miniaturaitaliana.com

L’Istituto Storico Italiano per il Medio Evo (Piazza dell’Orologio, 4 - Roma; telefono:   06-6880207  ; fax 06-68195963) ha organizzato dal 17 dicembre 2007 - 26 gennaio 2008, con il patrocinio della Generalitat Valenciana e dell’Institut Valencià de Conservació i restauració de bens culturals, la mostra Gli Angeli musicanti di Valencia a Roma.

Il 22 giugno 2004, durante i lavori di restauro della cappella maggiore della Cattedrale di València, attraverso un fessura, apparvero le figure meravigliose di affreschi quattrocenteschi fino ad allora coperti da una struttura barocca realizzata alla fine del Seicento. Degli affreschi si era persa memoria, ma essi erano stati commissionati nel 1472, per la somma eccezionale di 3000 ducati, dal Capitolo della cattedrale e dal cardinale Rodrigo Borgia, il futuro pontefice Alessandro VI allora legato pontificio in Spagna, a due pittori italiani, Francesco Pagano e Paolo da San Leocadio, che il cardinale aveva portato con sé dall’Italia. Il loro stato di conservazione e la loro alta qualità posero subito il problema del restauro e della loro visibilità. Con un enorme sforzo tecnico e con coraggiose decisioni la volta barocca è stata smontata in modo da poter essere ricollocata in qualsiasi momento e gli affreschi quattrocenteschi sono dai primi mesi del 2007 di nuovo alla vista di tutti. È una melodia angelica di luci, di colori e di suoni che hanno trasportato in Spagna la più pura arte rinascimentale italiana. 

In occasione della mostra si è inoltre tenuto, nei giorni 24-27 gennaio 2008 presso l’Istituto Storico Italiano per il Medio Evo, il convegno internazionale dal titolo Rinascimento italiano e committenza valenciana: gli angeli musicanti della cattedrale di Valencia.

Per ulteriori informazioni leggi la locandina della mostra o scrivi alla segreteria dell’ISIME.

Tags: Conferences, Exhibitions by Redazione
No Comments »

The conference Bild & Text - Text & Bild im Mittelalter/ Image &  Text - Text & Image in the Middle Ages was held at the Universität Basel, 24-27 January 2008. It focused on text-image relations from the perspectives of various disciplines. In the interest of pursuing an integrated approach to medieval studies, both Western and Byzantine art have been included in the scope of the conference.

Program: Thursday, 24 January - H. Harich-Schwarzbauer, Gewebte Bilder. Ekphrasis in der spätantiken Poesie; J. M. Spieser, Welche Texte für welche Bilder? Bild und Text im 4. und 5. Jahrhundert; H. Maguire, Validation and disruption: the binding and severing of text and image in Byzantium. Fraiday, 25 January - L. Brubaker, Iconoclasm and its aftermath; A. Zakharova, Text and image: relationship in Byzantine illuminated Gospel lectionaries; E. Gedevanishvili, The representation of the ecumenical councils at the Gelati Monastery: interrelation of image and text; M. Dreyer and M. Ferrari, Vana in imagine forma? Hrabanus Maurus über Bild und Text; S. Wittekind, Überlegungen zur Bildvita im liturgischen Kontext: Das Daria- und Crysanthfest im Prümer Tropar; A. Worm, Illuminating the Biblical books. The pictorial programmes in two early Romanesque Bibles from Saint Kastor in Koblenz. Saturday, 26 January - B. Hamm, Gottes gnädiges Gericht: Spätmittelalterliche Bildinschriften als Zeugnisse intensivierter Barmherzigkeitsvorstellungen; U. Rehm, Bilderfolgen ohne Text? Die sogenannten “Picture Books” des Mittelalters; C. Meier-Staubach, Ovid-Illustrationen des späten Mittelalters im Text-Bild-Vergleich; J. Hamburger, S. Marti and D. Massey, Medieval hypertext. The illuminated manuscript in an age of virtual reproduction; K. Graf and L. Rosenthaler, Die Bilderfolgen der Basler Frühdrucke: Spätmittelalterliche Didaxe als Bild-Text-Lektüre. Sunday, 27 January -  S. Tammen, Vom Haften der Erinnerung: Gedanken zur Materialität von Bild- und Textträger am Beispiel eines kartäusischen Andachtsbüchleins; A. Von Müller, Politische Imagination und imaginäre olitologie: Aristoteles und Dante inspirieren die politische Ikonographie.

For further information contact Barbara Schellewald or Karin Krause at the Kunsthistorisches Seminar der Universität Basel.

Tags: Conferences by Redazione
No Comments »

edited by Stefanos Kroustallis, Joyce H. Townsend, Elena Cenalmor Bruquetas, Ad Stijnman and Margarita San Andres Moya; London 2008 (Archetype Publications), paperback, 196 pages, 72 colour plates illustrations, £37.50 / $75.00.

