Books by Giorgio Tagliaferro
Over the past twenty years or so it has finally been understood that Jacopo Tintoretto (1518/19-1... more Over the past twenty years or so it has finally been understood that Jacopo Tintoretto (1518/19-1594) is an old master of the very highest calibre, whose sharp visual intelligence and brilliant oil technique provides a match for any painter of any time. Based on papers given at a conference held at Keble College, Oxford, to mark the quincentenary of Tintoretto’s birth, this volume comprises ten new essays written by an international range of scholars that open many fresh perspectives on this remarkable Venetian painter. Reflecting current ‘hot spots’ in Tintoretto studies, and suggesting fruitful avenues for future research, chapters explore aspects of the artist’s professional and social identity; his graphic oeuvre and workshop practice; his secular and sacred works in their cultural context; and the emergent artistic personality of his painter-son Domenico. Building upon the opening-up of the Tintoretto phenomenon to less fixed or partial viewpoints in recent years, this volume reveals the great master’s painting practice as excitingly experimental, dynamic, open-ended, and original.
Over the past twenty years or so it has finally been understood that Jacopo Tintoretto (1518/19-1... more Over the past twenty years or so it has finally been understood that Jacopo Tintoretto (1518/19-1594) is an old master of the very highest calibre, whose sharp visual intelligence and brilliant oil technique provides a match for any painter of any time. Based on papers given at a conference held at Keble College, Oxford, to mark the quincentenary of Tintoretto’s birth, this volume comprises ten new essays written by an international range of scholars that open many fresh perspectives on this remarkable Venetian painter. Reflecting current ‘hot spots’ in Tintoretto studies, and suggesting fruitful avenues for future research, chapters explore aspects of the artist’s professional and social identity; his graphic oeuvre and workshop practice; his secular and sacred works in their cultural context; and the emergent artistic personality of his painter-son Domenico. Building upon the opening-up of the Tintoretto phenomenon to less fixed or partial viewpoints in recent years, this volume reveals the great master’s painting practice as excitingly experimental, dynamic, open-ended, and original.
This book, which arose from an international research project, examines Titian’s market strategie... more This book, which arose from an international research project, examines Titian’s market strategies, production system, and entrepreneurial skills from economic, social, and technical points of view. Drawing on unpublished documents, and analysing a large body of variant, replicas and copies, it sheds light on the role played by Titian’s assistants in the mutually informative processes of invention and execution. In revealing their contribution to the brand associated with the name of Titian, it supplants received ideas about the painter’s authorship with a more nuanced account of the activity of the workshop as a whole, and of its flexible response to different circumstances.
Articles and essays by Giorgio Tagliaferro
Available on open access: https://www.brepols.net/products/IS-9782503605197-1
Pannelli visivo tattili Tactile Vision Onlus Comunicazione, promozione e progetto grafico Paolo U... more Pannelli visivo tattili Tactile Vision Onlus Comunicazione, promozione e progetto grafico Paolo Umana con la collaborazione di
Titian: Themes and Variations , 2022
* By permission of the Ministero della Cultura. Unauthorized reproduction is strictly prohibited.... more * By permission of the Ministero della Cultura. Unauthorized reproduction is strictly prohibited. Digital reconstructions by Carlo Corsato p. 66: from Calzada 1923; p. 67: private collection, Genoa (fig. 6); original diagram (fig. 7); p. 69 (a) The J. Paul Getty Museum, Los Angeles; (b) The
La ricostruzione di Palazzo Ducale / Rebuilding Palazzo Ducale, in Andrea Bellieni, Robert Echols, Frederick Ilchman, Gabriele Matino (eds.), Venetia 1600. Nascite e Rinascite / Venetia 1600: Births and Rebirths, exh. cat., Venice, Palazzo Ducale (Venice: Museum Musei, 2021), pp. 191-196 La mostra è stata organizzata nell'ambito delle Celebrazioni dei 1600 anni della Nascita di Venez... more La mostra è stata organizzata nell'ambito delle Celebrazioni dei 1600 anni della Nascita di Venezia promosse dal Comune di Venezia (421-2021). La mostra è stata realizzata con la collaborazione speciale delle Gallerie dell' Accademia di Venezia, della Procuratoria di San Marco di Venezia e il supporto fondamentale per i restauri di Save Venice.
