Jonker Matthijs (2 results)

Condition: NEW. Roma: Edizioni Quasar, 2022 9788854912564 Papers of the Royal Netherlands Institute in Rome 67 809 192 p. : ill. col. b/n, indice ; 28 cm. The Florentine Accademia del Disegno (founded in 1563) and the Roman Accademia di San Luca (founded c. 1593) were the first official art academies in Europe. In their early years these institutions performed a variety of functions, which included the organization of funerals and religious feasts, establishing and enforcing rules about the organization of workshops, teaching young painters, sculptors and architects the principles of their arts, and maintaining relationships with potential patrons. By seeing them as crossing points of religious, guild, educational and patronage practices this book presents a multifaceted and comprehensive understanding of these academies. As such it goes beyond previous interpretations, where they were reduced to one of their activities (e.g. patronage). The book also offers the first sustained comparison of the Accademia del Disegno and the Accademia di San Luca. The focus on "social practices" entails the application of insights of theories of practice to a cultural-historical research object. The development of theories of practice, especially those of Pierre Bourdieu and Theodore Schatzki, is the second objective of this study, in addition to improving the understanding of the Accademia del Disegno and the Accademia di San Luca in the early years of their existence. The Florentine Accademia del Disegno (founded in 1563) and the Roman Accademia di San Luca (founded c. 1593) were the first official art academies in Europe. In their early years these institutions performed a variety of functions, which included the organization of funerals and religious feasts, establishing and enforcing rules about the organization of workshops, teaching young painters, sculptors and architects the principles of their arts, and maintaining relationships with potential patrons. By seeing them as crossing points of religious, guild, educational and patronage practices this book presents a multifaceted and comprehensive understanding of these academies. As such it goes beyond previous interpretations, where they were reduced to one of their activities (e.g. patronage). The book also offers the first sustained comparison of the Accademia del Disegno and the Accademia di San Luca. The focus on "social practices" entails the application of insights of theories of practice to a cultural-historical research object. The development of theories of practice, especially those of Pierre Bourdieu and Theodore Schatzki, is the second objective of this study, in addition to improving the understanding of the Accademia del Disegno and the Accademia di San Luca in the early years of their existence.

Brossura. Condition: nuovo. Quasar, 2022. NUOVO. Brossura. 192pp, illus. The Florentine Accademia del Disegno (founded in 1563) and the Roman Accademia di San Luca (founded c. 1593) were the first official art academies in Europe. In their early years these institutions performed a variety of functions, which included the organization of funerals and religious feasts, establishing and enforcing rules about the organization of workshops, teaching young painters, sculptors and architects the principles of their arts, and maintaining relationships with potential patrons. By seeing them as crossing points of religious, guild, educational and patronage practices this book presents a multifaceted and comprehensive understanding of these academies. As such it goes beyond previous interpretations, where they were reduced to one of their activities (e.g. patronage). The book also offers the first sustained comparison of the Accademia del Disegno and the Accademia di San Luca. The focus on social practices entails the application of insights of theories of practice to a cultural-historical research object. The development of theories of practice, especially those of Pierre Bourdieu and Theodore Schatzki, is the second objective of this study, in addition to improving the understanding of the Accademia del Disegno and the Accademia di San Luca in the early years of their existence. Contents: Illustrations Acknowledgements INTRODUCTION From social elevation to cultural politics The wider academic movement in Europe A practice approach to the academization of art CHAPTER 1 BOURDIEU AND SCHATZKI ON SOCIAL REALITY, PRACTICES, AND MODERNITY Social reality and social practices The organization of social practices Social critique, power, and modernization Bourdieu, Schatzki, and the academization of art Interpretative framework CHAPTER 2 E TUTTO FU FATTO CON GRANDISSIMO APPARECCHIO DI CERA E LUMI : THE RELIGIOUS-CONFRATERNAL PRACTICES OF THE ART ACADEMIES Religious-confraternal practices and the Counter Reformation The Compagnie di San Luca in Florence and Rome and the foundation of the art academies The confraternal practices of the Accademia del Disegno in Florence The Accademia di San Luca in Rome and the Counter Reformation Church The confraternal practices of the Accademia di San Luca Conclusion CHAPTER 3 COME TUTTI GLI ALTRI MAGISTRATI : THE GUILD PRACTICES OF THE ART ACADEMIES Art academies and the myth of the guilds Craft guilds and the visual arts before the foundation of the art academies Foundation, rules, and practices of the Florentine Academy as guild Guild rules and practices in the Accademia di San Luca in Rome Conclusion CHAPTER 4 THE THEORY AND PRACTICE OF DISEGNO IN ARTISTIC TREATISES Borghini and Varchi: reasoning or doing Vasari s apparente espressione Danti s ritrarre and imitare Allori s regole Cellini s principii Zuccari s disegno interno and disegno esterno Conclusion CHAPTER 5 PAROLE E FATTI : THE EDUCATIONAL PRACTICES OF THE ART ACADEMIES Theoretical and practical instruction in the academic curriculum Educational practices in the Florentine Academy Lectures in the Accademia di San Luca Practical instruction in the Accademia di San Luca Conclusion Chapter 6 PATRONS, CLIENTS AND CULTURAL BROKERS: THE PATRONAGE PRACTICES OF THE ART ACADEMIES Patrons, clients and cultural brokers The Florentine Accademia del Disegno as client The Roman Accademia di San Luca as client The Accademia di San Luca as cultural broker Conclusion Conclusion Bibliography Index.