Le immagini di città si devono confrontare con un organismo complesso che muta nel tempo, possono prendere forma sui fogli di carta o nello spazio digitale, ma anche diventare immagini mentali che ...popolano il nostro pensiero e condizionano la percezione che abbiamo della città stessa. Ogni immagine restituisce lo sguardo del suo Autore ed è accolta dallo sguardo dell’osservatore: così come il linguaggio grafico muta a seconda del contesto cui appartiene l’Autore, allo stesso modo muta la capacità di vedere le immagini. La realizzazione di una piattaforma digitale consente di valorizzare il patrimonio iconografico che appartiene a una città: visualizzando le immagini in una sequenza diacronica e sincronica se ne comprende il registro comunicativo e le si restituisce come parti di un racconto unitario. Si ipotizza che, attraverso la partecipazione degli utenti alla implementazione della piattaforma e alla sua interrogazione, sia possibile generare un inedito testo figurato composito della città che diventi una macchina per pensare alla maniera del Bilderatlas Mnemosyne. Gli utenti contribuiranno a scrivere un racconto, narrato simultaneamente da diversi punti di vista, che avrà come soggetto le trasformazioni urbane e l’evoluzione dell’immagine ideale che la città restituisce di sé. In questo modo, l’utente diventerà contemporaneamente Lettore e Scrittore della storia, sarà stimolato in nuove e originali associazioni mentali e con esse darà forma a nuovi racconti sulla città.
The allure of the vedute, those picturesque depictions of buildings, monuments and towns which were so fashionable during the XVIII and XIX centuries, goes well beyond their aesthetic value. They ...represent a paramount source of knowledge, since they do not provide ex-ternos information uniquely, namely on the appearance of a particular building or landscape at a particular moment, but also in-ternos information, i.e. on how they were perceived by their contemporaries (Puche et alii 2017) and even on the draugtsman’s self-perception. In this work, the self-perception of the draughtsmen who joined Napoleon’s expedition to Egypt will be examined. In the course of that mission, not only a monument and its surroundings, but also the documentation process itself and the associated adventurous spirit were portrayed systematically for the first time.
Some of the views in the fourth volume of the Voyage Pittoresque by the Abbot of Saint-Non, published in two parts (1785 and 1786) in Paris, reproduce architectural structures and urban settings of ...Sicily in the modern era. Among the places chosen by the architects and painters who took part in the campaign carried out between 1777 and 1778, those relating to the architecture of the time were considerably fewer in number (five out of a total of one hundred and forty subjects). They regarded the city of Palermo and three major episcopal towns: Mazara, Syracuse and Catania. In light of the coeval pictorial taste for ruins of classical antiquity, this numerical disproportion reflected the purpose of the journey to Sicily, as set out in the title of the work. The images chosen on the occasion testified though to a certain ambiguity in pursuing the objectives set for this editorial enterprise and showed a momentary shift of interest toward civil and religious architecture in the modern period. Seventeenth and eighteenth-century architecture—concentrated mainly in public squares and places that were used for rhetorical purposes and constituted a symbol of magnificence for the local community—seems to have somehow drawn the attention of this group of artists so much so that these were captured in few yet interesting depictions and points of view. A comparison of what they drew with what survives today and, more in general, with what was actually built reveals substantial changes that were made over the three centuries to have passed since then. At the same time, however, these reproductions also betray a representation laden with efforts made by the artists to simplify, distort and censure the objects of their observation.
From celebrated gardens in private villas to the paintings and
sculptures that adorned palace interiors, Venetians in the
sixteenth century conceived of their marine city as dotted with
actual and ...imaginary green spaces. This volume examines how and why
this pastoral vision of Venice developed.
Drawing on a variety of primary sources ranging from visual art
to literary texts, performances, and urban plans, Jodi Cranston
shows how Venetians lived the pastoral in urban Venice. She
describes how they created green spaces and enacted pastoral
situations through poetic conversations and theatrical performances
in lagoon gardens; discusses the island utopias found, invented,
and mapped in distant seas; and explores the visual art that
facilitated the experience of inhabiting verdant landscapes. Though
the greening of Venice was relatively short lived, Cranston shows
how the phenomenon had a lasting impact on how other cities,
including Paris and London, developed their self-images and how
later writers and artists understood and adapted the pastoral
mode.
Incorporating approaches from eco-criticism and anthropology,
Green Worlds of Renaissance Venice greatly informs our
understanding of the origins and development of the pastoral in art
history and literature as well as the culture of sixteenth-century
Venice. It will appeal to scholars and enthusiasts of
sixteenth-century history and culture, the history of urban
landscapes, and Italian art.
