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Books by maria bergamo
ISBN: 978-88-6512-930-2, 2023
Tre studi di metodo sulla storia, l’arte, la cultura visuale e materiale della fabbrica marciana ... more Tre studi di metodo sulla storia, l’arte, la cultura visuale e materiale della fabbrica marciana tra Medioevo e primo Rinascimento. Tre ricerche condotte negli archivi della Basilica e dei Procuratori, per ricomporre frammenti editi e inediti.
1. La stella di Sant’Apollonia: mitologia critica e analisi storico-artistica
2. La sesta cupola di San Marco: la cappella di San Teodoro nelle raffigurazioni pittoriche; 3. Maestri, artisti e proti in un cantiere quattrocentesco: Giorgio Spavento e le vie della cultura artistica.
Cosa ci fanno Alessandro Magno e tre Cavalieri con falco sotto le cupole della Basilica di San Ma... more Cosa ci fanno Alessandro Magno e tre Cavalieri con falco sotto le cupole della Basilica di San Marco, sopra il sacello dell’Evangelista, tra gli angeli e i santi della Pala d’oro? Un intenso viaggio nella storia delle immagini per ricostruire il significato di queste placchette “profane” poste nella cornice inferiore della Pala d’Oro e nel contesto della Venezia del Doge Andrea Dandolo.
What are Alexander the Great and three Knights with a falcon doing under the domes of St. Mark's Basilica, above the Evangelist's sacellum, among the Angels and Saints of the Golden Pala? An intense journey through the history of images to reconstruct the meaning of these 'profane' enamel plaques placed in the lower frame of the Golden Pala and in the context of the Venice of Doge Andrea Dandolo.
Papers by maria bergamo
La Rivista di Engramma, 186, 2021
Ikon. Journal of iconographic studies, 2022
Maria Bergamo Between Apophatic and Epiphanic: Reflections on the Iconographer and the Artist, f... more Maria Bergamo
Between Apophatic and Epiphanic: Reflections on the Iconographer and the Artist, from Cretan madonneri to Russian Mystics
The reflections presented here refer to the painting Martyrium of Saint Paraskevi by Michaìl Damaskinòs, dated 1605 and kept at the Kanellopuolos Museum in Athens. In the midst of a vibrant crowd created in a clear mannerist matrix, the figure of the saint stands out as a perfect icon. Her hieratic face against the two-dimensional halo creates an interruption, and opens a metahistorical and metaphysical gash: she is a “dissimilar figure” which, as Dionysius the Areopagite says “much more than those for homogeneity of nature, lifts our minds up”, and raises questions. In the first part of the text, an attempt is made to contextualize the painting by placing it in relation to the production of the madonneri workshops on Crete, and producing the relative artistic historiography. As a subject of a great critical debate on stylistic “hybridism”, on the division between ‘Greek’ and ‘Latin’ manner, this work needs to be looked at in a different way, shifting the judgment from the merely ‘artistic’ level towards a more complex hermeneutics, which takes into account the ontological status of the image itself. In fact, the form does not disregard the content, and this dialectic, entirely internal to the icon, is all the more interesting as it is consubstantial with the radically antinomian character of the Christian faith in the Incarnation. In the central part, the text focuses on the different dimensions in which the Christian sacred image is projected from its origins: iconoclasm, the search for orthodoxy and the continuous reflections of the fathers and theologians are born from the intrinsic theophanic and
transfiguring power of art. This is the link that leads to the questioning of the apophatic act, of retraction, of the author and of his own personality. The reference to the theoretical writings of important modern artists, and the comparison with mystical literature, enable us to understand how obedience to the traditional corpus becomes for the author a real investiture, the responsibility of guaranteeing the epiphanic value of art: it makes itself invisible so that the Invisible becomes visible. This ambiguous role, between norm and freedom, creation and subtraction, also challenge the contemporaneity which generates the last part of this essay.
La Rivista di Engramma, 2021
San Marco, la Basilica di Venezia. Arte, storia, conservazione, 2019
La chiesa di San Pietro di Castello e la nascita del patriarcato di Venezia, 2018
in “Ebbi fame e mi deste da mangiare”. Luoghi, principi e funzioni della charitas veneziana, 1260-1806, 2018
IKON. Journal of Iconographic Studies, 2019
La Rivista di Engramma, 2019
La Rivista di Engramma, 2015
Annali di Architettura, 2013
Strategie della memoria. Architettura e paesaggi di guerra, 2014
La Rivista di Engramma, Mar 2011
La Rivista di Engramma, 2018
ISBN: 978-88-6512-930-2, 2023
Tre studi di metodo sulla storia, l’arte, la cultura visuale e materiale della fabbrica marciana ... more Tre studi di metodo sulla storia, l’arte, la cultura visuale e materiale della fabbrica marciana tra Medioevo e primo Rinascimento. Tre ricerche condotte negli archivi della Basilica e dei Procuratori, per ricomporre frammenti editi e inediti.
