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Our study seeks to highlight the relations between literature and literature translated into a precise literary reception system. We will examine the case of the Spanish and Italian literary avantgarde in order to ascertain what relationships exist in the process of translating a literary text embedded in an ideology. We will see how certain authors such as Sanguineti, Balestrini, Torre, Salvat-Papasseit are translated and introduced into the other literature from an ideological as well as a purely literary perspective. The introduction of translated writing into a different socio-literary context produces situations that are not always foreseen and predictable. In the avant-garde production between Spain and Italy, the evaluation is normally skewed towards different and divergent acceptances. [ABSTRACT FROM AUTHOR]

The naturalistic perspective has been formed in the human subconscious since the beginning of history. In the Renaissance period, this attitude, alongside the scientific approach, gradually led to greater perception and understanding of nature. Artists' efforts to represent the objectives made Renaissance art remarkably distinct from previous periods. A movement that prioritized man and nature, and regarding two main trends of naturalism, one based on experience and observation of nature, in Northern Europe, and the other, based on mathematics, in Italy, took a step towards discovering the universe. Accordingly, the study of the perspective of an artist who has faced these trends in his professional activity is considered an important issue in the analysis of the works of illustration of this period, which is pursued in this study aimed at Albrecht Dürer's works. Dürer, an artist from Nuremberg, is considered one of the greatest artists of the Northern Renaissance due to his paintings, engravings, scientific books based on anatomy and perspective, and innovations in printing techniques. He was the first artist outside of Italy who was able to achieve international fame in his time. He dedicated his life in search for the world's beauty. A world full of mystery, and the desire to understand it made him travel, observe nature, and get to know other artists. By retaining what he had learned in his hometown and his perception of Italian artists' viewpoint, he effectively combined these two critical concepts. The main purpose of this study is to see how far the artist takes this naturalistic idea that existed in Northern Europe, and in what cases he refers to Italian artists and theorists. For this purpose, the theoretical discussion includes the description of the definitions and basic concepts in the field of nature and its role in art, before and after the Renaissance, and the research focus is devoted to the investigation and analysis of visual, mathematical, and nature-related expressive elements. One of the most important findings of this study is the artist's different approach. Undoubtedly, Dürer has always been fascinated by nature. By extending his repertoire in various techniques, he defined an independent identity for nature's elements in his artworks. This point of view basically refers to various approaches concerning each element of nature (trees, plants, and animals). Nature is expressive, and this is the artist's duty to observe, search and take steps toward discovering it. He works ambitiously in representing landscapes with watercolor technique, which shows that he is not obsessed solely with forms. His depiction of color, light, and atmosphere is reminiscent of Impressionist artworks. Also, the expression of phenomena and natural cycle of life is another aspect of his work. On the other hand, in prints, the artist's focus is not only on the story but also on proportions, perspective, and details. Considering the influence of the artist on the aesthetic standards of the Renaissance, some of his later illustrations present a new form of artistic creation, a depiction that was based on the artist's perception. [ABSTRACT FROM AUTHOR]

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The figure of Homer in Raphael's "Parnassus" is singular for the combination of blindness, divine inspiration, improvisational song, and an amanuensis to immortalize the performance. This article examines humanist biographies of Homer to identify the pre-text of Raphael's Homer and to determine if it reflects the political influence of Julius II. Though no one source can be asked to bear such responsibility, the article gestures to the doctrine of divine madness in Laurentian Florence, in which vatic authority derives from Apollo. Raphael may have therefore conceived of Homer as Apollo's priest to give visual endorsement to Julius's Apollinian ideology. [ABSTRACT FROM AUTHOR]

