Playthings in Early Modernity: Party Games, Word Games, Mind Games

Why do we play games—with and upon each other as well as ourselves? When are winners also losers, and vice-versa? How and to what end do we stretch the spaces of play? What happens when players go ‘out of bounds,’ or when games go ‘too far’? Moreover, what happens when we push the parameters of inquiry: when we play with traditional narratives of ludic culture, when we re-write the rules? An innovative volume of fifteen interdisciplinary essays at the nexus of material culture, performance studies, and game theory, Playthings in Early Modernity emphasizes the rules of the game(s) as well as the breaking of those rules. Thus, the titular ‘plaything’ is understood as both an object and a person, and play, in the early modern world, is treated not merely as a pastime, a leisurely pursuit, but as a pivotal part of daily life, a strategic psychosocial endeavor

Exposition "Piero di Cosimo, 1462-1522. Pittore eccentrico fra Rinascimento e Maniera" Florence, Galleria degli Uffizi, 23 juin-27 septembre 2015

"Piero di Cosimo, 1462-1522. Pittore eccentrico fra Rinascimento e Maniera" Florence, Galleria degli Uffizi, 23 juin-27 septembre 2015 Si deve a Serena Padovani, già direttrice della Galleria Palatina di Firenze, l’idea di proporre una mostra dedicata a Piero di Cosimo, pittore del Rinascimento fiorentino originale, fantasioso, straordinario narratore di favole, ma la cui notorietà, al di fuori del ristretto mondo degli storici d’arte e dei collezionisti, non ha mai, ingiustamente, raggiunto..

CFP - Allégorie et topographie à l’époque moderne (XVIe-XVIIIe siècles)

(scroll for english text) Appel à communications pour le colloque international (Paris, INHA, 9-10 juin 2016) Date limite : 10 février 2016 Allégorie et topographie à l’époque moderne (XVIe-XVIIIe siècles)   Organisé par Etienne Jollet et Antonella Fenech Kroke Les arts de la période moderne, de la Renaissance à la fin du XVIIIe siècle, accordent une importance majeure à l’allégorie comme mode d’évocation visuelle d’un universel invisible – que ce soit le divin chrétien ou les valeurs humanis..

Florentia depicta. Décor de façade et courtisanerie au XVIe siècle

Florentia depicta : Decorated façades displaying courtiers’ homage. In the course of the 16th century, the art of painting with sgraffito the façades of the palaces had a special development in Florence. Between 1515 and 1620, a real connection between the practice of a non-architectural decor and the propaganda of the aristocratic power of the Medici became usual. The relationship between the Prince and the courtiers established the backbone of such an artitistic phenomenon, its iconographical program and its functions. Through some selected examples which illustrate the way in which this artistic practice defines a courtier’s iconography meaning the “buon service”, this study analyses how “courtiership” in Florence also expresses itself in the art of decorating façades.Fenech Kroke Antonella. Florentia depicta. Décor de façade et courtisanerie au XVIe siècle. In: Histoire de l'art, N°55, 2004. Art, pouvoir et politique. pp. 55-67

Ludic Marginalities: The Other as Player in Early Modern Visual Culture

International audienc

Cosimo I de’Medici et l’idéalisation du prince par la littérature et les arts

Le 9 janvier 1537, le Sénat de Florence élit Cosimo de’ Medici comme successeur du premier duc de Florence, Alessandro, assassiné deux jours plus tôt par son cousin, Lorenzino. Fils de Giovanni delle Bande Nere et de Maria Salviati, Cosimo est né en 1519 à Castello, dans le Mugello ; c’est un jeune homme de dix-huit ans lorsqu’il est appelé à conduire le duché de Florence et il ne s’attend probablement pas à une telle destinée. Il appartient à la branche cadette de la famille qui ne joue qu’u..

Compte rendu de « Francesca Alberti, La Peinture facétieuse. Du rire sacré de Corrège aux fables burlesques de Tintoret »

International audienc

[notices ] « IV.3. Ritratto di giovane come allegoria dell’Amicizia », « IV.4. Francesco Morandini, “Ritratto di Antonio de’ Ricci” » et « VI.8. Jacopo Zucchi, “Amore e Psiche” »

International audienc

Exposition "Piero di Cosimo, 1462-1522. Pittore eccentrico fra Rinascimento e Maniera" Florence, Galleria degli Uffizi, 23 juin-27 septembre 2015

"Piero di Cosimo, 1462-1522. Pittore eccentrico fra Rinascimento e Maniera" Florence, Galleria degli Uffizi, 23 juin-27 septembre 2015 Si deve a Serena Padovani, già direttrice della Galleria Palatina di Firenze, l’idea di proporre una mostra dedicata a Piero di Cosimo, pittore del Rinascimento fiorentino originale, fantasioso, straordinario narratore di favole, ma la cui notorietà, al di fuori del ristretto mondo degli storici d’arte e dei collezionisti, non ha mai, ingiustamente, raggiunto..