1.
Venice
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Venice is a city in northeastern Italy and the capital of the Veneto region. It is situated across a group of 118 small islands that are separated by canals and these are located in the shallow Venetian Lagoon, an enclosed bay that lies between the mouths of the Po and the Piave Rivers. Parts of Venice are renowned for the beauty of their settings, their architecture, the lagoon and a part of the city are listed as a World Heritage Site. In 2014,264,579 people resided in Comune di Venezia, together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area, with a total population of 2.6 million. PATREVE is a metropolitan area without any degree of autonomy. The name is derived from the ancient Veneti people who inhabited the region by the 10th century BC, the city was historically the capital of the Republic of Venice. Venice has been known as the La Dominante, Serenissima, Queen of the Adriatic, City of Water, City of Masks, City of Bridges, The Floating City, and City of Canals. The City State of Venice is considered to have been the first real international financial center which gradually emerged from the 9th century to its peak in the 14th century and this made Venice a wealthy city throughout most of its history. It is also known for its several important artistic movements, especially the Renaissance period, Venice has played an important role in the history of symphonic and operatic music, and it is the birthplace of Antonio Vivaldi. Venice has been ranked the most beautiful city in the world as of 2016, the name Venetia, however, derives from the Roman name for the people known as the Veneti, and called by the Greeks Eneti. The meaning of the word is uncertain, although there are other Indo-European tribes with similar-sounding names, such as the Celtic Veneti, Baltic Veneti, and the Slavic Wends. Linguists suggest that the name is based on an Indo-European root *wen, so that *wenetoi would mean beloved, lovable, a connection with the Latin word venetus, meaning the color sea-blue, is also possible. The alternative obsolete form is Vinegia, some late Roman sources reveal the existence of fishermen on the islands in the original marshy lagoons. They were referred to as incolae lacunae, the traditional founding is identified with the dedication of the first church, that of San Giacomo on the islet of Rialto — said to have taken place at the stroke of noon on 25 March 421. Beginning as early as AD166 to 168, the Quadi and Marcomanni destroyed the center in the area. The Roman defences were again overthrown in the early 5th century by the Visigoths and, some 50 years later, New ports were built, including those at Malamocco and Torcello in the Venetian lagoon. The tribuni maiores, the earliest central standing governing committee of the islands in the Lagoon, the traditional first doge of Venice, Paolo Lucio Anafesto, was actually Exarch Paul, and his successor, Marcello Tegalliano, was Pauls magister militum. In 726 the soldiers and citizens of the Exarchate rose in a rebellion over the controversy at the urging of Pope Gregory II
2.
Republic of Venice
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It was based in the lagoon communities of the historically prosperous city of Venice. It was a leading European economic and trading power during the Middle Ages, the Venetian city state was founded as a safe haven for people escaping persecution in mainland Europe after the fall of the Roman Empire. In its early years, it prospered on the salt trade, in subsequent centuries, the city state established a thalassocracy. It dominated trade on the Mediterranean Sea, including commerce between Asia, Europe and North Africa, the Venetian navy was used in the Crusades. Venice achieved territorial conquests along the Adriatic Sea, the city became home to an extremely wealthy merchant class, who patronized renowned art and architecture along the citys lagoons. Venetian merchants were influential financiers in Europe, the city was also the birthplace of great European explorers, including Marco Polo, as well as the classical music composer Vivaldi. The republic was ruled by the Doge, who was elected by members of the Great Council of Venice, the ruling class was an oligarchy of merchants and aristocrats. Venice and other Italian maritime republics played a key role in fostering capitalism, Venetian citizens generally supported the system of governance. The city-state enforced strict laws and employed ruthless tactics in its prisons, the opening of new trade routes to the Americas and the East Indies via the Atlantic Ocean marked the beginning of Venices decline as a maritime republic. The city state suffered defeats from the navy of the Ottoman Empire, in 1797, the country was colonized by Austria and France, following an invasion by Napoleon Bonaparte. Venice became a part of a unified Italy in the 19th century and it was formally known as the Most Serene Republic of Venice and is often referred to as La Serenissima, in reference to its title as one of the Most Serene Republics. He was the first historical Doge of Venice, whichever the case, the first doges had their power base in Heraclea. Ursuss successor, Deusdedit, moved his seat from Heraclea to Malamocco in the 740s and he was the son of Ursus and represented the attempt of his father to establish a dynasty. Such attempts were more commonplace among the doges of the first few centuries of Venetian history. They desired to remain well-connected to the Empire, another faction, republican in nature, believed in continuing along a course towards practical independence. The other main faction was pro-Frankish, supported mostly by clergy, they looked towards the new Carolingian king of the Franks, Pepin the Short, as the best provider of defence against the Lombards. A minor, pro-Lombard faction was opposed to close ties with any of these further-off powers, the successors of Obelerio inherited a united Venice. By the Pax Nicephori, the two emperors had recognised that Venice belonged to the Byzantine sphere of influence, many centuries later, the Venetians claimed that the treaty had recognised Venetian de facto independence, but the truth of this claim is doubted by modern scholars
3.
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
4.
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
5.
Venetian school (art)
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From the later part of the 15th century, Venice had a distinctive, thriving and influential art scene. Beginning with the work of Giorgione, and the workshop of Giovanni Bellini, major artists of the Venetian school included Titian, Tintoretto, Veronese and the Bassano. During the early-15th century, Venetian art was dominated by the earlier styles arising from its Byzantine links, another external factor was the visit by Leonardo da Vinci, who was particularly influential on Giorgione. During his long career, Bellini has been credited with creating the Venetian style, with such works he has been described as reaching the High Renaissance ideals, and certainly expresses the key distinctive factors of the Venetian school. Giorgione and Titian were both apprentices at Bellinis workshop and they collaborated on numerous paintings, and their styles could be so similar that it is difficult to conclusively assign authorship. This emphasis on nature as a setting was a contribution of the Venetian School. Titian, through his long and productive life, with a variety of themes and subjects was the most influential. His early Pesaro Madonna shows a new composition for such a traditional religious subject, putting the focal point of the Madonna off from the centre. Although pre-figured by the Sleeping Venus Titian is credited with establishing the female nude as an important subgenre in art. Using mythological subjects, works such as the Venus of Urbino richly depict the fabrics and other textures, and use a composition that is carefully controlled by organising colours. As an example, in painting the diagonal of the nude is matched by the opposite diagonal between the red of the cushions in the front with the red skirts of the woman in the background. With such paintings, readily transported by virtue of being oils on canvas, Titian became famous, although Tintoretto is sometimes classified as a Mannerist artist, he also incorporates Venetian and individualistic aspects. In his Miracle of the Slave, the Mannerist features include the scene, the twisting linking of figures. Following Tintoretto, were Veronese, and the Bassano and these are a few of the most outstanding in the great number of artists in the Venetian tradition, many originally from outside the Republics territory. List of painters and architects of Venice References Sources Gardners, Art Through the Ages—International Edition, Brace Harcourt Jovanovich, maria Dolores Jimenez-Blanco, Museo National Del Prado, English 2nd revised edition,2009. Federico Zeri, Elizabeth E. Gardner, Italian Paintings, Venetian School, A Catalogue of the Collection of the Metropolitan Museum of Art
6.
