The presented diploma thesis deals with artworks filed under Bassano's name in National Gallery in Prague. Opening chapters enlarge on those artworks, not to say artworks of Bassano family in area of today's Czech Republic. The life and artistic work of Bassano family is briefly introduced, with focus on Jacopo Bassano as the main personality. Short universal discourses concerning specific issues are taken individually, in relation to particular paintings. The crucial part of the thesis is a catalogue presenting entire collection of Bassano's artworks in National Gallery. The catalogue compounds of several parts: authentic pieces, works from workshop, later copies of artworks, and paintings which don't match Bassanos'author craft. The artworks in catalogue are comprehensively described and put to context with other works.

This dissertation examines paintings by the Florentine artist Agnolo Bronzino, and by his teacher, Jacopo Pontormo. It takes as its focus works created during the period of 1529-39, a decade of political uncertainty and social unrest predating Bronzino's career as court painter. The study begins during the brutal Siege of Florence in 1529-30, which brought an end to the last Florentine republic. Although the republic's defeat made way for the establishment of the Medici duchy, the 1530s were marked by fervent and unrelenting republican opposition to the new dukes. These circumstances provide the background to this study, in which paintings by Bronzino and Pontormo are shown to offer eloquent--if sometimes cautious--comment on recent political events. The initial chapters address the relationship between two paintings carried out during the Siege, reconciling Pontormo's Portrait of a Halberdier (Francesco Guardi) with its allegorical cover, Bronzino's Pygmalion and Galatea. The first chapter reconsiders the role of Venus in Bronzino's painting, attributing to her a rousing, rather than pacifying, influence; she is shown to be a deity especially well-suited for reverence by young Florentine soldiers, and a fitting subject for the cover of Pontormo's republican portrait. The second chapter explores the specific political significance of Bronzino's artistic choices, paying special attention to his allusion to Michelangelo's marble David, whose form he incorporates into the figure of Pygmalion's beloved Galatea. The young hero David--shown to be one of the period's most potent republican symbols--is somehow manifest in each of the paintings considered, linking the four chapters. But whereas the Pygmalion and Galatea and Portrait of a Halberdier are explained as republican pictures created under republican rule, the portraits examined in the third and fourth chapters are presented as subversive images created under the Medici dukes. The third chapter reinterprets Bronzino's Portrait of Ugolino Martelli (c. 1537), as an expression of republican opposition to ducal rule. The fourth chapter proposes a new dating for Pontormo's Portrait of Carlo Neroni--presently understood as a republican picture dating to the period of the Siege--relocating its origin to c. 1538-9, well after the republic's defeat. This reassessment has important implications for a number of portraits by both artists, and it calls into question currently accepted art-historical approaches to Florentine culture in the 1530s. By identifying examples of republican factionalism in portraits painted by Pontormo and Bronzino under Medici rule, this dissertation discovers political dissent where previously considered impossible.

En la fortuna de la Arcadia de Sannazaro en España desempeñaron un papel importante las traducciones, la primera de las cuales fue la versificación garcilasiana de un fragmento de la prosa VIII. La recepción de la obra del poeta napolitano tiene lugar en una etapa crucial de la evolución de la lengua y la literatura castellanas, momento en que la traducción adquiere gran influencia como vía de acceso a las obras maestras del Renacimiento. En 1547 veía la luz la primera versión íntegra de la Arcadia al cuidado de Diego Blasco de Garay, si bien sus traductores habían sido Diego López de Ayala, para las prosas, y Diego de Salazar para las églogas, estas últimas vertidas en metro castellano tradicional. Esta doble autoría evidencia la incomprensión, por entonces, del carácter orgánico del prosímetro y es un inicio a tener en cuenta desde el punto de vista del horizonte de expectativas en la recepción de la obra. De hecho las imitaciones españolas de la Arcadia se bifurcarían en una modalidad narrativa (donde las poesías cumplen una función netamente subordinada y secundaria) y en otra lírica, ésta última de influencia garcilasiana. Además de la traducción editada por Garay, hubo en el siglo XVI otras tres que quedaron inéditas: la de Jerónimo de Urrea, la de Juan Sedeño y la del Licenciado Viana. Todas ellas presentan la novedad de ofrecer las églogas en metro italiano, en un claro reflejo del auge alcanzado por las nuevas tendencias poéticas, y todas ellas se limitan a reelaborar la traducción de las prosas