Le présent travail étudie la manière dont la théorie artistique et la peinture italiennes de l' « automne de la Renaissance », chacune avec ses modalités propres, ont pensé le laid et l'ont progressivement rapproché du beau. La première partie est ainsi consacrée à la traditionnelle conception de la laideur comme simple contraire de la beauté, c'est-à-dire comme dysharmonie formelle. La seconde partie porte sur le passage de cette antithèse conceptuelle entre le beau et laid à leur articulation paradoxale, où la laideur se voit conférer des qualités généralement attribuées à la beauté. Plusieurs "belles laideurs" sont alors envisagées : celle des peintures sacrées « cruelles et horribles » (Gabriele Paleotti), qui tirent leur beauté de leur conformité aux Écritures, donc de leur vérité ; celle des figures dites "siléniques", dont les dehors repoussants laissent transparaître une bonté d'âme ; celle des "caprices" artistiques qui, sous une apparente difformité, recèlent une signification manifestant l‟ingéniosité de leur créateur ; ou encore celle relevant du paradoxe aristotélicien de la représentation, selon lequel des laideurs correctement imitées suscitent du plaisir chez l'observateur. Dans le cadre de l'esthétique baroque, la "belle laideur" devient un oxymore, où l‟horreur du contenu de la mimésis est consciemment exploitée afin de souligner, par contraste, le pouvoir transfigurateur de l'artiste. La théorisation de la caricature au cours du XVIIe siècle, évoquée en conclusion, viendra suggérer une coïncidence de la beauté et de la laideur qui, du moins dans leurs formes idéales, semblent en réalité constituer les deux faces d'une même médaille. / This research analyses the way Italian paintings and artistic theory from the late Renaissance conceptualised ugliness, and gradually drew it closer to beauty. The first part of this dissertation focuses on the traditional notion of ugliness as the mere opposite of beauty, in other words, ugliness as an expression of formal disharmony. The second part deals with the evolution from this conceptual antithesis to the paradoxical entwinement of these two notions, which led some authors to endow ugliness with qualities which had hitherto been applied to beauty. We will consider several forms of „beautiful ugliness‟: those of the “cruel and horrible” (Gabriele Paleotti) sacred paintings whose beauty resides in their faithful rendering of the Scriptures, or, in other words, in their truthfulness; those of the Silenus-like characters whose kindness pierces through revolting physical traits; those of the artistic capricci who, under their apparent deformity, hide the ingenuity of their creator; or those who take up the Aristotelian paradox, according to which the correct imitation of ugliness arouses a feeling of pleasure among the spectator. In the Baroque aesthetic, the „beautiful ugliness‟ is an oxymoronic creation in which the horrifying content of the mimesis is consciously used in order to highlight, by contrast, the transformative power of the artist. The conceptualisation of caricature in the 17th century, which we will mention at the end of this work, suggests that beauty and ugliness, at least in their ideal forms, are in fact the two sides of a same coin.

L’Indice di Antonio Lafrery (1512-1577) è il catalogo della sua produzione editoriale fino alla metà degli anni settanta del Cinquecento. In questo studio vengono identificate le opere in esso citate. Le novità che emergono riguardano soprattutto le corrispondenze tra le sezioni in cui l’Indice è strutturato e le raccolte in volume pubblicate da Lafrery, portandone a conoscenza di nuove rispetto ai noti “Speculum Romanae Magnificentiae” e “Tavole Moderne di Geografia”. Sono poi indagati i contatti dell’editore con umanisti, collezionisti e mecenati. / The Antonio Lafrery ‘s “Indice” (1512-1577) is the catalog of his editorial production until the mid-seventies of the sixteenth century. In this study the works cited therein are identified. The news that emerge mainly concern the correspondence between the sections in which the index is structured and collected in a volume published by Lafrery, leading to new knowledge in relation to known "Speculum Romanae Magnificentiae" and " Tavole Moderne di Geografia ". Then are studied the editor’s contact with humanists, collectors and patrons.

Study of self-presentation of artist in the Italian painting of the 16th century - abstract Italian art of the 16th century, known as the Cinquecento, is undoubtedly a captivating chapter of art history. No less interesting are the lives of artists from that time, the understanding of self-value and its presentation, creating the artist's identity, i.e. their "artistic self". Within a century we may observe the transformation from a craftsman to an artist, and subsequently artist- the courtier. The main representatives of this "movement", trying to raise the status of arts and artists in the society, were Giorgio Vasari and Federico Zuccari. Each represented a different generation of artists; however, figures of both these painters are complemented in a curious way. There are moments when their lives meet and, in a certain way, follow one another. It is one of the reasons, why the connection Vasari-Zuccari is suitable for understanding social situation or the self-presentation of central Italian artists in the 16th century. It is almost as if this duo was representing a fictitious art figure of the Cinquecento, whose life began 1511 (with the birth of Giorgio Vasari) and ended in 1609 (with the death of Federico Zuccari) and by studying this figure we discover the development of artists' self-concept and...

