Podcast appearances and mentions of leon battista alberti

“I met Miles backstage at the Hollywood Bowl—the last gig he ever played. Miles asked, “Who's that white boy?” I introduced him to Bob Thiel Jr., whose father produced Coltrane. When Miles discovered this, he said, “Well, you can hang,” following this friendly gesture with me walking Miles to his car. I did not know he was dying. I kissed him on both cheeks. And 18 days later, he was gone.”Peter Weller is a renowned theater and Hollywood actor. His performances in films such as RoboCop and Naked Lunch garnered him much critical and commercial success over the years. His television acting and directing credits include Sons of Anarchy, Dexter, and 24. Unbeknownst to most, Weller has spent decades honing his appreciation for the visual and musical arts through his studies of the Renaissance era. Earning a Master's in Roman architecture from Syracuse University before moving on to a PhD in Renaissance Art from UCLA. Dr. Weller has just written a book, Leon Battista Alberti in Exile: Tracing the Path to the First Modern Book on Painting.Weller has also contributed an essay remembering his friend Miles Davis for Jazz and Literature. The book, co-edited by Mia Funk, features many of her interviews and artworks, as well as poetry, art, and essays by our contributors.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Peter Weller is a renowned theater and Hollywood actor. His performances in films such as RoboCop and Naked Lunch garnered him much critical and commercial success over the years. His television acting and directing credits include Sons of Anarchy, Dexter, and 24. Unbeknownst to most, Weller has spent decades honing his appreciation for the visual and musical arts through his studies of the Renaissance era. Earning a Master's in Roman architecture from Syracuse University before moving on to a PhD in Renaissance Art from UCLA. Dr. Weller has just written a book, Leon Battista Alberti in Exile: Tracing the Path to the First Modern Book on Painting.“Art transcends time and culture—the beauty of it. People worry about the world now. I remind them to go live in 1968, a time of preparing to go to the moon while people died for their beliefs. This is a difficult time in a republic that's supposed to be free, but music was leading the way. It's actually harmonious, transcending culture and time. That might be the greatest gift of our transcendence.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“I met Miles backstage at the Hollywood Bowl—the last gig he ever played. Miles asked, “Who's that white boy?” I introduced him to Bob Thiel Jr., whose father produced Coltrane. When Miles discovered this, he said, “Well, you can hang,” following this friendly gesture with me walking Miles to his car. I did not know he was dying. I kissed him on both cheeks. And 18 days later, he was gone.”Peter Weller is a renowned theater and Hollywood actor. His performances in films such as RoboCop and Naked Lunch garnered him much critical and commercial success over the years. His television acting and directing credits include Sons of Anarchy, Dexter, and 24. Unbeknownst to most, Weller has spent decades honing his appreciation for the visual and musical arts through his studies of the Renaissance era. Earning a Master's in Roman architecture from Syracuse University before moving on to a PhD in Renaissance Art from UCLA. Dr. Weller has just written a book, Leon Battista Alberti in Exile: Tracing the Path to the First Modern Book on Painting.Weller has also contributed an essay remembering his friend Miles Davis for Jazz and Literature. The book, co-edited by Mia Funk, features many of her interviews and artworks, as well as poetry, art, and essays by our contributors.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Peter Weller is a renowned theater and Hollywood actor. His performances in films such as RoboCop and Naked Lunch garnered him much critical and commercial success over the years. His television acting and directing credits include Sons of Anarchy, Dexter, and 24. Unbeknownst to most, Weller has spent decades honing his appreciation for the visual and musical arts through his studies of the Renaissance era. Earning a Master's in Roman architecture from Syracuse University before moving on to a PhD in Renaissance Art from UCLA. Dr. Weller has just written a book, Leon Battista Alberti in Exile: Tracing the Path to the First Modern Book on Painting.“Art transcends time and culture—the beauty of it. People worry about the world now. I remind them to go live in 1968, a time of preparing to go to the moon while people died for their beliefs. This is a difficult time in a republic that's supposed to be free, but music was leading the way. It's actually harmonious, transcending culture and time. That might be the greatest gift of our transcendence.