Integrated Authority File
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 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 comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
Giovanni Battista Vanni
Giovanni Battista Vanni was an Italian painter and engraver of the Baroque period. He was born in either Pisa or Florence around 1599, he studied successively under Jacopo da Empoli, Aurelio Lomi, and Matteo Rosselli and he is better known as an engraver than as a painter. From 1624 to 1632, he lived in Rome, returning to Florence after visiting Venice and he engraved Paolo Veroneses Marriage at Cana. He frescoed a Meal in the house of the Pharisee for an attached to the Church of Santa Maria del Carmine. He died at Florence in 1660, walter Armstrong & Robert Edmund Graves, ed. Dictionary of Painters and Engravers and Critical,4, Covent Garden, Original from Fogg Library, Digitized May 18,2007, George Bell and Sons
Counter-Maniera or Counter-Mannerism reacted against the artificiality of the second generation of Mannerist painters in the second half of the 16th century. The term was devised by the art historian Sydney Joseph Freedberg, the use of the term Counter-Maniera may be in decline, as impatience with such style labels grows among art historians. The definition of Mannerism itself is complex, and that of Counter-Mannerism. The style restores a decorum suitable for religious works, and removes distractions from the religious figures. The use of the term has not been extended to Northern Mannerism, shearmans other main example of Counter-Mannerism is Federigo Barocci, who Freedberg excludes from his definition. Many painters looked to revive the styles of Raphael, Andrea del Sarto and other High Renaissance masters, the example of Michelangelos late work was important for many artists. It was mostly ignored in the hunt by picture dealers in the 18th and 19th centuries and he describes the decrees as a codifying and official sanction of a temper that had come to be conspicuous in Roman culture.
Ed. Raffaello Borghinis Il Riposo, Lorenzo Da Ponte Italian Library,2008, University of Toronto Press, ISBN1442692294,9781442692299, google books Friedländer, Walter. Mannerism and Anti-Mannerism in Italian Painting,1965, New York, LOC578295 Freedburg, Sidney J. Painting in Italy, 1500–1600,1993, Yale, ISBN0300055870 Murphy, Caroline P. Review of, After Raphael, Painting in Central Italy in the Sixteenth Century by Marcia B, The Catholic Historical Review, Vol.86, No. 2, pp. 323–324, Catholic University of America Press, JSTOR Shearman, Mannerism,1967, London, ISBN0140208089 Smyth, Craig Hugh and Maniera,1992, IRSA, Vienna, ISBN3900731330
Empoli is a town and comune in Tuscany, about 20 kilometres southwest of Florence, to the south of the Arno in a plain formed by the river. The plain has been usable for agriculture since Roman times, the communes territory becomes hilly as it departs from the river. Empoli is on the railway line from Florence to Pisa. Empoli has a tradition as an agricultural centre. It has given its name to a variety of artichoke. Archaeological finds have revealed that Empoli was already settled in the early Roman Empire times, the river acted as a communication way for the trade of agricultural products, together with the local amphorae. In the Tabula Peutingeriana of the 4th century Empoli is called in portu as a port on the Roman road Via Quinctia. Empoli was on the Via Salaiola, connecting to Volterras salt ponds, since the 8th century Empoli consolidated as a town around the castle, known as Emporium or Empolis. In 1119 it was absorbed into the Guidi counts possessions, in 1182 it went under Florentine rule.