Italians
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Italians are a nation and ethnic group native to Italy who share a common culture, ancestry and speak the Italian language as a native tongue. The majority of Italian nationals are speakers of Standard Italian. Italians have greatly influenced and contributed to the arts and music, science, technology, cuisine, sports, fashion, jurisprudence, banking, Italian people are generally known for their localism and their attention to clothing and family values. The term Italian is at least 3,000 years old and has a history that goes back to pre-Roman Italy. According to one of the common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú. 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 Etruscan civilization reached its peak about the 7th century BC, but by 509 BC, when the Romans overthrew their Etruscan monarchs, its control in Italy was on the wane. By 350 BC, after a series of wars between Greeks and Etruscans, the Latins, with Rome as their capital, gained the ascendancy by 272 BC, and they managed to unite the entire Italian peninsula. This period of unification was followed by one of conquest in the Mediterranean, in the course of the century-long struggle against Carthage, the Romans conquered Sicily, Sardinia and Corsica. Finally, in 146 BC, at the conclusion of the Third Punic War, with Carthage completely destroyed and its inhabitants enslaved, octavian, the final victor, was accorded the title of Augustus by the Senate and thereby became the first Roman emperor. After two centuries of rule, in the 3rd century AD, Rome was threatened by internal discord and menaced by Germanic and Asian invaders. Emperor Diocletians administrative division of the empire into two parts in 285 provided only temporary relief, it became permanent in 395, in 313, Emperor Constantine accepted Christianity, and churches thereafter rose throughout the empire. However, he moved his capital from Rome to Constantinople. The last Western emperor, Romulus Augustulus, was deposed in 476 by a Germanic foederati general in Italy and his defeat marked the end of the western part of the Roman Empire. During most of the period from the fall of Rome until the Kingdom of Italy was established in 1861, Odoacer ruled well for 13 years after gaining control of Italy in 476. Then he was attacked and defeated by Theodoric, the king of another Germanic tribe, Theodoric and Odoacer ruled jointly until 493, when Theodoric murdered Odoacer. Theodoric continued to rule Italy with an army of Ostrogoths and a government that was mostly Italian, after the death of Theodoric in 526, the kingdom began to grow weak
7.
Veduta
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A veduta is a highly detailed, usually large-scale painting or, more often print, of a cityscape or some other vista. The painters of vedute are referred to as vedutisti and this genre of landscape originated in Flanders, where artists such as Paul Bril painted vedute as early as the 16th century. In the 17th century Dutch painters made a specialty of detailed and accurate recognizable city, an archetypal example is Johannes Vermeers View of Delft. The Ghent architect, draughtsman and engraver Lieven Cruyl contributed to the development of the vedute during his residence in Rome in the late 17th century, cruyl’s drawings reproduce the topographical aspects of the urban landscape. By the mid-18th century, Venice became renowned as the centre of the vedutisti, the genres greatest practitioners belonged to the Canal and Guardi families of Venice. Some of them went to work as painters in major capitals of Europe, e. g. Canaletto in London and his nephew Bernardo Bellotto in Dresden, in other parts of 18th-century Italy, idiosyncratic varieties of the genre evolved. Giovanni Paolo Pannini was the first veduta artist to concentrate on painting ruins and his collaborators included Hendrik Frans van Lint, who would become one of the leading vedute painters in the first half of the 18th century. In later developments of the vedute, Panninis veduta morphed into the scenes partly or completely imaginary elements, known as capricci, giambattista Piranesi was the foremost master of vedute ideate etchings. His topographical series, Vedute di Roma, went through many printings, in the later 19th century, more personal impressions of cityscapes replaced the desire for topographical accuracy, which was satisfied instead by painted, and later photographed, panoramas. These artists responded to the international market for their city views of Venice and they made such big names for themselves through this genre that they painted nothing. Demand for Federico del Campos views, particularly from English tourists, was so strong, I pittori di vedute in Italia, 1580-1830. Canaletto, a full text exhibition catalog from The Metropolitan Museum of Art, which has material on Canalettos contributions to the genre
8.
Giovanni Antonio Guardi
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Giovanni Antonio Guardi, also known as Gianantonio Guardi, was an Italian painter and nobleman. Guardi was one of the founders of the Venetian Academy in 1756, born in Vienna into a family of nobility from Trentino. His father Domenico a Baroque painter, and his brothers Niccolò and Gian Antonio and they probably all contributed as a team to some of the larger commissions later attributed to his brother Francesco Guardi. His sister Maria Cecilia married the pre-eminent Veneto-European painter of his epoch and he may have received his artistic training in Vienna, where he is first recorded in 1719, but had established a workshop in Venice by 1730. Among his first important clients was the connoisseur and collector Johann Matthias von der Schulenburg and he produced copies after the work of other artists, as well as a series of originals with Turkish-inspired interiors as easel pictures for private decorations. Antonio Guardi trained his younger brothers Nicolò and Francesco in his workshop, Francesco Casanova was among his pupils. He died in Venice in 1760, media related to Giovanni Antonio Guardi at Wikimedia Commons
9.
Canaletto
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Giovanni Antonio Canal, better known as Canaletto, was an Italian painter of city views or vedute, of Venice. He also painted views, although the demarcation in his works between the real and the imaginary is never quite clearcut. He was further an important printmaker using the etching technique, in the period from 1746 to 1756 he worked in England where he created many sights of London. He was highly successful in England, thanks to the British merchant and connoisseur Joseph Smith and he was born in Venice as the son of the painter Bernardo Canal, hence his mononym Canaletto, and Artemisia Barbieri. Canaletto served his apprenticeship with his father and his brother and he began in his fathers occupation, that of a theatrical scene painter. Canaletto was inspired by the Roman vedutista Giovanni Paolo Pannini, and started painting the life of the city. After returning from Rome in 1719, he began painting in his topographical style and his first known signed and dated work is Architectural Capriccio. Studying with the older Luca Carlevarijs, a painter of urban cityscapes. It is like Carlevaris, but you can see the sun shining in it, much of Canalettos early artwork was painted from nature, differing from the then customary practice of completing paintings in the studio. However, his paintings are notable for their accuracy, he recorded the seasonal submerging of Venice in water. Canalettos early works remain his most coveted and, according to many authorities, one of his early pieces is The Stonemasons Yard which depicts a humble working area of the city. It is regarded one of his finest works and was presented by Sir George Beaumont in 1823/8, later Canaletto painted grand scenes of the canals of Venice and the Doges Palace. His large-scale landscapes portrayed the citys pageantry and waning traditions, making use of atmospheric effects. For these qualities, his works may be said to have anticipated Impressionism and his graphic print S. A Giustina in Prà della Vale was found in the 2012 Nazi loot discovery. Many of his pictures were sold to Englishmen on their Grand Tour and it was Smith who acted as an agent for Canaletto, first in requesting paintings of Venice from the painter in the early 1720s and helping him to sell his paintings to other Englishmen. In the 1740s Canalettos market was disrupted when the War of the Austrian Succession led to a reduction in the number of British visitors to Venice and he remained in England until 1755, producing views of London and of his patrons castles and houses. His 1754 painting of Old Walton Bridge includes an image of Canaletto himself and he was often expected to paint England in the fashion with which he had painted his native city. Historian Michael Levey described his work from this period as inhibited, the artist was compelled to give public painting demonstrations in order to refute this claim, however, his reputation never fully recovered in his lifetime
10.
Trentino
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Trentino, officially the Autonomous Province of Trento, is an autonomous province of Italy, in the countrys far north. Trentino is, along with South Tyrol, one of the two provinces making up the region of Trentino-Alto Adige/Südtirol, which is designated a region under the constitution. The province is divided into 178 comuni and its capital is the city of Trento. The province covers an area of more than 6,000 km2, Trentino is renowned for its mountains, such as the Dolomites, which are part of the Alps. The province is known as Trentino. The name derives from Trento, the city of the province. Originally, the term was used by the population only to refer to the city. In its wider sense, Trentino was first used around 1848 in an article by a member of the Frankfurt National Assembly, since the new 1972 autonomous status, the administrative name of the province is Autonomous Province of Trento. The history of Trentino begins in the mid-Stone Age, the valleys of what is now Trentino were already inhabited by man, the main settlements being in the valley of the Adige River, thanks to its milder climate. In the early Middle Ages, this area was included within the Kingdom of Italy, in 1027, the Bishopric of Trent was established as a State of the Holy Roman Empire by Emperor Conrad II. It was a territory, roughly corresponding to the present-day Trentino. The Council of Trent, held in three sessions from 1545 to 1563, with the first at Trento, was one of the important councils in the history of the Roman Catholic Church. It was an articulation of Roman Catholic doctrine in response to the Protestant Reformation, and specified doctrine on salvation, the sacraments, after the Napoleonic Wars of the early 19th century, the bishopric was secularized and absorbed into the Austrian County of Tyrol. It was governed by the House of Habsburg-Lorraine, the region was the location of heavy fighting during World War I, as it was directly on the front lines between Austria-Hungary and Italy. Trentino remained a part of Austria-Hungary until after the end of the war in 1919, since this treaty, Trentino enjoys considerable autonomy from the Italian central government in Rome. It has its own elected government and legislative assembly, in 1996, the Euroregion Tyrol-South Tyrol-Trentino was formed between the Austrian state of Tyrol and the Italian provinces of South Tyrol and Trentino. The boundaries of the association correspond to the old County of Tyrol, the aim is to promote regional peace, understanding and cooperation in many areas. The regions assemblies meet together as one on various occasions and have set up a liaison office to the European Union in Brussels
11.
