Firenze e l’Islam. Arte e collezionismo dai Medici al Novecento (original) (raw)
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V. Colonna, La formazione delle collezioni d'arte islamica a Roma (XVII-XIX secolo).
The formation of the Islamic collections in Rome through a complex process closely linked to the intervention of the Papacy, the religious orders or personalities related to the environment of Cardinals, whose role will be crucial in conveying the knowledge to Rome and the dialectic of relations with the Islamic East. The establishment of the first documented collections is due to the seventeenth century by missionary orders (especially the Jesuits), with the consequent formation of the Kircher Museum (1650), the first in Rome to bring together a group of Islamic antiquities. To achieve a real collector circuit of these objects still have to wait for the post-Enlightenment Modern Age, where there will be more aware of an interest for Oriental art. After a few brief references to the Middle Ages, our interest will focus on the early modern period and then the period when, from 700, the cultural approach of the West with the Islamic world takes a stronger characterization. The European expansion in the Near and Middle East made it possible for a transposition of the reference values, thus far focused on the enthusiasm for classical Greek and Latin, widening the admiration of all that was perceived as "East", namely "different". Consequently, the interest in material culture "other" will make available the artifact actually collecting inside the Islamic West.
Arte islamica e museo nel XXI secolo
Nuova Museologia , 2019
The article proposes a critical discussion of some of the main issues connected with displaying Islamic art in the XXI century, focusing on the historiography, the characters of the objects and of the collections, and the way it is presented in western museums. It puts attention on the influence of “orientalism” as understood by Said, in interpreting, collecting and displaying islamic art during the centuries. It raises the question whether the collections of islamic art in western museums can be considered as expressions of islamic civilization, rather than of the taste of western collectors and of the “modern orientalism”, and whether they can be used to promote an effective understanding of the islamic world. Keywords: museology, islamic Art, orientalism.
Arte Islamica e Mediterraneo Castelli, musica, maioliche
Arte Islamica e Mediterraneo. Castelli, musica, maioliche, 2007
A small compendium about the architecture of castles, the evolution of popular songs and the influences in ceramic decorations in Islamic art, around the Mediterranean area, with the connections to other cultures of the same coasts and lands.
Il volume è scaricabile all'indirizzo: https://fupress.com/catalogo/donum/4352\. The essays collected in Donum discuss different aspects of Florentine art from the 16th to the 18th century, such as sculptures displayed in gardens and palaces, the collecting preferences and strategies of the Medici family and those of the Tuscan aristocracy, drawings and paintings by local and foreign artists, and baroque wall decoration: these topics are analyzed in light of newly discovered artworks or previously unpublished documents. The common thread binding the papers together is the research method based on the study of archival sources and historical contexts, and on the connoisseurship. The volume gathers art historians who had been involved in the conference held in 2016 in honor of Mara Visonà as well as other scholars educated at the University of Florence. Le sculture celate o esibite con sfarzo nei giardini e nei palazzi, le scelte di gusto e le strategie collezionistiche della dinastia granducale e delle famiglie nobiliari, la fiorente produzione grafica e pittorica degli artisti toscani e forestieri, così come i temi della grande decorazione murale sono alcuni degli aspetti trattati in Donum, raccolta di saggi che offre al lettore riflessioni e notizie inedite sulle opere e sui contesti dell’arte fiorentina tra Cinque e Settecento. Filo conduttore entro tale vasto panorama di studi è il metodo, caratterizzato dall’attento studio della documentazione archivistica e dei contesti di riferimento, e dall’esercizio della connoisseurship. Il volume raccoglie contributi di studiosi formatisi presso l’Università di Firenze e di storici dell’arte che hanno partecipato al pomeriggio di studi in onore di Mara Visonà, organizzato nel 2016.
Firenze e il fascino delle icone musive bizantine tra devozione e cultura artistica
Arte medievale, 2023
Two mosaic icons traveled from Constantinople to Florence during the Renaissance: the diptych of the Twelve Feasts, now in the Opera del Duomo Museum, and the Pantokrator in the Bargello National Museum. The article investigates the new modes of fruition and the functions ascribed to the two icons, originally intended for private worship, following the separation from the original context and their arrival in the West – in this case, Florence – between the 14th and 15th centuries. Purchased by the Arte di Calimala in 1394 for the Baptistery of St. John, the micromosaic diptych took on an unprecedented and central role in the articulate liturgies of the Florentine patronal feasts, elevated on the Silver Altar together with the most precious relics of the treasury. The Pantokrator, a highly esteemed piece in Lorenzo de’ Medici’s collection, thanks to its technique so evocative of Antiquity, became a source of inspiration for Florentine artists engaged in the mosaic revival of the late 15th century.