Art Histroy

Il municipio di Tuficum 2 , corrispondente all'attuale Borgo Tufico, e più marginalmente ad Albacina, entrambe frazioni di Fabriano (AN), si trovava nella regio VI, a valle della confluenza tra l'Esino e il Giano 3 1 Università degli Studi di Macerata, Dipartimento di Studi Umanistici. Questo lavoro si inserisce nell'ambito del progetto FFI2011-25113 e del Grup de Recerca Consolidat LITTERA (2014SGR63) ed è stato in parte realizzato con i fondi ex 60%. 2 Più di recente ed in generale sul municipio vedi: CARDINALI 2003; VENANZONI 2004; VENANZONI 2005 e i contributi nel volume PETRACCIA 2013.

Adaptation is the means in which information is transferred, with varying degrees of loyalty to the source material. Adaptation is a form of repetition, but not necessarily replication (Hutcheon and O'Flynn, 2012: 7). These writings will first explore several accounts of adaptation within various fields, then shift to the ways in which Jo Spence, an English artist, utilized forms of adaptation within her photographic process, as a means of subversion and analysis. I will primarily focus of the work of Jo Spence's use of phototherapy in relation to the theme of adaptation.

El Calvario que el escultor de Calatayud (Zaragoza) Pedro Martínez el Viejo (doc. 1579-1609) hizo en 1605 para el altar del racionero Domingo Moros en la colegiata de los Sagrados Corporales de Daroca (Zaragoza) es coetáneo de su intervención en la capilla Terrer de Valenzuela del mismo templo, una de las empresas artísticas más relevantes del momento en Aragón, cuya portada había contratado en 1603 junto a los canteros Hernando Larroza y Domingo Pontones. Fundado en los modelos que Juan de Anchieta y sus discípulos habían dejado años atrás en la capital aragonesa, constituye una bella creación en la que el artista aragonés ofrece su interpretación de un tema básico en la imaginería de la Contrarreforma que dispone, además, de un paralelo cercano en el Calvario que él mismo esculpió para el retablo mayor (hacia 1605-1610) de la catedral de Santa María de la Huerta de Tarazona (Zaragoza).
The Calvary that the sculptor from Calatayud (Zaragoza) Pedro Martinez the old (documented 1579-1609) made in 1605 for the altarpiece of Domingo Moros in the Colegiata of the sacred bodies of Daroca (Zaragoza) is contemporary to his intervention in the Terrer de Valenzuela’s chapel of the same temple, one of his most outstanding works of the time in Aragon, which façade had contracted in 1603 with the stonemasons Hernando Larroza and Domingo Pontones. It is based in the models Juan de Anchieta and his disciples had left some years earlier in the capital city of Aragon. It is a beautiful creation in which the artist offers his interpretation of a basic topic in the Counter-reform’s sculpture that it is also similar to the calvary he himself sculpted for the major altarpiece (1605-1610) of the cathedal of Santa María de la Huerta of Tarazona (Zaragoza).

This article focuses on two experimental films from the 1960s: Yvonne Rainer's Hand Movie (1966) and Richard Serra's Hand Catching Lead (1968). It scrutinizes the way both works exhibit a hybridized and indeterminate approach to artistic media. It offers an empirical reading of the films' movement and contextualizes them historically to move on to a theory of medium informed by Deleuze, Levinson, and Rajewsky. How does Rainer's move from the time-based media of dance and choreography, and Serra's move from the object arts of painting and sculpture, into the medium of film, advance our understanding of what is at stake aesthetically when boundaries of media are dissolved, transited, or displaced? Dance aesthetics requires that we show how movement gets translated into medium. I propose that the movement of media creates a displacement that is parallel to the displacement from the empirical to the theoretical in this article, where displacement becomes a form of reflection and critique.

Terminology in the scope of painting materials has changed continuously over the course of centuries. Many of the ancient technical terms have vanished or have suffered a semantic change. This often complicates the interpretation of historical
terms. Polvos azules is one of them. The term was initially found in South American documents of the 17th century and was interpreted as azurite (Cu3(CO3)2(OH)2). But the enormous quantities of polvos azules and the relative cheap price found in archival documents of the 17th and 18th century, cast doubt on indicating azurite. Based on these documents this paper focuses on specific European technical and economic literature, comparing the described characteristics and applications.
The study leads to the conclusion that polvos azules refers to smalt, the well known blue pigment, because the pulverized blue cobalt glass (K, Co(Al), SiO2) had far more uses very common in 17th a an 18th centuries, but which have nowadays fallen into oblivion.

La terminología técnica en el ámbito del material artístico ha cambiado
durante los siglos. Muchos de los antiguos vocablos cayeron en desuso o
han variado de significado, complicando así la interpretación de los términos
históricos. Polvos azules es uno de ellos. Se encontró primeramente en
documentos de los virreinatos españoles a partir del siglo XVII y se solía
relacionar con el pigmento azul de azurita (Cu3(CO3)2(OH)2). Pero las
enormes cantidades encontradas y el precio relativamente bajo pusieron en
duda esta interpretacion. Sobre la base de estos documentos, este artículo
se centra en la literatura tecnológica y económica específica de Europa,
comparando las características y aplicaciones descritas. El estudio llevó a la
conclusión que el término polvos azules se refiere al pigmento de esmalte,
porque el vidrio azul de cobalto pulverizado (K, Co(Al), SiO2) tuvo muchos
más usos en los siglos XVII y XVIII, los que hoy día han caído en el olvido.

The movie The Beguiled had montage and narrative symmetries which approach
of oeuvre by director Clint Eastwood. This esthetic mechanisms could read through
the movements that the landscape insertions in the narrative of the movie. The way
they reappear in the Eastwood’s oeuvre suggests that they had a stylistic joined, which
fluctuates on different thematic and movies.