Giovanni Battista Tiepolo
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Giovanni Battista Tiepolo, also known as Gianbattista or Giambattista Tiepolo, was an Italian painter and printmaker from the Republic of Venice. He was prolific, and worked not only in Italy, but also in Germany, Giovan Battista Tiepolo, together with Giambattista Pittoni, Canaletto, Giovan Battista Piazzetta, Giuseppe Maria Crespi and Francesco Guardi forms the traditional great Old Masters of that period. Successful from the beginning of his career, he has described by Michael Levey as the greatest decorative painter of eighteenth-century Europe. Born in Venice, he was the youngest of six children of Domenico and his father was a small shipping merchant who belonged to a family that bore the prestigious patrician name of Tiepolo without claiming any noble descent. Some of the children acquired noble godparents, and Giambattista was originally named after his godfather and he was baptised on 16 April 1696 in the local church, San Pietro di Castello. His father died about a later, leaving his mother to bring up a family of young children. In 1710 he became a pupil of Gregorio Lazzarini, a painter with an eclectic style. A biography of his teacher, published in 1732, says that Tiepolo departed from studied manner of painting and his earliest known works are depictions of the apostles, painted in spandrels as part of the decoration of the church of the Ospedoletto in Venice in 1715–6. He painted his first fresco in 1716, on the ceiling of a church at Biadene and he probably left Lazzarinis studio in 1717, the year he was received into the Fraglia or guild of painters. In around 1719–20 he painted a scheme of frescoes for the wealthy, Tiepolo depicted the Triumph of Aurora on the ceiling, and the Myth of Phaethon on the walls, creating the kind of fluid spatial illusion which was to become a recurring theme in his work. In 1722 he was one of twelve artists commissioned to contribute a painting on canvas of one of the apostles as part of a scheme for the nave of San Stae in Venice. The other artists involved included Ricci, Piazetta, and Pellegrini, in 1719, Tiepolo married noblewoman Maria Cecilia Guardi, sister of two contemporary Venetian painters Francesco and Giovanni Antonio Guardi. Together, Tiepolo and his wife had nine children, four daughters and three sons survived childhood. Two of his sons, Domenico and Lorenzo, painted with him as his assistants and his children painted figures with a design similar to that of their father, but with distinctive, including genre, styles. His third son became a priest, fabio Canal, Francesco Lorenzi, Domenico Pasquini were among his pupils. Some major commissions came from the patrician Dolfin family, Tiepolo used a much cooler palette than previous Venetian painters, in order to create a convincing effect of daylight. These early masterpieces, innovative amongst Venetian frescoes for their luminosity, dominic Instituting the Rosary, Palazzo Clerici, Milan, decorations for Villa Cordellini at Montecchio Maggiore and for the ballroom of the Palazzo Labia in Venice, showing the Story of Cleopatra. Tiepolo produced two sets of etchings, the Capricci and the Scherzi di fantasia, the ten capricci were first published by Anton Maria Zanetti, incorporated into the third edition of a compilation of woodcuts after Parmigiano
12.
Michele Marieschi
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Michele Marieschi or Michele Giovanni Marieschi, also Michiel, also known as Michiel, was an Italian painter and engraver. He is mainly known for his landscapes and cityscapes, or views and he also created architectural paintings, which reveal his interest in stage design. Marieschi was born in Venice in 1710 as the son of a woodcarver, according to his biography in Pellegrino Antonio Orlandis Abecedario Pittorico, published in Venice in 1753, he spent some time in Germany, where he may have worked as a stage designer. He returned to Venice in about 1735, under the influence of Marco Ricci and Luca Carlevarijs and encouraged by the success of Canaletto in the genre, he started to create capricci and vedute. Between 1735 and 1741 he was registered in the Venetian Fraglia de Pittori, one of Marieschis sponsors at his wedding in 1737 was Gaspare Diziani. Although he initially produced capricci, he painted more topographically accurate vedute. One of his patrons was the noted collector Johann Matthias von der Schulenburg, michael Levey contrasts Marieschis style with Canalettos, noting that Marieschis use of paint is livelier and fresher. Links, J. G. Canaletto and his Patrons, Michiel Marieschi with Catalogue of the Etchings. Media related to Michele Marieschi at Wikimedia Commons www. artistarchive. com A catalogue of the 21 plates from Magnificentiores Selectioresque Urbis Venetiarum Prospectus, Canaletto, a full text exhibition catalog from The Metropolitan Museum of Art, which contains material on Marieschi
13.
Luca Carlevarijs
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Luca Carlevarijs or Carlevaris was an Italian painter and engraver working mainly in Venice. He pioneered the genre of the cityscapes of Venice, a genre that was widely followed by artists such as Canaletto. He was also known as Luca Casanobrio or Luca di Ca Zenobri and he worked principally in Venice, where he also died. His daughter, Marianna Carlevarijs learned the art of portraiture from Rosalba Carriera. Here he was influenced by the Dutch painter Caspar van Wittel, van Wittel was the pioneer of the genre of vedute of Rome. Carlevarijs then started to create vedute of Venice, which are among the earliest Baroque depictions of the city and he painted landscapes, sea-pieces and perspective views. His works included cityscapes with a topological interest as well as imaginary landscapes with ruins and he completed over a hundred etchings of views in Venice, which give an exact representation of the principal places in that city. The painters Canaletto, Francesco Guardi and Antonio Visentini are said to have influenced by his work or even have been his pupils. His paintings and his set of 104 etched views of Venice and he also collaborated with specialist figure painters who added the staffage into his landscapes or cityscapes. 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. Media related to Luca Carlevarijs at Wikimedia Commons
14.
Murano
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Murano is a series of islands linked by bridges in the Venetian Lagoon, northern Italy. It lies about 1.5 kilometres north of Venice and measures about 1.5 km across with a population of just over 5,000 and it is famous for its glass making. It was once an independent comune, but is now a frazione of the comune of Venice, Murano is composed of seven islands, linked by bridges, separated by eight channels. Murano was initially settled by the Romans and from the century by people from Altinum. At first, the island prospered as a port and through its production of salt. It was also a centre for trade through the port it controlled on SantErasmo, from the eleventh century, it began to decline as islanders moved to Dorsoduro. It had a Grand Council, like that of Venice, but from the thirteenth century, unlike the other islands in the Lagoon, Murano minted its own coins. Early in the second millennium hermits of the Camaldolese Order occupied one of the islands, there they founded the Monastery of St. Michael. This monastery became a center of learning and printing. The famous cartographer, Fra Mauro, whose maps were crucial to the European exploration of the world, was a monk of this community. The monastery was suppressed in 1810 by French forces under Napoleon, in the course of their conquest of the Italian peninsula, the grounds then became Venices major cemetery. In 1291, all the glassmakers in Venice were forced to move to Murano due to the risk of fires, in the following century, exports began, and the island became famous, initially for glass beads and mirrors. Aventurine glass was invented on the island, and for a while Murano was the producer of glass in Europe. The island later known for chandeliers. Although decline set in during the century, glassmaking is still the islands main industry. In the fifteenth century, the island became popular as a resort for Venetians, and palaces were built, the countryside of the island was known for its orchards and vegetable gardens until the nineteenth century, when more housing was built. Glass-related attractions include the many glassworks, some Mediaeval and most open to the public, Murano glass is still associated with Venetian glass. Muranos glassmakers were soon numbered among the island’s most prominent citizens, by the fourteenth century, glassmakers were allowed to wear swords, enjoyed immunity from prosecution by the Venetian state and found their daughters married into Venice’s most affluent families
15.
