Tesi di laurea--Turin.

It has always been acknowledged that Venetian art was one of the components from which Annibale Carracci formed his painting style. There is little documentary evidence concerning Annibale’s career and no Venetian sources to inform us of his contact with Venice. Taking his art as the primary source, this study examines the timing and nature of Annibale’s contact with Venetian art and artists. It also investigates the works of his brother Agostino and his cousin Ludovico to discover their roles in directing Annibale towards Venetian art and communicating its qualities to him. The working method used is comparative analysis between Annibale’s art and key paintings he could have seen in Venice and North Italian collections. Sources such as the early biographies and the marginal comments in the Carracci’s copy of Vasari’s Vite supplement the primary artistic evidence. This study compiles and critically engages with analyses from previous scholarship. The thesis investigates the role of prints in the early orientation of the Carracci in Bologna, particularly those reproducing Titian’s work, and how these affected Annibale’s ideas about composition and the representation of figures and landscape. It reconsiders Agostino’s role as an engraver of Venetian paintings in transmitting ideas about Venetian art to Annibale. The Carracci practice of copying other artists is reviewed with a scenario tendered to explain why Annibale copied Correggio and Titian, but not Bassano, Veronese, or Tintoretto. Annibale’s and Agostino’s early adoption of drawing and painting techniques are investigated, as is Ludovico’s later technical experiments. Annibale’s travels in northern Italy as suggested by his annotations in Vasari’s Vite are explored in terms of which paintings he could have seen there and how this experience may be reflected in his art. The most highly Venetianizing period of all three Carracci, from about 1587 to its zenith in 1592, is refined. Annibale’s study of Venetian art is shown to have been more involved than suggested by previous scholars. Together with his observation of nature, accomplished draughtsmanship and his study of Correggio, Venetian art informed his mature style before he relocated to Rome. / Thesis (Ph.D, Art History) -- Queen's University, 2014-05-27 12:22:17.598

Tesi di laurea--Turin.

This thesis discusses the decline of the Venetian nobility, the collapse of the Venetian economy, and the political results of the surrender of the Venetian Republic to Napoleon Bonaparte in 1797. Topics include the formation of Venice, Venetian domination of trade, the class system in Venice prior to 1797, the collapse of the aristocracy, feudalism in Venice, Venice’s presence in the Adriatic and Aegean seas, and the rise of the middle class within the provisional democratic government. Very few historians have attempted to research the provisional democracy of Venice and how the political and class structure of Venice changed as a result of the collapse of the Republic in 1797. Using primary sources, including government documents and contemporary histories, one can see how the once dominant noble class slowly fell victim to economic ruin and finally lost their role in the political leadership of Venice all together. During this same period, the middle class went from only holding secretarial jobs within the government, to leaders of a modern democratic movement. On top of primary research, several secondary sources helped in explaining the exclusivity of the noble class and their journey from economic dominance to economic ruin and the administrative consequences of this decline for the people of the Republic. This thesis aims to fill gaps in recent research concerning Venetian political history and specifically the period between the surrender of Venice on 12 May 1797, and the signing of the Treaty of Campo Formio, in which France awarded Venice to Austria, on 18 October 1797.

This thesis reveals a culturally sophisticated Cypriot elite that moved with ease between Cyprus and Venice, between Orthodox and Latin devotions, between icon painting and up-to-date Italian artworks. Arranged in the form of microhistories, the present work discusses how the insular nobles negotiated their identity between the two centres during the early modern period. In Renaissance Venice, where they strove to be associated with the upper echelons of patrician society, the Cypriot elite followed the latest metropolitan trends, while on the island, where they were subject to a different set of social pressures, they opted for works in the traditional Byzantine style. At the heart of this study are three noble Cypriot lineages - the Podocataro, Costanzo, and Synglitico - that were well established in both Cyprus and the lagoon. Contrary to the prevailing perception of Cyprus as a distant colony where Renaissance culture found faint echoes only in the major urban centres, these families engineered and exploited opportunities for economic and social advancement that the shared political space of the stato da mar afforded them. Through the recovery of previously overlooked archival documents, the business and the domestic worlds of the three Cypriot families is reconstructed, while these sources shed new light on a series of significant paintings by leading Venetian masters.

Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1979. / Supervised by Stanford Anderson. / Includes bibliographical references (leaves 115-119). / by Ellen C. Soroka. / M.Arch.

Review of Erin Maglaque. (2018) Venice's Intimate Empire: Family Life and Scholarship in the Renaissance Mediterranean. Cornell. 9781501721656.

Thesis (al-Duktūrah)--Jāmiʻat al-Iskandarīyah, Alexandria, 1978. / Includes bibliographical references (p. 297-332).

This dissertation explores how Venetians used the figurative arts as a means of responding to and shaping their experience of the War of the League of Cambrai (1509–17). The war was the most politically and spiritually tumultuous conflict in Venice’s history and almost resulted in the loss of its mainland empire. To provide a sense of the complexity of the relationship between art and contemporary military events, the study gathers and analyses a wide range of works, from painting and sculpture to woodcuts for books and prints. Chapters two, three, and four investigate how Venetians used visual art to represent and interpret their struggle to reclaim the former terraferma empire. Chapter two begins the discussion by examining the modest woodcuts accompanying printed propagandistic texts that were inspired by the battle for the mainland and that constitute the first visual response to the war. Chapter three explores the interpretation afforded military events by subsequent and more enduring works of art, particularly sculpted altarpieces and tombs for mercenaries. Chapter four discusses the assertive revival of more traditional visual themes, particularly the lion of St. Mark. Chapters five, six, and seven, in contrast, address how Venetian art reflects the atmosphere of spiritual crisis generated by the popular interpretation of the war as a form of divine punishment. The first of these demonstrates how devotional books responded to the unsettled mood through text and image. Chapter six proposes that the wartime popularity of multi-block woodcuts, particularly of religious subjects, similarly reflects a market for certain kinds of devotional imagery. To conclude, chapter seven argues that the same atmosphere sparked a sudden interest during the war and shortly thereafter in paintings of Christ and the adulteress. Considered as a group, the studies presented by the various chapters demonstrate that Venetians produced a wide variety of art during the Cambrai War as a means of interpreting the conflict’s significance and influencing its course. / Thesis (Ph.D, Art History) -- Queen's University, 2007-09-21 11:57:46.12

Thesis (M.A.)--University of Wisconsin--Madison, 1970. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.