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The performative dimension of the memory: Berlins’ monuments after the fall of the wall 记忆的表现维度:柏林墙倒塌后的柏林纪念碑
Pub Date : 2013-12-23 DOI: 10.6092/ISSN.2038-6184/4072
Giulia De' Lorenzis
The paper analyzes some architectural projects performed in Berlin after the fall of the Wall. All the realizations have had as its object the theme of memory: the Judisches Museum by Daniel Libeskind, the Denkmal fur die ermordeten Juden Europas of Peter Eisenman and Richard Serra, and the under construction Memorial entitled Burger in Bewegung of Milla und Partner and Sasha Waltz. In each of the examples, the overcoming of the traditional typical celebratory and explanatory  forms of the classically intended monument, has been found in favour of a remembrance idea that, if tends to be more tangible and concrete on one side; on the other introduce, in the same memorial dimension, the most evanescent and nuanced path of the performative experience .
本文分析了柏林墙倒塌后柏林的一些建筑项目。所有的实现都以记忆为主题:Daniel Libeskind的犹太博物馆,Peter Eisenman和Richard Serra的Denkmal fur die ermordeten Juden Europas,以及Milla und Partner和Sasha Waltz正在建设的名为Burger in Bewegung的纪念馆。在每一个例子中,克服了传统的典型的庆祝和解释形式的经典意图的纪念碑,已经发现有利于纪念的想法,它往往是更有形和具体的一方面;另一方面,在同样的纪念维度中,引入了表演体验中最短暂和微妙的路径。
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引用次数: 0
The collection of the Russian Count Grigorij Sergeevič Stroganoff. Italian paintings from the XIIIth to the XVIth century 俄罗斯伯爵格里戈里·谢尔盖维茨·斯特罗加诺夫的收藏。十三至十六世纪的意大利绘画
Pub Date : 2013-12-23 DOI: 10.6092/ISSN.2038-6184/4069
Fabiola Cogliandro
In the late nineteenth and the first decade of the twentieth century in the Roman high society, there was no scholar, antiquarian or art dealer who did not know the collection of the RussiAn Count Grigorij Sergeevic Stroganoff (1829-1910). The work presented here intends to investigate, in particular, the section of Italian painting from the XIIIth to the XVIth century of this famous collection, with the intention of providing a first survey of its entities and return to some paintings alternate collecting experiences.
在19世纪末和20世纪头十年的罗马上流社会,没有一个学者、古董商或艺术品经销商不知道俄罗斯伯爵格里戈里·谢尔盖耶维奇·斯特罗加诺夫(1829-1910)的收藏。这里提出的工作旨在调查,特别是从十三世纪到十六世纪这个著名的收藏的意大利绘画部分,目的是提供其实体的第一次调查,并回到一些绘画交替的收集经验。
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引用次数: 1
Hypothesis for a Drawing by Filippino Lippi for the Carafa Chapel 菲利皮诺·里皮为卡拉法教堂绘制的一幅画的假设
Pub Date : 2013-12-23 DOI: 10.6092/ISSN.2038-6184/4074
M. Grasso
The sketches of the sheet inv. 617 Orn. of the Gabinetto Disegni e Stampe degli Uffizi , assigned to Filippino Lippi, appears to be the only testimony of the disappeared frescoes of the left wall of the Carafa chapel of the Roman church of Santa Maria sopra Minerva . By understanding  the cultural context represented it is possible to ascertain the connection between the Uffizi sheet, the entire pictorial cycle of the chapel and the underlying complex iconographic tradition.
这张纸的草图是617号的。指派给Filippino Lippi的Gabinetto Disegni e Stampe degli Uffizi,似乎是罗马圣玛丽亚sopra Minerva教堂卡拉法礼拜堂左墙上消失的壁画的唯一证据。通过理解所代表的文化背景,可以确定乌菲齐纸,教堂的整个图像周期和潜在的复杂图像传统之间的联系。
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引用次数: 0
Interpretative proposals for the processional standard of the St. John’s Oratory in Urbino 乌尔比诺圣约翰礼拜堂专业标准的解释性建议
Pub Date : 2013-12-23 DOI: 10.6092/ISSN.2038-6184/4064
Sara Bartolucci
The newest interpretation proposals of the processional standard of the Oratory of St. John the Baptist in Urbino, at the end of the XV Century, allow a new interpretation of the cultural and political context. Through an impressive way of presenting his image, Federico da Montefeltro tells the strategical role in the balance between the west powers and he stands out as a protagonist of the international scene, threatened by the advance of the Turkish empire.
15世纪末,乌尔比诺圣约翰施洗礼堂的专业标准的最新解释建议,允许对文化和政治背景进行新的解释。费德里科·达·蒙特费尔特罗以一种令人印象深刻的方式展示了他的形象,讲述了西方大国之间平衡的战略作用,他作为国际舞台上的主角脱颖而出,受到土耳其帝国的威胁。
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引用次数: 0
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