Scritti In Memoria Di Raffaello Causa

(The open access version of this book has been published with the support of the Swiss National Science Foundation.) The book proposes a reassessment of royal portraiture and its function in the Middle Ages via a comparative analysis of works from different areas of the Mediterranean world, where images are seen as only one outcome of wider and multifarious strategies for the public mise-en-scène of the rulers’ bodies. Its emphasis is on the ways in which medieval monarchs in different areas of the Mediterranean constructed their outward appearance and communicated it by means of a variety of rituals, object-types, and media. Contributors are Michele Bacci, Nicolas Bock, Gerardo Boto Varela, Branislav Cvetković, Sofia Fernández Pozzo, Gohar Grigoryan Savary, Elodie Leschot, Vinni Lucherini, Ioanna Rapti, Juan Carlos Ruiz Souza, Marta Serrano-Coll, Lucinia Speciale, Manuela Studer-Karlen, Mirko Vagnoni, and Edda Vardanyan.

Publisher Description

The most important figure of seventeenth-century Neapolitan music, Francesco Provenzale (1624-1704) spent his long life in the service of a number of Neapolitan conservatories and churches, culminating in his appointment as maestro of the Tesoro di S. Gennaro and the Real Cappella. Provenzale was successful in generating significant profit from a range of musical activities promoted by him with the participation of his pupils and trusted collaborators. Dinko Fabris draws on newly discovered archival documents to reconstruct the career of a musician who became the leader of his musical world, despite his relatively small musical output. The book examines Provenzale's surviving works alongside those of his most important Neapolitan contemporaries (Raimo Di Bartolo, Sabino, Salvatore and Caresana) and pupils (Fago, Greco, Veneziano and many others), revealing both stylistic similarities and differences, particularly in terms of new harmonic practices and the use of Neapolitan language in opera. Fabris provides both a life and works study of Provenzale and a conspectus of Neapolitan musical life of the seventeenth century which so clearly laid the groundwork for Naples' later status as one of the great musical capitals of Europe.

"This book celebrates research by Australian art historians into Italian art of the sixteenth, seventeenth and eighteenth centuries. It was prompted by the exhibition The Italians: three centuries of Italian art, which opened at the National Gallery of Australia in Canberra in March 2002 before moving to Melbourne Museum where it closed in October. This exhibition brought to Australia a wide range of paintings, a few drawings, and one sculpture, drawn from museums in Rome, Florence, Milan, Genoa, and Naples, as well as works from private collections and with dealers."--Preface.

Published to accompany one of the most exciting international art events of 2001, this magnificent volume explores the origins of the baroque style in Rome between 1592 and 1623...With over 300 full colour plates and twelve essays by leading scholars in the field, the catalogue is a significant landmark in art-historical publishing. The essays are illustrated with some of the most dramatic paintings of the early baroque, each with a discursive caption, and the catalogue includes biographies of fifty artists and an extensive bibliography. -- Dust jacket.