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Grazie a pynomoscato ho scoperto la Loggia del Pesce del Vasari molto bella e sicuramente poco valorizzata come del resto tante altre bellezze italiane.

è un passaggio obbligato quello dell'acqua, sopra agli archi...

però dal bosco arriva nella Piazza Grande di Arezzo

giochi di luce in Via di San Fabiano, Arezzo

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Textures with thanks to Kim Klassen and Lenabem-Anna

 

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17/vasaris - Klaipėda

Firenze - Ponte Vecchio - Anno 1345 Taddeo Gaddi discepolo di Giotto

..."E, quando un pensiero rivela l’anima mascherata

Esso stesso non va a smascherare da smascherato."

Fernando Pessoa

..." And, when a thought reveals the soul masked

It does not go in to unmask unmasked."

Fernando Pessoa

 

(My Texture)

 

All Rights Reserved. This image is not available for use on websites, blogs or other media without explicit written permission.

en.wikipedia.org/wiki/Vasari_Corridor

 

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Nachdem 1333 ein Hochwasser eine an derselben Stelle stehende Holzbrücke zerstört hatte, wurde in zwölfjähriger Bauzeit die heutige Brücke aus Stein errichtet. Seitlich entlang der Brücke befinden sich seit 1345 lückenlos aneinandergereiht kleine Läden mit zur Brücke hin gerichtetem Eingang, deren rückwärtiger Teil jeweils einem Balkon ähnlich die eigentliche Brücke überragt. Lediglich in der Mitte der Brücke ermöglichen auf jeder Brückenseite drei Arkadenbögen dem Passanten einen Blick auf den Arno.

 

Im Auftrage Cosimos I. de’ Medici wurde von Giorgio Vasari 1565 über der Ladenzeile ein Übergang gebaut, der den Palazzo Vecchio mit dem Palazzo Pitti verbindet.

 

Ursprünglich waren auf der Brücke hauptsächlich Schlachter und Gerber ansässig. Die Schlachter warfen ihre stinkenden Abfälle in den Arno, die Gerber wuschen ihre Stoffe, die zuvor mit Pferdeurin gegerbt wurden. 1593 wurden diese jedoch per Dekret durch Goldschmiede ersetzt, die sich noch heute zahlreich in den kleinen Läden auf der Brücke befinden.

 

Beim Rückzug der deutschen Truppen aus Florenz im Zweiten Weltkrieg wurde der Ponte Vecchio als einzige Brücke der Stadt nicht zerstört, sondern lediglich mit den Überresten der umliegenden zerstörten Gebäude versperrt. Angeblich gab Hitler den Befehl, die Brücke unversehrt zu lassen, auch wird dem deutschen Konsul Gerhard Wolf die Verhinderung der Sprengung zugeschrieben.

 

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The dawn scene viewing from Ponte Vecchio, Florence. Vasari Corridor is seen on the left.

l'acquedotto che porta l'acqua dall'Alpe di Poti in piazza Vasari, ad Arezzo.

Jean Jacques Henner. 1829-1905. Bara. 1882.

Paris Petit Palais (Musée des Beaux de la Ville de Paris)

 

L'ART ET LES IDEOLOGIES SUCCESSIVES

 

L'Histoire de la peinture européenne démontre une vérité : l'Art est fondamentalement idéologique et politique. L'Art est idéologique c'est à dire qu'il est le reflet, l'expression, du système de valeurs qui façonne une société donnée à une époque donnée. L'Art est politique car ce système de valeurs est toujours imposé par les puissances gouvernantes de l'époque pour manipuler les hommes. Ces puissances gouvernantes ne se confondent pas nécessairement avec les chefs politiques au pouvoir. Ce sont des Influences qui débordent souvent le cercle étroit des dirigeants manifestes, les politiciens.

L'histoire de l'art montre très évidemment la succession des idéologies, c'est à dire des idées à la mode, au nom desquelles les hommes vivent et meurent. La particularité de l'art est toutefois que son but est esthétique, du moins jusqu'aux années 1950 et l'Art Contemporain. Du fait de cet impératif esthétique qui est celui de l'art, le Beau a pour effet, toujours voulu, de magnifier certaines idées, et de masquer, de manière fort belle, émouvante, édifiante, la bêtise de certaines autres. L'art n'est pas seulement l'imitation parfaite de la nature, célébrée par Vasari. L'art est est aussi un beau déguisement du réel.