debida a López de Ayala. Pese a la novedad representada por estas tres versiones métricas de las églogas de Sannazaro, poca ha sido la atención recibida de la crítica, hasta el punto de que han seguido inéditas hasta hoy. Entre estas traducciones hemos tomado como objeto de nuestro estudio y edición la de Jerónimo Jiménez de Urrea, conocido sobre todo por su versión del Orlando furioso de Ariosto, y por la crítica que esa labor le mereció a Cervantes, un hecho del que no pudo no resentirse la recepción posterior de sus obras. Sin embargo, la contextualización de la traducción de Urrea y su comparación con las otras versiones inéditas ha permitido romper esta inercia y aportar una visión dinámica de su labor traductora, que aparece como un eslabón fundamental en el proceso de evolución del castellano en cuanto a lengua poética y de traducción. Con ello seguimos las recientes aportaciones de la crítica sobre la obra urreiana, añadiendo nuevos elementos de prueba para su justa valoración. La comparación entre las cuatro traducciones castellanas del siglo XVI (la editada en 1547 y las tres inéditas) evidencia complejos procesos que van desde el nivel morfológico y sintáctico, pasando por deslizamientos semánticos, hasta la métrica. Dada esta complejidad, para el análisis de las églogas hemos elegido un criterio selectivo e intensivo, centrándonos en la XII por considerarla paradigmática, mientras que para las prosas el estudio se extiende a su totalidad, además de incluir un análisis de la versificación garcilasiana de un fragmento de la prosa VIII. Ello ha permitido demostrar que, entre las tres traducciones inéditas, la de Urrea es la que presenta una estrategia de traducción más clara y coherente: intenta ser fiel al sentido y a la métrica, aunque ello suponga ceder en leves transposiciones léxicas, sin dejar por ello de reflejar rasgos característicos de la lengua sannazariana, debidamente conciliados con la índole del castellano y sin rebajar nunca el registro literario. Las variantes que ofrecen las numerosas correcciones (a nuestro juicio, autógrafas) presentes en el manuscrito, así como las modificaciones introducidas por Urrea al reelaborar la traducción ayaliana de las prosas, confirman ulteriormente estas tendencias, y a la vez confirman el carácter autógrafo del manuscrito, fruto, a nuestro entender, de una obra de madurez. Cabe, en efecto, precisar, que el Mss. 1469, conservado en la Biblioteca Nacional de España, contiene, además de la traducción de la Arcadia, otra obra de Urrea: el poema épico El Victorioso Carlos Quinto. Las Licencias y censuras que encabezan el códice (una de ellas, de Francisco de Mansilla, fechada en Zaragoza en 1579, otra de Alonso de Ercilla, limitada al Victorioso Carlos Quinto y fechada en 1584), así como la firma –del propio Mansilla– que rubrica ambos textos, y algunos pasajes de la Arcadia tachados con evidente intento censor, muestran que, tanto la traducción como el poema, habían pasado por un proceso previo a la estampa. El silencio en torno a los últimos años de vida de Urrea, y el olvido en el que muy pronto cayó su obra, parecen haber condicionado la suerte de este manuscrito, hasta hoy inédito. / XVI th.c JERÓNIMO JIMÉNEZ DE URREA’S TRANSLATION OF SANNAZARO’S ARCADIA. AN ESSAY AND A CRITICAL EDITION. Sannazaro’s Arcadia was successful due to the important role played by translations. The first being Garcilaso’s verses of a fragment from prose VIII. The Italian poet’s acknowledgment of his work takes place at a decisive stage in the evolution of the Castilian Spanish language and literature, a period when translation became a means to access the Renaissance literary masterpieces. In 1547 the first full version of the Arcadia saw the light. It had been in charge of Diego Blasco de Garay; although Diego López de Ayala had translated the prose and Diego the Salazar the Eclogues; these written in traditional Castilian metres. This dual authorship evidences the misunderstanding, at that time, of the complementary and balanced character of the “prosímetro” – a harmonious compilation of prose and poetry. The “prosímetro” meant the starting point to be taken into account from the point of view of the expectations created prior to its editing. In fact, the Spanish imitations of the Arcadia would branch off into two separate ways: a narrative mode (in which the poems clearly play a subordinate and secondary role) and a lyric one fully influenced by the poet Garcilaso de la Vega. In addition to Blasco de Garay’s edited translation there were three more unpublished ones in the XVIth c.; the ones by Jerónimo de Urrea, Juan Sedaño and Licenciado Viana – a graduate from Seville. These three unpublished translations offer the novelty of the Italian metre in the Eclogues. This novelty shows the boom reached by the new tendencies in poetry. These new poetic tendencies are confined to the re-writing of the prose translations previously written by López de Ayala. Despite the novelty in metre shown in the unpublished versions of Sannazaro’s Eclogues, critics have paid so little