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Between 1621 and 1626 Jacopo da Empoli painted a serie of still lifes set in pantries, none of which contains figures. A drawing in the Bibliotheque Nationale in Paris, unique of its kind, shows the artist's study dal naturale of the... more
Between 1621 and 1626 Jacopo da Empoli painted a serie of still lifes set in pantries, none of which contains figures. A drawing in the Bibliotheque Nationale in Paris, unique of its kind, shows the artist's study dal naturale of the birds and fowl seen hanging in his paintings. The sheet also represents a young woman holding a kitchen utensil, she reappears in a still life scene recently discovered in the French chateau of Villandry, which could be the Poultrywoman once inventoried in the Capponi collection.
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The portrait of a woman as Diana, oval on slate, in the Chateau d'Anet, which is proposed, here, for the first time, as attributed to Francesco Salviati, is not a portrait of Diane de Poitiers, as it has been said, but rather the... more
The portrait of a woman as Diana, oval on slate, in the Chateau d'Anet, which is proposed, here, for the first time, as attributed to Francesco Salviati, is not a portrait of Diane de Poitiers, as it has been said, but rather the portrait of a high ranking lady, whose splendid finery is ornamented with a cameo. On the cameo, are the Du Perrier arms. This important family came from the Dauphine, which belonged to Diane de Poitiers, Duchesse de Valentinois. The fact that Salviati came to France in the service of the powerful Cardinal Charles de Lorraine, one of the figures closest to Diane de Poitiers, makes the tie with Anet very likely. The attribution to Salviati is based on stylistic grounds, in particular the resemblance with the personages in the large Roman frescoes in the Palazzo Sacchetti and in the Palazzo Farnese, as well as on the refined technique and the particularity of the support and the format. Salviati was known for his portraits on stone, for example, the oval ...
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Having had the occasion to establish the importance of alterations that affected the drawings forming a part of what is called “dessins d’ordonnance” in the collection of Everard Jabach in the Louvre, the author returns to that subject,... more
Having had the occasion to establish the importance of alterations that affected the drawings forming a part of what is called “dessins d’ordonnance” in the collection of Everard Jabach in the Louvre, the author returns to that subject, this time dealing with laboratory photographs of the drawings. The photographs clearly show some reworking in the drawings by Lorenzo Lotto, Paolo Farinati and Giorgio Vasari. The aim of the present article is to focus the attention of the scholars again on the importance of taking those alterations into account while preparing records or technical descriptions of the works, as well as in the accompanying comments. It is not the question of diminishing the aesthetic value of a drawing but to precisely record all we can see. Laboratory examinations are, of course, exceptional and available to specialists, but the use of the eyes, simple examination in raking light and with the help of lighted magnifying glass, are available to everyone. In the Louvre ...
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Padua in the 1450s: Marco Zoppo and his Contemporaries, British Museum, London, 23. January‐12 April 1998
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Research Interests: Art and The Renaissance
Jeune fille portant un panier au bras, pstl/ppr bl., 30.4x13.0 (Louvre inv. RF 38938). Lit.: Burns & Saunier 2014, pp. 20f repr. φ Deux études, pstl (Avignon, musée Calvet, inv.
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Sénéchal Philippe. James David Draper: Bertoldo di Giovanni Sculptor of the Medici Household. Critical Reappraisal and Catalogue Raisonné. Columbia et Londres. University of Missouri Press. 1992. 305 p., plus de 200 ill. n. et bl.,... more
Sénéchal Philippe. James David Draper: Bertoldo di Giovanni Sculptor of the Medici Household. Critical Reappraisal and Catalogue Raisonné. Columbia et Londres. University of Missouri Press. 1992. 305 p., plus de 200 ill. n. et bl., index.. In: Revue de l'Art, 1993, n°101. pp. 100-101
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The buoyancy driven flow in a two-dimensional enclosure with insulated top and bottom walls and constant temperature side walls is studied. Side wall temperature distributions are applied such that the upper portion is relatively cold... more
The buoyancy driven flow in a two-dimensional enclosure with insulated top and bottom walls and constant temperature side walls is studied. Side wall temperature distributions are applied such that the upper portion is relatively cold while the lower portion is relatively hot resulting in cellular flows. Bifurcations of the steady and time dependent flows are examined as a function of Rayleigh number.
