Gozzi paolo caravaggio biography
- The name of the church is connected with St. Jerome, who came from this area – he was born in Stridon on the border of Pannonia and Dalmatia.
- Giovanni Francesco Barbieri (February 8, 1591 – December 22, 1666), better known as (il) Guercino was an Italian Baroque painter and draftsman from Cento in.
- The commedia dell'arte took shape as a full-fledged art form when female performers were admitted on the professional stage in the 1560s.
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The church dates back to the middle of the XV century, when Pope Nicholas V ordered a small church to be built here, for clergymen from Slavonia, as well as a hospice and a hospital for visitors. At the end of the following century, during the pontificate of Sixtus V, the church was expanded according to the design of Martino Longhi (the Elder). Longhi was also the designer of the mannerist façade made of travertine. The heraldic emblems of Pope Sixtus V can be seen from afar – a pile of spheres (monti) and eight-pointed stars found at the base of the façade (on both sides). Further testimony of the pope’s input into the construction is an inscription found on the frieze of the façade.
The street, where the church stands was built by Pope Leo X (via Leonina), while its name was changed at the beginning of the XVIII century to via Ripetta, relating to the river port found opposite the church. This picturesque place can be seen on old engravings with a terrace and a flight of steps leading all the way to the surface of the water. In subsequ
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A possible biography of Old Master Pinzel (?-1761)
Any researcher who attempts to research the life and creative output of Old Master Pinzel will find himself in an extremely difficult position. This is particularly true for any researcher coming from a Western research perspective. For on the one hand, we have evidence of a very large creative output, and on the other hand the Old Master is a complete enigma. One is confronted with the question: how is it that an Old Master of such scale, of such obvious European tendencies, who appears to have set himself an unusually high set of standards, was until recently completely unknown? Perhaps because, as far as we are able to ascertain, the Old Master left the material results of his creative output only in the outlying provincial reaches of the European realm. There are more questions than answers: Where are his early works and his student attempts? Where did he gain the knowledge that enabled him to reach such creative heights? Although almost all of his surviving works are deposited in museums, we can in all likelihood speak only
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Commedia dell'arte - LAST REVIEWED: 12 January 2023
- LAST MODIFIED: 12 January 2023
- DOI: 10.1093/obo/9780195399301-0497
- LAST REVIEWED: 12 January 2023
- LAST MODIFIED: 12 January 2023
- DOI: 10.1093/obo/9780195399301-0497
Balme, Christopher B., Piermario Vescovo, and Daniele Vianello, eds. Commedia dell’Arte in Context. Cambridge, UK: Cambridge University Press, 2018.
Brings into focus: elements and historical developments from sixteenth to eighteenth century; transnational exchange across Europe; and the historical impact on 20th- and 21st-century avant-garde and experimental theater.
Chaffee, Judith, and Olly Crick, eds. The Routledge Companion to Commedia dell’Arte. London: Routledge, 2014.
Comprehensive coverage including historical accounts as well as input from a wide range of practicing artists. Extends the field and blends different expertise from other art forms.
Ferrone, Siro. Attori, Mercanti, Corsari. La commedia dell’arte in Europa tra Cinque e Seicento. Turin, Italy: Einaudi, 1993.
In-depth analysis of complex economic, social, and political relationships of key actors and patrons as wel
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