@museumwnf/theatre-data 1.0.5 → 1.0.6

package/items.json

@@ -1 +1 @@
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package/translations/items.ar.json

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package/translations/items.cs.json

@@ -1 +1 @@
-{"7573e18c-a60a-5e4f-926f-d8e3c737746a":{"name":"*Maškarní ples I*","description":"Nerámovaná, dekorativně pojatá scéna s fantastickou architekturou a maškarním plesem urozené společnosti napovídá, že plátno bylo součástí neznámé interiérové výzdoby. Stěžejním kompozičním motivem je otevřená impozantní stavba oválného sloupového sálu, přecházejícího do parku. Architektura kanelovaných a mramorových sloupů dekorovaná plastikami, girlandami a draperiemi, navozuje náladu vznešené, hudbou doprovázené zábavy dam a kavalírů. Drobnopisná stafáž dává vyniknout efektnímu, architektonicky malebnému výjevu. Divadelní nadsázka centrální perspektivy se zvýrazněným prvním plánem vtahuje diváka do imaginárního prostoru, mezi herce Comeddia dell´arte, galantní páry, služebnictvo a hudebníky. Obrazy tohoto typu,  \ntzv. „Schaustück“, oku lahodící obraz, tvořily oblíbené dekorace reprezentačních společenských interiérů, fascinující vztahem mezi realitou a iluzí, a to nejen obrazovou výstavbou, ale i metaforou převleků a tajemných masek. Jednotlivými motivy evokuje myšlenku jednoty umění a pocit ze vzájemného vztahu umělého a přírodního prostoru.  \nV maškarních plesech navázal Minderhout na tradici zobrazování původně především mravoličných výjevů aristokratických společností (banketů, zahrad lásky), inspirován pravděpodobně graficky rozšířenými výjevy z Comeddia dell´arte Claude Gillota (1673–1722) a dílem antverpského Hendricka Govaertse (1669–1720), činného i v Praze a ve Vídni v době, kdy se divadlo stává součástí dvorského života. Comeddia, původně považovaná za „nízký žánr“, se stává společensky velmi populární a inspirací řady malířů. Pro výtvarné ztvárnění scén mělo rozhodující vliv působení vídeňských dvorních dekoratérů rodiny Galli-Bibiena, jejichž příslušníci a zejména žáci pracovali i pro českou a moravskou šlechtu. Ta nejen navštěvuje představení vídeňská, ale pěstuje divadlo na svých sídlech.","short_description":"Dekorativní scéna s fantastickou architekturou a maškarním plesem napovídá, že plátno bylo součástí interiérové výzdoby. Obraz představuje osobité spojení flámské tradice s italskými pozdně barokními podněty.","type":"Malba","holder":"Moravská galerie v Brně","owner":"Moravská galerie v Brně","dates":"kolem 1740","location":"Brno, Místodržitelský palác, Morava","dimensions":"84 x 125 cm","place_of_production":"Morava","method_for_datation":"Malba je variantou některých z obrazů, které se dodnes nachází  \nv arcibiskupském zámku v Kroměříži. Na dekoraci sálů se zde za úřadu kardinála Ferdinada Julia Troyera (1745–1758) podílel také Willem Augustin Minderhout. Iniciály signatury představeného obrazu i výtvarné ztvárnění jej řadí mezi poměrně početné práce tohoto vakantního malíře, tvořícího často protějškové kusy.","obtention":"Obraz neznámého původu byl získán r. 1945.","bibliography":"Zora Wörgötter, in: Jiří Kroupa (ed.), *V zrcadle stínů. Morava v době baroka 1760–1790*, Paris – Rennes – Brno 2003, s. 111–113, č. kat. 16.  \nAndrea Rousová, *Tance a slavnosti*, Praha 2009, s., č. kat.","artist_birthdate":"1680 Antverpy – 1752 Střílky","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","keywords":["Divadelní architektura","iluze, dekorace"],"materials":["Olej, plátno"]},"7d1dabeb-3a46-50a1-8a1e-90fa8b90fffa":{"name":"*Vidění sv. Augustina a Norberta*","description":"Struktura obrazu je založena na kontrastu složitě členěného architektonického sakrálního prostoru a v něm situované figurální skupiny. Zatímco architekturu znázornil malíř řadou jemně sladěných a odstupněných neutrálních tónů, jejichž škálu akcentuje světlo dopadající z levé strany, pro figury použil syté barevné tóny červené, modré a zlatavé a temně zelené. Figura sv. Augustina, obklopena zakladateli řádů řídících se jeho regulemi, je navíc osvětlena září Božího oka, procházejícího eucharistií nesenou andělem. Ta je vzývána sv. Norbertem, zakladatelem premonstrátského řádu, podpíraným andělem.  Monstrance je současně jeho atributem. Andílek pak poukazuje na hořící srdce – atribut  \nsv. Augustina. Anděl vlevo pak sesílá blesky hněvu na padlé heretiky.  \nObraz malého formátu, jež je spíše hotovým dílem než ukázkovým modellem, patří mezi nejlepší práce malíře, jenž byl žákem, spolupracovníkem a následovníkem F. A. Maulbertsche. V tomto obraze použil jeho motivy z obrazu  \nv Klosterneuburgu, divadelní architektura vychází z dekorací bolognských Galli-Bibienů, činných také ve Vídni a známých z grafických listů. Datace obrazu vypovídá o tom, že jej Winterhalder namaloval po spolupráci s Maulbertschem  \nv Dyji. Přítomnost hlavních premostrátských světců řadí obraz do skupiny prací pro téhož objednavatele – klášter v Louce u Znojma. Iluzivní architektura svědčí o jeho dekoratérských schopnostech, které uplatnil zejména v závěru své tvorby.  \nMalíř fresek, oltářních a závěsných obrazů pocházel ze Schwarzwaldu. Na Moravu přišel za svým strýcem, sochařem. Ten jej seznámil s osobnostmi vídeňské akademie. Nejprve se učil v Brně u J. Sterna, poté u Maulbertsche. Často ve spolupráci s O. Schweiglem vtiskl specifický charakter řadě moravských zámeckých i kostelních interiérů. Sepsal práci o jihomoravských malířích, ke které připojil i svůj vlastní životopis.","short_description":"Struktura obrazu je založena na kontrastu složitě členěného sakrálního prostoru a v něm situované figurální skupiny. Obraz malého formátu patří mezi nejlepší práce malíře, jenž byl žákem, spolupracovníkem a následovníkem F. A. Maulbertsche. Iluzivní architektura vychází z bolognských divadelních dekorací.","type":"Malba","holder":"Moravská galerie v Brně","owner":"Moravská galerie v Brně","dates":"1778","location":"Brno, Místodržitelský palác, Morava","dimensions":"79,4 x 47 cm","place_of_production":"Morava","method_for_datation":"značeno vlevo dole *Winterhalder Pinx 1778.*","obtention":"Obraz pochází z majetku faráře v Židlochovicích u Brna, poté byl do r. 1945 na zámku Čechy po Kosířem, který patřil významnému sběrateli a podporovateli brněnské obrazárny, hraběti Silva-Tarouccovi.","bibliography":"Johann Jakob Heinrich Czikann, Joseph Winterhalder, in: Johann Georg Meusel (ed.), *Archiv für Künstler und Kunstfreunde* *II*, 4, Dresden 1808, s. 70–75.  \nKlára Garas, Joseph Winterhalder (1743–1807), *Bulletin du Musée national hongrois des beaux-arts* 14, 1959, s. 89.  \nVlasta Kratinová, in: Jiří Kroupa (ed.), *V zrcadle stínů. Morava v době baroka 1760–1790*, Paris – Rennes –  Brno 2003, s. 241–242, č. kat. 88.  \nZora Wörgötter, in: Zora Wörgötter– Eduard Hindelang (eds.), *Franz Anton Maulbertsch und sein Umkreis in Mähren. Ausgewählte Werke aus tschechischen Sammlungen. Ausstellungsführer*, Langenargen 2006, s. 38, č. kat. 18.  \nLubomír Slavíček, in: Eduard Hindelang – Lubomír Slavíček (eds.), *Josef Winterhalder d. J., Maulbertschs bester Schüler*, Langenargen – Brno 2009,  \ns. 327, č. kat. G 17.","artist_birthdate":"1743 Vöhrenbach – 1807 Znojmo","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","keywords":["Atribut","Divadelní architektura","Eucharistie","hereze","monstrance"],"materials":["Olej, plátno"]}}
+{"7573e18c-a60a-5e4f-926f-d8e3c737746a":{"name":"*Maškarní ples I*","description":"Nerámovaná, dekorativně pojatá scéna s fantastickou architekturou a maškarním plesem urozené společnosti napovídá, že plátno bylo součástí neznámé interiérové výzdoby. Stěžejním kompozičním motivem je otevřená impozantní stavba oválného sloupového sálu, přecházejícího do parku. Architektura kanelovaných a mramorových sloupů dekorovaná plastikami, girlandami a draperiemi, navozuje náladu vznešené, hudbou doprovázené zábavy dam a kavalírů. Drobnopisná stafáž dává vyniknout efektnímu, architektonicky malebnému výjevu. Divadelní nadsázka centrální perspektivy se zvýrazněným prvním plánem vtahuje diváka do imaginárního prostoru, mezi herce Comeddia dell´arte, galantní páry, služebnictvo a hudebníky. Obrazy tohoto typu,  \ntzv. „Schaustück“, oku lahodící obraz, tvořily oblíbené dekorace reprezentačních společenských interiérů, fascinující vztahem mezi realitou a iluzí, a to nejen obrazovou výstavbou, ale i metaforou převleků a tajemných masek. Jednotlivými motivy evokuje myšlenku jednoty umění a pocit ze vzájemného vztahu umělého a přírodního prostoru.  \nV maškarních plesech navázal Minderhout na tradici zobrazování původně především mravoličných výjevů aristokratických společností (banketů, zahrad lásky), inspirován pravděpodobně graficky rozšířenými výjevy z Comeddia dell´arte Claude Gillota (1673–1722) a dílem antverpského Hendricka Govaertse (1669–1720), činného i v Praze a ve Vídni v době, kdy se divadlo stává součástí dvorského života. Comeddia, původně považovaná za „nízký žánr“, se stává společensky velmi populární a inspirací řady malířů. Pro výtvarné ztvárnění scén mělo rozhodující vliv působení vídeňských dvorních dekoratérů rodiny Galli-Bibiena, jejichž příslušníci a zejména žáci pracovali i pro českou a moravskou šlechtu. Ta nejen navštěvuje představení vídeňská, ale pěstuje divadlo na svých sídlech.","short_description":"Dekorativní scéna s fantastickou architekturou a maškarním plesem napovídá, že plátno bylo součástí interiérové výzdoby. Obraz představuje osobité spojení flámské tradice s italskými pozdně barokními podněty.","type":"Malba","holder":"Moravská galerie v Brně","owner":"Moravská galerie v Brně","dates":"kolem 1740","location":"Brno, Místodržitelský palác, Morava","dimensions":"84 x 125 cm","place_of_production":"Morava","method_for_datation":"Malba je variantou některých z obrazů, které se dodnes nachází  \nv arcibiskupském zámku v Kroměříži. Na dekoraci sálů se zde za úřadu kardinála Ferdinada Julia Troyera (1745–1758) podílel také Willem Augustin Minderhout. Iniciály signatury představeného obrazu i výtvarné ztvárnění jej řadí mezi poměrně početné práce tohoto vakantního malíře, tvořícího často protějškové kusy.","obtention":"Obraz neznámého původu byl získán r. 1945.","bibliography":"Zora Wörgötter, in: Jiří Kroupa (ed.), *V zrcadle stínů. Morava v době baroka 1760–1790*, Paris – Rennes – Brno 2003, s. 111–113, č. kat. 16.  \nAndrea Rousová, *Tance a slavnosti*, Praha 2009, s., č. kat.","artist_birthdate":"1680 Antverpy – 1752 Střílky","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","keywords":["Divadelní architektura; iluze, dekorace"],"materials":["Olej, plátno"]},"7d1dabeb-3a46-50a1-8a1e-90fa8b90fffa":{"name":"*Vidění sv. Augustina a Norberta*","description":"Struktura obrazu je založena na kontrastu složitě členěného architektonického sakrálního prostoru a v něm situované figurální skupiny. Zatímco architekturu znázornil malíř řadou jemně sladěných a odstupněných neutrálních tónů, jejichž škálu akcentuje světlo dopadající z levé strany, pro figury použil syté barevné tóny červené, modré a zlatavé a temně zelené. Figura sv. Augustina, obklopena zakladateli řádů řídících se jeho regulemi, je navíc osvětlena září Božího oka, procházejícího eucharistií nesenou andělem. Ta je vzývána sv. Norbertem, zakladatelem premonstrátského řádu, podpíraným andělem.  Monstrance je současně jeho atributem. Andílek pak poukazuje na hořící srdce – atribut  \nsv. Augustina. Anděl vlevo pak sesílá blesky hněvu na padlé heretiky.  \nObraz malého formátu, jež je spíše hotovým dílem než ukázkovým modellem, patří mezi nejlepší práce malíře, jenž byl žákem, spolupracovníkem a následovníkem F. A. Maulbertsche. V tomto obraze použil jeho motivy z obrazu  \nv Klosterneuburgu, divadelní architektura vychází z dekorací bolognských Galli-Bibienů, činných také ve Vídni a známých z grafických listů. Datace obrazu vypovídá o tom, že jej Winterhalder namaloval po spolupráci s Maulbertschem  \nv Dyji. Přítomnost hlavních premostrátských světců řadí obraz do skupiny prací pro téhož objednavatele – klášter v Louce u Znojma. Iluzivní architektura svědčí o jeho dekoratérských schopnostech, které uplatnil zejména v závěru své tvorby.  \nMalíř fresek, oltářních a závěsných obrazů pocházel ze Schwarzwaldu. Na Moravu přišel za svým strýcem, sochařem. Ten jej seznámil s osobnostmi vídeňské akademie. Nejprve se učil v Brně u J. Sterna, poté u Maulbertsche. Často ve spolupráci s O. Schweiglem vtiskl specifický charakter řadě moravských zámeckých i kostelních interiérů. Sepsal práci o jihomoravských malířích, ke které připojil i svůj vlastní životopis.","short_description":"Struktura obrazu je založena na kontrastu složitě členěného sakrálního prostoru a v něm situované figurální skupiny. Obraz malého formátu patří mezi nejlepší práce malíře, jenž byl žákem, spolupracovníkem a následovníkem F. A. Maulbertsche. Iluzivní architektura vychází z bolognských divadelních dekorací.","type":"Malba","holder":"Moravská galerie v Brně","owner":"Moravská galerie v Brně","dates":"1778","location":"Brno, Místodržitelský palác, Morava","dimensions":"79,4 x 47 cm","place_of_production":"Morava","method_for_datation":"značeno vlevo dole *Winterhalder Pinx 1778.*","obtention":"Obraz pochází z majetku faráře v Židlochovicích u Brna, poté byl do r. 1945 na zámku Čechy po Kosířem, který patřil významnému sběrateli a podporovateli brněnské obrazárny, hraběti Silva-Tarouccovi.","bibliography":"Johann Jakob Heinrich Czikann, Joseph Winterhalder, in: Johann Georg Meusel (ed.), *Archiv für Künstler und Kunstfreunde* *II*, 4, Dresden 1808, s. 70–75.  \nKlára Garas, Joseph Winterhalder (1743–1807), *Bulletin du Musée national hongrois des beaux-arts* 14, 1959, s. 89.  \nVlasta Kratinová, in: Jiří Kroupa (ed.), *V zrcadle stínů. Morava v době baroka 1760–1790*, Paris – Rennes –  Brno 2003, s. 241–242, č. kat. 88.  \nZora Wörgötter, in: Zora Wörgötter– Eduard Hindelang (eds.), *Franz Anton Maulbertsch und sein Umkreis in Mähren. Ausgewählte Werke aus tschechischen Sammlungen. Ausstellungsführer*, Langenargen 2006, s. 38, č. kat. 18.  \nLubomír Slavíček, in: Eduard Hindelang – Lubomír Slavíček (eds.), *Josef Winterhalder d. J., Maulbertschs bester Schüler*, Langenargen – Brno 2009,  \ns. 327, č. kat. G 17.","artist_birthdate":"1743 Vöhrenbach – 1807 Znojmo","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","keywords":["Eucharistie; monstrance; hereze; divadelní architektura; atribut"],"materials":["Olej, plátno"]}}

package/translations/items.en.json

@@ -1 +1 @@
