Baroque art and architecture Research Papers (original) (raw)

Après avoir retracé brièvement l’histoire de la Casa Buonarroti de Florence, maison familiale devenue une sorte de temple domestique à la gloire de Michel-Ange, et présenté Michelangelo Buonarroti il Giovane (1568-1646), le descendant de... more

Après avoir retracé brièvement l’histoire de la Casa Buonarroti de Florence, maison familiale devenue une sorte de temple domestique à la gloire de Michel-Ange, et présenté Michelangelo Buonarroti il Giovane (1568-1646), le descendant de l’artiste qui prit l’initiative de cette transformation, cet article s’intéresse plus particulièrement à la Galleria, pièce d’apparat dont la riche décoration peinte et sculptée dessine une véritable vie en images de l’artiste. Cette intention biographique est surtout évidente dans le cycle des Storie, dix grandes toiles réalisées par les meilleurs peintres florentins de l’époque et mettant en scène Michel-Ange aux côtés des princes et des papes pour lesquels il travailla. Dans ces images, l’exaltation du prestige social de l’artiste va de pair avec une censure qui frappe aussi bien les aspects manuels de son métier que le côté « saturnien » de sa personnalité, jugés sans doute incompatibles avec un idéal s’inspirant du modèle aristocratique. Dans ce contexte, la toile évoquant l’activité poétique de Michel-Ange – due à la collaboration entre Cristofano Allori et Zanobi Rosi et première œuvre connue traitant ce sujet – constitue une exception remarquable : en plus de souligner l’association étroite entre inspiration et mélancolie, en effet, elle emprunte aux Rime de l’artiste les symboles de ce sentiment de vanitas qui hante toute œuvre humaine. Tiraillée entre sociabilité prestigieuse et solitude créatrice, entre indépendance et soumission politique, l’image de Michel-Ange que construit la Galleria fait ainsi apparaître les tensions qui parcourent l’élaboration d’un nouveau modèle intellectuel dans l’Italie du XVIIe siècle.

The study aims to analyse the two static models most widely adopted by Bernardo Antonio Vittone, through the comparison of two churches in Turin: Santa Chiara and San Leonardo. They are double envelope buildings, with central dome,... more

The study aims to analyse the two static models most widely adopted by Bernardo
Antonio Vittone, through the comparison of two churches in Turin: Santa Chiara and San
Leonardo. They are double envelope buildings, with central dome, respectively 10 and 15
meters in diameter, supported by eight pillars and surrounded by a continuous ambulatory.
The static model of Santa Chiara provides the internal pillars that play the main structural role
and cooperative outer envelope: the dome transmits his loads directly to the interior pillars.
The walls and vaults of the lateral chapels have an important role, arranging themselves
around the main dome, like a ring of containment of the horizontal thrusts induced by the
dome itself. Also the choirs, that Vittone places in smaller spaces behind the pillars, play an
important static role: their horizontal structures connect the pillars with the rear wall, which
thus offers its collaboration to contain the horizontal thrusts.
The church of San Leonardo has a reverse operation, with the dome that rests on the
outer walls, while the internal pillars support only a raised gallery.
Through three-dimensional info graphics models, the study shows that the entire
structure is designed as a discretized system, which replaces the traditional structure based
on continuous wall and uniformly distributed loads. The brick vaults are ribbed structure, in
which arches and ribs convey loads on the pillars or in precise high-resistance points of the
external masonry. This feature makes the space open to the light; also reduces the masonry
mass, saving material and reducing construction costs.
The formal representation of structural components agrees with the effective static
operation of buildings: the decoration on the surface of the dome indicates the presence of
ribs. The groins are hollow and open in order to highlight the condition of non-load bearing
element.

This short account traces something of the relationship between baroque and art history from 19thC to present. Like illicit lovers, they found themselves in each other’s arms in nineteenth-century Germany. Baroque seduced the infant... more

This short account traces something of the relationship between baroque and art history from 19thC to present. Like illicit lovers, they found themselves in each other’s arms in nineteenth-century Germany. Baroque seduced the infant academic discipline; their coupling gave birth to ‘style’, and soon, as is often the case with lovers, they were shaped in each other’s image. Even when they later split up, they remained deeply marked by traces of that early encounter. Baroque might, then, be seen as the narcissistic imago of art history or even its Lacanian mirror stage. The discords in that relationship remain potentially productive for art history. Latin American baroque may open useful ways to think European baroque.

