Liberotti (4 results)

Condition: NEW.

Brossura. Condition: new. A cura di Masotti L. e Stocchi F. Caselle di Sommacampagna, 2025; br., pp. 168, ill., cm 21x20. (Fontes. 2). Il secondo volume della collana Fontes. Studi e ricerche interdisciplinari nasce nell'ambito di un progetto di gestione e valorizzazione del patrimonio culturale fiorentino condotto da un gruppo di ricercatori e ricercatrici dell'Università di Firenze con l'obiettivo di mettere a disposizione di professionisti e cittadini un patrimonio di informazioni e conoscenze storiche del territorio - spesso poco note o ottenibili in maniera frammentaria - tramite un webGIS ad accesso aperto che include schede analitiche relative ai beni e alle attività di produzione culturale presenti sul territorio. Tre componenti del gruppo di ricerca - Alessia Castagnino, Giovanna Liberotti e Lorena Vallieri - hanno successivamente collaborato al progetto PRIN 2022 Fontes: le fonti geostoriche per gestire i rischi ambientali e culturali, diretto dalla prof.ssa Lucia Masotti, creando l'occasione ideale per favorire un fecondo scambio di metodi ed esperienze, e per discutere su procedimenti di analisi e interpretazione della cartografia e delle fonti storiche, letterarie e iconografiche rispondenti a logiche spesso molto differenti tra di loro. Libro.…

La non violenza come unica arma della ragione - Collana Essais. N. 1 - in 16° - pp.108 - Brossura editoriale illustrata - Prima edizione - Libro usato Presente bibliografia.

These plaster cameos are part of a collection made in Rome around 1820 by Giovanni Liberotti. They reproduce a selection of architecture and famous works of art visible in Rome, Florence, Milan, Paris, and in some major private collections. Placed in easily transportable wooden boxes and accompanied by captions, such sets were sold to wealthy European travelers visiting Italy as part of the Grand Tour. Rome was the ultimate destination, and a visit to the treasures in its many museums completed a young man's education. The collection of boxes containing plaster molds of classical works of art was a fashionable pastime and a valuable 'memory aid' for the mythologies, gods, and historical events represented on the delicate cameos. Les Liberotti Printedby was marketed by Giovanni Liberotti, a Roman gem engraver who specialized in making these souvenirs. They were then sold in series, representing works by sculptors of the time such as Canova or Thorvaldsen, as well as painters like Leonardo da Vinci. Each box contained plaster cameos mounted opposite a handwritten list of the works. This set of nineteen plaster impressions of intaglios, mainly representing classical subjects, was made in Rome around 1820. On the inside face of the lid is the handwritten list of titles of the works represented: 1 - L'Aria, Thorvaldsen 2 - Laocoon, at the Vatican 3 - L'acqua, Thorvaldsen 4 - Michelangelo, from a painting in Florence 5 - Il Triumph of Alexander, Thorvaldsen 6 - Raphael Sanzo de Urbino, at the Vatican 7 - Il Marquis, Canova 8 - Il Cav. , Thorvaldsen 9 - Il lion by Canova 10 - Mary Magdalene, Canova in Paris for sale 11 - Another Lion by Canova 12 - Torquato Tasso at the Capitol Museum 13 - Il Jupiter 14 - La Minerva in the Gallery in Florence 15 - Petrarch at the Capitol 16 - La Merchantess oflove in Naples 17 - Earth elements by Cav. Thorvaldsen 18 - La Magdalene by Guido in Milan 19 - Il Fire element Thorvaldsen. Antonio Canova (1757-1822) and Bertel Thorvaldsen (1770-1844), these giants of neoclassical sculpture, both worked in Rome during this period. The Danish neoclassical sculptor Bertel Thorvaldsen did most of his career in Rome, where he was known as one of the best sculptors of his time. Notably, he is responsible for the tomb of Pope Pius VII in Saint Peter's Basilica in Rome and the Lion Monument in Lucerne commemorating the massacre of the Swiss Guards in the Tuileries. "Both artists re-interpreted themes from the Classical World and used new techniques in the creation of their works Italian Antonio Canova (1757-1822) and Danish Bertel Thorvaldsen (1770-1844) were rivals and created works of art that inspired their contemporaries and generations of artists that followed. Italy and especially the city of Rome played a central role in both sculptors' lives and careers: Canova arrived in Rome in 1781 and remained until he died in 1822, while Thorvaldsen settled there in 1797 to spend the next 40 years in the city. Their competition was extremely fruitful as they worked on the same themes and subjects from the Classical World. They not only innovated the style of sculpture but also promoted new techniques. Each one had his own large studio employing numerous colleagues and students that gave him space for experimentation. Their careers were accompanied by technical innovations like the use of preparatory plaster models, which gave them the chance to design statues following only their ideas without being dependent on a commissioner." (Exhibition "Canova and Thorvaldsen. The birth of modern sculpture", held 2019/2020 in the Gallerie d'Italia in Milan). The purchaser of the box, Mary Salmon, whose name is inscribed at the bottom of the explanatory sheet, likely chose the various molds herself. The robust oak case was necessary to protect the contents during the journey back to England. Very rare complete copy of this Grand Tour souvenir, in perfect condition.…