Resumen: El artículo quiere aportar nuevos datos sobre el pintor napolitano Alessandro Ciccarelli, en concreto, sobre la etapa italiana de su trayectoria, que coincidió con la formación académica entre Nápoles y Roma, y con la participación en las exposiciones celebradas en ambas ciudades entre 1830 y 1843. Analizaremos la obra Filoctetes abandonado del Museo de Capodimonte, la pondremos en diálogo con la otra versión del MNBA de Santiago de Chile, y demostraremos la procedencia de la inspiración clásica que impregnó sus teorías y sus telas.
The find in 1777 of the frescoes adorning Villa Peretti Montalto-Negroni in Rome was a unique opportunity to foster the renewed interest in ancient painting that Enlightenment Europe was feeding.Protagonists of the excavations in the surroundings of present Termini railway station were the Aragones diplomat Jose Nicolas de Azara (promoter) and his Bohemian intimate friend Anton Raphael Mengs (drawer), the artist who went down in history as the painter philosopher. The frescoes that Mengs could admire and copy, along with his writings on art theory, influenced the European taste, especially in the parietal decoration of private houses in England, as well as in distant Russia where Czarina Catherine II decided to entirely decorate the Silver Cabinet in the style of the recently found frescoes. This paper presents four unreleased and illuminated engravings, which are stored in the locals of the Archaeological Museum of Seville, but until now had escaped all inventories.
It is difficult to frame Anton Raphael Mengs in a specific stylistic movement nowadays that the chronological divisions and the consequent definitions of the art of the Enlightenment are going to be more and more controversial. Because of his eclectic and cosmopolitan activity, his ideas about Ideal Beauty spread across the countries affected by the apprehensions and hopes related to the 18th century. The bohemian painter dedicated his entire life to the study of ancient art; his marble collection of the statues from the great Italian collections interested the artists coming to the Eternal City, and he consecrates esthetic models of different epochs. Mengs never get away from these models – Ancient Greece, Raffaello Sanzio, Tiziano Vecellio, Antonio Correggio. His presence in Spain was favored by propitious circumstances: the coronation of an erudite, educate king, lover of Fine Arts, Charles III of Spain, a king so intimately close to the painter to guarantee him his protection in the difficult relation between Mengs and the San Fernando Academy of Fine Arts in Madrid. The relation between the Institution and the Bohemian get complicated because of the different ideas about the organization of the academy and the education of the students. Because of the little original sources, several matters have not been resolved, for example the issue about the false ancient fresco of Jupiter and Ganymede, or the controversy about the Peña case, that brought to the final breakup between the artist and the consiliarios in San Fernando Institution. Mengs focused his attention in an even worse matter about the direction of the academy: concretely, which competences had to have the consiliarios and which the teachers. When Mengs asked to be accepted in the academy, he undoubtedly thought that the Institution was structured as the other great one in which he took part in Italy, San Luca National Academy in Rome. Within Mengs’ proposals to raise the level of the Academy in Madrid there was the institution of anatomy and surgery teachings, which intent was to revolutionize the concept of painters and sculptors. In spite of the difficulties that the first painter of Charles III had during his stay in San Fernando, his acting had a fundamental role in developing the Art Theory and particularly in the European artists’ training.
El presente artículo aborda el tema de la prensa étnica del siglo XIX, considerada producto directo de la migración, con el objetivo de recrear los vínculos entre inmigrados y la patria nativa. En particular, nos referiremos a la fundación del periódico italiano L’Italia Ilustrata, publicado en Chile desde el año 1896 hasta el año 1898. Analizaremos la fundación del periódico mencionado en relación con la otra gaceta italiana activa desde 1891, subrayando las discrepancias que se ocasionaron entre estos medios de comunicación. Posteriormente presentaremos algunas imágenes publicadas en L’Italia Illustrata agrupándolas en 3 secciones. Finalmente, expondremos nuestras conclusiones.
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