San Pietro Martire, Murano
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San Pietro Martire is a Roman catholic parish church in Murano, near Venice, northern Italy. The church was edificated in 1348 along with a Dominican convent, in 1474 a fire razed it to the ground and in 1511 it was rebuilt to the current appearance. It was closed on 1806, a few years after the fall of the Republic of Venice and it is currently one of the two main parish churches in the island of Murano. The façade is in naked brickwork, divided in three sections and with a 16th-century portal, which is surmounted by a rose window. On the left façade is a portico with Renaissance arcades and columns, on the same side is the bell tower, dating to 1498-1502. The interior is on the plan, with three naves divided by two series of large columns, and a wooden ceiling. The presbytery is quite large, with vaults and two small side chapels. Aside from the altar, there other minor altars, three for each nave. In the right wing is the Ballarin Chapel, built in 1506 after the death of the eponymous glassmaker from Murano. Other paintings include a St. Jerome in the Desert by Paolo Veronese, the Barcaioli Altarpiece by Giovanni Agostino da Lodi, a Deposition from the Cross by Giuseppe Porta, la chiesa di San Pietro Martire. San Pietro Martire - Murano -1511
16.
Alessandro Magnasco
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Alessandro Magnasco, also known as il Lissandrino, was an Italian late-Baroque painter active mostly in Milan and Genoa. He is best known for stylized, fantastic, often phantasmagoric genre or landscape scenes, Magnascos distinctive style is characterized by fragmented forms rendered with swift brushstrokes and darting flashes of light. Born in Genoa to a minor artist, Stefano Magnasco, he apprenticed with Valerio Castello, except for 1703–09 when working in Florence for the Grand Duke Cosimo III, Magnasco labored in Milan until 1735, when he returned to his native Genoa. Magnasco often collaborated with placing figures in the landscapes of Tavella, the people in his paintings were often nearly liquefacted beggars dressed in tatters, rendered in flickering, nervous brushstrokes. Often they deal with subjects such as synagogue services, Quaker meetings, robbers gatherings, catastrophes. His sentiments regarding these subjects are generally unclear, the noted art historian and critic Luigi Lanzi described him as the Cerquozzi of his school, thereby signaling him into the circle of followers of the Bamboccianti. He indicates that Magnasco had figures scarcely more than a span large, painted with humor and delight, but not as if this effect had been the intention of the painter. Lanzi indicates these eccentric pieces were favored by the Grand Duke Giovanni Gastone Medici of Florence, Magnasco also found contemporary patronage for his work among prominent families and collectors of Milan, for example the Arese and Casnedi families of Milan. In the twentieth century, Rudolf Wittkower derided him as solitary, tense, strange, mystic, ecstatic, grotesque, the influences on his work are obscure. Magnasco was likely influenced by Milanese il Morazzone in the quality of his work. Some of his canvases recall Salvatore Rosas romantic sea-lashed landscapes, the diminutive scale of Magnascos figures relative to the landscape is comparable to Claude Lorraines more airy depictions. Others point to the influences of late Baroque Italian genre painters, the Roman Bamboccianti, and in his exotic scenography, Magnascos style is strikingly original and transcends the tired, academic Baroque that epitomized much of contemporary Genoese art. Ultimately, his work may have influenced Marco Ricci, Giuseppe Bazzani, Francesco Maffei, and yet, as Wittkower notes, it remains unsolved how much quietism or criticism or farce went into the making of his pictures. It is unknown what his true sentiments about Jews and Quakers were, were his paintings derogatory of those congregations, or do they express some intellectual fascination with what were considered exotic elements in the Italian mainstream. Elsewhere Magnasco painted miracles, including one canvas in which the Virgin Mary summons avenging skeletons out of their graves to fend off church-robbers, pagine 155-164 Herman Voss, A Re-discovered Picture by Alessandro Magnasco, in The Burlighton Magazine, LXXI, pp. 171–177. Genova 1977 Spike, John T. Centro Di, Kimball Museum of Art, Fort Worth, Texas, USA, Giuseppe Maria Crespi and the Emergence of Genre Painting in Italy. CS1 maint, Uses editors parameter Fausta Franchini Guelfi, Alessandro Magnasco, penguin Books, Pelican History of Art. L. Muti - D. De Sarno Prignano, Magnasco, geddo, Alessandro Magnasco, una fortuna critica senza confini, ibidem, pp. 39–50 Jane Turner, The Dictionary of Art
17.
Alvise IV Mocenigo
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Alvise Giovanni Mocenigo was doge of Venice from 1763 until his death. He restricted the privileges of the clergy and, in consequence, in trying to spur on the economy, he made important commercial agreements with Tripoli, Tunisia, Morocco, the Russian Empire, and with America. He died on December 31,1778 and he was married in 1739 to Pisana Cornaro and in 1771 to Polissena Contarini Da Mula. Mocenigo family This article incorporates text from a now in the public domain, Chisholm, Hugh
18.
Ca' d'Oro
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Ca dOro is a palace on the Grand Canal in Venice, northern Italy. One of the palaces in the city, it is known as Ca dOro due to the gilt. The palace was built between 1428 and 1430 for the Contarini family, who provided Venice with eight Doges between 1043 and 1676, the architects of the Ca dOro were Giovanni Bon and his son Bartolomeo Bon. Following the fall of the Venetian Republic in 1797, the palace changed ownership several times, one 19th century owner, the ballet dancer Marie Taglioni, removed the Gothic stairway from the inner courtyard and destroyed the ornate balconies overlooking the court. In 1916, Franchetti bequeathed the Ca dOro to the Italian State and it is now open to the public as a gallery, Galleria Giorgio Franchetti alla Ca dOro. The principal façade of Ca dOro facing onto the Grand Canal is built in the Bons Venetian floral Gothic style, other nearby buildings in this style are Palazzo Barbaro and the Palazzo Giustinian. This linear style favoured by the Venetian architects was not totally superseded by the Baroque one until the end of the 16th century, on the ground floor, a recessed colonnaded loggia gives access to the entrance hall directly from the canal. Above this colonnade is the balcony of the principal salon on the piano nobile. The columns and arches of this balcony have capitals which in turn support a row of quatrefoil windows, the palace has a small inner courtyard. Galleria Giorgio Franchetti Satellite image from Google Maps Ca dOro on Smarthistory
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Roncegno Terme
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Roncegno Terme is a comune in Trentino in the northern Italian region Trentino-Alto Adige/Südtirol, located about 20 kilometres east of Trento. The municipality of Roncegno contains the frazioni Marter, Monte di Mezzo, Roncegno borders the following municipalities, Fierozzo, Torcegno, Ronchi Valsugana, Frassilongo, Borgo Valsugana and Novaledo. The comune occupies an area of 38.1 square kilometres, as of 31 December 2004, it had a population of 2,564
20.
