Tag Archives: art

Senses of Italy: Melbourne Masterclass

Scent, sight, sound, taste, touch: all Italian-style. They are covered in a programme of Thursday evening lectures, Melbourne Masterclass : Senses of Italy, at the University of Melbourne, 6.15 – 8.15pm, 5 October – 2 November 2017. The series starts with Catherine Kovesi on Renaissance perfumes (Venice as olfactory heaven) and Antonio Artese on scent and Aquaflor (5 Oct). Then Christopher Marshall looks at Artemisia Gentileschi’s correspondence (‘it’s all about the money’) and Mark Nicholls at Rossellini’s Voyage to Italy (12 Oct). John Weretka uses paintings and poetry to examine the instruments, repertoires and status of Renaissance musicians (upwardly mobile), followed by Malcolm Angelucci on poetics, music and madness in Italy before 1914 (19 Oct). John Hajek and Anthony White consider Futurism and food, the art and appetites of the antigrazioso (26 Oct). Finally Andrea Rizzi explores the ideas and images of Renaissance texts (‘tactile values’), and Carl Villis reveals some attributions and reattributions of Italian Renaissance art in the National Gallery of Victoria (2 Nov). Further details on the contributions, authors, venue and registration can be found here.

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Enfilade, Venetian Painting, Remembering David Rosand

Sally Grant   New York

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Here is an item from a recent issue of the newsletter Enfilade that will interest ACIS readers (Enfilade is edited by the tireless and ineffably charming Craig Hanson who keeps everyone in eighteenth-century studies, especially art and architecture, informed about what is going on in the way of exhibitions, conferences and publications). It signals the opening this week of a Venetian painting exhibition, In Light of Venice: Venetian Painting in Honor of David Rosand, at the Otto Naumann Gallery, New York, which lasts until 12 February 2016. The title recalls the distinguished art historian of Renaissance Venice who died in 2014 and in whose honour a new Italian professorship is to be established at Columbia University. Some of the profits from the exhibition will be donated to the David Rosand Tribute Fund at the university to support the position.

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Why is that Saint holding a bbq grill?

santoDiana Hiller will address that unusual query in her talk, ‘Why is that Saint holding a barbecue grill? Cracking visual codes in Italian Renaissance painting‘, at the Museo Italiano, 199 Faraday Street, Carlton 3053 on Thursday 11 June at 6.30pm (free event but call (03) 9349 9021 or RSVP here). People living in Italy in the early modern period had many advantages over modern viewers when looking at the paintings that surrounded them as they went about their daily lives. They saw paintings in their parish churches, in magnificent cathedrals, in municipal buildings, in hospitals, and in the local meeting places of confraternities. Merchants and well-to-do citizens had paintings in both their public and private domestic spaces. Today the most obvious visual images that we encounter in our environment are likely to be advertisements. For us paintings are generally confined to art galleries. We not only lack the all-important contexts for painted works, but we are also no longer aware of the many visual cues that were familiar to people in the Renaissance. The citizens of Florence, Siena, Venice, Milan and so on knew their Biblical stories and were generally familiar with the most important myths and gods of classical antiquity.

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Foreign Artists in Italy 1900-2015

120px-Marina_Grande_SorrentoThe Canadian Society for Italian Studies Conference, Sorrento, 19-21 June 2015, invites papers for an interdisciplinary session on Foreign Artists in Italy 1900-2015. Papers may focus on foreign residents or long-term visitors to Italy working within any branch of the arts (music, literature, film, visual art, theatre/performance). The panel will examine the creative practice of these artists in Italy, their motivations for being there and the significance of their Italian work within the broader contexts of their output, as well as their contribution to Italian creative practice and discourse and their collaboration with Italian and foreign colleagues. How analysis of the works of ‘the artist resident abroad’ can contribute to debates about international creative collaboration, cosmopolitanism and notions of national and diasporic art will be an issue for discussion. Papers on Campania-based foreign artists are welcome but not required.

Abstracts (250 words) of proposals should be sent to Mark Nicholls by December 31 2014.

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Appointment of Honorary Research Associate: Paolo Bartoloni

t4_-491194439We are delighted to appoint Professor Paolo Bartoloni from the National University of Ireland, Galway, as an Honorary Research Associate of ACIS during his visit to Australia from July to September this year. Paolo will be based for part of the period at the University of the Sunshine Coast (Qld) and will also be giving seminars at several universities in Melbourne and Sydney. He has published extensively on Italian and comparative literature and on 20th century continental theory and philosophy, with a particular interest in art and technology. His current research interests focus on objects, technology and writing in Svevo’s La coscienza di Zeno. We will be posting details of his lectures and seminars in due course.

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‘Gabriele D’Annunzio never met an adverb he didn’t like’

TLS_Beard_396117kThat’s the opening sentence of a review by Joseph Luzzi of a recent translation of D’Annunzio’s Pleasure in this week’s Times Literary Supplement (3 Jan 2014). Apart from this review which chimes in with the recent post on D’Annunzio by Stefano Bragato, the issue has other pieces of interest to Italianists. Focusing on the relation between art and power, Mary Beard compares the celebrations of the 2000th anniversary of the birth (63 BC) of Rome’s first emperor, Augustus, by Mussolini in 1937 (the Mostra Augustea della Romanità) with the current exhibition in Rome to celebrate the 2000th anniversary of his death (14 AD), more soberly entitled Augusto. Then Joe Farrell reviews a translation of The Childhood Memories and Other Stories by Giuseppe Tomasi di Lampedusa (the author said that no one would ever read those memories, sharing the misplaced confidence of many writers that their juvenilia, private correspondence and laundry lists will never be made public). And, for comparative literature specialists, there is also an extended review of Franco Moretti’s two recent books, Distant Reading and The Bourgeois.

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