The water bus docks at the Rialto Bridge, unloads and loads, then sets off down the Grand Canal. ... more The water bus docks at the Rialto Bridge, unloads and loads, then sets off down the Grand Canal. A foreign man in his forties boards, tucks his ticket into his pocket, and takes a seat inside. He came to Venice to observe some Titian masterworks in their original site. Once on the boat, he looks out and absorbs the reflections of the palaces bordering the canal that waver with the flow of the water. He alights a few stops away and walks into the Church of San Rocco, where his eye is caught by the shape of the main altar: too similar to the one framing Titian's famous Pesaro Madonna (1519-26) in the nearby Basilica of Santa Maria Gloriosa dei Frari. He then searches his pocket, finds the waterbus ticket, pulls out his pen, and jots down a sketch of the altar (figs. 1a, 1b).
Overview of Tintoretto's work in the Doge's Palace after the 1574 fire, with some new interpretat... more Overview of Tintoretto's work in the Doge's Palace after the 1574 fire, with some new interpretations esp. about the Paradise. From catalogue of the Venice 2018-19 Tintoretto exhibition.
The Entombment of Christ, painted by Palma Giovane for the Oratorio dei Crociferi in Venice (1590... more The Entombment of Christ, painted by Palma Giovane for the Oratorio dei Crociferi in Venice (1590), contains the portraits of two Procurators of St Mark, whose unusual position at the back implicitly involves them directly in the sacred narrative. This article examines how the painting elaborates on typical strategies of Venetian institutional portraits to place the sitters on a threshold between fictive and real, and give them an intermediary function between the viewers and the scene. It argues that, by means of a well-thought design, the sitters spur the beholder, that is the destitute women of the adjoining hospice, to simultaneously worship Christ’s body and acknowledge the Procurators’ role as the administrators of the Oratory. The engagement with the spectator is thus exploited to symbolise the renewal of the endowment to the hospice through the ritual re-enactment of the Eucharistic mystery. While the past of the sacred narrative and the present of the spectator converge, the act of beholding formalises the relationship between those who are guarantors and those who are guarantees. Moreover, a replica of the painting, where a couple of anonymous donors have replaced the Procurators and pray before Christ, suggests that Palma’s painting was recognised as a model for social emulation, where the Procurators are acknowledged for their dignity.
Throughout his career, and especially in the last three decades of his life, Titian issued from h... more Throughout his career, and especially in the last three decades of his life, Titian issued from his workshop a sizeable number of variants and replicas of different compositions. This vast circulation of paintings was boosted by a huge request from collectors across Europe, and helped Titian to establish himself as a widely celebrated artist. Over the years, the master developed an unconventional working method that privileged the unevenness of the pictorial surface over uniformity and homogeneity, thus emphasising the process of art-making. Indeed, it is especially for his peculiar, idiosyncratic handling of the brush that he was renowned, and his paintings sought after. Furthermore, this technique matched up with the cult of the personality that Titian himself fostered. At the same time, however, several of the variants and replicas produced in the late years raise the problem of how the collaboration with assistants affected the notion itself of authorship and originality. How did his innovative technique, which highlighted his virtuosity and individuality, harmonise with the documented, extensive contribution by his collaborators? Moreover, if each variant or replica received a unique, distinctive pictorial treatment, can we still draw a clear line between originals and derivations?
By presenting a previously unpublished version of Titian’s Agony in the Garden, whose composition is known through a painting executed for Philip II and now in the monastery of San Lorenzo del Escorial, this study seeks to discuss and establish a new theory of the nature of authorship in Titian’s late collaborative works. The new painting is here acknowledged as a joint work by the master and his collaborators, and stands as an example of how the novel aesthetics developed by Titian tolerated and perhaps even encouraged the incorporation of different hands into many of his late works.
Bernard Aikema, Thomas Dalla Costa, Paola Marini (eds.), "Paolo Veronese: giornate di studio" (Venice: Lineadacqua-Fondazione Cini, 2016), pp. 102-113
Although scholars have praised Veronese’s interests in elevating drawing to a self-sufficient med... more Although scholars have praised Veronese’s interests in elevating drawing to a self-sufficient medium of expression, there have nonetheless been no explicit attempts to describe his draughtsmanship as an intellectually-engaged practice of the kind conceptualised by Vasari. It is my contention, instead, that Veronese’s corpus of drawings lends itself to be seen as the result of a constant, aware reflection upon the possibilities of representing human experience and behaviour. His work reveals a seemingly incessant exploration of the virtually unlimited expressive potential of the human figure, in poses, gestures, movements and interactions. This exploration is grounded in a ceaseless process of re-elaboration of recurring motifs and ideas that were sometimes reused, sometimes recast or recombined, and which could be adjusted to various subjects. While these drawings were undoubtedly helpful in workshop production, Veronese’s renderings operated as a particularly effective method of investigating visual forms in ever-changing contexts of meaning, and thus exceeded the standard function of being merely preparatory. In this article I argue that Veronese’s studies of figural gestures and postures evolved into an enquiry of the possible mental and moral attitudes of particular human beings in given circumstances, as described by specific narrative sequences.
