Daniele D'Anza | Università degli Studi di Trieste (original) (raw)
Papers by Daniele D'Anza
Sebbene non esistano testimonianze di un suo viaggio in Italia, intorno al 1596, le sue opere riv... more Sebbene non esistano testimonianze di un suo viaggio in Italia, intorno al 1596, le sue opere rivelano un soggiorno a Venezia, città in cui dovette frequentare la bottega di Rottenhammer. Nel 1603 si stabilì ad Augusta dove ricoprì un ruolo di primo piano nella vita artistica della città. Fu celebre come miniatore e disegnatore, purtroppo è andato perduto il libro genealogico che dipinse per Filippo II di Pomerania. Per la realizzazione di questi eleganti volumi si avvalse della collaborazione di numerosi artisti, fra i quali i più noti sono Paul Brill e Jan Brueghel il
The author publishes a painting by Augusto Tominz with Leonardo painting the Gioconda, exhibited ... more The author publishes a painting by Augusto Tominz with Leonardo painting the Gioconda, exhibited in Triest in 1846. This important artwork, property of a family from Trieste, has been nowhere to be found until now. A similar drawing by the same artist is in Civici Musei di Storia ed Arte of Trieste. This drawing was appreciated as a preparatory work of the painting, but the discovery of this artwork has allowed us to confirm some differences beetwen the drawing and the painting. The author considers the possibility of the existence of two different paintings, and only one is known or, in an alternative perspective, the drawing in the Museum was another version of this lucky composition that the artist never painted. Furthermore, archive research better showed the period of his training in the Venetian Academy from 1841 to 1842.
Atti dei Civici Musei di Storia ed Arte di Trieste, 2006
Nati come veri e propri souvenirs per turisti, soprattutto stranieri, i piccoli dipinti di Carlo ... more Nati come veri e propri souvenirs per turisti, soprattutto stranieri, i piccoli dipinti di Carlo Grubacs adempiono ancora oggi alla loro funzione originaria, suscitando notevole interesse a livello collezionistico europeo. A questo, si è affiancato recentemente quello della critica, che ha ridefinito la sua vicenda biografica col supporto di emergenze documentarie.
AFAT, 2006
In ambito collezionistico europeo emergono con sempre maggiore frequenza dipinti riferiti a Josep... more In ambito collezionistico europeo emergono con sempre maggiore frequenza dipinti riferiti a Joseph Heintz il giovane, che, alla luce degli studi più recenti, assumono un'importanza non irrilevante nella definizione della sua cosiddetta produzione festiva. Di quella parte della sua variegata attività volta a cogliere gli aspetti più esteriori della società veneziana, espressi in massima misura durante importanti eventi celebrativi o nelle feste popolari.
AFAT, 2007
The author presents a witchcraft painting by the German painter Joseph Heintz the Younger active ... more The author presents a witchcraft painting by the German painter Joseph Heintz the Younger active in Venice in the 17th century
TriesteAntiqua, 2016
The author explores the relationship between the 17th century Venetian alchemical circles and the... more The author explores the relationship between the 17th century Venetian alchemical circles and the paintings of some painters in the city, such as Joseph Heintz the Younger, with a curiosity about the use of the iconography of a work by Caravaggio
Canaletto & Venezia, 2019
Paintings and drawings by Giandomenico Tiepolo with scenes of Venetian life and stories by Pulcin... more Paintings and drawings by Giandomenico Tiepolo with scenes of Venetian life and stories by Pulcinella
The author publishes a painting by Augusto Tominz with Leonardo painting the Gioconda, exhibited ... more The author publishes a painting by Augusto Tominz with Leonardo painting the Gioconda, exhibited in Triest in 1846. This important artwork, property of a family from Trieste, has been nowhere to be found until now. A similar drawing by the same artist is in Civici Musei di Storia ed Arte of Trieste. This drawing was appreciated as a preparatory work of the painting, but the discovery of this artwork has allowed us to confirm some differences beetwen the drawing and the painting. The author considers the possibility of the existence of two different paintings, and only one is known or, in an alternative perspective, the drawing in the Museum was another version of this lucky composition that the artist never painted. Furthermore, archive research better showed the period of his training in the Venetian Academy from 1841 to 1842.
A rich bourgeois family of Trieste called The Grioni, owned for approximately 13 years, from 1925... more A rich bourgeois family of Trieste called The Grioni, owned for approximately 13 years, from 1925 to 1938, an oil painting on canvas by Caravaggio. This painting was St. Francis comforted by the angel after receiving the stigmata, today at the Wadsworth Atheneum in Hartford, Connecticut (USA). The encounter with the heirs of that family, in addition the discovery of some documents that had been kept in the Soprintendenza per i Beni Culturali of Florence and Trieste, allowed the author to gather some useful information regarding the most recent definition collected about the history of this painting. The painting was purchased by Guido Grioni in Alexandria, Egypt, by a Muslim man who had inherited it from his brother in law, an Arab Coptic. The painting had previously been under the property of a British officer in Malta.
In the second part, as a result of the discovery of these documents, the autor reveals the embarrassing disinterest of Italian institutions towards this painting that some critical, in those years, believed copy of a lost original. The critical difference, that has vitiated the possible acquisition of the painting by the Italian State, was dissolved in 1951 during the great exhibition of Caravaggio in Milan, where the painting was presented as an authentic work. At that time, however, the painting was now already expatriate. Noting the lack of interesting of Italian institutions and with their permission signed by the Minister of National Education, the painting was sold in USA doubling the amount initially requested in Italy.