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“I met Miles backstage at the Hollywood Bowl—the last gig he ever played. Miles asked, “Who's that white boy?” I introduced him to Bob Thiel Jr., whose father produced Coltrane. When Miles discovered this, he said, “Well, you can hang,” following this friendly gesture with me walking Miles to his car. I did not know he was dying. I kissed him on both cheeks. And 18 days later, he was gone.”Peter Weller is a renowned theater and Hollywood actor. His performances in films such as RoboCop and Naked Lunch garnered him much critical and commercial success over the years. His television acting and directing credits include Sons of Anarchy, Dexter, and 24. Unbeknownst to most, Weller has spent decades honing his appreciation for the visual and musical arts through his studies of the Renaissance era. Earning a Master's in Roman architecture from Syracuse University before moving on to a PhD in Renaissance Art from UCLA. Dr. Weller has just written a book, Leon Battista Alberti in Exile: Tracing the Path to the First Modern Book on Painting.Weller has also contributed an essay remembering his friend Miles Davis for Jazz and Literature. The book, co-edited by Mia Funk, features many of her interviews and artworks, as well as poetry, art, and essays by our contributors.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Peter Weller is a renowned theater and Hollywood actor. His performances in films such as RoboCop and Naked Lunch garnered him much critical and commercial success over the years. His television acting and directing credits include Sons of Anarchy, Dexter, and 24. Unbeknownst to most, Weller has spent decades honing his appreciation for the visual and musical arts through his studies of the Renaissance era. Earning a Master's in Roman architecture from Syracuse University before moving on to a PhD in Renaissance Art from UCLA. Dr. Weller has just written a book, Leon Battista Alberti in Exile: Tracing the Path to the First Modern Book on Painting.“Art transcends time and culture—the beauty of it. People worry about the world now. I remind them to go live in 1968, a time of preparing to go to the moon while people died for their beliefs. This is a difficult time in a republic that's supposed to be free, but music was leading the way. It's actually harmonious, transcending culture and time. That might be the greatest gift of our transcendence.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Peter Weller is a renowned theater and Hollywood actor. His performances in films such as RoboCop and Naked Lunch garnered him much critical and commercial success over the years. His television acting and directing credits include Sons of Anarchy, Dexter, and 24. Unbeknownst to most, Weller has spent decades honing his appreciation for the visual and musical arts through his studies of the Renaissance era. Earning a Master's in Roman architecture from Syracuse University before moving on to a PhD in Renaissance Art from UCLA. Dr. Weller has just written a book, Leon Battista Alberti in Exile: Tracing the Path to the First Modern Book on Painting.“Art transcends time and culture—the beauty of it. People worry about the world now. I remind them to go live in 1968, a time of preparing to go to the moon while people died for their beliefs. This is a difficult time in a republic that's supposed to be free, but music was leading the way. It's actually harmonious, transcending culture and time. That might be the greatest gift of our transcendence.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“I met Miles backstage at the Hollywood Bowl—the last gig he ever played. Miles asked, “Who's that white boy?” I introduced him to Bob Thiel Jr., whose father produced Coltrane. When Miles discovered this, he said, “Well, you can hang,” following this friendly gesture with me walking Miles to his car. I did not know he was dying. I kissed him on both cheeks. And 18 days later, he was gone.”Peter Weller is a renowned theater and Hollywood actor. His performances in films such as RoboCop and Naked Lunch garnered him much critical and commercial success over the years. His television acting and directing credits include Sons of Anarchy, Dexter, and 24. Unbeknownst to most, Weller has spent decades honing his appreciation for the visual and musical arts through his studies of the Renaissance era. Earning a Master's in Roman architecture from Syracuse University before moving on to a PhD in Renaissance Art from UCLA. Dr. Weller has just written a book, Leon Battista Alberti in Exile: Tracing the Path to the First Modern Book on Painting.Weller has also contributed an essay remembering his friend Miles Davis for Jazz and Literature. The book, co-edited by Mia Funk, features many of her interviews and artworks, as well as poetry, art, and essays by our contributors.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“I met Miles backstage at the Hollywood Bowl—the last gig he ever played. Miles asked, “Who's that white boy?” I introduced him to Bob Thiel Jr., whose father produced Coltrane. When Miles discovered this, he said, “Well, you can hang,” following this friendly gesture with me walking Miles to his car. I did not know he was dying. I kissed him on both cheeks. And 18 days later, he was gone.”Peter Weller is a renowned theater and Hollywood actor. His performances in films such as RoboCop and Naked Lunch garnered him much critical and commercial success over the years. His television acting and directing credits include Sons of Anarchy, Dexter, and 24. Unbeknownst to most, Weller has spent decades honing his appreciation for the visual and musical arts through his studies of the Renaissance era. Earning a Master's in Roman architecture from Syracuse University before moving on to a PhD in Renaissance Art from UCLA. Dr. Weller has just written a book, Leon Battista Alberti in Exile: Tracing the Path to the First Modern Book on Painting.Weller has also contributed an essay remembering his friend Miles Davis for Jazz and Literature. The book, co-edited by Mia Funk, features many of her interviews and artworks, as well as poetry, art, and essays by our contributors.