Journal |
MDCCC 1800
Journal issue | 11 | 2022
Rinascita/Revival | Rebirth/Revival II
open access | peer reviewedKeywords Dmitry Grigorovitch • Florence • History of architecture • Editors • Marco Minghetti • Art photography • Ceramics • History Painting • Giorgione • Natalis Rondot • Arts décoratifs • Giovanni Morelli • Architects • Italian Risorgimento • Ditlev Blunck • Parisian Salons • Stefano Bardini • Henrik Hertz • Merchants • South Kensington Museum • Conventionalism • Andalusia (Spain) • 19th century Milan • Collecting • Lombard primitives • Antonio Canova • Portugal • Corrado Ricci • Seroux d’Agincourt • Markets • Revival • Iconography • Antiquarian history • Musée d’art industriel • Travel diaries • Civil function of the museum • Fortuna • Genre painting • Milano • Art market • Wilhelm Bendz • Training of artists • Engraving • Art publishing • Pompeo Pozzi • Genio dell’Indipendenza Nazionale • Erudition • École Stroganov • Adolfo Venturi • Luigi Valeriano Pozzi • Alexandre de Sousa Holstein • Stefano Borgia • Photography • Historical Romanticism • Galleria De Cristoforis • Albert Küchler • Raphael • Pedro de Sousa Holstein • Société d’encouragement des arts • Royal Gallery of Turin • Academy of Fine Arts • Carlo Amoretti • Frederik Christian Sibbern • Antiquities market • Romanticism • Greek vases • Musée d’échantillons • Giovanni Gherardo De Rossi • Provenances • Historical Painting • Connoisseurship • Musée d’art et d’industrie • Art industriel • Dutch Golden Age • Cesare dell’Acqua • Renaissance • Danish Golden Age • Projects
Permalink http://doi.org/10.30687/MDCCC/2280-8841/2022/11 | Published Oct. 24, 2022 | Language pt, en, it, fr, es
Copyright © This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.
- Introduzione | Introduction
- Oct. 24, 2022
- Il Raffaello di Marco Minghetti tra critica, polemica e retorica del centenario 1883-1885
- Sept. 12, 2022
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«Ai tempi di Cimabue non era sì barbara in Lombardia, quanto Vasari la vuol far credere, l’arte della pittura»
Prime tracce di ‘primitivi’ negli scritti di Carlo Amoretti - Oct. 24, 2022
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The (Re)birth of Genre Painting during the Danish Golden Age
The Case of the Studio ‘Portrait’ - Oct. 24, 2022
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De Itália a Portugal, e mais além
A colecção de vasos gregos de Francisco Zea Bermudez y Navarro - Oct. 24, 2022
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Bardini prima di Bardini
La formazione e gli esordi artistici del ‘Principe degli antiquari’ - Sept. 26, 2022
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Giorgione stupisce Tiziano e Giovanni Bellini di Cesare dell’Acqua
Un’allegoria ottocentesca del Rinascimento veneziano - Oct. 24, 2022
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Industrial Art, art industriel, Kunstgewerbe…
Dmitry Grigorovitch et le concept de l’'art industriel' dans la Russie des années 1860 - Oct. 24, 2022
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Los primeros mercados municipales construidos en Andalucía (siglo XIX)
Arquitectos y proyectos - Oct. 24, 2022
- «Quei deboli fili che mi legano a quella corte». Antonio Canova, Giovanni Gherardo de Rossi e il Portogallo
- Oct. 24, 2022
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L’Ottocento di Luigi Valeriano e Pompeo Pozzi
Due generazioni di un negozio milanese d’arte - Oct. 24, 2022
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Da Parigi a Torino
Roberto d’Azeglio, la destinazione pubblica delle belle arti e la Reale Galleria - Sept. 26, 2022
