Journal |
MDCCC 1800
Journal issue | 11 | 2022
Rinascita/Revival | Rebirth/Revival II
open access | peer reviewedKeywords Wilhelm Bendz • Antonio Canova • Musée d’art industriel • 19th century Milan • Engraving • Carlo Amoretti • Genre painting • Parisian Salons • Luigi Valeriano Pozzi • Projects • Provenances • Danish Golden Age • Frederik Christian Sibbern • Merchants • Corrado Ricci • Romanticism • Stefano Borgia • Connoisseurship • Civil function of the museum • Lombard primitives • Giovanni Morelli • Fortuna • Ditlev Blunck • Dutch Golden Age • Iconography • Milano • Antiquarian history • Seroux d’Agincourt • Musée d’art et d’industrie • Henrik Hertz • Florence • École Stroganov • Academy of Fine Arts • History of architecture • Historical Painting • Arts décoratifs • Greek vases • Architects • Pompeo Pozzi • Société d’encouragement des arts • Stefano Bardini • Erudition • Cesare dell’Acqua • Royal Gallery of Turin • Musée d’échantillons • Pedro de Sousa Holstein • Art industriel • Editors • Adolfo Venturi • Albert Küchler • Raphael • Historical Romanticism • Andalusia (Spain) • South Kensington Museum • Alexandre de Sousa Holstein • Art market • Giorgione • Training of artists • Genio dell’Indipendenza Nazionale • Ceramics • Art photography • Conventionalism • Travel diaries • Photography • Renaissance • Art publishing • History Painting • Natalis Rondot • Markets • Giovanni Gherardo De Rossi • Portugal • Italian Risorgimento • Marco Minghetti • Antiquities market • Dmitry Grigorovitch • Collecting • Revival • Galleria De Cristoforis
Permalink http://doi.org/10.30687/MDCCC/2280-8841/2022/11 | Published Oct. 24, 2022 | Language it, pt, en, es, fr
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