Certes, il existe des arts qui sont essentiellement poétiques, ils témoignent toujours d'une vision du monde, mais pas d'une idéologie, c'est à dire d'une conception du monde qui se veut une vérité absolue, incontestable, imposable à tous. C'est le cas de l'art paysagiste, de l'art impressionniste ou symboliste, entre autres exemples.

Il reste que l'histoire de l'art est le témoin des évolutions idéologiques commandées par "l'esprit du temps". Mais pour voir cette histoire, il faut vouloir chercher derrière le déguisement, derrière la beauté apparente des images, l'idée politique et le but de gouvernement, très pratique, souvent sinistre, pas beau du tout, qui est poursuivi par les puissants. Une volonté de domination idéologique dont l'artiste se fait l'écho, de manière plus ou moins consciente. L'artiste peut en effet participer totalement, croire en l'idéologie qu'il sert, et ne pas même s'apercevoir qu'il est conditionné, et utilisé pour jouer un rôle. Les idiots utiles sont aussi artistes, pas seulement ingénieurs.

Après les tableaux de Jean Jacques Henner (Bara) et Jean Joseph Weerts (Pour l'humanité, pour la patrie ) les oeuvres de Jean Antoine Gros (Clovis et Clotilde, La Gloire des dynasties royales et impériales devant Sainte Geneviève) sont une excellente illustration des manipulations dont l'art se fait le vecteur.

 

La révolution français est directement ou indirectement à l'origine des délires ultra-nationalistes qui ont coûté à la France et à l'Europe tant de millions de morts entre 1792 et 1945.

C'est d'abord le patriote républicain, jeune va-nu-pied enthousiaste, qui meurt glorieusement pour la liberté, l'égalité et la fraternité, en luttant pour les peuples opprimés contre les rois oppresseurs (Bara de Jean Jacques Henner). C'était "le nationalisme de gauche".

Napoléon 1er, puis le second empire, et encore la IIIè République, vont récupérer l'idéologie révolutionnaire de "la patrie en danger", mais en la transformant subtilement, de manière à utiliser le "nationalisme de droite". Ils vont mettre l'accent sur la continuité de la nation française, son histoire, et récupérer aussi la religion, que la révolution avait voulu éliminer. Pour preuve, les tableaux de Jean Joseph Weerts avec le soldat mort, le Christ en croix et le drapeau bleu blanc rouge. Pour preuve, les tableaux de Gros avec Sainte Geneviève, Clovis et Clotilde, et les dynasties royales et impériales.

Des idées, et de très belles images qui permettront de faire mourir des dizaines de millions d'hommes pendant quelque dizaines d'années, jusqu'en 1945. Il faut reconnaître que le sentiment du Beau est satisfait, quand on regarde les tableaux des musées pour cette période de l'histoire européenne. L'artiste peu faire de très belles images de la réalité la plus laide du monde : la guerre.

Bien sûr, tous ces tableaux sont totalement dépassés, totalement à contre courant des idéologies actuelles : le mondialisme a juré la mort de toutes les nations, et veut imposer la République Universelle du Mélange.

L'homme mourra, toujours aussi glorieusement, mais pas pour la patrie ou la nation, non, pour la Fraternité Universelle, la Société Sans Classes et la société Sans Races. L'humanité a déjà connu une bonne centaine de millions de morts entre 1917 et 1980 sur ces thèmes. Il est certain que d'autres millions suivront. Il a existé bien sûr un art du socialisme intégral, pour magnifier tout ceci. Comme il existe un art pour célébrer le mondialisme. Mais pas forcément beau. C'est la grande nouveauté.

   

ART AND SUCCESSIVES IDEOLOGIES

The history of European painting shows a truth: Art is fundamentally ideological and political. Art is ideological ie it is the reflection, the expression, of the value system which shapes a society at a given time. Art is political because this system of values is always imposed by the ruling powers of the time. The governing powers do not necessarily overlap with the political leaders in power, to manipulate men These are Influences that often extend beyond the narrow circle of manifest leaders, the politicians.

The art history clearly shows the succession of the ideologies, ie ideas in fashion, in whose name the men live and die. The peculiarity of art is however that its goal is aesthetic, at least until the 1950s and Contemporary Art. Because of this aesthetic imperative of art, the effect of beauty is always to magnify certain ideas, and to mask, in a very beautiful, moving and edifying manner, the stupidity of certain others ideas. Art is not only the perfect imitation of nature, celebrated by Vasari. Art is also a beautiful disguise of the reality.

