#grigoletti

[s-memorando]

19 agosto 2009

Michelangelo Grigoletti – La famiglia Palumbo Fossati La famiglia è il tempo-luogo della scoperta del bene e del male, della certezza e dell’ambiguità, della solidarietà e dello scontro incomprensibile a occhio bambino. È la gestazione del mistero, della realtà, dei non detti o delle cose indicibili, dell’estraneità vissuta e della protezione cercata. È l’impulso a fuggire dal desiderio di…

[cacatoto7]

. Basilika Santo Adalbert (Esztergom)

Di tepi Sungai Donau yang tinggi di Esztergom terdapat gereja Katolik terbesar di Hongaria, yang kubahnya dapat dilihat dari mana saja di kota ini, bahkan dari negara tetangganya, Slowakia. Gereja ini memiliki tata letak tradisional berbentuk salib, dengan banyak patung pematung Hungaria dan Italia di aula. Di belakang altar batu putih di dinding terdapat lukisan besar karya Michelangelo Grigoletti, sebuah replika dari lukisan Kenaikan Perawan Maria karya Titian. Perlu dicatat bahwa sebelum basilika ada kuil lain, tetapi segera dihancurkan oleh Tatar-Mongol. Gereja kedua muncul di sini pada abad ke-16, tetapi bahkan tidak berumur panjang - hampir 100 tahun kemudian dihancurkan oleh Ottoman, hanya Kapel Bakotsi yang tersisa. Selama tur basilika, Anda dapat mengunjungi ruang bawah tanah yang menjadi tempat pemakaman tokoh-tokoh agama terkenal, atau naik ke dek observasi, di mana Anda dapat melihat Sungai Donau dan banyak panorama kota.

[lamilanomagazine]

Verona, conferenza dei musei civici, quarto appuntamento con la mostra dell'accademia Carrara di Bergamo

Verona, conferenza dei musei civici, quarto appuntamento con la mostra dell'accademia Carrara di Bergamo Martedì 9 gennaio, alle 17.30, nella Sala Convegni della Gran Guardia, si terrà il quarto appuntamento con le conferenze dei Musei Civici 2023-2024. I relatori Elena Lissoni, storica dell'arte, e Paolo Plebani, Conservatore dell'Accademia Carrara di Bergamo, interverranno sulla mostra allestita all'Accademia Carrara di Bergamo fino al 25 febbraio 2024 dal titolo "Tutta in voi la luce mia. Pittura di storia e melodramma". A partire dalla fine del Settecento e con un grande slancio nell'Ottocento romantico, le vicende e i protagonisti della storia moderna si impadroniscono dell'immaginario collettivo occidentale. Il romanzo storico, la pittura storica e il melodramma alimentano la passione per la storia e decretano la popolarità di nuovi eroi pronti a soppiantare quelli della mitologia e dell'antichità.La mostra "Tutta in voi la luce mia. Pittura di storia e melodramma", visitabile fino al 25 febbraio, rappresenta questa singolare temperie. I capolavori di Francesco Hayez, Michelangelo Grigoletti, Francesco Coghetti, Domenico Induno documentano la fortuna trasversale di certi temi e personaggi rievocati tanto nelle tele quanto sulle scene. La città di Bergamo e l'Accademia Carrara sono la sua sede ideale perché patria di Gaetano Donizetti, uno dei maggiori protagonisti, con Gioachino Rossini, Vincenzo Bellini e Giuseppe Verdi, di una stagione unica che ha visto l'affermazione dell'opera italiana nel mondo. Elena Lissoni - É specializzata nella storia del gusto e del collezionismo dell'Ottocento, collabora con Fernando Mazzocca presso le Gallerie d'Italia a Milano, l'Accademia Carrara di Bergamo, i Musei di San Domenico a Forlì. Dal 2011 al 2020 è stata consulente scientifico di Fondazione Cariplo. Paolo Plebani - É storico dell'arte, specializzato in pittura veneta tra XVI e XVIII secolo, conservatore all'Accademia Carrara di Bergamo. Tra i suoi lavori, molte collaborazioni con saggi e schede di catalogo a mostre. Le conferenze si svolgono in presenza nella Sala Convegni al Palazzo della Gran Guardia, piazza Bra, Verona (la sala è accessibile anche tramite ascensore). L'accesso è consentito fino ad esaurimento dei posti disponibili e ai partecipanti verrà rilasciato un attestato di frequenza (la partecipazione alla conferenze dovrà essere comprovata dalla firma all'inizio e al termine di ogni incontro). I prossimi appuntamenti: - Martedì 13 febbraio 2024 - Rosso, bianco e altro ancora: la storia dell'abito da sposa, con Alessandra Zamperini, Università di Verona, Storia dell'Arte Moderna; - Martedì 12 marzo 2024 - Scoperte nella pittura veronese dell'Ottocento, con Sergio Marinelli, Storico dell'arte; - Martedì 30 aprile 2024 - I tesori archeologici del Museo di Storia Naturale, con Nicoletta Martinelli, Museo di Storia Naturale di Verona; - Martedì 7 maggio 2024 - Ritrovare uno spazio. Riflessioni intorno ai musei di arte contemporanea, con Luca Bochicchio, Università di Verona, Storia dell'arte contemporanea e Monica Molteni, Università di Verona, Storia delle tecniche artistiche e del restauro.  ... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[christophgrigoletti]