attention that they have still remained unpublished nowadays. Among these translations, we have chosen as the object of our essay Jerónimo de Urrea’s edition. He is best-known for his version of Ariosto’s Orlando Furioso, and for the excellent reviews his work earned to Cervantes, as well, a fact that obviously did affect his later works. However, the contextualization of Urrea’s translation and its comparison to the other unpublished versions has made it possible to break this inertia and provide a dynamic view of his translation work; this being a crucial link in the evolution process of the Castilian language regarding poetry and translation. We are taking into account the recent contributions of criticism on Urrea’s work, adding new evidence for a fair assessment. The comparison among the four XVIth century Spanish translations (the one published in 1547 and the other unpublished three) reveals some complicated and tricky processes ranging from the morphological and syntactic to semantics and poetic metre. Given this difficulty, we have chosen an intensive and selective approach for the analysis of the Eclogues. We focus our interest in Eclogue XII as we consider it paradigmatic. We analyse the prose, though, to its fully extent, including an analysis of the prose fragment VIII composed in verse by Garcilaso de la Vega. All this work has proved that among the three unpublished translations, Urrea’s one shows a clearer and more coherent or consistent translation strategy. It attempts to be faithful and accurate to the meaning and metre, even if it means to make some minor concessions such as allowing lexical alterations or changes in sentences. Yet, showing distinctive features of Sannazaro’s language brought together with the character and nature of the Castillian language, never lowering down its literary register. The variations offered in the numerous corrections (from our point of view, being autograph) present in the manuscript, together with Urrea’s changes when reworking Ayala’s prose translation confirm these tendencies and the autograph character of the manuscript – we believe being the result of mature work - at the same time. It is absolutely necessary to pinpoint that “Mss.” 1469 kept in the Spanish National Library contains not only the Arcadia’’s translation, but also another piece of work by Urrea’s: The epic poem El Victorioso Carlos Quinto. The administrative licenses besides the Inquisition censorships that head the codex (one by Francisco de Mansilla dated in Zaragoza in 1579; another by Alonso de Ercilla, restricted to the Victorioso Carlos Quinto and dated in 1584) together with Mansilla’s own signature in both texts, and, some passages of the Arcadia which had been crossed out in an obvious attempt of censorship show that both, the translation and the poem, had undergone a pre-printing process. Loblivion of his work seem to have influenced the fate of this manuscript still unpublished nowadays.

A partire dall’analisi dei concetti di ‘confine’ e di ‘frontiera’, lo studio indaga la letteratura siciliana e quella triestina, letterature nate su due terre liminali. La tesi si compone di tre parti: la prima parte riguarda la letteratura siciliana; la seconda la letteratura triestina; la terza tenta un possibile confronto tra le due letterature. Per quanto concerne la letteratura siciliana gli autori e le opere studiate sono: Le città del mondo di Elio Vittorini, l’Horcynus orca di Stefano D’Arrigo in cui tutta la vicenda è concentrata sullo stretto di Messina, tra Scilla e Cariddi, ed un capitolo sulla lingua di Leonardo Sciascia, chiara espressione della circolarità dell’isola. Per il versante triestino, nella seconda parte, gli autori e le opere studiate per il loro essere espressione della frontiera sono: Carlo Michelstaedter, La persuasione e la retorica ; Il capitano di lungo corso di Roberto Bazlen e infine Il richiamo di Alma Stelio di Mattioni che, come nel caso di Vittorini, traccia la mappa topografica di Trieste e si confronta con l’alterità. / Beginning from the concept of ‘border’ and ‘frontier’, work investigates sicilian letterature and Trieste’s one, both born on the two boundering’s lands. Thesis is made of three parts: the first part concerns with Sicilian letterature; the second part about Trieste’s letterature. The third one tries a possible comparison between the two letteratures. About Sicilian letterature the autors and the studied works are: Le città del mondo by Elio Vittorini, The Horcynus orca by Stefano D’Arrigo where all the plot is set in the Straits of Messina, between Scilla and Cariddi, and a chapter about Leonardo Sciascia’s language, clear expression of island’s circularity. About triestin letterature, on the second part, autors and studied works, because of their being expression of the frontier, are: Carlo Michelstaedter, La persuasione e la retorica ; Il capitano di lungo corso by Roberto Bazlen and eventually Il richiamo di Alma by Stelio Mattioni which, as Vittorini, draws the topographic map of Trieste and compares itself with alterity.