The article is dedicated to revealing some romantic trends in the artistic system of Russian classicism of the first third of the 19th century, manifested in the work of masters of the historical genre - Vasily K. Shebuev, Orest A. Kiprensky, Pyotr V. Basin and others. And at the highest stage of the development of style, in the epoch of the Empire, Russian painting didnotfind the rigid forms that were characteristic of French neoclassicism. The structure of the romantic contemplation penetrated into creations created according to the laws of classical artistic vocabulary. Italy, where pensioners were mostly sent in the first half of the 19th century, paradoxically turned out to be a place where, along with immersion in the classical heritage, young painters awakened romantic impulses and aspirations. The obligatory interest in antiques, mythology and classics acquired a romantically enthusiastic and personal character. Romantic ideas found expression in different forms, including in the genre of portrait, which were addressed by historical painters. Due to the realistic method, the classical system was enriched and developed, increasing its viability. The article focuses on the history of the creation and artistic decision of the painting Earthquake in Rocca di Papa (1830, The State Russian Museum) by P.V. Basin - romantic on the topic, ahead of the time of creation of the canvas Karl Bryullov, dedicated to natural disaster, but remaining on the periphery of scientific interest. The study was carried out with the financial support of the Russian Foundation for Basic Research as part of the scientific project No. 19-012-00459 "Russian historical genre 18 - first half of the 19th century. Theory and masters". [ABSTRACT FROM AUTHOR]

Graduates of the landscape class of the Imperial Academy of Arts, Fyodor M. Matveev and Sylvester F. Shchedrin continued their studies in Italy as pensioners of the St. Petersburg Academy of Arts and worked there until their death. Those artists, who were contemporaries and worked on similar subjects, are often opposed to each other as representatives of classic and romantic art. A comparative study of the creative method of those painters testifies to the complex interweaving of stylistic trends in Russian landscape painting of the early 19th century. Both landscape painters appear in the context of the era as romantic classicists of a kind. A comparison of their works reveals that their artistic thought process had not only differences, but also similarities determined by the academic traditions of the genre. In this context, Matveyev acts as the direct predecessor of Shchedrin, who, striving to overcome academic dogmas and expressing a romantic worldview, preserves the classical clarity and antique spirit of the landscape image. [ABSTRACT FROM AUTHOR]

Duke Alfonso d'Este commissioned subjects from ancient texts to decorate his private suite, but a single episode from a literary source has yet to be satisfactorily argued of his first commission, Giovanni Bellini's "Feast of the Gods." A broader consideration of the sources, however, reveals that the guests in attendance at this painted fête are not a random collection of deities. Rather, their affiliations and proximity to each other appear well grounded in Macrobius's "Saturnalia" and in Ovid's "Fasti," and uncover new pictorial meaning for this much-researched canvas. Moreover, this subject meaningfully connects this painting with the duke's later commissions from Titian, particularly with his "Bacchanal of the Andrians." Further study into the Este family history and the patron's aims and inclinations explains problematic iconographical details within the painting, and clarifies Bellini's allegory for Duke Alfonso, of wealth through horticultural abundance for Ferrara. [ABSTRACT FROM AUTHOR]

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Abstract: A comprehensive understanding of both the chemical composition and physical behaviour of modern materials is an important consideration in devising correct conservation treatments for contemporary artworks. To this end, national and international research projects and networks have been established that deal mainly with the preservation, conservation, and understanding of materials used by contemporary artists. This paper focuses on the self-taught artist Fernando Melani (1907–1985), one of the precursors of the Poor Art artistic movement in Italy, and for the first time provides a scientific viewpoint on the artist’s materials and works. The analyses, which mainly focus on the pigments/dyes found in his home-studio, were carried out primarily by using Fourier Transform Infrared Spectroscopy (FT-IR) and ultraviolet, visible, and near-infrared Fibre Optic Reflectance Spectroscopy (UV–Vis–NIR FORS). This paper emphasises the performance of FT-IR and FORS in the identification of contemporary artistic materials, since these two techniques have been found to produce highly complementary data. The use of both of these was required in order to obtain a comprehensive understanding of the composition of Melani’s materials. Furthermore, one of his artworks, named by Melani himself with its inventory number N. Inv. 2625 (1981), was investigated in situ with the sole use of the FORS technique. The results showed that Melani used traditional inorganic pigments as well as modern organic dyes. Calcite and barite were used as fillers and extenders. Sulphur and abrasive powder were also found, thus confirming his use of a large variety of non-conventional artists’ materials. [Copyright &y& Elsevier]

