Telemaco Signorini: spokesman of the Macchiaioli

Telemaco Signorini was a member of a nineteenth-century Italian group of artists called the Macchiaioli. He was the son of Giovanni Signorini, a painter. The group came together against the Italian academies and drew inspiration from Decamps and the artists of the Barbizon school in France. Their style emphasizes effect and emotion. The Macchiaioli were a short lived group that only lasted from 1855 to 1862. Signorini and the members of the group participated in 1859 in the Risorgimento, the Italian struggle for independence. Based on this experience Signorini created several canvases depicting the Italian countryside, especially at La Spezia. He was also devoted to literature and in his essays he defended the Macchiaioli on several occasions. After the Macchia had been declared dead by Signorini, he traveled extensively to London and Paris. During these travels, Signorini succumbed to the popular influences of photography and Japanese prints. He began to travel in Italy exclusively beginning in 1884 and continued painting, using a mix of inspirations he had gathered throughout his life, until his death in 1901. This thesis is a comprehensive study of Signorini

The Physiognomy of Nature in the Macchiaioli Landscapes of Qamil Grezda

“The Drawing School remains the most important institution, the foundation of all the subsequent activities related to the Albanian painting experience ... it was in that school that the best known artists learned the art of painting, those who today represent the golden generation of the tradition of the Albanian painting and sculpture, mentioning such artists as: Sadik Kaceli, Foto Stamo, Nexhmedin Zajmi, Kel Kodheli, Ibrahim Kodra, Llazar Nikolla, Bukurosh Sejdini, Qamil Grezda, Abdulla Cangonji, Hasan Reçi dhe Sabri Tuçi”, F. Hudhri.  It is exactly in this group of artists where the painter Qamil Grezda belonged [...]. A quote on the distant shores of the time, but close to the excitement and energy that accompany the landscapes of this painter, who used to live between the feelings, colors, shapes, volumes, lights and shades of nature... that nature, which would be alienated through a process of alchemy in a relationship of close, intimate - almost a platonic love between the artist and this nature... a relationship which served as food for his sensitivity toward the greatness of nature, raving him on canvas...The relationship of this artist with nature and its dimensions are built on the universal human virtues and foundations, and he shows to be prudent, just, strong and self-control towards it. These four virtues are nothing else but the four cardinal virtues, Virtutibus Cardinalibus[la]* (Prudentia[la]* Iustitia[la]*, Fortitudo[la]* and Temperantia[la]* ) which governed the human being from the strands of his creation of clay and water described in the lines of the mythology, until the shaping of his physiognomy and contemporary character.Keywords: history, analysis, aesthetics, anthropology, art, comparisons.

Some notes on the use of tempera media in Nineteenth century Italy

Si riassumono le ricerche sulla tecnica a tempera da parte degli artisti italiani tra Ottocento e Novecento, concentrando l'attenzione sui dipinti mobili e precisando la terminologia tecnica derivante dalle fonti documentarie.Researches on tempera technique used by italian painters during XIXth-early XX centuries are summarized putting attention on easel and canvas paintings. Italian technical terminology is specified by means citations from documentary sources

Boletín Cultural Informativo [N°51]

PRÓLOGO Lic. Claudia Hérodier pág. 5.- Mi viaje a Ítaca. Arq. Luis Salazar Retana.- pág. 7.- LAS Mujeres en el arte italiano de los siglos xv al xvii arq. Luis Salazar Retana Pág. 16.- Breve Historia del retrato arq. Luis Salazar Retana pág. 39.- los Macchiaiolli Arq. Luis salazarretana pág. 59.- Notas Biobibliográficas pág. 79.Lcda. Claudia Hérodier, editora y Coordinadora de Publicaciones Periódicas de la Universidad Dr. José Matías Delgado

Simposio per Immagini. Sesto Simposio Internazionale Il monitoraggio costiero mediterraneo: problematiche e tecniche di misura

Il volume è un appendice del VI Simposio "Il Monitoraggio Costiero Mediterraneo: problematiche e tecniche di misura" ed è curato da Gianni Fasano e Alessandro Materassi Vengono illustrate le attività scientifico-culturali svolte in concomitate dell'Evento Nel Volume sono presenti contributi di Paola Baldari, Antonio Raschi, Alessandra Potenti, Laura Pellegrino, Matteo De Vincenzi, Francesca Giampaolo

Anna Franchi: l'indocile scrittura

Avanti il divorzio is undoubtedly a fundamental work for the history of women and civil rights. Anna Franchi is fighting, together with the socialists, both for freedom of choice and for the right to civil and political vote, which were denied to women. The texts also deal with the struggles for the right to work and for fair wages. Moreover, they present unpublished profiles of personalities who devoted their fight of little hope and much courage to the cause. Anna Franchi was also the first woman who believed in the movement of the Macchiaioli: she wrote the history of the artistic movement, got to know its interpreters and sought for them a market that recognised their value. The friendship with Giovanni Fattori and the correspondence with many painters are relevant: the letters reflect not only the artistic aesthetic of the Macchiaioli, but also their moods, relationships, travels, successes and many sad moments that were confided to Fattori's friend, Anna