Type(s) de contenu et mode(s) de consultation : Texte noté. Image fixe : sans médiation

Auteur(s) : Turner, James Grantham (1947-....). Auteur du texte  Voir les notices liées en tant qu'auteur

Titre(s) : The Villa Farnesina [Texte imprimé] : palace of Venus in renaissance Rome / James Grantham Turner

Publication : Cambridge (GB) ; New York : Cambridge university press, copyright 2022

Description matérielle : 1 vol. (xiv, 501 p.) : ill. en noir et en coul. ; 29 cm

Note(s) : Notes bibliogr. Index
"The frescoes of Peruzzi, Raphael and Sodoma still dazzle visitors to the Villa Farnesina, but they survive in a stripped-down environment bereft of its landscape, sealed so it cannot breathe. Turner takes you outside that box, restoring these canonical images to their original context, when each element joined in a productive conversation. He is the first to reconstruct the architect-painter Peruzzi's original, well-proportioned, well-appointed building and to re-visualize his lost façade decoration-erotic scenes and mythological figures who make it come alive and soar upward. More comprehensively than any previous scholar, he reintegrates painting, sculpture, architecture, garden design, topographical prints and drawings, archaeological discoveries and literature from the brilliant circle around the patron Agostino Chigi, the powerful banker who 'loved all virtuosi' and commissioned his villa-palazzo from the best talents in multiple arts. It can now be understood as a Palace of Venus, celebrating aesthetic, social and erotic pleasure."

Sujet(s) : Rome (Italie) -- Villa Farnesina  Voir les notices liées en tant que sujet

Indice(s) Dewey :  728.809 45632 (23e éd.) = Grandes résidences luxueuses privées (architecture) - Italie - Rome  Voir les notices liées en tant que sujet

Identifiants, prix et caractéristiques : ISBN 1316511014. - ISBN 9781316511015. - ISBN 9781009041836 (erroné). - ISBN 9781009036351 (erroné) (rel.)

Identifiant de la notice  : ark:/12148/cb471599605

Notice n° :  FRBNF47159960 (notice reprise d'un réservoir extérieur)

