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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

GALLERIA DEGLI UFFIZI.

 

Oggi siamo stati in giro per la città con la pioggia battente ed il freddo che penetrava nelle ossa !!!!

Ho spremuto la Canon nonostante il maltempo, riuscendo ad ottenere delle foto molto interessanti ...per ora inserisco uno scatto di ieri notte,mi piace troppo !!!!

  

La Galleria degli Uffizi è situata all'ultimo piano del grande edificio costruito tra nella metà del XVI secolo su progetto di Giorgio Vasari. In principio il palazzo era destinato ad accogliere gli uffici amministrativi e giudiziari (Uffizi) dello Stato fiorentino. Fu realizzata per volontà del granduca Francesco I e arricchita grazie al contributo della famiglia Medici. Successivamente la galleria degli Uffizi fu riordinata e ampliata sotto la dinastia dei Lorena, succeduti ai Medici, e in seguito dallo Stato italiano.

  

CANON EOS 600D con ob.SIGMA 10-20 f.4-5,6 EX DC HSM.

A large bronze sea turtle sculpture in Nieuwpoort, Belgium ( 2006)

 

Works by multidisciplinary Belgian artist Jan Fabre are now in Florence for Spiritual Guards, an exhibition taking place in piazza della Signoria, Palazzo Vecchio and, later, Forte Belvedere.

The show will feature bronze sculptures, wax works, Fabre's signature beetle shell compositions and films of his theatrical performances, all dating from 1978 to 2016.

 

The giant bronze turtle that has appeared, seemingly overnight, in the middle of Piazza della Signoria seems out of place in a square full of renowned Renaissance masterpieces, but adds to its theatricality.

The shiny sculpture rests on a platform and is topped with the figure of a man holding reins, bearing a striking resemblance to Valerio Cigoli’s “Fountain of the Little Bacchus” (1560), a statue in Boboli Gardens of Nano Morgante, Cosimo I de’ Medici’s court dwarf, sitting on top of a turtle.

The turtle was a symbol of the Medici family and embodies the Latin motto the family adopted “Hurry slowly,” which is more recognizable as the “slow but steady wins the race” moral of Aesop’s fable “The Tortoise and the Hare.”

The sculpture, which echoes an equestrian statue, has been placed in front of Giambologna’s “Equestrian Monument of Cosimo I,” a depiction of Cosimo I de’ Medici, who became the Grand Duke of Tuscany in 1569, on top of a horse preparing to head into battle (Cosimo was also responsible for commissioning Georgio Vasari to build the Uffizi). The turtle’s artist, Jan Fabre, uses the placement and subject of this statue to once again open a dialogue in Florence between the contemporary and the Renaissance, taking it a step further by inserting a portrait of himself into the piece – he is the man riding the turtle – which was a tradition in Renaissance art.

 

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Werken van multidisciplinaire Belgische kunstenaar Jan Fabre zijn nu in Florence voor Spirituele Guards, een tentoonstelling die plaatsvindt in Piazza della Signoria, Palazzo Vecchio en, later, Forte Belvedere.

De show zal beschikken over bronzen sculpturen, was werken, handtekening kever shell composities Fabre's en films van zijn theatervoorstellingen, alle daterend 1978-2016.

 

De gigantische bronzen schildpad die is verschenen, schijnbaar 's nachts, in het midden van het Piazza della Signoria lijkt niet op zijn plaats in een vierkant vol met gerenommeerde Renaissance meesterwerken, maar draagt ​​bij aan de theatraliteit.

De glanzende sculptuur rust op een platform en is bekroond met de figuur van een man met teugels, voorzien van een opvallende gelijkenis met Valerio Cigoli's "Fontein van de Little Bacchus" (1560), een standbeeld in Boboli tuinen van Nano Morgante, Cosimo I de ' Medici's hof dwerg, zittend op de top van een schildpad.

De schildpad was een symbool van de Medici familie en belichaamt de Latijnse motto van de familie geadopteerd 'Haast je langzaam, "dat is meer herkenbaar als de" langzame, maar gestage wint de race "moraal van Aesop mythe" De schildpad en de haas. "

De sculptuur, die een ruiterstandbeeld echo's, is geplaatst in de voorkant van Giambologna's "Ruiter Monument van Cosimo I," een afbeelding van Cosimo I de 'Medici, die de groothertog van Toscane in 1569 werd, op de top van een paard voorbereiden op kop in de strijd (Cosimo was ook verantwoordelijk voor de inbedrijfstelling Georgio Vasari aan de Uffizi te bouwen). De schildpad kunstenaar Jan Fabre, maakt gebruik van de plaatsing en het onderwerp van dit beeld om opnieuw openen van een dialoog in Florence tussen de hedendaagse en de Renaissance, het nemen van het een stap verder door het invoegen van een portret van zichzelf in het stuk - hij is de man rijden de schildpad - die een traditie in de Renaissance kunst was.