La figura di Bernardo Antonio Vittone rappresenta una singolarità nel panorama dei protagonisti dell’architettura italiana, per il suo essere sospesa tra permanenze dello spirito barocco e nuove istanze della cultura illuminista. Di... more

La figura di Bernardo Antonio Vittone rappresenta una singolarità nel panorama dei protagonisti dell’architettura italiana, per il suo essere sospesa tra permanenze dello spirito barocco e nuove istanze della cultura illuminista.
Di entrambe sono state ricercate le ricadute spaziali ed il modo attraverso cui queste sono state rese partecipi della forma architettonica, nel complesso dell’organismo edilizio e nel particolare delle sue parti costituenti: i complessi sistemi voltati; l’introduzione di elementi di transizione tra la forma dell’invaso e quella della cupola, con l’incessante lavoro sul tema del pennacchio, per offrire direzioni multiple ed inattese allo scorrere dello sguardo e della luce; la continuità degli elementi strutturali che, attraverso la messa in rappresentazione e la sublimazione della ineludibile necessità statica, traduce in forma fisica la rispondenza all’utile ed al funzionale.
All’interno della vasta produzione architettonica di Vittone, si è eletto quale oggetto di analisi il tema della pianta centrale, un tipo dal valore altamente simbolico che ha attraversato verticalmente la storia dell’architettura occidentale, e del quale Vittone esplora tutte le possibilità, in una ricerca che si affina progressivamente e conferisce al tema spaziale nuovi e pregnanti significati, densi di riferimenti alla cultura del suo tempo. I ventuno progetti di chiese presi in esame, tutti raffigurati in uno dei due trattati scritti da Vittone, le Istruzioni Diverse, costituiscono un vero saggio sul tema e scandiscono la struttura del volume, in un percorso che isola le questioni progettuali, analizzandole in successione logica, tipo e spazio polare, leggibilità complessiva e gerarchizzazione tra le parti, interrelazione tra modello formale e modello strutturale, per tornare al tema del progetto e del processo ideativo dello spazio centrale ed estrapolarne i principi formali universalmente validi.

B a l d a s s a r e L o n g h e n a A n d r e w H o p k i n s w i t h P h o t o g r a p h y b y A l e s s a n d r a C h e m o l l o a n d V e n e t i a n B a r o q u e A r c h i t e c t u r e y a l e u n i v e r s i t y p r e s s n e w h... more

B a l d a s s a r e L o n g h e n a A n d r e w H o p k i n s w i t h P h o t o g r a p h y b y A l e s s a n d r a C h e m o l l o a n d V e n e t i a n B a r o q u e A r c h i t e c t u r e y a l e u n i v e r s i t y p r e s s n e w h av e n a n d l o n d o n F o r d e b o r a h Numerous friends, colleagues and institutions have contributed to my research over many years as have my family in Melbourne, Australia.

Русское искусство XVIII века : учебник для бакалавриата и магистратуры / Т. В. Ильина, Е. Ю. Станюкович-Денисова. — М. : Издательство Юрайт, 2015. — 611 с. — Серия : Бакалавр и магистр. Академический курс. ISBN 978-5-9916-3527-1 Учебник... more

Русское искусство XVIII века : учебник для бакалавриата и магистратуры / Т. В. Ильина, Е. Ю. Станюкович-Денисова. — М. : Издательство Юрайт, 2015. — 611 с. — Серия : Бакалавр и магистр. Академический курс. ISBN 978-5-9916-3527-1
Учебник освещает важнейшие проблемы изобразительного искусства и архитектуры России XVIII в. Уникальное издание представляет панораму художественной жизни России в период, чрезвычайно важный для понимания корней национального русского искусства перед лицом Запада.
Отличительная особенность учебника — блестящая форма подачи материала, ничуть не затрудняющая его восприятие, и обращение к многочисленным историческим источникам.
Издание дополнено обширным указателем литературы, куда вошло большинство известных публикаций по рассматриваемой проблематике начиная с первых десятилетий XVIII в., и разнообразным иллюстративным материалом, которые представлены в электронном виде (прилагаемый диск «Иллюстративные и библиографические материалы к учебнику “Русское искусство XVIII века”»). Благодаря этому оно может быть использовано не только студентами, получающими высшее образование по специальности «История искусств», «Искусствоведение» и «Культурология», но и преподавателями вузов, а также всеми интересующимися историей отечественной культуры.
Соответствует Федеральному государственному образовательному стандарту высшего образования четвертого поколения.
Для студентов высших учебных заведений, получающих первое или второе высшее образование.