-{"0f088fa7-47b1-5825-9ada-f45bc3097162":{"name":"The Italian Politeama Rossini theatre in Tunis, inaugurated in 1903","short_description":"The Politeama Rossini was built by the construction company of Giuseppe Di Vittorio (a Sicilian who had migrated to Tunisia in 1882); the architect was a Mr. Baron. It could house an audience of 2,500.  \nThe first Italian theatre in Tunis was the “Teatro Tapia” founded in 1826. Other Italian theatres (such as the “Teatro Italiano” and the “Teatro Paradiso”) and concert halls (“Gran Teatro”, “Teatro Cohen”, etc.) were created in Tunis the following decades.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"1903–06","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"179f9d9d-6b5a-52fc-8dea-c159da198fd5":{"name":"*La Reine de Saba: 14 costume sketches*","short_description":"Charles Gounod turned to the librettists Jules Barbier and Michel Carré for advice when he was writing his great opera, and so they recommended him the legend of Hiram, the great tale narrated by Gérard de Nervale in his *Voyage en Orient*. The opera was put on in Paris in 1862. As this costume from the court of Suleiman shows, the models and costumes responded above all to the Orientalist stereotypes in vogue at the time.","type":"Drawing","holder":"National Library of France","dates":"1861-1862","location":"Paris","translator":"Flaminia Baldwin","keywords":["Opera","Orientalism"]},"1b55ef6a-0fb1-56d2-9274-4f0775c2cee9":{"name":"Austrian toy theatre set: 'The Caravan to Mecca. The Halt in the Desert' by Trentsentsky","short_description":"With a desert landscape backdrop and cut-out figures on wooden stands, this toy theatre uses intricate detail and imagination to depict the stopping of a pilgrim caravan. With 45 cut out figures and with an original box, the set was made by Matthias Trentensky (1790–1868), a retired army officer and printer who became the Austrian Empire’s foremost maker of toy theatres. Miniature theatres based on popular plays were common in the 19th century particularly in Europe, although this theatre may have been produced as a result of the increasing fascination with the Arab world at the time. The artist is likely to be Theodor Jachimovicz who studied painting at the Academy of Fine Arts Vienna and worked as a theatre stage painter for the State Opera House. Trentensky exported his toy theatres to England through the London company A&S Joseph Myers and Co. of 144 Leadenhall Street, importers of French, German, Swiss and Italian goods and toy merchants. It has been suggested that the theatres produced for London may be of better quality than those for the Austrian market. Other theatres produced for A&S Myers included those closely related to English themes, such as contemporary pantomimes. The collection also holds an uncut version of the theatre, a complete set of 24 plates with 168 illustrations.","type":"Toy; theatre","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Around early 1800s AD","location":"London","dimensions":"ARC.mx 570 box: 21x27.5x4cm, ARC.pt 401: 25x40cm","method_for_datation":"Tentensky began lithographic printing in 1815","provenance":"Europe","author":"Qaisra Khan","keywords":["camel","Childhood","Children","geography","hajj","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","Paper","pilgrimage","prayer","Prophet Muhammad","Qur'an","Religion","theatre","travel","Traveller"],"materials":["Paperboard"]},"27db4792-06af-5d09-8d3d-457d76486f2e":{"name":"*Magnificent Atrium with Figures*","description":"The growing influence and interaction between communications, especially the printing press and foreign travel, reinforced the cosmopolitan culture that came to characterise the processes of the European courts. Lisbon took the lead, when, under the reign of the King João V, Absolutism gave the Portuguese monarchy a renewed lease of life. Sacred and profane music, heard either at the Patriarch or at court, had a strong political meaning and reinforced the king's aura of majesty. King João V, therefore, commissioned artists such as Domenico Scarlatti; built the monumental Opera House next to the Royal Palace in 1754 (destroyed during the earthquake of 1755), and enlarged the Royal Orchestra with new foreign soloists.  \nThe theatrical scenery drawings of the Galli Bibiena family were not made on durable material. Due to the fact that the theatre sets they designed for court functions were temporary, few of their creations have survived. The richness and splendour of their stage sets can however still be judged from contemporary drawings, preserved in great numbers, and found mainly in collections in [Vienna](http://en.wikipedia.org/wiki/Vienna \"Vienna\"), [Munich](http://en.wikipedia.org/wiki/Munich \"Munich\") and [Dresden](http://en.wikipedia.org/wiki/Dresden \"Dresden\").  \nThis drawing by Francesco Galli Bibiena is a study for an unknown stage set. It is possible that it was brought to Portugal in 1750–1751 by his son, Giovanni Carlo Sicino Bibiena (1717–1760), who was charged by King José I to modernise both the theatres themselves and their services.  \nThe drawing shows an interior space with large arcades seen from a diagonal perspective. The composition is dominated by two large arches leading up to corridors at the top of a staircase. The vaults are richly decorated and the balconies bear several medallions with mythological figures at the centre supported by little angels. Bound by columns and female sculptures, the central area is occupied by women with children. Two dogs can be seen on the left. Through the main arcade a young crowned ruler makes his entrance surrounded by soldiers carrying banners, attracting everyone's attention.","short_description":"This drawing by Francesco Galli Bibiena is a study for an unknown stage set. It represents an interior space with large arcades seen from a diagonal perspective. The vaults are richly decorated and the balconies bare several medallions with mythological figures at the centre supported by angels.","type":"Drawing for a stage set","holder":"National Museum of Ancient Art","owner":"Museu Nacional de Arte Antiga","initial_owner":"Probably belonged to Giovanni Carlo Sicino Bibiena (1717–1760)","dates":"First half of the 18th century","location":"Lisbon, Lisbon","dimensions":"H: 40.6 cm; l: 57.6 cm","place_of_production":"Italy","method_for_datation":"Stylistic approach to the graphical work of Francesco Galli Bibiena.","provenance":"Royal Academy of Fine Arts, Lisbon, 1884","obtention":"The drawing might have been brought to Portugal by Giovanni Carlo Sicino Bibiena in 1751 or 1752, along with some others. There is little information about the whereabouts of these drawings during the second half of the 18th century and the beginning of the 19th. In around 1845 the drawing was in the collection of the Royal Academy of Fine Arts, Lisbon and then transferred to the Museu Nacional de Arte Antiga in 1884, the date of its establishment.","bibliography":"Correia, J. M., da Silva D., \"Teatros Régios do século XVIII – algumas considerações acerca dos desenhos da colecção do Museu Nacional de Arte Antiga\", *Boletim do Museu Nacional de Arte Antiga*. Vol. V, Nos 3 & 4, Lisbon, 1969.  \nBeaumont, M. A., \"Stage-sets by the Bibienas in the Museu Nacional de Arte Antiga, Lisboa\", *Apollo*, 1973, pp. 408–415.  \nMuraro, M. T., Povoledo, E., *Illusione e Pratica Teatrale - Proposta per una lettura dello spazio scenico dagli intermedi fiorentini all'Opera comica veneziana*, Venice, 1975.  \n*Desenhos dos Galli Bibiena*. *Arquitectura e cenografia* / *Eighteenth-Century Scenic and Architectural* *Design*, Lisbon 1987; USA, 1990.  \n*I Bibiena, una famiglia europea*, Bologna, 2000.","workshop":"Italian School, Bologna","artist_birthdate":"1659","artist_birthplace":"Bologna","artist_deathdate":"1739","artist_deathplace":"Bologna","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Regina Peixeiro","translator":"Regina Peixeiro","translation_copy_editor":"Mandi Gomez","keywords":["architectural perspective","Bibiena","Bologna","corner perspective","scenography","stage-set, drawing","theatre"],"materials":["Pen and brown ink with green and brown wash on paper"]},"3f21696b-6178-5310-a618-3b1cbb1ec3d6":{"name":"*Shéhérazade*","short_description":"George Auriol, the typographer renamed after his creations, was a multitalented artist, and thus in his work he reflected many different influences of the late 19th century. As an artist and musician, he was interested in the different graphic movements, as is clear from this image: the theme is clearly \"Oriental\", but the composition of the piece borrows characteristics from Japanese aesthetics and Art Nouveau.","type":"Print (coloured lithography)","holder":"National Library of France","dates":"1895-1897","provenance":"France","artist_birthdate":"1863","artist_deathdate":"1938","translator":"Flaminia Baldwin","keywords":["Orientalism","Art Nouveau"]},"478abce7-afc2-532d-82bd-fbecf067ac32":{"name":"*One Thousand and One Nights*: decorative sketch of the palace gardens. Façade of an","short_description":"The collection *One Thousand and One Nights* was translated into French in the early 18th century. The rise of Orientalism caused it to become extremely popular, appearing as the subject of numerous editions, adaptations, etc. In the 19th century, a tale from the collection was staged in one of Paris' most famous theatres (the Théâtre du Châtelet), and, as this image shows, the theatre was redecorated as an \"Oriental palace\" for the occasion.","type":"Print","holder":"National Library of France","dates":"1881","location":"Paris","translator":"Flaminia Baldwin","keywords":["Orientalism","one thousand and one nights"]},"4bf6a5a2-2ef7-5efd-930f-e900942ddaa6":{"name":"*La Péri: thirteen costume sketches*","short_description":"*La Péri* is a fantastical ballet in two acts with the scenario written by Theophile Gautier and the music by Burgmüller. This ballet, first performed in 1843, brought the audience to a grand Egyptian palace. Théophile Gautier dreamt of visiting Egypt, where his friend Gerard de Nerval had been living and sending him details to help him make the ballet more realistic.","type":"Drawing","holder":"National Library of France","dates":"1843","provenance":"France","translator":"Flaminia Baldwin","keywords":["Dance","Orientalism"]},"50134a0e-a943-5f25-a36c-43032ad0dd5e":{"name":"Bob Walter [veiled dancer]","short_description":"The \"serpentine dance\", invented by Mary Louise Fuller, was copied by many dancers, and even parodied. Like Fuller, these dancers also used veils and lighting effects, characteristics typical of the Art Nouveau movement.","type":"Poster","holder":"National Library of France","dates":"1898","provenance":"France","translator":"Flaminia Baldwin","keywords":["Dance","Orientalism"]},"52384f24-9940-5834-bc9f-a6f4efa2c373":{"name":"Model of the Bologna Municipal Opera Theatre","description":"This model is the faithful representation of the original project by Antonio Bibiena for the Municipal Opera Theatre of Bologna. It accurately documents the architectural structure and decorative elements of the interior. It is very important because most of these decorations were lost during the XIX century restyling.  \nThe longitudinal section of the model shows the large stall, the stage, its architectural frame and 4 tiers of boxes as well as the gallery. Tiers of separated boxes all around the hall were an original feature of the Bibiena design specifically meant for the baroque opera theatres. This feature was adopted in the most important European theatres.  \nThe three “architectural orders” employed on the different tiers reflect the Bolognese sober academic tradition in architecture. Wooden models like this one were made by craftsmen or sculptors following the drawings of the architect. This was common for important buildings, public monuments or cathedrals, since the Renaissance period.  \nAbout 10 years later the theatre was finally opened to the public on the 14th of May 1763 with the representation of *The Triumph of Clelia* by C.W. Gluck.","short_description":"This is the wooden model of the Teatro Comunale of Bologna, proposed between 1755-1763 by the famous architect Antonio Bibiena, one of the last members of the Bibiena Family.  \nThe construction of the new public theatre for the city was quite troubled and the project presented by the architect caused some polemics among the academic establishment. For that reason, the municipality asked for an accurate model of the building to be exhibited in the town hall so that all citizens could see it and express their opinion on it.","type":"Woodwork, architectural model","holder":"Museo Internazionale e Biblioteca della Musica","owner":"Museo Internazionale e Biblioteca della Musica","initial_owner":"The Municipal theatre and its wooden model were commissioned by the Municipality of Bologna (Comune di Bologna)","dates":"1756","location":"Bologna, Emilia-Romagna","dimensions":"95x195x168 cm","place_of_production":"Bologna","method_for_datation":"Documents","provenance":"Town Hall (?)","bibliography":"Bergamini, W. “Antonio Galli Bibiena. Nuovo teatro pubblico di Bologna 1755-1763”, *L'arte del Settecento emiliano. Architettura, scenografia, pittura di paesaggio* (exhibition catatlogue) (ed. A. M. Matteucci), Bologna, 1979, pp. 122-123, n. 180.","author":"Marta Forlai","translation_copy_editor":"Lisa Kelman","keywords":["architectural model","Bibiena","model","theatre"],"materials":["Sculpted, painted and gilded wood"]},"5d024ced-cde4-5d7a-9dd5-c31339648895":{"name":"Puppet theatre","description":"During the third quarter of the eighteenth-century the Albicini family from Forlì commissioned this marionette theatre. The coat of arms of the Albicinis' is on the proscenium. The present backdrop and wings show a “magnificent atrium” painted by an artist influenced by the scenography culture of the Bibienas, especially that of Antonio Galli, who was working at that time in Forlì. The backdrop, with its three vanishing points, applies three corner perspective conveying the idea of a space extending behind the visible scene. The theatre has 5 more backdrops and seven pairs of wings, some of which were painted in the nineteenth-century.  \nOnly some of the marionettes are exhibited; altogether there are 74 male and female figures (some of them are characters from the *Commedia dell'Arte*), 9 horses and 1 monkey. All of the figures were made in the Veneto. The oldest figures are dated to 1750 ca., so they are older than the theatre of which they are part. The others were made in the eighteenth-century. Even if not produced by the same workshop all the marionettes are characterised by similar technical devices including a movable mouth and jointed limbs which moved with a control bar. Some of these marionettes change into something else, a trick widely appreciated at the time (ladies become dwarves and dwarves become giants).  \nPuppet theatres were very fashionable in Venice where they were used to represent plays from the *Commedia dell'Arte* and even by comediographer Carlo Goldoni. They were mostly present in noble residences. During the eighteenth-century this habit spread in the north of the country, unfortunately only few survive and we lack information on their use.","short_description":"This puppet theatre was painted by an artist influenced by the culture of the Bibienas for the Albicini family of Forlì. It is a rare and precious ensemble thanks to the rich equipment of backdrops, wings and marionettes (74 female and male figures, 9 horses and 1 monkey). It was made in Veneto around 1750.","holder":"Museo di Arte Industriale e Galleria Davia Bargellini","owner":"Pinacoteca Nazionale di Bologna (deposit)","initial_owner":"Eighteenth-century: Albicini family (Forlì); beginning twentieth-century: Raffaele De Courten (Florence)","dates":"Theatre: c. 1770; marionettes: c. 1750","location":"Bologna, Emilia-Romagna","dimensions":"Proscenium 154 x 224 cm; backdrop 82 x 172 cm; wings 81,5 x 25-34,5 cm; marionettes: height varying from c. 23 to 50 cm","place_of_production":"Theatre: Romagna; marionettes: Veneto","method_for_datation":"Stylistic reasons.","provenance":"Theatre: Forlì; marionettes: Veneto","obtention":"Purchased by the Italian Ministry of Instruction from the Venetian antique dealer Dino Barozzi in 1921. It was originally sent to the Pinacoteca Nazionale of Bologna as an example of Bibienesque art. In 1930 it was moved to the Museo di Arte Industriale e Galleria Davia Bargellini.","bibliography":"Ghirardi, A. in *L'arte del Settecento. Architettura, Scenografia, Pittura di paesaggio (*exhibition catalogue) (ed. A. M. Matteucci), Bologna, 1980, n. 192, pp.132-133.  \nLenzi, D. and Melloni, R., in *Museo Civico d'Arte Industriale e Galleria Davia Bargellini* (ed. R. Grandi), Bologna, 1987, pp. 174-180.  \nAdani, G., “Lo strumentario domestico”, *Atlante dei beni culturali dell'Emilia Romagna*, I. *I Beni Artistici. I Beni degli artigianati storici* (eds. J. Bentini and G. Adani), Milano, 1993, p. 208, fig. 34.  \nTumidei, S. in *I Bibiena una famiglia europea*  (exhibition catalogue) (eds. D. Lenzi and J. Bentini), Venice, 2000, n. 91, pp. 344-345.","workshop":"Bibiena school","author":"Silvia Battistini","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Albicini family","Bibiena","commedia dell'arte","Forlì","Marionette","scenography","theatre","Venice"],"materials":["backdrops and wings: tempera on canvas","marionettes: wood, lead, stucco, wax, stuffed canvas, papier maché for the bodies, different materials and trimmings for the clothes","Proscenium: painted wood"]},"60e1aa5c-a47e-5cdf-ab3b-bdba4f9694bd":{"name":"*Perspective with a Banquet Scene*","description":"Ferdinando Bibiena was a great architect and scenographer. Working with his sons, Bibiena shared the artistic and theatrical Italian fashion of architectural perspective throughout Europe. In his last years he was a professor at the Accademia Clementina. His teachings promoted a predilection for perspective painting as an autonomous decorative genre that soon became very fashionable all over Europe.  \nBibiena painted this picture in 1721, upon returning to Bologna after a long stay in Vienna. There is a pendant of the same subject which was painted by a follower of Bibiena. Monumental architecture, arches, vaults, columns, and balustrades are on an angular perspective. Side vanishing points make the space deeper and convey the impression of a theatrical scene. The small figures taking part in the sumptuous banquet in the foreground come from different directions. They are positioned at the base of enormous columns, thus emphasising the magnificence of the architecture.","short_description":"The painting was commissioned by the Accademia Clementina to Ferdinando Galli Bibiena in 1721. It was presented to the Senate of Bologna to celebrate the homecoming of the celebrated scenographer and theatrical architect and his congregation to the local Academy of fine arts. Magnificent architectural elements on an angular view form an eclectic and fantastic ensemble, the theatrical side of the baroque taste for illusion.","type":"Architectural painting","holder":"Collezioni Comunali d'Arte","initial_owner":"Accademia Clementina","dates":"1721","location":"Bologna, Emilia-Romagna","dimensions":"173,3 x 229 cm","place_of_production":"Bologna","method_for_datation":"Documents in the State Archive of Bologna show that the painting was already finished on the 6th of November 1721. The Accademia Clementina had already decided to have it delivered to the apartment of Gonfaloniere, on the first floor of Palazzo Comunale.","provenance":"Bologna","obtention":"The painting, originally located on the first floor of Palazzo Comunale, was moved to the museum, on the second floor of the same building, in 1992.","bibliography":"Lenzi, D. “Le tempere di architettura”, *Meravigliose scene piacevoli inganni. Galli Bibiena*, (exhibition catalogue), Arezzo, 1992, pp. 94-95, n. 40.  \nLenzi, D. in I *Bibiena una famiglia europea* (exhibition catalogue) (eds. J. Bentini and D. Lenzi), Bologna, 2000, pp. 415-417, n. 127.","workshop":"Baroque","artist_birthdate":"1657","artist_birthplace":"Bologna","artist_deathdate":"1743","artist_deathplace":"Bologna","author":"Elisabetta Berselli","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Accademia Clementina","architectural perspective","corner perspective","eighteenth-century painting Bologna","Ferdinando Galli Bibiena","Pendant","scenography","theatre"],"materials":["Oil on canvas"]},"680c8cb0-7e03-52b8-988d-a7e74dbb89fa":{"name":"*L'Égyptienne*, military operetta in three acts and 11 scenes.","short_description":"Egypt became the subject of choice across the theatrical arts as a symptom of \"Egyptomania\", a phenomenon which spanned the length of the 19th century. This military operetta, written by de Chivot, Nuitter and Beaumont (with music by Charles Lecocq) is set in Egypt during the arrival of the Napoleonic troops.","type":"Print","holder":"National Library of France","dates":"1890","provenance":"France","translator":"Flaminia Baldwin","keywords":["Operetta","Orientalism"]},"7573e18c-a60a-5e4f-926f-d8e3c737746a":{"name":"*Masquarade I*","description":"An unframed decorative scene with fantastic architecture and a masquerade of noble company indicates that the canvas was part of an interior decoration, location as yet unknown. The central motif is an impressive open construction, an oval colonnaded hall merging into a park. The architecture – marble grooved columns decorated with sculptures, garlands and draperies – evokes an air of nonchalance with noble ladies and their cavaliers passing the time accompanied by music. The detailed attention dedicated to the figures lends emphasis to the spectacular nature of a picturesque scene. The theatrical overstatement of central perspective draws the viewer into an imaginary space, among *comedia dell´arte* actors, gallant couples, servants and musicians. These types of *Schaustück* (eye-pleasing) pictures represented a popular trend in the decoration of reception interiors, absorbing the viewer in their relationship between reality and illusion, not only in composition but also in the metaphors intrinsic to the costumes and mysterious masks. The motifs encourage the idea of unity in all of the arts and draw attention to the relationship between artificial and natural spaces.  \nIn his masquerade pictures, Minderhout took up the tradition of morality scenes based on aristocratic society (banquets and gardens of love), probably inspired by the prints of Claude Gillot (1673–1722) featuring scenes from *comedia dell´arte,* and the work of Hendrick Govaerts (1669–1720) from Antwerp, active in Prague and Vienna in the period when theatre established itself as part of court life. *Comedia dell´arte*, originally considered a “low” genre, became very popular, inspiring a number of artists. The visual rendering of its scenes was essentially influenced by the Galli-Bibiena family, Vienna court decorators whose members and pupils worked for the Czech and Moravian nobility. Czech and Moravian aristocrats often went to performances in Vienna and cultivated theatre in their palaces.","short_description":"A decorative scene with fantastic architecture and a masquerade indicates that the canvas was part of an interior decoration. The picture merges the Flemish tradition with late-baroque Italian painting in a highly original manner.","type":"Painting","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","dates":"c. 1740","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 84 cm; w: 125 cm","place_of_production":"Moravia","method_for_datation":"The painting paraphrases pictures found in the Archiepiscopal Palace, Kroměříž. Willem Augustin Minderhout participated in the decoration of the palace halls under Cardinal Ferdinad Julius Troyer (1745–1758). The artist’s initials and the style of the painting place it as part of the relatively prolific work of this itinerant artist, frequently producing related pairs of pictures.","obtention":"The picture, origin unknown, was acquired in 1945.","bibliography":"Zora Wörgötter, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, pp. 111–113, cat. 16.  \nAndrea Rousová, *Tance a slavnosti*, Praha 2009, p., cat.","artist_birthdate":"1680","artist_birthplace":"Antwerp","artist_deathdate":"1752","artist_deathplace":"Střílky","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["architectural perspective","commedia dell'arte","costume","decoration","festival","illusion","music","scenography","Theatrical architecture"],"materials":["Oil on canvas"]},"7d1dabeb-3a46-50a1-8a1e-90fa8b90fffa":{"name":"*The Vision of Saints Augustine and Norbert*","description":"The structure of the picture is based on the contrast between an intricately segmented, sacred architectural space and a figurative group within it. While the artist represented the architecture with a scale of subtly harmonised and graded neutral tones accentuated by light falling from the left, the figures are rendered in rich tones of red, blue, gold and dark green. St. Augustine, surrounded by the founders of orders observing his rules, is additionally illuminated by the light of God's eye, penetrating the Host (monstrance) carried by an angel. The Host is being worshipped by St. Norbert, founder of the Premonstratensian order. The monstrance is also an attribute of St. Norbert. A *putto* points to a burning heart an attribute of St. Augustine. An angel on the left aims bolts of anger at heretics.  \nThis small format picture, appearing as an autonomous piece rather than a *modello*, is among the leading works of Winterhalder Jr., a student, assistant and follower of F. A. Maulbertsch, whose motifs from Klosterneuburg appear in the picture. The theatrical architecture is derived from stage designs by the Galli-Bibiena family in Bologna, also active in Vienna and known from prints. The dating indicates that Winterhalder painted the picture after a period of collaboration with Maulbertsch in Dyje. The presence of major Premonstratensian saints places the work among paintings for the Louka u Znojma Monastery. The illusionary architecture bears witness to the decorative skills that flourished towards the end of Winterhalder's career.  \nJosef Winterhalder Jr. was born in Schwarzwald. He came to Moravia with his uncle, a sculptor. He was first apprenticed to J. Stern in Brno and later to F. A. Maulbertsch. He frequently collaborated with A. Schweigl, with whom he coined a specific style for a number of Moravian chateau and church interiors. Winterhalder Jr. wrote a book on South Moravian artists which also contained his autobiography.","short_description":"The structure of the picture is based on the contrast between an intricately segmented, sacred architectural space and a figurative group within it. Winterhalder Jr. was a student, assistant and follower of F. A. Maulbertsch. The illusionary architecture is derived from the stage designs of the Galli-Bibiena family in Bologna.","type":"Painting","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Private owner, Židlochovice","dates":"1778","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 79.4 cm; w: 47 cm","place_of_production":"Moravia","method_for_datation":"Marked bottom left: *Winterhalder Pinx 1778.*","provenance":"Čechy pod Kosířem Chateau","obtention":"The picture comes from the property of a parish priest in Židlochovice, near Brno. Until 1945 it was in the Čechy po Kosířem Chateau, the property of Count Silva-Taroucca, a major art collector and benefactor of the Brno Picture Gallery.","bibliography":"Johann Jakob Heinrich Czikann, “Joseph Winterhalder”, in Johann Georg Meusel (ed), *Archiv für Künstler und Kunstfreunde* *II*, 4, Dresden, 1808, pp. 70–75.  \nKlára Garas, “Joseph Winterhalder (1743–1807)”, *Bulletin du Musée national hongrois des beaux-arts* 14, 1959, p. 89.  \nVlasta Kratinová, in *Franz Anton Maulbertsch. Ausstellung anlässlich seines 250. Geburtstages,* Wien–Halbturn–­­Heiligenkreuz–Gutenbrunn, 1974, pp. 182–183.  \nVlasta Kratinová, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque* *1760–1790*, Brno–Paris–Rennes, 2002, pp. 241–242, cat. 88.  \nZora Wörgötter, in Zora Wörgötter – Eduard Hindelang (eds), *Franz Anton Maulbertsch und sein Umkreis in Mähren. Ausgewählte Werke aus tschechischen Sammlungen. Ausstellungsführer*, Langenargen, 2006, p. 38, cat. 18.","artist_birthdate":"1743","artist_birthplace":"Vöhrenbach","artist_deathdate":"1807","artist_deathplace":"Znojmo","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Attribute","Christian themes","heresy","Host","monstrance","religious object","symbolism","Theatrical architecture"],"materials":["Oil on canvas"]},"82a512d3-aced-55a2-b8b4-370dfafb5ffc":{"name":"*Théâtre de l'Opéra. \"Aida\". The banks of the Nile (act 3). Set by Jean-Louis Chéret*","short_description":"Commissioned by Isma'il Pasha for the inauguration of the Suez Canal, Verdi's opera *Aida* was performed for the first time in Cairo in 1871, with great success. It recreated life at the time of the pharaohs, with the details and the plot developed by the archaeologist Mariette. *Aida* was performed in Paris from 1876, with a grand and successful performance at the Opéra Garnier in 1880.","type":"Print (wood engraving)","holder":"National Library of France","dates":"1880","provenance":"France","translator":"Flaminia Baldwin","keywords":["Opera","Orientalism"]},"8882d0e5-57fa-5c65-adef-21bc617bd242":{"name":"*Portrait of a Laughing Youth*","description":"The painting is mentioned for the first time as part of the collection in the 1693 inventory. It has been attributed variously to different artists in the past, but was confirmed as a “Carracci Caricature” in an 1833 *fideicommissum* (a deed forbidding the heirs to the Borghese estate from splitting up the collection). In the 20th century, it was deemed to be an early work of the Bolognese artist, at a time when Carracci made numerous attempts at “genre works”, leaving some superb examples, such as the famous canvas , *The Beaneater* in the Galleria Colonna, Rome (c. 1583–1584).  \nThe portrait of the jester has always been thought to be a character from the *Commedia dell'Arte*. This small sketch shows a smiling, mocking youth dressed in a dark suit, ruff and light hat, awkward and upside-down. The supposed jester, with his grotesque red nose, cannot be identified entirely with the theatrical comic tradition and, although the severe and sober clothes resemble the Bolognese mask of “Dottor Graziano”, the unusual hat is perhaps an invention of Carracci himself.  \nThe light comes from the right, creating a *chiaroscuro* effect on the folds of the hat, emphasising the satisfied look and ambiguous smile of the character, the focal point of the portrait.  \nIt is the complicit look and smile of a comic actor that, between fiction and reality, skilfully establishes a relationship with the viewer.  \nThe portrait stands against a simple yellow background, which helps to focus attention on the burlesque face, whose keen, realistic expression is rendered with a sombre palette of colours.  \nFree charcoal lines quickly define the sketch, combined with fast, fluid brush strokes. Given the medium (paper on canvas) the use of these tools seems to suggest a desire to capture the immediacy of a live portrait, rather than a caricature, which has been suggested, although this area was of interest to the painter.  \nThe modernity of expression in the sketch anticipates by half a century the portraits of Velazquez and Bernini and appears to be the beginning of the study of emotions and character types that characterises 18th-century artistic innovation.  \nThe work is one of Carracci's “small portraits” painted after 1582, where his search for reality was based on simple lines and not precise reproductions of faces.","short_description":"This piece is an interesting example of the artistic re-invention pursued by Carracci. In his sketchy *Portrait of a Laughing Youth*, dating to around1584, the young artist captures a moment of the youth's laughter. With its spontaneity, it is extraordinarily modern, anticipating the portraits by Bernini and Velázquez 50 years later. It may be the portrait of an actor, the Bolognese mask of the “Dottor Graziano”.","type":"Painting","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Unknown","dates":"c. 1584","location":"Rome, Latium","dimensions":"h: 44.5 cm; w: 29 cm","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Della Pergola, P., *Galleria Borghese. I Dipinti*, I, Rome, 1955, n.16, p. 21.  \nSantolini, S., in *L'Anima e il Volto. Ritratto e fisionomica da Leonardo a Bacon*, exhibition catalogue, Milan, 1998, pp. 148–149.  \nBenati, D., in *Annibale Carracci*, exhibition catalogue (Rome), Milan, 2007, cat. II. 9, pp. 110–111.","artist_birthdate":"1560","artist_birthplace":"Bologna","artist_deathdate":"1609","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["character types","chiaroscuro","commedia dell'arte","genre painting","Portrait"],"materials":["Oil on paper on canvas"]},"89881283-d829-5946-bd7c-505438d8c8c0":{"name":"Costume for Cleopatra in the Ballets Russes production of *Cléopâtre*, 1918","short_description":"The sets and many costumes for the 1909 *Cleopatre* were destroyed in a fire during the company’s 1917 South American tour, so painter Sonia Delaunay was commissioned to fashion new costumes for the principals. The artist’s palette of brilliant color, graphic design, and combination of textures resulted in costumes markedly different from the originals. Cleopatra’s luminous dress, reflecting the abstract forms in Sonia Delaunay’s paintings, as well as aspects of fashionable dress of the period, remains one of her most significant creations for the theatre.","type":"Costume; costume for theatre","holder":"Los Angeles County Museum of Art (LACMA)","dates":"1918","location":"Los Angeles","author":"Kaye Spilker","keywords":["Clothing","theatre","dance","fashion","abstract decoration","exoticism","textile","painting","coreography","abstract art","avant-garde"],"materials":["Silk, sequins, mirror, beads, wool yarn, metallic thread braid, lamé"]},"8a50a95e-def1-531c-840c-040f6cf8a2f3":{"name":"Marionette of Hamlet","description":"William Shakespeare wrote his tragedy *Hamlet* around 1600–1601. The protagonist of this work is one of the most famous characters in world literature. The success of the play was very quick and Pietro Resoniero made this marionette, still wearing the original clothes, after moving to Vienna, in 1667. Resoniero, originally from Venice, founded in Vienna an Italian marionettes theatre by the \"JUVEN MARKT\" and a school for puppet-masters. He probably introduced the character of Pulcinella in Austria and Germany, where he was called Casperl or Hanswurt (John Sausage). From Italy came the Rezzonieri (the Resonieri family) and the Griffi, who were the first in Germany to make plays with the \"Puppenspielen\" (Yorik, *La storia dei burattini*, 1884).  \nThe marionette's head is made of pine wood. Its hair is made of silk thread, the mouth is finely formed and the eyes are made of glass, probably Murano. The precious garments he is wearing declare the character's social state. Turned down eyebrows and wrinkles at the sides of the mouth express desperation giving the face a heart-rending expression and foretelling the future tragedy. A very sophisticated device endows the marionette with an ample chance of movement, it can move its feet, walk and bend its knees.","short_description":"This marionette represents Hamlet, the world famous Shakespearean character. It is still wearing the original clothes and thanks to a sophisticated device can walk and bend its knees. It was made by an Italian puppet-master, Pietro Resonieri, in the second half of the seventeenth-century.","type":"Marionette","holder":"Museum of Puppets Zanella/Pasqualini","dates":"Second half of the sixteenth century","location":"Budrio, Bologna, Emilia-Romagna","dimensions":"Height 60 cm","place_of_production":"Possibly Italy or Vienna","bibliography":"Guarino, M., Fabbri, I. *Chi è di scena! Burattini e Marionette in Emilia Romagna,* Regione Emilia Romagna, Istituto per i beni artistici culturali e naturali, Bologna, 2009 (DVD Rom).","workshop":"Baroque","artist_birthdate":"1640","artist_deathdate":"1735","author":"Vittorio Zanella","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Hamlet","Marionette","Resoniero","theatre"],"materials":["Wood carved and painted, silk, glass"]},"8a730c5e-8120-5c99-a9fa-3fffc09ae06e":{"name":"*Théâtre Impérial du Châtelet. Aladdin and the magnificent lamp; the genies of the lamp (ballet).*","short_description":"The tale of Aladdin became very popular following the rise of Orientalism in the 1820s, and became the subject of multiple adaptations for opera and for theatre. In 1863 Adolphe d'Ennery and Hector Crémieux also transformed it into a \"féerie\" (fairy play). This féerie, a genre which chose great legends as its subject and spanned many different mediums (ballet, on-stage special effects) was extremely popular in 1860s France.","type":"Print (wood engraving)","holder":"National Library of France","dates":"1863","provenance":"France","translator":"Flaminia Baldwin","keywords":["Opera","dance","theatre","Orientalism"]},"957ca713-c1c0-5491-8542-164f00239bf4":{"name":"*Aladdin, or The Magnificent Lamp: sketch of the set for act 1 or act 2*","short_description":"The tale of Aladdin and his lamp was very popular in the theatre and the opera following the rise of Orientalism in the 1820s. Its first performance as an opera in 1822 was so successful that gas was used for the first time ever at the Opéra de Paris, to light up the lamp on stage.","type":"Drawing","holder":"National Library of France","dates":"1822","provenance":"France","artist_birthdate":"1782","artist_deathdate":"1868","translator":"Flaminia Baldwin","keywords":["Opera","Orientalism"]},"b01b920c-bd76-5e6a-b3c9-4e331c550bdd":{"name":"Karagöz and Hacivat Shadow Play","short_description":"Shadow play consists of solid figures being shown and moved behind a semi-transparent screen. The characters of Hacivat and Karagöz plays reflect the multi-ethnic makeup of the Ottoman Empire. They are represented with a high level of detail through their figures, attitudes, dances, etc. Shadow play received its basic character in the 17th century and developed further in the following centuries, eventually becoming one of the most popular traditional forms of entertainment among Turks. It was performed by a single artist that is called a *hayali* (imaginary person) or *hayalbaz*. One of the main characteristics of shadow play is that the *hayali* changes his voice and manner of speaking depending on the character he was animating.","type":"Puppet","holder":"Bursa Karagöz Museum","location":"Bursa","copy_editor":"Daniel de la Vega","materials":["Leather"]},"b70d09b4-b304-5766-96c2-44d09249f330":{"name":"*Portrait of Carlo Broschi called Farinelli*","description":"This painting is a portrait of the world famous soprano castrate singer Carlo Broschi whose stage name was Farinelli. He is wearing a cape of the order of Calatrava as in 1750 he was made a Knight of this important Spanish order by the king of Spain Ferdinand VI. The singer touches a page of music laid on the cembalo with his left hand. In the background, oval portraits of the King of Spain and his queen, Maria Barbara di Braganza, are surrounded by a tripudium of nymphs and cupids. There is also a self-portrait of the painter, Corrado Giaquinto. The portrait was part of Farinelli’s rich collection of paintings decorating his villa in Bologna, where he retired after a long stay at the court of Madrid (1737–1759).","type":"Painting","holder":"Museo Internazionale e Biblioteca della Musica","initial_owner":"Maria Carlotta Pisani, Farinelli’s niece, bequest","dates":"c. 1755","location":"Bologna, Emilia-Romagna","dimensions":"275,5 x 185,5 cm","place_of_production":"Naples?","provenance":"Farinelli’s Villa, once in via Lame 228, Bologna","obtention":"Presented to the Comune di Bologna in 1850 by Maria Carlotta Pisani, the niece of Farinelli.","bibliography":"*Mostra della pittura italiana del '600 e del '700* (exhibition catalogue), Rome, 1922, p. 21.  \n*Pittura Italiana del Settecento* (exhibition catalogue) (eds. E. Riccòmini and J. Winkelmann), Bologna, 1974, pp. 38-39.  \n*Collezionismo e storiografia musicale nel Settecento. La quadreria e la biblioteca di Padre Martini* (exhibition catalogue), Bologna, 1984.  \n*Le stanze della musica* (exhibition catalogue), Cinisello Balsamo (Mi), 2002.  \n*Guida al percorso espositivo del Museo della Musica*, Bologna, 2004.","workshop":"Neapolitan Baroque","artist_birthdate":"8th February 1703","artist_birthplace":"Molfetta (BA)","artist_deathdate":"1766","artist_deathplace":"Naples","author":"Jenny Servino","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Corrado Giaquinto","Farinelli","music","Neapolitan painting","Opera","Portrait","Self-portrait","Singer"],"materials":["Oil on canvas"]},"cc9708c7-7639-577d-908b-b4db3b0e057e":{"name":"Shéhérazade, a ballet by Michel Fokine. Stage sketch.","short_description":"The Russian choreographer Michel Fokine created the ballet *Shéhérazade* for Rimski-Korsakov's music in Paris in 1910. The tale of Shahrazad was taken from the *One Thousand and One Nights*, which saw constant success in Europe throughout the 19th century.","type":"Drawing","holder":"National Library of France","dates":"1913","provenance":"France","artist_birthdate":"1886","artist_deathdate":"1914","translator":"Flaminia Baldwin","keywords":["Dance","Orientalism"]},"d435d9f4-9833-55f4-b40f-d413ab1c10be":{"name":"*Portrait of Domenico Scarlatti*","description":"Court Maestro to the exiled Polish queen Maria Kazimiera, and responsible for the Vatican's *Capella Giulia*, Domenico Scarlatti (1685–1757) was hired in 1714 as *Kappelmeister* by the Marquis of Fontes, Ambassador to King D. João V, at the Court of Pope Clement XI.  \nScarlatti's arrival in Portugal was a result of the high praise he had received from the King of Portugal's brother, Prince D. António who had attended one of his concerts in Rome. Scarlatti arrived in Portugal in around 1720 to become Princess Maria Barbara and Prince D. Jose's music teacher. Meanwhile the Pope had consented to the upgrade of the Royal Chapel to a Patriarchal Chapel and Scarlatti was invited to become *Kappelmeister* of the orchestra and choir of the Patriarchal Seminar Chapel.  \nThe Neapolitan Scarlatti's contribution to the Portuguese music scene was immense, he introduced Italian Opera, and the new musical and artistic patterns in vogue all over Europe at the time.  \nIn 1729 Scarlatti moved to Madrid to become once again Princess Maria Bárbara's music master, who by this time had married the Prince of Asturias, son of King Philip V and future King Philip VI of Spain. He remained in Spain until his death in 1757.  \nUnder the patronage of King D. João V, Domenico Scarlatti lived with his family in Spain where he enjoyed all the preconditions necessary to enhance his musical career and ensure his notoriety grew among his European musical peers*.*  \nThe art of portraiture peaked in the 18th century, fuelled by commissions from the European monarchs. Artists such as Louis Michel Van Loo, court painter to King Philip V of Spain (grandson of Louis XIV) between 1738 and 1752, or Jean Ranc (1674–1735) gained notoriety. The latter also painted the Portuguese Royal family following H. Rigaud.  \nSo it was that the Spanish artist Domingos António Velasco painted this portrait of Scarlatti in the Van Loo style in around 1739. Velasco depicts the maestro standing in front of an opulently painted curtain, his body twisted to the right and his hand resting on a wooden box. The light falls on the musician's face and hands, and he is dressed in a golden yellow and grey-blue ceremonial court vestment, adorned with the prestigious St James, a cognizance bestowed upon him one year previously by King D. João V, Grand-Master of the Order*.*","short_description":"*Kappelmeister* of the Patriarchal orchestra and choir, and music master to Princess Maria Barbara the daughter of the King D. João V and the Queen of Spain, this portrait of Domenico Scarlatti is by the Spanish painter Domingos António Velasco. The artist depicts Scarlatti dressed in a ceremonial court vestment, adorned with the prestigious Order of St. James, a cognizance bestowed upon him one year previously by King D. João V, Grand-Master of the Order*.*","type":"Portrait","holder":"Patudos House, Alpiarça Museum","owner":"Casa dos Patudos, Museu de Alpiarça","initial_owner":"José Relvas Collection","dates":"c. 1738–1739","location":"Alpiarça, Santarém","dimensions":"H: 131.1 cm; w: 109.5 cm","place_of_production":"Spain","method_for_datation":"Iconographic and stylistic analysis","provenance":"Bequeathed to Mariano Hernandez by José Relvas in Madrid, 1913; then left to the Municipality of Alpiarça.","obtention":"Bequeathed to Mariano Hernandez by José Relvas in Madrid in 1913. In his will, José Relvas donated the palace and collection to the Municipality of Alpiarça in order to create a museum.","bibliography":"Teixeira, José de Monterroso, *O Triunfo do Barroco*, Centro Cultural de Belém, Lisbon, 1993 p.p.56/63,223/224","workshop":"Workshop of Domingo António de Velasco","author":"Cristina Correia","translator":"Manuel Silva Pereira","translation_copy_editor":"Mandi Gomez","keywords":["Casa dos Patudos","ceremonial court vestment.","late Baroque/Rococo painting","music","musician","Order of St. James","Patriarchal Choir","portraiture"],"materials":["Oil on canvas"]},"d6720426-2881-5b4a-8e11-89649a430aa6":{"name":"*Loie Fuller: the serpentine dance*","short_description":"Mary Louise Fuller was an American dancer who lived in Europe for many years. As an artist, she was inspired by her travels and by new inventions - the dance of the veils (the \"serpentine\" dance) mixes Arab influences with light tricks using electricity. Loie Fuller was an important influence in the Art Nouveau and Symbolist movements, and helped train other great artists such as Isadora Duncan. The \"serpentine dance\" was imitated by many artists, and inspired the first cinematographers, such as the Lumière brothers, who dedicated a short film to it.","type":"Photograph","holder":"National Library of France","dates":"19th century","provenance":"France","translator":"Flaminia Baldwin","keywords":["Dance","Orientalism","electricity"]},"d92eefc6-b8cb-57be-9e74-3bd00aa19302":{"name":"*Théâtre de l'Opéra. \"Aida\". Avenue of the sphinxes at the gates of Thebes (act 2 scene 2)*","short_description":"Commissioned by Isma'il Pasha for the inauguration of the Suez Canal, Verdi's opera *Aida* was performed for the first time in Cairo in 1871, with great success. It recreated life at the time of the pharaohs, with the details and the plot developed by the archaeologist Mariette. *Aida* was performed in Paris from 1876, with a grand and successful performance at the Opéra Garnier in 1880.","type":"Print (wood engraving)","holder":"National Library of France","dates":"1880","provenance":"France","translator":"Flaminia Baldwin","keywords":["Opera","Orientalism"]},"f23c34bf-814d-5e9e-8baf-ebe84ce157b4":{"name":"*Folies Rambuteau. New quartet from the Auvergne.*","short_description":"The 19th century saw mass rural to urban migration, particularly to Paris, for largely economic reasons. These migrants often settled with people from their region, who offered them work in specific fields. Thus, those from the Savoy region became specialised in chimney-sweeping, those from the Auvergne were water-carriers or coal-merchants, those from Brittany were domestic workers, and so on. Regional solidarity therefore ensured the survival of regional culture. In this image, for example, a quartet from the Auvergne are advertising their performance in a *café-concert* in traditional dress. Music from the Auvergne was the origin of the Parisian *bal-musette* (a dance accompanied by accordion music).","type":"Poster","holder":"National Library of France","dates":"1885","location":"Paris","translator":"Flaminia Baldwin","keywords":["Communities","Paris","Auvergne"]},"f99fda0f-bbfe-5494-9147-d4cccb13620e":{"name":"*Théâtre du Châtelet. Germinal*","short_description":"The thirteenth novel in the *Rougon-Macquart* series, *Germinal* (1885), is the most well-known and the most discussed of Zola's works. This naturalist writer took a new approach to depicting workers' lives, shedding light on miners' terrible working conditions and the violence and difficulty of strikes. Fearing that the adaptation of this novel for stage would trigger social unrest, the play was initially banned. It was finally performed for the first time in 1888 at the Théâtre du Châtelet. This poster highlights the most important themes of the novel - life in the mine, strikes, etc.","type":"Poster","holder":"National Library of France","dates":"1880","location":"Paris","translator":"Flaminia Baldwin","keywords":["Strikes","miners","France","Zola"]}}
+{"0f088fa7-47b1-5825-9ada-f45bc3097162":{"name":"The Italian Politeama Rossini theatre in Tunis, inaugurated in 1903","short_description":"The Politeama Rossini was built by the construction company of Giuseppe Di Vittorio (a Sicilian who had migrated to Tunisia in 1882); the architect was a Mr. Baron. It could house an audience of 2,500.  \nThe first Italian theatre in Tunis was the “Teatro Tapia” founded in 1826. Other Italian theatres (such as the “Teatro Italiano” and the “Teatro Paradiso”) and concert halls (“Gran Teatro”, “Teatro Cohen”, etc.) were created in Tunis the following decades.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"1903–06","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"179f9d9d-6b5a-52fc-8dea-c159da198fd5":{"name":"*La Reine de Saba: 14 costume sketches*","short_description":"Charles Gounod turned to the librettists Jules Barbier and Michel Carré for advice when he was writing his great opera, and so they recommended him the legend of Hiram, the great tale narrated by Gérard de Nervale in his *Voyage en Orient*. The opera was put on in Paris in 1862. As this costume from the court of Suleiman shows, the models and costumes responded above all to the Orientalist stereotypes in vogue at the time.","type":"Drawing","holder":"National Library of France","dates":"1861-1862","location":"Paris","translator":"Flaminia Baldwin","keywords":["Opera; Orientalism"],"artist":"Alfred Albert and Paul Lormier"},"1b55ef6a-0fb1-56d2-9274-4f0775c2cee9":{"name":"Austrian toy theatre set: 'The Caravan to Mecca. The Halt in the Desert' by Trentsentsky","short_description":"With a desert landscape backdrop and cut-out figures on wooden stands, this toy theatre uses intricate detail and imagination to depict the stopping of a pilgrim caravan. With 45 cut out figures and with an original box, the set was made by Matthias Trentensky (1790–1868), a retired army officer and printer who became the Austrian Empire’s foremost maker of toy theatres. Miniature theatres based on popular plays were common in the 19th century particularly in Europe, although this theatre may have been produced as a result of the increasing fascination with the Arab world at the time. The artist is likely to be Theodor Jachimovicz who studied painting at the Academy of Fine Arts Vienna and worked as a theatre stage painter for the State Opera House. Trentensky exported his toy theatres to England through the London company A&S Joseph Myers and Co. of 144 Leadenhall Street, importers of French, German, Swiss and Italian goods and toy merchants. It has been suggested that the theatres produced for London may be of better quality than those for the Austrian market. Other theatres produced for A&S Myers included those closely related to English themes, such as contemporary pantomimes. The collection also holds an uncut version of the theatre, a complete set of 24 plates with 168 illustrations.","type":"Toy; theatre","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Around early 1800s AD","location":"London","dimensions":"ARC.mx 570 box: 21x27.5x4cm, ARC.pt 401: 25x40cm","method_for_datation":"Tentensky began lithographic printing in 1815","provenance":"Europe","author":"Qaisra Khan","keywords":["Camel; Children; Childhood; Geography; Hajj; Hijaz; Holy place; Ka'ba; Medina; Mosque; paper; Pilgrimage; Prayer; Prophet Muhammad; Qur'an; Religion; Theatre; Travel; Traveller; Mecca"],"materials":["Paperboard"]},"27db4792-06af-5d09-8d3d-457d76486f2e":{"name":"*Magnificent Atrium with Figures*","description":"The growing influence and interaction between communications, especially the printing press and foreign travel, reinforced the cosmopolitan culture that came to characterise the processes of the European courts. Lisbon took the lead, when, under the reign of the King João V, Absolutism gave the Portuguese monarchy a renewed lease of life. Sacred and profane music, heard either at the Patriarch or at court, had a strong political meaning and reinforced the king's aura of majesty. King João V, therefore, commissioned artists such as Domenico Scarlatti; built the monumental Opera House next to the Royal Palace in 1754 (destroyed during the earthquake of 1755), and enlarged the Royal Orchestra with new foreign soloists.  \nThe theatrical scenery drawings of the Galli Bibiena family were not made on durable material. Due to the fact that the theatre sets they designed for court functions were temporary, few of their creations have survived. The richness and splendour of their stage sets can however still be judged from contemporary drawings, preserved in great numbers, and found mainly in collections in [Vienna](http://en.wikipedia.org/wiki/Vienna \"Vienna\"), [Munich](http://en.wikipedia.org/wiki/Munich \"Munich\") and [Dresden](http://en.wikipedia.org/wiki/Dresden \"Dresden\").  \nThis drawing by Francesco Galli Bibiena is a study for an unknown stage set. It is possible that it was brought to Portugal in 1750–1751 by his son, Giovanni Carlo Sicino Bibiena (1717–1760), who was charged by King José I to modernise both the theatres themselves and their services.  \nThe drawing shows an interior space with large arcades seen from a diagonal perspective. The composition is dominated by two large arches leading up to corridors at the top of a staircase. The vaults are richly decorated and the balconies bear several medallions with mythological figures at the centre supported by little angels. Bound by columns and female sculptures, the central area is occupied by women with children. Two dogs can be seen on the left. Through the main arcade a young crowned ruler makes his entrance surrounded by soldiers carrying banners, attracting everyone's attention.","short_description":"This drawing by Francesco Galli Bibiena is a study for an unknown stage set. It represents an interior space with large arcades seen from a diagonal perspective. The vaults are richly decorated and the balconies bare several medallions with mythological figures at the centre supported by angels.","type":"Drawing for a stage set","holder":"National Museum of Ancient Art","owner":"Museu Nacional de Arte Antiga","initial_owner":"Probably belonged to Giovanni Carlo Sicino Bibiena (1717–1760)","dates":"First half of the 18th century","location":"Lisbon, Lisbon","dimensions":"H: 40.6 cm; l: 57.6 cm","place_of_production":"Italy","method_for_datation":"Stylistic approach to the graphical work of Francesco Galli Bibiena.","provenance":"Royal Academy of Fine Arts, Lisbon, 1884","obtention":"The drawing might have been brought to Portugal by Giovanni Carlo Sicino Bibiena in 1751 or 1752, along with some others. There is little information about the whereabouts of these drawings during the second half of the 18th century and the beginning of the 19th. In around 1845 the drawing was in the collection of the Royal Academy of Fine Arts, Lisbon and then transferred to the Museu Nacional de Arte Antiga in 1884, the date of its establishment.","bibliography":"Correia, J. M., da Silva D., \"Teatros Régios do século XVIII – algumas considerações acerca dos desenhos da colecção do Museu Nacional de Arte Antiga\", *Boletim do Museu Nacional de Arte Antiga*. Vol. V, Nos 3 & 4, Lisbon, 1969.  \nBeaumont, M. A., \"Stage-sets by the Bibienas in the Museu Nacional de Arte Antiga, Lisboa\", *Apollo*, 1973, pp. 408–415.  \nMuraro, M. T., Povoledo, E., *Illusione e Pratica Teatrale - Proposta per una lettura dello spazio scenico dagli intermedi fiorentini all'Opera comica veneziana*, Venice, 1975.  \n*Desenhos dos Galli Bibiena*. *Arquitectura e cenografia* / *Eighteenth-Century Scenic and Architectural* *Design*, Lisbon 1987; USA, 1990.  \n*I Bibiena, una famiglia europea*, Bologna, 2000.","workshop":"Italian School, Bologna","artist_birthdate":"1659","artist_birthplace":"Bologna","artist_deathdate":"1739","artist_deathplace":"Bologna","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Regina Peixeiro","translator":"Regina Peixeiro","translation_copy_editor":"Mandi Gomez","keywords":["Bibiena; architectural perspective; corner perspective; theatre; Bologna; stage-set, drawing; scenography"],"materials":["Pen and brown ink with green and brown wash on paper"]},"3f21696b-6178-5310-a618-3b1cbb1ec3d6":{"name":"*Shéhérazade*","short_description":"George Auriol, the typographer renamed after his creations, was a multitalented artist, and thus in his work he reflected many different influences of the late 19th century. As an artist and musician, he was interested in the different graphic movements, as is clear from this image: the theme is clearly \"Oriental\", but the composition of the piece borrows characteristics from Japanese aesthetics and Art Nouveau.","type":"Print (coloured lithography)","holder":"National Library of France","dates":"1895-1897","provenance":"France","artist_birthdate":"1863","artist_deathdate":"1938","translator":"Flaminia Baldwin","keywords":["Orientalism; Art Nouveau"],"artist":"George Auriol"},"478abce7-afc2-532d-82bd-fbecf067ac32":{"name":"*One Thousand and One Nights*: decorative sketch of the palace gardens. Façade of an","short_description":"The collection *One Thousand and One Nights* was translated into French in the early 18th century. The rise of Orientalism caused it to become extremely popular, appearing as the subject of numerous editions, adaptations, etc. In the 19th century, a tale from the collection was staged in one of Paris' most famous theatres (the Théâtre du Châtelet), and, as this image shows, the theatre was redecorated as an \"Oriental palace\" for the occasion.","type":"Print","holder":"National Library of France","dates":"1881","location":"Paris","translator":"Flaminia Baldwin","keywords":["Orientalism; one thousand and one nights"],"artist":"Anonymous"},"4bf6a5a2-2ef7-5efd-930f-e900942ddaa6":{"name":"*La Péri: thirteen costume sketches*","short_description":"*La Péri* is a fantastical ballet in two acts with the scenario written by Theophile Gautier and the music by Burgmüller. This ballet, first performed in 1843, brought the audience to a grand Egyptian palace. Théophile Gautier dreamt of visiting Egypt, where his friend Gerard de Nerval had been living and sending him details to help him make the ballet more realistic.","type":"Drawing","holder":"National Library of France","dates":"1843","provenance":"France","translator":"Flaminia Baldwin","keywords":["Dance; Orientalism"],"artist":"Paul Lormier; Hippolyte d'Orschwiller"},"50134a0e-a943-5f25-a36c-43032ad0dd5e":{"name":"Bob Walter [veiled dancer]","short_description":"The \"serpentine dance\", invented by Mary Louise Fuller, was copied by many dancers, and even parodied. Like Fuller, these dancers also used veils and lighting effects, characteristics typical of the Art Nouveau movement.","type":"Poster","holder":"National Library of France","dates":"1898","provenance":"France","translator":"Flaminia Baldwin","keywords":["Dance; Orientalism"]},"52384f24-9940-5834-bc9f-a6f4efa2c373":{"name":"Model of the Bologna Municipal Opera Theatre","description":"This model is the faithful representation of the original project by Antonio Bibiena for the Municipal Opera Theatre of Bologna. It accurately documents the architectural structure and decorative elements of the interior. It is very important because most of these decorations were lost during the XIX century restyling.  \nThe longitudinal section of the model shows the large stall, the stage, its architectural frame and 4 tiers of boxes as well as the gallery. Tiers of separated boxes all around the hall were an original feature of the Bibiena design specifically meant for the baroque opera theatres. This feature was adopted in the most important European theatres.  \nThe three “architectural orders” employed on the different tiers reflect the Bolognese sober academic tradition in architecture. Wooden models like this one were made by craftsmen or sculptors following the drawings of the architect. This was common for important buildings, public monuments or cathedrals, since the Renaissance period.  \nAbout 10 years later the theatre was finally opened to the public on the 14th of May 1763 with the representation of *The Triumph of Clelia* by C.W. Gluck.","short_description":"This is the wooden model of the Teatro Comunale of Bologna, proposed between 1755-1763 by the famous architect Antonio Bibiena, one of the last members of the Bibiena Family.  \nThe construction of the new public theatre for the city was quite troubled and the project presented by the architect caused some polemics among the academic establishment. For that reason, the municipality asked for an accurate model of the building to be exhibited in the town hall so that all citizens could see it and express their opinion on it.","type":"Woodwork, architectural model","holder":"Museo Internazionale e Biblioteca della Musica","owner":"Museo Internazionale e Biblioteca della Musica","initial_owner":"The Municipal theatre and its wooden model were commissioned by the Municipality of Bologna (Comune di Bologna)","dates":"1756","location":"Bologna, Emilia-Romagna","dimensions":"95x195x168 cm","place_of_production":"Bologna","method_for_datation":"Documents","provenance":"Town Hall (?)","bibliography":"Bergamini, W. “Antonio Galli Bibiena. Nuovo teatro pubblico di Bologna 1755-1763”, *L'arte del Settecento emiliano. Architettura, scenografia, pittura di paesaggio* (exhibition catatlogue) (ed. A. M. Matteucci), Bologna, 1979, pp. 122-123, n. 180.","author":"Marta Forlai","translation_copy_editor":"Lisa Kelman","keywords":["theatre; model; architectural model; Bibiena"],"materials":["Sculpted, painted and gilded wood"]},"5d024ced-cde4-5d7a-9dd5-c31339648895":{"name":"Puppet theatre","description":"During the third quarter of the eighteenth-century the Albicini family from Forlì commissioned this marionette theatre. The coat of arms of the Albicinis' is on the proscenium. The present backdrop and wings show a “magnificent atrium” painted by an artist influenced by the scenography culture of the Bibienas, especially that of Antonio Galli, who was working at that time in Forlì. The backdrop, with its three vanishing points, applies three corner perspective conveying the idea of a space extending behind the visible scene. The theatre has 5 more backdrops and seven pairs of wings, some of which were painted in the nineteenth-century.  \nOnly some of the marionettes are exhibited; altogether there are 74 male and female figures (some of them are characters from the *Commedia dell'Arte*), 9 horses and 1 monkey. All of the figures were made in the Veneto. The oldest figures are dated to 1750 ca., so they are older than the theatre of which they are part. The others were made in the eighteenth-century. Even if not produced by the same workshop all the marionettes are characterised by similar technical devices including a movable mouth and jointed limbs which moved with a control bar. Some of these marionettes change into something else, a trick widely appreciated at the time (ladies become dwarves and dwarves become giants).  \nPuppet theatres were very fashionable in Venice where they were used to represent plays from the *Commedia dell'Arte* and even by comediographer Carlo Goldoni. They were mostly present in noble residences. During the eighteenth-century this habit spread in the north of the country, unfortunately only few survive and we lack information on their use.","short_description":"This puppet theatre was painted by an artist influenced by the culture of the Bibienas for the Albicini family of Forlì. It is a rare and precious ensemble thanks to the rich equipment of backdrops, wings and marionettes (74 female and male figures, 9 horses and 1 monkey). It was made in Veneto around 1750.","holder":"Museo di Arte Industriale e Galleria Davia Bargellini","owner":"Pinacoteca Nazionale di Bologna (deposit)","initial_owner":"Eighteenth-century: Albicini family (Forlì); beginning twentieth-century: Raffaele De Courten (Florence)","dates":"Theatre: c. 1770; marionettes: c. 1750","location":"Bologna, Emilia-Romagna","dimensions":"Proscenium 154 x 224 cm; backdrop 82 x 172 cm; wings 81,5 x 25-34,5 cm; marionettes: height varying from c. 23 to 50 cm","place_of_production":"Theatre: Romagna; marionettes: Veneto","method_for_datation":"Stylistic reasons.","provenance":"Theatre: Forlì; marionettes: Veneto","obtention":"Purchased by the Italian Ministry of Instruction from the Venetian antique dealer Dino Barozzi in 1921. It was originally sent to the Pinacoteca Nazionale of Bologna as an example of Bibienesque art. In 1930 it was moved to the Museo di Arte Industriale e Galleria Davia Bargellini.","bibliography":"Ghirardi, A. in *L'arte del Settecento. Architettura, Scenografia, Pittura di paesaggio (*exhibition catalogue) (ed. A. M. Matteucci), Bologna, 1980, n. 192, pp.132-133.  \nLenzi, D. and Melloni, R., in *Museo Civico d'Arte Industriale e Galleria Davia Bargellini* (ed. R. Grandi), Bologna, 1987, pp. 174-180.  \nAdani, G., “Lo strumentario domestico”, *Atlante dei beni culturali dell'Emilia Romagna*, I. *I Beni Artistici. I Beni degli artigianati storici* (eds. J. Bentini and G. Adani), Milano, 1993, p. 208, fig. 34.  \nTumidei, S. in *I Bibiena una famiglia europea*  (exhibition catalogue) (eds. D. Lenzi and J. Bentini), Venice, 2000, n. 91, pp. 344-345.","workshop":"Bibiena school","author":"Silvia Battistini","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Theatre; Marionette; scenography; Bibiena; Albicini family; Forlì; Commedia dell'Arte; Venice"],"materials":["Proscenium: painted wood; backdrops and wings: tempera on canvas; marionettes: wood, lead, stucco, wax, stuffed canvas, papier maché for the bodies, different materials and trimmings for the clothes"]},"60e1aa5c-a47e-5cdf-ab3b-bdba4f9694bd":{"name":"*Perspective with a Banquet Scene*","description":"Ferdinando Bibiena was a great architect and scenographer. Working with his sons, Bibiena shared the artistic and theatrical Italian fashion of architectural perspective throughout Europe. In his last years he was a professor at the Accademia Clementina. His teachings promoted a predilection for perspective painting as an autonomous decorative genre that soon became very fashionable all over Europe.  \nBibiena painted this picture in 1721, upon returning to Bologna after a long stay in Vienna. There is a pendant of the same subject which was painted by a follower of Bibiena. Monumental architecture, arches, vaults, columns, and balustrades are on an angular perspective. Side vanishing points make the space deeper and convey the impression of a theatrical scene. The small figures taking part in the sumptuous banquet in the foreground come from different directions. They are positioned at the base of enormous columns, thus emphasising the magnificence of the architecture.","short_description":"The painting was commissioned by the Accademia Clementina to Ferdinando Galli Bibiena in 1721. It was presented to the Senate of Bologna to celebrate the homecoming of the celebrated scenographer and theatrical architect and his congregation to the local Academy of fine arts. Magnificent architectural elements on an angular view form an eclectic and fantastic ensemble, the theatrical side of the baroque taste for illusion.","type":"Architectural painting","holder":"Collezioni Comunali d'Arte","initial_owner":"Accademia Clementina","dates":"1721","location":"Bologna, Emilia-Romagna","dimensions":"173,3 x 229 cm","place_of_production":"Bologna","method_for_datation":"Documents in the State Archive of Bologna show that the painting was already finished on the 6th of November 1721. The Accademia Clementina had already decided to have it delivered to the apartment of Gonfaloniere, on the first floor of Palazzo Comunale.","provenance":"Bologna","obtention":"The painting, originally located on the first floor of Palazzo Comunale, was moved to the museum, on the second floor of the same building, in 1992.","bibliography":"Lenzi, D. “Le tempere di architettura”, *Meravigliose scene piacevoli inganni. Galli Bibiena*, (exhibition catalogue), Arezzo, 1992, pp. 94-95, n. 40.  \nLenzi, D. in I *Bibiena una famiglia europea* (exhibition catalogue) (eds. J. Bentini and D. Lenzi), Bologna, 2000, pp. 415-417, n. 127.","workshop":"Baroque","artist_birthdate":"1657","artist_birthplace":"Bologna","artist_deathdate":"1743","artist_deathplace":"Bologna","author":"Elisabetta Berselli","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Ferdinando Galli Bibiena; Architectural perspective; corner perspective; eighteenth-century painting Bologna; Theatre; Accademia Clementina; Pendant; Scenography"],"materials":["Oil on canvas"]},"680c8cb0-7e03-52b8-988d-a7e74dbb89fa":{"name":"*L'Égyptienne*, military operetta in three acts and 11 scenes.","short_description":"Egypt became the subject of choice across the theatrical arts as a symptom of \"Egyptomania\", a phenomenon which spanned the length of the 19th century. This military operetta, written by de Chivot, Nuitter and Beaumont (with music by Charles Lecocq) is set in Egypt during the arrival of the Napoleonic troops.","type":"Print","holder":"National Library of France","dates":"1890","provenance":"France","translator":"Flaminia Baldwin","keywords":["Operetta; Orientalism"],"artist":"E. Doré"},"7573e18c-a60a-5e4f-926f-d8e3c737746a":{"name":"*Masquarade I*","description":"An unframed decorative scene with fantastic architecture and a masquerade of noble company indicates that the canvas was part of an interior decoration, location as yet unknown. The central motif is an impressive open construction, an oval colonnaded hall merging into a park. The architecture – marble grooved columns decorated with sculptures, garlands and draperies – evokes an air of nonchalance with noble ladies and their cavaliers passing the time accompanied by music. The detailed attention dedicated to the figures lends emphasis to the spectacular nature of a picturesque scene. The theatrical overstatement of central perspective draws the viewer into an imaginary space, among *comedia dell´arte* actors, gallant couples, servants and musicians. These types of *Schaustück* (eye-pleasing) pictures represented a popular trend in the decoration of reception interiors, absorbing the viewer in their relationship between reality and illusion, not only in composition but also in the metaphors intrinsic to the costumes and mysterious masks. The motifs encourage the idea of unity in all of the arts and draw attention to the relationship between artificial and natural spaces.  \nIn his masquerade pictures, Minderhout took up the tradition of morality scenes based on aristocratic society (banquets and gardens of love), probably inspired by the prints of Claude Gillot (1673–1722) featuring scenes from *comedia dell´arte,* and the work of Hendrick Govaerts (1669–1720) from Antwerp, active in Prague and Vienna in the period when theatre established itself as part of court life. *Comedia dell´arte*, originally considered a “low” genre, became very popular, inspiring a number of artists. The visual rendering of its scenes was essentially influenced by the Galli-Bibiena family, Vienna court decorators whose members and pupils worked for the Czech and Moravian nobility. Czech and Moravian aristocrats often went to performances in Vienna and cultivated theatre in their palaces.","short_description":"A decorative scene with fantastic architecture and a masquerade indicates that the canvas was part of an interior decoration. The picture merges the Flemish tradition with late-baroque Italian painting in a highly original manner.","type":"Painting","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","dates":"c. 1740","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 84 cm; w: 125 cm","place_of_production":"Moravia","method_for_datation":"The painting paraphrases pictures found in the Archiepiscopal Palace, Kroměříž. Willem Augustin Minderhout participated in the decoration of the palace halls under Cardinal Ferdinad Julius Troyer (1745–1758). The artist’s initials and the style of the painting place it as part of the relatively prolific work of this itinerant artist, frequently producing related pairs of pictures.","obtention":"The picture, origin unknown, was acquired in 1945.","bibliography":"Zora Wörgötter, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, pp. 111–113, cat. 16.  \nAndrea Rousová, *Tance a slavnosti*, Praha 2009, p., cat.","artist_birthdate":"1680","artist_birthplace":"Antwerp","artist_deathdate":"1752","artist_deathplace":"Střílky","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Theatrical architecture; architectural perspective; scenography; illusion; decoration; festival; music; costume; commedia dell'arte"],"materials":["Oil on canvas"]},"7d1dabeb-3a46-50a1-8a1e-90fa8b90fffa":{"name":"*The Vision of Saints Augustine and Norbert*","description":"The structure of the picture is based on the contrast between an intricately segmented, sacred architectural space and a figurative group within it. While the artist represented the architecture with a scale of subtly harmonised and graded neutral tones accentuated by light falling from the left, the figures are rendered in rich tones of red, blue, gold and dark green. St. Augustine, surrounded by the founders of orders observing his rules, is additionally illuminated by the light of God's eye, penetrating the Host (monstrance) carried by an angel. The Host is being worshipped by St. Norbert, founder of the Premonstratensian order. The monstrance is also an attribute of St. Norbert. A *putto* points to a burning heart an attribute of St. Augustine. An angel on the left aims bolts of anger at heretics.  \nThis small format picture, appearing as an autonomous piece rather than a *modello*, is among the leading works of Winterhalder Jr., a student, assistant and follower of F. A. Maulbertsch, whose motifs from Klosterneuburg appear in the picture. The theatrical architecture is derived from stage designs by the Galli-Bibiena family in Bologna, also active in Vienna and known from prints. The dating indicates that Winterhalder painted the picture after a period of collaboration with Maulbertsch in Dyje. The presence of major Premonstratensian saints places the work among paintings for the Louka u Znojma Monastery. The illusionary architecture bears witness to the decorative skills that flourished towards the end of Winterhalder's career.  \nJosef Winterhalder Jr. was born in Schwarzwald. He came to Moravia with his uncle, a sculptor. He was first apprenticed to J. Stern in Brno and later to F. A. Maulbertsch. He frequently collaborated with A. Schweigl, with whom he coined a specific style for a number of Moravian chateau and church interiors. Winterhalder Jr. wrote a book on South Moravian artists which also contained his autobiography.","short_description":"The structure of the picture is based on the contrast between an intricately segmented, sacred architectural space and a figurative group within it. Winterhalder Jr. was a student, assistant and follower of F. A. Maulbertsch. The illusionary architecture is derived from the stage designs of the Galli-Bibiena family in Bologna.","type":"Painting","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Private owner, Židlochovice","dates":"1778","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 79.4 cm; w: 47 cm","place_of_production":"Moravia","method_for_datation":"Marked bottom left: *Winterhalder Pinx 1778.*","provenance":"Čechy pod Kosířem Chateau","obtention":"The picture comes from the property of a parish priest in Židlochovice, near Brno. Until 1945 it was in the Čechy po Kosířem Chateau, the property of Count Silva-Taroucca, a major art collector and benefactor of the Brno Picture Gallery.","bibliography":"Johann Jakob Heinrich Czikann, “Joseph Winterhalder”, in Johann Georg Meusel (ed), *Archiv für Künstler und Kunstfreunde* *II*, 4, Dresden, 1808, pp. 70–75.  \nKlára Garas, “Joseph Winterhalder (1743–1807)”, *Bulletin du Musée national hongrois des beaux-arts* 14, 1959, p. 89.  \nVlasta Kratinová, in *Franz Anton Maulbertsch. Ausstellung anlässlich seines 250. Geburtstages,* Wien–Halbturn–­­Heiligenkreuz–Gutenbrunn, 1974, pp. 182–183.  \nVlasta Kratinová, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque* *1760–1790*, Brno–Paris–Rennes, 2002, pp. 241–242, cat. 88.  \nZora Wörgötter, in Zora Wörgötter – Eduard Hindelang (eds), *Franz Anton Maulbertsch und sein Umkreis in Mähren. Ausgewählte Werke aus tschechischen Sammlungen. Ausstellungsführer*, Langenargen, 2006, p. 38, cat. 18.","artist_birthdate":"1743","artist_birthplace":"Vöhrenbach","artist_deathdate":"1807","artist_deathplace":"Znojmo","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Host; monstrance; heresy; theatrical architecture; attribute; Christian themes; religious object; symbolism"],"materials":["Oil on canvas"]},"82a512d3-aced-55a2-b8b4-370dfafb5ffc":{"name":"*Théâtre de l'Opéra. \"Aida\". The banks of the Nile (act 3). Set by Jean-Louis Chéret*","short_description":"Commissioned by Isma'il Pasha for the inauguration of the Suez Canal, Verdi's opera *Aida* was performed for the first time in Cairo in 1871, with great success. It recreated life at the time of the pharaohs, with the details and the plot developed by the archaeologist Mariette. *Aida* was performed in Paris from 1876, with a grand and successful performance at the Opéra Garnier in 1880.","type":"Print (wood engraving)","holder":"National Library of France","dates":"1880","provenance":"France","translator":"Flaminia Baldwin","keywords":["Opera; Orientalism"],"artist":"Engraver: Auguste Lepère; artists: Henry Scott, Jean-Louis Chéret"},"8882d0e5-57fa-5c65-adef-21bc617bd242":{"name":"*Portrait of a Laughing Youth*","description":"The painting is mentioned for the first time as part of the collection in the 1693 inventory. It has been attributed variously to different artists in the past, but was confirmed as a “Carracci Caricature” in an 1833 *fideicommissum* (a deed forbidding the heirs to the Borghese estate from splitting up the collection). In the 20th century, it was deemed to be an early work of the Bolognese artist, at a time when Carracci made numerous attempts at “genre works”, leaving some superb examples, such as the famous canvas , *The Beaneater* in the Galleria Colonna, Rome (c. 1583–1584).  \nThe portrait of the jester has always been thought to be a character from the *Commedia dell'Arte*. This small sketch shows a smiling, mocking youth dressed in a dark suit, ruff and light hat, awkward and upside-down. The supposed jester, with his grotesque red nose, cannot be identified entirely with the theatrical comic tradition and, although the severe and sober clothes resemble the Bolognese mask of “Dottor Graziano”, the unusual hat is perhaps an invention of Carracci himself.  \nThe light comes from the right, creating a *chiaroscuro* effect on the folds of the hat, emphasising the satisfied look and ambiguous smile of the character, the focal point of the portrait.  \nIt is the complicit look and smile of a comic actor that, between fiction and reality, skilfully establishes a relationship with the viewer.  \nThe portrait stands against a simple yellow background, which helps to focus attention on the burlesque face, whose keen, realistic expression is rendered with a sombre palette of colours.  \nFree charcoal lines quickly define the sketch, combined with fast, fluid brush strokes. Given the medium (paper on canvas) the use of these tools seems to suggest a desire to capture the immediacy of a live portrait, rather than a caricature, which has been suggested, although this area was of interest to the painter.  \nThe modernity of expression in the sketch anticipates by half a century the portraits of Velazquez and Bernini and appears to be the beginning of the study of emotions and character types that characterises 18th-century artistic innovation.  \nThe work is one of Carracci's “small portraits” painted after 1582, where his search for reality was based on simple lines and not precise reproductions of faces.","short_description":"This piece is an interesting example of the artistic re-invention pursued by Carracci. In his sketchy *Portrait of a Laughing Youth*, dating to around1584, the young artist captures a moment of the youth's laughter. With its spontaneity, it is extraordinarily modern, anticipating the portraits by Bernini and Velázquez 50 years later. It may be the portrait of an actor, the Bolognese mask of the “Dottor Graziano”.","type":"Painting","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Unknown","dates":"c. 1584","location":"Rome, Latium","dimensions":"h: 44.5 cm; w: 29 cm","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Della Pergola, P., *Galleria Borghese. I Dipinti*, I, Rome, 1955, n.16, p. 21.  \nSantolini, S., in *L'Anima e il Volto. Ritratto e fisionomica da Leonardo a Bacon*, exhibition catalogue, Milan, 1998, pp. 148–149.  \nBenati, D., in *Annibale Carracci*, exhibition catalogue (Rome), Milan, 2007, cat. II. 9, pp. 110–111.","artist_birthdate":"1560","artist_birthplace":"Bologna","artist_deathdate":"1609","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Portrait; Commedia dell'Arte; chiaroscuro; character types; genre painting"],"materials":["Oil on paper on canvas"]},"89881283-d829-5946-bd7c-505438d8c8c0":{"name":"Costume for Cleopatra in the Ballets Russes production of *Cléopâtre*, 1918","short_description":"The sets and many costumes for the 1909 *Cleopatre* were destroyed in a fire during the company’s 1917 South American tour, so painter Sonia Delaunay was commissioned to fashion new costumes for the principals. The artist’s palette of brilliant color, graphic design, and combination of textures resulted in costumes markedly different from the originals. Cleopatra’s luminous dress, reflecting the abstract forms in Sonia Delaunay’s paintings, as well as aspects of fashionable dress of the period, remains one of her most significant creations for the theatre.","type":"Costume; costume for theatre","holder":"Los Angeles County Museum of Art (LACMA)","dates":"1918","location":"Los Angeles","author":"Kaye Spilker","keywords":["Clothing; theatre; dance; fashion; abstract decoration; exoticism; textile; painting; coreography; abstract art; avant-garde"],"materials":["Silk, sequins, mirror, beads, wool yarn, metallic thread braid, lamé"],"artist":"Sonia Terk Delaunay (born Russia, active France, 1885-1979)"},"8a50a95e-def1-531c-840c-040f6cf8a2f3":{"name":"Marionette of Hamlet","description":"William Shakespeare wrote his tragedy *Hamlet* around 1600–1601. The protagonist of this work is one of the most famous characters in world literature. The success of the play was very quick and Pietro Resoniero made this marionette, still wearing the original clothes, after moving to Vienna, in 1667. Resoniero, originally from Venice, founded in Vienna an Italian marionettes theatre by the \"JUVEN MARKT\" and a school for puppet-masters. He probably introduced the character of Pulcinella in Austria and Germany, where he was called Casperl or Hanswurt (John Sausage). From Italy came the Rezzonieri (the Resonieri family) and the Griffi, who were the first in Germany to make plays with the \"Puppenspielen\" (Yorik, *La storia dei burattini*, 1884).  \nThe marionette's head is made of pine wood. Its hair is made of silk thread, the mouth is finely formed and the eyes are made of glass, probably Murano. The precious garments he is wearing declare the character's social state. Turned down eyebrows and wrinkles at the sides of the mouth express desperation giving the face a heart-rending expression and foretelling the future tragedy. A very sophisticated device endows the marionette with an ample chance of movement, it can move its feet, walk and bend its knees.","short_description":"This marionette represents Hamlet, the world famous Shakespearean character. It is still wearing the original clothes and thanks to a sophisticated device can walk and bend its knees. It was made by an Italian puppet-master, Pietro Resonieri, in the second half of the seventeenth-century.","type":"Marionette","holder":"Museum of Puppets Zanella/Pasqualini","dates":"Second half of the sixteenth century","location":"Budrio, Bologna, Emilia-Romagna","dimensions":"Height 60 cm","place_of_production":"Possibly Italy or Vienna","bibliography":"Guarino, M., Fabbri, I. *Chi è di scena! Burattini e Marionette in Emilia Romagna,* Regione Emilia Romagna, Istituto per i beni artistici culturali e naturali, Bologna, 2009 (DVD Rom).","workshop":"Baroque","artist_birthdate":"1640","artist_deathdate":"1735","author":"Vittorio Zanella","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Marionette; Theatre; Resoniero; Hamlet"],"materials":["Wood carved and painted, silk, glass"]},"8a730c5e-8120-5c99-a9fa-3fffc09ae06e":{"name":"*Théâtre Impérial du Châtelet. Aladdin and the magnificent lamp; the genies of the lamp (ballet).*","short_description":"The tale of Aladdin became very popular following the rise of Orientalism in the 1820s, and became the subject of multiple adaptations for opera and for theatre. In 1863 Adolphe d'Ennery and Hector Crémieux also transformed it into a \"féerie\" (fairy play). This féerie, a genre which chose great legends as its subject and spanned many different mediums (ballet, on-stage special effects) was extremely popular in 1860s France.","type":"Print (wood engraving)","holder":"National Library of France","dates":"1863","provenance":"France","translator":"Flaminia Baldwin","keywords":["Opera; dance; theatre; Orientalism"],"artist":"Engraver: Auguste Tricon; artist: Auguste Belin"},"957ca713-c1c0-5491-8542-164f00239bf4":{"name":"*Aladdin, or The Magnificent Lamp: sketch of the set for act 1 or act 2*","short_description":"The tale of Aladdin and his lamp was very popular in the theatre and the opera following the rise of Orientalism in the 1820s. Its first performance as an opera in 1822 was so successful that gas was used for the first time ever at the Opéra de Paris, to light up the lamp on stage.","type":"Drawing","holder":"National Library of France","dates":"1822","provenance":"France","artist_birthdate":"1782","artist_deathdate":"1868","translator":"Flaminia Baldwin","keywords":["Opera; Orientalism"],"artist":"Pierre-Luc-Charles Cicéri"},"b01b920c-bd76-5e6a-b3c9-4e331c550bdd":{"name":"Karagöz and Hacivat Shadow Play","short_description":"Shadow play consists of solid figures being shown and moved behind a semi-transparent screen. The characters of Hacivat and Karagöz plays reflect the multi-ethnic makeup of the Ottoman Empire. They are represented with a high level of detail through their figures, attitudes, dances, etc. Shadow play received its basic character in the 17th century and developed further in the following centuries, eventually becoming one of the most popular traditional forms of entertainment among Turks. It was performed by a single artist that is called a *hayali* (imaginary person) or *hayalbaz*. One of the main characteristics of shadow play is that the *hayali* changes his voice and manner of speaking depending on the character he was animating.","type":"Puppet","holder":"Bursa Karagöz Museum","location":"Bursa","copy_editor":"Daniel de la Vega","materials":["Leather"]},"b70d09b4-b304-5766-96c2-44d09249f330":{"name":"*Portrait of Carlo Broschi called Farinelli*","description":"This painting is a portrait of the world famous soprano castrate singer Carlo Broschi whose stage name was Farinelli. He is wearing a cape of the order of Calatrava as in 1750 he was made a Knight of this important Spanish order by the king of Spain Ferdinand VI. The singer touches a page of music laid on the cembalo with his left hand. In the background, oval portraits of the King of Spain and his queen, Maria Barbara di Braganza, are surrounded by a tripudium of nymphs and cupids. There is also a self-portrait of the painter, Corrado Giaquinto. The portrait was part of Farinelli’s rich collection of paintings decorating his villa in Bologna, where he retired after a long stay at the court of Madrid (1737–1759).","type":"Painting","holder":"Museo Internazionale e Biblioteca della Musica","initial_owner":"Maria Carlotta Pisani, Farinelli’s niece, bequest","dates":"c. 1755","location":"Bologna, Emilia-Romagna","dimensions":"275,5 x 185,5 cm","place_of_production":"Naples?","provenance":"Farinelli’s Villa, once in via Lame 228, Bologna","obtention":"Presented to the Comune di Bologna in 1850 by Maria Carlotta Pisani, the niece of Farinelli.","bibliography":"*Mostra della pittura italiana del '600 e del '700* (exhibition catalogue), Rome, 1922, p. 21.  \n*Pittura Italiana del Settecento* (exhibition catalogue) (eds. E. Riccòmini and J. Winkelmann), Bologna, 1974, pp. 38-39.  \n*Collezionismo e storiografia musicale nel Settecento. La quadreria e la biblioteca di Padre Martini* (exhibition catalogue), Bologna, 1984.  \n*Le stanze della musica* (exhibition catalogue), Cinisello Balsamo (Mi), 2002.  \n*Guida al percorso espositivo del Museo della Musica*, Bologna, 2004.","workshop":"Neapolitan Baroque","artist_birthdate":"8th February 1703","artist_birthplace":"Molfetta (BA)","artist_deathdate":"1766","artist_deathplace":"Naples","author":"Jenny Servino","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Music; Singer; Opera; Farinelli; Corrado Giaquinto; Portrait; Neapolitan painting; self-portrait"],"materials":["Oil on canvas"]},"cc9708c7-7639-577d-908b-b4db3b0e057e":{"name":"Shéhérazade, a ballet by Michel Fokine. Stage sketch.","short_description":"The Russian choreographer Michel Fokine created the ballet *Shéhérazade* for Rimski-Korsakov's music in Paris in 1910. The tale of Shahrazad was taken from the *One Thousand and One Nights*, which saw constant success in Europe throughout the 19th century.","type":"Drawing","holder":"National Library of France","dates":"1913","provenance":"France","artist_birthdate":"1886","artist_deathdate":"1914","translator":"Flaminia Baldwin","keywords":["Dance; Orientalism"]},"d435d9f4-9833-55f4-b40f-d413ab1c10be":{"name":"*Portrait of Domenico Scarlatti*","description":"Court Maestro to the exiled Polish queen Maria Kazimiera, and responsible for the Vatican's *Capella Giulia*, Domenico Scarlatti (1685–1757) was hired in 1714 as *Kappelmeister* by the Marquis of Fontes, Ambassador to King D. João V, at the Court of Pope Clement XI.  \nScarlatti's arrival in Portugal was a result of the high praise he had received from the King of Portugal's brother, Prince D. António who had attended one of his concerts in Rome. Scarlatti arrived in Portugal in around 1720 to become Princess Maria Barbara and Prince D. Jose's music teacher. Meanwhile the Pope had consented to the upgrade of the Royal Chapel to a Patriarchal Chapel and Scarlatti was invited to become *Kappelmeister* of the orchestra and choir of the Patriarchal Seminar Chapel.  \nThe Neapolitan Scarlatti's contribution to the Portuguese music scene was immense, he introduced Italian Opera, and the new musical and artistic patterns in vogue all over Europe at the time.  \nIn 1729 Scarlatti moved to Madrid to become once again Princess Maria Bárbara's music master, who by this time had married the Prince of Asturias, son of King Philip V and future King Philip VI of Spain. He remained in Spain until his death in 1757.  \nUnder the patronage of King D. João V, Domenico Scarlatti lived with his family in Spain where he enjoyed all the preconditions necessary to enhance his musical career and ensure his notoriety grew among his European musical peers*.*  \nThe art of portraiture peaked in the 18th century, fuelled by commissions from the European monarchs. Artists such as Louis Michel Van Loo, court painter to King Philip V of Spain (grandson of Louis XIV) between 1738 and 1752, or Jean Ranc (1674–1735) gained notoriety. The latter also painted the Portuguese Royal family following H. Rigaud.  \nSo it was that the Spanish artist Domingos António Velasco painted this portrait of Scarlatti in the Van Loo style in around 1739. Velasco depicts the maestro standing in front of an opulently painted curtain, his body twisted to the right and his hand resting on a wooden box. The light falls on the musician's face and hands, and he is dressed in a golden yellow and grey-blue ceremonial court vestment, adorned with the prestigious St James, a cognizance bestowed upon him one year previously by King D. João V, Grand-Master of the Order*.*","short_description":"*Kappelmeister* of the Patriarchal orchestra and choir, and music master to Princess Maria Barbara the daughter of the King D. João V and the Queen of Spain, this portrait of Domenico Scarlatti is by the Spanish painter Domingos António Velasco. The artist depicts Scarlatti dressed in a ceremonial court vestment, adorned with the prestigious Order of St. James, a cognizance bestowed upon him one year previously by King D. João V, Grand-Master of the Order*.*","type":"Portrait","holder":"Patudos House, Alpiarça Museum","owner":"Casa dos Patudos, Museu de Alpiarça","initial_owner":"José Relvas Collection","dates":"c. 1738–1739","location":"Alpiarça, Santarém","dimensions":"H: 131.1 cm; w: 109.5 cm","place_of_production":"Spain","method_for_datation":"Iconographic and stylistic analysis","provenance":"Bequeathed to Mariano Hernandez by José Relvas in Madrid, 1913; then left to the Municipality of Alpiarça.","obtention":"Bequeathed to Mariano Hernandez by José Relvas in Madrid in 1913. In his will, José Relvas donated the palace and collection to the Municipality of Alpiarça in order to create a museum.","bibliography":"Teixeira, José de Monterroso, *O Triunfo do Barroco*, Centro Cultural de Belém, Lisbon, 1993 p.p.56/63,223/224","workshop":"Workshop of Domingo António de Velasco","author":"Cristina Correia","translator":"Manuel Silva Pereira","translation_copy_editor":"Mandi Gomez","keywords":["Portraiture; late Baroque/Rococo painting; Order of St. James; music; musician; Patriarchal Choir; Casa dos Patudos; ceremonial court vestment."],"materials":["Oil on canvas"]},"d6720426-2881-5b4a-8e11-89649a430aa6":{"name":"*Loie Fuller: the serpentine dance*","short_description":"Mary Louise Fuller was an American dancer who lived in Europe for many years. As an artist, she was inspired by her travels and by new inventions - the dance of the veils (the \"serpentine\" dance) mixes Arab influences with light tricks using electricity. Loie Fuller was an important influence in the Art Nouveau and Symbolist movements, and helped train other great artists such as Isadora Duncan. The \"serpentine dance\" was imitated by many artists, and inspired the first cinematographers, such as the Lumière brothers, who dedicated a short film to it.","type":"Photograph","holder":"National Library of France","dates":"19th century","provenance":"France","translator":"Flaminia Baldwin","keywords":["Dance; Orientalism; electricity"]},"d92eefc6-b8cb-57be-9e74-3bd00aa19302":{"name":"*Théâtre de l'Opéra. \"Aida\". Avenue of the sphinxes at the gates of Thebes (act 2 scene 2)*","short_description":"Commissioned by Isma'il Pasha for the inauguration of the Suez Canal, Verdi's opera *Aida* was performed for the first time in Cairo in 1871, with great success. It recreated life at the time of the pharaohs, with the details and the plot developed by the archaeologist Mariette. *Aida* was performed in Paris from 1876, with a grand and successful performance at the Opéra Garnier in 1880.","type":"Print (wood engraving)","holder":"National Library of France","dates":"1880","provenance":"France","translator":"Flaminia Baldwin","keywords":["Opera; Orientalism"],"artist":"Engraver: F. Moller; artists: Henry Scott, Jean-Baptiste Lavastre"},"f23c34bf-814d-5e9e-8baf-ebe84ce157b4":{"name":"*Folies Rambuteau. New quartet from the Auvergne.*","short_description":"The 19th century saw mass rural to urban migration, particularly to Paris, for largely economic reasons. These migrants often settled with people from their region, who offered them work in specific fields. Thus, those from the Savoy region became specialised in chimney-sweeping, those from the Auvergne were water-carriers or coal-merchants, those from Brittany were domestic workers, and so on. Regional solidarity therefore ensured the survival of regional culture. In this image, for example, a quartet from the Auvergne are advertising their performance in a *café-concert* in traditional dress. Music from the Auvergne was the origin of the Parisian *bal-musette* (a dance accompanied by accordion music).","type":"Poster","holder":"National Library of France","dates":"1885","location":"Paris","translator":"Flaminia Baldwin","keywords":["Communities; Paris; Auvergne"],"artist":"Anonymous"},"f99fda0f-bbfe-5494-9147-d4cccb13620e":{"name":"*Théâtre du Châtelet. Germinal*","short_description":"The thirteenth novel in the *Rougon-Macquart* series, *Germinal* (1885), is the most well-known and the most discussed of Zola's works. This naturalist writer took a new approach to depicting workers' lives, shedding light on miners' terrible working conditions and the violence and difficulty of strikes. Fearing that the adaptation of this novel for stage would trigger social unrest, the play was initially banned. It was finally performed for the first time in 1888 at the Théâtre du Châtelet. This poster highlights the most important themes of the novel - life in the mine, strikes, etc.","type":"Poster","holder":"National Library of France","dates":"1880","location":"Paris","translator":"Flaminia Baldwin","keywords":["Strikes; miners; France; Zola"],"artist":"Anonymous"}}

package/translations/items.fr.json

@@ -1 +1 @@