 

Blogged HERE

 

Textures with thanks to Kim Klassen and Lenabem-Anna

 

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Cupulas

  

La catedral de Florencia es una de las mayores del mundo, junto con las de San Pedro(Roma), San Pablo(Londres)y la catedral de Sevilla.

 

La grandiosa cúpula se asienta sobre un magnífico conjunto absidial. Tiene 155 metros de longitud máxima y 107 de altura en la zona de la cúpula. La antigua catedral románica era mucho más pequeña, abarcaba apenas los dos últimos tramos de la nave. Según se entra en la catedral, al lado de la columna de la derecha aparecen unas escaleras por las que se puede acceder a una cripta, donde se ven restos del viejo edificio.

 

El nuevo data de 1296. Arnolfo di Cambio, Giotto y Andrea Pisano estuvieron entre sus maestros.

 

Santa María del Fiore es una catedral con sello propio. En el interior abundan las líneas rectas, casi las superficies lisas, con un aire herreriano y austero; escasea relativamente la luz y la decoración escultórica.

  

La cúpula es notable. Un inmenso fresco recubre la inmensa superficie. Representa el Juicio Final y es de Vasari y Zuccari, iniciado en 1572 y finalizado en 1579.

 

A la altura del cuarto tramo de la nave, a la izquierda, aparece la puerta de acceso para llegar a la cúpula. Es una visita recomendada sólo para quien esté bien en forma. Son cerca de 500 escalones que permiten ver desde arriba el interior del edificio, con los frescos y las vidrieras, realizadas sobre cartones de Ghiberti, Donatello y otros. Más arriba, desde la orilla de la Linterna se goza de un excelente panorama sobre Florencia.

 

Brunelleschi, en los inicios del XV, fue el magnífico arquitecto que resolvió la cobertura de esta parte del edificio. La obra fue la admiración de la Florencia renacentista, que vio cómo la inmensa superficie se cubría por una estructura en la que no se veían otros puntos de apoyo.

 

Los flancos de la nave son extremadamente simples, sin la complicada estructura de arbotantes de las obras góticas. Las superficies están recubiertas de mármoles de distinto color, con adornos geométricos organizados merced a la policromía del revestimiento. La fachada actual es del siglo XIX.

 

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giochi di luce in Via di San Fabiano, Arezzo

Se cree que fue un puente construido inicialmente en madera por los romanos, poco después de la fundación de Florencia sobre el año 150 a. C. Esa pasarela se consolidó y amplió sobre el 123, cuando Adriano promovió la construcción de la via Cassia Nuova, que atravesaba la ciudad y que correspondía, se puede suponer, a las calles Bardi y San Niccolò. El primer puente romano fue destruido en el s. VI-VII, consecuencia del descuido y las guerras bárbaras, además de probables daños relacionados con las inundaciones.

 

Es difícil saber cuántos puentes han sido destruidos y cuantos reconstruidos por las frecuentes inundaciones del Arno. Giovanni Villani habló de un puente construido bajo el mandato de Carlomagno, y es quizá en el s. IX o X cuando el puente tuviera la posición actual.

 

Tras ser dañado en 1222 y 1322, fue destruido por una inundación en 1333. Fue reconstruido enteramente de piedra en 1345. Vasari atribuye su diseño al arquitecto y pintor italiano Taddeo Gaddi.

 

El puente se sostiene sobre tres arcos, el principal tiene una luz de 30 metros y los otros dos de 27 metros. El alzado de los arcos varía entre 3,5 y 4,4 metros.

 

Desde siempre ha contenido distintas tiendas y gran actividad comercial sobre él (principalmente joyerías), según la leyenda porque en el puente se estaba exento de tasas e impuestos. Los comerciantes eran autorizados antiguamente a mostrar sus mercancías sobre mesas por el Bargello (una especie de magistrado comunal). Se cree además que el término Bancarrota se originó en este puente, debido a que cuando un vendedor no podía pagar sus deudas, su mesa o puesto para la venta, era rota por los soldados: banco+rotto, bancarrota. Al no disponer ya de una mesa el comerciante no podía vender sus mercancías.