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Betaradiography, an identification process which satisfies the current requirements for the study of watermarks was systematically investigated in the Graphic Arts Department of the Louvre museum. The curves obtained in this context... more
Betaradiography, an identification process which satisfies the current requirements for the study of watermarks was systematically investigated in the Graphic Arts Department of the Louvre museum. The curves obtained in this context allowing the evaluation of the weight of sheets using the C-14 plate used for betaradiography and those allowing evaluation of the exposure time as a function of the weight and the choice of films were found to be essential tools for the rational use of this method. Lastly, a filming apparatus adapted to drawings has been developed allowing the first perfectly conclusive betagraphic films in the Drawing Collection.
Research Interests: Photography, France, Italy, Paintings, Radiography, and 3 moreBeta Particles, Paper, and In Vitro Techniques
A. Petriolo Tofani: Gabinetto disegni e stampe degli Uffizi. ... Copia dal dipinto di Giulio Romano les mesures la technique les annotations anciennes surtout des numérotations) la description som maire du filigrane les marques de col... more
A. Petriolo Tofani: Gabinetto disegni e stampe degli Uffizi. ... Copia dal dipinto di Giulio Romano les mesures la technique les annotations anciennes surtout des numérotations) la description som maire du filigrane les marques de col lections rares en dehors de celles des Offices ...
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An academic directory and search engine.
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TISSER LES SAISONS TESSERE LE STAGIONI Convegno internazionale, 22-25 maggio / mai 2023 Organisé par/ Organizzato da : Académie de France à Rome – Villa Médicis, l’École Pratique des Hautes Études, la Fondazione Federico Zeri, le groupe... more
TISSER LES SAISONS
TESSERE LE STAGIONI
Convegno internazionale, 22-25 maggio / mai 2023
Organisé par/ Organizzato da : Académie de France à Rome – Villa Médicis, l’École Pratique des Hautes Études, la Fondazione Federico Zeri, le groupe de recherche/ il gruppo di ricerca Decay, Loss and Conservation in Art History de la Bibliotheca Hertziana et avec le support / e con il supporto de l’Academia Belgica.
Organisateurs / Organizzatori : Francesca Alberti (Académie de France à Rome – Villa Médicis), Audrey Nassieu Maupas (École Pratique des Hautes Études) avec la collaboration de / con la collaborazione di Francesca Borgo (Bibliotheca Hertziana).
"Tisser les saisons"
À l’occasion de l’achèvement de la restauration des tapisseries allégoriques du Printemps et de l'Automne, réalisées au début du XVIIe siècle dans l'atelier de la famille Raes à partir des dessins de Francesco Salviati, le colloque Tisser les saisons se propose d'approfondir l'étude de ces tentures – de leur histoire, fortune et iconographie –, tout en ouvrant d’autres pistes de réflexion liées aux processus créatifs, à la circulation et à la sérialité des motifs, à la matérialité et aux pratiques de conservation.
La thématique du temps est plus que jamais mise en exergue au sein des séries consacrées aux saisons, si fréquentes dans l’art textile des XVIe et XVIIe siècles. En effet, la réalisation de ces décors nécessitait plusieurs mois de travail minutieux, un temps long qui s'impose à nouveau lors de leur restauration. Appréciées pour leur mobilité, destinées à voyager et à s'intégrer dans différents contextes, les tapisseries anciennes se caractérisent cependant par une grande fragilité et subissent des transformations rapides et importantes au fil du temps.
En prenant comme point de départ l'étude des plus anciennes tapisseries conservées à la Villa Médicis, léguées à l'Académie de France par l'historien de l'art et collectionneur Federico Zeri, le colloque sera également l'occasion de réfléchir au nouvel aménagement des salons de la Villa et aux effets d'une juxtaposition entre moderne et contemporain, qui ne cesse de modifier la perception de ce lieu.
Tessere le stagioni
Cogliendo l’occasione del completamento del restauro degli arazzi allegorici della Primavera e dell’Autunno, che furono tessuti all’inizio del XVII secolo nell’atelier brussellese della famiglia Raes riprendendo dei disegni di Francesco Salviati, il convegno Tessere le Stagioni intende approfondire lo studio di questi arazzi, la loro storia, fortuna e iconografia, e indagare altresì una serie di tematiche legate ai processi creativi, alla circolazione e serialità dei motivi, alla materialità e alle pratiche conservative.
