1. Venus and Mars


    from Alicia7777777 / Added

    630 Plays / / 2 Comments

    2.5D & Morph / Dedicated with humor to Walter F Crager ------- Venus and Mars is a c. 1483 painting by the Italian Renaissance master Sandro Botticelli. It shows the Roman gods Venus and Mars in an allegory of Beauty and Valour. Venus watches Mars sleep... The scene is set in a forest, and the background shows, in the distance, the sea from which Venus was born.... Alessandro di Mariano di Vanni Filipepi, better known as Sandro Botticelli (c. 1445 – May 17, 1510) was an Italian painter of the Florentine school during the Early Renaissance (Quattrocento). ------- Music - J.S.Bach BWV Anh. 122. Marsh D-dur

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    • John Varriano '61


      from Kevin D. Ramsey / Added

      26 Plays / / 0 Comments

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      • The Tigress of Forli by Elizabeth Lev Book Trailer


        from cosproductions / Added

        18 Plays / / 0 Comments

        A Rome based American historian tells the extraordinary story of Caterina Riario Sforza, perhaps the most prominent woman of Renaissance Italy, who was a wife, a mother, a leader, and a warrior with the courage to battle a Borgia pope, the charm to beguile a Medici husband, and the fierceness to make Machiavelli himself wince. Learn more about this book here, http://bit.ly/r2eHvt and its author here, http://bit.ly/rfpIlS Historical Fiction

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        • “The Case of the Mysterious Lenticular Glass”


          from Alyson Pou / Added

          67 Plays / / 0 Comments

          A Four Play Series by Alyson Pou EXCERPTS Part 1 Marietta, a devoted collector of lenses and the inventions that house them, discovers a pouch that holds important clues about a mysterious master lens maker of the early 17th century. Part 2 Marietta’s search for the mysterious 17th century lens-maker takes her from Florence to Venice where she must gain access to the archives of a powerful family. Part 3 It is 1900, a new century, and preparations for the opening of L’ Exposition Universelle are underway in Paris. Marietta Boyle, still on her quest to prove that Alessandra Mazzolini was Galileo’s apprentice and maker of the mysterious lenticular glass, enters this heady alchemy of science and technology in search of answers only to discover there are other mysteries to be solved. Part 4 In our final episode, the long lost pouch and mysterious lenticular glass show up in the collection of a 21st century eccentric recluse who believes he is going blind. It is up to the inventors of the first implantable telescope to give him the super human vision he desires, and finally prove that Alessandra Mazzolini was Galileo’s apprentice and maker of the mysterious lenticular glass. Presented at Central Booking Gallery Dumbo, Brooklyn April 2010 - December 2010

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            from RED MARTIAN / Added

            1,690 Plays / / 0 Comments

            One of the most beautiful pieces of lute music - on the MMM.

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            • Through the Eyes of PONTORMO