Many important features of Bratislava cultural heritage are contained in historical documents such as veduta, paintings, old maps and rare writings and books. In addition to recording historical ...events, these are irreplaceable for identifying the city’s spatial development and changes in land use. One of the first veduta of such scale portrays a panoramic view of Bratislava and its surrounds from the festive atmosphere of the first Bratislava coronation of Emperor Maximilian II as King of Hungary on September 8, 1563. Although the painter’s intention was to provide a cartoon report of this ceremony, he left an excellent period-image of the landscape from the second half of the 16th century by entering the original and some current names for the various visible objects directly into the veduta. This therefore presents a most interesting and unique panorama of the city where, in addition to coronation festivities, the painter excelled in depicting the urban, river, wine and forest landscapes and also captured the road network. The images radiate great dynamism, capturing the bustling atmosphere of the coronation celebrations around Bratislava. For us, however, the geographic view of the land use from that time is extremely important and unique because this has seldom been captured in olden painting and art. These testimonies of the times are therefore very important monuments of our former landscape.
From celebrated gardens in private villas to the paintings and sculptures that adorned palace interiors, Venetians in the sixteenth century conceived of their marine city as dotted with actual and ...imaginary green spaces. This volume examines how and why this pastoral vision of Venice developed.
Drawing on a variety of primary sources ranging from visual art to literary texts, performances, and urban plans, Jodi Cranston shows how Venetians lived the pastoral in urban Venice. She describes how they created green spaces and enacted pastoral situations through poetic conversations and theatrical performances in lagoon gardens; discusses the island utopias found, invented, and mapped in distant seas; and explores the visual art that facilitated the experience of inhabiting verdant landscapes. Though the greening of Venice was relatively short lived, Cranston shows how the phenomenon had a lasting impact on how other cities, including Paris and London, developed their self-images and how later writers and artists understood and adapted the pastoral mode.
Incorporating approaches from eco-criticism and anthropology, Green Worlds of Renaissance Venice greatly informs our understanding of the origins and development of the pastoral in art history and literature as well as the culture of sixteenth-century Venice. It will appeal to scholars and enthusiasts of sixteenth-century history and culture, the history of urban landscapes, and Italian art.
The town views were a constant preoccupation of the European scientists, artists, geographers and military stuff, sometimes without a distinct separation between them. Starting with the 17th century, ...the correct representations of space became a predominant military matter, controlled by the engineers of the main monarchies of Europe. Even so, it remained more “space” to conquer and the artists proved to be real agents of change, especially “vedutisti”, concerned to catch that complex genius loci which combines spectacular landmark panoramas with everyday life, choosing Europe’s main cities as scenery. Transylvania region has also experienced a similar process due the influence of the Age of Enlightenment, but with a delay specific to its peripheral geographic position and political status. The city of Cluj-Napoca was one of the favourite subjects of the foreign and local artists, which proved to be very sensitive to the trends of the urban change capturing the local colour as a statement of the historic past, but also as a change in perceiving the urban space. Compared with almost one-sided urban views of the past centuries, the 19th century brings a 360-degree perspective over the urban space, significant for the future development of the city.
The first comprehensive analysis of the artist's Roman ruin drawings. Three parts take us from Van Heemskerck's training to his Roman stay and his post-Roman phase. A catalog presents Van ...Heemskerck's drawings in up-to-date digital photographs.
Članek obravnava imaginarne carigrajske vedute dveh angleških slikarjev 19. stoletja ter jih postavlja v kontekst orientalizma in otomansko-britanskih stikov. Osredotoča se na analizo dveh ključnih ...slik obeh slikarjev. Britanski umetniki, ki so obiskali prestolnico otomanskega cesarstva, niso bili zmeraj poklicni slikarji in njihovi obiski Carigrada niso imeli zmeraj umetniških ciljev. Avtor razkriva, kako ekonomskim, političnim in vojaškim povezavam med Veliko Britanijo in prestolnico otomanskega cesarstva ni uspelo v zadostni meri definirati umetnostne produkcije, ki
je vzpostavila podobo Orienta v Zahodnem svetu.
V prvem delu članek definira izoblikovanje in razumevanje pojma Orient na Zahodu. Nadaljuje z obravnavo politike Otomanskega imperija do Zahoda ter njegovih političnih, ekonomskih in umetnostnih vezi z Zahodno Evropo, prek katerih se poskuša vzpostaviti kot del Zahodnega sveta. V nadaljevanju avtor oriše zgodovinski razvoj orientalizma, zlasti odnosov med Veliko Britanijo in Otomanskim imperijem. V osrednjem delu se posveti analizi ene najzgodnejših vedut Carigrada, delu britanskega pomorščaka Thomasa Morgana in delom dveh britanskih slikarjev
19. stoletja. Raziskuje predvsem razloge za vključevanje imaginarnih elementov, za katere so na Zahodu verjeli, da so resnični in da predstavljajo obstoječe stanje v otomanski prestolnici.
Ryan E. Gregg relates how the Holy Roman Emperor Charles V and Duke Cosimo I of Tuscany both employed city view artists such as Anton van den Wyngaerde and Giovanni Stradano to aid in constructing ...authority.
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