Thesis (doctoral)--Johann Wolfgang Goethe-Universität zu Frankfurt am Main. / Includes bibliographical references (p. 188-202).

For the first time in the history of the Architecture Biennale the American Pavilion earned special recognition in 2012 for Spontaneous Interventions. The exhibition portrays an emerging phenomenon where citizen-led movements address urban problems with small-scale, low cost interventions. Sometimes sanctioned, sometimes not, the concept behind this movement has become known as tactical urbanism. This report examines the rise of tactical urbanism as an opportunity for the field of urban planning and describes how tactics can fit into the formal planning process. Currently, there exists a lack of understanding and research on the concept. This report contributes to the limited research by analyzing existing theory which discusses and supports the concept of tactical urbanism. After providing a theoretical foundation, four interventions displayed at the Biennale are reviewed to demonstrate the potential of this emerging approach. By evaluating the theoretical support behind tactical urbanism, the lacunae in planning literature, and the potential of this emerging approach as demonstrated by the four case studies, this report attempts to legitimize the discussion on tactical urbanism and identify how this emerging approach can fit into the formal planning process. / text

Giovanni Bellini (b. 1435/40-d. 1516) has long been considered a dominant figure in the Venetian painting of the Early-High Renaissance, his main reputation being a colourist. The distinctive optical and technical characteristics of his work have drawn substantial scholarly attention in the present century, but the studies in this subject have not been developed as a coherent theory with regard to changes in painting technique in the fiftenth-century Italy. The purpose of this dissertation, therefore, is to investigate Bellini's choice and application of painting materials, attempting to establish links between the technical qualities and the formal values of his work. In the process of establishing Bellini's position with regard to the use of paint media and support, this thesis also provides a substantial overview of the use of canvas and of oil pain in the later fifteenth century. The study is encouraged by recent discoveries about Bellini's technique that have emerged from conservation of his paintings. As well as addressing published conservation results, the thesis includes new observations on four canvases attributed to Bellini's father Jacopo, and two Madonnas from Bellini's workshop scientifically examined at UCL Painting Analysis. In order to investigate Bellini's colour and handling of paint within a broader socio-economic milieu, this study deals with the commercial documents such as tariffs, government records, and merchant account books, indicating that Venice was the centre of the international colour trade and that Venetians were widely engaged with this trade. The resulting advantages of Venetian painters who were active at this commercial heart, and the question of how deeply the pragmatic experience of colours that Venetian merchants obtained from the trade penetrated their aesthetic taste will be discussed. Using both scientific and documentary analyses in combination with visual analysis which integrates these findings, this study examines Bellini's translation of the skills of tempera to oil pain and the stylistic changes that occurred with the extensive use of oil medium. It looks at how Bellini developed canvas as a support for mural painting and the technique he employed on such an unconventional support. It will also study the methods in which he established the predominance of colour as an element of composition at the early sixteenth century. In conclusion, it will argue that Bellini's increasing choice of canvas and corresponding use of oil on it changed the general concept of picture-making and became a new format of painting that was to exert a crucial influence on Cinquecento Venetian painting.

Thesis--Université de Paris-Sorbonne, 1983.

Inaug.-diss.--Kiel. / Vita.

Thesis (Ph. D.)--Princeton University, 1988. / Typescript. Includes bibliographical references (p. 235-240).

This dissertation reconstructs the original form and sixteenth-century decoration of the lost Venetian church of Santa Maria Assunta dei Crociferi, destroyed after the suppression of the Crociferi in 1656 to make way for the present church of the Gesuiti. The destruction of the church, the scattering of its contents, and the almost total lack of documentation of the religious order for which the space was built, has obscured our understanding of the many works of art it once contained, produced by some of the most important Venetian artists of the sixteenth century. This project seeks to correct scholarly neglect of this important church, and to restore context and meaning to these objects by reconstructing their original placement in the interest of a collective interpretation. Various types, patterns and phases of patronage at the church—monastic, private and corporate—are discussed to reveal interconnections between these groups, and to highlight to role of the Crociferi as architects of a sophisticated decorative programme that was designed to respond to the latest artistic trends, and to visually demonstrate their adherence to orthodoxy at a moment of religious upheaval and reform.

The purpose of this thesis is to examine in detail one eighteenth-century Venetian church, Sta. Maria del Rosario, or, as it is commonly known, the Gesuati. The church provides an ideal example in the study of Venetian art, not only because its architecture and decorations are entirely eighteenth century, but also because it represents the work of the finest artists of the time. The entire church was designed by Giorgio Massari and every figure and bas-relief scene in the interior was made by Gian Maria Morlaiter. The painted decorations, too, are examples of the work by the leading artists in Venice. Altarpieces here are the work of Giambattista Tiepolo, Giambattista Piazzetta, and Sebastiano Ricci. Four magnificent frescoes, the work of Tiepolo as well, adorn the ceiling. An examination of the Gesuati offers an insight into the nature of religious art in Venice. The traditional preconception of eighteenth-century Venice is that it was a completely decadent, vain world of gay carnivals, and that it was a tourist's paradise, where masks hid the identity of the people, and impressions of the city were to be captured in views painted by Canaletto. To a certain extent, the mood of this colourful world is found in religious art. The light, Palladian church of the Gesuati houses elegant bas-relief scenes depicting the life of Christ and sculptures of Old and New Testament figures. Many of the paintings "breathe'' with space and light. Bright colours and playful putti create the light mood of the Rococo. However, there is, in one altarpiece by Piazzetta, a completely different mood. In his painting, Piezzetta depicts his figures in a religious mystical experience. This mood is, to a certain extent, also conveyed in Tiepolo's altarpiece. In iconographical terms, the Gesuati decorations are serious. Religion does play an important role in eighteenth-century Venice. The Gesuati is a Dominican church, and the Dominicans in Venice had already, by the eighteenth century, been commissioning religious paintings and sculptures for many hundreds of years. The paintings in the Gesuati represent the glory of the Dominican Order and the figures that played an important part in its long history; the sculptures symbolize the victory of faith. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Dario Castello's Sonate concertate in stil moderno is a collection of 29 trio sonatas in two volumes, with 10 of them employing the sackbut. These works represent a significant repertoire for the sackbut in an era where specific instrumentation was only starting to become a convention. While these pieces are often studied, performed and recorded in Europe, most American trombonists are not aware of their existence. This study seeks to acquaint the American trombonist with the sonatas of Castello and to provide performance suggestions for those less familiar with this genre. Chapter 1 presents a survey of the current literature on Castello. Chapter 2 provides an historical background for music in Venice in the early 17th century, while Chpater 3 focuses on the composer and his music for sackbut. Chapter 4 investigages the sonata in early 17th century Venice. Chapter 5 provides an insight into early baroque performance practice by discussing principles such as affect, tempo, ornamentation, diminution and articulation. Examples from the ten sonatas are used to illustrate these principles, providing the modern trombonist with a framework in which to study Castello's music. The final chapter discusses the implications of this study on the American trombone curriculum.

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