1.
Florence
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Florence is the capital city of the Italian region of Tuscany and of the Metropolitan City of Florence. It is the most populous city in Tuscany, with 383,083 inhabitants, Florence was a centre of medieval European trade and finance and one of the wealthiest cities of the time. It is considered the birthplace of the Renaissance, and has called the Athens of the Middle Ages. A turbulent political history includes periods of rule by the powerful Medici family, from 1865 to 1871 the city was the capital of the recently established Kingdom of Italy. The Historic Centre of Florence attracts 13 million tourists each year and it was declared a World Heritage Site by UNESCO in 1982. The city is noted for its culture, Renaissance art and architecture, the city also contains numerous museums and art galleries, such as the Uffizi Gallery and the Palazzo Pitti, and still exerts an influence in the fields of art, culture and politics. Due to Florences artistic and architectural heritage, it has been ranked by Forbes as one of the most beautiful cities in the world, in 2008, the city had the 17th highest average income in Italy. Florence originated as a Roman city, and later, after a period as a flourishing trading and banking medieval commune. According to the Encyclopædia Britannica, it was politically, economically, and culturally one of the most important cities in Europe, the language spoken in the city during the 14th century was, and still is, accepted as the Italian language. Starting from the late Middle Ages, Florentine money—in the form of the gold florin—financed the development of all over Europe, from Britain to Bruges, to Lyon. Florentine bankers financed the English kings during the Hundred Years War and they similarly financed the papacy, including the construction of their provisional capital of Avignon and, after their return to Rome, the reconstruction and Renaissance embellishment of Rome. Florence was home to the Medici, one of European historys most important noble families, Lorenzo de Medici was considered a political and cultural mastermind of Italy in the late 15th century. Two members of the family were popes in the early 16th century, Leo X, catherine de Medici married king Henry II of France and, after his death in 1559, reigned as regent in France. Marie de Medici married Henry IV of France and gave birth to the future king Louis XIII, the Medici reigned as Grand Dukes of Tuscany, starting with Cosimo I de Medici in 1569 and ending with the death of Gian Gastone de Medici in 1737. The Etruscans initially formed in 200 BC the small settlement of Fiesole and it was built in the style of an army camp with the main streets, the cardo and the decumanus, intersecting at the present Piazza della Repubblica. Situated along the Via Cassia, the route between Rome and the north, and within the fertile valley of the Arno, the settlement quickly became an important commercial centre. Peace returned under Lombard rule in the 6th century, Florence was conquered by Charlemagne in 774 and became part of the Duchy of Tuscany, with Lucca as capital. The population began to again and commerce prospered
2.
Italy
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Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal climate and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
3.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
4.
Mannerism
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Mannerism is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, lasting until about 1580 in Italy, when the Baroque style began to replace it. Northern Mannerism continued into the early 17th century, stylistically, Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals associated with artists such as Leonardo da Vinci, Raphael, and early Michelangelo. Where High Renaissance art emphasizes proportion, balance, and ideal beauty, Mannerism exaggerates such qualities, Mannerism is notable for its intellectual sophistication as well as its artificial qualities. Mannerism favors compositional tension and instability rather than the balance and clarity of earlier Renaissance painting, Mannerism in literature and music is notable for its highly florid style and intellectual sophistication. The definition of Mannerism and the phases within it continue to be a subject of debate among art historians, for example, some scholars have applied the label to certain early modern forms of literature and music of the 16th and 17th centuries. The term is used to refer to some late Gothic painters working in northern Europe from about 1500 to 1530. Mannerism also has been applied by analogy to the Silver Age of Latin literature, the word mannerism derives from the Italian maniera, meaning style or manner. Like the English word style, maniera can either indicate a type of style or indicate an absolute that needs no qualification. Vasari was also a Mannerist artist, and he described the period in which he worked as la maniera moderna, james V. Mirollo describes how bella maniera poets attempted to surpass in virtuosity the sonnets of Petrarch. This notion of bella maniera suggests that artists thus inspired looked to copying and bettering their predecessors, in essence, bella maniera utilized the best from a number of source materials, synthesizing it into something new. As a stylistic label, Mannerism is not easily defined, “High Renaissance” connoted a period distinguished by harmony, grandeur and the revival of classical antiquity. The term Mannerist was redefined in 1967 by John Shearman following the exhibition of Mannerist paintings organised by Fritz Grossmann at Manchester City Art Gallery in 1965. The label “Mannerism” was used during the 16th century to comment on social behaviour, however, for later writers, such as the 17th-century Gian Pietro Bellori, la maniera was a derogatory term for the perceived decline of art after Raphael, especially in the 1530s and 1540s. From the late 19th century on, art historians have used the term to describe art that follows Renaissance classicism. By the end of the High Renaissance, young artists experienced a crisis, no more difficulties, technical or otherwise, remained to be solved. The young artists needed to find a new goal, and they sought new approaches, at this point Mannerism started to emerge. The new style developed between 1510 and 1520 either in Florence, or in Rome, or in both cities simultaneously and this period has been described as a natural extension of the art of Andrea del Sarto, Michelangelo, and Raphael. Michelangelo from an early age had developed a style of his own, one of the qualities most admired by his contemporaries was his terribilità, a sense of awe-inspiring grandeur, and subsequent artists attempted to imitate it
5.
Dallas Museum of Art
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The Dallas Museum of Art is a major art museum located in the Arts District of downtown Dallas, Texas, along Woodall Rodgers Freeway between St. Paul and Harwood. In 1984, the museum moved from its previous location in Fair Park to the Arts District, the new building was designed by Edward Larrabee Barnes, the 2007 winner of the American Institute of Architects Gold Medal. The museum collection is made up of more than 24,000 objects and it is also defined by its dynamic exhibition policy and award-winning educational programs. The Mildred R. and Frederick M. Mayer Library contains over 50,000 volumes available to curators, with 159,000 square feet of exhibition spaces, it is one of the largest art museums in the United States. The museums history began with the establishment in 1903 of the Dallas Art Association, frank Reaugh, a Texas artist, saw in the new library the opportunity to display works of art. This idea was championed by May Dickson Exall, who was the first president of the Dallas Public Library. ”The museum’s collections started growing from this moment on and it soon became necessary to find a new permanent home. The museum, renamed the Dallas Museum of Fine Arts in 1932, relocated to a new art deco facility within Fair Park in 1936 and this new facility was designed by a consortium of Dallas architects in consultation with Paul Cret of Philadelphia. It is still possible to visit this building, in 1943, Jerry Bywaters became the director of the museum, a position he held for the next twenty-one years. Artist, art critic, and teacher, Bywaters gave a sense of identity and community to the museum, under Bywaters tenure, impressionist, abstract, and contemporary masterpieces were acquired and the Texas identity of the museum was emphasized. This identity is represented by works by Alexandre Hogue, Olin Herman Travis, Bywaters himself. In 1963, the Dallas Museum of Fine Arts merged with the Dallas Museum of Contemporary Art, rueppel became the director of the newly merged Museum. In 1965, the museum held an exhibition called The Art of Piet Mondrian and one entitled Sculpture, by the late 1970s, the greatly enlarged permanent collection and the ambitious exhibition program fostered a need for a new museum facility. Under Harry Parker’s direction, the museum was able to once again, to its current venue. The $54 million facility, designed by New York architect Edward Larrabee Barnes, was financed by a 1979 City bond election, the project was galvanized by the slogan “A Great City Deserves a Great Museum, ” and the new building opened in January 1984. The museums collections include more than 24,000 works of art from around the world ranging from ancient to modern times and they are conceived as a celebration of the human power of creation. Objects in the museum’s African collection come from West Africa and Central Africa, the objects date primarily from the 16th to the 20th centuries, although the earliest object is a Nok terracotta bust from Nigeria that dates from somewhere between 200 BC to 200 AD. Some works in the collection were created as symbols of leadership and status, the American art collection includes paintings, sculptures, and works on paper from the United States from the colonial period to World War II, and art from Mexico, and Canada. One of the most important pieces in the collection is The Icebergs by Frederic Edwin Church and this painting had long been referred to as a lost masterpiece
6.
