Correggio, Anselmi e Rondani

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Campo DC	Valore
dc.identifier	ECF_article_1306
dc.title	Correggio, Anselmi e Rondani. Firme d’artista nella Scuola di Parma
dc.contributor.author	Fadda Elisabetta
dc.publisher	Edizioni Ca’ Foscari - Digital Publishing
dc.type	Articolo
dc.language.iso	it
dc.identifier.uri	http://edizionicafoscari.it/it/edizioni4/riviste/venezia-arti/2017/1/correggio-anselmi-e-rondani/
dc.description.abstract	Antonius Laetus, Hirundo: these are the latinized signatures of Antonio Allegri called Correggio and his assistant from Parma Francesco Maria Rondani. Michelangelo Anselmi instead, signed one of his altarpiece with a cabalistic writing method. That was one of the encrypted alphabet used by Cornelio Agrippa. According to previous studies, often the artist name matches with his portrait. On the contrary this essay analyzes signatures, words and their variant spelling as a signifiant, as images translating a message, in the same way as in a calligram or a rebus.
dc.relation.ispartof	Venezia Arti
dc.relation.ispartof	Vol. 26 \| Dicembre 2017
dc.issued	2017-12-20
dc.dateSubmitted	2017-07-13
dc.identifier.issn
dc.identifier.eissn	2385-2720
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
dc.identifier.doi	10.14277/2385-2720/VA-26-17-9
dc.peer-review	no
dc.subject	Parma
dc.subject	Parma
dc.subject	Rebus
dc.subject	Rebus

Articolo
open access

Firme d’artista nella Scuola di Parma

Elisabetta Fadda Università degli Studi di Parma, Italia

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abstract

Antonius Laetus, Hirundo: these are the latinized signatures of Antonio Allegri called Correggio and his assistant from Parma Francesco Maria Rondani. Michelangelo Anselmi instead, signed one of his altarpiece with a cabalistic writing method. That was one of the encrypted alphabet used by Cornelio Agrippa. According to previous studies, often the artist name matches with his portrait. On the contrary this essay analyzes signatures, words and their variant spelling as a signifiant, as images translating a message, in the same way as in a calligram or a rebus.

Pubblicato

20 Dicembre 2017

Presentato

13 Luglio 2017

Lingua

Keywords: Rebus • Parma

permalink http://doi.org/10.14277/2385-2720/VA-26-17-9

Copyright: © 2017 Elisabetta Fadda. 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.

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