in Aikema, B., and Marini, P. (eds.), Paolo Veronese: L’illusione della realtà, exh. cat. (Milan: Electa, 2014), pp. 164-172
Celebrazione e autocritica. La Serenissima e la ricerca dell’identità veneziana nel tardo Cinquecento, ed. by B. Paul (Roma, Viella), 2014, pp. 193-231, 2014
Studi Tizianeschi, Vol. 8 (2012), pp. 68-98, 2012
This article contains a compilation of all the documents concerning Titian’s son, Orazio Vecellio... more This article contains a compilation of all the documents concerning Titian’s son, Orazio Vecellio, introduced by an essay discussing his artistic and managerial activity within the family workshop. It contains 89 new documents, thus adding new material to that already published by the author in Le botteghe di Tiziano. The essay addresses the role played by Orazio in Titian’s later production, suggesting his was a regular and substantial contribution, while reattributing four paintings hitherto attributed to him to his cousin, Marco Vecellio. It ends by proposing new avenues of research into the social context in which the artist worked.
Venezia Cinquecento, Vol. 21 (2011), no. 41, pp. 107-161, 2012
Based on archival research, this article addresses Titian’s relationship with the Balbis: a middl... more Based on archival research, this article addresses Titian’s relationship with the Balbis: a middle-class Venetian family related to him, with whom he shared interests in the timber trade. It discloses connections between the artist and affluent circles of the Venetian bourgeoisie in the years 1550-70s, which included lawyers and members of the State bureaucracy, as well as shopkeepers and colour merchants connected with the Scuola della Carità. The analysis demonstrates both how this extended network was supported by Titian’s prestige, and how it fostered the artist’s social ambitions at the same time as his artistic activity.
Itinerari d’arte e storia tra le chiese oltre le mura di Castelfranco Veneto, a cura di G. Tagliaferro, Castelfranco Veneto, Liberali, 2011, pp. 37-42
Venezia Cinquecento, Vol. 18 (2008), no. 35, pp. 41-77, 2009
This article addresses Titian’s altarpiece of c. 1542-52 in the Duomo of Serravalle, near Treviso... more This article addresses Titian’s altarpiece of c. 1542-52 in the Duomo of Serravalle, near Treviso. It reconstructs the history of this painting by analysing new documents, and connects it to the painter’s commercial interests in the area. Analysing its quotation of Raphael’s cartoon of the Miraculous Draught of Fishes for the Sistine Chapel tapestries, the article advances a reading of the painting as a critique of the papacy, an interpretation it relates to Titian’s engagement with pope Paul III and the Farnese family, his promotion his son Pomponio to the clergy, and his proximity to the ‘spirituali’.
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Books by Giorgio Tagliaferro
Articles and essays by Giorgio Tagliaferro
By presenting a previously unpublished version of Titian’s Agony in the Garden, whose composition is known through a painting executed for Philip II and now in the monastery of San Lorenzo del Escorial, this study seeks to discuss and establish a new theory of the nature of authorship in Titian’s late collaborative works. The new painting is here acknowledged as a joint work by the master and his collaborators, and stands as an example of how the novel aesthetics developed by Titian tolerated and perhaps even encouraged the incorporation of different hands into many of his late works.
By presenting a previously unpublished version of Titian’s Agony in the Garden, whose composition is known through a painting executed for Philip II and now in the monastery of San Lorenzo del Escorial, this study seeks to discuss and establish a new theory of the nature of authorship in Titian’s late collaborative works. The new painting is here acknowledged as a joint work by the master and his collaborators, and stands as an example of how the novel aesthetics developed by Titian tolerated and perhaps even encouraged the incorporation of different hands into many of his late works.
A quattrocentocinquant’anni dalla battaglia di Lepanto, il seminario, curato da Serena Di Nepi e Massimo Moretti, si propone di riflettere su uno degli eventi più raccontati, rappresentati e celebrati del XVI secolo europeo.