Carlo va il merito di averne ulteriormente articolato la volumetria esterna e impreziosito la facies interna, soprattutto con la realizzazione dell'apparato pittorico e scultoreo del cortile, articolato su due ordini di arcate inquadrate... more

Carlo va il merito di averne ulteriormente articolato la volumetria esterna e impreziosito la facies interna, soprattutto con la realizzazione dell'apparato pittorico e scultoreo del cortile, articolato su due ordini di arcate inquadrate da lesene lisce al piano terra, scanalate al piano superiore. Una ricca ornamentazione "all'antica" riveste gli estradossi degli archi e i pilastrini della balaustra con rilievi raffiguranti elmi, scudi, corazze, faretre e armi da fuoco. La loggia superiore conserva l'originaria copertura "con tempiature di tavole" 10 , cadute in diversi punti, mentre le pareti interne sono ornate da un fregio affrescato con scene di soggetto mitologico e cavalleresco, oggi fortemente deteriorate.

This most recent edition of the bibliography contains almost 21,200 titles in English (64%) and French (36%), with an introductory section on historiography. It deals with every aspect of Italian history and culture from the Late... more

This most recent edition of the bibliography contains almost 21,200 titles in English (64%) and French (36%), with an introductory section on historiography. It deals with every aspect of Italian history and culture from the Late Renaissance to the French Revolution.

No artist active in Upper Silesia in the 18th century has achieved fame comparable to Franz Anton Sebastini (Sebesta), a very prolific painter, author of monumental cycles of frescoes and easel paintings. In the writings of exponents of... more

No artist active in Upper Silesia in the 18th century has achieved fame comparable to Franz Anton Sebastini (Sebesta), a very prolific painter, author of monumental cycles of frescoes and easel paintings. In the writings of exponents of Heimatkunde, this provincial follower of Maulbertsch has been elevated to an "artist of genius" and "Upper Silesian Raphael". The legend of Sebastini, promoted primarily by local scholars in Głogówek (Oberglogau), was an analogy to the myth of Willmann and reflected the awakening of local identity in this part of Silesia. For a long time the legend of Sebastini defined the framework of reference for the study of 18th-century painting in Upper Silesia. Often paintings only superficially similar to his confirmed works were being attributed to Sebastini. Only recently have some detailed studies devoted to the artist's enormous ouevre revealed that "Sebastini" cherished by the locals is in fact a collective hero.

Si ringraziano gli enti, le istituzioni, gli archivi e le fondazioni che con la loro collaborazione e disponibilità hanno contribuito allo sviluppo delle ricerche presenti in questa pubblicazione. Fondazione Trivulzio -Milano Archivio... more

Si ringraziano gli enti, le istituzioni, gli archivi e le fondazioni che con la loro collaborazione e disponibilità hanno contribuito allo sviluppo delle ricerche presenti in questa pubblicazione. Fondazione Trivulzio -Milano Archivio Storico Diocesano di Lodi Archivio Parrocchiale di Codogno Archivio Parrocchiale di San Fiorano Un ringraziamento particolare a: Carlo Pizzamiglio per il prezioso e costante contributo di ricerca e di informazioni sulla storia della chiesa di San Giorgio. Valeria Parenti per la puntuale traduzione dell'epigrafe latina della chiesa di San Giorgio. Emilio Fugazza per il supporto mai mancato al progetto di restauro dei dipinti, di cui è stato iniziale promotore e sostenitore.