Bronzino
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Agnolo di Cosimo, usually known as Bronzino, or Agnolo Bronzino, was a Florentine Mannerist painter. His sobriquet, Bronzino, in all probability refers to his dark skin. He lived all his life in Florence, and from his late 30s was kept busy as the painter of Cosimo I de Medici. He was mainly a portraitist but also painted religious subjects, and a few allegorical subjects. Many portraits of the Medicis exist in several versions with varying degrees of participation by Bronzino himself and they have often been found cold and artificial, and his reputation suffered from the general critical disfavour attached to Mannerism in the 19th and early 20th centuries. Recent decades have been appreciative of his art. Bronzino was born in Florence, the son of a butcher, according to his contemporary Vasari, Bronzino was a pupil first of Raffaellino del Garbo, and then of Pontormo, to whom he was apprenticed at 14. Pontormo is thought to have introduced a portrait of Bronzino as a child one of his series on Joseph in Egypt now in the National Gallery. Pontormo exercised a dominant influence on Bronzinos developing style, and the two were to remain collaborators for most of the formers life, an early example of Bronzinos hand has often been detected in the Capponi Chapel in the church of Santa Felicita by the Ponte Vecchio in Florence. Pontormo designed the interior and executed the altarpiece, the masterly Deposition from the Cross, Bronzino apparently was assigned the frescoes on the dome, which have not survived. Of the four empanelled tondi or roundels depicting each of the evangelists and his style is so similar to his masters that scholars still debate the specific attributions. Towards the end of his life, Bronzino took a prominent part in the activities of the Florentine Accademia delle Arti del Disegno, of which he was a founding member in 1563. The painter Alessandro Allori was his pupil, and Bronzino was living in the Allori family house at the time of his death in Florence in 1572. Bronzino spent the majority of his career in Florence and it was not long before he became, and remained for most of his career, the official court painter of the Duke and his court. His portrait figures—often read as static, elegant, and stylish exemplars of unemotional haughtiness and these well known paintings exist in many workshop versions and copies. In addition to images of the Florentine elite, Bronzino also painted idealized portraits of the poets Dante, Bronzinos best known works comprise the aforementioned series of the duke and duchess, Cosimo and Eleonora, and figures of their court such as Bartolomeo Panciatichi and his wife Lucrezia. These paintings, especially those of the duchess, are known for their attention to the detail of her costume. Indeed, the dress itself has been the object of scholarly debate
7.
Andrea del Sarto
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Andrea del Sarto was an Italian painter from Florence, whose career flourished during the High Renaissance and early Mannerism. Though highly regarded during his lifetime as an artist senza errori, his renown was eclipsed after his death by that of his contemporaries, Leonardo da Vinci, Michelangelo and Raphael. Andrea del Sarto was born Andrea dAgnolo di Francesco di Luca di Paolo del Migliore in Florence on 16 July 1486, since his father, Agnolo, was a tailor, he became known as del Sarto. Since 1677 some have attributed the surname Vannucchi with little documentation, by 1494 Andrea was apprenticed to a goldsmith, and then to a woodcarver and painter named Gian Barile, with whom he remained until 1498. According to his late biographer Vasari, he apprenticed to Piero di Cosimo. Andrea and an older friend Franciabigio decided to open a joint studio at a lodging together in the Piazza del Grano, the first product of their partnership may have been the Baptism of Christ for the Florentine Compagnia dello Scalzo, the beginning of a monochrome fresco series. By the time the partnership was dissolved, Sartos style bore the stamp of individuality, from 1509 to 1514 the Servite Order employed Del Sarto, Franciabigio and Andrea Feltrini in a programme of frescoes at Basilica della Santissima Annunziata di Firenze. Sarto completed seven frescoes in the forecourt or atrium before the Servite church, five of which illustrated the Life and miracles of Filippo Benizzi, a Servite saint who died in 1285. He executed them rapidly, depicting the saint healing a leper through the gift of his undertunic, predicting the bad end of some blasphemers, and restoring a girl possessed with a devil. The two final frescoes of the series depicted the healing of a child at the bed of Filippo Benizzi. All five frescoes were completed before the close of 1510, the Servites convinced him to do two more frescoes in the forecourt, though of a different subject matter, a Procession of the Magi finished in 1511 and a Nativity of the Virgin. These paintings met with respect, the correctness of the contours being particularly admired, towards 1512 he painted an Annunciation in the monastery of S. Gallo and a Marriage of Saint Catherine. By 1514 Andrea had finished his last two frescoes, including his masterpiece, the Birth of the Virgin, which fuses the influence of Leonardo, Ghirlandaio and Fra Bartolomeo. By November 1515 he had finished at the Scalzo the Allegory of Justice and the Baptist preaching in the desert, followed in 1517 by John Baptizing, and other subjects. Before the end of 1516, a Pietà of Del Sartos composition and this led to an invitation from François I, in 1518, and he journeyed to Paris in June of that year, along with his pupil Andrea Squarzzella, leaving his wife, Lucrezia, in Florence. According to Giorgio Vasari, Andreas pupil and biographer, Lucrezia wrote to Andrea, the King assented, but only on the understanding that his absence from France was to be short. He then entrusted Andrea with a sum of money to be expended in purchasing works of art for the French Court. By Vasaris account, Andrea took the money and used it to buy himself a house in Florence, thus ruining his reputation, the story inspired Robert Brownings poem-monologue Andrea del Sarto Called the Faultless Painter, but is now believed by some historians to be apocryphal
8.
