducted during the internship in 2010-2011 on the clay materials preserved in the deposit of the Museo d’Arte Antica at the Castello Sforzesco in Milan, were what sparked off a series of considerations and reflections on the subject of decorative terracottas during the early Renaissance in Lombardy - particularly Milan and Cremona - the results of which were discussed during the presentation at a conference held in 2011 entitled Terrecotte nel Ducato di Milano. Artisti e cantieri del primo Rinascimento. The decision behind the research conducted for my PhD was to continue and extend the studies to include the collection of clay products preserved by the Art Collections of the Municipality of Milan, more specifically the decorative coroplast productions in the Sforzesca era, which included an in-depth analysis of the contemporary architectonic context of some of the most significant cases. The results obtained, indexed and included in this thesis aim to present an initial mapping of the ornamental repertoires where, starting from the decorative patterns of the individual tiles preserved in the deposit of the Museum, it was possible to establish comparisons and trace relations with the countless architectonic complexes highlighting clay decorations scattered throughout the Lombardy region and bordering areas.
3
TOSI, LUCA. "LE PITTURE MURALI DELLA SALA DELLE ASSE NEL CASTELLO SFORZESCO DI MILANO: L'ICONOGRAFIA DEL MOTIVO AD ALBERI PRIMA E DOPO LEONARDO". Doctoral thesis, Università degli Studi di Milano, 2018. http://hdl.handle.net/2434/576528.
Pełny tekst źródłaStreszczenie:
The Ph.D. thesis research entitled Le pitture murali della Sala delle Asse al Castello Sforzesco: l'iconografia del motivo ad alberi prima e dopo Leonardo was born in the context of a professional collaboration with the City of Milan through the Artistic Collections of the Castello Sforzesco, to which we owe the restoration project of the room - decorated by Leonardo da Vinci at the end of the fifteenth century - called 'Sala delle Asse'. On its walls we can see painted mulberry trees that develop organically on the lunettes and on the vault, completely covered by intertwining branches, leaves, berries and golden ropes that form a pergola, wiping out the real architecture in an illusionistic way and creating a characteristic room with trees. These paintings, really compromised by the centuries-old military destination and by heavy 20th-century restorations, present now a fragmented aspect that does not allow a clear global reading of the Leonardo's composition, despite the numerous studies made over time.
A first goal was to try to contextualize and frame this disruptive invention within an existing iconographic tradition, so as to measure what was the real contribution of Leonardo compared to the idea of the composition of the Castello Sforzesco: part of the critics in fact often described the Sala delle Asse as an absolute unicum, while our research has analyzed a series of rooms and environments (from Italy but also from northern Europe) that, starting from the fourteenth century, were characterized by the dominant presence of paintings simulating trees, woods and pergolas, giving to the visitor the feeling of being in an open space. For example, even in Sforza's Milan the existence of a camera de li arbori (unfortunately lost) in that Palazzo Visconti (later Panigarola) famous for the frescoes by Bramante is well known and documented: a sign that this iconography was widespread and requested and that Leonardo, leaning on this tradition, shaped in an extremely original way, giving life to a monumental naturalistic creation made of powerful plants, rocks and roots, twisting branches and endless interweaving of golden strings.
The existence of fifteenth-century decorative complexes with arboreal motifs, such as that of the Parisian Tower by Jean Sans Peur, which would support the hypothesis of an essentially heraldic-celebrative significance of the meaning of the Sala delle Asse composition, has also emerged: as in the French example, in which the emblems of the Duke of Burgundy and his parents become agile plants carved on the vault of the building, in Milan the moro mulberry of Ludovico Sforza (known as il Moro) is transformed into the tree-column that forms a pergola that protects and covers visitors of the room. The study of the echoes and of the sixteenth-century replicas of this brilliant composition, which is the fulcrum of the second part of our research, aimed to calculate the impact it had on artists and patrons, and to help us in ideally reconstructing the lost parts of the paintings of the Sala delle Asse. The few testimonies found, only documented or still existing, have further confirmed the strong celebratory connotation that the room had assumed after the Leonardesque arrangement, being mentioned at the beginning of the XVI century as Camera dei moroni: a so obvious and cumbersome characteristic, in a period of continuous reversals on the political front, which had to compromise the iconographic diffusion, limited to an extremely reduced number of pro-Sforza sites.