              from George J Nicholson / Added

              176 Plays / / 0 Comments

              About this Film: "Through the Eyes of Pontormo" is the first of a series of short films I have conceived that surveys through the animation of still images and complementary soundtracks the works of various master painters (many of them “old masters”) who have most inspired the development of my creative process. Later this year, others shall follow. "Through the Eyes of El Greco" is already in the works. • • • Unless you paid especially close attention in Art History class or are a bonafide aficionado of the Italian Renaissance, the name Jacopo da Pontormo (also known as simply Pontormo) probably does not ring the cathedral bells of memory. Pontormo lived during the tail-end of the Italian Renaissance that occurred between the mid-1400s and the mid-1600s. Like many of the other master painters of that age, Pontormo’s subject matter mostly revolved around Christian biblical scenes. For over 20 years, the art-book "Pontormo: Paintings and Frescoes" has graced my bookshelves – its cover facing outward. No matter where I lived, I felt compelled to have this book's cover within my line of sight. A very odd confession, I agree, but one of those private idiosyncrasies that tend to elude one’s own awareness. My most recent move into much smaller apartment quarters in the wake of Hurricane Irene buried this keepsake under a mountain of other books that were moved in a great hurry and placed in storage. One night this past Winter, I awoke in a sweat. Where was my Pontormo? I sensed something valuable was missing in this new apartment setup. After a lot of wee-hour digging, I found the book and placed it in a position of prominence, cover facing outward, of course, in my writing room. Soon afterwards, I decided it was time to analyze this strange relationship I had to a book by an artist I knew so little about. I quickly realized that it was not the book itself but Pontormo’s painting "Visitation" which graces its cover that was the source of the connection that I had constellated around Pontormo. But what was it about the "Visitation" in particular that I found so magnetic? I am only mildly a fan of Christian iconography and biblical scenes. Yet something palpable, mysterious, secretive and wholly alluring inhabited this painting. After refreshing my understanding of the Virgin Mary’s “visit” to her cousin Elizabeth (my sternly taught elementary school catechism class left me a poor student of the Bible), I realized there is meaningful symbolic content underlying Pontormo’s masterpiece that is well timed to the golden phase of life that I am entering – old age. To honor this reservoir of feeling I had developed for this painting, I decided that crafting a short film around the work might constitute a useful ritual that could help me integrate the inspiration "Visitation" has quietly, unconsciously graced me with for so many years. • • • In crafting "Through the Eyes of Pontormo," I was required to undertake the laborious task of digitally restoring the small reproductions I had access to for use in the movie. This was necessary, as close-up camera movements over the artwork for my intended purposes would have magnified the damages Pontormo’s masterpiece has incurred over the centuries. This project was at once humbling and uplifting. I felt as if I were chopping wood and carrying water in a Renaissance monastery of Fine Art. The film's glorious soundtrack served as a background mantra to the production process, so by the time I finished the film I was “floating” – just as the four glorious figures of "Visitation" appear to be. Simply animating Pontormo’s "Visitation" was not enough to satisfy cinematic requirements. It was necessary to complement the “set up” created by Visitation with a “payoff” – the infant Christ child and little Saint John the Baptist. Both figures are imaged briefly to conclude the film – Saint John's figure appears just in passing in the lower right of the penultimate animated image). • • • > This film is dedicated to Robert A. Johnson: Jungian analyst, author, philosopher, mentor and friend, from whom I learned techniques to explore the various levels of symbolic meaning resident in dreams and other artifacts of the human imagination – not the least of which are timeless masterpieces of Fine Art.

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              • CARAVAGGIO+


                from SZÉPMŰVÉSZETI // NEMZETI GALÉRIA / Added

                Part 2.Caravaggio's secrets. 'Salome Receives the Head of St John the Baptist' from the National Gallery,London. This is a late work by the artist, painted in the last three years of his life, perhaps in Naples where he resided from 1609 to 1610. The second version of the same luckless saint's head being dropped onto a platter held by Salome in the Madrid version. Free guided tours series in english in the Caravaggio to Canaletto exhibition's masterpieces. John Thomas Spike is a noted art historian, author and lecturer, specializing in Italian Renaissance and Baroque art. We would like kindly ask to join and enjoy the fabulous guide by John T. Spike. Caravaggio to Canaletto – Two Centuries of Italian Masterpieces, featuring works by the two aforementioned leading Baroque and Rococo painters, in addition to selected pieces by Strozzi, Tiepolo, Bellotto, Carracci, Giordano, Gentileschi and Guercino. Opening this coming weekend (from Saturday, 26th October) and running through until the 16th of February 2014, the Szépművészeti Múzeum presents 30 paintings from its own collection in addition to a number of rarely-seen pictures from private Hungarian collections, complemented further by some 100 masterpieces on loan from a wealth of the most prestigious art museums in Europe and the USA. These include the Musée du Louvre in Paris, London’s National Gallery, the Prado and Thyssen-Bornemisza in Madrid, the Uffizi and Galleria Palatina in Florence, the Pinacoteca Capitolina and Galleria Borghese in Rome, the Gemäldegalerie of Berlin and Dresden and the Kunsthistorisches Museum in Vienna. © ART BUBBLE MEDIA The film is supported by Canon Hungária Kft.

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                  from the fake factory / Added

                  The School of Athens, or Scuola di Atene in Italian, is one of the most famous paintings by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as a part of Raphael's commission to decorate with frescoes the rooms now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. The picture has long been seen as "Raphael's masterpiece and the perfect embodiment of the classical spirit of the High Renaissance.

