Pub Date : 2018-12-14DOI: 10.30687/978-88-6969-294-9/008
Marina Niero
In the 19th century, the Ateneo Veneto was a place of violent political passions and innovative proposals for the city of Venice, and members were periodically invited to present reports on their activities to the assembly. During the first half of 19th century, under Austrian domination, even if among many difficulties and vicissitudes, the Ateneo had already distinguished itself for its function of discussion and dissemination of the most progressive ideas, both in scientific and humanistic field. Eminent professors and scholars gathered in it, not only from the Venetian disctrict, but also of national and international prestige. In the second half of the 19th century one of the themes that was mostly addressed in the city debate was related to education, so much so that in those years the Ateneo Veneto began to experiment with new educational formulas, by opening its rooms to ‘popular’ lessons. Other topics were modernisation, health, but also a special attention to the emancipation of women. In 1868 the Ateneo organised several initiatives in this direction.
{"title":"Sulla storia dell’Ateneo Veneto","authors":"Marina Niero","doi":"10.30687/978-88-6969-294-9/008","DOIUrl":"https://doi.org/10.30687/978-88-6969-294-9/008","url":null,"abstract":"In the 19th century, the Ateneo Veneto was a place of violent political passions and innovative proposals for the city of Venice, and members were periodically invited to present reports on their activities to the assembly. During the first half of 19th century, under Austrian domination, even if among many difficulties and vicissitudes, the Ateneo had already distinguished itself for its function of discussion and dissemination of the most progressive ideas, both in scientific and humanistic field. Eminent professors and scholars gathered in it, not only from the Venetian disctrict, but also of national and international prestige. In the second half of the 19th century one of the themes that was mostly addressed in the city debate was related to education, so much so that in those years the Ateneo Veneto began to experiment with new educational formulas, by opening its rooms to ‘popular’ lessons. Other topics were modernisation, health, but also a special attention to the emancipation of women. In 1868 the Ateneo organised several initiatives in this direction.","PeriodicalId":179706,"journal":{"name":"Venezia 1868: l’anno di Ca’ Foscari","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131759726","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-14DOI: 10.30687/978-88-6969-294-9/007
Camillo Tonini
In 1868 – two years after the annexation of Venice to Italy – the Correr Museum became more and more a point of reference as civic identity and a place of heritage conservation for its historical, artistic and naturalistic memories. Many collections are added to the original one by Teodoro Correr, requiring the extension of museum spaces in the Fondaco dei Turchi. On the model of museums owned by the great European cities, inspired by the model of the Arts and Crafts movement, a new layout for artistic and economic restart of the City is being designed.
1868年，也就是威尼斯被意大利吞并的两年后，科雷尔博物馆越来越成为市民身份的参考点，并因其历史、艺术和自然主义的记忆而成为遗产保护的地方。许多收藏品由Teodoro Correr添加到原来的收藏中，需要扩展Fondaco dei Turchi的博物馆空间。在伟大的欧洲城市拥有的博物馆的模式上，受到艺术和手工艺运动模式的启发，正在设计一个新的城市艺术和经济重新开始的布局。
{"title":"1868 e dintorni","authors":"Camillo Tonini","doi":"10.30687/978-88-6969-294-9/007","DOIUrl":"https://doi.org/10.30687/978-88-6969-294-9/007","url":null,"abstract":"In 1868 – two years after the annexation of Venice to Italy – the Correr Museum became more and more a point of reference as civic identity and a place of heritage conservation for its historical, artistic and naturalistic memories. Many collections are added to the original one by Teodoro Correr, requiring the extension of museum spaces in the Fondaco dei Turchi. On the model of museums owned by the great European cities, inspired by the model of the Arts and Crafts movement, a new layout for artistic and economic restart of the City is being designed.","PeriodicalId":179706,"journal":{"name":"Venezia 1868: l’anno di Ca’ Foscari","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128024033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-14DOI: 10.30687/978-88-6969-294-9/012
Pierpaolo Luderin
In 1868 Félix Ziem, already known as peintre de Venise, made two trips to the city of the Doges in order to renew his art. From the drawings and notes of the two carnets he elaborated during these stays, the figure of a complex artist emerges, who pursues commercial success but also the motives of his own being, curious, a lover of the city and of local life, in many ways very different from that known through his most famous paintings.
