skip to main content
Visitante
Meu Espaço
Minha Conta
Sair
Identificação
This feature requires javascript
Tags
Revistas Eletrônicas (eJournals)
Livros Eletrônicos (eBooks)
Bases de Dados
Bibliotecas USP
Ajuda
Ajuda
Idioma:
Inglês
Espanhol
Português
This feature required javascript
This feature requires javascript
Primo Search
Busca Geral
Busca Geral
Acervo Físico
Acervo Físico
Produção Intelectual da USP
Produção USP
Search For:
Clear Search Box
Search in:
Busca Geral
Or select another collection:
Search in:
Busca Geral
Busca Avançada
Busca por Índices
This feature requires javascript
This feature requires javascript
Venetia Reflected in Water: Hypotheses and New Proposals
Gianmario Guidarelli ; Elena Svalduz
In bo, 2021-12, Vol.12 (16), p.140–155-140–155
[Periódico revisado por pares]
University of Bologna
Texto completo disponível
Citações
Citado por
Exibir Online
Detalhes
Resenhas & Tags
Mais Opções
Nº de Citações
This feature requires javascript
Enviar para
Adicionar ao Meu Espaço
Remover do Meu Espaço
E-mail (máximo 30 registros por vez)
Imprimir
Link permanente
Referência
EasyBib
EndNote
RefWorks
del.icio.us
Exportar RIS
Exportar BibTeX
This feature requires javascript
Título:
Venetia Reflected in Water: Hypotheses and New Proposals
Autor:
Gianmario Guidarelli
;
Elena Svalduz
Assuntos:
history of conventual architecture
;
history of renaissance architecture
;
history of representation
;
urban history
;
venice
É parte de:
In bo, 2021-12, Vol.12 (16), p.140–155-140–155
Descrição:
The essay aims to investigate for the first time in a systematic way the plan of Venice (Venetia) by Gian Battista Arzenti, a canvas painted in oil, collected at the Correr Museum and recently dated to 1621–26 (by Gianmario Guidarelli 2015). The plan depicts the city as a very compact and homogeneous body, at a time in its urban history when part of the great transformations designed by Cristoforo Sabbadino in the previous century have now come to an end. The painter's gaze offers an almost isotropic view of the city, where the Marciana area (which has a central role in previous depictions, such as that of Jacopo de 'Barbari, 1500) is only one of the celebratory fulcrums of the city, together with the Grand Canal (with its parade of patrician palaces) and the Arsenale. In this visual reworking of Venice, the role of monasteries and convents is central, but not predominant compared to the other elements of the city. The marble facades of the Benedictine churches of San Zaccaria and San Giorgio Maggiore and the bulk of the mendicant churches of the Frari and San Zanipolo emerge from the surrounding fabric without imposing themselves on the surrounding space, re-entering the logic of a harmonious and compact city. As for the smaller churches (above all, parish and brotherhood churches) the painter's logic frames them as an integral part of urban scenes (such as the Riva delle Zattere). In light of these considerations, we propose to map the occurrences of cultic buildings in the plan and to verify their visual role in the construction of the urban representation, in a balance between religious and civil buildings, between infrastructures and natural network of canals which Venice celebrates as an image of social and political harmony.
Editor:
University of Bologna
Idioma:
Inglês
This feature requires javascript
This feature requires javascript
Voltar para lista de resultados
This feature requires javascript
This feature requires javascript
Buscando em bases de dados remotas. Favor aguardar.
Buscando por
em
scope:(USP_PRODUCAO),scope:(USP_EBOOKS),scope:("PRIMO"),scope:(USP),scope:(USP_EREVISTAS),scope:(USP_FISICO),primo_central_multiple_fe
Mostrar o que foi encontrado até o momento
This feature requires javascript
This feature requires javascript