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