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A post shared by Grigo.eth (@grigo.eth)

189#Grigoletti#AstroEnvironments // ASTRO \\ Getting further and further into our universe we are exploring.Some quick Environmentexplorations under development. Astro is so expanding in my mind. It's all about the journey. #Astro Another step into storyline. 189 #Grigoletti #Astro #AstroEnvironments|| #c4d#maxon #maxon3d#substancepainter#sculpt#maxonc4d#maxonjapan #octane#otoy || loop taken just for visualitation from Jon Hopkins - Emerald Rush link https://www.youtube.com/watch?v=4sk0uDbM5lc C.

[history-of-fashion]

1830 Girolamo Michelangelo Grigoletti - Portrait of a young woman

(Galleria Nazionale d'Arte Moderna e Contemporanea)

[pikasus-artenews]

Omaggio a MICHELANGELO GRIGOLETTI (1801 – 1870)

Meno noto al grande pubblico il pordenonese Grigoletti fu un apprezzato ritrattista e uno dei protagonisti dell’arte italiana dell’Ottocento.

[budapestbug]

Did you know, that the biggest altar picture of the world is in Hungary, Esztergom? The painter Michelangelo Grigoletti was comissioned to copy Tizian's Assumption in Frari, Venice, but the the different rations resulted a different size. So, the 13,5 m x 6,5 m paintings, the biggest of its kind in the world painted on canvas can be seen since 1856 in Esztergom Chatedral.

[the-paintrist]

Pompeo Molmenti - Pia de' Tolomei Being Led to Maremma - 1853

Pia de' Tolomei was an Italian noblewoman from Siena.

According to a tradition recorded by early commentators on Dante's Divine Comedy, she can be identified as the 'Pia' mentioned in Canto V of Purgatory, where Dante and Virgil meet those were penitent at the time of their sudden violent deaths – her tale follows that of Bonconte da Montefeltro. She states that she came from Siena and was killed by her husband in the Maremma:

Do thou remember me who am the Pia; Siena made me, unmade me Maremma; He knoweth it, who had encircled first, Espousing me, my finger with his gem.

She refers bitterly to her murderer for his disregard of his marital vows to her and briefly tells Dante her story. She asks the poet – once he has rested from his long journey – to remember her among the living and thus speed her journey through Purgatory. Dante uses the name 'la Pia' not 'Pia', underlining the familiarity between them. She also asks him to pray for her since she knows none of her family do so.