{"title":"«Perle sull’azzurro del cielo mille volte contemplate sull’onda»","authors":"Pierpaolo Luderin","doi":"10.30687/978-88-6969-294-9/012","DOIUrl":"https://doi.org/10.30687/978-88-6969-294-9/012","url":null,"abstract":"In 1868 Félix Ziem, already known as peintre de Venise, made two trips to the city of the Doges in order to renew his art. From the drawings and notes of the two carnets he elaborated during these stays, the figure of a complex artist emerges, who pursues commercial success but also the motives of his own being, curious, a lover of the city and of local life, in many ways very different from that known through his most famous paintings.","PeriodicalId":179706,"journal":{"name":"Venezia 1868: l’anno di Ca’ Foscari","volume":"344 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123350839","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-14DOI: 10.30687/978-88-6969-294-9/016
{"title":"La Gazzetta di Venezia (gennaio-agosto)","authors":"","doi":"10.30687/978-88-6969-294-9/016","DOIUrl":"https://doi.org/10.30687/978-88-6969-294-9/016","url":null,"abstract":"","PeriodicalId":179706,"journal":{"name":"Venezia 1868: l’anno di Ca’ Foscari","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125584884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-14DOI: 10.30687/978-88-6969-294-9/009
S. Franchini
The National Institute of Science, Letters and Arts founded by Napoleon in 1810, ‘regenerated’ in 1838 by the Emperor of Austria Ferdinand I, who renamed it Imperial Regio Istituto Veneto di Scienze, Lettere ed Arti, was created to represent the top of a complex system of studies and knowledge management. Promoter of scientific and technological innovations, it boasts Italian and foreign corresponding members, guaranteeing a national and international dimension that was then sanctioned also by the new Italian Kingdom: the Reale Istituto Veneto, in fact, was placed, by rank and official recognition, among the national Academies of the pre-unitary States called to form the various higher councils of Public Education. The Institute also provides the State and local administrations with advice on specific cultural or technical issues, relating to higher education programmes or land management, on topics ranging from meteorology to public health, to hydrological, but also on linguistic issues, and organizes periodic exhibitions of artefacts and machinery to encourage innovation in agricultural and industrial production.
{"title":"Sulla storia dell’Istituto Veneto","authors":"S. Franchini","doi":"10.30687/978-88-6969-294-9/009","DOIUrl":"https://doi.org/10.30687/978-88-6969-294-9/009","url":null,"abstract":"The National Institute of Science, Letters and Arts founded by Napoleon in 1810, ‘regenerated’ in 1838 by the Emperor of Austria Ferdinand I, who renamed it Imperial Regio Istituto Veneto di Scienze, Lettere ed Arti, was created to represent the top of a complex system of studies and knowledge management. Promoter of scientific and technological innovations, it boasts Italian and foreign corresponding members, guaranteeing a national and international dimension that was then sanctioned also by the new Italian Kingdom: the Reale Istituto Veneto, in fact, was placed, by rank and official recognition, among the national Academies of the pre-unitary States called to form the various higher councils of Public Education. The Institute also provides the State and local administrations with advice on specific cultural or technical issues, relating to higher education programmes or land management, on topics ranging from meteorology to public health, to hydrological, but also on linguistic issues, and organizes periodic exhibitions of artefacts and machinery to encourage innovation in agricultural and industrial production.","PeriodicalId":179706,"journal":{"name":"Venezia 1868: l’anno di Ca’ Foscari","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131401514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-14DOI: 10.30687/978-88-6969-294-9/017
{"title":"La Gazzetta di Venezia (settembre-dicembre)","authors":"","doi":"10.30687/978-88-6969-294-9/017","DOIUrl":"https://doi.org/10.30687/978-88-6969-294-9/017","url":null,"abstract":"","PeriodicalId":179706,"journal":{"name":"Venezia 1868: l’anno di Ca’ Foscari","volume":"154 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116069705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-14DOI: 10.30687/978-88-6969-294-9/010
Nico Stringa
Even 19th century had its ’68, particularly in Venice, where, without sensational episodes but with as much relevance, as regards the artistic situation, as what happened a century later, a series of events, if seen even if only in their apparently casual consequential and then overlapping, attests to a total value objectively unusual and rich in subsequent implications, ordered in the direction of a general renewal. Two years after the plebiscite that sanctioned the entry of Venice and Veneto into the Kingdom of Italy, many signs provide the clarification of an overall picture of great momentum due in large part to the contribution of a new generation of Venetians. The establishment of the Royal Higher School of Commerce at Ca’ Foscari, a prelude to the establishment of one of the major university centres of research and higher education, contributed to the rebirth and revival of Venice and its image, in stark contrast with the myth, never extinguished, of a city ‘inevitably’ linked to its never-ending end, to its endless twilight.
