Speaker: Jérémie Koering (Centre André Chastel)
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... Read more about Seminar: From Eye to Mouth: on Edible Images in the Renaissance
Speaker: Martin McLaughlin (I Tatti / Magdalen College Oxford)
When we think of Alberti in visual terms, what first comes to mind is usually the bronze self-portrait (c.1435),... Read more about Thursday Seminar: Alberti’s Autobiographical Writings
Speaker: Philippe Canguilhem (I Tatti / University of Toulouse)
Bronzino’s famous portrait of the young Cosimo, now in Philadelphia, has been the subject of much commentary regarding its meaning... Read more about Thursday Seminar: Bronzino's "Cosimo de Medici as Orpheus" revisited
Speaker: Suzanne Marchand (I Tatti / Louisiana State University)
For a very long time, I have been wondering how it was that Europeans—and not just scholarly Europeans--learned to ‘see’ classical antiquity in the modern period.... Read more about Thursday Seminar: "Porcelain: Another Kind of Classical Education"
Speaker: Thomas Gruber (I Tatti)
To many researchers, a scholar's library is a godsend, not least when it once belonged to such a versatile and productive thinker as Nicholas of Cusa... Read more about A Scholar’s Library is a Scholars’ Trap: Ramon Sibiuda’s “Science of Man”, Nicolas of Cusa’s Library, and the Materiality of (Non)Reception
Speaker: Rebecca Zorach (Northwestern University / I Tatti)
In Ulisse Aldrovandi’s Musaeum metallicum (written 1580s, published posthumously... Read more about Thursday Seminar: The Designs of Nature
Speaker: Alexei Lidov (I Tatti / Moscow State University)The Renaissance city of Florence, known throughout the world as a capital of artistic production,... Read more about Thursday Seminar: “Florence as New Jerusalem. The Rite of Lo Scoppio del Carro and the Regular Miracle of the Holy Fire in Jerusalem”
At first sight, readers of Franz Boas’ Primitive Art (1927) did not need to worry about theories.... Read more about Thursday Seminar: "Franz Boas’ Primitive Art between Morphology and Evolution Theory"
“Magical Realism” is an oxymoron coined by the German critic Franz Roh in 1925 to describe artworks that endowed realism with an uncanny effect. ... Read more about Thursday Seminar "Magic Realism in 1920s Italy and Quattrocento painting"
As if revisiting the religion’s primordial decision in favor of an exoteric, rather than esoteric, identity, the Italian painters of the fourteenth century populated Christian subjects and scenes with semi-outsiders:... Read more about Thursday Seminar "Margin and center in early Renaissance painting"