In 1260, after the Battle of Montaperti, Empoli was the seat of a council in which Farinata degli Uberti opposed the destruction of Florence. Later Empoli became an important fortress, and was repeatedly sacked and attacked. In 1530 its fall marked the end of the independence of the Florentine Republic, the Piazza Farinata degli Uberti, known as Piazza dei Leoni, is marked in its centre by a fountain by Luigi Pampaloni. Here lies the Collegiata di SantAndrea, the citys monument. The church probably existed as early as the 5th century AD and it was rebuilt in the 11th century by the pievano Rolando, by permission of the Countess Emilia dei Conti Guidi. At the mid of the century a Romanesque arcaded façade was added, it was decorated with bi-chrome marble stones. The green stones were from Prato, the ones are from Carrara. In 1735 the architect Ferdinando Ruggieri extensively modified the façade and the interior structure, the Palazzo Ghibellino is the former palace of the Guidi counts. It was probably erected in the 11th century, in 1260 it was the seat of the Ghibelline parliament where the fate of the Florences Guelphs was decided
Netherlands Institute for Art History
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 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, 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 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, 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 assigns a record for each term, 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 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
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Blanton Museum of Art
The museum was founded in 1963 as the University Art Museum on the campus of the University of Texas at Austin. The University Art Museum was initially housed in the Art Department of the University of Texas and was founded through the proceeds from the sale of donated by Archer M. Huntington. This land was donated with the stipulation that it be used to support an art museum at the University, in 1964, Donald Goodall became the Museum’s first director. By 1972, a portion of the Museum’s collection was housed at the Harry Ransom Humanities Center, while the print study room, in 1979, Eric S. McCready became the Museum’s second director, and the museum was renamed the Archer M. Huntington Art Gallery shortly thereafter. In 1993, Jessie Otto Hite became the third director. The campaign to build a new building began in 1997 with a $12 million gift from the Houston Endowment, Inc. in honor of its then-chairman, the museum was renamed the Blanton Museum of Art, with construction on the new building commencing in 2003.
Although the Museum was built as designed by Kallmann McKinnell & Wood Architects, lawrence Speck, disappointed in the series of events that led to Herzog & de Meurons resignation, resigned as dean of the School of Architecture, although he remains a faculty member. The new gallery building, named the Mari and James A. Michener Gallery Building, a second education and administration building, totaling 56,000 square feet, opened in 2008. In 2009, Ned Rifkin was named to replace the retiring Jessie Otto Hite as director, in 2011, Simone Wicha was named director. The Blantons permanent collection of almost 18,000 works is recognized for its European paintings and drawings, the collection includes works by lesser-known, but still historically significant, painters such as Daniele Crespi and Luca Cambiaso. The Blanton owns a collection of Greek and Roman vases, many came from the Castle Ashby Collection formed by the Spencer Compton, 2nd Marquess of Northampton, who funded numerous excavations at Vulci, an Etruscan town north of Rome, during the 1820s.
The Blanton’s modern and contemporary art holdings comprise more than 4,000 objects, novelist James Michener, and his wife, Mari Michener, began giving their collection of 20th-century American paintings to the Blanton in the 1960s. The gift spanned into the early 1990s and eventually totaled more than 300 works, the Micheners gave acquisition funds to the museum, supporting the purchase of approximately 75 additional paintings. The museums collection includes 20th-century artists such as Thomas Hart Benton, Alice Neel, in 2009, Stacked Waters, an installation by artist Teresita Fernández commissioned by Jeanne and Michael Klein, debuted in the Rapoport Atrium of the Blanton Museum. In 2014, the Blanton acquired an important group of drawings, susan G. and Edmund W. Gordon. The Latin American collection expanded significantly in the 1970s and 1980s with gifts from collector Barbara Duncan of 277 works of art, the museum was the first institution in the United States to create a curatorial position for Latin American art in 1988.
The founding curator of the department was Mari Carmen Ramírez who acquired one of the works in the Latin American collection, Cildo Meireles’ Missão/Missões. The Museum received an addition of Latin American modern and midcentury Latin American art from collectors Judy
Maso da San Friano
Maso da San Friano was an Italian painter active in Florence. His real name was Tomaso DAntonio Manzuoli and he was born in San Friano and died in Florence. According to Giorgio Vasari, Maso was a pupil of Pier Francesco Foschi while others claim it was Carlo Portelli and he collaborated with an elder Michelangelo on some projects. His altarpiece of the Visitation was painted in 1560 for the church of San Pier Maggiore, Florence - now in Trinity Hall Chapel, Cambridge, a similar work can be seen in the Prato cathedral. After 1561, he painted in the church of Ognissanti, Florence and he participated in the decoration of the Studiolo of Francesco I with an oval canvas relating the Fall of Icarus story. The canvas has an affected milling in individuals below and an anomalous perspective and his second contribution Mining of Diamonds. A portrait of Ferdinando I de Medici by Maso can be found in the Town Council Hall of Prato and he is regarded as part of the Counter-Maniera or Counter-Mannerism movement in Florence.