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Peter Weller is a renowned theater and Hollywood actor. His performances in films such as RoboCop and Naked Lunch garnered him much critical and commercial success over the years. His television acting and directing credits include Sons of Anarchy, Dexter, and 24. Unbeknownst to most, Weller has spent decades honing his appreciation for the visual and musical arts through his studies of the Renaissance era. Earning a Master's in Roman architecture from Syracuse University before moving on to a PhD in Renaissance Art from UCLA. Dr. Weller has just written a book, Leon Battista Alberti in Exile: Tracing the Path to the First Modern Book on Painting.“Art transcends time and culture—the beauty of it. People worry about the world now. I remind them to go live in 1968, a time of preparing to go to the moon while people died for their beliefs. This is a difficult time in a republic that's supposed to be free, but music was leading the way. It's actually harmonious, transcending culture and time. That might be the greatest gift of our transcendence.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Peter Weller is a renowned theater and Hollywood actor. His performances in films such as RoboCop and Naked Lunch garnered him much critical and commercial success over the years. His television acting and directing credits include Sons of Anarchy, Dexter, and 24. Unbeknownst to most, Weller has spent decades honing his appreciation for the visual and musical arts through his studies of the Renaissance era. Earning a Master's in Roman architecture from Syracuse University before moving on to a PhD in Renaissance Art from UCLA. Dr. Weller has just written a book, Leon Battista Alberti in Exile: Tracing the Path to the First Modern Book on Painting.“Art transcends time and culture—the beauty of it. People worry about the world now. I remind them to go live in 1968, a time of preparing to go to the moon while people died for their beliefs. This is a difficult time in a republic that's supposed to be free, but music was leading the way. It's actually harmonious, transcending culture and time. That might be the greatest gift of our transcendence.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Wykład Barbary Tichy, VII Festiwal Sądziedzki „Wespół w Zespół dla Solca”, 25 czerwca 2020 [0h58min]Więcej: https://wszechnica.org.pl/wyklad/o-pejzazu-romantycznym/Barbara Tichy w nagraniu wykładu opowiada o malarstwie krajobrazowym w XIX wieku. Popularny wówczas pejzaż romantyczny sprawił, że stulecie to uchodzi za „złoty wiek” tego gatunku malarskiego. Historyczka sztuki opisuje cechy wyróżniające romantyczne malarstwo krajobrazowe oraz komentuje prace jego polskich reprezentantów, które znajdują się w zbiorach Muzeum Narodowego w Warszawie. Prelekcja odbyła się w ramach VII Festiwalu Sąsiedzkiego „Wespół w Zespół dla Solca”.Zainteresowanie artystów naturą można zaobserwować już w sztuce starożytnej. Pejzaż był jednak początkowo swego rodzaju dodatkiem, tłem dla głównego tematu dzieła. Jako osobny gatunek malarski zaczął się kształtować dopiero w XV w. Renesansowy humanista Leon Battista Alberti (1404-1472) w traktacie o malarstwie De Pittura napisał, że obraz powinien być oknem na świat.– Praktycznie to okno się otwiera. Stojąc przed obrazem, nasz wzrok ma podróżować w głąb, odkrywać dalekie przestrzenie – mówi Barbara Tichy.Pierwszym „złotym wiekiem” malarstwa krajobrazowego było XVII stulecie, przede wszystkim za sprawą artystów holenderskich. Swój drugi okres rozkwitu ten gatunek malarski miał w XIX wieku, kiedy popularny stał się pejzaż romantyczny.Czym wyróżniał się pejzaż romantyczny na tle poprzednich epok?Historyczka sztuki wskazuje, że nowością w stosunku do poprzednich epok było przywiązywanie przez artystów dużej wagi do studiów plenerowych. Wcześniej malarze również wykonywali szkice z natury, jednak same obrazy powstawały w pracowniach.– Dlatego wcześniej pejzaże są wytworem wyobraźni artysty, a nie naśladowaniem konkretnego miejsca. To pojawia się w XIX wieku – podkreśla prelegentka.Tichy wskazuje, że pejzaż romantyczny oscyluje między dwiema sprzecznościami. Pomiędzy tym, co widzimy na płótnie, czyli pięknem natury, a tym co niewidoczne – emocją, przeżyciem i duchowością.W nagraniu wykładu prelegentka komentuje szerzej dzieła polskich reprezentantów pejzażu romantycznego, których prace znajdują się w zbiorach Muzeum Narodowego w Warszawie. Należą do nich Wincenty Kasprzycki (1802-1849), Chrystian Breslauer (1802-1882), Wojciech Gerson (1831-1901), Józef Szermentowski (1833-1876), Aleksander Kotsis (1836-1877), Józef Marszewski (1827-1883). Kontekst dla ich twórczości stanowią wybrane dzieła europejskiego malarstwa krajobrazowego znajdujące się w kolekcji MNW.Barbara Tichy – jest historykiem sztuki, pracuje w Muzeum Narodowym w WarszawieStrony współorganizatorów VII Festiwalu Sąsiedzkiego Wespół w Zespół dla Solca:http://www.mdk.waw.pl/index.php/festiwal-sasiedzkihttp://www.koncert-anioly.cba.pl/Znajdź nas: https://www.youtube.com/c/WszechnicaFWW/https://www.facebook.com/WszechnicaFWW1/https://anchor.fm/wszechnicaorgpl---historiahttps://anchor.fm/wszechnica-fww-naukahttps://wszechnica.org.pl/#sztuka #kultura #romantyzm #muzeum #muzeumnarodowe #malarstwo #obrazy #pejzaż #pejzaże