 

Para conectar el Palazzo Vecchio (el palacio municipal de Florencia) con el Palazzo Pitti, en 1565 Cosimo I de Medici le solicitó a Giorgio Vasari que construyera el famoso Corredor vasariano sobre el puente. Este corredor da una vuelta en torno a la Torre de Mannelli ya que los dueños de la misma no permitieron que fuera alterada o destruida para la construcción del corredor. Y para aumentar el prestigio del puente, en 1593 les prohibió a los carniceros realizar sus actividades comerciales en ese lugar; el sitio que dejaron vacante fue inmediatamente ocupado por los joyeros y comerciantes de oro. La asociación de carniceros había monopolizado los negocios sobre el puente desde 1442.

 

Durante la Segunda Guerra Mundial, a diferencia de otros puentes de Florencia el Ponte Vecchio no fue destruido por los alemanes durante su retirada el 4 de agosto, de 1944. Según la tradición esto se debió a una orden expresa de Hitler. Sin embargo, su acceso quedó obstruido debido a la destrucción de los edificios a ambos lados del puente.

  

Fuente: Wikipedia

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

All'interno della basilica è presente una gran quantità di dipinti, tavole, tele ed affreschi di:

l'Aliense (Antonio Vassillacchi, 1592-94), Sassoferrato, Guido Reni, Vasari, il Guerricino, il Perugino (Pietro Vannucci), nonchè affreschi di Danti e Peccenini, tavole del Perugino, del Parmigianino e di Raffaello.

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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William Bouguereau. 1825-1905. Paris. Dante et Virgile. 1850. Paris Orsay. Combat de deux damnés aux Enfers. Combat of two damned in the Underworld.

 

Bouguereau est un des représentants majeurs de l'école Académique.

Ce tableau est un exemple de sujet romantique traité de manière classique. Le dessin est impeccable et le tableau est parfaitement fini, la touche du pinceau très fine.

 

Bouguereau is one of the major representatives of the Academic School.

This painting is an example of a romantic subject treated in a classic way. The design is impeccable and the painting is perfectly finished, the touch of the brush very fine.

 

LE DESSIN ET LA COULEUR

 

Le tableau de Guido Reni est une allégorie paisible des relations du Dessin et de la Couleur. Mais en réalité les relations ont été souvent tendues entre le Dessin et la Couleur.

Les deux courants, le courant du dessin, que l'on peut dire classique, et celui coloriste, traversent une partie de l'histoire de la peinture européenne sous des appellations différentes selon les époques.

Il faut cependant attendre le 16è et "la peinture pleine", c'est dire la peinture imitant parfaitement la nature, la peinture capable de restituer les trois dimensions de notre monde visible, pour que cette distinction apparaisse clairement au travers de l'opposition entre l'école florentine (classique) et l'école vénitienne (coloriste).

Pour certains historiens de l'art Giorgione serait un des premiers peintres à peindre directement son tableau, sans passer par le préalable du dessin.

Giorgio Vasari auteur en 1550 des "Vies des meilleurs peintres, sculpteurs et architectes" avait critiqué sévèrement le Tintorêt pour sa négligence du dessin : " Ses croquis, dit-il, sont si rudes que les traits de son crayon manifestent plus de force que de jugement et semblent tracés au hasard."

et :" Si, au lieu de s'écarter de la bonne voie, il avait continué le noble style de ses prédécesseurs, il serait devenu un des plus grands peintres que Venise ait jamais eus." Ce en quoi il se trompait lourdement, le jugement du Temps ayant donné raison au Tintoret contre Vasari dont l'ouvrage très intéressant n'est pas exempt d'erreurs. Et en tant que peintre Vasari est estimé fort en dessous du Tintoretto.

 

Le courant classique est surtout caractérisé par la précision du dessin, la finesse de la touche, l'achèvement du tableau. Ensuite vient une relative sobriété des couleurs. Le courant classique préfère aussi, en principe, la modération dans l'expression des sentiments et une certaine retenue dans le mouvement. Mais le lien n'est pas direct entre le fond et la forme. Des thèmes baroques ou romantiques peuvent être traités de manière classique. De même, des sujets classiques peuvent être peints dans un style coloriste et expressif.

En Italie le courant classique a eu Florence et Bologne pour champions. Selon les époques il prend le nom de Classicisme, à partir des Carrraci, d'Atticisme, de Néo-classicisme, d'Académisme...

 

L' autre courant, que l'on peut appeller coloriste, privilégie nettement la couleur sur le dessin. Cette école de peinture ne dessine pas nécessairement le tableau avant de le peindre. Elle peint directement sur la toile sans passer par le dessin, ou tout au moins un dessin précis. On peut dire que cette école dessine avec les couleurs. Le courant coloriste s'autorise aussi un fini de la touche moindre, et accepte de considérer comme achevé des tableaux plus proches de l'esquisse. Par ailleurs, mais ce n'est pas une règle absolue, il préfère l'expression des sentiments à leur sobriété et le mouvement à la stabilité..

