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pro vyhledávání: '"Christina Ferando"'
Autor:
Christina Ferando
Publikováno v:
Images Re-Vues, Vol 13 (2017)
In the eighteenth century, sculptors such as Antonio Canova often experimented with polychromy, using wax or grind water to subtly tint their figures’ flesh. In this article, I examine viewers’ discomfort with these surface treatments. I argue th
Externí odkaz:
https://doaj.org/article/0b7e3401f54e44dc8b3c286dddab44cf
Autor:
Christina Ferando
Publikováno v:
Images Re-Vues, Vol 13 (2017)
In the eighteenth century, sculptors such as Antonio Canova often experimented with polychromy, using wax or grind water to subtly tint their figures’ flesh. In this article, I examine viewers’ discomfort with these surface treatments. I argue th
Externí odkaz:
https://doaj.org/article/68a67a97f8804449964186dde9b7ed2f
Autor:
Christina Ferando
Publikováno v:
Journal of Art Historiography, Vol 3, Pp 3-CFe/1 (2010)
In the mid-1870s, the playwright Lodovico Muratori (1834-1919) wrote a play based on the life of the sculptor, Antonio Canova, that focused on a fictional, unconsummated passion between Canova and his housekeeper, Luigia Giuli. This play, published b
Externí odkaz:
https://doaj.org/article/38831b8830d7483d93d0b4c0e284b746
Autor:
Christina Ferando
Exhibiting Antonio Canova: Display and the Transformation of Sculptural Theory argues that the display of Canova's sculptures in the late eighteenth and early nineteenth centuries acted as a catalyst for discourse across a broad range of subjects. By
Autor:
Christina Ferando
Publikováno v:
Word & Image. 30:362-376
This article explores the literary debate that erupted in the Neapolitan press after the public display of Antonio Canova’s Venus and Adonis in 1795. The feud was sparked by two articles written by Marcello Marchesini and Carlo Castone, Count della
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::e7910f62b8a6f86a401b11c0d0bed588
https://doi.org/10.1080/02666286.2014.949530
https://doi.org/10.1080/02666286.2014.949530