L’assedio e il soccorso di Malta del 1565, come anche l’assedio di Cipro culminato con l’eccidio di Famagosta (1570-1571), furono gli eventi che sul piano della comunicazione guadagnarono l'interesse sempre maggiore di un vasto pubblico socialmente e culturalmente trasversale, rendendolo partecipe e attore della grande sfida antiturca rilanciata da Pio V con la chiamata alle armi dei principi cristiani.
Il seminario interdisciplinare, organizzato dal Dipartimento di Storia Antropologia Religioni Arte e Spettacolo,
intende presentare contestualmente e coralmente le parole, le immagini e le celebrazioni del grande evento militare nei palazzi nelle piazze e nei porti del Mediterraneo e il loro uso politico e ideologico nel tempo immediato e nel periodo successivo.
I relatori potranno ricostruire, attraverso fonti edite e inedite, lo sguardo singolare e collettivo sull’evento così come è stato vissuto, raccontato e rappresentato nei diversi spazi della politica e della società. L’intreccio di sguardi e metodologie, tra la storia e la storia dell’arte, sarà al centro dell’incontro e si tradurrà in un dialogo tra campi di ricerca e saperi. L’appuntamento si rivolge a dottorandi e laureandi di magistrale ed è organizzato con il sostegno del Dottorato di Ricerca in Storia, Antropologia, Religioni, del Dottorato di Ricerca in Storia dell’Europa e del Dottorato di Ricerca in Storia dell’Arte del Dipartimento SARAS
Towards the end of the sixteenth century, the Republic of Venice undertook a series of decorative campaigns that turned their administrative and executive headquarters, the Palazzo Ducale, into a powerful vehicle of political propaganda. Functioning as a junction between four of the most important state halls in the palace, the Room of the Four Doors regulated foot traffic and was walked through by a flux of people. This presentation will show how its decoration, formed of frescoes by the celebrated painter Jacopo Tintoretto as well as of stuccoes, represents one of the most significant and ambitious programmes of the Palazzo. With its emphasis on the liberty and nobility of the Venetian state and ruling class, it aimed to demonstrate how the once triumphant Republic was still on a level with the greatest European monarchies of the time.
L’intervento mette in discussione l’idea dominante che le scelte artistiche di Tintoretto fossero guidate da un inestinguibile desiderio di sopraffare i suoi rivali, e inquadra invece il suo sperimentalismo nelle riflessioni sulle possibilità del medio pittorico che definiscono il concetto cinquecentesco di "maniera".
Il Maggior Consiglio, l’assemblea di tutti i maschi adulti della nobiltà veneziana, costituiva la base del sistema di governo della Repubblica di San Marco. La sua principale funzione era la nomina, tramite elezione diretta, delle cariche amministrative. Inoltre esso rappresentava almeno nominalmente la suprema autorità legislativa, malgrado le sue prerogative in questo campo e in quello esecutivo venissero nella pratica demandate ad altri organi. L’enorme sala che ne ospitava le riunioni, sita al primo piano nobile dell’ala sud di Palazzo Ducale, riflette l’ampiezza e il prestigio del Maggior Consiglio tanto nelle dimensioni quanto nell’apparato decorativo. Risultato di un restauro seguito al famoso incendio del 1577, l’ambizioso programma pittorico squadernato sulle pareti e sul soffitto sia di questo vasto ambiente che dell’adiacente sala dello Scrutinio commemora con immagini altamente evocative le maggiori imprese (principalmente belliche, ma non solo) compiute dai veneziani in un arco temporale di otto secoli. Nelle intenzioni dei progettatori, la decorazione avrebbe dovuto raccogliere e rappresentare la memoria collettiva del patriziato ed esaltare la natura virtuosa dimostrata dei veneziani attraverso l’amore per la patria, per la libertà e per la fede cristiana. In questo modo, si voleva anche sottolineare come il Maggior Consiglio, insieme alle altre leggi e istituzioni fondate dai benemeriti antenati della Repubblica, incarnasse la continuità tra quelle generazioni e le odierne.