1. La stella di Sant’Apollonia: mitologia critica e analisi storico-artistica
2. La sesta cupola di San Marco: la cappella di San Teodoro nelle raffigurazioni pittoriche; 3. Maestri, artisti e proti in un cantiere quattrocentesco: Giorgio Spavento e le vie della cultura artistica.
Cosa ci fanno Alessandro Magno e tre Cavalieri con falco sotto le cupole della Basilica di San Ma... more Cosa ci fanno Alessandro Magno e tre Cavalieri con falco sotto le cupole della Basilica di San Marco, sopra il sacello dell’Evangelista, tra gli angeli e i santi della Pala d’oro? Un intenso viaggio nella storia delle immagini per ricostruire il significato di queste placchette “profane” poste nella cornice inferiore della Pala d’Oro e nel contesto della Venezia del Doge Andrea Dandolo.
What are Alexander the Great and three Knights with a falcon doing under the domes of St. Mark's Basilica, above the Evangelist's sacellum, among the Angels and Saints of the Golden Pala? An intense journey through the history of images to reconstruct the meaning of these 'profane' enamel plaques placed in the lower frame of the Golden Pala and in the context of the Venice of Doge Andrea Dandolo.
La Rivista di Engramma, 186, 2021
Ikon. Journal of iconographic studies, 2022
Maria Bergamo Between Apophatic and Epiphanic: Reflections on the Iconographer and the Artist, f... more Maria Bergamo
Between Apophatic and Epiphanic: Reflections on the Iconographer and the Artist, from Cretan madonneri to Russian Mystics
The reflections presented here refer to the painting Martyrium of Saint Paraskevi by Michaìl Damaskinòs, dated 1605 and kept at the Kanellopuolos Museum in Athens. In the midst of a vibrant crowd created in a clear mannerist matrix, the figure of the saint stands out as a perfect icon. Her hieratic face against the two-dimensional halo creates an interruption, and opens a metahistorical and metaphysical gash: she is a “dissimilar figure” which, as Dionysius the Areopagite says “much more than those for homogeneity of nature, lifts our minds up”, and raises questions. In the first part of the text, an attempt is made to contextualize the painting by placing it in relation to the production of the madonneri workshops on Crete, and producing the relative artistic historiography. As a subject of a great critical debate on stylistic “hybridism”, on the division between ‘Greek’ and ‘Latin’ manner, this work needs to be looked at in a different way, shifting the judgment from the merely ‘artistic’ level towards a more complex hermeneutics, which takes into account the ontological status of the image itself. In fact, the form does not disregard the content, and this dialectic, entirely internal to the icon, is all the more interesting as it is consubstantial with the radically antinomian character of the Christian faith in the Incarnation. In the central part, the text focuses on the different dimensions in which the Christian sacred image is projected from its origins: iconoclasm, the search for orthodoxy and the continuous reflections of the fathers and theologians are born from the intrinsic theophanic and
transfiguring power of art. This is the link that leads to the questioning of the apophatic act, of retraction, of the author and of his own personality. The reference to the theoretical writings of important modern artists, and the comparison with mystical literature, enable us to understand how obedience to the traditional corpus becomes for the author a real investiture, the responsibility of guaranteeing the epiphanic value of art: it makes itself invisible so that the Invisible becomes visible. This ambiguous role, between norm and freedom, creation and subtraction, also challenge the contemporaneity which generates the last part of this essay.
La Rivista di Engramma, 2021
San Marco, la Basilica di Venezia. Arte, storia, conservazione, 2019
La chiesa di San Pietro di Castello e la nascita del patriarcato di Venezia, 2018
in “Ebbi fame e mi deste da mangiare”. Luoghi, principi e funzioni della charitas veneziana, 1260-1806, 2018
IKON. Journal of Iconographic Studies, 2019
La Rivista di Engramma, 2019
La Rivista di Engramma, 2015
Annali di Architettura, 2013
Strategie della memoria. Architettura e paesaggi di guerra, 2014
La Rivista di Engramma, Mar 2011
La Rivista di Engramma, 2018
From Cosmos to Man and back again. A reading of Atlas Mnemosyne, Panel B The A, B, and C Panels t... more From Cosmos to Man and back again. A reading of Atlas Mnemosyne, Panel B The A, B, and C Panels that open Aby Warburg\u2019s Mnemosyne Atlas define the \u201corientation\u201d and coordinates (geographical, historical, cultural) of the Atlas as a whole, and set the grid for the analysis of the manifestations of the Classical tradition. While the first panel, Panel A, presents the three different \u201cmaps\u201d of reality (cosmological, geographical, genealogical), Panel B focuses on one of the implicit themes of Panel A: the relationship between macro and microcosm and the consequences of the system that this relationship comes to design. The images of this panel seem to all present the human body as a central figure. The need to represent and relate the human body to the cosmos is, in fact, expressed in this series of images that relate to the influences of the cosmos on man, establishing a correspondence between their respective systems. In the figures picked up on the panel, we...
