ermanna panizon

The paper analyzes the use of the partitions and
of the lexicon of rhetoric in the Renaissance
theory of painting. These ‘borrowings’ between
sister arts highlight the changes, which took place
between the first decades of the fifteenth and the
last decades of the sixteenth century, in the way
of understanding and describing the role of the
artist in the creation of a painting. Alberti’s
De Pictura, the dialogues of Paolo Pino and
Ludovico Dolce, the Vite of Vasari and the
Riposo by Raffaello Borghini will be examined,
with particular attention to the meaning attributed
to the term ‘invention’ in the context of visual arts.

This article aims at presenting a painting by Cesare dell'Acqua (Piran 1821-Bruxelles 1905) as an interesting example of the nineteenth-century genre of history painting depicting scenes from the lives of Renaissance artists. The analysis of this work, that has never been examined by the critics, will concentrate on Giorgione's fortuna in ninteenth-century Venice, especially as a subject of this genre of representation. The painting was exhibited at the Cercle Artistique et Littéraire di Bruxelles in 1861 with the title Giorgione stupisce Tiziano e Giovanni Bellini and is today held in a private collection in Trieste. Cesare dell'Acqua has depicted Giorgione in the act of painting under the gaze of a boy, Titian, and an old man, Giovanni Bellini. Dell'Acqua's work thus presents the triad of Venetian Renaissance art highlighting Giorgione's pivotal role and reflecting an iconographic theme that is typical of Venetian and Giorgione's painting, the 'Three Ages of Man'. The contribution analyses the visual and literary sources of dell'Acqua's composition and compares it with other coeval paintings of the same genre, with the aim of deepening the fortuna of Renaissance artists through this new evidence.

This article aims at analysing a series of fifteenth and sixteenth centuries paintings that present the theme of the Flight of Aeneas according to an unusual iconography, apparently ‘unfaithful’ to the text of the Aeneid, in particular regarding the depiction of Ascanius and Creusa. The paintings that deviate from the virgilian description of the role of Ascanius during the flight offer a sort of visual commentary to the text, because they anticipate the final destiny of Aeneas’ descendants. Whereas, the iconographic variation that involves Creusa stems from an exegetic note, whose influence hasn’t been studied yet in connection to visual arts. I will primarily deal with a fresco painting that has been recently brought to the attention of the critics and whose unconventional treatment of the virgilian theme still awaits a thorough iconographic analysis, that is the Flight of Aeneas by Ludovico Carracci in Palazzo Ratta, Bologna.

In questo intervento intendo indagare il ruolo dell’osservatore nel determinare il significato delle opere figurative di tema
pastorale prodotte in Veneto nei primi decenni del Cinquecento, in particolare concentrando l’attenzione su i disegni e le
stampe di Giulio e Domenico Campagnola. Infine presenterò un dipinto su tavola della Barnes Foundation di
Philandelphia, attribuito alla scuola di Tiziano, che finora non ha ricevuto adeguata attenzione critica.

Lunedì 27 e martedì 28 giugno 2022 si terrà nella Sala Conferenze della Biblioteca Statale “Stelio Crise” (Largo Papa Giovanni XXIII, 6) il Convegno internazionale "itur in antiquam silvam. Ricezione e Tradizione dell’Antico”, organizzato dal Dipartimento di Studi Umanistici con la cooperazione della Biblioteca Statale e del CeTRA-Centro di Studi sulla Tradizione e Ricezione dell'Antico.

Si tratta del terzo incontro dedicato a questi temi, dopo i convegni ‘Ad modum recipientis’ del 2017 e ‘Vivendo vincere saecula’ del 2020.

L’evento è anche pensato come un riconoscimento al contributo fondamentale che Franco Serpa, docente all’Università di Trieste di Letteratura latina e Storia della Musica per molti anni, ha dato e continua a dare allo studio della cultura antica e della sua vita moderna e contemporanea.

Si potrà partecipare ai lavori del convegno sia in presenza sia a distanza, attraverso la piattaforma istituzionale Teams MS.
Il link dedicato sarà reso disponibile dal 26 giugno sul seguente sito: cetra.units.it