Pope Pius VI
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Pope Pius VI, born Count Giovanni Angelo Braschi, reigned as Pope from 15 February 1775 to his death in 1799. Pius VI condemned the French Revolution and the suppression of the Gallican Church that resulted from it, French troops commanded by Napoleon Bonaparte defeated the papal troops and occupied the Papal States in 1796. In 1798, upon his refusal to renounce his power, Pius was taken prisoner. He died one year later in Valence and his reign is the fourth-longest in papal history, being over two decades. P. M. graven in all parts of the city, the portrait in the box is one of numerous studio copies of the official portrait by Pompeo Batoni. Pius VIs pontificate was a tumultuous and rough one with the onset of the French Revolution, in the beginning of his Pontificate, Pius succeeded in silencing a group of followers of Jansenism with his bull Auctorem Fidei, which reaffirmed the Churchs stance at the topics at hand. Pius VI also saw the growth of Catholicism in the United States of America, therefore erecting the first American archepiscopal see, the Archdiocese of Baltimore. Pius VI also attempted the daring job of draining the Pontine Marshes, which he did with success, but did successfully drain the marshes near Citta della Pieve, Perugia. Pius VI also deepened and expanded the harbors of Terracina and Porto dAnizo, Pius was a great patron of the arts and humanities, for he completed the Pio-Clementine Museum and added a new sacristy to St. Peters Basilica. Pius VI also restored the famous Roman Appian Way, Giovanni Angelo Braschi was born in Cesena on Christmas in 1717 as the eldest of eight children to Count Marco Aurelio Tommaso Braschi and Ana Teresa Bandi. His siblings were Felice Silvestro, Giulia Francesca, Cornelio Francesco, Maria Olimpia, Anna Maria Costanza, Giuseppe Luigi and he was baptized in Cesena on the following 27 December and was given the baptismal name of Angelo Onofrio Melchiorre Natale Giovanni Antonio. After he completed his studies in the Jesuit college of Cesena and it was there that he became the private secretary of Cardinal Tommaso Ruffo, papal legate, in whose bishopric of Ostia and Velletri he held the post of auditor until 1753. Cardinal Ruffo took him as his conclavist at the 1740 papal conclave and his skill in the conduct of a mission to the court of Naples won him the esteem of Pope Benedict XIV who appointed him as one of his secretaries in 1753 following the death of Cardinal Ruffo. The pope also appointed him as a canon of St Peters Basilica in 1755, in 1758, putting an end to an engagement to be married he was ordained to the priesthood. Braschi was also appointed as the Referendary of the Apostolic Signatura in 1758 and he also became the auditor and secretary of Cardinal Carlo Rezzonico, the nephew of Pope Clement XIII. In 1766, he was appointed as the treasurer of the camera apostolica by Pope Clement XIII and those who suffered under his conscientious economics had managed to convince Pope Clement XIV to elevate him into the cardinalate. Braschi was elevated on 26 April 1773 in Rome as the Cardinal-Priest of SantOnofrio and this was a promotion which rendered him innocuous for a brief period of time. Pope Clement XIV died in 1774 and this triggered a conclave to choose a successor, spain, France and Portugal dropped all objections to the election of Braschi who was one of the more moderate opponents of the anti-Jesuit stance of the late pope
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Munich
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Munich is the capital and largest city of the German state of Bavaria, on the banks of River Isar north of the Bavarian Alps. Munich is the third largest city in Germany, after Berlin and Hamburg, the Munich Metropolitan Region is home to 5.8 million people. According to the Globalization and World Rankings Research Institute Munich is considered an alpha-world city, the name of the city is derived from the Old/Middle High German term Munichen, meaning by the monks. It derives from the monks of the Benedictine order who ran a monastery at the place that was later to become the Old Town of Munich, Munich was first mentioned in 1158. From 1255 the city was seat of the Bavarian Dukes, black and gold—the colours of the Holy Roman Empire—have been the citys official colours since the time of Ludwig the Bavarian, when it was an imperial residence. Following a final reunification of the Wittelsbachian Duchy of Bavaria, previously divided and sub-divided for more than 200 years, like wide parts of the Holy Roman Empire, the area recovered slowly economically. In 1918, during the German Revolution, the house of Wittelsbach, which governed Bavaria since 1180, was forced to abdicate in Munich. In the 1920s, Munich became home to political factions, among them the NSDAP. During World War II, Munich was heavily bombed and more than 50% of the entire city, the postwar period was characterised by American occupation until 1949 and a strong increase of population and economic power during the years of the Wirtschaftswunder after 1949. The city is home to corporations like BMW, Siemens, MAN, Linde, Allianz and MunichRE as well as many small. Munich is home to national and international authorities, major universities, major museums. Its numerous architectural attractions, international events, exhibitions and conferences. Munich is one of the most prosperous and fastest growing cities in Germany and it is a top-ranked destination for migration and expatriate location, despite being the municipality with the highest density of population in Germany. Munich nowadays hosts more than 530,000 people of foreign background, the year 1158 is assumed to be the foundation date, which is the earliest date the city is mentioned in a document. The document was signed in Augsburg, by that time the Guelph Henry the Lion, Duke of Saxony and Bavaria, had built a bridge over the river Isar next to a settlement of Benedictine monks—this was on the Old Salt Route and a toll bridge. In 1175, Munich was officially granted city status and received fortification, in 1180, with the trial of Henry the Lion, Otto I Wittelsbach became Duke of Bavaria and Munich was handed over to the Bishop of Freising. In 1240, Munich was transferred to Otto II Wittelsbach and in 1255, Duke Louis IV, a native of Munich, was elected German king in 1314 and crowned as Holy Roman Emperor in 1328. He strengthened the position by granting it the salt monopoly
22.
Accademia Carrara di Belle Arti di Bergamo
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The Accademia Carrara is an art gallery and an academy of fine arts in Bergamo, Italy. The origins of the art gallery lie with the Count Giacomo Carrara, a collector and patron of the arts. After the Counts death, in 1796, his properties were managed by a nominated commissary until 1958, in 1810, a new building in the neoclassical style was constructed, the project being undertaken by the architect Simone Elia, a pupil of Leopoldo Pollack. The museum has continued to augment its collections both with purchases and donations, besides paintings, there are drawings and prints, bronzes and sculptures, as well as collections of porcelain, furniture and medals. In 1793, at the time as the public opening of his gallery. The school, which was located in the building as the art gallery until 1912. Since 1988, it has been an officially recognized Accademia di Belle Arti, presently, it has ten exhibition halls, on three floors. Catalogue of the Pinacoteca of the Accademia Carrara List of academies of art in Italy Accademia Carrara website GAMeC website
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Bergamo
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Bergamo is a city in Lombardy, Italy, about 40 km northeast of Milan and 30 km from the lakes Como and Iseo. The foothills of the Bergamo Alps begin immediately north of the town, Bergamo is the seat of the Province of Bergamo. With a population of around 120,000, Bergamo is the fourth-largest city in Lombardy, the metropolitan area of Bergamo extends beyond the administrative city limits, spanning over a densely urbanized area with slightly less than 500,000 inhabitants. The Bergamo metropolitan area is part of the broader Milan metropolitan area. As of 2015, Bergamo is the second most visited city in Lombardy after Milan, Bergamo occupies the site of the ancient town of Bergomum, founded as a settlement of the Celtic tribe of Cenomani. In 49 BC it became a Roman municipality, containing c.10,000 inhabitants at its peak, an important hub on the military road between Friuli and Raetia, it was destroyed by Attila in the 5th century. From the 6th century Bergamo was the seat of one of the most important Lombard duchies of northern Italy, together with Brescia, Trento, after the conquest of the Lombard Kingdom by Charlemagne, it became the seat of a county under one Auteramus. An important Lombardic hoard dating from the 6th to 7th centuries was found in the vicinity of the city in the 19th century and is now in the British Museum. From the 11th century onwards, Bergamo was an independent commune, the local Guelph and Ghibelline factions were the Colleoni and Suardi, respectively. Feuding between the two initially caused the family of Omodeo Tasso to flee north c, from 1264, Bergamo was intermittently under the rule of Milan. In 1331, it gave itself to John of Bohemia, after a short conquest by the Malatesta in 1407, in 1428 it fell under the control of the Venetian Republic, remaining part of it until 1797. Between 1797 and 1815, Bergamo and its territory were included in the political entities born in North Italy during the French, notably, the Venetians fortified the higher portion of the town. In 1815, it was assigned to the Austrian Empire, giuseppe Garibaldi freed it in 1859 during the Second Italian War of Independence, when Bergamo became part of the Kingdom of Italy. During the 20th century Bergamo became one of Italys most industrialized cities and it is also one of the few Italian cities that did not suffer major destruction during World War II. Bergamo experiences a subtropical climate characteristic of Northern Italy. While most of Italy is characterized by dry summers with little to no precipitation, Bergamo has the reverse trend, the two parts of the town are connected by funicular/cable car, roads, and foot-paths. Parking spaces are limited in the upper city. The upper city, surrounded by Venetian walls built in the 16th century, Città Alta is an extremely expensive place to live in, with properties being sold for five to twelve thousand euro per square meter
24.