Certainly, there are arts which are essentially poetic, they still reflect a worldview, but not an ideology, that is, a conception of the world that wantsto be a absolute truth, undeniable, taxable to all. This is the case for landscape art, impressionist or symbolist art, among other examples.

The history of art is the witness of the ideological evolutions ordered by the "spirit of time". But to see this story, one must seek to look behind the disguise, behind the apparent beauty of the images, the political idea and the purpose of government, very practical, often sinister, not beautiful at all, which is pursued by the powerful. A desire for ideological domination, which the artist echoes in a more or less conscious way. The artist can indeed participate fully, believe in the ideology he serves, and not even realize that he is conditioned, and used to play a role. The "Useful idiots" are also artists, not just engineers.

After the paintings by Jean Jacques Henner (Bara) and Jean Joseph Weerts (For the humanity, for the country) the works of Jean Antoine Gros (Clovis and Clotilde , The Glory of the Royal and Imperial Dynasties before Saint Genevieve) are an excellent illustration of the manipulations that art is the vector.

 

The French revolution is directly or indirectly responsible for the ultra-nationalist delirium which cost France and Europe so many millions of deaths between 1792 and 1945.

It is first the republican patriot, an enthusiastic young fellow, who dies gloriously for freedom, equality, and fraternity, struggling for oppressed peoples against oppressive kings (Bara de Henner). It was "left-wing nationalism".

Napoleon I, then the Second Empire, and again the Third Republic, recover the revolutionary ideology of "the country in danger", but subtly transforming it, so as to use "right-wing nationalism." They will emphasize the continuity of the French nation, its history, and also recover the religion that the revolution had wanted to eliminate.

As proof, the paintings of Jean Joseph Weerts with the dead soldier, the Christ in cross and the red white blue flag. As proof, the paintings of Jean Antoine Gros with Sainte Genevieve, Clovis and Clotilde, and the royal and imperial dynasties.

Ideas and very beautiful images that will allow the death of tens of millions of men for some decades until 1945. It must be admitted that the feeling of the Beautiful is satisfied when one looks at the paintings of museums For this period of European history. The artist can make very beautiful images of the ugliest reality in the world: The war.

Of course, all these paintings are totally outdated, totally against the current ideologies: The globalism has sworn the death of all nations, and wants to impose the Universal Republic of th e Mixture.

Human will die, always so gloriously, but not for his country or the nation, not, for the Universal Brotherhood, the Society without Classes, and the Society without Races. Humanity has already known a hundred million deaths between 1917 and 1980 on these themes. It is certain that other millions will follow. There was, of course, an art of integral socialism, to magnify all this. As there is an art to celebrate globalism. But not necessarily beautiful. This is the great novelty.

  

I'm sorry I haven't been round for a while but work has been stupidly busy. Now it's time for me to catch up commenting!

 

Two weeks ago I visited Florence and Venice and met with Daniela Nobili, Gianni Galassi and Rita Vita Finzi. What a fantastic trip! The trip to Florence fulfilled a 30 year dream, which is where the main piicture was taken - it's the Vasari Corridor leading up to the Ponte Vecchio. The others are just some pictures from on the street. You can click through on them if you want.

 

italy : ministract

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A sepia version of yesterdays flipped Vasari Corridor upload. With most 'flipped' shots I see the potential when I'm taking the original image. This one only came to me last night when I was uploading the original shot. Think it's potentially one of my favourites even......

 

Click here to see more of my 'flipped' shots : www.flickr.com/photos/darrellg/sets/72157627889661743

 

If you've got any yourself maybe you could consider joining the group I started for similar images : www.flickr.com/groups/flippingphotos/

 

From Wikipedia : 'The Vasari Corridor was built in 5 months by order of Grand Duke Cosimo I de' Medici in 1564, to the design of Giorgio Vasari. It was commissioned in connection with the marriage of Cosimo's son, Francesco, with Johanna of Austria. The idea of an enclosed passageway was motivated by the Grand Duke's desire to move freely between his residence and the government palace, when, like most monarchs of the period, he felt insecure in public, in his case especially because he had replaced the Republic of Florence. The meat market of Ponte Vecchio was moved to avoid its smell reaching into the passage, its place being taken by the goldsmith shops that still occupy the bridge. At the latter extremity, the corridor was forced to pass around the Mannelli's Tower, after the staunch opposition of that family to its destruction.'