His most important pupils were Jacopo da Empoli and Alessandro Fei, one of his paintings, thought to be of Cosimo I de Medici in 1560, is believed to be the oldest to show a watch. Freedberg, Sydney J. Pelican History of Art, ed, three Notes on Maso da San Friano
The Palazzo Pitti, in English sometimes called the Pitti Palace, is a vast, mainly Renaissance, palace in Florence, Italy. It is situated on the side of the River Arno. The core of the present palazzo dates from 1458 and was originally the residence of Luca Pitti. The palace was bought by the Medici family in 1549 and became the residence of the ruling families of the Grand Duchy of Tuscany. It grew as a treasure house as generations amassed paintings, jewelry. In the late 18th century, the palazzo was used as a base by Napoleon. The palace and its contents were donated to the Italian people by King Victor Emmanuel III in 1919, the palazzo is now the largest museum complex in Florence. The principal palazzo block, often in a building of design known as the corps de logis, is 32,000 square metres. It is divided into several principal galleries or museums detailed below, the construction of this severe and forbidding building was commissioned in 1458 by the Florentine banker Luca Pitti, a principal supporter and friend of Cosimo de Medici.
The early history of the Palazzo Pitti is a mixture of fact, Pitti is alleged to have instructed that the windows be larger than the entrance of the Palazzo Medici. Besides obvious differences from the architects style, Brunelleschi died 12 years before construction of the palazzo began. The design and fenestration suggest that the architect was more experienced in utilitarian domestic architecture than in the humanist rules defined by Alberti in his book De Re Aedificatoria. Though impressive, the original palazzo would have no rival to the Florentine Medici residences in terms of either size or content. Whoever the architect of the Palazzo Pitti was, he was moving against the flow of fashion. The rusticated stonework gives the palazzo a severe and powerful atmosphere, reinforced by the series of seven arch-headed apertures. The Roman-style architecture appealed to the Florentine love of the new style allantica, work stopped after Pitti suffered financial losses following the death of Cosimo de Medici in 1464.
Luca Pitti died in 1472 with the building unfinished, the building was sold in 1549 by Buonaccorso Pitti, a descendant of Luca Pitti, to Eleonora di Toledo. Raised at the court of Naples, Eleonora was the wife of Cosimo I de Medici of Tuscany
WorldCat is a union catalog that itemizes the collections of 72,000 libraries in 170 countries and territories that participate in the Online Computer Library Center global cooperative. It is operated by OCLC Online Computer Library Center, the subscribing member libraries collectively maintain WorldCats database. OCLC was founded in 1967 under the leadership of Fred Kilgour and that same year, OCLC began to develop the union catalog technology that would evolve into WorldCat, the first catalog records were added in 1971. It contains more than 330 million records, representing over 2 billion physical and digital assets in 485 languages and it is the worlds largest bibliographic database. OCLC makes WorldCat itself available free to libraries, but the catalog is the foundation for other subscribtion OCLC services, in 2006, it became possible to search WorldCat directly at its website. In 2007, WorldCat Identities began providing pages for 20 million identities, predominantly authors, WorldCat operates on a batch processing model rather than a real-time model.
That is, WorldCat records are synchronized at intermittent intervals with the library catalogs instead of real-time or every day. Consequently, WorldCat shows that an item is owned by a particular library. WorldCat does not indicate whether or not an item is borrowed, undergoing restoration or repair. Furthermore, WorldCat does not show whether or not a library owns multiple copies of a particular title, copac Faceted Application of Subject Terminology Library and Archives Canada Research Libraries UK Online Computer Library Center Grossman, Wendy M. Why you cant find a book in your search engine. Official website OCLC - Web scale discovery and delivery of library resources OCLC Bibliographic Formats and Standards WorldCat Identities