Orientador: Helena Jank / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T16:53:49Z (GMT). No. of bitstreams: 1 Stasi_Marcello_D.pdf: 6885248 bytes, checksum: 72213b5ac92bccddfffe802d422af700 (MD5) Previous issue date: 2009 / Resumo: Esta pesquisa teve por finalidade investigar a relação entre palavra e harmonia no repertório das monodias dramáticas da seconda pratica. Após considerar a alternativa da aplicação da doutrina do ethos associado ao modo, e examinar as implicações dos conceitos de pathos, mutatio e hexachordum, este trabalho situa a importância do platonismo ficiniano no contexto cultural que circundava surgimento da seconda pratica. Buscou-se então extrair diretamente da tradução latina da obra de Platão, indicada pelos cultores da seconda pratica como fonte de inspiração, a definição e as atribuições dos conceitos de melodia e suas partes constituintes: oratio, harmonia e rhythmus. A partir dos resultados desta investigação, que apontam para a importância da dialética na constituição do conceito platônico da oratio, relacionou-se este conceito à prática harmônica do repertório em questão tal como revelada pelo trabalho de Eric Chaffe. Tomando a specierum coppula como possível elemento constituinte comum entre a oratio e a harmonia, são analisados cinco exemplos de monodias dramáticas da seconda pratica, extraídos das obras de Jacopo Peri e Claudio Monteverdi baseadas no mito de Orfeu e Eurídice. Os resultados das análises sustentam a possibilidade de que estes compositores tenham buscado, através de elaborados encadeamentos harmônicos, dar forma material à relação entre as idéias expressas no texto poético, verdadeira essência do discurso para o pensamento platônico. Para tal efeito teriam tomado como pressuposto o princípio que considera contíguas duas tríades separadas por um intervalo de quinta gerando assim uma polarização do espectro harmônico sobre o eixo bemol-sustenido. O resultado dessa pesquisa aponta para um aumento da nossa percepção em relação à extensão e importância da influência do platonismo no movimento da seconda pratica. / Abstract: This research aimed to investigate the relationship between speech and harmony in the repertoire of dramatic monodies of the seconda pratica. After considering the alternative of applying the ethos doctrine associated to the modes and examining the implications of the concepts of pathos, mutatio, and hexachordum, it locates the importance of the platonic thought as advocated by Marisilius Ficino in the cultural context that surrounded the emergence of the seconda pratica. Consequently, this research aimed to extract directly from the source of inspiration indicated by the followers of the seconda pratica, the Latin translation of Plato's work, the definition and attributes of the concepts of melodia and its constituent parts: oratio, harmonia and rhythmus. Considering the results of this investigation which pointed towards the importance of dialectics in the constitution of the platonic concept of oratio, this works sought to relate this concept to the harmonic practice of the repertoire examined as revealed by the work of Eric Chaffe. Taking the specierum copula as a possible common denominator between oratio and harmonia, five examples of dramatic monodies of the seconda pratica extracted from Jacopo Peri's and Claudio Monteverdi's works based on the myth of Orpheus and Eurydice are analyzed. The results of the analyses support the possibility that these composers have aimed, by means of well elaborated harmonic progressions, to give material form to the relationship between the ideas expressed by the text, the true essence of speech according to platonic thought. This was accomplished presuming that two triads separated by a fifth are considered contiguous, generating therefore a polarization of the harmonic spectrum over the flat/sharp axis. The outcome of this research points towards an increase of our perception over the extension and significance of the influence of Platonism in the seconda pratica movement. / Doutorado / Doutor em Música

This thesis deals with wall paintings of Italian character in Bu ovice Chateau in Moravia, Czech Republic. The unique wall paintings were created on impulse of Moravian aristocrat and owner of the castle - Jan Šembera ernohorský of Boskovice - in the last twenty years of the 16th century. This time represents a golden age of wall painting in the Czech lands; however, it rather reflects Italian Mannerism than the Renaissance. The paintings are situated in five rooms in the ground floor of the castle; they should refer to the level of education, nobility and wealth of the donator, Jan Šembera. Thanks to a connection of paintings, statues and stuccos the decoration of all five rooms created a unique complex. This demonstrates Šembera's ambitions - he wanted to own a richly decorated representative castle. Jacopo Strada, once an imperial Antiquarian, stayed in the Bu ovice Chateau; the stay might have been connected with his mercantile activity. He probably enabled Šembera to achieve that goal - he could have provided the Šembera's artists with Italian models and created the decoration system of five rooms. Strada made a concept of the room decoration performing various epitomes. The concept of Strada reflected the artworks of Venetian painter Paolo Veronese, the artworks of Giulio Romano and his...