 

Click here to see more of my Florence shots : www.flickr.com/photos/darrellg/sets/72157650208172192

 

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Title: Painting illustrated in three diallogues, containing some choice observations upon the art. Together with the Lives of the most eminent painters, from Cimabue, to the time of Raphael and Michael Angelo. With an explanation of the difficult terms

Identifier: paintingillustra00agli

Year: 1685 (1680s)

Authors: Aglionby, William, d. 1705 Dibner, Bern donor Vasari, Giorgio, 1511-1574 Lives of the most eminent painters

Subjects: Painting Painters

Publisher: London, Printed by J. Gain for the author, sold by W. Kettilby

  

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About This Book: Catalog Entry

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Click here to view book online to see this illustration in context in a browseable online version of this book.

  

Text Appearing Before Image:

beflow it upon thepoor Countrey-Man wha had always lookedto it, and endured pains enough about it :Thinking that a more reafonable Difpofition^than to give it them for a Vifit which theynow made him when he was a dying, to noother end thai:i to get what tlicy could out of him. As for all the things belonging to his Art,he difiributed them among his Schallars 3 thefamoufeft of which were, Bertoldo^ a FlorentineSculptor^ II Rofellmo DfiJeio^ and Vellano di Pa-doua. And indeed, fince his Death, Avho everhas aimed at excelling in ReUevOy mufl have ftudied DO NATO. ^^ fludieci his Works ; the number of which isfo great,that no Artift ever wrought fo muchas he did j which was a great happinefs forSculpture y the great variety of his underta-kings being fo many Leffons of all kindsin that Profeffion ; in which he fhowed bothInvention, Defign 5 Prad:ice, Judgment sStrength, Sweetnefs ; and in a word, all theparts of a Divine and Wonderful Artifl:, F INI S. M ~ ^ (Drandeii Ulnfvetsitu ^ibrf^fu

 

Text Appearing After Image:

  

Note About Images

Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.

El Salone dei Cinquecento (Salón de los Quinientos) se empezó a construir en 1494 por orden de Simone del Pollaiolo tras la restauración de la República de Florencia una vez expulsado Pedro de Medici, y posteriormente fue ampliado por Giorgio Vasari. Sus dimensiones son de 52 x 23 m. (1.200 m2), sin columnas, con una altura de 18 m. Su finalidad era reunir al Gran Consejo, institución que agrupaba a todas las personas con derechos ciudadanos en la República de Florencia, integrada por 500 miembros. La decoración actual es de mediados del siglo XVI, incluye en las paredes frescos representando batallas y éxitos militares de la República de Florencia contra Pisa y Siena y en el techo 39 paneles que representan escenas de la vida de Cosme I, todos pintados por Vasari. En los laterales se aprecian varios grupos escultóricos, entre los que destaca el Genio de la Victoria de Miguel Ángel. En el frontal del salón y un poco elevada destaca “La Audiencia”, construida por Baccio Bandinelli para Cosimo I para recibir los ciudadanos y embajadores, y como fondo tres hornacinas en las que se alojan esculturas de Bandinelli, en el centro la León X y en los costados las de Carlos V y de Clemente VII.

 

El Palazzo Vecchio es el centro de la ciudad histórica de Florencia. Su construcción se inicia en 1299 dirigida por Arnolfo di Cambio, y finaliza en 1314. En el transcurso del tiempo recibe varios nombres, dependiendo de su utilización: Palazzo dei Priori o Palagio Novo, Palazzo della Signoria al albergar el organismo principal de la República de Florencia en el siglo XV, Palazzo Ducale en 1540 cuando Cosme I de Medici lo convierte en su residencia y Palacio Viejo en 1590 cuando éste se muda al Palacio Pitti. De 1865 a 1871 fue la sede del Parlamento del Reino de Italia, y hoy alberga el Ayuntamiento y el Museo dei Ragazzi. Es un bloque monolítico con dos pisos con ventanas bíforas, una terraza almenada y la Torre d’Arnolfo con doble almenado, emblema de la ciudad.

 

Más fotografías en el álbum Palazzo Vecchio, Firenze

 

100505

Chiostro dell'ex convento di san Pietro in Vincoli attribuito dal Vasari a Giuliano da Sangallo e probabilmente costruito fra il1493 ed il 1503.

San Pietro in Vincoli Cloister (1493 - 1503).