Fra Bartolomeo
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Fra Bartolomeo or Bartolommeo OP, also known as Bartolommeo di Pagholo, Bartolommeo di S. Marco, and his original name Baccio della Porta, was an Italian Renaissance painter of religious subjects. He spent all his career in Florence until his mid-forties, when he travelled to work in various cities, as far south as Rome. He trained with Cosimo Roselli and in the 1490s fell under the influence of Savonarola and he remained friends with Raphael, and they both influenced the other. His portrait of Savonarola remains the most famous image of the reformer, Fra Bartolomeo painted both in oils and fresco, and some of his drawings are pure landscape sketches that are the earliest of this type from Italy. He was born in Savignano di Prato, Tuscany and he received the nickname of Baccio della Porta for his house was near the Gate of San Pier Gattolini. Starting from 1483 or 1484, by recommendation of Benedetto da Maiano and he was one of the greatest painters of his time. In 1490 or 1491 he began a collaboration with Mariotto Albertinelli, in the late 1490s Baccio was drawn to the teachings of Fra Girolamo Savonarola, who denounced what he viewed as vain and corrupt contemporary art. Savonarola argued for art serving as a visual illustration of the Bible to educate those unable to read the book. From 1498 is his famous portrait of Savonarola, now in the Museo Nazionale di San Marco in Florence, the following year he entered the convent of San Marco. He renounced painting for several years, not resuming until 1504 when he became the head of the workshop in obedience to his superior. In that year he began a Vision of St. Bernard for Bernardo Biancos family chapel in the Badia Fiorentina, soon thereafter, Raphael visited Florence and befriended the friar. Bartolomeo learned perspective from the younger artist, while Raphael added skills in coloring and handling of drapery, with Raphael, he remained on the friendliest terms, and when he departed from Rome, left in his hands two unfinished pictures which Raphael completed. As the Dominicans did not pay for the work, he took it back to Lucca, also in Lucca, in the October 1509, he painted by Albertinelli an altarpiece with Madonna and Child with Saints for the local cathedral. On November 26,1510 Pier Soderini commissioned him an altarpiece for the Sala del Consiglio of Florence, two years later he finished another altarpiece for the cathedral of Besançon. After a promised Feast of Venus for Duke Alfonso I dEste of Ferrara, of only drawings remain. He died in Florence in 1517, initially, his works showed the influence of Rossellis assistant, Piero di Cosimo, and those of Domenico Ghirlandaio and Filippino Lippi. After his hiatus from 1500 to 1503, he seemed to change vision, taking from Raphael the representation of light, Fra Bartolomeos figures are generally small and draped. Among his pupils were Cecchino del Frate, Benedetto Ciamfanini, Gabriel Rustici, Ridolfo Ghirlandaio, Fra Bartolommeo di Pagholo, Encyclopædia Britannica, 11th ed. Vol. III, Cambridge, Cambridge University Press,1911, p.124
9.
Leonardo da Vinci
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He has been variously called the father of palaeontology, ichnology, and architecture, and is widely considered one of the greatest painters of all time. Sometimes credited with the inventions of the parachute, helicopter and tank, many historians and scholars regard Leonardo as the prime exemplar of the Universal Genius or Renaissance Man, an individual of unquenchable curiosity and feverishly inventive imagination. Much of his working life was spent in the service of Ludovico il Moro in Milan. He later worked in Rome, Bologna and Venice, and he spent his last years in France at the home awarded to him by Francis I of France, Leonardo was, and is, renowned primarily as a painter. Among his works, the Mona Lisa is the most famous and most parodied portrait, Leonardos drawing of the Vitruvian Man is also regarded as a cultural icon, being reproduced on items as varied as the euro coin, textbooks, and T-shirts. Perhaps fifteen of his paintings have survived, Leonardo is revered for his technological ingenuity. He conceptualised flying machines, a type of armoured fighting vehicle, concentrated power, an adding machine. Some of his inventions, however, such as an automated bobbin winder. A number of Leonardos most practical inventions are nowadays displayed as working models at the Museum of Vinci. He made substantial discoveries in anatomy, civil engineering, geology, optics, and hydrodynamics, today, Leonardo is widely considered one of the most diversely talented individuals ever to have lived. Leonardo was born on 15 April 1452 at the hour of the night in the Tuscan hill town of Vinci. He was the son of the wealthy Messer Piero Fruosino di Antonio da Vinci, a Florentine legal notary, and Caterina. Leonardo had no surname in the modern sense – da Vinci simply meaning of Vinci, his birth name was Lionardo di ser Piero da Vinci, meaning Leonardo. The inclusion of the title ser indicated that Leonardos father was a gentleman, little is known about Leonardos early life. He spent his first five years in the hamlet of Anchiano in the home of his mother and his father had married a sixteen-year-old girl named Albiera Amadori, who loved Leonardo but died young in 1465 without children. When Leonardo was sixteen, his father married again to twenty-year-old Francesca Lanfredini, pieros legitimate heirs were born from his third wife Margherita di Guglielmo and his fourth and final wife, Lucrezia Cortigiani. Leonardo received an education in Latin, geometry and mathematics. In later life, Leonardo recorded only two childhood incidents, one, which he regarded as an omen, was when a kite dropped from the sky and hovered over his cradle, its tail feathers brushing his face
10.
Pontormo
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Jacopo Carucci, usually known as Jacopo da Pontormo, Jacopo Pontormo or simply Pontormo, was an Italian Mannerist painter and portraitist from the Florentine School. His work represents a stylistic shift from the calm perspectival regularity that characterized the art of the Florentine Renaissance. He is famous for his use of twining poses, coupled with ambiguous perspective, his figures seem to float in an uncertain environment. Jacopo Carucci was born at Pontorme, near Empoli, to Bartolomeo di Jacopo di Martino Carrucci, Pontormo painted in and around Florence, often supported by Medici patronage. A foray to Rome, largely to see Michelangelos work, influenced his later style, haunted faces and elongated bodies are characteristic of his work. An example of Pontormos early style is a fresco depicting the Visitation of the Virgin and St Elizabeth, with its dancelike, balanced figures, placing these two pictures together—one from his early style, and another from his mature period—throws Pontormos artistic development into sharp relief. In the earlier work, Pontormo is much closer in style to his teacher, Andrea del Sarto, in the later work, the viewer is brought almost uncomfortably close to the Virgin and St. Elizabeth, who drift toward each other in clouds of drapery. Moreover, the architectural setting that is carefully constructed in earlier piece has been completely abandoned in favor of a peculiar nondescript urban setting. The Joseph canvases offer another example of Pontormos developing style, done around the same time as the earlier Visitation, these works show a much more mannerist leaning. According to Giorgio Vasari, the sitter for the boy seated on a step is his young apprentice, Bronzino. In the years between the SS Annunziata and San Michele Visitations, Pontormo took part in the decoration of the salon of the Medici country villa at Poggio a Caiano,17 km NNW of Florence. There he painted frescoes in a pastoral style, very uncommon for Florentine painters, their subject was the obscure classical myth of Vertumnus. In 1522, when the plague broke out in Florence, Pontormo left for the Certosa di Galluzzo and he painted a series of frescoes, now quite damaged, on the passion and resurrection of Christ. The figures, with their sharply modeled forms and brilliant colors are united in a complex, swirling ovular composition, housed by a shallow. Although commonly known as The Deposition from the Cross, there is no cross in the picture. The scene might more properly be called a Lamentation or Bearing the Body of Christ and those who are lowering Christ appear as anguished as the mourners. Though they are bearing the weight of a man, they barely seem to be touching the ground. These two boys have sometimes interpreted as angels, carrying Christ in his journey to Heaven
11.