Le courant coloriste a pris des noms divers selon les époques : Maniérisme, Baroque, Rococo, Romantisme, Impressionnisme, Fauvisme, Expressionnisme...

Durant toute l'histoire de la peinture européenne nombreux ont été les peintres qui ont empruntés à chacun de ces deux courants. Toute l'école de la peinture française, sous Louis XIII et Louis XIV, est un mélange subtile de classicisme et de baroque, avec des accents plus classiques ou plus baroques, selon les époques et les peintres.

La France a entretenu la querelle des partisans de Rubens (Colorisme Baroque), opposés aux partisans de Poussin (Classique).

Au 19è la France verra l'affrontement entre les néo-classiques (Ingres) et l'Académisme (Couture, Bouguereau, Cabanel) d'une part, et d'autre part les peintres romantiques (Delacroix) puis réalistes (Millet, Courbet), les pré-impressionnistes (Ecole de Barbizon) et un peu plus tard les impressionnistes.

Delacroix et l'école romantique annonce déjà très clairement l'Art Moderne.

La fin du 19è siècle et surtout le début du 20è siècle vont être le chant du cygne puis la mort de l'esthétique classique dans la peinture européenne. A partir des Impressionnistes on peut dire que c'est le triomphe de l'esthétique coloriste dans la peinture figurative.

 

THE DRAWING AND THE COLOR.

 

The painting by Guido Reni is a peaceful allegory of the relations between the Drawing and the Color. But in reality the relations have often been strained between the Drawing and the Color.

The two currents, the current of the drawing, which can be called classical, and the colorist, traverse part of the history of European painting under different names according to the epochs.

However, we must wait until the 16th century and the "full painting" ie the painting perfectly imitating the nature, the painting capable of reproducing the three dimensions of our visible world, so that this distinction can be seen clearly through the opposition between the Florentine school (classique) and the Venetian school (coloriste).

For some art historians Giorgione would be one of the first painters to paint his array directly on the canvas, without going through the preliminary of the drawing.

Giorgio Vasari, autor in 1550 of the "Lives of the Best Painters, Sculptors and Architects", had severely criticized Tintoretto for his negligence of the drawing: "His sketches," he says, "are so rude that the features of his pencil show more strength than of judgment and seem to be drawn at random. "

And: "If, instead of departing from the right path, he had continued the noble style of his predecessors, he would have become one of the greatest painters Venice ever had." In this he was mistaken, for the judgment of Time having given reason to Tintoretto against Vasari, whose very interesting work is not free of errors. And as a painter Vasari is esteemed far below the Tintoretto.

 

The classical current is mainly characterized by the precision of the drawing, the fineness of the paint touch, the completion of the painting. Then comes a relative sobriety of colors. The classical current also prefers, in principle, the moderation in the expression of feelings and a certain restraint in the movement. But the link is not direct between the substance and the form. Baroque or romantic themes can be treated in a classic way. Similarly, classical subjects can be painted in a colorist and expressive style.

In Italy the classical current had Florence and Bologna for champions. According to the times it takes the name of Classicism, starting from Carrraci, Atticism, Neoclassicism, Academism.

The other current, which may be called colourist, clearly favors color on the drawing. This school of painting does not necessarily draw the picture before painting it. She paints directly on the canvas without going through the drawing, or at least a precise drawing. It can be said that this school draws with colors. The Colorist current also allows a touch less finite, less perfect, less detailed, and accepts completed tables closest the sketch. Also, but it is not an absolute rule, he prefers the expression of feelings to their sobriety and movement to stability.

The colorist current has taken various names according to the epochs: Mannerism, Baroque, Rococo, Romanticism, Impressionism, Fauvism, Expressionism ...

Throughout the history of European painting many have been the painters who borrowed from each of these two currents. The whole school of French painting, under Louis XIII and Louis XIV, is a subtle blend of classicism and baroque, with more classic or more baroque accents, according to the epochs and the painters.

France has maintained the quarrel between the partisans of Rubens ((Colourism Baroque)), opposed to the partisans of Poussin (Classic).

In the 19th century, France experienced a confrontation between the neo-classics (Ingres) and the Académisme (Couture, Bouguereau, Cabanel) on the one hand, and, secondly, the romantics (Delacroix) then realistics painters (Millet, Courbet ), the pre-impressionists (Barbizon School) and a little later the Impressionists.

Delacroix and the Romantic school already clearly announces the Modern Art.

The end of the 19th century and especially the beginning of the 20th century were to be the song of the swan and then the death of the classical aesthetics in European painting. From the Impressionists one can say that it is the triumph of colorist aesthetics in figurative painting.

