30 research outputs found
Playthings in Early Modernity: Party Games, Word Games, Mind Games
Why do we play gamesâwith 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 âout of bounds,â or when games go âtoo farâ? 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 âplaythingâ 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, giĂ direttrice della Galleria Palatina di Firenze, lâidea di proporre una mostra dedicata a Piero di Cosimo, pittore del Rinascimento fiorentino originale, fantasioso, straordinario narratore di favole, ma la cui notorietĂ , al di fuori del ristretto mondo degli storici dâarte e dei collezionisti, non ha mai, ingiustamente, raggiunto..
CFP - AllĂ©gorie et topographie Ă lâĂ©poque moderne (XVIe-XVIIIe siĂšcles)
(scroll for english text) Appel Ă communications pour le colloque international (Paris, INHA, 9-10 juin 2016) Date limite : 10 fĂ©vrier 2016 AllĂ©gorie et topographie Ă lâĂ©poque moderne (XVIe-XVIIIe siĂšcles)  OrganisĂ© par Etienne Jollet et Antonella Fenech Kroke Les arts de la pĂ©riode moderne, de la Renaissance Ă la fin du XVIIIe siĂšcle, accordent une importance majeure Ă lâallĂ©gorie comme mode dâĂ©vocation visuelle dâun universel invisible â que ce soit le divin chrĂ©tien ou les valeurs humanis..
Florentia depicta. Décor de façade et courtisanerie au XVIe siÚcle
Florentia depicta : Decorated façades displaying courtiersâ 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 courtierâs iconography meaning the âbuon serviceâ, this study analyses how âcourtiershipâ in Florence also expresses itself in the art of decorating façades.Fenech Kroke Antonella. Florentia depicta. DĂ©cor de façade et courtisanerie au XVIe siĂšcle. 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 deâMedici et lâidĂ©alisation du prince par la littĂ©rature et les arts
Le 9 janvier 1537, le SĂ©nat de Florence Ă©lit Cosimo deâ Medici comme successeur du premier duc de Florence, Alessandro, assassinĂ© deux jours plus tĂŽt par son cousin, Lorenzino. Fils de Giovanni delle Bande Nere et de Maria Salviati, Cosimo est nĂ© en 1519 Ă Castello, dans le Mugello ; câest un jeune homme de dix-huit ans lorsquâil est appelĂ© Ă conduire le duchĂ© de Florence et il ne sâattend probablement pas Ă une telle destinĂ©e. Il appartient Ă la branche cadette de la famille qui ne joue quâu..
Compte rendu de « Francesca Alberti, La Peinture facétieuse. Du rire sacré de CorrÚge aux fables burlesques de Tintoret »
International audienc
Colorito: La technique des peintres vĂ©nitiens Ă la Renaissance. Michel Hochmann. Turnhout: Brepols, 2015. 396 pp. âŹ150.
[notices ] « IV.3. Ritratto di giovane come allegoria dellâAmicizia », « IV.4. Francesco Morandini, âRitratto di Antonio deâ Ricciâ » et « VI.8. Jacopo Zucchi, âAmore e Psicheâ »
International audienc
Culture visuelle du jeu sportif dans la premiÚre modernité
International audienceAlthough games during early modernity, thought of as (proto-)sporting practices, have aroused the interest of historians, historians of art and images have rarely examined them. Nevertheless, the visual culture of that period profoundly defined the relationship that connects images and sports. Attesting to the elaborate nature of the very notion of games, these images represent the locus of a political, legal, medical, and religious re-semantisation of sporting practices. The rise and transformation of the imagery linked to physical exercise are here questioned from the perspective of the visual productions that contribute to the image of the sporting body, to the elaboration of sporting techniques as well as to the change in leisure behaviors whose conception has been redefined since the Renaissance. Pre-modern visual culture thus provides elements that answer the question: could one be a âsportsmanâ before the eighteenth century?Si les jeux dâexercice de la premiĂšre modernitĂ©, pensĂ©s comme pratiques (proto-)sportives, ont intĂ©ressĂ© les historiens, les historiens de lâart et des images les ont trĂšs peu Ă©tudiĂ©s. Or, câest dans la culture visuelle de ce temps que sâest exprimĂ©e avec force la relation qui lie images et sports. TĂ©moignant de la complexification de la notion mĂȘme de jeu, les images sont le lieu dâune re-sĂ©mantisation politique, juridique, mĂ©dicale, religieuse des pratiques ludiques sportives. Lâessor et la transformation de lâimaginaire liĂ© Ă lâexercice physique sont ici interrogĂ©s Ă partir des productions visuelles qui contribuent Ă lâapparition en image du corps sportif, Ă la fixation des techniques ludiques ainsi quâĂ la mutation des comportements dans un temps libre dont la conception est profondĂ©ment repensĂ©e Ă partir de la Renaissance. La culture visuelle prĂ©moderne offre ainsi des Ă©lĂ©ments de rĂ©ponse Ă la question : pouvait-on ĂȘtre un « sportif » avant le xviiie siĂšcle