A Companion to Venetian History, 1400-1797
818 massimo favilla, ruggero rugolo, and dulcia meijers world as well. the transposition of ephemeral set designs through trompe ...
venetian art, 1600–1797 819 the next and decisive moment of the story is visible in the works on the left-hand wall of the stair ...
820 massimo favilla, ruggero rugolo, and dulcia meijers Figure 22.3. Pietro Liberi, Honor Received in Heaven by Glory , after 16 ...
venetian art, 1600–1797 821 contemporary artists active in Venice, the Florentine appeals to his friend Pietro Liberi and confid ...
822 massimo favilla, ruggero rugolo, and dulcia meijers Sebastiano Mazzoni, with a final result of “incredible felicity and the ...
venetian art, 1600–1797 823 Figuere 22.4. Louis Dorigny, Triumph of Aurora , 1695–98. Venice, Palazzo Zenobio. (Foto Luca Sassi, ...
824 massimo favilla, ruggero rugolo, and dulcia meijers Louis Dorigny (Paris, 1654–Verona, 1742) arrived to Venice only at the e ...
venetian art, 1600–1797 825 this is a work woven together in a perspectival web that brings to mind Veronese but is tempered by ...
826 massimo favilla, ruggero rugolo, and dulcia meijers consider the renewed fortunes this type of painting registered, particu- ...
venetian art, 1600–1797 827 ferrarese Girolamo Mengozzi Colonna, who would become the ingenious assistant to Giovanni Battista t ...
828 massimo favilla, ruggero rugolo, and dulcia meijers Figure 22.5. Giovanni antonio Fumiani, Glory of St. Pantaleon, circa 169 ...
venetian art, 1600–1797 829 is no reason to imagine a clear preference on the part of patrons for the nascent barochetto to the ...
830 massimo favilla, ruggero rugolo, and dulcia meijers Figure 22.6. Gregorio Lazzarini, The Alms of St. Lorenzo Giustiniani , c ...
venetian art, 1600–1797 831 family, by Zanchi, Celesti, Fiumani, Daniel Heintz, Lazzarini, Molinari, and Bellucci, painted at th ...
832 massimo favilla, ruggero rugolo, and dulcia meijers northern mindset may account for this negative impression, but, given th ...
venetian art, 1600–1797 833 comes to mind if one assesses the quality and variety of styles and media practiced in the visual ar ...
834 massimo favilla, ruggero rugolo, and dulcia meijers on the grant schemes of Bologna and rome and abandoning those of the Duc ...
venetian art, 1600–1797 835 in Venice when he accepted the commission from the Labia, successful businessmen from Catalan origin ...
836 massimo favilla, ruggero rugolo, and dulcia meijers Figure 22.7. Giovanni Battista tiepolo, Banquet of Cleopatra, 1746–1747. ...
venetian art, 1600–1797 837 characterized by a heavy, somewhat pathetic and dramatic atmosphere, strong chiaroscuro, and muscula ...
«
38
39
40
41
42
43
44
45
46
47
»
Free download pdf