  

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.

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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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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My book "Paris, Mon Amour" (preview)

 

My book Castelli della Loira (preview)

 

My book Colours of Havana (preview)

 

My book Immagini e Parole

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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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

 

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Jean Auguste Dominique Ingres. 1780-1867. et Alexandre Desgoffe. 1805-1882. Paris. Vénus à Paphos. vers 1852. Paris Orsay.

 

Tableau inachevé qui est aussi un portrait de Mme Antonie Balaÿ. Desgoffe élève d'Ingres a peint les feuillages.

 

Table unfinished who is also a Mrs. Antonie Balaÿ portrait. Desgoffe, a pupil of Ingres, painted the foliage.

 

LE DESSIN ET LA COULEUR

 

Le tableau de Guido Reni est une allégorie paisible des relations du Dessin et de la Couleur. Mais en réalité les relations ont été souvent tendues entre le Dessin et la Couleur.

Les deux courants, le courant du dessin, que l'on peut dire classique, et celui coloriste, traversent une partie de l'histoire de la peinture européenne sous des appellations différentes selon les époques.

Il faut cependant attendre le 16è et "la peinture pleine", c'est dire la peinture imitant parfaitement la nature, la peinture capable de restituer les trois dimensions de notre monde visible, pour que cette distinction apparaisse clairement au travers de l'opposition entre l'école florentine (classique) et l'école vénitienne (coloriste).

Pour certains historiens de l'art Giorgione serait un des premiers peintres à peindre directement son tableau, sans passer par le préalable du dessin.

Giorgio Vasari auteur en 1550 des "Vies des meilleurs peintres, sculpteurs et architectes" avait critiqué sévèrement le Tintorêt pour sa négligence du dessin : " Ses croquis, dit-il, sont si rudes que les traits de son crayon manifestent plus de force que de jugement et semblent tracés au hasard."

et :" Si, au lieu de s'écarter de la bonne voie, il avait continué le noble style de ses prédécesseurs, il serait devenu un des plus grands peintres que Venise ait jamais eus." Ce en quoi il se trompait lourdement, le jugement du Temps ayant donné raison au Tintoret contre Vasari dont l'ouvrage très intéressant n'est pas exempt d'erreurs. Et en tant que peintre Vasari est estimé fort en dessous du Tintoretto.

 

Le courant classique est surtout caractérisé par la précision du dessin, la finesse de la touche, l'achèvement du tableau. Ensuite vient une relative sobriété des couleurs. Le courant classique préfère aussi, en principe, la modération dans l'expression des sentiments et une certaine retenue dans le mouvement. Mais le lien n'est pas direct entre le fond et la forme. Des thèmes baroques ou romantiques peuvent être traités de manière classique. De même, des sujets classiques peuvent être peints dans un style coloriste et expressif.

En Italie le courant classique a eu Florence et Bologne pour champions. Selon les époques il prend le nom de Classicisme, à partir des Carrraci, d'Atticisme, de Néo-classicisme, d'Académisme...

 

L' autre courant, que l'on peut appeller coloriste, privilégie nettement la couleur sur le dessin. Cette école de peinture ne dessine pas nécessairement le tableau avant de le peindre. Elle peint directement sur la toile sans passer par le dessin, ou tout au moins un dessin précis. On peut dire que cette école dessine avec les couleurs. Le courant coloriste s'autorise aussi un fini de la touche moindre, et accepte de considérer comme achevé des tableaux plus proches de l'esquisse. Par ailleurs, mais ce n'est pas une règle absolue, il préfère l'expression des sentiments à leur sobriété et le mouvement à la stabilité..

Le courant coloriste a pris des noms divers selon les époques : Maniérisme, Baroque, Rococo, Romantisme, Impressionnisme, Fauvisme, Expressionnisme...

Durant toute l'histoire de la peinture européenne nombreux ont été les peintres qui ont empruntés à chacun de ces deux courants. Toute l'école de la peinture française, sous Louis XIII et Louis XIV, est un mélange subtile de classicisme et de baroque, avec des accents plus classiques ou plus baroques, selon les époques et les peintres.

La France a entretenu la querelle des partisans de Rubens (Colorisme Baroque), opposés aux partisans de Poussin (Classique).

Au 19è la France verra l'affrontement entre les néo-classiques (Ingres) et l'Académisme (Couture, Bouguereau, Cabanel) d'une part, et d'autre part les peintres romantiques (Delacroix) puis réalistes (Millet, Courbet), les pré-impressionnistes (Ecole de Barbizon) et un peu plus tard les impressionnistes.