Baroque
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The style began around 1600 in Rome and Italy, and spread to most of Europe. The aristocracy viewed the dramatic style of Baroque art and architecture as a means of impressing visitors by projecting triumph, power, Baroque palaces are built around an entrance of courts, grand staircases, and reception rooms of sequentially increasing opulence. However, baroque has a resonance and application that extend beyond a reduction to either a style or period. It is also yields the Italian barocco and modern Spanish barroco, German Barock, Dutch Barok, others derive it from the mnemonic term Baroco, a supposedly laboured form of syllogism in logical Scholastica. The Latin root can be found in bis-roca, in informal usage, the word baroque can simply mean that something is elaborate, with many details, without reference to the Baroque styles of the 17th and 18th centuries. The word Baroque, like most periodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th, the term Baroque was initially used in a derogatory sense, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music. Another hypothesis says that the word comes from precursors of the style, Giacomo Barozzi da Vignola and he did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Long despised, Baroque art and architecture became fashionable between the two World Wars, and has remained in critical favour. In painting the gradual rise in popular esteem of Caravaggio has been the best barometer of modern taste, William Watson describes a late phase of Shang-dynasty Chinese ritual bronzes of the 11th century BC as baroque. The term Baroque may still be used, usually pejoratively, describing works of art, craft, the appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th-century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, germinal ideas of the Baroque can also be found in the work of Michelangelo. Even more generalised parallels perceived by some experts in philosophy, prose style, see the Neapolitan palace of Caserta, a Baroque palace whose construction began in 1752. In paintings Baroque gestures are broader than Mannerist gestures, less ambiguous, less arcane and mysterious, more like the stage gestures of opera, Baroque poses depend on contrapposto, the tension within the figures that move the planes of shoulders and hips in counterdirections. Baroque is a style of unity imposed upon rich, heavy detail, Baroque style featured exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism. There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona, the most prominent Spanish painter of the Baroque was Diego Velázquez. The later Baroque style gradually gave way to a more decorative Rococo, while the Baroque nature of Rembrandts art is clear, the label is less often used for Vermeer and many other Dutch artists. Flemish Baroque painting shared a part in this trend, while continuing to produce the traditional categories
12.
Donatello
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Donato di Niccolò di Betto Bardi, better known as Donatello, was an early Renaissance sculptor from Florence. He worked with stone, bronze, wood, clay, stucco and wax, and had several assistants, with four perhaps being a typical number. Though his best-known works were mostly statues in the round, he developed a new, very shallow, type of bas-relief for small works, and a good deal of his output was larger architectural reliefs. Donatello was the son of Niccolò di Betto Bardi, who was a member of the Florentine Arte della Lana, Donatello was educated in the house of the Martelli family. He apparently received his artistic training in a goldsmiths workshop. While undertaking study and excavations with Filippo Brunelleschi in Rome, work that gained the two men the reputation of treasure seekers, Donatello made a living by working at goldsmiths shops. In 1409–1411 he executed the colossal seated figure of Saint John the Evangelist, which until 1588 occupied a niche of the old cathedral façade and this work marks a decisive step forward from late Gothic Mannerism in the search for naturalism and the rendering of human feelings. The face, the shoulders and the bust are still idealized, while the hands, in 1411–13, Donatello worked on a statue of St. Mark for the guild church of Orsanmichele. In 1417 he completed the Saint George for the Confraternity of the Cuirass-makers, the elegant St. George and the Dragon relief on the statues base, executed in schiacciato is one of the first examples of central-point perspective in sculpture. From 1423 is the Saint Louis of Toulouse for the Orsanmichele, Donatello had also sculpted the classical frame for this work, which remains, while the statue was moved in 1460 and replaced by Incredulity of Saint Thomas by Verrocchio. Between 1415 and 1426, Donatello created five statues for the campanile of Santa Maria del Fiore in Florence, also known as the Duomo. These works are the Beardless Prophet, Bearded Prophet, the Sacrifice of Isaac, Habbakuk, and Jeremiah, from the late teens is the Pazzi Madonna relief in Berlin. In 1425, he executed the notable Crucifix for Santa Croce, this work portrays Christ in a moment of the agony, eyes and mouth partially opened, the body contracted in an ungraceful posture. From 1425 to 1427, Donatello collaborated with Michelozzo on the monument of the Antipope John XXIII for the Battistero in Florence. Donatello made the recumbent bronze figure of the deceased, under a shell, in 1427, he completed in Pisa a marble relief for the funerary monument of Cardinal Rainaldo Brancacci at the church of SantAngelo a Nilo in Naples. In the same period, he executed the relief of the Feast of Herod, the relief is mostly in stiacciato, with the foreground figures are done in bas-relief. Around 1430, Cosimo de Medici, the foremost art patron of his era and this is now Donatellos most famous work, and the first known free-standing nude statue produced since antiquity. Also from this period is the disquietingly small Love-Atys, housed in the Bargello, some have perceived the David as having homo-erotic qualities, and have argued that this reflected the artists own orientation
13.
Michelangelo
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Michelangelo di Lodovico Buonarroti Simoni was an Italian sculptor, painter, architect, and poet of the High Renaissance who exerted an unparalleled influence on the development of Western art. Considered to be the greatest living artist during his lifetime, he has since described as one of the greatest artists of all time. A number of Michelangelos works of painting, sculpture, and architecture rank among the most famous in existence and he sculpted two of his best-known works, the Pietà and David, before the age of thirty. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library, at the age of 74, he succeeded Antonio da Sangallo the Younger as the architect of St. Peters Basilica. Michelangelo transformed the plan so that the end was finished to his design, as was the dome, with some modification. Michelangelo was unique as the first Western artist whose biography was published while he was alive, in his lifetime he was often called Il Divino. One of the qualities most admired by his contemporaries was his terribilità, the attempts by subsequent artists to imitate Michelangelos impassioned and highly personal style resulted in Mannerism, the next major movement in Western art after the High Renaissance. Michelangelo was born on 6 March 1475 in Caprese near Arezzo, at the time of Michelangelos birth, his father was the Judicial administrator of the small town of Caprese and local administrator of Chiusi. Michelangelos mother was Francesca di Neri del Miniato di Siena, the Buonarrotis claimed to descend from the Countess Mathilde of Canossa, this claim remains unproven, but Michelangelo himself believed it. Several months after Michelangelos birth, the returned to Florence. There Michelangelo gained his love for marble, as Giorgio Vasari quotes him, If there is good in me. Along with the milk of my nurse I received the knack of handling chisel and hammer, as a young boy, Michelangelo was sent to Florence to study grammar under the Humanist Francesco da Urbino. The young artist, however, showed no interest in his schooling, preferring to copy paintings from churches, the city of Florence was at that time the greatest centre of the arts and learning in Italy. Art was sponsored by the Signoria, by the merchant guilds and by patrons such as the Medici. The Renaissance, a renewal of Classical scholarship and the arts, had its first flowering in Florence, the sculptor Lorenzo Ghiberti had laboured for fifty years to create the bronze doors of the Baptistry, which Michelangelo was to describe as The Gates of Paradise. The exterior niches of the Church of Orsanmichele contained a gallery of works by the most acclaimed sculptors of Florence – Donatello, Ghiberti, Andrea del Verrocchio, and Nanni di Banco. The interiors of the churches were covered with frescos, begun by Giotto. During Michelangelos childhood, a team of painters had been called from Florence to the Vatican, among them was Domenico Ghirlandaio, a master in fresco painting, perspective, figure drawing, and portraiture who had the largest workshop in Florence at that period
14.