Thesis on subject of Paolo Fiammingo in Venice focuses on a personality of a Netherlandish painter, who lived in Venice the most important part of his productive life. Text of the thesis resumes knowledge on his origin, regarding existing literature it suggest, that there is not enough documentation of his staying or apprenticeship until he came to Venice. In this regards, it also concludes, that he was not famous until he took part in Tintoretto's workshop in Veneto. Thesis researches possible Tosca and Roma mannerism influences of his later works by an analysis his later work and in the light of existing literature. Main part of the thesis concerns on Paolo's sojourn in Venice, which started probably in Tintoretto's workshop. Within workshop daily praxis, he was contributing in finishing some specific commissions of his Master with his apprentice colleagues. Thesis brings some witnesses concerning workshop life and also way the completed work took from the workshop to commissioner. The other part of this work turns awareness to his independent production in Venice and its close connection to his transalpine commissions. The part concludes in suggestions concerning the case of Fiammingo and his concrete purchasers, the Augsburg merchandiser Hans Fugger and the Emperor Rudolf II. It also mentions a...

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The work is dedicated to the personality Jaromír Neumann as an expert of Venetian painting in our country, whose approach is documented on a number of paintings from several institutions, which autorship determinated. Specifically, the images of the Prague Castle Picture Gallery, National Gallery in Prague, Olomouc Picture Gallery and significant Titian painting of Kroměříž Picture Gallery, which concentrated his interest for a long time. These are the works of painter's family Bassano, Paolo Veronese, Jacopo and Domenico Tintoretto, Bonifazio Veronese, Rocco Marconi, Pordenone and Titian. More generally, the work deals with issues of connoisseurship and restoration, but is not the purpose of extensive analysis, the more necessary as outlined in the context of the theme of the work. The result should be the definition and specification process of Neumann's autorship determination and the pursuit of affect key points that form its determination.

In Italy the first half of the Cinquecento was marked by both flourishing artistic innovation and deep-seated religious uncertainty, the latter revealing itself most clearly in a widespread impetus towards reform. The relationship between these two cultural spheres--long a fraught problem in art historical scholarship--is made visually manifest in the religious works produced by the Florentine painter Jacopo da Pontormo. By re-examining Pontormo's three monumental religious commissions--the Certosa del Galluzzo (1522-27), the Capponi Chapel (1525-28), and the choir of San Lorenzo (1545-1557)--this dissertation maps the complex dialogue between artistic and devotional practice that characterized this era. Further, in highlighting the active role of the painter in this dynamic I propose a not only a new understanding of Pontormo, but also enrich our current notions of artistic agency in the Renaissance period. The foundation of these arguments derives from a re-evaluation of the specific historical context on the one hand, and the implementation of a broader framework of visual culture on the other. Taking its cue from Giorgio Vasari's 1568 edition of The Lives of the Artists, modern scholarship has tended to view much of the art from the early sixteenth century through a post-Tridentine lens; paintings are labeled controversial or heretical, when in fact such notions would not have been relevant in these earlier decades. Published five years after the conclusion of the Council of Trent, Vasari's Lives is predominantly characterized by the author's own attempts to codify artistic pedagogy and style in the service of the Medici Duchy, whose newly consolidated ties with the papacy were of primary importance. A further difficulty presented by following Vasari's example is the relatively narrow view of the artistic environment that his account affords. Aimed as it was towards the social elevation of the individual Renaissance artist, Vasari's narrative undervalues the importance of other genres and media--such as prints, Mystery plays, terracotta sculptures, and sacri monti--to the work of well-established painters like Pontormo. Each chapter examines a single, monumental project, delineating the artist's responsiveness to, and engagement with, the unique devotional and artistic challenges inherent to the individual commission. Chapter One resituates Pontormo's use of the maniera tedesca within the broader contexts of northern devotional practices and the parallels they form with affective strategies employed by other genres including sacre rappresentazioni and sacri monti. Chapter Two focuses on the painter's decision to portray himself the guise of Nicodemus, and the ways in which this identification evoked an entire web of historical associations--linked to hagiographic tradition and local legend--that would have been accessible to contemporary viewers. Finally, in Chapter Three I investigate Pontormo's pictorial approach, which combined an overarching diagrammatic simplicity with a complex, allusive figural language, as a means of communicating to the different levels of Florentine society that would have been his audience in this important parish church.