Se Donatello nella scultura, Masaccio nella pittura e Brunelleschi nell'architettura furono i grandi protagonisti del primo rinascimento sarà Leon Battista Alberti a dare una sistematizzazione teorica alle innovazioni introdotte nel primo Quattrocento attraverso i suoi famosi trattati. Hosted on Acast. See acast.com/privacy for more information.

Nel Tuttolibri di oggi la nostra Liliana Russo ci ha raccontato il nuovo libro di Davide Cossu intitolato "Il castello delle congiure"

In the 15th Century, Leon Battista Alberti said "A man can do all things if he will". And thus the idea of The Renaissance Man (or Universal Man, or polymath) was born. But how to be a good one? And is it still possible to be one today? We take a look at The Book of the Courtier by Castiglione and see what advice he can offer us.   You can find the Full Video version of the show over on YouTube at  https://www.youtube.com/@RememberRememberPodcast Contact us at  - RememberRememberShow@gmail.com  Twitter - @RememberCast https://twitter.com/RememberCast Instagram - @rememberrememberpod https://www.instagram.com/rememberrememberpod/ Find everything about the show over on our Website - https://www.rememberrememberpodcast.com/ Artwork and logos were made by Mary Hanson @MermaidVexa

Versione audio: Palazzo Rucellai è una sontuosa residenza signorile rinascimentale che si trova a Firenze, in Via della Vigna Nuova. Fu progettata da Leon Battista Alberti (1404-1472) per Giovanni Rucellai e appartiene ancora oggi alla famiglia Rucellai. I lavori, iniziati nel 1446, terminarono nel 1452. Alberti elaborò il suo progetto sulla scorta di quanto aveva […] L'articolo Palazzo Rucellai di Leon Battista Alberti proviene da Arte Svelata.

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu.

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

 Yann Kerlau "Leon Battista Alberti; le magicien de la Renaissance"  (Albin Michel) S'il est impossible d'évoquer l'humanisme, les splendeurs et les révolutions du Quattrocento sans aussitôt penser à Pétrarque, à Dante et à Boccace, il est un autre homme dont le nom, moins souvent évoqué, mérite pourtant lui aussi de figurer parmi ces illustres acteurs de la Renaissance italienne. Cet homme, c'est Leon Battista Alberti. Qui était-il ? Un architecte ? Un homme de lettres ? Un philosophe ? Un mathématicien ? Un artiste ? Véritable magicien capable d'exercer tous les métiers et de montrer tous les visages, Alberti échappe aux tentatives de définition. De cet homme universel on ignore tout, ou presque. Dans cet ouvrage, Yann Kerlau offre le portrait kaléidoscopique d'un humaniste fascinant et de son oeuvre intemporelle. Musique :  Henry Purcell - John Blow : Elegy  Blow 'Ah heav'n, what is't I hear?' et  Wong Kar-Wai "In the wood for live", Yomeji's theme. Ecrit par Shigeru Umebayashi   

João Luís Carrilho da Graça, Portalegre 1952 arquitecto desde 1977, vive e trabalha em Lisboa.À sua obra foram atribuídos diversos prémios e distinções, nomeadamente o Prémio da Associação Internacional dos Críticos de Arte (1992); Prémio Secil de Arquitectura (1994); Prémio Valmor (1998, 2008, 2010, 2017, Menção em 1993, 2007, 2013); Prémio FAD Ibérico (1999); Ordem de Mérito da República Portuguesa (1999); Prémio Bienal Internacional da Luz – Luzboa (2004); Prémio Pessoa (2008); Prémio Piranesi - Prémio de Roma (2010); Ordem das Artes e Letras - República Francesa (2010); Medalha da Academia de Arquitectura, Paris (2012); Prémio Internacional de Arquitectura Sacra Frate-Sole (2012); Prémio Bienal Ibero Americana de Arquitectura e Urbanismo (2012); International Fellowship do Royal Institute of British Architects (2015); Membro Honorário da Ordem dos Arquitectos (2015); Prémio Bienal Internacional de Arquitectura de Buenos Aires (2018); Prémio Leon Battista Alberti do Politecnico de Milão, Mantova (2018); Prémio arpaFil, Guadalajara, México (2018); Ordem da Instrução Pública da República Portuguesa (2019).Participou na representação oficial de Portugal à 12a, 13a e 16a Bienal de Arquitectura de Veneza e na exposição central da 15a Bienal.Professor na Faculdade de Arquitectura da Universidade de Lisboa entre 1977 e 1992 e, posteriormente, entre 2014 e 2019; Universidade Autónoma de Lisboa entre 2001 e 2010; Universidade de Navarra entre 2005 e 2015; Cornell University, New York, em 2015; Escola Superior de Paisagem, Engenharia e Arquitectura de Genève, em 2019, da Cátedra Unesco Leon Battista Alberti do Campus de Mantova do Politecnico de Milão de 2017 a 2019, e actualmente no curso de Architettura da Universidade de Mendrisio, italiaDoutor Honoris Causa pela Faculdade de Arquitectura da Universidade de Lisboa.Links:https://www.carrilhodagraca.pt/https://elcroquisdigital.com/en/magazine/el-croquis/170-joao-luis-carrilho-da-graca-2002-2013#.Y37CP-zP3PAhttps://www.youtube.com/watch?v=GH4xd-gojzwhttps://www.youtube.com/watch?v=y_LrKlG4i2whttps://www.archdaily.com.br/br/959734/terminal-de-cruzeiros-em-lisboa-uma-entrevista-com-carrilho-da-gracaEpisódio gravado a 13.10.2022 http://www.appleton.pt Mecenas Appleton:HCI / Colecção Maria e Armando Cabral Financiamento:República Portuguesa - Cultura / DGArtes Apoio:Câmara Municipal de Lisboa

