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- Giovanni Serafini Born in Florence, August 12, 1983 Phd in History of Modern Art (iconology of sacred art), Univers... moreGiovanni Serafini
Born in Florence, August 12, 1983
Phd in History of Modern Art (iconology of sacred art), University of Siena Title of the dissertation: “Carlo Dolci e il suo ambiente culturale”.
Degree in History of Modern Art (iconology of sacred art), University of Florence (110/110 cum laude).
Title of the dissertation: “Benozzo Gozzoli: vir bonus dicendi peritus”.
JOB POSITION
2022: Manager of the Digital catalog of the collections, Opera di Santa Maria del Fiore
From 2020: Communication and external relations, Opera di Santa Maria del Fiore.
2020-2022: Assistant Collection Manager, Opera di Santa Maria del Fiore (Museum, Cathedral, Bell Tower, Baptistery).
2016-2020: Assistant Registrar, Opera del Duomo Museum (Florence).
From 2017: Co-director of the Scientific Magazine: “Avere Disegno”
PAST JOB POSITIONS
2014: Professor of Art and Theology at Higher Institute of Religious Studies “Beato Gregorio X” (Arezzo), class: “Rappresentazione della Mistica e della Spiritualità Cristiana” (Rappresentation of Christian Mysticism and Spirtuality).
2013: Professor of History of Modern Art, University of Florence.
2013-16: Professor of History of Art, Scuola di formazione per guide turistiche “La base di San Lorenzo” in Florence.
2009-2018: Member of the Art Historians team for the cataloguing of the art-works of the Archdiocese of Florence.edit
Research Interests: Art and Confraternitas
Historical information,s stylistic analysis and iconographical interpretation of: Beato Angelico, Armadio degli argenti (pannel 1); Zanobi Strozzi, Scuola di Sant'Alberto Magno from the Museo di San Marco in Florence. From the catalogue... more
Historical information,s stylistic analysis and iconographical interpretation of:
Beato Angelico, Armadio degli argenti (pannel 1); Zanobi Strozzi, Scuola di Sant'Alberto Magno
from the Museo di San Marco in Florence.
From the catalogue of the exhibition: Fra Angelico et les Maîtres de la lumière (Musée Jacquemart-André, 2011-2012)
Beato Angelico, Armadio degli argenti (pannel 1); Zanobi Strozzi, Scuola di Sant'Alberto Magno
from the Museo di San Marco in Florence.
From the catalogue of the exhibition: Fra Angelico et les Maîtres de la lumière (Musée Jacquemart-André, 2011-2012)
Research Interests:
Historical description and iconographical interpretation of illuminated initials from Psalter 2 (San Marco Museo, Florence) by Beato Angelico and workshop. From the exhibition catalogue
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Atti del Convegno internazionale di studi sugli amboni istoriati toscani (Firenze, 19-28 maggio 2016 )
Proceedings of the international conference on Tuscan historiated ambos (Florence, 19-28 May 2016 )
Proceedings of the international conference on Tuscan historiated ambos (Florence, 19-28 May 2016 )
Research Interests:
Research Interests:
Ideal portrait of Beato Angelico; Allegory of the Sincerity; Graphic study of the hand of the Allegory of the Sincerity; Emblems of Andrea Dolci; Ecce Homo (collection of the archdiocesan of Florence); Ecce Homo (Gallerie degli Uffizi,... more
Ideal portrait of Beato Angelico; Allegory of the Sincerity; Graphic study of the hand of the Allegory of the Sincerity; Emblems of Andrea Dolci; Ecce Homo (collection of the archdiocesan of Florence); Ecce Homo (Gallerie degli Uffizi, Galleria Palatina); Portrait of Serafina Pezzuoli; Drawing of a young man with a book and spiritual exercise
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From the catalog of the exhibition (Carlo Dolci, 1616-1687) an essay analyzing the work of Carlo Dolci from the perspective of his religious culture
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An interpretative proposal for the so-called "Portrait of a poet" by Carlo Dolci which opens a glimpse of the relationship between the painter, his art and the medical-Galilean environments of the Florence of the time, through his... more
An interpretative proposal for the so-called "Portrait of a poet" by Carlo Dolci which opens a glimpse of the relationship between the painter, his art and the medical-Galilean environments of the Florence of the time, through his friendship with the doctor Antonio Lorenzi.
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A study of Carlo Dolci's collection of drawings shared with his daughter/student Agnese, which opens a glimpse of an unprecedented aspect of the culture and thought of this seventeenth-century Florentine master. The book consists of a... more
A study of Carlo Dolci's collection of drawings shared with his daughter/student Agnese, which opens a glimpse of an unprecedented aspect of the culture and thought of this seventeenth-century Florentine master.