Finally, we wanted to move this recognition to the Twentieth century, in particular to the moment following the reopening of the Sala delle Asse, which took place in 1902 after nearly four centuries of oblivion; in the sixteenth century the entire decoration had been covered with a plaster and the room was destined to a nursing home for the Spanish army that had occupied the Castello Sforzesco. The heavy restoration work of the early Twentieth century had covered the Leonardesque traces, reviving what remained of the fragile composition, literally transformed into a painting close to the Art Nouveau style by the painter-restorer Ernesto Rusca. The image thus produced was a great success, being replicated and reworked by various artists in ornamental painting, applied arts and editorial graphics, but in a short time lost the connection with Leonardo and the Sala delle Asse to become a simple, pleasant decorative motif.
Luca Tosi
4
CUOMO, PIETRO. "POTERE POLITICO E SPAZIO URBANO. ELEMENTI DI GEOGRAFIA CULTURALE PER UNA STORIA DELLA MILANO COMUNALE E SIGNORILE". Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6222.
Pełny tekst źródłaStreszczenie:
Lo scopo di questo lavoro è realizzare uno studio interdisciplinare sul rapporto tra Milano e i regimi succedutisi alla sua guida nel basso medioevo. Il punto di partenza è il principio, largamente diffuso nella storiografia, che sistemi di governo diversi plasmino lo spazio in maniera differente. L’analisi dello spazio urbano così ottenuta, però, può essere arricchita dall’uso di strumenti della geografia culturale. La città, tema tra i più importanti e complessi della cultura occidentale, è infatti il luogo di incontro naturale tra storia e geografia culturale: è il luogo in cui si svolge la storia, ma più di un semplice palcoscenico. Le caratteristiche del fenomeno urbano trovano massima espressione nel caso di Milano, che presenta una storia di primissimo piano tradottasi in una struttura urbana dalle forme assolutamente peculiari. Sia al suo interno sia verso l’esterno (per la sua capacità di plasmare il territorio, agendo sull’ambiente naturale e modellandolo in base alle proprie necessità, ribaltando le logiche del determinismo ambientale). Combinando gli strumenti propri della geografia culturale con quelli della ricerca storica, si ottiene la possibilità di usare la città stessa e le sue rappresentazioni come documento, affiancando all’analisi degli eventi storici lo studio della valenza simbolica di tali realizzazioni.This work is aimed to create an interdisciplinary study on the relationship between Milan and its polical regimes in the late Middle Ages. The starting point is the principle, widely used in historiography, that different systems of government produce space differently. The analysis of urban space thus obtained, however, can be improved using instruments from cultural geography. The city - one of the most important and complex topics in Western culture - is the meeting place of the natural history and cultural geography: it is the place where the story takes place, but more than just a stage. Milan is the perfect example of city: it has a history of the first order which turned into an urban structure of absolutely peculiar shape. Both internally and externally (for its ability to shape the territory, by acting on the natural and modeling it to suit your needs, reversing the logic of environmental determinism). Combining the tools of cultural geography with those of historical research, you get the opportunity to use the city itself and its representations as a document, supporting the analysis of historical events, the study of the symbolic value of such achievements.
5
CUOMO, PIETRO. "POTERE POLITICO E SPAZIO URBANO. ELEMENTI DI GEOGRAFIA CULTURALE PER UNA STORIA DELLA MILANO COMUNALE E SIGNORILE". Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6222.
Pełny tekst źródłaStreszczenie:
Lo scopo di questo lavoro è realizzare uno studio interdisciplinare sul rapporto tra Milano e i regimi succedutisi alla sua guida nel basso medioevo. Il punto di partenza è il principio, largamente diffuso nella storiografia, che sistemi di governo diversi plasmino lo spazio in maniera differente. L’analisi dello spazio urbano così ottenuta, però, può essere arricchita dall’uso di strumenti della geografia culturale. La città, tema tra i più importanti e complessi della cultura occidentale, è infatti il luogo di incontro naturale tra storia e geografia culturale: è il luogo in cui si svolge la storia, ma più di un semplice palcoscenico. Le caratteristiche del fenomeno urbano trovano massima espressione nel caso di Milano, che presenta una storia di primissimo piano tradottasi in una struttura urbana dalle forme assolutamente peculiari. Sia al suo interno sia verso l’esterno (per la sua capacità di plasmare il territorio, agendo sull’ambiente naturale e modellandolo in base alle proprie necessità, ribaltando le logiche del determinismo ambientale). Combinando gli strumenti propri della geografia culturale con quelli della ricerca storica, si ottiene la possibilità di usare la città stessa e le sue rappresentazioni come documento, affiancando all’analisi degli eventi storici lo studio della valenza simbolica di tali realizzazioni.This work is aimed to create an interdisciplinary study on the relationship between Milan and its polical regimes in the late Middle Ages. The starting point is the principle, widely used in historiography, that different systems of government produce space differently. The analysis of urban space thus obtained, however, can be improved using instruments from cultural geography. The city - one of the most important and complex topics in Western culture - is the meeting place of the natural history and cultural geography: it is the place where the story takes place, but more than just a stage. Milan is the perfect example of city: it has a history of the first order which turned into an urban structure of absolutely peculiar shape. Both internally and externally (for its ability to shape the territory, by acting on the natural and modeling it to suit your needs, reversing the logic of environmental determinism). Combining the tools of cultural geography with those of historical research, you get the opportunity to use the city itself and its representations as a document, supporting the analysis of historical events, the study of the symbolic value of such achievements.
