Journal |
MDCCC 1800
Journal issue | 11 | 2022
Rinascita/Revival | Rebirth/Revival II
open access | peer reviewedKeywords Travel diaries • Projects • Raphael • Ceramics • Merchants • Wilhelm Bendz • Florence • Italian Risorgimento • Carlo Amoretti • Pedro de Sousa Holstein • Ditlev Blunck • Parisian Salons • Musée d’art industriel • Engraving • Conventionalism • Photography • Historical Romanticism • Pompeo Pozzi • Antiquities market • South Kensington Museum • Giovanni Gherardo De Rossi • Lombard primitives • Renaissance • Civil function of the museum • Royal Gallery of Turin • Architects • Art publishing • Albert Küchler • Frederik Christian Sibbern • Art market • Portugal • Greek vases • Dutch Golden Age • Genio dell’Indipendenza Nazionale • Luigi Valeriano Pozzi • Stefano Borgia • Cesare dell’Acqua • History of architecture • Milano • Arts décoratifs • Antonio Canova • Corrado Ricci • Danish Golden Age • Revival • Alexandre de Sousa Holstein • Erudition • Genre painting • Romanticism • Historical Painting • Connoisseurship • Galleria De Cristoforis • Training of artists • Antiquarian history • Provenances • Musée d’art et d’industrie • Art photography • Adolfo Venturi • Henrik Hertz • Art industriel • Stefano Bardini • Natalis Rondot • Dmitry Grigorovitch • Andalusia (Spain) • Marco Minghetti • Academy of Fine Arts • History Painting • Collecting • Société d’encouragement des arts • Musée d’échantillons • Seroux d’Agincourt • Editors • Giorgione • Giovanni Morelli • Markets • École Stroganov • Fortuna • Iconography • 19th century Milan
Permalink http://doi.org/10.30687/MDCCC/2280-8841/2022/11 | Published Oct. 24, 2022 | Language it, en, es, pt, 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
-
«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
-
The (Re)birth of Genre Painting during the Danish Golden Age
The Case of the Studio ‘Portrait’ - Oct. 24, 2022
-
De Itália a Portugal, e mais além
A colecção de vasos gregos de Francisco Zea Bermudez y Navarro - Oct. 24, 2022
-
Bardini prima di Bardini
La formazione e gli esordi artistici del ‘Principe degli antiquari’ - Sept. 26, 2022
-
Giorgione stupisce Tiziano e Giovanni Bellini di Cesare dell’Acqua
Un’allegoria ottocentesca del Rinascimento veneziano - Oct. 24, 2022
-
Industrial Art, art industriel, Kunstgewerbe…
Dmitry Grigorovitch et le concept de l’'art industriel' dans la Russie des années 1860 - Oct. 24, 2022
-
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
-
L’Ottocento di Luigi Valeriano e Pompeo Pozzi
Due generazioni di un negozio milanese d’arte - Oct. 24, 2022
-
Da Parigi a Torino
Roberto d’Azeglio, la destinazione pubblica delle belle arti e la Reale Galleria - Sept. 26, 2022