Cannaregio
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Cannaregio is the northernmost of the six historic sestieri of Venice. It is the second largest sestiere by land area and the largest by population, isola di San Michele, the historic cemetery island, is associated with the district. The Cannaregio Canal, which was the route into the city until the construction of a railway link to the mainland. Development began in the century as the area was drained. Although elegant palazzos were built facing the Grand Canal, the area primarily with working class housing and manufacturing. Beginning in 1516, Jews were restricted to living in the Venetian Ghetto and it was enclosed by guarded gates and no one was allowed to leave from sunset to dawn. However, Jews held successful positions in the city such as merchants, physicians, money lenders, restrictions on daily Jewish life continued for more than 270 years, until Napoleon Bonaparte conquered the Venetian Republic in 1797. He removed the gates and gave all residents the freedom to live where they chose, in the 19th century, civil engineers built a street named Strada Nuova through Cannaregio, and a railway bridge and road bridge were constructed to connect Venice directly to Mestre. co. uk
25.
Sfumato
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Sfumato is one of the four canonical painting modes of Renaissance art. The word sfumato comes from the Italian language and is derived from fumo, sfumato translated into English means soft, vague or blurred. In Italian the word is used as adjective or as verb. The technique is a fine shading meant to produce a transition between colours and tones, in order to achieve a more believable image. It is most often used by making subtle gradations that do not include lines or borders, the technique was used not only to give an elusive and illusionistic rendering of the human face but also to create rich atmospheric effects. Leonardo da Vinci described the technique as blending colours, without the use of lines or borders in the manner of smoke, Leonardo da Vinci became the most prominent practitioner of sfumato - his famous painting of the Mona Lisa exhibits the technique. Leonardo da Vinci described sfumato as without lines or borders, in the manner of smoke or beyond the focus plane, apart from Leonardo, other prominent practitioners of sfumato included Correggio, Raphael and Giorgione. Students and followers of Leonardo also tried their hands at sfumato after Leonardo, artists such as Bernardino Luini and Funisi. Leonardo da Vinci, anatomical drawings from the Royal Library, Windsor Castle, exhibition catalog fully online as PDF from The Metropolitan Museum of Art, which contains material on this technique
26.
Angelo San Raffaele, Venice
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The Chiesa dellAngelo San Raffaele is a church in Venice, northern Italy, located in the sestiere Dorsoduro. According to tradition, this church was one of the eight churches founded in Venice by St. Magnus of Oderzo, the church also suffered fires in 889,1106 and 1149, each time being rebuilt. At the beginning of the 17th century the edifice was in poor condition, the church plan is on the Greek cross, with the façade facing the channel with the same name. The interior houses sculptures by Sebastiano Mariani, the interior has also statues by Michelangelo Morlaiter. Among the statues is one of the Archangel Raphael leading a boy with a fish, the center ceiling of the nave and the Baptistery has a decoration by Francesco Fontebasso. The present organ was built in 1821 by the brothers Antonio and Agostino Callido, son of the famous organ maker. It was restored by Giacomo Bazzani and his sons in 1848, the pittura di tocco world of these paintings exist in a world were clouds and bodies are feathered with color. A last firework of paint dabbed just a few decades before the blasts of Napoleonic grapeshot were heard by the last Doge
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Andrea Palladio
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Andrea Palladio was an Italian architect active in the Republic of Venice. Palladio, influenced by Roman and Greek architecture, primarily by Vitruvius, is considered to be the most influential individual in the history of architecture. All of his buildings are located in what was the Venetian Republic, the city of Vicenza and the Palladian Villas of the Veneto are UNESCO World Heritage Sites. Palladio was born on 30 November 1508 in Padua and was given the name and his father, Pietro, called Della Gondola, was a miller. From early on, Andrea Palladio was introduced into the work of building, in Padua he gained his first experiences as a stonecutter in the sculpture workshop of Bartolomeo Cavazza da Sossano, who is said to have imposed particularly hard working conditions. At the age of sixteen he moved to Vicenza where he would reside for most of his life, here he became an assistant in the Pedemuro studio, a leading workshop of stonecutters and masons. He joined a guild of stonemasons and bricklayers and he was employed as a stonemason to make monuments and decorative sculptures. These sculptures reflected the Mannerist style of the architect Michele Sanmicheli, perhaps the key moment that sparked Palladios career was being employed by the Humanist poet and scholar, Gian Giorgio Trissino, from 1538 to 1539. While Trissino was reconstructing the Villa Cricoli, he took interest in Palladios work, Trissino was heavily influenced by the studies of Vitruvius, who later influenced Palladios own ideals and attitudes toward classical architecture. It was also Trissino who gave him the name by which he became known, Palladio, indeed, the word Palladio means Wise one. The powerful Barbaros introduced Palladio to Venice, where he finally became Proto della Serenissima after Jacopo Sansovino, in addition to the Barbaros, the Corner, Foscari, and Pisani families supported Palladios career. Andrea Palladio began to develop his own architectural style around 1541, the Palladian style, named after him, adhered to classical Roman principles he rediscovered, applied, and explained in his works. Andrea Palladio is known to be one of the most influential architects in Western architecture and his architectural works have been valued for centuries as the quintessence of High Renaissance calm and harmony. He designed many palaces, villas, and churches, but Palladios reputation, initially, the palladian villas are located mainly in the province of Vicenza, while the palazzi are concentrated in the city of Vicenza and the churches in Venice. A number of his works are now protected as part of the World Heritage Site City of Vicenza, other buildings by Palladio are to be found within the Venice and its Lagoon World Heritage Site. Palladios first major public project began when his designs for building the loggias for the town hall and he proposed an addition of two-storey stone buttresses reflecting the Gothic style of the existing hall while using classical proportions. The construction was completed in 1617 after Palladios death, aside from Palladios designs, his publications contributed to Palladianism. During the second half of his life, Palladio published many books, above all, Palladio is most known for his designs of villas and palaces as well as his books
28.