La tematica del tempo è più che mai messa in valore all’interno delle serie dedicate alle stagioni, così numerose tra le serie di arazzi del XVI e XVII secolo. La realizzazione di tali decorazioni richiedeva un lavoro meticoloso di diversi mesi, che si rende nuovamente necessario al momento del loro restauro. Apprezzati per la loro mobilità, destinati a viaggiare e ad inserirsi in contesti diversi, gli arazzi sono caratterizzati però da una grande fragilità e subiscono rapide ed importanti trasformazioni nel tempo.
Prendendo come spunto lo studio dei più antichi arazzi conservati a Villa Medici, lasciati in eredità all’Accademia di Francia dallo storico dell’arte e collezionista Federico Zeri, il convegno permetterà inoltre di riflettere sul nuovo allestimento dei saloni della Villa, e sugli effetti di un accostamento tra moderno e contemporaneo, che continua a modificare la percezione di questo luogo.
TESSERE LE STAGIONI
Convegno internazionale, 22-25 maggio / mai 2023
Organisé par/ Organizzato da : Académie de France à Rome – Villa Médicis, l’École Pratique des Hautes Études, la Fondazione Federico Zeri, le groupe de recherche/ il gruppo di ricerca Decay, Loss and Conservation in Art History de la Bibliotheca Hertziana et avec le support / e con il supporto de l’Academia Belgica.
Organisateurs / Organizzatori : Francesca Alberti (Académie de France à Rome – Villa Médicis), Audrey Nassieu Maupas (École Pratique des Hautes Études) avec la collaboration de / con la collaborazione di Francesca Borgo (Bibliotheca Hertziana).
"Tisser les saisons"
À l’occasion de l’achèvement de la restauration des tapisseries allégoriques du Printemps et de l'Automne, réalisées au début du XVIIe siècle dans l'atelier de la famille Raes à partir des dessins de Francesco Salviati, le colloque Tisser les saisons se propose d'approfondir l'étude de ces tentures – de leur histoire, fortune et iconographie –, tout en ouvrant d’autres pistes de réflexion liées aux processus créatifs, à la circulation et à la sérialité des motifs, à la matérialité et aux pratiques de conservation.
La thématique du temps est plus que jamais mise en exergue au sein des séries consacrées aux saisons, si fréquentes dans l’art textile des XVIe et XVIIe siècles. En effet, la réalisation de ces décors nécessitait plusieurs mois de travail minutieux, un temps long qui s'impose à nouveau lors de leur restauration. Appréciées pour leur mobilité, destinées à voyager et à s'intégrer dans différents contextes, les tapisseries anciennes se caractérisent cependant par une grande fragilité et subissent des transformations rapides et importantes au fil du temps.
En prenant comme point de départ l'étude des plus anciennes tapisseries conservées à la Villa Médicis, léguées à l'Académie de France par l'historien de l'art et collectionneur Federico Zeri, le colloque sera également l'occasion de réfléchir au nouvel aménagement des salons de la Villa et aux effets d'une juxtaposition entre moderne et contemporain, qui ne cesse de modifier la perception de ce lieu.
Tessere le stagioni
Cogliendo l’occasione del completamento del restauro degli arazzi allegorici della Primavera e dell’Autunno, che furono tessuti all’inizio del XVII secolo nell’atelier brussellese della famiglia Raes riprendendo dei disegni di Francesco Salviati, il convegno Tessere le Stagioni intende approfondire lo studio di questi arazzi, la loro storia, fortuna e iconografia, e indagare altresì una serie di tematiche legate ai processi creativi, alla circolazione e serialità dei motivi, alla materialità e alle pratiche conservative.
La tematica del tempo è più che mai messa in valore all’interno delle serie dedicate alle stagioni, così numerose tra le serie di arazzi del XVI e XVII secolo. La realizzazione di tali decorazioni richiedeva un lavoro meticoloso di diversi mesi, che si rende nuovamente necessario al momento del loro restauro. Apprezzati per la loro mobilità, destinati a viaggiare e ad inserirsi in contesti diversi, gli arazzi sono caratterizzati però da una grande fragilità e subiscono rapide ed importanti trasformazioni nel tempo.
Prendendo come spunto lo studio dei più antichi arazzi conservati a Villa Medici, lasciati in eredità all’Accademia di Francia dallo storico dell’arte e collezionista Federico Zeri, il convegno permetterà inoltre di riflettere sul nuovo allestimento dei saloni della Villa, e sugli effetti di un accostamento tra moderno e contemporaneo, che continua a modificare la percezione di questo luogo.