 

Project "Roma;.. Project L'Arte della Fuga

  

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The Ponte Vecchio (Old Bridge) spans the Arno river built in Roman times, the bridge first appears in a document of 996. The bridge was destroyed by a flood in 1117 and in 1333 it was rebuilt in 1345 in the architecture it has today. There have always been shops on the bridge since this time, butchers occupied the bridge at first but the smell finally drove them out and jewelers and art dealers moved in, the tourist industry was alive and kicking 700 years ago! It is said that the economic concept of bankruptcy originated here: when a money-changer could not pay his debts, the table on which he sold his wares (the "banco") was physically broken ("rotto") by soldiers, and this practice was called "bancorotto" (broken table; possibly it can come from "banca rotta" which means "broken bank"). Not having a table anymore, the merchant was not able to sell anything. The Vasari Corridor (pictured right) is an elevated enclosed passageway built in 1564, which runs over the Ponte Vecchio and connects the Palazzo Vecchio on the right side of the river with the Palazzo Pitti on the other side of the river. The idea of an enclosed passageway was motivated by the Grand Duke's desire to move freely between his residence and the government palace, when, like most monarchs of the period, he felt insecure in public and the duke was the guy who complained about the smell from the butcher shops and were replaced with the goldsmiths and artists. Florence, Italy

My Texture

 

All Rights Reserved. This image is not available for use on websites, blogs or other media without explicit written permission.

Cropped this one deliberately close to the top to add to the strangeness of the floating effect of the Ponte Vecchio on the surface of the Arno.

View at the oldest bridge in Florence, Italy, a real landmark of the city. When we translate its name literally it means simply "Old Bridge". It joins two banks of the city spanning over the Arno River. It was once a place full of butchers' shops but as the time passes by the jewelers' took over the place. The bridge is also a part of famous yet mysterious Vasari's Corridor - the secret passage between the Palazzo Vecchio and the Palazzo Pitti. The photo was taken from a neighbouring bridge - Ponte Santa Trinita.

Copyright © 2010 Lorenzo Gatto. All rights reserved.

Please, do not use my photos without my written permission.

  

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La fontana Pretoria è situata sull'omonima piazza a Palermo.

 

La sua storia ha inizio in Toscana quando Don Pedro de Toledo, padre d’Eleonora e suocero di Cosimo I de' Medici Granduca di Toscana, commissionò agli scultori Francesco Camilliani e Michelangelo Naccherino una fontana per il giardino del suo palazzo fiorentino. Morto però l'illustre committente nel 1552, la fontana, grazie alla mediazione di Don Garçia de Toledo, figlio primogenito ed erede di Don Pedro, venne acquistata dal Senato palermitano che pensò di collocarla nella piazza su cui prospetta il Palazzo Pretorio.

 

Per far posto alla monumentale realizzazione, concepita per un luogo aperto, vennero demolite diverse abitazioni. La cura della ricostruzione della fontana "stupendissima" – al dir di Giorgio Vasari – fu affidata a Camillo Camilliani, figlio di Francesco, che ultimò i suoi interventi nel 1581.

 

La Fontana Pretoria è costituita da tre vasche concentriche da cui prende l'avvio il gioco d'acqua che viene versata dal piccolo puttino al centro. La fontana ruota attorno ad un bacino centrale circondato da quattro ponti di scalinate e da un recinto di balaustre. Distribuite all'interno di questa complessa costruzione architettonica raffigurano gli dei dell'Olimpo e i fiumi di Palermo, Oreto, Papireto, Maredolce e Gabriele. Quest'ultima statua rappresentava il fiume toscano Mugnone, famoso nelle novelle di Boccaccio. Le varie divinità mitologiche rappresentate sembrano danzare attorno al nucleo principale, creando un fantasmagorico effetto scenografico. Per la nudità delle statue, i Palermitani definirono la piazza "Piazza della Vergogna".

 

La fontana è considerata una tra le più belle creazioni del manierismo palermitano. Per tutto il Settecento e parte dell'Ottocento fu considerata una sorta di rappresentazione della corrotta municipalità cittadina, che vide in quelle immagini il riflesso e i personaggi discutibili del tempo.

 

Oggi nel "piano del Pretore" incarna una strabiliante creazione che fa di questa piazza un elemento di spicco nel variegato centro storico cittadino, tra monumenti d'età medioevale, tardorinascimentali e barocchi.

 

Dopo un lungo restauro è stata riconsegnata alla città nel dicembre del 2003. Di recente è stata inoltre riattivata la circolazione dell'acqua all'interno della fontana.

 

da: Wikipedia

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