Counter-Maniera
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Counter-Maniera or Counter-Mannerism reacted against the artificiality of the second generation of Mannerist painters in the second half of the 16th century. The term was devised by the art historian Sydney Joseph Freedberg, the use of the term Counter-Maniera may be in decline, as impatience with such style labels grows among art historians. The definition of Mannerism itself is complex, and that of Counter-Mannerism. The style restores a decorum suitable for religious works, and removes distractions from the religious figures. The use of the term has not been extended to Northern Mannerism, shearmans other main example of Counter-Mannerism is Federigo Barocci, who Freedberg also excludes from his definition. Many painters looked to revive the styles of Raphael, Andrea del Sarto and other High Renaissance masters, the example of Michelangelos late work was important for many artists. It was mostly ignored in the hunt by picture dealers in the 18th and 19th centuries and he describes the decrees as a codifying and official sanction of a temper that had come to be conspicuous in Roman culture. Ed. Raffaello Borghinis Il Riposo, Lorenzo Da Ponte Italian Library,2008, University of Toronto Press, ISBN1442692294,9781442692299, google books Friedländer, Walter. Mannerism and Anti-Mannerism in Italian Painting,1965, Schocken, New York, LOC578295 Freedburg, Sidney J. Painting in Italy, 1500–1600,1993, Yale, ISBN0300055870 Murphy, Caroline P. Review of, After Raphael, Painting in Central Italy in the Sixteenth Century by Marcia B, hall, The Catholic Historical Review, Vol.86, No. 2, pp. 323–324, Catholic University of America Press, JSTOR Shearman, Mannerism,1967, Pelican, London, ISBN0140208089 Smyth, Craig Hugh, Mannerism and Maniera,1992, IRSA, Vienna, ISBN3900731330
15.
Giovanni Maria Butteri
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Giovanni Maria Butteri, also known as Giovanmaria Butteri, was an Italian painter of the Mannerist period, active in his native Florence. He was a pupil of Alessandro Allori and Francesco Salviati and he participated in the fresco decoration of the large cloister at Santa Maria Novella. Other works can be found at the churches of Santa Monica and San Barnaba in Florence and he also contributed a canvas for the programme of the Studiolo of Francesco I in the Palazzo Vecchio, a visit by Prince Francesco I deMedici to Bortolo dAlvises glassworks. Dictionary of Painters and Engravers, Biographical and Critical, york St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell and Sons
16.
Giovanni Bizzelli
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Giovanni Bizzelli was an Italian painter of the late-Mannerist period. He was a pupil of Alessandro Allori, on his return to Florence he helped Antonio Tempesta in the decoration of the vaults of the Uffizi Corridor. Dictionary of Painters and Engravers, Biographical and Critical, york St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell and Sons
17.
Cesare Dandini
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Cesare Dandini was an Italian painter of the Baroque period, active mainly in his native city of Florence. He was the brother of the painter Vincenzo Dandini. His nephew, Pietro was a pupil of Vincenzo, and Pietros two sons, Ottaviano Dandini and the Jesuit priest Vincenzo also worked as painters in Florence, according to the biographer Baldinucci, Cesare first worked under Francesco Curradi, then Cristofano Allori, and finally Domenico Passignano. He enrolled in 1621 in the Accademia del Disegno and his style has the polish and attention to draughtsmanship and design characteristic of Florentines like Carlo Dolci. Among his pupils were Stefano della Bella, Alessandro Rosi, Antonio Giusti, Giovanni Domenico Ferrucci, grove encyclopedia abstract biography Italian Paintings, Florentine School, a collection catalog containing information about the artist and their works
18.
Giovanni Battista Vanni
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Giovanni Battista Vanni was an Italian painter and engraver of the Baroque period. He was born in either Pisa or Florence around 1599, he studied successively under Jacopo da Empoli, Aurelio Lomi, and Matteo Rosselli and he is better known as an engraver than as a painter. From 1624 to 1632, he lived in Rome, then returning to Florence after visiting Venice and he also engraved Paolo Veroneses Marriage at Cana. He frescoed a Meal in the house of the Pharisee for an attached to the Church of Santa Maria del Carmine. He died at Florence in 1660, walter Armstrong & Robert Edmund Graves, ed. Dictionary of Painters and Engravers, Biographical and Critical,4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell and Sons
19.
Giorgio Vasari
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Vasari was born in Arezzo, Tuscany. Recommended at an age by his cousin Luca Signorelli, he became a pupil of Guglielmo da Marsiglia. He was befriended by Michelangelo whose painting style would influence his own, in 1529, he visited Rome where he studied the works of Raphael and other artists of the Roman High Renaissance. Vasaris own Mannerist paintings were admired in his lifetime than afterwards. In 1547 he completed the hall of the chancery in Palazzo della Cancelleria in Rome with frescoes that received the name Sala dei Cento Giorni and he was consistently employed by members of the Medici family in Florence and Rome, and worked in Naples, Arezzo and other places. He also helped to organize the decoration of the Studiolo, now reassembled in the Palazzo Vecchio, aside from his career as a painter, Vasari was also successful as an architect. In Florence, Vasari also built the long passage, now called Vasari Corridor, the enclosed corridor passes alongside the River Arno on an arcade, crosses the Ponte Vecchio and winds around the exterior of several buildings. He also renovated the medieval churches of Santa Maria Novella and Santa Croce, at both he removed the original rood screen and loft, and remodelled the retro-choirs in the Mannerist taste of his time. In Santa Croce, he was responsible for the painting of The Adoration of the Magi which was commissioned by Pope Pius V in 1566 and it was recently restored, before being put on exhibition in 2011 in Rome and in Naples. Eventually it is planned to return it to the church of Santa Croce in Bosco Marengo, in 1562 Vasari built the octagonal dome on the Basilica of Our Lady of Humility in Pistoia, an important example of high Renaissance architecture. In Rome, Vasari worked with Giacomo Barozzi da Vignola and Bartolomeo Ammanati at Pope Julius IIIs Villa Giulia, the Lives also included a novel treatise on the technical methods employed in the arts. The book was rewritten and enlarged in 1568, with the addition of woodcut portraits of artists. The work has a consistent and notorious bias in favour of Florentines, and tends to attribute to them all the developments in Renaissance art – for example, Venetian art in particular, is systematically ignored in the first edition. Between the first and second editions, Vasari visited Venice and while the edition gave more attention to Venetian art. Vasaris biographies are interspersed with amusing gossip, with a few exceptions, however, Vasaris aesthetic judgement was acute and unbiased. He did not research archives for exact dates, as art historians do, and naturally his biographies are most dependable for the painters of his own generation. Modern criticism – with new materials opened up by research – has corrected many of his traditional dates and attributions. Vasari includes a sketch of his own biography at the end of the Lives, according to the historian Richard Goldthwaite, Vasari was one of the earliest authors to use the term competition in its economic sense
20.
