Facing Botticelli: three studies on the significant detail Marzia Faietti; Tiziana Borea; Amalda Ciani Cuka ...
Figure : rivista della Scuola di Specializzazione in Beni Storico-Artistici dell'Università di Bologna,
11/2019, Letnik:
4, Številka:
1
Journal Article
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These texts are the results of a seminar organised and coordinated by Marzia Faietti at Gallerie degli Uffizi (a.a. 2016-2017). During these lectures, particular attention was payed to meaningful ...details in some famous Botticelli’s paintings. Valentina Saetti’s text analyses Madonna of the Magnificat, Amalda Ciani Cuka’s St.Augustin in his study and Tiziana Borea’s the Calumny of Apelles.
The museum complex of Pitti Palace is one of the strategic projects of UNESCO Management Plan, called The prince's path, together with Uffizi Gallery, Vasari Corridor and Boboli Gardens, constituting ...the site that, perhaps not surprisingly, in 2014 the Ministry equipped with managerial, administrative-economic autonomy. If the post-war history of the Palace has been characterized by inadequate investments of resources and tools, also for the purposes of knowledge of the architectural heritage (the first studies of that period, remain the main bibliographic references to this day) and of the relative maintenance, the so-called 'Franceschini Reform' has inaugurated a new season for the Site, in which the administration has the opportunity to deepen and experiment strategies and actions aimed at the practice of programmed conservation. As regards the monumental complex of Pitti Palace, the contribution presents interventions, analyzes and programs which have been conceived and conducted with a methodological approach that places analysis and monitoring of the state of conservation of the heritage.
A recent cardiovascular event at the Galleria degli Uffizi in Florence in December 2018 involving an elderly Tuscan male gathered significant media attention, being promptly reported as another case ...of the so-called Stendhal syndrome. The victim was at the Botticelli room the moment he lost consciousness, purportedly gazing at the Birth of Venus. Medical support was made immediately available, assuring the patient’s survival. Taking the 2018 cardiovascular event as a case study, this paper addresses the emergence of the Stendhal syndrome (as defined by the Florentine psychiatrist Graziella Magherini from the 1970s onwards) and similar worldwide syndromes, such as the Jerusalem, Paris, India, White House, and Rubens syndromes. Their congeniality and coevality speak in favor of their understanding as a set of interconnected phenomena made possible partly by the rise of global tourism and associated aestheticreligious anxieties, partly by the migration of ideas concerning artistic experience in extremis. While media coverage and most art historical writings have discussed the Stendhal syndrome as a quizzical phenomenon – one which serves more or less to justify the belief in the “power of art” –, our purpose in this paper is to (1) question the etiological specificity of the Stendhal syndrome and, therefore, its appellation as such; (2) argue in favor of a more precise neuroesthetic explanation for the incident at the Uffizi; (3) raise questions about the fraught connection between health-related events caused by artworks and the aesthetic experience.
The article explores how museums have responded to the COVID-19 crisis, referring to the concept of resilience and critical juncture. Whereas the first relates to a system's ability to recover or ...resume its original form after stress, perturbation, or shock, the latter refers to extraordinary conditions produced by unexpected and dramatic events that are able to enact profound and deep changes. The case of the Uffizi museum, which has suffered many lockdowns, shows that resilience measures have been accompanied by innovative actions redesigning the role of the museum. Some new projects could in fact be enacted because the pandemic was treated as a critical juncture. Any innovation, however, originated from the need to manage and decentralise tourism flows and revitalise local communities. The Uffizi has forged and implemented projects that value sustainability, community welfare, city decongestion, economic development, and inclusiveness, producing transformations on nature and vocation of the museum itself as well as on the neighbouring areas, becoming a propulsive fulcrum for other museums and cultural institutions.
A partir de la localización del testamento, inventario de bienes y almonedas posteriores tras el fallecimiento del pintor Joan Moreno en la ciudad de Valencia en 1448, se analiza la importancia del ...dibujo en los talleres del gótico internacional. La mención específica de dibujos del alemán Marçal de Sas (†1410) y de un florentino que podría ser Gherardo Starnina (c. 1354-1409-13) ofrece la posibilidad de analizar esta documentación en relación con el cuaderno de dibujos de los Uffizi (inv. 2264F-2281F, 18304F-18306F, 18324). Un repertorio de dibujos que se considera realizado en torno a los años 1400 en la ciudad de Valencia y que responde precisamente a las dos corrientes más importantes señaladas en la pintura gótica, la nórdica y la florentina.