A new reading of textual evidence roots the imagery of Michelangelo's Sistine Ceiling frescoes in contemporary theological commitment to the doctrine of the Immaculate Conception. The cluster of abstract metaphors contained in a sermon written by Pope Sixtus IV, dedicated to the Immaculate Conception, and the liturgical and devotional texts the sermon inspired, offers foundational source material for the ceiling programme. It is proposed that such an Immaculacy message exists alongside and mutually supports Incarnationist and Eucharistic ones, all rooted in a metaphor of bodily perfection that Michelangelo ‘figures’ at the level of gender as well. [ABSTRACT FROM AUTHOR]

A sample of 33 eminent Italian writers was studied. They were nominees of three of the most important literary Italian awards (Strega, Campiello, and Viareggio). The Seasonal Pattern Assessment Questionnaire was mailed to 105 writers during the period October 2003 and January 2004, of whom 39 replied. 33 (M age =54.5 yr., SD= 12.5; 8 women and 25 men) completed the questionnaire. Among respondents, spring and summer months showed highest ratings of "feel best." During the summer a decline in creativity was not significant; respondents also reported sleeping least. Scores on the Global Seasonality Score suggested writers appeared to show higher seasonal sensitivity than the general population. Seasonal changes were considered as a problem by a majority of them. Although writers showed high seasonal sensitivity, no significant relationship was found between the seasonal pattern of mood and self-reported creativity. [ABSTRACT FROM AUTHOR]

The article discusses the impact of a voyage to Italy on English poet Philip Sidney's work, particularly noting the use of Italian themes and motifs in his poetry. It addresses his exposure to visual arts in Italy, Sidney's correspondence with French diplomat Hubert Languet; and the literary and intellectual sources of Sidney's poem "Apology for Poetry."

The article offers information about the sites where artist James McNeill Whistler did his etchings in Venice, Italy. It is stated that Whistler dwelt in Venice from September 1879 to November 1880. Due to Whistler's trial with John Ruskin in November 1878, the former's artistic labour and concept was questioned. Furthermore, his bankruptcy in May 1879 made him decide to delegate his twelve etchings to the Fine Art Society in London, England. The author denotes that the three main areas of the city in which Whistler worked includes Campo Santa Margarita.

The article focuses on the Latin translation of the Arabic text De imaginibus caelestibus by Guglielmo Raimondo de Moncada of Italy. The piece, as cited, was written by Abu Ali ibn al-Hassan ibn al-HĀtim. However, nothing is known about the author except for the statement made by Guglielmo in the canons to his book on eclipses, that he has seen a solar eclipse in Spain. The translation of the De imaginibus caelestibus contains an introduction wherein the author described a golden lion talisman made by his father. Moreover, the illustrations of the talismans were at the same time completed with the writing of the text.

The article discusses works by Publius Annius Florus of Viterbo, Italy. Annius, as cited, was a trained theologian and a Biblical exegete who stands in the tradition of Dominican learning. Historical landscape to Annius is one of ruins, including remains of buildings, buried inscriptions and fragments of texts. He believes that the best type of historical evidence are names and inscriptions. The author defined history in terms of substance and the modes of its individuation. History to him consists of three parts, namely narratio, which is the substance, chorographia and chronographia. In his work "Etrusca et Italica Chronographia," the author invokes the methodological guidelines demonstrated in his "Methasthenes" to create a chronological framework for Etruscan history.

The article reports on the exhibition held in Padua, Italy in the setting of the Palazzo della Ragione and its accompanying catalogue titled "Luca Carlevarijs e la veduta veneziana del Settecento." It is stated that both the exhibition and the catalogue are devoted to the work of Luca Carlevarijs which reflect the birth of topographical painting in Venice in the 18th century. It is indicated Carlevarijs is the pioneer of a new interpretation of view painting which led the course of the century to a continuous commingling of the two complementary genres of imaginary view.