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Nei giorni 22-23 settembre 2008 si è tenuto presso il Kunsthistorisches Institut in Florenz (Sala conferenze, Via Giuseppe Giusti 38) il convegno internazionale dal titolo Le tecniche del disegno rinascimentale: dai materiali allo stile (1435-1565) / Die Techniken der Renaissancezeichnung: vom Material zum Stil, a cura di Marzia Faietti, Lorenza Melli e Alessandro Nova, organizzato in collaborazione con il Gabinetto Disegni e Stampe degli Uffizi e il Kupferstichkabinett di Dresda.

Sono intervenuti: A. Nova e C. Acidini, Saluti; M. Faietti, L. Melli e A. Nova, Introduzione; P. G. Tordella, Forme dell’idea e dialettica invenzione - esecuzione nel disegno tra Quattro e Cinquecento; H. Chapman, S. Tanimoto e G. Verri, An Iterative Approach to the Scientific and Art historical Analysis of Renaissance Drawings; G. C. F. Villa, Tutta “fatica gettata”: i segreti del disegno occulto veneziano; J. Graul, “Il principio e la porta del colorire”: zur Rolle farbiger Traeger in der Florentiner Zeichnung des 15. Jahrhunderts; L. Montalbano, La tecnica del disegno a punta metallica fra il XIV e il XVI secolo attraverso l’analisi delle fonti e dei materiali; L. Melli, Le punte metalliche di Filippino Lippi: una scelta funzionale?; P. F. Munafò e V. Nicoletti, Un’esperienza di descrizione delle carte filigranate: metodi e strumenti; P. Rueckert, Papier und Wasserzeichen. Datenbanken für die Zeichnungsgeschichte der Renaissance; M. Faietti, L’uso della penna in alcuni disegni italiani del Quattrocento. Varietà fenomenologica e di significato; M. Holben Ellis e E. Spaulding, The Application of Imaging Techniques to Titian’s St. Theodore and the Dragon; S. Morét, Eine Zeichnung des Girolamo da Carpi in der Sammlung Martin von Wagner in Würzburg; F. Fiorani e G. Pace, Carte traslucide ante litteram: i disegni di Etienne Du Pérac per la serie d’incisioni “Vestigi dell’antichità di Roma…”; C. Fischer, Disegni a matita nera e rossa dalle origini al secondo quarto del Cinquecento: Pollaiolo, Leonardo, Signorelli e Fra Bartolomeo; A. Gnann, Materiale, tecnica e stile nei disegni giovanili di Michelangelo (ca. 1490-1512); C. C. Bambach, Leonardo’s Notes on Pastel Drawing; e C. Loisel, L’exemple de Bassano et Barocci et le premier pastel d’Annibale Carracci.

Per informazioni rivolgersi ad Astrid Müller (astrid.mueller@khi.fi.it) o visita il sito del Kunsthistorisches Institut in Florenz

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The exhibition Albrecht Dürer: Art in Transition was held at the Museum of Biblical Art (1865 Broadway at 61st Street, New York, NY 10023-7505), from July 26 - September 21, 2008.

Born in 1471 in Nuremberg, Germany, Albrecht Dürer began his career immersed in a conventional naturalism found in the Low Countries. Although his artistic inheritance was rooted in Flemish late Gothic painting, he became profoundly influenced by the work of Italian contemporaries, and struggled to blend the Gothic traditions of the North with Italy’s triumphs in mathematical perspective and color. Painter, printmaker, draughtsman, and art theorist, Dürer was perhaps the only Northern artist to fully grasp the complex relationship between scientific theory and art in Italy.

Drawing from the formidable collection of Dürer graphics at the Hessisches Landesmuseum, Darmstadt, Germany, Albrecht Dürer: Art in Transition was a chronological presentation of the artist’s life and times and the advances he made to improve the popular perception of graphics as a higher art form. The exhibition, which was restricted to only three venues in the United States, included a fully-illustrated catalogue with text by Dr. Mechthild Haas, Graphics Curator, Hessisches Landesmuseum.

“The Florence Portfolio” was composed of 20 etchings created in July 1993 by six contemporary artists exploring the theme of sacrifice in the Old and New Testaments. Selections from each artist’s contribution to “The Florence Portfolio” were on display in the Museum’s Education Gallery. The etchings - probing, surprising, and haunting - represented high achievement in the graphic arts and comprised a modern compliment to the masterful engravings in Albrecht Dürer: Art in Transition.

For further details view the site of the MOBIA

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‘Divers Manuscripts both Antient & Curious’: Illuminated Treasures from the Harley Collection. A conference at the British Library, London, 29-30 June 2009.

To celebrate and advertise the end of the on-line catalogue of illuminated Harlienan manuscripts in June 2009, the British Library is hosting an academic conference. Scholars from all disciplines are invited to submit proposals for twenty-minute papers, but historians of visual culture are particularly encouraged to apply and preference will be given to presentations that include images. Papers that treat renowned Harleian holdings and those focusing on lesser known manuscripts are equally welcome. All potential contributors are encouraged to consult the British Library’s on-line Catalogue of Illuminated Manuscripts, which is rapidly expanding and currently supplies information relating to over 700 Harley manuscripts. Deadline: September 2008.

If you would like to take part, please send a one-page abstract and a concise CV to Deirdre Jackson at: The British Library, 6 Euston Road, London, NW1 2DB or e-mail to deirdre.jackson@bl.uk

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MARCO BONOCORE, La miniatura sveva da Federico II a Manfredi: utilitas et decus, in Exempla. La rinascita dell’antico nell’arte italiana. Da Federico II ad Andrea Pisano, catalogo della mostra a cura di MARCO BONA CASTELLOTTI, Rimini, Castel Sismondo, 20 aprile - 7 settembre 2008, Ospedaletto (PI) 2008, pp. 51-64 (Pacini Editori).

Schede (di Marco Bonocore): n. 17 - Biblia sacra (Palermo, Biblioteca Centrale della Regione Siciliana, ms. I.C.13); n. 18 - Biblia sacra (Torino, Biblioteca Nazionale, ms. E.IV.14); n. 19 - Psalterium (Firenze, Biblioteca Riccardiana, ms. 323); n. 20 - De arte venandi cum avibus (Città del Vaticano, Biblioteca Apostolica Vaticana, ms. Pal. lat. 1071, facsimile); n. 21 - De arte venandi cum avibus (Bologna, Biblioteca Universitaria, ms. Lat. 717); e n. 22 - De balneis Puteolanis (Roma, Biblioteca Angelica, ms. 1474).

Per maggiori informazioni visita il sito della mostra.

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