Canaletto: Venezia ei suoi splendori, Jan 1, 2008
Canaletto: Venezia ei suoi splendori, Jan 1, 2008
Sebbene non esistano testimonianze di un suo viaggio in Italia, intorno al 1596, le sue opere riv... more Sebbene non esistano testimonianze di un suo viaggio in Italia, intorno al 1596, le sue opere rivelano un soggiorno a Venezia, città in cui dovette frequentare la bottega di Rottenhammer. Nel 1603 si stabilì ad Augusta dove ricoprì un ruolo di primo piano nella vita artistica della città. Fu celebre come miniatore e disegnatore, purtroppo è andato perduto il libro genealogico che dipinse per Filippo II di Pomerania. Per la realizzazione di questi eleganti volumi si avvalse della collaborazione di numerosi artisti, fra i quali i più noti sono Paul Brill e Jan Brueghel il
The author publishes a painting by Augusto Tominz with Leonardo painting the Gioconda, exhibited ... more The author publishes a painting by Augusto Tominz with Leonardo painting the Gioconda, exhibited in Triest in 1846. This important artwork, property of a family from Trieste, has been nowhere to be found until now. A similar drawing by the same artist is in Civici Musei di Storia ed Arte of Trieste. This drawing was appreciated as a preparatory work of the painting, but the discovery of this artwork has allowed us to confirm some differences beetwen the drawing and the painting. The author considers the possibility of the existence of two different paintings, and only one is known or, in an alternative perspective, the drawing in the Museum was another version of this lucky composition that the artist never painted. Furthermore, archive research better showed the period of his training in the Venetian Academy from 1841 to 1842.
Atti dei Civici Musei di Storia ed Arte di Trieste, 2006
Nati come veri e propri souvenirs per turisti, soprattutto stranieri, i piccoli dipinti di Carlo ... more Nati come veri e propri souvenirs per turisti, soprattutto stranieri, i piccoli dipinti di Carlo Grubacs adempiono ancora oggi alla loro funzione originaria, suscitando notevole interesse a livello collezionistico europeo. A questo, si è affiancato recentemente quello della critica, che ha ridefinito la sua vicenda biografica col supporto di emergenze documentarie.
AFAT, 2006
In ambito collezionistico europeo emergono con sempre maggiore frequenza dipinti riferiti a Josep... more In ambito collezionistico europeo emergono con sempre maggiore frequenza dipinti riferiti a Joseph Heintz il giovane, che, alla luce degli studi più recenti, assumono un'importanza non irrilevante nella definizione della sua cosiddetta produzione festiva. Di quella parte della sua variegata attività volta a cogliere gli aspetti più esteriori della società veneziana, espressi in massima misura durante importanti eventi celebrativi o nelle feste popolari.
AFAT, 2007
The author presents a witchcraft painting by the German painter Joseph Heintz the Younger active ... more The author presents a witchcraft painting by the German painter Joseph Heintz the Younger active in Venice in the 17th century
TriesteAntiqua, 2016
The author explores the relationship between the 17th century Venetian alchemical circles and the... more The author explores the relationship between the 17th century Venetian alchemical circles and the paintings of some painters in the city, such as Joseph Heintz the Younger, with a curiosity about the use of the iconography of a work by Caravaggio
Canaletto & Venezia, 2019
Paintings and drawings by Giandomenico Tiepolo with scenes of Venetian life and stories by Pulcin... more Paintings and drawings by Giandomenico Tiepolo with scenes of Venetian life and stories by Pulcinella
The author publishes a painting by Augusto Tominz with Leonardo painting the Gioconda, exhibited ... more The author publishes a painting by Augusto Tominz with Leonardo painting the Gioconda, exhibited in Triest in 1846. This important artwork, property of a family from Trieste, has been nowhere to be found until now. A similar drawing by the same artist is in Civici Musei di Storia ed Arte of Trieste. This drawing was appreciated as a preparatory work of the painting, but the discovery of this artwork has allowed us to confirm some differences beetwen the drawing and the painting. The author considers the possibility of the existence of two different paintings, and only one is known or, in an alternative perspective, the drawing in the Museum was another version of this lucky composition that the artist never painted. Furthermore, archive research better showed the period of his training in the Venetian Academy from 1841 to 1842.
A rich bourgeois family of Trieste called The Grioni, owned for approximately 13 years, from 1925... more A rich bourgeois family of Trieste called The Grioni, owned for approximately 13 years, from 1925 to 1938, an oil painting on canvas by Caravaggio. This painting was St. Francis comforted by the angel after receiving the stigmata, today at the Wadsworth Atheneum in Hartford, Connecticut (USA). The encounter with the heirs of that family, in addition the discovery of some documents that had been kept in the Soprintendenza per i Beni Culturali of Florence and Trieste, allowed the author to gather some useful information regarding the most recent definition collected about the history of this painting. The painting was purchased by Guido Grioni in Alexandria, Egypt, by a Muslim man who had inherited it from his brother in law, an Arab Coptic. The painting had previously been under the property of a British officer in Malta.
In the second part, as a result of the discovery of these documents, the autor reveals the embarrassing disinterest of Italian institutions towards this painting that some critical, in those years, believed copy of a lost original. The critical difference, that has vitiated the possible acquisition of the painting by the Italian State, was dissolved in 1951 during the great exhibition of Caravaggio in Milan, where the painting was presented as an authentic work. At that time, however, the painting was now already expatriate. Noting the lack of interesting of Italian institutions and with their permission signed by the Minister of National Education, the painting was sold in USA doubling the amount initially requested in Italy.
Canaletto: Venezia ei suoi splendori, Jan 1, 2008
Canaletto: Venezia ei suoi splendori, Jan 1, 2008