Zakończone niedawno prace konserwatorskie prowadzone w koście­ le bożogrobców w Miechowie ukazały na nowo i przypomniały o istnieniu na terenie Małopolski niezwykle interesującego, rokkowego rozwiązania dekoracyjnego z 2. połowy XVIII... more

Zakończone niedawno prace konserwatorskie prowadzone w koście­ le bożogrobców w Miechowie ukazały na nowo i przypomniały o istnieniu na terenie Małopolski niezwykle interesującego, rokkowego rozwiązania dekoracyjnego z 2. połowy XVIII wieku. Dotychczas nnajwiększym zainteresowaniem cieszyła się średniowieczna przeszłość klasztoru oraz, co oczywiste ze wzg!ędu na unikatowy charakter obiektu, renesansowa Kaplica Grobu Bożego z grobem Chrystusa, będąca rzadkim naśladownictwem analogicznego rozwiązania z samej Jerozolimy. Węższemu natomiast gronu specjalistów, rekrutującemu się głównie ze znawców tkanin i technik haftu, bliskie sąniezwykle cenne paramenty i szaty liturgiczne znajdują­c e się w kościelnym skarbcu.

La piazza di Sant’Agostino fu oggetto nel terzo quarto del XVIII secolo di profonde trasformazioni che incisero sul piano politico, economico, sociale e urbano. Il piano di intervento promosso dall’amministrazione ducale determinò una... more

La piazza di Sant’Agostino fu oggetto nel terzo quarto del XVIII secolo di profonde trasformazioni che incisero sul piano politico, economico, sociale e urbano. Il piano di intervento promosso dall’amministrazione ducale determinò una completa rifunzionalizzazione: da spazio legato essenzialmente al ‘pantheon dinastico’ estense e alla presenza di un insediamento religioso, ad area destinata al rinnovamento del sistema assistenziale dello Stato, secondo un piano indubbiamente indirizzato dagli stimoli presenti negli scritti di Ludovico Antonio Muratori . Nel 1753 ebbe luogo l’erezione dell’ospedale degli Infermi e degli Incurabili, quindi la costruzione dell’Albergo dei Poveri (1764), in questo secondo caso con il reimpiego della fabbrica dell’arsenale militare, messa in opera un decennio prima. Il potenziale innovativo di questo intervento, pur rispondente a logiche e principi di secolarizzazione dell’assistenza ai bisognosi e ai malati di valenza europea, fu prontamente recepito dall’opinione pubblica internazionale che non mancò di riconoscere, per la sua ideazione e attuazione, il diretto coinvolgimento di Francesco III d’Este, duca di Modena e Reggio. Il contributo intende ripercorre le tappe di questo rilevante piano di riqualificazione civico e analizzare l’effettiva portata del ruolo decisionale del penultimo principe estense che l’amministrazione cittadina volle celebrare in questo stesso spazio con l’erezione nel 1774 di un monumento equestre che sottolineava la vocazione dell’area come spazio di celebrazione dinastica.

This article examines the history of the construction of St. Barbara’s Church in Idrija, initiated by the then mine manager due to the fact that the only other church in the settlement (the Church of St. Trinity) was Protestant. The... more

Dwie rzeczy przygotowują w Polsce tak doskonale jak nigdzie: jedna to chleb, a druga-kawa. [...] Kawa jest nadzwyczaj klarowna i mocna, śmietanka bardzo tłusta; dlatego też nie pije się więcej jak filiżankę. Takie spostrzeżenia zawarł... more