This reasoned survey of melancholy images contained in the Atlas is followed by an in-depth analy... more This reasoned survey of melancholy images contained in the Atlas is followed by an in-depth analysis on the theme of \u201cThree forms of melancholy: an interpretation, from the Bilderatlas and other images\u201d. In fact, the figures with the hand-to-face posture that you encounter in the Atlas may be divided into three groups that we have distinguished in order to map out a diagram of the analysis: Melancholy I. ex acedia; Melancholy II. ex otio; Melancholy III ex maerore. The precariousness and permeability among these typings are highlighted by the overlay of the three inclinations 12 sloth, thought, pain \u2013 that are present in almost all melancholic figures, especially in figures that do not allow themselves to be framed in one of the predefined categories. The sequence of images, through the highlighting of kindred relationships and of \u2018nerve connections\u2019, then offers possible further articulations \u2013 further overlays \u2013 of the tripartite scheme. The exam...
La Rivista di Engramma, Oct 2010
ANGELI CORPI VISIONI arte filosofia letteratura giornata di studi a cura di Maria Bergamo 28.9.2... more ANGELI CORPI VISIONI arte filosofia letteratura
giornata di studi a cura di Maria Bergamo
28.9.22
Iuav | Badoer centro studi classicA ore 14
ANGELI CORPI VISIONI arte filosofia letteratura Giornata di studi a cura di Maria Bergamo interve... more ANGELI CORPI VISIONI arte filosofia letteratura
Giornata di studi a cura di Maria Bergamo
intervengono: Giovanni Careri, Monica Centanni, Enrico Maria Dal Pozzolo, Giovanni Fara, Delphine Lauritzen, Massimo Stella, Piermario Vescovo
Iuav | Badoer centro studi classicA ore 15
![Research paper thumbnail of CONFERENCES | Microcosmi Macrocosmi. Lo spazio nell’arte medievale [Venezia, 24 February - 31 March 2022, h. 17]](https://attachments.academia-assets.com/82153323/thumbnails/1.jpg)
](Ciclo di conferenze | A cura di Maria Bergamo e Monica Centanni. 24 febbraio Stefania Gerevini U... more Ciclo di conferenze | A cura di Maria Bergamo e Monica Centanni.
24 febbraio Stefania Gerevini Università Bocconi, Milano;
3 marzo Massimo Carboni Accademia di Belle Arti, Roma;
24 marzo Victoria Cirlot Universitat Pompeu Fabra, Barcelona;
31 marzo Marina Vicelja Università di Rijeka.
HProtezione e ricostruzione di opere d'arte e monumenti con Hartmut Frank 19.10.2015
La Rivista di Engramma, 2022
La Rivista di Engramma, 2021
convegno internazionale per Chiese di Venezia. Nuove prospettive di ricerca 11
Usi e rappresentazione della materia organica tra arte e antropologia, nel Medioevo e nella conte... more Usi e rappresentazione della materia organica tra arte e antropologia, nel Medioevo e nella contemporaneità
convegno internaizonale
M. Bergamo, A. Pedersoli, Il Medioevo di Marco Polo. Storia, mito, fiction in MEDIEVALISMI AUTUNN... more M. Bergamo, A. Pedersoli, Il Medioevo di Marco Polo. Storia, mito, fiction in MEDIEVALISMI AUTUNNALI. Il Medioevo nella Popular Culture (Convegno internazionale a cura dell' Università di Bologna, Centro Internazionale di Studi Umanistici “Umberto Eco", Dipartimento delle Arti, Dipartimento di Storia Culture Civiltà, Dipartimento di Filologia Classica e Italianistica, Dipartimento di Lingue, Letterature e Culture Moderne
La Rivista di Engramma, 2022
Editoriale di Engramma n. 129 (settembre 2015), a cura di Maria Bergamo, Monica Centanni, Silvia ... more Editoriale di Engramma n. 129 (settembre 2015), a cura di Maria Bergamo, Monica Centanni, Silvia De Laude
La Rivista di Engramma, 174, 2019