Delacroix et l'école romantique annonce déjà très clairement l'Art Moderne.

La fin du 19è siècle et surtout le début du 20è siècle vont être le chant du cygne puis la mort de l'esthétique classique dans la peinture européenne. A partir des Impressionnistes on peut dire que c'est le triomphe de l'esthétique coloriste dans la peinture figurative.

 

THE DRAWING AND THE COLOR.

 

The painting by Guido Reni is a peaceful allegory of the relations between the Drawing and the Color. But in reality the relations have often been strained between the Drawing and the Color.

The two currents, the current of the drawing, which can be called classical, and the colorist, traverse part of the history of European painting under different names according to the epochs.

However, we must wait until the 16th century and the "full painting" ie the painting perfectly imitating the nature, the painting capable of reproducing the three dimensions of our visible world, so that this distinction can be seen clearly through the opposition between the Florentine school (classique) and the Venetian school (coloriste).

For some art historians Giorgione would be one of the first painters to paint his array directly on the canvas, without going through the preliminary of the drawing.

Giorgio Vasari, autor in 1550 of the "Lives of the Best Painters, Sculptors and Architects", had severely criticized Tintoretto for his negligence of the drawing: "His sketches," he says, "are so rude that the features of his pencil show more strength than of judgment and seem to be drawn at random. "

And: "If, instead of departing from the right path, he had continued the noble style of his predecessors, he would have become one of the greatest painters Venice ever had." In this he was mistaken, for the judgment of Time having given reason to Tintoretto against Vasari, whose very interesting work is not free of errors. And as a painter Vasari is esteemed far below the Tintoretto.

 

The classical current is mainly characterized by the precision of the drawing, the fineness of the paint touch, the completion of the painting. Then comes a relative sobriety of colors. The classical current also prefers, in principle, the moderation in the expression of feelings and a certain restraint in the movement. But the link is not direct between the substance and the form. Baroque or romantic themes can be treated in a classic way. Similarly, classical subjects can be painted in a colorist and expressive style.

In Italy the classical current had Florence and Bologna for champions. According to the times it takes the name of Classicism, starting from Carrraci, Atticism, Neoclassicism, Academism.

The other current, which may be called colourist, clearly favors color on the drawing. This school of painting does not necessarily draw the picture before painting it. She paints directly on the canvas without going through the drawing, or at least a precise drawing. It can be said that this school draws with colors. The Colorist current also allows a touch less finite, less perfect, less detailed, and accepts completed tables closest the sketch. Also, but it is not an absolute rule, he prefers the expression of feelings to their sobriety and movement to stability.

The colorist current has taken various names according to the epochs: Mannerism, Baroque, Rococo, Romanticism, Impressionism, Fauvism, Expressionism ...

Throughout the history of European painting many have been the painters who borrowed from each of these two currents. The whole school of French painting, under Louis XIII and Louis XIV, is a subtle blend of classicism and baroque, with more classic or more baroque accents, according to the epochs and the painters.

France has maintained the quarrel between the partisans of Rubens ((Colourism Baroque)), opposed to the partisans of Poussin (Classic).

In the 19th century, France experienced a confrontation between the neo-classics (Ingres) and the Académisme (Couture, Bouguereau, Cabanel) on the one hand, and, secondly, the romantics (Delacroix) then realistics painters (Millet, Courbet ), the pre-impressionists (Barbizon School) and a little later the Impressionists.

Delacroix and the Romantic school already clearly announces the Modern Art.

The end of the 19th century and especially the beginning of the 20th century were to be the song of the swan and then the death of the classical aesthetics in European painting. From the Impressionists one can say that it is the triumph of colorist aesthetics in figurative painting.

  

Ponte Vecchio, Firenze.

Lungarno degli Archibusieri, Firenze.

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

One step beyond ? 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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La cupola di Santa Maria del Fiore … affrescata dal Vasari - 1572/74

All Images copyrighted :copyright: Setiani Leon. All Rights Reserved. Any usage without permission is prohibited.

 

2005 Vasaris | Auskariukas

Il Ponte Vecchio è uno dei simboli della città di Firenze ed uno dei ponti più famosi del mondo. Attraversa il fiume Arno nel suo punto più stretto, dove nell'antichità esisteva un guado.

 

La prima costruzione risale all'epoca romana, ma fu più volte danneggiata dalle alluvioni del fiume: nel 1080 esisteva un ponte in legno, mentre quello in pietra a cinque arcate venne costruito intorno al 1170; danneggiato nel 1222 e nel 1322, fu spazzato via dall'alluvione del 1333, una delle più violente che si ricordino. Dopo la costruzione dei "lungarni", il ponte venne ricostruito, a tre valichi, nel 1345 ed è considerato opera di Taddeo Gaddi (secondo il Vasari) o di Neri di Fioravante.

