This volume retraces the history, art and culture of the city of Florence through three unique festivities: the festival of New Year ab Incarnatione Domini and those celebrating the figures of Saint Anne and of Saint Reparata. All these festivals with their sacred connotations have been characterised, since ancient times, by political, civic or secular values. As Florentine citizens, curious about the world and in love with our city, the authors would like to underline how these values have continued to be vigorously represented up to the present day in new forms, and have also contributed to forming the distinctive character of the city of the lily. In this book, the reader will find both very famous and lesser-known artists and works of art that will allow them to better understand the history of this Tuscan city.
Born in 1885 in Porto, Portugal, to a middle-class musical family, Guilhermina Suggia began playing cello at the age of five. A child prodigy, she was already a seasoned performer when she won a scholarship to study with Julius Klengel in Leipzig at the age of sixteen. Suggia lived in Paris with fellow cellist Pablo Casals for several years before World War I, in a professional and personal partnership that was as stormy as it was unconventional. When they separated Suggia moved to London, where she built a spectacularly successful solo career. Suggia's virtuosity and musicianship, along with the magnificent style and stage presence famously captured in Augustus John's portrait, made her one of the most sought-after concert artists of her day. In 1927 she married Dr Jos asimiro Carteado Mena and settled down to a comfortable life divided between Portugal and England. Throughout the 1930s, Suggia remained one of the most respected musicians in Europe. She partnered on stage with many famous instrumentalists and conductors and completed numerous BBC broadcasts. The war years kept her at home in Portugal, where she focused on teaching, but she returned to England directly after the war and resumed performing. When Suggia died in 1950, her will provided for the establishment of several scholarship funds for young cellists, including England's prestigious Suggia Gift. Mercier's study of Suggia's letters and other writings reveal an intelligent, warm and generous character; an artist who was enormously dedicated, knowledgeable and self-disciplined. Suggia was one of the first women to make a career of playing the cello at a time when prejudice against women playing this traditionally 'masculine' instrument was still strong. A role model for many other musicians, she was herself a fearless pioneer.
The Courtiers' Anatomists is about dead bodies and live animals in Louis XIV's Paris--and the surprising links between them. Examining the practice of seventeenth-century anatomy, Anita Guerrini reveals how anatomy and natural history were connected through animal dissection and vivisection. Driven by an insatiable curiosity, Parisian scientists, with the support of the king, dissected hundreds of animals from the royal menageries and the streets of Paris. Guerrini is the first to tell the story of Joseph-Guichard Duverney, who performed violent, riot-inducing dissections of both animal and human bodies before the king at Versailles and in front of hundreds of spectators at the King's Garden in Paris. At the Paris Academy of Sciences, meanwhile, Claude Perrault, with the help of Duverney’s dissections, edited two folios in the 1670s filled with lavish illustrations by court artists of exotic royal animals. Through the stories of Duverney and Perrault, as well as those of Marin Cureau de la Chambre, Jean Pecquet, and Louis Gayant, The Courtiers' Anatomists explores the relationships between empiricism and theory, human and animal, as well as the origins of the natural history museum and the relationship between science and other cultural activities, including art, music, and literature.
This volume retraces the history, art and culture of the city of Florence through three unique festivities: the festival of New Year ab Incarnatione Domini and those celebrating the figures of Saint Anne and of Saint Reparata. All these festivals with their sacred connotations have been characterised, since ancient times, by political, civic or secular values. As Florentine citizens, curious about the world and in love with our city, the authors would like to underline how these values have continued to be vigorously represented up to the present day in new forms, and have also contributed to forming the distinctive character of the city of the lily. In this book, the reader will find both very famous and lesser-known artists and works of art that will allow them to better understand the history of this Tuscan city.
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