Giovanni Battista Piazzetta
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Giovanni Battista Piazzetta was an Italian Rococo painter of religious subjects and genre scenes. Piazzetta was born in Venice, the son of a sculptor Giacomo Piazzetta, starting in 1697 he studied with the painter Antonio Molinari. By Piazzettas account, he studied under Giuseppe Maria Crespi while living in Bologna in 1703–05, thanks to Crespi, Carlo Cignanis influence reached Piazzetta. Piazzetta did find inspiration in Crespis art, in which the chiaroscuro of Caravaggio was transformed into an idiom of graceful charm in his pictures of common folk and he was also greatly impressed by the altarpieces created by another Bolognese painter of a half-century earlier, Guercino. Around 1710, he returned to Venice, yet Piazzetas range of topics was broader than that of these artists, Tiepolo, for example, never painted genre paintings and restricted himself to grand history and religious altarpieces. Piazzetta created an art of warm, rich color and a mysterious poetry and he often depicted peasantry, even if often in a grand fashion. He was highly original in the intensity of color he used in his shadows. The gestures and glances of his protagonists hint at unseen dramas, as in one of his best-known paintings and he brought similar elusiveness to works of a religious nature, such as the Sotto in su Glory of St. Dominic in the Church of Santi Giovanni e Paolo. Also notable are his many carefully rendered drawings of figures or groups of heads. Usually in charcoal or black chalk with white heightening on gray paper, these are filled with the spirit that animates his paintings. In 1750 Piazzetta became the first director of the newly founded Accademia di Belle Arti di Venezia and he was elected a member of the Bolognese Accademia Clementina in 1727. Among the painters in his studio were Domenico Maggiotto, Francesco Dagiu, Johann Heinrich Tischbein, Egidio DallOglio, the engraver Marco Pitteri was affiliated with his studio, and engraved many of his works. Among younger painters who emulated his style are Giovanni Battista Pissati, giulia Lama, Federico Bencovich, and Francesco Polazzo. He died in Venice on April 28,1754, St. James Led to Matyrdom Chiesa di San Stae, Venice. Madonna and child appearing to St Philip Neri Glory of St. Dominic Chiesa di Santi Giovanni e Paolo, centro Di, Kimball Museum of Art, Fort Worth, Texas, USA, eds. Giuseppe Maria Crespi and the Emergence of Genre Painting in Italy
29.
Sebastiano Ricci
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Sebastiano Ricci was an Italian painter of the late Baroque school of Venice. About the same age as Piazzetta, and a contemporary of Tiepolo. He was born in Belluno, the son of Andreana and Livio Ricci, in 1671, he was apprenticed to Federico Cervelli of Venice. Others claim Ricci’s first master was Sebastiano Mazzoni, in 1678, a youthful indiscretion led to an unwanted pregnancy, and ultimately to a greater scandal, when Ricci was accused of attempting to poison the young woman in question to avoid marriage. He was imprisoned, and released only after the intervention of a nobleman and he married the pregnant mother in 1691, although this was a stormy union. Following his release he moved to Bologna, where he lived near the Parish of San Michele del Mercato and his painting style there was apparently influenced by Giovanni Gioseffo dal Sole. On 28 September 1682 he was contracted by the Fraternity of Saint John of Florence to paint a Decapitation of John the Baptist for their oratory, in 1686, the Duke Ranuccio II Farnese of Parma commissioned s Pietà for a new Capuchin convent. In 1687-8 Ricci decorated the apartments of the Parmense Duchess in Piacenza with canvases recounting the life of the Farnese pope, apparently in 1688, Ricci abandoned his wife and daughter, and fled from Bologna to Turin with Magdalen, the daughter of the painter Giovanni Peruzzini. He was again imprisoned, and nearly executed, but was freed by the intercession of the Duke of Parma. The duke employed him and assigned him a salary of 25 crowns. In 1692, he was commissioned to copy the Coronation of Charlemagne by Raphael in Vatican City, on behalf of Louis XIV, on 22 June 1697, the Count Giacomo Durini hired him to paint in the Cathedral of Monza. In 1698, he returned to the Venetian republic for a decade, by 24 August 1700, he had frescoed the chapel of the Santissimo Sacramento in the church of Santa Giustina of Padua. In 1701, the Venetian geographer Vincenzo Maria Coronelli commissioned a canvas of the Ascension that was inserted into the ceiling of sacristy of the Basilica of the Santi Apostoli in Rome. In Venice in 1704 he executed a canvas of San Procolo for the Dome of Bergamo, in the summer of 1706, he traveled to Florence, where he completed a work that is by many considered his masterpieces. During his Florentine stay he first completed a fresco series on allegorical and mythological themes for the now-called Marucelli-Fenzi or Palazzo Fenzi. These works gained him fame and requests from foreign lands and showed the influence of Venetian painting into other regions of Italy. He was to influence the Florentine Rococo fresco painter Giovanni Domenico Ferretti, in 1708 he returned to Venice, completing a Madonna with the Child for San Giorgio Maggiore. In 1711, now painting alongside his nephew, Marco Ricci and he decorated the chapel at Bulstrode House near Gerrards Cross for Henry Bentinck, 1st Duke of Portland with a cycle of wall-paintings depicting scenes from the life of Christ
30.
Federico Barocci
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Federico Barocci was an Italian Renaissance painter and printmaker. His original name was Federico Fiori, and he was nicknamed Il Baroccio and his work was highly esteemed and influential, and foreshadows the Baroque of Rubens. He was born at Urbino, Duchy of Urbino, and received his earliest apprenticeship with his father, Ambrogio Barocci and he was then apprenticed with the painter Battista Franco in Urbino. He accompanied his uncle, Bartolomeo Genga to Pesaro, then in 1548 to Rome, where he was worked in the pre-eminent studio of the day, that of the Mannerist painters, Taddeo and Federico Zuccari. After passing four years at Rome, he returned to his native city, during this second sojourn, while completing the decorations for the Vatican, Barocci fell ill with intestinal complaints. He suspected that a salad which he had eaten had been poisoned by jealous rivals, fearing his illness was terminal, he left Rome in 1563, four years later he was said to experience a partial remission after prayers to the Virgin. Barocci henceforth often complained of health, though he remained productive for nearly four decades more. While he is described by contemporaries as personally somewhat morose and hypochondriacal, his paintings are lively and brilliant. Although he continued to have major commissions from afar, he never returned to Rome. The Ducal Palace can be seen in the background of his paintings, while Barocci was removed from Rome, the fulcrum of artistic fame and influence, he continued to innovate in his style. At some point he may have seen colored chalk/pastel drawings by Correggio, in pastels and in oil sketches Baroccis soft, opalescent renderings evoke the ethereal. Such studies were part of a complex process Barocci used to complete his altarpieces, an organized series of steps leading up to the final product ensured its speed and success in execution. Barocci did innumerable sketches, gestural, compositional, figural studies, lighting studies, perspective studies, color studies, nature studies, today, over 2,000 drawings by him are extant. Every detail of his subsequent cartoons for canvases was worked out in this way, a good example is his famed Madonna del Popolo. It is a vortex of color and vitality, made possible by the variety of people, poses, perspectives, natural details, colors, lighting. There are many surviving drawings for the Madonna del Popolo, from sketches to color studies of heads. Despite this painstaking process, Baroccis genius kept the brushstrokes passionate and liberated, and a spiritual light seems to flicker as a jewel across faces, hands, drapery, Baroccis embrace of the Counter Reformation would shape his long and fruitful career. By 1566, he joined a lay order of Capuchins, an offshoot of Franciscans and he may have been influenced by Saint Philip Neri, whose Oratorians sought to reconnect the spiritual realm with the lives of everyday people
31.