Ein Mann der vielen Künste… mach's dir bequem und kuschel dich ein. Schlaf schön! Hier findest du alle Infos und Angebote zu unseren Werbepartnern: https://linktr.ee/EinschlafenMitWikipediaPodcast

Episode 79: As things moved on in the early renaissance art - painting and sculpture - led the way and theatre soon followed.  Artists tried to inject more realism into their work, showing their subjects as they really were, or as close as they could get.  The colours of clothes, skin tones, fruit, countryside scenery and, well, whatever the artist's subject was, became more subtle and realistic as artists looked at the different impacts of viewpoint, light and light sources in paintings and strived to show the world as it really was.  The discovery of an understanding of one thing in particular made those working in the theatre sit up and take note – perspective in art had arrived. Brunelleschi and the discovery of perspective painting. 1414 and the rediscovery of Vitruvius and ‘De Architectura'. Leon Battista Alberti and the beginnings of theatrical perspective design . Pellegrino de San Daniele and his perspective scenery at Ferrara. Architect Sebastiano Serlio, his perspective designs and use of the raked stage and painted flats. The development of wing space as an integral part of theatre design. The problems with perspective scenery. Aristotle de San Gallo and his reintroduction of the ‘periaktoi'. The importance of the introduction of flats throughout theatres. Lighting methods in Italian renaissance theatre. The Teatro Olympico in Vicenza, designed by Andrea Palladio and completed by Vincenzo Scamozzi.  This theatre was the panicle of perspective theatre design with seven arches at the back of the stage using perspective effect but had a short life. Advances in stage machinery by Nicola Sabbatini, known for his flying effects and his fondness for the ‘periaktoi'.  To improve this feature he designed mechanical ways of rotating the periaktoi.  Sabbatini's wave form effect. Giacomo Torelli and his mechanical decice for moving flats on and off stage, the ‘chariot pole system'. Support the podcast at: www.thehistoryofeuropeantheatre.com www.ko-fi.com/thoetp www.patreon.com/thoetp This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