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                  • Conservation and installation of the Cremona ceiling


                    from Victoria and Albert Museum / Added

                    1,222 Plays / / 0 Comments

                    The V&A's Sculpture Conservation Team and Museum Technical Services describe how the Cremona ceiling was conserved and prepared for installation in the Medieval & Renaissance Galleries. The domed ceiling, painted in about 1500 by Alessandro Pampurino, was originally located in a ground floor room of the Casa Maffi in Cremona, Italy. TRANSCRIPT: Dismantling the ceiling Victor Borges: The museum has a tremendous Italian Medieval and Renaissance collection. At the moment we are working on one of the biggest scale objects – in this case a fresco painting that originally was in a building in Cremona. The fresco painting was removed from the wall and attached to a wooden structure so it could be transported and installed in a new venue – in this case, the V&A. So the first step was to remove the ceiling from its gallery where it was installed. That implied many different challenges. One of the challenges was to deal with the structure of the wall painting - it was quite complex to dismantle the wall painting with its different parts. And the other challenge was to protect the wall painting and be able to complete the whole operation without damaging the painting itself. One of the first steps was to look closely at the surface of the wall painting and diagnose the different alterations or the different problems that the painting would be suffering in situ. And we start thinking about the conservation of the surface and then preparation of the surface towards the installation. That involves protecting the surface, mainly. For that we decided to use a method using Japanese tissue with a specific kind of facing material consolidant. Protection of the ceiling Some solvents did affect the surface, so we had to think of other options. And finally we decided to use a material that is basically a mixture of resin and paraffin that could be easily removed … that doesn’t affect, doesn’t disturb the surface of the painting. The process of applying this tissue, once we found the method, was laborious because you have to cut the different parts of the different pieces of tissue by hand to avoid having very sharp edges which can leave marks on the painting and then applying it with a brush. We worked as a team and it probably took us around two weeks to complete the facing of the whole surface of the painting. Reinstallation of the ceiling Jonathan Kemp: This object, the frame that you see is probably from the 19th century as the original stucco of which the fresco is made is a two-part lime stucco, re-lined when it was removed and brought to the museum. Re-lined with gypsum and chicken wire and this wooden structure which when we came to de-install it last August, we did worry about whether we should be screwing directly our fixings, our pulley system that my colleague Phil James devised for its removal and subsequent re-installation. The framework itself has a lot of fixings from the previous installations and we decided, well, in fact practically we had to use this framework because there’s nothing else that you could secure to and clamping mechanisms would have been too laborious and probably impractical. So we have used it and it’s worked well and we’ll remove our fixings from our installation and leave those other iron fixings on. Phil James: We had to devise methods to dismantle it and transport it for storage and conservation until it was re-installed here. So we essentially followed the methods we’ve used for de-installing it in reverse, which has worked efficiently and considering the stage it’s at now, has gone surprisingly quickly. But then I think that’s because we have the confidence that we’d gained in the de-installation in handling the parts now and understanding how the construction worked and how we could handle each part to get it in position and move it to make it fit with the next one. The most difficult part, actually I think, is getting the roundel in because we’re not sure exactly how or where it’s going to fit best and the museum wants to change its position because there’s a different understanding about its historical context in the ceiling. The next stage in the process, once we’ve got the roundel in, will be to have sections made for the frame so that it can all be bolted rigidly together then we can have the scaffold taken away, the ceiling will self support and once it’s suspended from the four points on the ceiling from the sides of the frame, then the supports can come out from underneath. Removal of the tissue protection Victor Borges: Right now we are at the stage when the wall paintings have got to be installed again in the new space in the Medieval and Renaissance Galleries. So what we are doing right now is precisely to remove this protective layer of tissue. And for that we have to – we are basically just using white spirit – what we are trying here is to re-activate again this mixture of resin and paraffin that we applied through the tissue, that is fixing the tissue in place. The white spirit is dissolving this resin and is allowing us to remove the tissue again.

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                    • Primavera by Botticelli - 3D recreation of painting


                      from Alicia7777777 / Added

                      330 Plays / / 0 Comments

                      Primavera, also known as Allegory of Spring, is a tempera panel painting by Italian Renaissance artist Sandro Botticelli (c. 1445 – May 17, 1510) The history of the painting is not certainly known, though it seems to have been commissioned by one of the Medici family. It contains elements of Ovid and Lucretius and may have been inspired by a poem by Poliziano. Since 1919 the painting has been part of the collection of the Uffizi Gallery in Florence, Italy..........

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