Impressionism
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Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the art community in France. The development of Impressionism in the arts was soon followed by analogous styles in other media that became known as impressionist music. Radicals in their time, early Impressionists violated the rules of academic painting and they constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air, the Impressionists, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris, the Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued, landscape, the Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of brush strokes carefully blended to hide the artists hand in the work. Colour was restrained and often toned down further by the application of a golden varnish, the Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of artists as Jean-Léon Gérôme. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were led by Édouard Manet. They were soon joined by Camille Pissarro, Paul Cézanne, during the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manets The Luncheon on the Grass primarily because it depicted a woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, the jurys severely worded rejection of Manets painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists
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Lugano
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Lugano is a city in southern Switzerland in the Italian-speaking canton of Ticino bordering Italy. It has a population of 71,500, and an urban agglomeration over 145,000, the 9th largest Swiss city, it is the largest in Ticino and largest with an Italian speaking majority outside Italy. The city lies on Lake Lugano, surrounded by the mountains of the Lugano Prealps, the toponym is first recorded in 804, in the form Luanasco, in 874 as Luano, and from 1189 as Lugano. German-language variants of the name were Lowens, Lauis, Lauwis, the etymology of the name is uncertain, suggestions include derivation from lucus grove, from a vulgar Latin lakvannus lake-dweller and from the god Lugus. The blazon of the coat of arms is Gules, a cross throughout argent. The coat of arms dates from around 1200, the four letters on the coat of arms are an abbreviation of the name Lugano. The shores of Lake Lugano have been inhabited since the Stone Age, within the modern city limits a number of ground stones or quern-stones have been found. In the area surrounding Lugano, items from the Copper Age, there are Etruscan monuments at Davesco-Soragno, Pregassona, and Viganello. Graves with jewelry and household items have been found in Aldesago, Davesco, Pazzallo, the region around Lake Lugano was settled by the Romans by the 1st century BC. There was an important Roman city north of Lugano at Bioggio, there are fewer traces of the Romans in Lugano, but several inscriptions, graves and coins indicate that some Romans lived in what would become Lugano. Other documents, dating from 804 and 844 refer to Lake Lugano as Laco Luanasco, during the fighting between Guelphs and Ghibellines and the new disputes between Como and Milan, during the 14th and 15th centuries, Lugano was the scene of clashes between opposing forces. After a long rule by the Rusca family, Lugano was freed from the domination of Como, at the same time the link between town and the valley strengthened. By 1405–06 documents attest to a vallis comunitas Lugani et, which was a body that was independent of Como. The new community included the parishes of Lugano, Agno, Riva San Vitale, in 1416 the Duke of Milan, Filippo Maria Visconti conquered the region of Lugano and the Rusca valley and made it a fief. A year later, Luganos freedoms were first documented in a series of statutes modeled on those of Como, the town was able to secure complete independence. Between 1433 and 1438 the Duke of Milan, Aloisio Sanseverino sat as a feudal lord over Lugano and he compensated the Rusca family with the ownership of Locarno. Under the reign of his heirs in the following decades rebellions and riots broke out and it was the object of continuous disputes between the Dukes of Como and Milan until it became a Swiss dominion in 1513. Swiss control lasted until 1798 when Napoleon conquered the Old Swiss Confederation, in 1746, the Agnelli brothers opened the first printing press and bookshop in Lugano
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Public domain
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The term public domain has two senses of meaning. Anything published is out in the domain in the sense that it is available to the public. Once published, news and information in books is in the public domain, in the sense of intellectual property, works in the public domain are those whose exclusive intellectual property rights have expired, have been forfeited, or are inapplicable. Examples for works not covered by copyright which are therefore in the domain, are the formulae of Newtonian physics, cooking recipes. Examples for works actively dedicated into public domain by their authors are reference implementations of algorithms, NIHs ImageJ. The term is not normally applied to situations where the creator of a work retains residual rights, as rights are country-based and vary, a work may be subject to rights in one country and be in the public domain in another. Some rights depend on registrations on a basis, and the absence of registration in a particular country, if required. Although the term public domain did not come into use until the mid-18th century, the Romans had a large proprietary rights system where they defined many things that cannot be privately owned as res nullius, res communes, res publicae and res universitatis. The term res nullius was defined as not yet appropriated. The term res communes was defined as things that could be enjoyed by mankind, such as air, sunlight. The term res publicae referred to things that were shared by all citizens, when the first early copyright law was first established in Britain with the Statute of Anne in 1710, public domain did not appear. However, similar concepts were developed by British and French jurists in the eighteenth century, instead of public domain they used terms such as publici juris or propriété publique to describe works that were not covered by copyright law. The phrase fall in the domain can be traced to mid-nineteenth century France to describe the end of copyright term. In this historical context Paul Torremans describes copyright as a coral reef of private right jutting up from the ocean of the public domain. Because copyright law is different from country to country, Pamela Samuelson has described the public domain as being different sizes at different times in different countries. According to James Boyle this definition underlines common usage of the public domain and equates the public domain to public property. However, the usage of the public domain can be more granular. Such a definition regards work in copyright as private property subject to fair use rights, the materials that compose our cultural heritage must be free for all living to use no less than matter necessary for biological survival
34.
Louvre
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The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
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Paris
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Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
36.
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
37.
MusicBrainz
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MusicBrainz is a project that aims to create an open data music database that is similar to the freedb project. MusicBrainz was founded in response to the placed on the Compact Disc Database. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become an open online database for music. MusicBrainz captures information about artists, their works, and the relationships between them. Recorded works entries capture at a minimum the album title, track titles, and these entries are maintained by volunteer editors who follow community written style guidelines. Recorded works can also store information about the date and country. As of 26 July 2016, MusicBrainz contained information about roughly 1.1 million artists,1.6 million releases, end-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as MP3, Ogg Vorbis or AAC. As with other contributions, the MusicBrainz community is in charge for maintaining and reviewing the data, besides collecting metadata about music, MusicBrainz also allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this, in 2000, MusicBrainz started using Relatables patented TRM for acoustic fingerprint matching. This feature attracted many users and allowed the database to grow quickly, however, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions. This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, tRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND, some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free service was uncertain, a replacement for it was sought. The Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský, while AcoustID and Chromaprint are not officially MusicBrainz projects, they are closely tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second, additional post-processing is then applied to compress this fingerprint while retaining patterns. The AcoustID search server then searches from the database of fingerprints by similarity, since 2003, MusicBrainzs core data are in the public domain, and additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL, the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, in December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye
38.
National Library of Australia
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In 2012–2013, the National Library collection comprised 6,496,772 items, and an additional 15,506 metres of manuscript material. In 1901, a Commonwealth Parliamentary Library was established to serve the newly formed Federal Parliament of Australia, from its inception the Commonwealth Parliamentary Library was driven to development of a truly national collection. The present library building was opened in 1968, the building was designed by the architectural firm of Bunning and Madden. The foyer is decorated in marble, with windows by Leonard French. In 2012–2013 the Library collection comprised 6,496,772 items, the Librarys collections of Australiana have developed into the nations single most important resource of materials recording the Australian cultural heritage. Australian writers, editors and illustrators are actively sought and well represented—whether published in Australia or overseas, approximately 92. 1% of the Librarys collection has been catalogued and is discoverable through the online catalogue. The Library has digitized over 174,000 items from its collection and, the Library is a world leader in digital preservation techniques, and maintains an Internet-accessible archive of selected Australian websites called the Pandora Archive. A core Australiana collection is that of John A. Ferguson, the Library has particular collection strengths in the performing arts, including dance. The Librarys considerable collections of general overseas and rare materials, as well as world-class Asian. The print collections are further supported by extensive microform holdings, the Library also maintains the National Reserve Braille Collection. The Library has acquired a number of important Western and Asian language scholarly collections from researchers, williams Collection The Asian Collections are searchable via the National Librarys catalogue. The National Library holds a collection of pictures and manuscripts. The manuscript collection contains about 26 million separate items, covering in excess of 10,492 meters of shelf space, the collection relates predominantly to Australia, but there are also important holdings relating to Papua New Guinea, New Zealand and the Pacific. The collection also holds a number of European and Asian manuscript collections or single items have received as part of formed book collections. Examples are the papers of Alfred Deakin, Sir John Latham, Sir Keith Murdoch, Sir Hans Heysen, Sir John Monash, Vance Palmer and Nettie Palmer, A. D. Hope, Manning Clark, David Williamson, W. M. The Library has also acquired the records of many national non-governmental organisations and they include the records of the Federal Secretariats of the Liberal party, the A. L. P, the Democrats, the R. S. L. Finally, the Library holds about 37,000 reels of microfilm of manuscripts and archival records, mostly acquired overseas and predominantly of Australian, the National Librarys Pictures collection focuses on Australian people, places and events, from European exploration of the South Pacific to contemporary events. Art works and photographs are acquired primarily for their informational value, media represented in the collection include photographs, drawings, watercolours, oils, lithographs, engravings, etchings and sculpture/busts
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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
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Guardi, Francesco". Encyclopædia Britannica. 12 (11th ed.). Cambridge University Press. p. 656.
This article incorporates text from a publication now in the 