Dwie rzeczy przygotowują w Polsce tak doskonale jak nigdzie: jedna to chleb, a druga-kawa. [...] Kawa jest nadzwyczaj klarowna i mocna, śmietanka bardzo tłusta; dlatego też nie pije się więcej jak filiżankę. Takie spostrzeżenia zawarł przebywający w Polsce w epoce stanisławowskiej Johann Joseph Kausch w Wizerunku narodu polskiego (Nachrichten über Polen, Graz 1793) 1. Bez wątpienia na taką ocenę złożyła się wprowadzona za panowania Augusta II, a z końcem XVIII wieku, do pewnego stopnia już upowszechniona tradycja parzenia i picia kawy. Jak konstatuje Jędrzej Kitowicz, kawa od ludzi majętnych przeszła nareszcie do całego pospólstwa, podniosły się po miastach kafehauzy 2. Kafehauz podniósł się również w Siedlcach, jednak nie posiadamy informacji, kiedy to nastąpiło po raz pierwszy. W przechowywanych w Bibliotece Czartoryskich rachunkach już w drugiej połowie lat 70. XVIII wieku pojawiają się zapisy na prace remontowe tak nazwanego obiektu, wybudowanego jeszcze w konstrukcji drewnianej 3. W 1785 roku ówczesna właścicielka Siedlec-hetmanowa Wielkiego Księstwa Litewskiego, Aleksandra Ogińska-przystąpiła do budowy nowego, murowanego Kaffehauzu. Fundacja ta nie doczekała się dotąd osobnego omówienia 4 , a sama tematyka obejmująca kształtowanie się

Book review of H. A. Meek, Guarino Guarini and His Architecture

I. Benincampi, Opere di «pubblica felicità» a Fano nel Settecento. Vanvitelli, Buonamici e la torre comunale, in M. Ricci (a cura di), L’incostante provincia, Officina Libraria, Milano 2019, pp. 177-194. ISBN: 978-88-3367-069-0 ABSTRACT:... more

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Riksäpplet deals with a shipwreck that has a neglected position in the grand narrative of the history of the Swedish navy. The story of its destiny and the missing accounts in scholarly and popular works in history says something about... more

Riksäpplet deals with a shipwreck that has a neglected position in the grand narrative of the history of the Swedish navy. The story of its destiny and the missing accounts in scholarly and popular works in history says something about heritage processes within Swedish maritime archaeology.
On 5 June 1676 Riksäpplet came loose and adrift from its moorings outside Dalarö Sea fortress. The hull struck a rock and sank. The loss was considered both ignominious and embarrassing and the ship’s fate has been overlooked in all major history books. The rock onto which Riksäpplet sank was named ‘Äpplet’ after the incident, and the wreck itself has become an integrated component of the underwater seascape. As a consequence the wreckage has never enjoyed a proper ‘discovery’ or undergone documentation under the sensational forms that many other famous shipwrecks have, even though they have sunk in more inconvenient places.
In Eriksson’s study the official handling of Riksäpplet’s wrecked body is compared to the more wellknown ships Kronan and Svärdet, which both sank during battle only days before. Eriksson draws on different motifs and driving forces behind the study of naval wrecks from the period from his comparison, and the differences are discussed. Riksäpplet has never achieved a prominent position with the romanticising works of history that honour the national heroes and their deeds which are associated with this era of the Swedish Empire. The first half of the book thus sets out to unpack the ideas that have led to the relative disinterest in Riksäpplet in comparison to other shipwrecks.
The second half of the book sets out to analyse Riksäpplet from a specific archaeological perspective, with focus on the ship as material culture. Eriksson’s departure is to explore the relatively low budget fieldwork that has been done at the wreck site. He the combines those facts with a survey of the artefacts recovered from the wreck, of which all are kept in museum archives and private collections. This, in addition to his studies of preserved written correspondence concerning the construction of the ship, has brought new insights into seventeenth-century shipbuilding and how the balance between the global political superpowers affected this trade. In this context Riksäpplet has great potential to show how military alliances are materialized through ships’ architecture.

Claude Perrault defined stereotomy as “the art of using the weight of stone against itself so as to hold it up thanks to the very weight that pulls it down”. It is indeed a sophisticated ancient technique highly integrated with... more

Claude Perrault defined stereotomy as “the art of using the weight of stone against itself so as to hold it up thanks to the very weight that pulls it down”. It is indeed a sophisticated ancient technique
highly integrated with knowledge of both practical and erudite geometry as well as mathematics. With knowledge being a defining factor of stereotomy, a few questions are raised as to its democratic
distribution and accessibility as well as the social groups that have controlled it in a chronological context. Taking to consideration the emergence of Géométrie descriptive by Gaspard Monge shortly
before 1800, one would wonder about the very existence of complex stereotomic buildings dating before the 18th century, one such example being the Chateau d’Anet, thus questioning the historical factors behind its development, geographical movement and the intentions of the people being in possession of such knowledge.