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