In this episode, we are in conversation with the architect, writer, and Professor of Architecture at Yale, Keller Easterling. Her books include Extrastatecraft: The Power of Infrastructure Space (Verso, 2014); Enduring Innocence: Global Architecture and its Political Masquerades (MIT, 2005); and her latest Medium Design: Knowing How to Work on the World, to which we dedicate special attention to in this episode.I think Easterling's project boils down to how architecture and design can actually intervene and/or contribute to the cultural change around social justice and ecological crises; through thinking about, and ‘knowing-how' to work the systems at play. So designing within interplay; rather than the total compliance and submission on behalf of the architectural profession is what she seeks. She redirects our attention to the spatial dimension of how things are arranged, be it politically, financially, or socially. Episode Notes & Linkshttp://kellereasterling.com/ In Extrastatecraft: The Power of Infrastructure Space, Keller Easterling reveals the nexus of emerging governmental and corporate forces buried within the concrete and fiber-optics of our modern habitat. https://mitpress.mit.edu/books/enduring-innocence http://kellereasterling.com/books/extrastatecraft-the-power-of-infrastructure-spaceIn Enduring Innocence, Keller Easterling tells the stories of outlaw "spatial products"—resorts, information technology campuses, retail chains, golf courses, ports, and other hybrid spaces that exist outside normal constituencies and jurisdictions—in difficult political situations around the world. https://mitpress.mit.edu/books/enduring-innocenceMedium Design by Keller Easterling looks not to new technologies for innovation but rather to sophisticated relationships between emergent and incumbent technologies. It does not try to eliminate problems but rather put them together in productive combinations. And it offers forms of activism for modulating power and temperament in organisations of all kinds. https://www.versobooks.com/books/3245-medium-designhttp://kellereasterling.com/books/medium-design-knowing-how-to-work-on-the-worldElements of Architecture was the title of the 2014 Venice Architecture Biennale curated by Rem Koolhaas. https://www.labiennale.org/en/architecture/2014/elements-architectureBeatriz Colomina is an architecture historian, theorist, and curator.Mark Wigley is an architect and author. Colomina and Wigley co-curated the 3rd Istanbul Design Biennial with the same title in 2016. https://tasarimbienali.iksv.org/en/biennial-archive/3rd-istanbul-design-biennialJames Jerome Gibson (1904-1979) was an American psychologist known as a seminal figure in the field of visual perception. He coined the phrase “affordance” which later became a key concept in the field of design.John Durham Peters is a professor of English and film and media studies. His book The Marvelous Clouds reveals the long prehistory of so-called new media and shows how media lie at the very heart of our interactions with the world around us. https://press.uchicago.edu/ucp/books/book/chicago/M/bo20069392.htmlTim Ingold is an antropologist. This is the text Can is referring to:https://doi.org/10.1017/S1380203807002127Michael Polanyi (1891-1976) was a polymath of the 20th century. He was engaged in many knowledge fields including physical chemistry, economics, and philosophy. Check his thoughts on positivism to provoke your mind.Gilbert Ryle (1900-1976) was a philosopher, principally known for his critique of Cartesian dualism, for which he coined the phrase "ghost in the machine." which of course influenced the legendary Ghost in the Shell manga series by Masamune Shirow.Bruno Latour is a philosopher, anthropologist, and sociologist. He is especially known for his work in the field of science and technology studies. http://www.bruno-latour.fr/Richard III by William Shakespeare is the last in a sequence of four history plays known collectively as the “first tetralogy,” treating major events of English history during the late 14th and early 15th centuries. Lady Anne is a fictional character from Richard IIIhttps://www.britannica.com/topic/Lady-AnneCharles Lutwidge Dodgson (1832-1898), better known by his pen name Lewis Carroll, was an author, poet, and mathematician. His most notable works are Alice's Adventures in Wonderland and its sequel Through the Looking-Glass. Jorge Luis Borges (1889-1986) was an essayist, poet, and translator of Carroll's work to Spanish.Leon Battista Alberti (1404-1472) was an Italian Renaissance humanist author, artist, architect, poet, priest, linguist, philosopher, and cryptographer. MarshallAI detects objects and incidents in real-time from any video feed through consistent monitorization and employment of precise artificial intelligence and machine vision. They provide sharp and automatic situational awareness and intelligent automation by gathering relevant data for smart cities, security, and authorities. https://marshallai.com/ J.K Gibson-Graham is the pen-name of Katherine Gibson and the late Julie Graham. As feminist political economists and economic geographers, they have extensively written about diverse economies, urbanism, alternative communities, and regional economic development. https://en.wikipedia.org/wiki/J._K._Gibson-GrahamArturo Escobar is an anthropologist whose research interests include political ecology, anthropology of development, social movements, anti-globalization movements, and post-development theory. We suggest Territories of Difference published by Duke University press in 2008 to learn more about his thought. https://www.dukeupress.edu/territories-of-differenceZenzile Miriam Makeba (1932-2008) nicknamed Mama Africa was a South African singer, songwriter, actress, and civil rights, activist. https://www.miriammakeba.co.za/Silvia Federici is an academic and activist particularly influential for radical Marxist feminist theory.McKinsey & Company is a management consulting firm that advises on strategic management to corporations, governments, and other organizations. Deloitte is one of the Big Four accounting organizations and the largest professional services network in the world by revenue and number of professionals, with headquarters in London, England.Vilém Flusser (1920-1991) was a philosopher, writer, and journalist. You can meet fellow flusserians or learn more about his works through https://www.flusserstudies.net/flusserKathrin Böhm is an artist. Listen to Episode 13 to get to know her better. https://www.ahali.space/episodes/episode-13-kathrinbohmThis season of Ahali Conversations is supported by the Graham Foundation for Advanced Studies in the Fine Arts. The Graham provides project-based grants to foster the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society. This episode was also supported by a Moon & Stars Project Grant from the American Turkish Society.This episode was recorded on Zoom on March 29th, 2022. Interview by Can Altay. Produced by Aslı Altay & Sarp Renk Özer. Music by Grup Ses.