A. Stijnman, Materials for art technological source research: theoretical issues; J. Kirby, Towards a new discipline?; M. Clarke, Asymptotically approaching the past: historiography and critical uses of sources in art technological source research; S. Kroustallis, Reading the past: methodological considerations for future research in art technology; C. Gramatke, Las dificultades especificas de la terminología: a propósito de la traducción comentada al alemán de los capítulos sobre las técnicas pictóricas de tres tratados barrocos españoles; S. Kroustallis, Los recetarios medievales de tecnologia artistica; G. Siracusano, Llaves y secretos para el estudio de los materiales del color; E. Cenalmor Bruquetas, La revista como fuente de información para la tecnología artística: Carlos de Haes y su artículo ‘Dibujo al carbon (aplicado al paisaje)‘; R. Bruquetas Galán, La obtencion de pigmentos azules paralas obras de Filipe II: comercio europeo y americano; M. San Andrés Moya and S. Garcia Fernández-Villa, Patents as a source of documentation for studying artistic technology; M. Clarke, Nineteenth-century English artists’ colourmen’s archives as a source of technical information; C. Nodal Monar and A. Calvo Manuel, Las técnicas de policromía barroca del noroeste de Portugal en los contratos y los tratados pictóricos; J. L. Regidor Ros, E. Rojas Márquez and J. Valcárcel Andrés, El retoque a seco: evolución a través de la historia de la pintura mural al fresco; A. Wallert, Seventeenth-century machines for drawing celestial spheres; C. Admella Baulies, B. V. de Tapol and N. Pedragosa Garcia, La mesa de trabajo de Fortuny; S. Garcia Fernandez-Villa and E. Juncosa Darder, The painter’s studio as a documentary source: a study of the final decades of Joan Miró; E. Lopez Zamora and C. Dalmau Moliner, Marks engraved on gilded surfaces of paintings on wood: types and methodology; J. Garcia Gomez-Tejedor, New technologies: new protocols; J. Barrio Martin, Islamic gilding technology: written sources and scientific analyses; A. Lopez-Montes, R. Blanc Garcia, T. Espejo Arias and J. L. Vilchez Quero, Analyses of dyes in the map collection of the Real Chancilleria of Granada; C. Ronnerstam, Analysis of pigments for miniatures; C. Aibeo, E. M. Castellucci, M. Matteini, B. Sacchi, A. Zoppi and C. Lofrumento, A micro-Raman spectroscopy study of the formation of lead dioxide from lead white; R. Garcia-Moreno and N. Thomas, Cinnabar or vermilion?; N. F. Camarneiro Mendes, E. M. Castellucci, C. Lofrumento, A. Zoppi, P. A. Mandò and N. Grassi, Identification of pigments in a 17th-century coloured map using micro-Raman spectroscopy and PIXE; M. Stols-Witlox, Sizing layers for oil painting in westem European sources (1500-1900): historical recipes and reconstructions; R. Woudhuysen-Keller, Reconstruction of tempera painting techniques: some examples, including gesso sottile; M. San Andres Moya, J. M. de la Roja, N. Sancho Cubino and S. Santos Gomez, Characterisation of purified verdigris obtained according to Recipe 101 of the Manoscritto Bolognese; S. Santos Gomez, M. San Andres Moya and A. Rodriguez, Reconstruction of documented preparation methods for gesso grosso and gesso sottile in Spanish School panel paintings; R. Garcia-Moreno, A. Cervera and J. Vazquez, Cochineal use in pre-Columbian.paintings.

For further information visit Archetype Publications

Tags: Books by Redazione
No Comments »

The exhibition Renaissance Siena: Art for a City, held at the National Gallery, London, from the 24 October 2007 to the 13 January 2008, was edited by LUKE SYSON, London 2007 (catalogue published by the National Gallery Company, distributed by Yale University Press).

Contents: L. Syson, Renaissance Siena: Art for a City (pp. 11-15); F. Nevola, Civic Identity and Private Patrons in Renaissance Siena (pp. 17-29); A. Angelini, Renaissance Art in Siena: Patrons, Artists and Workshops (pp. 31-41); L. Syson, Stylistic Choices (pp. 43-59); P. Jackson, The Patronage of Pandolfo the Magnificent (pp. 61-73); P. Jackson, Chronology (pp. 74-77). Catalogue: n. 6 - tempera on parchment, Saint Bernardino preaching from a Pulpit (New York, The Metropolitan Museum of Art, Robert Lehman Collection, inv. 1975.1.2474) by L. Syson; n. 39 - De animalibus by Albertus Magnus (Siena, Museo Aurelio Castelli, Basilica dell’Osservanza, ms. 3) by L. Syson; n. 43 - pen and brown ink, brush and brown wash, blue gouache, on vellum, Giorgio Martini’s Self portrait (?) with female attendants (New York, The Metropolitan Museum of Art, Robert Lehman Collection, inv. 1975.1.376) by L. Syson; and n. 50 - tempera with traces of silver on parchment, Bianca Saracini suspended aloft above the City of Siena from the Capitolo ternario in lode (Firenze, Biblioteca Nazionale Centrale, ms. Palat. 211) by L. Syson.

The exhibition has been reviewed by RICHARD STEMP, The Burlington Magazine, vol. CL, n. 1258, January 2008, pp. 43-45.

For further information visit the exhibition’s website.

Tags: Catalogues, Exhibitions by Redazione
No Comments »