Studiolo of Francesco I
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The Studiolo is a small painting-encrusted barrel-vaulted room in the Palazzo Vecchio, Florence. It was commissioned by Francesco I de Medici, Grand Duke of Tuscany and it was completed for the duke from 1570-1572, by teams of artists under the supervision of Giorgio Vasari and the scholars Giovanni Batista Adriani and Vincenzo Borghini. This small room was part-office, part-laboratory, part-hiding place, the late-Mannerist decorative program of paintings and sculpture was based on items encompassed by the collection. The object collection itself was stored in ~20 cabinets, in the center is a fresco of Prometheus receiving jewels from nature, commenting on the interplay of divine, nature, and humanity, that is the goal of both artistic and scientific interests. The walls were covered with 34 paintings representing mythologic or religious subjects. The arrangement was such that paintings were somehow related to their neighbors, the arrangement we see today is somewhat speculative, and the relationships are not always clear. For example, Tommaso dAntonio Manzuolis Diamond Mines hangs above the Maso de Sanfrianos Fall of Icarus, the painting by Giovanni Battista Naldini of the House of the Dreams emphasized the relationship with the adjacent bedroom of the Prince. The Studiolo is arrayed and visible through an opening and lacks cabinets. In addition, originally a portrait of Francescos mother, Eleonora of Toledo by Bronzino, while the Studiolo employed many of the best of contemporary Florentine painters, their work in this room, for most, does not represent their best efforts. The pseudo-allegiance to the couple with the sense that they illuminated the educated monarch. Not long after the death of the Grand Duke, it was neglected and dismantled by 1590, niccolò Betti Ludovico Buti The armory Giovanni Maria Butteri ]. Vittore Casini (The Forge of Vulcan Mirabello Cavalori
21.
Cristofano Allori
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Cristofano Allori was an Italian portrait painter of the late Florentine Mannerist school. Allori also appears to have worked under Cigoli and his pictures are distinguished by their close adherence to nature and the delicacy and technical perfection of their execution. His technical skill is shown by the fact that several copies he made of Correggios works were thought to be duplicates by Correggio himself and his extreme fastidiousness limited the number of his works. Several examples are to be seen at Florence and elsewhere and his most famous work, in his own day and now, is Judith with the Head of Holofernes. It exists in at least two versions by Allori, of which the version is perhaps that in the British Royal Collection, dated 1613. A version of 1620 in the Palazzo Pitti in Florence is the best known and there are copies by studio. Orazio and Artemisia Gentileschi, a digitized exhibition catalog from The Metropolitan Museum of Art Libraries
22.
Ashmolean Museum
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The Ashmolean Museum on Beaumont Street, Oxford, England, is the worlds first university museum. Its first building was erected in 1678–1683 to house the cabinet of curiosities that Elias Ashmole gave to the University of Oxford in 1677, the museum reopened in 2009 after a major redevelopment. In November 2011, new galleries focusing on Egypt and Nubia were also unveiled, in May 2016, the museum opened new galleries of 19th century Art. The museum opened on 24 May 1683, with naturalist Robert Plot as the first keeper, the first building, which became known as the Old Ashmolean, is sometimes attributed to Sir Christopher Wren or Thomas Wood. After the various specimens had been moved into new museums, the Old Ashmolean building on Broad Street was used as space for the Oxford English Dictionary. The present building dates from 1841–45 and it was designed by Charles Cockerell in a classical style and stands on Beaumont Street. One wing of the building is occupied by the Taylor Institution and this wing of the building dates from 1845–48 and was also designed by Charles Cockerell, using the Ionic order of Greek architecture. The main museum contains collections of archaeological specimens and fine art. It has one of the best collections of Pre-Raphaelite paintings, majolica pottery, the archaeology department includes the bequest of Arthur Evans and so has an excellent collection of Greek and Minoan pottery. The department also has a collection of antiquities from Ancient Egypt and the Sudan. Charles Buller Heberden left £1,000 to the University, which was used for the Coin Room at the museum, in 2012, the Ashmolean was awarded a grant of $1. 1m by the Andrew W. Mellon Foundation to establish the University Engagement Programme or UEP. The programme employs three Teaching Curators and a Programme Director to develop the use of the Museums collections in the teaching, the interior of the Ashmolean has been extensively modernised in recent years and now includes a restaurant and large gift shop. In 2000, the Chinese Picture Gallery, designed by van Heyningen and Haward Architects, the gallery was inserted into a lightwell in the Grade 1 listed building, and was designed to support future construction from its roof. Apart from the original Cockerell spaces, this gallery was the part of the museum retained in the rebuilding. It houses the Ashmolean’s own collection, but is used from time to time for the display of loan exhibitions. It is the museum gallery in Britain devoted to Chinese paintings. Between 2006 and 2009, the museum was expanded to the designs of architect Rick Mather, the $98.2 million rebuilding resulted in five floors instead of three, with a doubling of the display space, as well as new conservation studios and an education centre. The renovated museum re-opened on 7 November 2009, on 26 November 2011, the Ashmolean opened to the public the new galleries of Ancient Egypt and Nubia
23.
Oxford
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Oxford is a city in the South East region of England and the county town of Oxfordshire. With an estimated 2015 population of 168,270, it is the 52nd largest city in the United Kingdom, the city is situated 57 miles from London,69 miles from Bristol,65 miles from both Southampton and Birmingham and 25 miles from Reading. The city is known worldwide as the home of the University of Oxford, buildings in Oxford demonstrate notable examples of every English architectural period since the late Saxon period. Oxford is known as the city of dreaming spires, a term coined by poet Matthew Arnold, Oxford has a broad economic base. Its industries include motor manufacturing, education, publishing and a number of information technology and science-based businesses. Oxford was first settled in Saxon times and was known as Oxenaforda, meaning Ford of the Oxen. It began with the establishment of a crossing for oxen around AD900. In the 10th century, Oxford became an important military frontier town between the kingdoms of Mercia and Wessex and was on several occasions raided by Danes, Oxford was heavily damaged during the Norman Invasion of 1066. Following the conquest, the town was assigned to a governor, Robert DOyly, the castle has never been used for military purposes and its remains survive to this day. DOyly set up a community in the castle consisting of a chapel. The community never grew large but it earned its place in history as one of Britains oldest places of formal education and it was there that in 1139 Geoffrey of Monmouth wrote his History of the Kings of Britain, a compilation of Arthurian legends. Mary at Oseney and to the canons serving God in that place and we have made this concession and confirmation in the Common council of the City and we have confirmed it with our common seal. These are those who have made this concession and confirmation, a grandson of King John established Rewley Abbey for the Cistercian Order, and friars of various orders all had houses of varying importance at Oxford. Parliaments were often held in the city during the 13th century, the Provisions of Oxford were instigated by a group of barons led by Simon de Montfort, these documents are often regarded as Englands first written constitution. Richard I of England and John, King of England the sons of Henry II of England, were born at Beaumont Palace in Oxford, on 8 September 1157 and 24 December 1166 respectively. A plaque in Beaumont Street commemorates these events, the University of Oxford is first mentioned in 12th century records. Of the hundreds of Aularian houses that sprang up across the city, what put an end to the halls was the emergence of colleges. Oxfords earliest colleges were University College, Balliol and Merton and these colleges were established at a time when Europeans were starting to translate the writings of Greek philosophers
24.