The identification of this 'Pia' with Pia de' Tolomei is now almost universally accepted, although conclusive documentary proof of this has yet to be found. Early commentators on the poem noted that she was to be identified as a woman of the Tolomei family in Siena, wife of Nello dei Pannocchieschi, lord of Castel di Pietra in Maremma, podestà of Volterra and Lucca, captain of the Guelph Taglia from 1284 and alive until at least 1322 (the year he made his will). There is also a surviving record of his second marriage, as a widower, to Margherita Aldobrandeschi, countess of Sovana and Pitigliano. They had one son, Binduccio or Bindoccio, who was murdered, aged thirteen, when Orsini assassins, threw him down a well in Massa Marittima.

The surviving archives do not name Nello's first wife, but she has been identified as Pia. Nello owned Castel di Pietra in Maremma, where it has been suggested he murdered Pia in 1297, either after she found out he was having an affair with Aldobrandeschi or to clear the way for his second marriage. Among the early commentators, Jacopo della Lana, l'Ottimo and Francesco di Bartolo claim that she may have been killed for some crime, while Benvenuto and an anonymous Florentine of the 14th century assert it was due to her husband's jealousy.

Against this identification, the Tolomei family had no daughters or nieces named Pia in Nello's time. However, one male of the family did marry a woman named Pia Malavolti – the marriage did not last long (she had many lovers) and so the Tolomei decided to have Nello, the head of the family, remove her to Maremma, where she died in misery, possibly murdered. A closely related theory is that Pia was born a Malvoti and entered the Tolomei family by her marriage to Baldo d'Aldobrandino de' Tolomei. According to this story, Pia was accused of adultery by her husband, then kidnapped by Nello and taken to Maremma, where she died.

Pompeo Marino Molmenti (8 November 1819, Villanova in Motta di Livenza – 17 December 1894, Venice) was an Italian painter.

He was born in Friuli to Francesco Molmenti, an engineer of comfortable means, who had followed his older brother, Ettore, to Venice. When he was orphaned as a boy, Pompeo was cared for by his uncle Ettore, who encouraged his studies. In 1834, he was enrolled in the Accademia di Belle Arti di Venezia to study under Ludovico Lipparini, Odorico Politi, and Michelangelo Grigoletti. As a student he painted a Murder of Caesar.

One of his early patrons was Count Spiridione Papadopoli (1799-1859) and his wife, Teresa Mosconi, who owned a villa in Villanova, not far from Molmenti's birthplace. As a young man, he had painted a Death of Othello for the Papadopoli family. A second version was completed in 1866. During 1835 to 1840, Molmenti painted a Madonna and child for a lunette at the private oratory of the Papadopolis, which recalled the Renaissance Madonna Giovanelli of Giovanni Bellini. He painted a Santa Teresa (now lost) for the countess, and a San Paolo (destroyed) for the church of San Polo di Piave.

From 1843 to 1844, he accompanied the Duke Saverio di Blancas on a trip through Syria and Greece. During this time he drew many Arab subjects, and painted The Departure of Tobias with Rachel from the House of Laban for his patron Count Papadopoli and Sara gives Agar as wife to Abraham. He then traveled to Florence, Rome, Paris, and Munich. During 1848-1849, he participated in some of the patriotic uprisings.

In 1850, he displayed three paintings: Cimabue discovers in Giotto the Genius of Painting (now lost), a Holy Family copied from the Raphael painting Madonna della seggiola, and a Virgin and child and a St Ursula for the church of Sant'Orsola of Conegliano, now displayed in the duomo. He painted an Immaculate Conception for Malo near Vicenza; a Martyrdom of Santa Filomena for Vidor; a San Rocco for a church of Palmanova; and Jesus gives the key to St Peter for Fontanelle.

In 1851, he became professor at the Academy of Fine Arts, Venice and worked alongside Pietro Selvatico to reform the institution. Among his pupils were Antonio Beni, Giacomo Favretto, Luigi Nono, Bressanesi, Luigi Pastega, Egisto Lancerotto, Tranquillo Cremona, Napoleone Nani, Silvio Rotta and Ettore Tito.[6] He was knighted for the Order of the Crown of Italy.