6
MAGISTRELLI, GIACOMO. "LA FOTOGRAFIA E I CANTIERI DELLA MILANO POSTUNITARIA 1861-1911". Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/4174.
Pełny tekst źródłaStreszczenie:
La tesi considera la varietà di formule espressive e di destinazioni funzionali della fotografia in rapporto alla costruzione di spazi e architetture nella Milano del primo cinquantennio dell’unità d’Italia.
Strumento di lavoro per architetti e ingegneri, la fotografia delle principali operazioni edilizie eseguite nella città lombarda a partire dagli anni sessanta dell’Ottocento rappresenta per la nuova classe dirigente un fondamentale strumento di legittimazione del proprio operato amministrativo e di illustrazione dei progressi compiuti dalla città sulla via della modernizzazione.
Attraverso un itinerario storico della ‘fotografia di cantiere’, costruito anche grazie al confronto con casi italiani e internazionali, lo studio presenta una puntuale analisi del fenomeno in ambito milanese. Tra i progetti affrontati, il piano di riforma del centro cittadino (1865-1878) di Giuseppe Mengoni e i restauri del Castello Sforzesco (1893-1907) di Luca Beltrami, oltre a una serie di interventi minori, documentati da alcuni dei principali fotografi attivi in città e dai redattori della pubblicistica illustrata, tipologia editoriale che tra Otto e Novecento si serve con sempre maggiore consapevolezza del mezzo fotografico. L’evoluzione del linguaggio fotografico viene dunque indagata nel suo contributo alla costruzione di un’iconografia nazionale della modernità, fenomeno che vede la città di Milano porsi in prima fila nel contesto italiano.The study investigates the variety of expressive formulas and functional destinations of the photography production concerning the architectural renovation occurred in the city of Milan between 1861 and 1911. Design tool for architects and engineers, construction photography reveals itself as a fundamental tool of political legitimation for the new ruling class and illustrates the progress made by the city in terms of modernization. Through a historical reconstruction of the genre of construction photography, which also considers Italian and international cases, the study presents a detailed analysis of the Milanese phenomenon. Among the projects, the reform plan of the city center (1865-1878) developed by Giuseppe Mengoni and the restoration of the Sforza Castle (1893-1907) led by Luca Beltrami , as well as a number of minor operations. The inquiry considers the production by some of the main photographers working in the city and the iconographic apparatus of the most important illustrated press of the period, which during the late nineteenth century uses with increasing awareness the narrative qualities of the photographic medium. The evolution of the photographic language is therefore inquired with regard to his contribution to the construction of a national iconography of modernity , a phenomenon that sees the city of Milan in the front line.
7
MAGISTRELLI, GIACOMO. "LA FOTOGRAFIA E I CANTIERI DELLA MILANO POSTUNITARIA 1861-1911". Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/4174.
Pełny tekst źródłaStreszczenie:
La tesi considera la varietà di formule espressive e di destinazioni funzionali della fotografia in rapporto alla costruzione di spazi e architetture nella Milano del primo cinquantennio dell’unità d’Italia.
Strumento di lavoro per architetti e ingegneri, la fotografia delle principali operazioni edilizie eseguite nella città lombarda a partire dagli anni sessanta dell’Ottocento rappresenta per la nuova classe dirigente un fondamentale strumento di legittimazione del proprio operato amministrativo e di illustrazione dei progressi compiuti dalla città sulla via della modernizzazione.