Santa Maria Novella
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Santa Maria Novella is a church in Florence, Italy, situated just across from the main railway station named after it. Chronologically, it is the first great basilica in Florence, and is the citys principal Dominican church, the church, the adjoining cloister, and chapter house contain a multiplicity of art treasures and funerary monuments. Especially famous are frescoes by masters of Gothic and early Renaissance and they were financed by the most important Florentine families, who ensured themselves funerary chapels on consecrated ground. This church was called Novella because it was built on the site of the 9th-century oratory of Santa Maria delle Vigne, when the site was assigned to Dominican Order in 1221, they decided to build a new church and adjoining cloister. The church was designed by two Dominican friars, Fra Sisto Fiorentino and Fra Ristoro da Campi, building began in the mid-13th century, and was finished about 1360 under the supervision of Friar Iacopo Talenti with the completion of the Romanesque-Gothic bell tower and sacristy. At that time, only the part of the Tuscan gothic façade was finished. This same design continues in the wall around the old churchyard. The church was consecrated in 1420, alberti had also designed the façade for the Rucellai Palace in Florence. The four columns with Corinthian capitals on the part of the façade were also added. The pediment and the frieze are clearly inspired by antiquity, but the S-curved scrolls in the part are new. The scrolls, found in all over Italy, all draw their origins from the design of this church. The frieze below the pediment carries the name of the patron, the vast interior is based on a basilica plan, designed as a Latin cross, and is divided into a nave, two aisles with stained-glass windows and a short transept. The large nave is 100 metres long and gives an impression of austerity, there is a trompe loeil effect by which towards the apse the nave seems longer than its actual length. The slender compound piers between the nave and the aisles are progressively closer the deeper the observer moves into the nave, the ceiling in the vault consists of pointed arches with the four diagonal buttresses in black and white. The interior also contains Corinthian columns that were inspired by Greek, the stained-glass windows date from the 14th and 15th century, such as 15th century Madonna and Child and St. John and St. Philip, both in the Filippo Strozzi Chapel. Some stained glass windows have been damaged in the course of centuries and have been replaced, the one on the façade, a depiction of the Coronation of Mary, dates from the 14th century, and is based on a design of Andrea di Bonaiuto da Firenze. The pulpit, commissioned by the Rucellai family in 1443, was designed by Filippo Brunelleschi and this pulpit has a particular historical significance, since it was from this pulpit that the first verbal attack was made on Galileo Galilei, leading eventually to his indictment. The Holy Trinity, situated almost halfway along the aisle, is a pioneering early Renaissance work of Masaccio, showing his new ideas about perspective
25.
Dijon
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Dijon is a city in eastern France, capital of the Côte-dOr département and of the Bourgogne-Franche-Comté region. The earliest archaeological finds within the city limits of Dijon date to the Neolithic period, Dijon later became a Roman settlement named Divio, located on the road from Lyon to Paris. Population,151,576 within the city limits,250,516 for the greater Dijon area, the city has retained varied architectural styles from many of the main periods of the past millennium, including Capetian, Gothic and Renaissance. Many still-inhabited town houses in the central district date from the 18th century. Dijon architecture is distinguished by, among other things, toits bourguignons made of tiles glazed in terracotta, green, yellow and black, Dijon holds an International and Gastronomic Fair every year in autumn. With over 500 exhibitors and 200,000 visitors every year, Dijon is also home, every three years, to the international flower show Florissimo. The historical center of the city has been registered since July 4,2015 as a UNESCO World Heritage site, the earliest archaeological finds within the city limits of Dijon date to the Neolithic period. Dijon later became a Roman settlement called Divio, which may mean sacred fountain, saint Benignus, the citys apocryphal patron saint, is said to have introduced Christianity to the area before being martyred. The Duchy of Burgundy was a key in the transformation of medieval times toward early modern Europe, the Palace of the Dukes of Burgundy now houses city hall and a museum of art. In 1513, Swiss and Imperial armies invaded Burgundy and besieged Dijon, the siege was extremely violent, but the town succeeded in resisting the invaders. After long negotiations, Louis II de la Trémoille managed to persuade the Swiss, during the siege, the population called on the Virgin Mary for help and saw the towns successful resistance and the subsequent withdrawal of the invaders as a miracle. For those reasons, in the following the siege the inhabitants of Dijon began to venerate Notre-Dame de Bon-Espoir. Although a few areas of the town were destroyed, there are no signs of the siege of 1513 visible today. However, Dijons museum of arts has a large tapestry depicting this episode in the towns history. Dijon is situated at the heart of a plain drained by two small converging rivers, the Suzon, which crosses it mostly underground from north to south, farther south is the côte, or hillside, of vineyards that gives the department its name. Dijon lies 310 km southeast of Paris,190 km northwest of Geneva, the average low of winter is −1 °C, with an average high of 4.2 °C. The average high of summer is 25.3 °C with a low of 14.7 °C. Average normal temperatures are between 2.3 °C and 5.3 °C from November to March, and 17.2 to 19.7 °C from June to August, the climate is oceanic but with a greater temperature range than closer to the Atlantic coastline
26.
Montpellier
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Montpellier is a city in southern France. It is the capital of the Hérault department, Montpellier is the 8th largest city of France, and is also the fastest growing city in the country over the past 25 years. Nearly one third of the population are students from three universities and from three higher education institutions that are outside the university framework in the city. Located on the south coast of France on the Mediterranean Sea, it is the third-largest French city on the Mediterranean coast after Marseille and Nice. Montpellier is one of the few cities in France without any Roman heritage. In the Early Middle Ages, the episcopal town of Maguelone was the major settlement in the area. Montpellier, first mentioned in a document of 985, was founded under a feudal dynasty, the Guilhem. The two surviving towers of the city walls, the Tour des Pins and the Tour de la Babotte, were built later, william VIII of Montpellier gave freedom for all to teach medicine in Montpellier in 1180. This era marked the point of Montpelliers prominence. The city became a possession of the Kings of Aragon in 1204 by the marriage of Peter II of Aragon with Marie of Montpellier, who was given the city and its dependencies as part of her dowry. Montpellier gained a charter in 1204 when Peter and Marie confirmed the traditional freedoms. Under the Kings of Aragon, Montpellier became an important city, a major economic centre. It was the second or third most important city of France at that time, with its importance steadily increasing, the city finally gained a bishop, who moved from Maguelone in 1536, and the huge monastery chapel became a cathedral. In 1432, Jacques Cœur established himself in the city and it became an important economic centre, at the time of the Reformation in the 16th century, many of the inhabitants of Montpellier became Protestants and the city became a stronghold of Protestant resistance to the Catholic French crown. In 1622, King Louis XIII besieged the city surrendered after a two months siege, afterwards building the Citadel of Montpellier to secure it. Louis XIV made Montpellier capital of Bas Languedoc, and the town started to embellish itself, by building the Promenade du Peyrou, the Esplanade, after the French Revolution, the city became the capital of the much smaller Hérault. During the 19th century the city developed into an industrial centre, in the 1960s, its population grew dramatically after French settlers in Algeria were resettled in the city following Algerias independence from France. In the 1980s and 1990s, the city drew attention with a number of redevelopment projects, such as the Corum
27.
