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