 

Nel 1442 l'autorità cittadina per salvaguardare la pulizia e il decoro, impose ai beccai (macellai) di riunirsi nelle botteghe sul Ponte Vecchio per renderli un po' isolati dai palazzi e dalle abitazioni del centro. La disposizione mirava soprattutto ad eliminare le consuete, maleodoranti tracce lasciate dai barroccini dei beccai lungo le strade fino all'Arno durante il trasporto degli scarti più minuti delle lavorazioni delle carni, scarti che potevano ora disperdersi direttamente, senza alcun danno, nella sottostante corrente del fiume. Da quel momento il ponte divenne il mercato della carne ed i beccai, divenuti in seguito proprietari delle botteghe, per ottenere più spazio, vi aggiunsero in modo disordinato delle stanzette aggettanti sul fiume puntellandole con pali di legno.

 

Nel 1565 l'architetto Giorgio Vasari costruì per Cosimo I il "corridoio vasariano", con lo scopo di mettere in comunicazione il centro politico e amministrativo a Palazzo Vecchio con la dimora privata dei Medici, Palazzo Pitti. Il corridoio sopraelevato, lungo circa un chilometro e costruito in soli cinque mesi, parte da Palazzo Vecchio, passa dalla Galleria degli Uffizi, costeggia il lungarno Archibusieri, passa quindi sopra le botteghe del lato est (sinistro) del ponte, aggira alla sua estremità la torre dei Mannelli, sostenuto da beccatelli (o "sporti") e prosegue sulla riva sinistra ("Oltrarno") fino a Palazzo Pitti.

 

Le botteghe dei macellai furono poi occupate da orafi e gioiellieri per ordine di Ferdinando I nel 1593 che mal gradiva un commercio poco nobile e con odori sgradevoli sotto le finestre del corridoio sospeso.

 

Il Ponte Vecchio fu visitato da Hitler, Mussolini e le gerarchie naziste e fasciste in occasione del viaggio dei tedeschi in Italia del 1939 in cerca di alleanze. Per quella circostanza furono aperti i tre finestroni panoramici al centro del Corridoio Vasariano. In seguito alla ritirata delle truppe naziste, questo fu l'unico ponte di Firenze che non venne fatto saltare dai tedeschi nel 1944 nel corso della seconda guerra mondiale, ciò grazie anche al provvidenziale intervento del rappresentante tedesco a Firenze Gerhard Wolf, il quale nel dopoguerra ottenne per questo ed altri meriti la cittadinanza onoraria di Firenze e che è ricordato con una targa apposta sul ponte medesimo. Furono però pesantemente danneggiati i punti di accesso al ponte, le zone di via Por Santa Maria, via Guicciardini e borgo San Jacopo che oggi sono così incongruamente moderne per via della frettolosa ricostruzione dei primi anni cinquanta. Il Corridoio Vasariano nei convulsi giorni della liberazione rimase l'unico modo di spostarsi fra nord e sud della città, come è testimoniato anche nell'episodio dedicato a Firenze nel film Paisà di Roberto Rossellini, dove la protagonista passa in incognito da una spoglia Galleria degli Uffizi piena di statue antiche impacchettate.

 

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A Ponte Vecchio (Ponte Velha) é uma Ponte em arco medieval sobre o Rio Arno, em Florença, na Itália, famosa por ter uma quantidade de lojas (principalmente ourivesarias e joalharias) ao longo de todo o tabuleiro.

 

Acredita-se que tenha sido construída ainda na Roma Antiga e era feita originalmente de madeira. Foi destruída pelas cheias de 1333 e reconstruída em 1345, com projecto da autoria de Taddeo Gaddi. Consiste em três arcos, o maior deles com 30 metros de diâmetro. Desde sempre alberga lojas e mercadores, que mostravam as mercadorias sobre bancas, sempre com a autorização do Bargello, a autoridade municipal de então. Diz-se que a palavra bancarrota teve ali origem. Quando um mercador não conseguia pagar as dívidas, a mesa (banco) era quebrada (rotto) pelos soldados. Essa prática era chamada bancorotto.

 

Durante a Segunda Guerra Mundial, a ponte não foi danificada pelos alemães. Acredita-se que tenha sido uma ordem direta de Hitler.