No description available.

No description available.

La ricerca si focalizza sulle espressioni artistiche a Crema durante il Cinquecento, prendendo in considerazione artisti, episodi particolari, commissioni pubbliche e private. Partendo dall’intervento di Benedetto Diana in Santa Maria della Croce, passando per la bottega di Vincenzo Civerchio, si giunge ad analizzare le figure di Aurelio Buso e Carlo Urbino, fino alla fine del secolo. Il lavoro presenta alcuni documenti inediti, quali uno che attesta la presenza di Aurelio Buso a Genova e altri che mostrano l’origine di Carlo Urbino . / This study is focused on the artistic expressions in Crema along the XVI century, considering artists, happenings, public and private commissions. Starting from the work of Benedetto Diana in Santa Maria della Croce, through the workshop of Vincenzo Civerchio, we arrive studying Aurelio Buso and Carlo Urbino, at the end of the century. This study presents come new documents, as one that certificate the journey of Aurelio Buso to Genua and others that show the origin of Carlo Urbino.

No description available.

Šio darbo tema – Palazzo tipo rūmai XVI–XVIII a. Vilniaus architektūroje. Pažymėtina, kad Lietuvos Didžiosios Kunigaikštystės ir Vilniaus architektūros istoriografijoje rezidencijų klausimui skirta pakankamai daug dėmesio, tačiau tipologiniu atžvilgiu atskiri sostinės rūmai beveik nenagrinėjami. Pagrindiniu šio tyrimo objektu yra Renesanso epochoje susiformavusi miesto rezidencija – palazzo. Savo darbe autorius analizuoja minėto tipo rūmų paplitimo lygį renesansinėje, barokinėje ir klasicistinėje Vilniaus architektūroje, išskirdamas šio modelio bei jo stilistinių formų recepcijos ypatybes. Darbą sudaro trys dalys, iš kurių pirmoji yra įvadinė. Joje suformuluotas darbo objektas, iškelti probleminiai klausimai, nustatyti tikslai ir uždaviniai bei tyrimo metodai. Antroji dalis yra teorinio pobūdžio, joje kalbama apie palazzo reiškinį. Pirmiausia, bandoma išsiaiškinti rūmų fenomeną nuo pačių seniausių laikų iki renesanso, po to nagrinėjamas Renesanso epochos miesto rezidencijos klausimas, išsiaiškinamos socialinės ir ekonominės šios rezidencinės architektūros prielaidos bei analizuojama palazzo raida nuo ankstyviausios renesanso stadijos iki manierizmo. Toliau nagrinėjama įtališkųjų miesto rūmų recepcija bendraeuropiniame kontekste. Pagrindinis pirmojo skyriaus tikslas – parodyti itališkojo tipo rezidencijų specifiką, jų planinę ir erdvinę struktūrą ir būdingiausias eksterjero detales, siekiant pritaikyti bendrus kriterijus, kurie padėtų tipologiškai suklasifikuoti analogiško... [toliau žr. visą tekstą] / The topic of this paper is palazzo type palaces in Vilnius architecture in the 16th–18th centuries. It should be noticed that in the historiography of the Grand Duchy of Lithuania (henceforth GDL) and Vilnius architecture the question of residences has received sufficient attention. However, from the point of view of typology, separate palaces of the capital are scarcely analyzed. The main object of this research is palazzo – an urban residence, which formed in the Renaissance époque. The author of this paper analyzes the spread of the latter type of palaces in the Renaissance, Baroque and Classicistic architecture of Vilnius. In addition, the peculiarities of this model and its stylistic forms are distinguished. The paper consists of three parts. In the first part the object is formulated, the problematic questions are raised and the aims as well as methods are set. The second part is theoretical. It presents an overview of the phenomenon of palazzo. At first, an attempt to investigate the phenomenon of the palaces from the earliest times till the Renaissance is made. Later on, the question of an urban residence in the époque of Renaissance is examined, social and economical assumptions about this residential architecture are tested, and the development of palazzo from the earliest stage of Renaissance till the Mannerism is analyzed. Further on, the reception of Italian urban palaces in the general European context is analyzed. The basic aim of the first part is to show the... [to full text]

