Art in the city

However, they are also works that, the curators explain, "attest to a modern use of light, conducted through intense contrasts of chiaroscuro, which until now the painter had used to increase the narrative involvement and sense of truth in episodic historical-literary or in studies of urban architecture, but which now connote the relevance of a vision of the landscape observed in the open air, before the usual reworking in the studio. This romantic image of the city is the one that, at the time...

There is also a further consideration that accompanies the relationship between Signorini and Florence: the reflection on their link with the city writes the curator, "favors the analysis of the figurative sources at the origin of the formation, as well as suggesting an evaluation of the urban theme so investigated as to become identifiable. It is also research that, emphasizes Elisabetta Matteucci, "could not overlook the influence of the city in the social sphere. All of these themes are examined...

Review of the exhibition "La Firenze di Giovanni e Telemaco Signorini". In Florence, Palazzo ANtinori, from 19 September to 10 November 2019. The discovery, in 2008, of an important correspondence between Telemaco Signorini (Florence, 1835 - 1901), one of the main painters of the second Ottocente and the leading name of the Macchiaioli movement, and his father Giovanni (Florence, 1810 - 1862), a leading artist of the Lorraine court just before the unification of Italy and a landscape painter (and...

In his description of Lorenzo's technique, Vasari appreciates the smoothness and impeccable finesse of the surfaces, but he does not hide a certain intolerance for the painter's slowness and fussiness, and for his specialism: I remember that Lorenzo only worked as a draughtsman and as a painter on wood, preferring the small size. But it goes without saying that Vasari felt far from a sort of meditas crediana, or rather an orientation that tended to choose moderation and sobriety, with respect to complication and excess...

Gigetta Dalli Regoli, an important name among the international experts in Renaissance art, points out a novelty for Lorenzo di Credi: a round of Portinari's commissions re-emerged after decades of losing track of it. The table measures just over 90 centimetres in diameter, and this data is already positive, since the rounds belonging to Lorenzo di Credi's early work are of similar dimensions; but in any case the reference to the painter is quite easy, since the composition, which is very simple,...

The final is dedicated to the reception of Signorelli's art in art, criticism and the market between the nineteenth and twentieth centuries. It begins with a brief, quick and, even in this case necessarily incomplete, reconnaissance of the artists who were fascinated by his lesson, starting with the engravers who reproduced the frescoes of Orvieto (the route includes works by Vincenzo Pasqualoni-Filippo De Sanctis and Oswald Ufer) to get to the works of Corrado Cagli (Ancona, 1910 - Rome, 1976) and...

So, having touched for a moment the theme of the consideration that Signorelli enjoyed from the critics, the exhibition returns to deal with the artist, and does so with a room dedicated to the theme of the "grace of invention" (to use a Vasari expression) of Cortona: It is indeed difficult to follow the common thread of the exhibition, because this section departs from it in large part, aimed as it is to give an account, by contrast, of the profile of the artist (Federica Papi justifies the presence...

Signorelli's interest in Roman antiquities, however, goes far beyond simple quotations or formal filming. It is certainly necessary to reiterate that, with regard to his first stay in Rome, we do not have documents that can provide us with certain testimonies, nor have survived drawings that are able to hand down to us in a more precise way what were the objects of his care. It should also be noted, as the scholar Eloisa Doidero points out in her essay in the catalog, that "the encounter with the...

The story, although also proposed for the exhibition in 2012 and enriched here with the presence of two nineteenth-century portraits of Signorelli, one made by Pietro Pierantoni in 1816 and the other in 1848 by Pietro Tenerani, is quite unique: for centuries was handed down an incorrect portrait of Signorelli, that Vasari attached to the biography of the artist in his Lives, taking a resounding crab. The historian from Arezzo, in fact, spread an image of Vitellozzo Vitelli, made by Signorelli, mistaking...

Review of the exhibition "Luca Signorelli and Rome. Oblivion and rediscovery" in Rome, Capitoline Museums, from July 19 to November 3, 2019. At the end of the 19th century, Maud Cruttwell, author of one of the first extended monographs on Luca Signorelli (Cortona, circa 1450 - 1523), wrote that the great artist from Cortona would be destined to find nothing but bitterness in Rome. Indeed, beyond the youthful exploit of the Sistine Chapel, his fortune did not come to him in the city of the popes, even when he thought that fate was on his side...

Https://www.Pinterest.Ru/pin/779896860450967638/ Castel Del Monte is the monument-symbol of Frederick II and has always fascinated scholars and the public: what is its destination, its history, its meaning? We discover it in this in-depth study...

The itinerary does not open, however, with a 16th-century work: visitors are welcomed by a 14th century Holy Head, attributed orally by Federico Zeri to Giovanni da Rimini, one of the main Giotto figures in northern Italy. It is a fragment of a larger work, and has not yet been thoroughly studied: for the moment, it is preferable to refer to a more general Adriatic area. The small portion of the table is only one of the many discoveries of Devanna. Among the many that stand out, for example, a Nativity...