 

Ao longo da ponte, há vários cadeados, especialmente no gradeamento em torno da estátua de Benvenuto Cellini. O facto é ligado à antiga ideia do amor e dos amantes: ao trancar o cadeado e lançar a chave ao rio, os amantes tornavam-se eternamente ligados. Graças a essa tradição e ao turismo desenfreado, milhares de cadeados tinham de ser removidos com frequência, estragando a estrutura da ponte. Devido a isso, o município estipulou uma multa de 50 euros para quem for apanhado, em flagrante, a colocar cadeados na ponte.

 

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The Ponte Vecchio ("Old Bridge", is a Medieval bridge over the Arno River, in Florence, Italy, noted for still having shops built along it, as was once common. Butchers initially occupied the shops; the present tenants are jewellers, art dealers and souvenir sellers. It has been described as Europe's oldest wholly-stone, closed-spandrel segmental arch bridge,[1] but there are far older segmental arch bridges such as Alconétar Bridge. The Ponte Vecchio's two neighbouring bridges are the Ponte Santa Trinità and the Ponte alle Grazie.

 

The bridge spans the Arno at its narrowest point[3] where it is believed that a bridge was first built in Roman times,[4] when the via Cassia crossed the river at this point.[3] The Roman piers were of stone, the superstructure of wood. The bridge first appears in a document of 996.[3] After being destroyed by a flood in 1117 it was reconstructed in stone but swept away again in 1333[4] save two of its central piers, as noted by Giovanni Villani in his Nuova Cronica.[5] It was rebuilt in 1345,[6] Giorgio Vasari recorded the tradition in his day, that attributed its design to Taddeo Gaddi,[1] besides Giotto one of the few artistic names of the trecento still recalled two hundred years later. Modern historians present Neri di Fioravanti as a possible candidate.[3] Sheltered in a little loggia at the central opening of the bridge is a weathered dedication stone, which once read Nel trentatrè dopo il mille-trecento, il ponte cadde, per diluvio dell' acque: poi dieci anni, come al Comun piacque, rifatto fu con questo adornamento.[7] The Torre dei Mannelli was built at the southeast corner of the bridge to defend it.

 

The bridge consists of three segmental arches: the main arch has a span of 30 meters (98 ft) the two side arches each span 27 meters (88 ft). The rise of the arches is between 3.5 and 4.4 meters (11½ to 14½ feet), and the span-to-rise ratio 5:1.[8]

 

It has always hosted shops and merchants who displayed their goods on tables before their premises, after authorization of the Bargello (a sort of a lord mayor, a magistrate and a police authority). The back shops (retrobotteghe) that may be seen from upriver, were added in the seventeenth century.[3]

 

It is said that the economic concept of bankruptcy originated here: when a merchant 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.[citation needed][9][10]

 

During World War II, the Ponte Vecchio was not destroyed by Germans during their retreat of August 4, 1944, unlike all other bridges in Florence.[11][12] This was allegedly because of an express order by Hitler[citation needed]. Access to Ponte Vecchio was, however, obstructed by the destruction of the buildings at both ends, which have since been rebuilt using a combination of original and modern design.

I l piazzale antistatne il Complesso monumentale di Santacroce a BoscoMarengo (AL) e'' dedicato al celebre artista che per il complesso dipinse diverse opere

Vasari's remarkable long corridor reflected in the winter waters of the Arno. The corridor was built to link the Pallazos Vecchio and Pitti and enable the Medici to pass between the two avoiding the streets and the public below.

 

The water in parts of the Arno close to the Ponte Vecchio were still frozen.

 

The Last Judgement by Giorgio Vasari

 

Vasari’s Last Judgment is located beneath the dome of the Florence Cathedral, which had remained unfinished after Brunelleschi’s death in 1446. As such, the walls of the dome, which should have been covered by resplendent gold accoring to Brunelleschi project, were whitewashed.

 

It was the Grand Duke Cosimo I de’ Medici who had the idea to paint the dome’s interior. In 1572, he commissioned Giorgio Vasari to paint frescoes on the dome of the Florence Cathedral; Vasari was flanked by Vincenzo Borghini, who worked to the iconographic subjects and added other themes taken from Dante‘s Divine Comedy, which he knew extremely well.

Play of reflections in the Uffizi Museum, Florence, "Vasari, gli Uffizi e il Duca" Exhibition September 2011.

 

More from this picture here: View On Black

 

Original shot taken with an Olympus SZ-20 digital compact camera, 16 Mp resolution, various post processing.

Coming in a movie this fall, Tom Hanks, playing the part of Robert Langdon in Inferno, will be racing through this elevated system in search of clues. I can hardly wait for the show. In the meantime, I got a preview tour myself. This elevated passageway which links the Palazzo Vecchio with the Palazzo Pitti was built in 1564. It is now filled with a priceless art collection.

 

When I'm not waiting for the movie, you can find me on Twitter.

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