Malgré son indéniable talent, le peintre vénitien Leonardo Corona est négligé : la seule étude systématique qui lui ait été consacrée remonte à une quarantaine d’années (E. Manzato, « Leonardo Corona da Murano », Arte veneta, XXIV, 1970, p. 128-150). Grâce aux nombreux documents inédits que nous avons découverts dans les archives vénitiennes, nous sommes parvenue à reconstituer au moins en partie sa « vraie vie », fixant la date de mort de Corona à 1596.L’exploration des fonds d’archives nous a permis également de mettre en lumière l’une des caractéristiques les plus fascinantes des chantiers vénitiens de la fin du XVIe siècle : leur « esprit choral », les intervenants étant toujours très nombreux, tant du côté des commanditaires que du côté des artistes. Dans ce travail, nous nous sommes intéressée tout particulièrement à quatre chantiers (les églises de San Zulian, Santo Stefano, Santa Maria Formosa et San Bartolomeo), à fin de reconstituer le contexte historique et social de chacun d’entre eux / Despite his undeniable talent, the Venetian painter Leonardo Corona, has been strongly neglected in recent studies: the only contribution dedicated to him goes back to forty years ago (E. Manzato, “Leonardo Corona da Murano”, Arte veneta, XXIV, 1970, pp. 128-150). Thanks to numerous unknown and unpublished documents discovered in Venetian archives, it was possible to reconstruct the ‘real life’ of Corona, died in 1596.After long and exthensive archival researches it was possible, as well, to highlight one of the most fascinating aspect in Venetian ‘cantieri’ at the end of Sixteenth century: the choral spirit which involved a variety of patrons and artists in several artistic adventures. The research focused on four main Venetian ‘Cantieri’ (the Church of San Zulian, Santo Stefano, Santa Maria Formosa and San Bartolomeo). The intent was to reconstruct the social and historical context that charaterized each of them / Nonostante l’innegabile talento, il pittore veneziano Leonardo Corona è stato fortemente trascurato dalla storia degli studi: l’unico contributo a lui dedicato risale ormai a una quarantina d’anni fa ((E. Manzato, “Leonardo Corona da Murano”, Arte veneta, XXIV, 1970, pp. 128-150). Grazie a numerosi documenti inediti ritrovati negli archivi veneziani, è stato possibile ricostruire almeno in parte la “vera vita” di Corona, morto in realtà nel 1596. L’esplorazione dei fondi d’archivio ha permesso ugualmente di far luce su uno degli aspetti più affascinanti di cantieri veneziani della fine del XVI secolo: lo spirito corale, che vuole coinvolti una molteplicità di attori, tanto fra i committenti che fra gli artisti chiamati ad intervenire. In lavoro si è concentarto su quattro cantieri veneziani (le chiese di San Zulian, Santo Stefano, Santa Maria Formosa e San Bartolomeo), con l’obiettivo di ricostruire il contesto storico-sociale caratteristico di ciascuno di essi

Le travail a consisté à réaliser l’édition commentée de l’Itinerario de Vartema (Rome,1510), compte-rendu écrit par Vartema à l’issue de son voyage, qui le mena de Venise aux Indes en passant par l’Arabie (1503-08). Bien que ce texte ait donné lieu à plusieurs éditions dans plusieurs langues européennes, il n’a en effet jamais fait l’objet d‘une édition critique. Le voyage eut lieu au moment où les grandes découvertes bouleversèrent l’image du monde: il s’agissait du premier voyage par voie de terre effectué par un occidental au moment où les Portugais créèrent la route commerciale maritime des épices. Vartema est un homme fascinant qui a endossé avec aisance des rôles très éloignés de la mentalité occidentale, nous laissant un document unique dans sa manière de reformuler son expérience. L’objet de la recherche se situe au carrefour de plusieurs disciplines: l’histoire littéraire, la philologie, la littérature de voyage, l’histoire de la géographie, du livre et des sciences. / The aim of this research is the preparation of an annotated critical edition of the de Ludovico de Vartema bolognese of Bologna (1st ed. Rome, 1510). This is a record written by Vartema on his way back from a journey which took him from Venice to the East Indies and through Arabia between 1503 and 1508. It gives an account of the first journey made by a western man after the Portuguese created their commercial empire. Although in the sixteenth century several editions of this work in many languages were issued, it has never before been the subject of a critical edition. Vartema’s Itinerario is the account of a charming man who was able to get inside the minds of people distant from the western mentality. He has left us a unique document since the way his experiences have been told is poised among many disciplines including: political philology, language history, text analysis, history and geography, science book history, travel literature. / Copo del presente lavoro di ricerca è stata la realizzazione dell’edizione critica commentata dell’Itinerario de Ludovico de Vartema bolognese (Roma,1510). Si tratta del resoconto scritto da Vartema al ritorno dal suo viaggio, che lo portò da Venezia alle Indie orientali, passando per l’Arabia, tra il 1503 e il 1508. Si tratta del primo viaggio effettuato da un occidentale nel momento in cui i Portoghesi crearono il loro impero commerciale. Sebbene nel sedicesimo secolo questo testo abbia visto numerose edizioni in molte lingue, non è mai stato oggetto di un’edizione critica. Lo studio dell’Itinerario di Vartema - uomo affascinante che si cala facilmente in ruoli molto lontano dalla mentalità occidentale e che ci lascia un documento unico per il modo in cui l’esperienza vi è raccontata - si situa al centro degli sguardi incrociati di molte discipline: filologia politica, storia della lingua, analisi del testo, storia e geografia, storia del libro delle scienze, letteratura di viaggio.