Table des matières : Machine generated contents note:`Not Built with Walls, but Truly Born' -- ; The Hybrid Estate: Multiple Structures, Multiple Arts -- ; Scholars and Critics on the Farnesina -- ; Agostino Chigi and His `familiares' -- ; 1.. `Antique' Imagination and the Creation of the Villa-Palazzo: Origins and Precursors -- ; 1.. Emulating the Ancient Villa -- ; The Villa in Antiquity -- ; Home Theatricals -- ; Vitruvius, Theory and Practice of Painted Decoration -- ; Statius, Vopiscus and the Interpretation of Ancient Sources -- ; The Ground Floor and the Main Reception Room: A New Reconstruction -- ; 2.. Imaginary Palaces -- ; The Bolognese Villa of Mino de' Rossi -- ; Palaces by Filarete and Poliziano Niccold da Correggio -- ; 3.. Siena and Rome: Chigi Patronage and the Launching of Peruzzi's Career -- ; Peruzzi's Earliest Commissions -- ; Self-fashioning, Marriage and Dynastic Alliance Patronage of Art and Architecture -- ; Chigi Town Houses in Siena and Rome The Tiber Site and Its Rival Neighbours -- ; 4.. The Villa Le Volte and the Conception of the Farnesina -- ; The Fabric of the Villa Le Volte -- ; The Farnesina: Applying the Lessons of Le Volte The House and the Street -- ; 5.. Villa Speculate: The Rising Structure from Basements to Rooftops -- ; Chthonic Architecture -- ; Staircases and Internal Circulation -- ; Fireplaces and Chimneys at the Structural Core -- ; 2.. The Stanza del Fregio and Peruzzi's First Architectural Wall-Painting -- ; 1.. Narrative in Architecture: The Stanza del Fregio, Ostia and the Chapel of St Helena -- ; The Room and the Painted Frieze -- ; Ostia and Rome -- ; The Chapel of St Helena -- ; Peruzzi's Autumnal Landscape -- ; 2.. Sources Ancient and Modern -- ; Earlier Renaissance Models -- ; The Imperial Villa on Chigi's Property -- ; 3.. Hybrid Creatures of Water and Land -- ; Water-Creatures -- ; The Libreria Piccolomini as Primary Source -- ; Lighting and Modelling: The Frieze between Painting and Sculpture -- ; 3.. The Lost Facade-Paintings: `Di terretta con storie di man sua, molto belle' -- ; 1.. The Extant Spandrel Paintings, the Form of the Facades, the Possibilities of the Medium -- ; The Spandrel Paintings -- ; Multiple Fields and Irregular Facades -- ; Graphic Evidence: The Metropolitan Drawing -- ; Reconstructing the Complete Exterior -- ; The Meaning of the Terretta Medium -- ; Peruzzi's Other Facades -- ; 2.. `Disegno rather than colorito': The Drawings Related to the Facade -- ; The Satyr-Caryatids -- ; The Mythological Scenes and the Mezzanine Windows Pasiphae and Daedalus: The Design Evolves Mars and Venus Captured by Vulcan Stylistic Affinities across Peruzzi's Oeuvre -- ; 3.. Adventures Underground: The Imperial Villa Rediscovered -- ; Caryatids, Captives and Satyrs -- ; Masks, Ancient and Modern Dividers and Supporters Paintings of Erotica -- ; 4.. Peruzzi's Design Principles -- ; The Building Takes to the Air -- ; Peruzzi's Theory -- ; 5.. Flights of Fancy: Images from Maiolica and Prints -- ; The Story of Pasiphae Continued -- ; Evidence from Prints: An Apollo-Daphne cycle? The Power of Love -- ; 4.. 1512 Overtures: The Villa, the Landscape -- ; Architecture and the Literature of Celebration -- ; 1.. The New House Rises -- ; Approaching the Villa with Egidio Gallo -- ; The Culture of Festivity Blosio Palladio's' Suburbanum' -- ; 2.. Hypogea and Hipocausta: The Secrets of the Lower Storeys -- ; The Summit and the Depths -- ; Ancient Materials from the Earth Chigi's Private Bathing Suite -- ; 3.. `Twin Porticoes Such as Never Existed in the Entire World' -- ; Drawing the Gaze: Blosio's Response to the Interior -- ; The Painted Vault -- ; Sebastiano in the `Antico Soggiorno' The Galatea Loggia: Three Artists at Work -- ; Giant Heads -- ; Raphael's Galatea in Conversation -- ; 4.. Fragrant Gardens, Shady Woods, Deep Meadows and Transparent Floods -- ; Reconstructing the Gardens: Poems and Documents -- ; `The progress of this House' -- ; Egidio Gallo's Landscape -- ; Blosio Palladio's `Topiary' -- ; Entrances and Exits, Gates and Doorways -- ; Fountains and the `Mastery' of Water -- ; Garden Sculpture Continued: Tiber, Pan, Psyche -- ; Reminiscences and Recreations -- ; 5.. Architecture in the Landscape: The Three Major Buildings -- ; Raphael's Stable/Guesthouse -- ; The Main Carriage Gateway Rediscovered The Tiber Pavilion -- ; Grotto, Pool and `Cave of the Nymphs' -- ; Graphic Traces of Riverbank Structures, and Their Destruction -- ; 5.. The Second Phase, IS 18-1519: The `Hall of Perspectives', the Nuptial Suite and the Loggia -- ; Di Psiche -- ; 1.. The Piano Nobile Transformed -- ; Reconstructing the North and South Suites -- ; Disruption and Expansion -- ; 2.. The Sala delle Prospective and Its Frieze -- ; Columns in Perspective -- ; Rus et Urbe: The Painted Vistas The Fictive Architecture Gods and Niches -- ; Decorum and Decoration in the Upper Frieze -- ; 3.. Roxana, Alexander and the Nuptial Bedroom -- ; Roxana and Alexander in Double Perspective -- ; Vulcan and Companions Looking Up and Looking Back -- ; 4.. Psyche's Upward Mobility -- ; Psyche Variations -- ; Peruzzi's Structure, Giovanni's Pergola, Raphael's Figures -- ; Narrative Abandoned -- ; `Cosa Vituperosa' or `Myriad Pleasures'? -- ; 5.. Giovanni da Udine's Biodiversity: `Painting and Poetry Truly Most Beautiful' -- ; `Fruits and Flowers without End' -- ; Nature as Artefact -- ; Vegetable Love -- ; Giovanni da Udine's Aviary -- ; All That Is Solid Takes to the Air.