The essay reconstructs the chronological details of the construction and disposal of the Teatro degli Uffizi. An extensive unpublished documentation, and a newly discovered plan of the theatre in the ...Archivio di Stato di Modena, bring to light hitherto unknown persons and situations. The study anticipates reflections and proposals for a structural solution that would modify the model proposed in 1975 by Ludovico Zorzi. As a foundation of these new hypotheses, the essay offers a re-reading of the Vitruvius’s theories on which the florentine highly specialised technical skills were based on.
Capitalism Sonenscher, Michael
2022, 2022-09-20, 2022.
eBook
How the history of a word sheds new light on capitalism and modern politics What exactly is capitalism? How has the meaning of capitalism changed over time? And what's at stake in our understanding ...or misunderstanding of it? In Capitalism, Michael Sonenscher examines the history behind the concept and pieces together the range of subjects bound up with the word. Sonenscher shows that many of our received ideas fail to pick up the work that the idea of capitalism is doing for us, without us even realizing it."Capitalism" was first coined in France in the early nineteenth century. It began as a fusion of two distinct sets of ideas. The first involved thinking about public debt and war finance. The second involved thinking about the division of labour. Sonenscher shows that thinking about the first has changed radically over time. Funding welfare has been added to funding warfare, bringing many new questions in its wake. Thinking about the second set of ideas has offered far less room for manoeuvre. The division of labour is still the division of labour and the debates and discussions that it once generated have now been largely forgotten. By exploring what lay behind the earlier distinction before it collapsed and was eroded by the passage of time, Sonenscher shows why the present range of received ideas limits our political options and the types of reform we might wish for.
The contribution makes use of the recent publication of Mario Bevilacqua, dedicated to the projects for the facade of Santa Maria del Fiore, to pursuit an attributing hypothesis related to two ...anonymous drawings kept in the Gabinetto Disegni e Stampe of the Uffizi. Through a document analysis it is possible to cast doubt on the attribution, already suggested by critics, Sigismondo Coccapani in favor of cortonese architect Bernardino Radi.
The provenance of the marbles used for the five ancient sculptures on display in the Tribune of the Uffizi—the Venere Medici, the Apollo Medici, the Satiro danzante, the Arrotino and the ...Lottatori—has been determined using a well‐established multi‐method approach that includes isotopic, petrographic and EPR data. The Arrotino was found to be made of Docimium marble from the Phrygian quarries of Iscehisar, whereas Parian lychnites was used for the other four sculptures. Restorations, including the restoration of the Satiro ascribed to Michelangelo or his school, primarily used Pentelicon marble. The Lottatori, however, underwent multiple restorations that used a lychnites analytically different from the original stock, as well as Docimium, Carrara and Göktepe marbles. The right arm of the winner, which was considered to be a later addition, turned out to be made using the original marble—lychnites marble. The marble data provide support for the chronology of the sculptures and give insight into the complex sequence of restorations that they underwent.
The article briefly studies the way of perceiving of the Uffizi Gallery in Florence by Polish travellers during the period when the museum was subject to the so-called Enlightenment order. The ...analysis of memoirs from diaries of the Polish Grand Tour indicates that they were considerably influenced by Italian guidebooks and texts by French travellers, among which the most popular was Voyage d’un français en Italie fait dans années 1765–1766 by Joseph- Jérôme Lalande, who was eagerly referred to and his passages quoted. Realising the scheme of the Uffizi Gallery’s descriptions by Polish travellers, one should not hastily assume they lacked the sense of observation, taste or aesthetic sensitivity, and finally the ability to assess a work of art. An in-depth analysis of Polish notes indicated that enlightened arrivals from the Vistula River could critically relate not only to the text of the guide or the French description mentioned, directly ascertaining: You were not right, Mr Lalande!, but also that they came to Florence prepared for the reception of an artwork and the museum itself. They were primarily interested in newly acquired objects or changes in the exhibition. The picture of a Polish traveller, as it is seen through Polish 18th-century accounts, who notes – frequently remotely – fleeting impressions, but without a doubt, they are perfectly aware of what they are looking at.
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