Leon Battista Alberti (1404–72) said “a person can do all things if they will.” I live and create by that motto. When it comes to writing I have created a series of epic length fantasy novels. That work of art is supported by woodworking, linguistics, Photoshop, Indesign, podcasting, Audible, 3D jewelry design and any otherContinue reading "Excellence is the Best I Can do With What I Have Now"

Versione audio: Piero della Francesca si formò a Firenze nella prima metà del Quattrocento e lì poté studiare a fondo il nuovo metodo prospettico. La frequentazione con Leon Battista Alberti, che proprio in quegli anni stava stendendo il trattato De Pictura, consolidò la sua fede nel valore delle leggi proporzionali e prospettiche. Piero fu un […] L'articolo Piero della Francesca proviene da Arte Svelata.

Good morning, beautiful, Our theme this week is movement. Leon Battista Alberti said, the movements of the body reveal the movements of the soul. Our bodies and souls are deeply connected, and through movement, we can call forth that which may be hidden or undiscovered within our souls. So this morning is a bit of a “freestyle” movement meditation. I'll get you started with a bit of guidance, and as the music continues to play, you are invited to move your body anyway it feels called to move. I encourage you to find a private space where you can move freely, without the perceived judgements of others. And I also encourage you to breathe out any judgements that may also come up within yourself.

Enzo Fileno Carabba"Vite sognate del Vasari"Bompianihttps://www.bompiani.it/Festival, La città dei lettori, FirenzeGiovedì 26 agosto 2021, Villa Bardini, ore 17:30"Paesaggi Letterari"Passeggiata con Enzo Fileno Carabbaprenotazione: https://www.lacittadeilettori.it/ Pubblicato una prima volta nel 1550, e in una nuova edizione arricchita nel 1568 dagli stampatori Giunti di Firenze, il trattato sulle Vite de' più eccellenti pittori, scultori, e architettori di Giorgio Vasari è un'opera che raccoglie esistenze fondative della nostra civiltà artistica e costituisce una fonte preziosissima: ma nella sua versione originale è un testo difficilmente accessibile ai lettori di oggi, innanzitutto per ragioni linguistiche. Ispirato dalla ricchezza delle Vite vasariane, ma al tempo stesso affascinato da tutto ciò che esse tacciono, dalle lacune, dalle zone d'ombra, Enzo Fileno Carabba coglie in ciascuna l'occasione da cui far germogliare episodi fantastici eppure plausibili, che rivelano lo spirito profondo dei grandi artisti rinascimentali, le più imprevedibili, umane e sorprendenti ragioni che li hanno mossi. Ogni racconto indaga così uno stato d'animo o uno stato di grazia, che Carabba riporta alla luce con la dedizione di un “archeologo narrativo”.Come colori che riemergono vivi sotto la patina del tempo, ciascuno dei personaggi si rivela a noi per aver provato un sentimento nel quale possiamo riconoscerci, un'inquietudine o un desiderio che percepiamo altrettanto urgenti, quasi che i singoli esseri umani fossero solo portatori che permettono ai sentimenti di vivere e riprodursi. Filippo Lippi e la capacità di farsi perdonare. Andrea del Castagno e il rancore. Leon Battista Alberti e la nostalgia... grazie a una scrittura lievissima, capace di sognare, i grandi del passato diventano, come diceva Pontiggia, “contemporanei del futuro”.Enzo Fileno Carabba ha scritto romanzi pubblicati in Italia e all'estero, racconti, sceneggiature radiofoniche, libri per bambini, libretti d'opera. Nel 1990 ha vinto il Premio Calvino col romanzo Jakob Pesciolini (Einaudi 1992), primo volume di una ideale trilogia fantastica che comprende: La regola del silenzio (Einaudi 1994) e La Foresta finale (Einaudi 1997). Sono seguiti, tra gli altri, Pessimi Segnali (Gallimard 2003, Marsilio 2004), Attila (Laterza 2000, Feltrinelli 2012), Con un poco di zucchero (Mondadori 2011) e La zia subacquea e altri abissi famigliari (Mondadori 2015), oltre alla saga fantastica per ragazzi Fuga da Magopoli e Battaglia a Magopoli (Marcos y Marcos 2017). Collabora con “Il Corriere Fiorentino”.https://enzofilenocarabba.it/IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

In 1459, Pope Pius II transformed the provincial town of his birth, Corsignano, into an ideal Renaissance urban town and renamed it after himself - Pienza. His architect, Bernardo Rossellino, was a follower of Leon Battista Alberti, and applied both medieval and classical architectural principles to his design. This episode explores the history and architecture of this exquisite and charming example of Renaissance urbanism.    