Attraverso un itinerario storico della ‘fotografia di cantiere’, costruito anche grazie al confronto con casi italiani e internazionali, lo studio presenta una puntuale analisi del fenomeno in ambito milanese. Tra i progetti affrontati, il piano di riforma del centro cittadino (1865-1878) di Giuseppe Mengoni e i restauri del Castello Sforzesco (1893-1907) di Luca Beltrami, oltre a una serie di interventi minori, documentati da alcuni dei principali fotografi attivi in città e dai redattori della pubblicistica illustrata, tipologia editoriale che tra Otto e Novecento si serve con sempre maggiore consapevolezza del mezzo fotografico. L’evoluzione del linguaggio fotografico viene dunque indagata nel suo contributo alla costruzione di un’iconografia nazionale della modernità, fenomeno che vede la città di Milano porsi in prima fila nel contesto italiano.The study investigates the variety of expressive formulas and functional destinations of the photography production concerning the architectural renovation occurred in the city of Milan between 1861 and 1911. Design tool for architects and engineers, construction photography reveals itself as a fundamental tool of political legitimation for the new ruling class and illustrates the progress made by the city in terms of modernization. Through a historical reconstruction of the genre of construction photography, which also considers Italian and international cases, the study presents a detailed analysis of the Milanese phenomenon. Among the projects, the reform plan of the city center (1865-1878) developed by Giuseppe Mengoni and the restoration of the Sforza Castle (1893-1907) led by Luca Beltrami , as well as a number of minor operations. The inquiry considers the production by some of the main photographers working in the city and the iconographic apparatus of the most important illustrated press of the period, which during the late nineteenth century uses with increasing awareness the narrative qualities of the photographic medium. The evolution of the photographic language is therefore inquired with regard to his contribution to the construction of a national iconography of modernity , a phenomenon that sees the city of Milan in the front line.
8
FLAMINE, MARCO. "OPERE D¿ARTE BIZANTINA IN LOMBARDIA. LINEAMENTI PER UN CATALOGO (SECOLI IV-XV)". Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/266830.
Pełny tekst źródłaStreszczenie:
This research focuses on Byzantine works of art (IV-XV centuries) in public collections in Lombardy. Milan, was connected to Byzantium politically, religiously and commercially since Late Antiquity. New research has been conducted on the metal works of the Museo e Tesoro del Duomo di Monza, on the bronze snake of the Basilica of Sant’Ambrogio in Milan, on the frescoes of Santa Maria Foris Portas at Castelseprio (Varese) and also on illuminated manuscripts. This dissertation is structured with a series of catalogue entries, with particular attention to the sculptures, ivories, jewelry, textiles, and also an astrolabe.
Książki na temat "Castello Sforzesco"
1
Melegati, Luca. Le porcellane europee al Castello Sforzesco: Civiche raccolte d'arte applicata, Castello Sforzesco. Milano: Cultura e musei, Settore musei e mostre, 1999.
Znajdź pełny tekst źródła
2
Luca, Melegati, red. Le porcellane europee al Castello Sforzesco: Civiche raccolte d'arte applicata, Castello Sforzesco. Milano: Cultura e musei, Settore musei e mostre, 1999.
Znajdź pełny tekst źródła
3
Calvi, Felice. Il Castello visconteo-sforzesco: Nella storia di Milano : dalla sua fondazione al dì 22 marzo 1848 : governi, sollevazioni, feste, costumanze, aneddoti. Milano: RARA, 1993.
Znajdź pełny tekst źródła
4
Moore, Henry. Henry Moore al Castello Sforzesco. Milano: Edizioni L'Agrifoglio, 1989.
Znajdź pełny tekst źródła
5
Carmignani, Massimo. Il Castello Sforzesco di Milano. Milano: Skira, 2008.
Znajdź pełny tekst źródła
6
Aurora, Scotti, i Mattioli Rossi Laura, red. Il Castello sforzesco di Milano. Milano: Electa, 1986.
Znajdź pełny tekst źródła
7
Fiorio, Maria Teresa. La Pinacoteca del Castello sforzesco. Milano: Electa, 1987.
Znajdź pełny tekst źródła
8
Carmignani, Massimo. The Castello Sforzesco of Milan. Milano: Skira, 2008.
Znajdź pełny tekst źródła
9
Moore, Henry. Moore: Henry Moore al castello sforzesco. Milan: Edizioni L'Agrifoglio, 1989.
Znajdź pełny tekst źródła
10
Amati, Carlo. Il fondo Amati del Castello sforzesco. Venezia: Marsilio, 1997.
Znajdź pełny tekst źródłaCzęści książek na temat "Castello Sforzesco"
1
Pederson, Jill. "“The Sala delle Asse as Locus amoenus: Revisiting Leonardo da Vinci’s Arboreal Imagery in Milan’s Castello Sforzesco”". W Green Worlds in Early Modern Italy, 89–108. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvh4zj34.8.
Pełny tekst źródła
2
"4. “The Sala delle Asse as Locus amoenus: Revisiting Leonardo da Vinci’s Arboreal Imagery in Milan’s Castello Sforzesco”". W Green Worlds in Early Modern Italy, 89–108. Amsterdam University Press, 2019. http://dx.doi.org/10.1515/9789048535866-006.
Pełny tekst źródła