Charles Wheeler (journalist)
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Sir Selwyn Charles Cornelius-Wheeler CMG, known as Charles Wheeler, was a British journalist and broadcaster. Having joined the BBC in 1947, he became the corporations longest serving foreign correspondent, Wheeler also had spells as presenter of several BBC current affairs television programmes including Newsnight and Panorama. Wheeler was born in Bremen, Germany, in 1923, where his father was working for the British Council, the family later moved to Hamburg, where his father was employed by a shipping company. Educated at the Cranbrook School in Kent, his first job was as a boy at the Daily Sketch newspaper at the age of 17. He enlisted in the Royal Marines in 1941, rising to the rank of captain, as part of 30 Assault Unit, a secret naval intelligence unit assembled by Ian Fleming, he participated in the Normandy landings as second-in-command to Patrick Dalzel-Job. After leaving the Royal Marines in 1947, Wheeler joined the BBC, wheelers long career as a foreign correspondent began with a three-year posting to Berlin in 1950, partly thanks to his fluency in German. He subsequently returned to the UK, becoming a producer on the current affairs series Panorama in 1956. As part of Panoramas team, he travelled to Hungary to cover what would become known as the Hungarian Uprising, taking Panoramas camera into the country, despite being told not to, he filmed the jubilant Hungarian reaction to the rebellion. Just hours after Wheeler returned to Britain, Russia re-entered Hungary, in the later years of his television career he was the American correspondent of Newsnight. He returned to Berlin when the Wall was built and remained there for years with his Indian-born wife. Wheeler was the first presenter of BBC Worlds Dateline London discussion programme and he remained active in his later years as a presenter of documentary series on Radio 4 and a contributor to the networks From Our Own Correspondent. He had been working on a programme about the Dalai Lama until a few weeks before his death, winners of the award to date are Jeremy Paxman, Jeremy Bowen, Lindsey Hilsum and Alan Little. Wheeler was appointed a Companion of the Order of St Michael and St George in 2001, Wheeler was married to Dip Singh and the couple had two daughters, the barrister Marina Wheeler and Shirin Wheeler, the BBCs Brussels correspondent. Via the Commission for Looted Art in Europe it was returned to its legitimate owner, Wheeler died of lung cancer at his Horsham home on 4 July 2008. Leigh Holmwood, Veteran BBC foreign correspondent Charles Wheeler,85, dies, The Guardian, Friday,4 July 2008 Newsnight Tribute to Charles Wheeler
28.
World War II
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World War II, also known as the Second World War, was a global war that lasted from 1939 to 1945, although related conflicts began earlier. It involved the vast majority of the worlds countries—including all of the great powers—eventually forming two opposing alliances, the Allies and the Axis. It was the most widespread war in history, and directly involved more than 100 million people from over 30 countries. Marked by mass deaths of civilians, including the Holocaust and the bombing of industrial and population centres. These made World War II the deadliest conflict in human history, from late 1939 to early 1941, in a series of campaigns and treaties, Germany conquered or controlled much of continental Europe, and formed the Axis alliance with Italy and Japan. Under the Molotov–Ribbentrop Pact of August 1939, Germany and the Soviet Union partitioned and annexed territories of their European neighbours, Poland, Finland, Romania and the Baltic states. In December 1941, Japan attacked the United States and European colonies in the Pacific Ocean, and quickly conquered much of the Western Pacific. The Axis advance halted in 1942 when Japan lost the critical Battle of Midway, near Hawaii, in 1944, the Western Allies invaded German-occupied France, while the Soviet Union regained all of its territorial losses and invaded Germany and its allies. During 1944 and 1945 the Japanese suffered major reverses in mainland Asia in South Central China and Burma, while the Allies crippled the Japanese Navy, thus ended the war in Asia, cementing the total victory of the Allies. World War II altered the political alignment and social structure of the world, the United Nations was established to foster international co-operation and prevent future conflicts. The victorious great powers—the United States, the Soviet Union, China, the United Kingdom, the Soviet Union and the United States emerged as rival superpowers, setting the stage for the Cold War, which lasted for the next 46 years. Meanwhile, the influence of European great powers waned, while the decolonisation of Asia, most countries whose industries had been damaged moved towards economic recovery. Political integration, especially in Europe, emerged as an effort to end pre-war enmities, the start of the war in Europe is generally held to be 1 September 1939, beginning with the German invasion of Poland, Britain and France declared war on Germany two days later. The dates for the beginning of war in the Pacific include the start of the Second Sino-Japanese War on 7 July 1937, or even the Japanese invasion of Manchuria on 19 September 1931. Others follow the British historian A. J. P. Taylor, who held that the Sino-Japanese War and war in Europe and its colonies occurred simultaneously and this article uses the conventional dating. Other starting dates sometimes used for World War II include the Italian invasion of Abyssinia on 3 October 1935. The British historian Antony Beevor views the beginning of World War II as the Battles of Khalkhin Gol fought between Japan and the forces of Mongolia and the Soviet Union from May to September 1939, the exact date of the wars end is also not universally agreed upon. It was generally accepted at the time that the war ended with the armistice of 14 August 1945, rather than the formal surrender of Japan
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Eleanor of Toledo
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She is credited with being the first modern first lady, or consort. She served as regent of Florence during the absence of her spouse, Eleanor was born in Alba de Tormes, Salamanca, as the second daughter of the Viceroy of Naples, Don Pedro Álvarez de Toledo, Marquis of Villafranca and Maria Osorio, 2nd Marquise of Villafranca. Her father was the son of Fadrique Álvarez de Toledo, 2nd Duke of Alba and therefore. Eleanor was remembered for her beauty, brunette with hazel eyes, eleonor was seen as an incredibly charming bride entering the Medici household. The Emperor, not wanting to antagonize Cosimo, offered him one of the daughters of the viceroy of Naples. The viceroy agreed, provided Cosimo settled a large amount of money on her as dowry and this marriage was politically beneficial as the Medici were new to their ducal status. Eleanor married Cosimo I de’ Medici in the spring of 1539 at seventeen years of age, Eleanor was married by proxy on 29 March 1539, and set sail from Naples,11 June, accompanied by her brother Garcia with seven galleys following. They arrived at Livorno on the morning of June 22 and that same morning, Eleonora left for Pisa and halfway through, met Cosimo. After a short stay in Pisa, the couple left for Florence. July 29 marked the entrance of Eleonora from the Porta al Prato to the church of San Lorenzo for the official wedding, in a grand. Eleanor and Cosimo had a long and peaceful married life, surprisingly, Cosimo was faithful to Eleanor throughout their married life. Both were religious and led their lives accordingly, the ducal couple served as an example of a traditional couple, which served to strengthen Cosimos various reforms and separate him from association with the former Duke. Eleanor and Cosimo had eleven children, including five sons who reached maturity, two of her sons, Francesco and Ferdinando, reigned as grand Dukes of Tuscany. The last of the old Medici line, Alessandro bequeathed to the Medici name a legacy and reputation of sex, scandal, alessandros distantly related successor, Cosimo I, needed to reassure the public of the stability and respectability of not only his family, but the new reign. During her marriage, despite her initial unpopularity as a Spaniard, she gained great influence in Florence, a pious woman, she encouraged the Jesuit order to settle in Florence, she also founded many new churches in the city. Eleanor was also interested in agriculture and business and she also supported unhesitatingly her husband and his policies, so much so that he consulted with her. So great was his trust in her that in his frequent absences he made her regent, a station which also established her position as more than just a pretty bearer of Medici children. As a consequence, it known that Eleanor was the key to her husband
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Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
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Netherlands Institute for Art History
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The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
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Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
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"Allori, Alessandro". Encyclopædia Britannica. 1 (11th ed.). 1911. p. 699.
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Media related to Alessandro Allori at Wikimedia Commons