In 1853 he exhibited a painting on the subject of Pia de' Tolomei, commissioned by the architect Count Giacomo Franco [ and now in the Museo Civico di Castelvecchio. He also painted an Arrest of Filippo Calendario (1854) commissioned by Princess Giovanelli.

[antoniettabrandeisova]

Palazzo Contarini Fasan, detto Casa di Desdemona Venice, Antonietta Brandeis (Czech, 1849-1910

This work depicts the Palazzo Contarini Fasan, also known as the Casa di Desdemona, in Venice.

In 1867, Antonietta Brandeis was the first woman admitted to the Academy in Venice, where she studied under Michelangelo Grigoletti. Her love of Italy, where she also lived, is exemplified in many of her works. Her artistic interest was drawn to Venice, in particular. The brilliant colours and abundance of detail in her paintings are their defining feature.

The Palazzo Contarini Fasan dates back to the fifteenth century, and is located on the Grand Canal. The Palazzo’s nickname, Casa di Desdemona, as it is still known colloquially, is likely connected to Shakespeare’s Othello. Othello was a commander working in the service of Venice, who fought against the Turks and married Desdemona without her father’s knowledge. Some Venetian anecdotes explain the Palazzo’s nickname with reference to the fact that the owner of the Palazzo, Niccolo Contarini, was also a commander in the war against the Turks, and was dark-skinned, like Othello. In addition, the legend states that jealousy led Contarini to strangle and then kill his wife, who had fled to her family. A different version explains the name Desdemona by stating that Cristoforo Moro (translated as “Moor” in English, and the same as Othello’s nickname in Italian), an Admiral in the Venetian Navy, married one of the daughters of Donato da Lezze in 1515, nicknamed “Demonio Bianco” (white demon), which has colloquially been spoofed as “Desdemona”.

Brandeis’ small painting is striking as a result of its precise shapes and vivid colours. She represents architecture, such as the decoration on the Gothic balcony, in a masterful way.

[saiyoyuutsume]

Sorry for the long wait, but we finally got together a couple more pictures from the ACEN 2019 RWBY Photoshoot~

I'd like to give a special thanks to @kiyukitsukino and @cowboyoscarpine for posing with me, Elizabeth Grigoletti & Shaw for taking the photos and Val (https://www.valemsgallery.com/) for the edit work! You are all wonderful and neither of these photos would be possible without you! 💚💚💚

Hopefully, I will be able to post more soon, but, in the meantime, I hope you enjoy these!

[sanfotografe]

Foto#92/365. Edifício Grigoletti. Esquina Rua 13 de Maio e Avenida Expedicionários. Centro. Campinas-SP.

“O Edifício Grigoletti teve papel fundamental na história do Largo da Estação, funcionando como residência unifamiliar e local de repouso para viajantes. Em estilo eclético com elementos decorativos neoclássicos, o Hotel foi construído em 1921, configurando-se como modelo arquitetônico, cuja primazia fachadista repercutiu sobre as demais construções locais.

Observou-se uma serie de modificações, pela qual a edificação sofreu no fim do século XIX até meados da primeira década do século XX. Entre uma delas está a construção do segundo pavimento do edifício, datando de 1924. Inicialmente, o edifício se configurava em singelo estilo neocolonial, sem função, até então definida. Entre 1910 e 1920, o mesmo atuava como Hotel e possuía elementos fachadistas de estilo eclético. Porém, após receber o segundo pavimento, pode-se dizer que a edificação teve poucas modificações com relação ao seu aspecto físico externo”. Fonte

[blogexperiences]

