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[ subject:"Fine Arts." ]
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Venetian ceiling painting, 1665-1730.
~
New York University.
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Venetian ceiling painting, 1665-1730.
紀錄類型:
書目-語言資料,印刷品 : Monograph/item
正題名/作者:
Venetian ceiling painting, 1665-1730./
作者:
Hannegan, Barry.
面頁冊數:
606 p.
附註:
Adviser: Donald Posner.
Contained By:
Dissertation Abstracts International51-02A.
標題:
Fine Arts. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9016269
Venetian ceiling painting, 1665-1730.
Hannegan, Barry.
Venetian ceiling painting, 1665-1730.
- 606 p.
Adviser: Donald Posner.
Thesis (Ph.D.)--New York University, 1989.
The appendix includes an exhaustive check list of all the known, surviving ceilings in Venice for the period.Subjects--Topical Terms:
891065
Fine Arts.
Venetian ceiling painting, 1665-1730.
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Venetian ceiling painting, 1665-1730.
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606 p.
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Adviser: Donald Posner.
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Source: Dissertation Abstracts International, Volume: 51-02, Section: A, page: 0323.
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Thesis (Ph.D.)--New York University, 1989.
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The appendix includes an exhaustive check list of all the known, surviving ceilings in Venice for the period.
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During the period, Venice first became aware of central Italian illusionistic ceiling painting and gradually expended that familiarity until by the period's end, Venice could claim an important school and style of ceiling decoration. Although the study concentrates on the works in Venice proper, ceilings elsewhere in Italy--the Veneto, Bologna, Florence, and Rome--and other parts of Europe are discussed and analyzed.
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The study's initial date was determined by the first appearance of Pietro da Cortona's influence in ceilings in Venice and Padua in 1665 and by the publication in 1664 if Marco Boschini's Minere della pittura which serves as a guide to ceilings already existing in Venice. The terminal date was suggested by the completion in 1732 of Zanetti's augmented, up-to-date edition of Boschini and by the appearance of Tiepolo's first group of mature ceilings in Milan in 1731.
520
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The first section of the text discusses Venice's conservatism and tardiness in appreciating baroque developments elsewhere. The retention of the typical compartmented ceiling of the 16th century into the 18th century is noted with examples, and attention is drawn to a 17th century type, possibly the invention of Longhena, having very deep coving that supports one or more canvases at the ceiling's center.
520
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About 100 pages are given to a discussion of Brescian and Bolognese quadratura painting in Venetian churches and palaces. It is most often the Bolognese variety that is used; it appears first to have established its popularity in villa decoration. It is also associated with the introduction of the salone into Venetian palace design, where such ceremonial halls had not existed before the late 17th century.
520
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Part three examines the influences of Pietro da Cortona, Luca Giordano, and G. B. Gaulli in Venice by means of analyses of a number of works by followers and students. A growing taste for extensive illusionistic painting can be noted in the last couple decades of the Seicento.
520
$a
The final part of the text details the accomplishments of five major artists of the early 18th century--Lodovico Dorigny (who emerges as an important contributor around 1700), Ricci, Gian Antonio Pellegrini, Piazzetta, and G. B. Tiepolo, with whose early ceilings the study concludes.
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School code: 0146.
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http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9016269
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