{"title":"A partire dal 1868: nota sulla nuova pittura a Venezia","authors":"Nico Stringa","doi":"10.30687/978-88-6969-294-9/010","DOIUrl":"https://doi.org/10.30687/978-88-6969-294-9/010","url":null,"abstract":"Even 19th century had its ’68, particularly in Venice, where, without sensational episodes but with as much relevance, as regards the artistic situation, as what happened a century later, a series of events, if seen even if only in their apparently casual consequential and then overlapping, attests to a total value objectively unusual and rich in subsequent implications, ordered in the direction of a general renewal. Two years after the plebiscite that sanctioned the entry of Venice and Veneto into the Kingdom of Italy, many signs provide the clarification of an overall picture of great momentum due in large part to the contribution of a new generation of Venetians. The establishment of the Royal Higher School of Commerce at Ca’ Foscari, a prelude to the establishment of one of the major university centres of research and higher education, contributed to the rebirth and revival of Venice and its image, in stark contrast with the myth, never extinguished, of a city ‘inevitably’ linked to its never-ending end, to its endless twilight.","PeriodicalId":179706,"journal":{"name":"Venezia 1868: l’anno di Ca’ Foscari","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129108395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-14DOI: 10.30687/978-88-6969-294-9/014
Alessio Vigni
A new discovery is shown: it is about a review made by Telemaco Signorini regarding Ciardi’s painting entitled Una Marina, exhibited by Società Promotrice delle Belle Arti in Florence. This is a new testimony of the artistic activity of Ciardi during 1868. In addition to this, we have an unpublished letter by Ciardi intended to Signorini to get some news about the canvas he displayed during the exhibition. This letter was written on the fourth page of a missive that the Venetian painter Zandomenighi wrote to his close friend Signorini. Since this letter has never been transcribed, it can provide us an unprecedented contribution as well as new details that may shed light on Ciardi ’activities during his trip in 1868.
{"title":"Firenze e Venezia: città distanti, protagonisti comuni","authors":"Alessio Vigni","doi":"10.30687/978-88-6969-294-9/014","DOIUrl":"https://doi.org/10.30687/978-88-6969-294-9/014","url":null,"abstract":"A new discovery is shown: it is about a review made by Telemaco Signorini regarding Ciardi’s painting entitled Una Marina, exhibited by Società Promotrice delle Belle Arti in Florence. This is a new testimony of the artistic activity of Ciardi during 1868. In addition to this, we have an unpublished letter by Ciardi intended to Signorini to get some news about the canvas he displayed during the exhibition. This letter was written on the fourth page of a missive that the Venetian painter Zandomenighi wrote to his close friend Signorini. Since this letter has never been transcribed, it can provide us an unprecedented contribution as well as new details that may shed light on Ciardi ’activities during his trip in 1868.","PeriodicalId":179706,"journal":{"name":"Venezia 1868: l’anno di Ca’ Foscari","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131886304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-14DOI: 10.30687/978-88-6969-294-9/005
M. I. Biggi
In 1868 the theatrical context in Venice was affected by local abut also statal economic situation, due by the development of the new Italian State, formed after the Peace of Vienna that, signed on 23 October 1866, marked the end of the Third War of Independence and the annexation of Venice to the unitary state. Venice therefore became less important for theatrical production, and the city was no longer among the capitals of theatre and music, as it could have been considered until in the first half of 19th century. A new trend throughout Europe was moreover the ‘grand opera’, while in Venice the dominant show was still the traditional musical opera, in addition to opera and ‘opera buffa’, created by great Italian composers. The theatres active in 1868 in the city are La Fenice, Teatro San Benedetto then called Rossini, Teatro Apollo, Teatro Malibran and Teatro San Samuele. Through the reviews of the Gazzetta di Venezia and documents such as sketches of the scene made by famous set designers, that interesting moment is reconstructed.
{"title":"I teatri a Venezia nel 1868","authors":"M. I. Biggi","doi":"10.30687/978-88-6969-294-9/005","DOIUrl":"https://doi.org/10.30687/978-88-6969-294-9/005","url":null,"abstract":"In 1868 the theatrical context in Venice was affected by local abut also statal economic situation, due by the development of the new Italian State, formed after the Peace of Vienna that, signed on 23 October 1866, marked the end of the Third War of Independence and the annexation of Venice to the unitary state. Venice therefore became less important for theatrical production, and the city was no longer among the capitals of theatre and music, as it could have been considered until in the first half of 19th century. A new trend throughout Europe was moreover the ‘grand opera’, while in Venice the dominant show was still the traditional musical opera, in addition to opera and ‘opera buffa’, created by great Italian composers. The theatres active in 1868 in the city are La Fenice, Teatro San Benedetto then called Rossini, Teatro Apollo, Teatro Malibran and Teatro San Samuele. Through the reviews of the Gazzetta di Venezia and documents such as sketches of the scene made by famous set designers, that interesting moment is reconstructed.","PeriodicalId":179706,"journal":{"name":"Venezia 1868: l’anno di Ca’ Foscari","volume":"135 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127549118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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