Pordenone - Omaggio a Michelangelo Grigoletti

Pordenone – Omaggio a Michelangelo Grigoletti

Pordenone, Museo Civico d’Arte – 08 Maggio 2021 – 25 Luglio 2021 Omaggio a Michelangelo Grigoletti (1801 – 1870) Mostra a cura di Vania Gransinigh Avviso. La situazione sanitaria è in continua evoluzione. Consigliamo di verificare le informazioni su giorni, orari e modalità di visita sul sito web della Mostra. Michelangelo Grigoletti: La nobile Isabella Fossati con la figlia Maria Clorinda, il…

[christophgrigoletti]

christophgrigoletti personal work 170 #Grigoletti #ShellEmission Random Art some more tests. @c4dmaxon #3dfordesigners #c4d #maxon #octanerender #otoy . Animated version coming soon. Soon to be released animated versions

[pintoras]

Antonietta Brandeis (Czech, 1848 - 1926): Palazzo Contarini Fasan, detto Casa di Desdemona Venice (via Dorotheum)

From the auction house website:

In 1867, Antonietta Brandeis was the first woman admitted to the Academy in Venice, where she studied under Michelangelo Grigoletti. Her love of Italy, where she also lived, is exemplified in many of her works. Her artistic interest was drawn to Venice, in particular. The brilliant colours and abundance of detail in her paintings are their defining feature.

[danailie2004]

Not far from Budapest, on a hill overlooking one of the Danube’s bends, lays the mother-church of the Hungarian Catholic Church: The Primatial Basilica of the Blessed Virgin Mary Assumed Into Heaven and St Adalbert, or, as it best known as, the Esztergom Basilica. This wonderful edifice and place of worship is also a main tourist attraction for non-religious people who enjoy the spectacular view from the basilica’s dome over the surrounding landscape.

Esztergom Basilica – main facade

It is said that the present church was built over the foundation of several earlier churches. The initial one was actually the first cathedral in Hungary, erected by Stephen I of Hungary between 1001 and 1010. Due to its strategic position, the Castle Hill became first the seat of Hungary’s rulers, then the main centre of the Catholic Church of Hungary. The current Classicist-style basilica was built in the 19th century as the biggest church building project of those times. The consecration festivity took place on August 31st 1856 in the presence of Emperor Franz Joseph and with the tunes of the Esztergom Mass composed by Ferenc Liszt specially for this occasion.

Esztergom Basilica in Hungary

Designed as a huge ecclesiastical complex on the Castle Hill of Esztergom, the basilica should have been a veritable Hungarian Vatican, but not all parts of the project were realized. However, the cathedral and the surrounding buildings is a monumental, beautiful and harmonious Classicist masterpiece of architecture.

Model of the Esztergom Basilica

Facts and details about the Esztergom Basilica:

It is the largest church and the tallest building in Hungary (Surface: 5,600 m²; Size: 118 m long and 49 m wide).

The dome has a diameter of 33,5 m and is 71,5 m high inside and 100 m high from outside (400 steps from the crypt)

Echo: it has a reverberation time of more than 9 seconds.

The altarpiece (13,5 × 6,6 m, depicting the Assumption of the Blessed Virgin Mary, by Girolamo Michelangelo Grigoletti) is the largest painting in the world painted on a single piece of canvas.

Altar of the Esztergom Basilica

Floor of the Esztergom Basilica

Paintings inside the Esztergom Basilica’s dome

If you are not big on religion or architecture, the beautiful panorama on the surrounding landscape from the basilica’s dome will surely take your breath away!

Monument The Coronation Of St. Stephen seen from the Esztergom Basilica

View from the Esztergom Basilica’s dome

View from the Esztergom Basilica’s dome

View from the Esztergom Basilica’s dome

View from the Esztergom Basilica’s dome

View from the Esztergom Basilica’s dome

View from the Esztergom Basilica’s dome

Beautiful Churches Around the World: Esztergom Basilica in Hungary Not far from Budapest, on a hill overlooking one of the Danube’s bends, lays the mother-church of the Hungarian Catholic Church: The Primatial Basilica of the Blessed Virgin Mary Assumed Into Heaven and St Adalbert, or, as it best known as, the Esztergom Basilica.