Al pubblico che oggi visita Palazzo Ducale, le due sale in questione si presentano verso le fine dell’itinerario museale, infondendo un’impressione di magnificenza e splendore che è probabilmente rimasta immutata nel corso dei secoli. Tuttavia, la fruizione di questi spazi, inevitabilmente scissa dalle condizioni e funzioni per le quali il ciclo pittorico era stato pensato, consente una percezione limitata delle implicazioni simboliche e della pregnanza visiva di tali rappresentazioni. Che impatto avrebbero avuto queste sui consiglieri che si recavano alle adunanze? Come ne avrebbero modificato la percezione dello spazio fisico e come avrebbero contribuito a trasformare le sale in uno spazio carico di significato sociale e culturale, capace di incidere sulla costruzione dell’identità individuale e collettiva dei patrizi veneziani? In che modo la presenza fisica di questi ultimi avrebbe dato significato alle immagini dipinte, e come sarebbero state recepite da altri possibili visitatori? In che modo esse avrebbero interagito con i riti politici celebrati in questi ambienti? Attraverso una ricostruzione dei percorsi di accesso e circolazione all’interno delle due sale durante le cerimonie ufficiali, e il confronto tra questi e l’effettiva disposizione dei dipinti, la presente relazione si propone di dimostrare come il ciclo pittorico in questione si articoli secondo assi visivi espressamente concepiti per coinvolgere lo spettatore che si muoveva nelle due sale e renderlo parte attiva nella costruzione dei significati.
La presa di Costantinopoli nel corso della Quarta Crociata (1204) ebbe non solo un impatto decisivo sulla politica e l’economia veneziane dell’epoca, ma anche ripercussioni di lunga durata sulle forme di autorappresentazione elaborate nei secoli successivi dalla Repubblica di San Marco. Questo intervento si focalizzerà sulla sequenza di dipinti raffiguranti la Quarta Crociata nella sala del Maggior Consiglio in Palazzo Ducale, realizzati a fine Cinquecento, e sul concomitante recupero delle relative fonti storiografiche, per dimostrare come a distanza di quasi quattrocento anni quegli eventi rappresentassero ancora un capitolo fondamentale nella costruzione del mito della Serenissima.
Palazzo Ducale rappresenta un punto di riferimento fortemente caratterizzante per la nostra percezione della forma urbana e dell’identità storica di Venezia, incarnando quella continuità col passato che è elemento distintivo della città. Se per noi oggi l’edificio rappresenta la memoria di epoche storiche che si sono cristallizzate tanto nella facies architettonica quanto nelle vaste decorazioni interne, è stimolante e opportuno chiedersi – per comprenderne meglio valori e significati – come a sua volta la civiltà che ci ha tramandato questo inestimabile patrimonio storico-artistico percepisse e si rapportasse al proprio passato, e in che modo ciò abbia contribuito a costruire l’eredità storico-culturale di Venezia. Con queste domande sullo sfondo, la relazione si propone di esaminare alcuni punti chiave delle strategie di visualizzazione messe in opera dal patriziato veneziano nei cicli pittorici realizzati durante l’ultimo quarto del Cinquecento, focalizzandosi in particolare sulla raffigurazione degli episodi fondativi della città e della Repubblica di San Marco.
This seminar will discuss how Titian and Raphael, who arguably never met, developed at the same time and somewhat similarly, although in different cultural contexts and under different circumstances, innovative techniques and modes of representation to engage the viewers in new, more compelling ways. It will also highlight how Titian, still many years after Raphael’s death, looked to the late fellow artist not only as a source of inspiration for his extraordinary inventiveness and the supreme quality of his art, but also as an ideal of excellence to surpass, which spurred Titian to promote himself as the greatest of all artists, giving Venice its own ‘Raphael'.
In the 1510s Raphael was establishing himself as leading artist in papal Rome, creating iconic paintings that would enable his art to be regarded as a paragon of absolute beauty both by his contemporaries and in the centuries to come. Right in the same years, another talented painter rose to prominence in the republican city of Venice. Titian (ca. 1490-1576), who was slightly younger than Raphael and came from the mountains in the northern fringes of Venice’s inland, was soon to dominate the local artistic scene and extend his fame beyond the Italian peninsula, finally becoming one of the most celebrated masters of all times. Unlike Raphael, who died at age 37 in 1520, Titian lived a long life and career, during which he worked for numerous princes, furnishing their courts with a multitude of paintings that shaped the taste of European society and had a huge impact on artists from any latitude. Because of both his longevity and the sense of vigour and energy he imparted to his works, Titian’s art has been often compared to Michelangelo’s. The similarities between Titian and Raphael, on the contrary, have been largely underestimated, despite the fact that the two painters were revered as paradigms of artistic perfection until well into the nineteenth century. In today’s perception, the two artists are hardly, if any, conceived of in parallel terms, inasmuch as sixteenth-century Venice and Rome are seen as separate historical entities.
