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