1472 Muore l'architetto Leon Battista Alberti - 1926 Prima della Turandot alla Scala

Sandro Lombardi"La passione" Mario Luzihttps://museomarinomarini.it/Segui l'evento sul canale Facebook del Museo: https://www.facebook.com/museomarinomariniIn occasione del Venerdì Santo il Museo Marino Marini presenta in diretta Facebook “La Passione” di Mario Luzi nell'interpretazione di Sandro Lombardi Oggi 2 aprile 2021, alle ore 20.15 in diretta sul proprio canale Facebook, il Museo Marino Marini di Firenze presenta “La Passione” di Mario Luzi: una toccante interpretazione dell'attore Sandro Lombardi che, nella suggestiva cornice della Cappella Rucellai, legge la Via Crucis alla sola luce delle 30 candele straordinariamente accese intorno alla merlatura gigliata in occasione del Venerdì Santo.L'opera è stata scritta da Mario Luzi per la Pasqua 1999 e fu letta dallo stesso Sandro Lombardi, fondatore della Compagnia Lombardi-Tiezzi e cinque volte Premio Ubu come migliore attore, durante la liturgia pasquale celebrata da Giovanni Paolo II al Colosseo il Venerdì Santo del 2 aprile 1999. Oggi come allora i versi del grande poeta, rivolti sia ai laici che ai credenti, uniti alla sacralità del luogo, segneranno un momento di forte intensità emotiva.“Sandro Lombardi ci regala una magistrale interpretazione dei versi di uno dei più grandi poeti del Novecento - dichiara Patrizia Asproni, Presidente del Museo Marino Marini - e lo fa in occasione del Venerdì Santo all'interno della Cappella Rucellai: una delle meraviglie del Rinascimento fiorentino, capolavoro assoluto dell'architetto Leon Battista Alberti, con il Tempietto del Santo Sepolcro. Un luogo ancora consacrato - prosegue Asproni - che concorre a determinare il fascino e l'esclusività del Museo Marini, unico museo d'arte contemporanea della città, non solo custode della collezione del grande scultore Marino Marini ma anche espressione straordinaria della storia dell'architettura italiana”.“È una gioia - afferma Sandro Lombardi - poter riportare alla vita un testo, quello di Luzi sulla Via Crucis, che nel 1999 il poeta mi chiese di interpretare al Colosseo, durante la celebrazione del Venerdì Santo officiata da Giovanni Paolo II.È grazie a Patrizia Asproni e al Museo Marino Marini che questo può accadere, in un luogo infinitamente piccolo rispetto al Colosseo ma, di certo, non meno suggestivo e potente, quale la Cappella Rucellai di Leon Battista Alberti”.Il Museo Marino MariniIl Museo Marino Marini è nato dalla volontà di Marino e Marina Marini che, alla fine degli anni Settanta del Novecento, individuarono l'ex chiesa di San Pancrazio di Firenze come luogo ideale al quale legare la donazione di opere che l'artista, poco prima di morire, aveva fatto alla città. La ristrutturazione della chiesa, recuperata dopo secoli e ridestinata a una funzione pubblica, è stata realizzata dagli architetti Lorenzo Papi e Bruno Sacchi che hanno saputo creare un allestimento a immagine e somiglianza di quel mondo così affascinante di Marino Marini, uno dei personaggi più significativi della cultura figurativa del Novecento. Il museo ospita 183 opere di Marino Marini: disegni, litografie, dipinti, sculture, tutte esposte al pubblico sui quattro livelli del museo. Parte integrante del museo, recuperata alla visita del pubblico dopo un lungo restauro, è una delle meraviglie del Rinascimento fiorentino: la Cappella Rucellai, capolavoro assoluto dell'architetto Leon Battista Alberti, con il Tempietto del Santo Sepolcro. Per informazioni sul Museo: www.museomarinomarini.itIL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Ora che abbiamo dieci spiegoni alle spalle, inauguriamo la sezione Ciacole (chiacchiere, in veneto) con il nostro primo ospite: Roberto Orgiu. Con Roberto, parleremo dell'affascinante ruolo della crittografia nella storia.In questo episodio e nel prossimo vi diamo un assaggio di questo nuovo formato per gli episodi, molto più informale — ed a rischio logorrea, dato che siamo sull'ora di episodio.Se volete seguire Roberto, lo trovate su Twitter all'indirizzo: https://mobile.twitter.com/_tiwiz

The first written work of art theory, produced during the Renaissance was “De Pictura”, or “On Painting”, written in 1435 by Leon Battista Alberti but not published until 1450, in which he explained the science behind linear perspective. He was a humanist author, artist, architect, poet, priest, linguist, philosopher, mathematician and cryptographer. He also wrote […] The post #62 The First Renaissance Man appeared first on The Renaissance Times.

If you sculpt, you probably have a small library of how-to sculpture manuals. Sculptors writing about sculpture goes way back - but how far back? In this episode, Host Jason Arkles discusses the f sculpture manual that was written during the early renaissance by the original Renaissance Man, Leon Battista Alberti. A personal friend of Donatello, Brunelleschi, and Ghiberti, Alberti's treatise on the science and practice of sculpture during the early Renaissance show us just how much in common we have with the past masters- and how much we might be able to learn from them.