The book consists of a collection of essays focused on Tuscan graphics, from the 15th to the 18th century, understood as an expression of the artist's "freedom" for his entertainment or for his circle of loved ones and patrons. This collection of studies aims to pay attention to the graphic works which are celebratory expressions of the value given to the imagination and to rest in less impervious places of the spirit and intellect and which therefore sometimes use a "vulgar" and anti-rhetorical language, even going so far as to prefer the way of joking and playing. Drawing therefore as a tool - sometimes cynical - to enjoy the present and the small pleasures it offers, "getting down" from too lofty thoughts and occupations, to find a very human peace.
The book consists of a collection of essays focused on Tuscan graphics, from the 15th to the 18th century, understood as an expression of the artist's "freedom" for his entertainment or for his circle of loved ones and patrons. This collection of studies aims to pay attention to the graphic works which are celebratory expressions of the value given to the imagination and to rest in less impervious places of the spirit and intellect and which therefore sometimes use a "vulgar" and anti-rhetorical language, even going so far as to prefer the way of joking and playing. Drawing therefore as a tool - sometimes cynical - to enjoy the present and the small pleasures it offers, "getting down" from too lofty thoughts and occupations, to find a very human peace.
Research Interests:
Introduction and catalog with reasoned captions of the works of art exhibited in the exhibition on the art treasures restored by the Municipality of Figline Valdarno: a journey through history and the history of art of an important... more
Introduction and catalog with reasoned captions of the works of art exhibited in the exhibition on the art treasures restored by the Municipality of Figline Valdarno: a journey through history and the history of art of an important territory on the outskirts of Florence
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Description of the works of art that furnished the rooms of the Compagnia di San Benedetto Bianco in Florence, and their iconographic and iconological interpretation based on the writings of the spiritual guides of that institution. Five... more
Description of the works of art that furnished the rooms of the Compagnia di San Benedetto Bianco in Florence, and their iconographic and iconological interpretation based on the writings of the spiritual guides of that institution. Five catalogue's records by the author
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A stylistic, iconographic and iconological reading of Carlo Dolci's work through the hermeneutical key of Carmelite and Dominican mystical literature, hinged on the theme of spiritual "drought"
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An iconographic and iconological reading of the theological meanings of the jambs of the bronze frame of the Gate of Paradise by Lorenzo Ghiberti on the syntactic track of ancient classical oratory
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The life and iconography of Santa Maria Maddalena de' Pazzi, in seventeenth-century Florence
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The Medici grand duchesses in the seventeenth century, the theme of spiritual purity as a moral order and aesthetic canon in the artistic events of Villa La Quiete
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A proposal for an iconographic and iconological interpretation of the three figures that adorn the front of the ambo (or pulpit) of the basilica of San Miniato al Monte in Florence: not evangelists, but a symbolic representation of the... more
A proposal for an iconographic and iconological interpretation of the three figures that adorn the front of the ambo (or pulpit) of the basilica of San Miniato al Monte in Florence: not evangelists, but a symbolic representation of the salvific value of the Gospel and the paschal victory to which it leads
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Il libro esamina l’intera opera di Benozzo Gozzoli interpretandone la logica lessicale in relazione ai principi dell’oratoria classica. Lo studio si compone di due sezioni: nella prima parte il linguaggio del pittore è esaminato in modo... more
Il libro esamina l’intera opera di Benozzo Gozzoli interpretandone la logica lessicale in relazione ai principi dell’oratoria classica. Lo studio si compone di due sezioni: nella prima parte il linguaggio del pittore è esaminato in modo trasversale usando la chiave dei principi ciceroniani e della teologia domenicana e nella seconda l’ipotesi ermeneutica proposta viene applicata alla interpretazione dei cicli in affresco di Montefalco, Firenze, San Gimignano, Pisa, Certaldo e Castelfiorentino.
The book examines the entire works of Benozzo Gozzoli, interpreting its lexical logic in relation to the principles of classical oratory. The study is divided into two sections: in the first part, the painter's language is examined in a transversal manner using the key of Ciceronian principles and Dominican theology, and in the second, the proposed hermeneutic hypothesis is applied to the interpretation of fresco cycles in Montefalco, Florence, San Gimignano, Pisa, Certaldo, and Castelfiorentino.
The book examines the entire works of Benozzo Gozzoli, interpreting its lexical logic in relation to the principles of classical oratory. The study is divided into two sections: in the first part, the painter's language is examined in a transversal manner using the key of Ciceronian principles and Dominican theology, and in the second, the proposed hermeneutic hypothesis is applied to the interpretation of fresco cycles in Montefalco, Florence, San Gimignano, Pisa, Certaldo, and Castelfiorentino.