Palazzo Grimani dall’Albero d’Oro opens its doors to culture, art and all those who wish to discover the history of this sumptuous building on the Grand Canal. The book offers a fascinating journey through time, the city and the lives of the illustrious guests who have lived in this patrician residence. With a personal “ narrated” tour and a narrative that never loses sight of scientific rigour, the authors take us through the magnificent rooms in a journey that weaves together, with careful reconstruction, the history of the families and collections once hosted in the palazzo. Massimo Favilla has taught Urban and Territorial Design at the IUAV University of Venice and the History of Architecture at the University of Padua. Ruggero Rugolo is responsible for publishing at the Istituto Veneto di Scienze, Lettere ed Arti and has taught the History of Modern Art at the University of Modena and Reggio and at Ca’ Foscari University in Venice. Their studies focus on Veneto art, in particular of the seventeenth and eighteenth centuries, and have led to the publication of numerous monographs, conference proceedings, exhibition catalogues and articles in academic journals.
Among today's Italian philosophers, Massimo Cacciari is perhaps the most assiduous commentator of Dante. Philosophy, Mysticism, and the Political collects all of Cacciari's writings on Dante to this day, from his masterful analysis of St. Francis of Assisi in Dante's Paradiso and Giotto's frescoes to a new consideration of Dante's "European" idea of empire as a federation of nations, peoples, and languages. Cacciari does not force Dante into any philosophical straitjacket. Rather, he walks with Dante, takes notes, asks questions, raises issues, and tries to understand the Divine Comedy in Dante's terms. Cacciari approaches Dante's Ulysses and the theologico-philosophical vertigo of Paradiso not as a critic but from the point of view of a faithful, assiduous, perceptive, sometimes perplexed, and sometimes worshipful reader. Cacciari's analysis shows once more that Dante does not belong to the past. Dante creates his own age and stays with us whenever we wish to follow his path.
Claudio Monteverdi's historical position in music has been compared to that of Shakespeare in literature: almost exact contemporaries, each worked from traditional beginnings to transform nearly every genre he attempted. In this book, Massimo Ossi delves into the most significant aspect of Monteverdi's career: the development, during the first years of the seventeenth century, of a new compositional style he called the seconda prattica or "second manner." Challenged in print for the unconventional aspects of his music, Monteverdi found himself at the center of a debate between defenders of Renaissance principles and the newest musical currents of the time. The principles of the seconda prattica, Ossi argues in this sophisticated analysis of Monteverdi's writings, music, and approaches to text-setting, were in fact much more significant to the course of Monteverdi's career than previously thought by modern scholars-not only did Monteverdi continue to pursue their aesthetic and theoretical implications for the rest of his life, but they also affected his dramatic compositions as well as his chamber vocal music and sacred works. Ossi "divines the oracle" of Monteverdi's ambiguous theoretical concepts in a clear way and in terms of pure music; his book will enhance our understanding of Monteverdi as one of the most significant figures in western music history.
Palazzo Grimani dall’Albero d’Oro opens its doors to culture, art and all those who wish to discover the history of this sumptuous building on the Grand Canal. The book offers a fascinating journey through time, the city and the lives of the illustrious guests who have lived in this patrician residence. With a personal “ narrated” tour and a narrative that never loses sight of scientific rigour, the authors take us through the magnificent rooms in a journey that weaves together, with careful reconstruction, the history of the families and collections once hosted in the palazzo. Massimo Favilla has taught Urban and Territorial Design at the IUAV University of Venice and the History of Architecture at the University of Padua. Ruggero Rugolo is responsible for publishing at the Istituto Veneto di Scienze, Lettere ed Arti and has taught the History of Modern Art at the University of Modena and Reggio and at Ca’ Foscari University in Venice. Their studies focus on Veneto art, in particular of the seventeenth and eighteenth centuries, and have led to the publication of numerous monographs, conference proceedings, exhibition catalogues and articles in academic journals.
This lavish book is the first ever art historical study to survey this specific and crucial period in the history of ‘La Serenissima’ – the Baroque. The 17th century saw Venice’s last big drive to respond on a cultural and artistic level to the Republic’s inexorable decline on the great stage of European politics. The city’s fabric still reflects the desire that was felt at the time for grandiloquent displays of hoped-for triumph. Excess and ostentation prevailed, fuelling a tendency for abundant ornamentation, a taste for the grotesque and the bizarre, and a zeal for enormity and greatness. Here, the authors trace the progression of painting, sculpture and architecture in 17th-century Venice in a series of scholarly essays illuminated by hundreds of glorious illustrations celebrating the city’s seminal examplars of Baroque style, among them Santa Maria della Salute, the mosaics of St Mark’s and the paintings of Giambattista Tiepolo."--Publisher's description.
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