Breaking with such a limiting view, this seminar examines ways in which Titian creatively explored the function of the picture plane as both a boundary and a link between the fictional world of the depiction and the actual world of the viewer. By focusing mainly on two pictures, the Pala Pesaro (1519-26) and the Presentation of the Virgin in the Temple (1534-38), it discusses how Titian fashioned ingenious designs that, while creating a sense of continuity between the pictorial and the real space, at the same time negate it by disrupting the canon of perspectival coherence. It will be argued that, in this way, Titian concentrated on the tension between spatial illusionism and the flatness of the surface to manipulate the gaze and compel the onlooker into a more engaging viewing experience.
This paper seeks to answer these questions by proposing a theory of authorship and originality that takes into account the aesthetics and practice of Titian’s art, with special reference to his late years. It contends that most of the derivative works released from his studio received no less unique, distinctive pictorial treatment than any original; it also addresses the workshop as the place where master and assistants jointly carried out the fabrication of ‘Titianness’ as a standard quality that was requested and expected by a covetous market, which they flooded with works acknowledged for the originality of execution even when ostensibly collaborative. Whilst an approach that privileges the separation between master and workshop is still prevalent in the field of Titian studies, and is nourished by an idea of authorship and originality based exclusively on the recognition of the master’s hand, this paper will tackle these issues by a different angle, considering both socio-economic and technical-aesthetic aspects of Titian’s painting production process.
Daniel Wallace Maze (University of Iowa),
Giorgio Tagliaferro (University of Warwick).
Chair:
Maria H. Loh (Hunter College).
Presentations:
“Bellini and Mantegna, Bromance of the Renaissance”
Daniel Wallace Maze (University of Iowa);
“Friendship in Raphael's Self-Portrait with His Fencing Master”
Christian K. Kleinbub (Ohio State University);
“Michelangelo and Sebastiano: Friendship, Poetry, and Drawing”
Matthias Wivel (National Gallery, London).
Sunday, March 17, 2019, 4:00 PM - 5:30 PM, Sheraton Centre Toronto - Leaside.
This session intends to map out the shifting patterns and fragmented fortunes of the artistic workshops in the Italian Peninsula, emphasizing their role as the crossroads for artistic creation during the Early Modern period (ca. 1450-1650). We seek to explore the multifaceted identity of the artistic workshop, investigating its role in the production, transmission and circulation of practical and theoretical knowledge, as well as its function as a “social” environment promoting talent and creativity. The papers take into consideration the workshop as:
- a place for education and training;
- a hub for the creation of artistic networks;
- a production system and economic enterprise; - a connective link between artists and patrons; - a precursor of modern Art Academies.
This proposed session intends to map out the shifting patterns and fragmented fortunes of the artistic workshops in the Italian Peninsula, emphasizing their role as the crossroads for artistic creation during the Early Modern period (ca. 1450-1650). We invite papers exploring the multifaceted identity of the artistic workshop, investigating its role in the production, transmission and circulation of practical and theoretical knowledge, as well as its function as a “social” environment promoting talent and creativity. Potential topics may take into consideration the workshop as:
- a place for education and training;
- a hub for the creation of artistic networks;
- a production system and economic enterprise;
- a connective link between artists and patrons;
- a precursor of modern Art Academies.
Single case studies based on new archival research, as well as comparative and cross-disciplinary investigations, are also welcomed.
Interested participants are invited to send a 150-words proposal, keywords and short CV (drawn up according to RSA guidelines) to organizers Mattia Biffis (m-biffis@nga.gov) and Giorgio Tagliaferro (g.tagliaferro@warwick.ac.uk) by 5 June 2015.
Seminario sulla metodologia della ricerca storico-artistica.
Coordinato da Maria Bergamo, Giacomo Confortin, Fabrizio Lollini.
Con Elisa Bizzotto, Monica Centanni, Silvia De Laude, Maurizio Ghelardi, Michela Maguolo, Roberto Masiero, Stefano Riccioni, Daniela Sacco, Valentina Sapienza, Antonella Sbrilli, Massimo Stella, Giorgio Tagliaferro,
Silvia Urbini, Pier Mario Vescovo.
E con studenti, dottorandi, studiosi della costellazione classicA.