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Edilizia privata nella Verona rinascimentale, a cura di P. Lanaro, P. Marini, G. M. Varanini, con la collaborazione di E. Demo, Milano, 2000, pp. 240–241. For Trissino’s preface, see L. Puppi, Scrittori vicentini d’architettura del secolo XVI, Vicenza, 1973, pp. 79–86, and for his reconstruction of the Domus romana, see H. Burns, “Da naturale inclinatione guidato: il primo decennio di attività di Palladio architetto”, in Storia dell’architettura…, 2002, pp. 382–383. 38 See H. Burns, “Andrea Palladio, Pianta e alzato del tempio monoptero vitruviano (RIBA x/4v.)”, in

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diciembre de 2014: http://www.martinoticias.com/content/se-reanuda-el-dialogo-de-paz-con-mas-cabecillas-de-las-farc-en-la-habana/78197.html Spicher, Anne. La mythologie grecque . París: Éditions Ellipses, 2009. Taylor, Diana, y Juan Villegas. Negotiating performance. Gender, sexuality and theatricality in Latin/o America . Durham y Londres: Duke University Press, 1994. ←56 |  57→ Turner, Victor. The Anthropology of Performance . New York: PAJ Publications, 1988. Vásquez, Socorro, y Hernán Darío Correa. “Los Wayúu, entre Juya (‘el que llueve’), Mma

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esame anche i restauri eseguiti agli inizi del Novecento da Albert Naef e Joseph Zemp 420 . Scavi archeologici hanno dimostrato che la chiesa è stata costruita su un’area già abitata in epoca romana. Sembra che agli inizi del VI secolo il monastero fosse già fiorente, per il fatto che Sigismundo, re dei Burgundi, nell’anno 515 reclutò una squadra di monaci per costruire l’abbazia di Saint-Maurice d’Agaune 421 . In seguito, nel VII secolo l’abbazia di Romainmôtier, dove erano presenti monaci che seguivano la regola dell’irlandese san Colombano, venne ricostruita dal

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Transmutation in Ancient Glassmaking (Sagamore Beach, MA: Science History Publications, 2009). 3. Vincent Ilardi, Renaissance Vision from Spectacles to Telescopes (Philadelphia: American Philosophical Society, 2007), 27–28. 4. As Timothy J. Johnson, “Francis and Creation,” in The Cambridge Companion to Francis of Assisi , ed. Michael J. P. Robson (Cambridge: Cambridge University Press, 2012), 144–45 explains, Francis was “free to embrace the reality of the material world and enter into a relationship with creation on its own terms and praise the Creator.” For the

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Córdoba”, in: Studies in Islamic Art and Architecture in Honour of Professor K. A. C. Creswell , Kairo: The American University in Cairo Press, 1965, S. 30–48. Brisch 1966 Klaus Brisch, Die Fenstergitter und verwandte Ornamente der Hauptmoschee von Córdoba (Madrider Forschungen, 4), Berlin: Walter de Gruyter, 1966. Brisch 1995 Klaus Brisch, „Félix Hernández Giménez (1889–1975)“, in: Madrider Mitteilungen , 1995, Bd. 36, S. 66–78. Britz Leplaideur 1988 Nicole Britz Leplaideur, „Analyse esthétique et symbolique du mihrâb de Cordoue”, in

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” GH “Glatzer Heimatblätter” HJSG “Historisches Jahrbuch der Stadt Graz” HV “Hudební Věda” JAMS “Journal of the American Musicological Society” JSFWUB “Jahrbuch der Schlesischen Friedrich-Wilhelm-Universität zu Breslau” M “Muzyka: Kwartalnik Poświęcony Historii i Teorii Muzyki” [Muzyka: Music History and Theory Quarterly] MD “Musica Disciplina” ← 343 | 344 → MDP “Mitteilungen aus den deutschen Provinzen der Gesellschaft Jesu” MF “Die Musikforschung” MQ “The Musical Quarterly” ObJ “Oberschlesisches Jahrbuch” ObS “Der Oberschlesier” RŚ “Rocznik Świdnicki

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Identity Crisis in Feminist Theory,” Signs 13 (1988), pp. 405–36. Allen, Thomas W., Commentary on the Homeric Hymns, London: Macmillan, 1904. ———, and E. E. Sikes, Commentary on the Homeric Hymns, Cambridge: Cambridge University Press, 2003. Altcapenberg, Hein-Th.Schulze, Sandro Botticelli: Pittore della Divina Commedia, Milan: Skira, 2000. Ambrose, “The Patriarchs,” in The Fathers of the Church, Washington, DC: Catholic University of America Press, 1960, LXV. Amelug, W., Die Skulpturen des Vaticanischen Museum, Berlin: G. Grote, 1903. Anglo, Sydney, Macchiavelli

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distruttore della pittura comincio da prima a germogliare in maestri di onorato grido, e si radico nelle scuole, che seguirono poi; onde none credible a raccontare quanto degenerassero non solo da Rafaello, rna da gli altri che alia maniera diedero cominciamento. Fiorenza, che si vanta di essare madre della pittura, e'l paese tutto di Toscana, peril suoi professori gloriosissimo, taceva gia senza laude di pennello; e gli altri della scuola romana non alzando piu gli occhi a tanti essempi antichi e nuovi, avevano posto in dimenticanza ogni lodevole rrofitto ... " 20f

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obvious fascist content of much realist painting of the era; Hitler’s embracing of realism; as a corrective to post-war equatings of realism with fascism and modernism with anti-fascism. 2 Cortesini’s essay won the first Terra Foundation for American Art International Essay Prize. 3 For arguments that the Scuola Romana was not a proper “school,” see Braun (1988) and Benzi (1998). There is also no critical agreement concerning who belongs to the School, the name of which was applied to Cagli, Cavalli, Sclavi, and Capogrossi by critic Waldemar George (Cordisco 2012

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exaggeration, the phrase captures the sense in which these portraits were not realist and owed a debt to Cagli’s self-described primordialism. Cagli’s claim about the destruction of his works then provides the interviewer with the opportunity to ask, “Why in the 1940s did you prefer to participate in the Second World War with the American forces, when other exiled intellectuals preferred to remain in the United States and wait for the end of the conflict?” (78). For Cagli chose, in the spring of 1941, to enlist, and this temporarily disrupted his painting career