-{"179f9d9d-6b5a-52fc-8dea-c159da198fd5":{"name":"*La reine de Saba : quatorze maquettes de costumes*","short_description":"Charles Gounod, cherchant à écrire un grand opéra, s'adresse aux librettistes Jules Barbier et Michel Carré qui lui proposent la légende d'Hiram, telle que Gérard de Nerval l'a racontée dans son *Voyage en Orient*. L'opéra est représenté à Paris en 1862. Maquettes et costumes répondent donc à l'imaginaire orientaliste alors en vogue, comme on peut le constater avec ce costume de la cour de Soliman.","type":"Dessin","holder":"Bibliothèque nationale de France","dates":"1861-1862","location":"Paris","provenance":"France","keywords":["Opéra","orientalisme"]},"3f21696b-6178-5310-a618-3b1cbb1ec3d6":{"name":"*Schéhérazade*","short_description":"George Auriol, typographe renommé pour ses créations, est un artiste polyvalent reflétant les influences diverses de la fin du XIXe siècle. Tour à tour dessinateur, chansonnier, il s'intéresse à divers mouvements graphiques comme en témoigne la composition de cette *Sheherazade*: influence orientale dans la thématique; composition empruntant au japonisme et à l'Art Nouveau.","type":"Estampe (lithographie en couleurs)","holder":"Bibliothèque nationale de France","dates":"1895-1897","location":"Paris","provenance":"France","artist_birthdate":"1863","artist_deathdate":"1938","keywords":["Orientalisme","Art Nouveau"]},"478abce7-afc2-532d-82bd-fbecf067ac32":{"name":"Les mille et une nuits: esquisse de décor: les Jardins du palais. Façade d'un palais oriental","short_description":"Le recueil des *Mille et une nuits* est traduit en français au début du XVIIIe siècle. Avec l’orientalisme, il devient incontournable et fait l’objet de nombreuses éditions, adaptations, etc. Ici, une féérie tirée des *Mille et une nuits*, portée sur la scène d’un des plus célèbres théâtres parisiens du XIXe siècle (le théâtre du Châtelet), entraîne la construction d’un décor de « palais oriental ».","type":"Estampe","holder":"Bibliothèque nationale de France","dates":"1881","location":"Paris","keywords":["Orientalisme","Milel et une nuits"]},"4bf6a5a2-2ef7-5efd-930f-e900942ddaa6":{"name":"*La Péri : treize maquettes de costumes*","short_description":"*La Péri* est un ballet fantastique en deux actes, dont Théophile Gautier, a écrit le livret et Burgmüller la musique. Ce ballet, joué en 1843, plonge les spectateurs dans un sérail égyptien. Théophile Gautier rêve en effet de visiter l'Egypte où se trouve alors son ami Gérard de Nerval qui lui envoie des indications pour que le ballet soit plus vraisemblable.","type":"Design","holder":"Bibliothèque nationale de France","dates":"1843","location":"Paris","provenance":"France","keywords":["Danse","orientalisme"]},"50134a0e-a943-5f25-a36c-43032ad0dd5e":{"name":"Bob Walter [danseuse aux voiles]","short_description":"La \"danse serpentine\" inventée par Mary Louise Fuller a été plagiée par nombre de danseurs et de danseuses, et même parodiée. Comme Mme Fuller, ces danseurs utilisent des effets de voiles et de lumières dans le style Art nouveau.","type":"Affiche","holder":"Bibliothèque nationale de France","dates":"1898","location":"Paris","provenance":"France","keywords":["Danse","orientalisme"]},"680c8cb0-7e03-52b8-988d-a7e74dbb89fa":{"name":"L'Egyptienne, opérette militaire en 3 actes et 11 tableaux","short_description":"Les différents genres scéniques s'emparent du thème de l'Egypte, tant l'égyptomania a du succès tout au long du XIXe siècle. Dans cette opérette militaire  MM. de Chivot, Nuitter et Beaumont (musique de Charles Lecocq), l'action se situe en Egypte, lors de l'arrivée des troupes napoléoniennes.","type":"Estampe","holder":"Bibliothèque nationale de France","dates":"1890","location":"Paris","provenance":"France","keywords":["Opérette","orientalisme"]},"82a512d3-aced-55a2-b8b4-370dfafb5ffc":{"name":"*Théâtre de l'Opéra. Aïda - Les rives du Nil (3e acte). Décor de M. Chéret*","short_description":"Commandé à Verdi par Ismaïl Pacha pour l'inauguration du Canal de Suez, l'opéra *Aïda* fut représenté avec succès en 1871 pour la première fois au Caire. Il mettait en scène la vie du temps des pharaons, et l'intrigue et les détails en avaient été conçus par l'archéologue Mariette. *Aïda* fut représenté à Paris dès 1876, et produit à l'Opéra Garnier en 1880 dans une mise en scène fastueuse qui lui assura un très grand succès.","type":"Estampe (gravure sur bois)","holder":"Bibliothèque nationale de France","dates":"1880","location":"Paris","provenance":"France","keywords":["Opéra","orientalisme"]},"8a730c5e-8120-5c99-a9fa-3fffc09ae06e":{"name":"*Théâtre impérial du Châtelet. Aladin ou la lampe merveilleuse ; les génies de la lampe (ballet)*","short_description":"L'histoire d'Aladin rencontre une grande vogue à l'opéra et au théâtre dès les années 1820, lors de la mode orientaliste. Elle est également reprise sous forme de féerie par Adophe Dennery et Hector Crémieux en 1863. La féerie, qui propose des spectacles issus de légendes, et à grands moyens (ballets, effets de scène divers), connaît en effet un grand succès dans les années 1860 en France.","type":"Estampe (gravure sur bois)","holder":"Bibliothèque nationale de France","dates":"1863","location":"Paris","provenance":"France","keywords":["Opéra","danse","théâtre","orientalisme"]},"957ca713-c1c0-5491-8542-164f00239bf4":{"name":"*Aladin ou La lampe merveilleuse : esquisse de décor de l'acte I ou acte II*","short_description":"L'histoire d'Aladin connaît une grande vogue à l'opéra et au théâtre dès les années 1820, lors de la mode orientaliste. La première représentation de cet opéra en 1822 rencontre un succès d'autant plus grand que pour éclairer la lampe d'Aladin, on utilise pour la première fois le gaz à l'Opéra de Paris.","type":"Dessin","holder":"Bibliothèque nationale de France","dates":"1822","location":"Paris","provenance":"France","artist_birthdate":"1782","artist_deathdate":"1868","keywords":["Opéra","orientalisme"]},"cc9708c7-7639-577d-908b-b4db3b0e057e":{"name":"Shéhérazade, ballet de Michel Fokine : croquis de scène","short_description":"Michel Fokine, chorégraphe russe, crée le ballet *Sheherazade* en 1910 à Paris, sur la musique de Rimski-Korsakov. L'histoire de Shéhérazade est tirée des Mille et une Nuits dont on connaît le succès constant en Europe tout au long du XIXe siècle.","type":"Design","holder":"Bibliothèque nationale de France","dates":"1913","location":"Paris","provenance":"France","artist_birthdate":"1886","artist_deathdate":"1914","keywords":["Danse","orientalisme"]},"d6720426-2881-5b4a-8e11-89649a430aa6":{"name":"*La Loïe Fuller : la danse serpentine*","short_description":"Mary Louise Fuller est une danseuse américaine qui vécut plusieurs années en Europe. Cette artiste s'inspire de ses voyages et des inventions nouvelles: ainsi sa danse des voiles (la \"serpentine\") mélange des influences orientales et des jeux de lumière grâce à l'électricité. Loïe Fuller a influencé les mouvements artistiques de l'Art nouveau et du Symbolisme et formé des artistes brillantes comme Isadora Duncan. La \"danse serpentine\" a été imitée par nombre d'artistes et a inspiré les premiers cinéastes, comme les Frère Lumière qui ont lui consacré un petit film.","type":"Photographie","holder":"Bibliothèque nationale de France","dates":"XIX e siècle","location":"Paris","provenance":"France","keywords":["Danse","orientalisme","électricité"]},"d92eefc6-b8cb-57be-9e74-3bd00aa19302":{"name":"*Théâtre de l'Opéra. 'Aïda.' L'avenue des Sphinx aux portes de Thèbes (2e tableau du 2e acte)*","short_description":"Commandé à Verdi par Ismaïl Pacha pour l'inauguration du Canal de Suez, l'opéra *Aïda* fut représenté avec succès en 1871 pour la première fois au Caire. Il mettait en scène la vie du temps des pharaons, et l'intrigue et les détails en avaient été conçus par l'archéologue Mariette. *Aïda* fut représenté à Paris dès 1876, et produit à l'Opéra Garnier en 1880 dans une mise en scène fastueuse qui lui assura un très grand succès.","type":"Estampe (gravure sur bois)","holder":"Bibliothèque nationale de France","dates":"1880","location":"Paris","provenance":"France","keywords":["Opéra","orientalisme"]},"f23c34bf-814d-5e9e-8baf-ebe84ce157b4":{"name":"*Folies-Rambuteau... Quatuor auvergnat inédit*","short_description":"Au XIXe siècle, nombre de provinciaux migrent vers Paris pour des raisons économiques. Ils sont souvent accueillis dans la capitale par des personnes de leurs régions d’origine qui leur proposent du travail dans des domaines précis. Ainsi, les Savoyards sont par exemple spécialisés dans le ramonage des cheminées, les Auvergnats sont porteurs d’eau ou marchands de charbon, les Bretonnes domestiques, etc. Les solidarités régionales perdurent aussi dans l’entretien de la culture d’origine : ici, par exemple, ce quatuor auvergnat avec ses costumes traditionnels se produit dans un café-concert. La musique auvergnate fut à l’origine des bals-musette de Paris.","type":"Affiche","holder":"Bibliothèque nationale de France","dates":"1885","location":"Paris","keywords":["Communautés","Paris","Auvergne"]},"f99fda0f-bbfe-5494-9147-d4cccb13620e":{"name":"*Théâtre du Châtelet. Germinal*","short_description":"Treizième roman du cycle des *Rougon-Macquart*, *Germinal* (1885) est le plus connu et le plus discuté de l’œuvre de Zola. L’écrivain naturaliste décide en effet une approche inédite du monde ouvrier en dépeignant les conditions de travail effroyables des mineurs et la violence de la répression des grèves. Craignant que l’adaptation du roman au théâtre occasionne des débordements, la censure refuse dans un premier temps son autorisation. La pièce est finalement portée à la scène en 1888 au théâtre du Châtelet. L’affiche du spectacle met en scène les moments forts du roman : travail dans la mine, grève, etc.","type":"Affiche","holder":"National Library of France","dates":"1880","location":"Paris","keywords":["Grèves","mineurs","France","Zola"]}}
+{"179f9d9d-6b5a-52fc-8dea-c159da198fd5":{"name":"*La reine de Saba : quatorze maquettes de costumes*","short_description":"Charles Gounod, cherchant à écrire un grand opéra, s'adresse aux librettistes Jules Barbier et Michel Carré qui lui proposent la légende d'Hiram, telle que Gérard de Nerval l'a racontée dans son *Voyage en Orient*. L'opéra est représenté à Paris en 1862. Maquettes et costumes répondent donc à l'imaginaire orientaliste alors en vogue, comme on peut le constater avec ce costume de la cour de Soliman.","type":"Dessin","holder":"Bibliothèque nationale de France","dates":"1861-1862","location":"Paris","provenance":"France","keywords":["Opéra; orientalisme"],"artist":"Albert (Alfred) et Lormier (Paul)"},"3f21696b-6178-5310-a618-3b1cbb1ec3d6":{"name":"*Schéhérazade*","short_description":"George Auriol, typographe renommé pour ses créations, est un artiste polyvalent reflétant les influences diverses de la fin du XIXe siècle. Tour à tour dessinateur, chansonnier, il s'intéresse à divers mouvements graphiques comme en témoigne la composition de cette *Sheherazade*: influence orientale dans la thématique; composition empruntant au japonisme et à l'Art Nouveau.","type":"Estampe (lithographie en couleurs)","holder":"Bibliothèque nationale de France","dates":"1895-1897","location":"Paris","provenance":"France","artist_birthdate":"1863","artist_deathdate":"1938","keywords":["Orientalisme; Art Nouveau"],"artist":"Auriol (George)"},"478abce7-afc2-532d-82bd-fbecf067ac32":{"name":"Les mille et une nuits: esquisse de décor: les Jardins du palais. Façade d'un palais oriental","short_description":"Le recueil des *Mille et une nuits* est traduit en français au début du XVIIIe siècle. Avec l’orientalisme, il devient incontournable et fait l’objet de nombreuses éditions, adaptations, etc. Ici, une féérie tirée des *Mille et une nuits*, portée sur la scène d’un des plus célèbres théâtres parisiens du XIXe siècle (le théâtre du Châtelet), entraîne la construction d’un décor de « palais oriental ».","type":"Estampe","holder":"Bibliothèque nationale de France","dates":"1881","location":"Paris","keywords":["Orientalisme; Milel et une nuits"],"artist":"[anonyme]"},"4bf6a5a2-2ef7-5efd-930f-e900942ddaa6":{"name":"*La Péri : treize maquettes de costumes*","short_description":"*La Péri* est un ballet fantastique en deux actes, dont Théophile Gautier, a écrit le livret et Burgmüller la musique. Ce ballet, joué en 1843, plonge les spectateurs dans un sérail égyptien. Théophile Gautier rêve en effet de visiter l'Egypte où se trouve alors son ami Gérard de Nerval qui lui envoie des indications pour que le ballet soit plus vraisemblable.","type":"Design","holder":"Bibliothèque nationale de France","dates":"1843","location":"Paris","provenance":"France","keywords":["Danse; orientalisme"],"artist":"Lormier (Paul); Orschwiller (Hippolyte d')"},"50134a0e-a943-5f25-a36c-43032ad0dd5e":{"name":"Bob Walter [danseuse aux voiles]","short_description":"La \"danse serpentine\" inventée par Mary Louise Fuller a été plagiée par nombre de danseurs et de danseuses, et même parodiée. Comme Mme Fuller, ces danseurs utilisent des effets de voiles et de lumières dans le style Art nouveau.","type":"Affiche","holder":"Bibliothèque nationale de France","dates":"1898","location":"Paris","provenance":"France","keywords":["Danse; orientalisme"]},"680c8cb0-7e03-52b8-988d-a7e74dbb89fa":{"name":"L'Egyptienne, opérette militaire en 3 actes et 11 tableaux","short_description":"Les différents genres scéniques s'emparent du thème de l'Egypte, tant l'égyptomania a du succès tout au long du XIXe siècle. Dans cette opérette militaire  MM. de Chivot, Nuitter et Beaumont (musique de Charles Lecocq), l'action se situe en Egypte, lors de l'arrivée des troupes napoléoniennes.","type":"Estampe","holder":"Bibliothèque nationale de France","dates":"1890","location":"Paris","provenance":"France","keywords":["Opérette; orientalisme"],"artist":"Doré (E.)"},"82a512d3-aced-55a2-b8b4-370dfafb5ffc":{"name":"*Théâtre de l'Opéra. Aïda - Les rives du Nil (3e acte). Décor de M. Chéret*","short_description":"Commandé à Verdi par Ismaïl Pacha pour l'inauguration du Canal de Suez, l'opéra *Aïda* fut représenté avec succès en 1871 pour la première fois au Caire. Il mettait en scène la vie du temps des pharaons, et l'intrigue et les détails en avaient été conçus par l'archéologue Mariette. *Aïda* fut représenté à Paris dès 1876, et produit à l'Opéra Garnier en 1880 dans une mise en scène fastueuse qui lui assura un très grand succès.","type":"Estampe (gravure sur bois)","holder":"Bibliothèque nationale de France","dates":"1880","location":"Paris","provenance":"France","keywords":["Opéra; orientalisme"],"artist":"Lepère (Auguste), graveur; Scott (Henry), dessinateur;  Chéret (Jean-Louis), dessinateur"},"8a730c5e-8120-5c99-a9fa-3fffc09ae06e":{"name":"*Théâtre impérial du Châtelet. Aladin ou la lampe merveilleuse ; les génies de la lampe (ballet)*","short_description":"L'histoire d'Aladin rencontre une grande vogue à l'opéra et au théâtre dès les années 1820, lors de la mode orientaliste. Elle est également reprise sous forme de féerie par Adophe Dennery et Hector Crémieux en 1863. La féerie, qui propose des spectacles issus de légendes, et à grands moyens (ballets, effets de scène divers), connaît en effet un grand succès dans les années 1860 en France.","type":"Estampe (gravure sur bois)","holder":"Bibliothèque nationale de France","dates":"1863","location":"Paris","provenance":"France","keywords":["Opéra; danse; théâtre; orientalisme"],"artist":"Trichon (Auguste), graveur; Belin (Auguste), dessinateur"},"957ca713-c1c0-5491-8542-164f00239bf4":{"name":"*Aladin ou La lampe merveilleuse : esquisse de décor de l'acte I ou acte II*","short_description":"L'histoire d'Aladin connaît une grande vogue à l'opéra et au théâtre dès les années 1820, lors de la mode orientaliste. La première représentation de cet opéra en 1822 rencontre un succès d'autant plus grand que pour éclairer la lampe d'Aladin, on utilise pour la première fois le gaz à l'Opéra de Paris.","type":"Dessin","holder":"Bibliothèque nationale de France","dates":"1822","location":"Paris","provenance":"France","artist_birthdate":"1782","artist_deathdate":"1868","keywords":["Opéra; orientalisme"],"artist":"Cicéri (Pierre-Luc-Charles)"},"cc9708c7-7639-577d-908b-b4db3b0e057e":{"name":"Shéhérazade, ballet de Michel Fokine : croquis de scène","short_description":"Michel Fokine, chorégraphe russe, crée le ballet *Sheherazade* en 1910 à Paris, sur la musique de Rimski-Korsakov. L'histoire de Shéhérazade est tirée des Mille et une Nuits dont on connaît le succès constant en Europe tout au long du XIXe siècle.","type":"Design","holder":"Bibliothèque nationale de France","dates":"1913","location":"Paris","provenance":"France","artist_birthdate":"1886","artist_deathdate":"1914","keywords":["Danse; orientalisme"],"artist":"Delaroche (Paul-Charles)"},"d6720426-2881-5b4a-8e11-89649a430aa6":{"name":"*La Loïe Fuller : la danse serpentine*","short_description":"Mary Louise Fuller est une danseuse américaine qui vécut plusieurs années en Europe. Cette artiste s'inspire de ses voyages et des inventions nouvelles: ainsi sa danse des voiles (la \"serpentine\") mélange des influences orientales et des jeux de lumière grâce à l'électricité. Loïe Fuller a influencé les mouvements artistiques de l'Art nouveau et du Symbolisme et formé des artistes brillantes comme Isadora Duncan. La \"danse serpentine\" a été imitée par nombre d'artistes et a inspiré les premiers cinéastes, comme les Frère Lumière qui ont lui consacré un petit film.","type":"Photographie","holder":"Bibliothèque nationale de France","dates":"XIX e siècle","location":"Paris","provenance":"France","keywords":["Danse; orientalisme; électricité"]},"d92eefc6-b8cb-57be-9e74-3bd00aa19302":{"name":"*Théâtre de l'Opéra. 'Aïda.' L'avenue des Sphinx aux portes de Thèbes (2e tableau du 2e acte)*","short_description":"Commandé à Verdi par Ismaïl Pacha pour l'inauguration du Canal de Suez, l'opéra *Aïda* fut représenté avec succès en 1871 pour la première fois au Caire. Il mettait en scène la vie du temps des pharaons, et l'intrigue et les détails en avaient été conçus par l'archéologue Mariette. *Aïda* fut représenté à Paris dès 1876, et produit à l'Opéra Garnier en 1880 dans une mise en scène fastueuse qui lui assura un très grand succès.","type":"Estampe (gravure sur bois)","holder":"Bibliothèque nationale de France","dates":"1880","location":"Paris","provenance":"France","keywords":["Opéra; orientalisme"],"artist":"Moller (F.), graveur; Scott (Henry), dessinateur; Lavastre (Jean-Baptiste), dessinateur"},"f23c34bf-814d-5e9e-8baf-ebe84ce157b4":{"name":"*Folies-Rambuteau... Quatuor auvergnat inédit*","short_description":"Au XIXe siècle, nombre de provinciaux migrent vers Paris pour des raisons économiques. Ils sont souvent accueillis dans la capitale par des personnes de leurs régions d’origine qui leur proposent du travail dans des domaines précis. Ainsi, les Savoyards sont par exemple spécialisés dans le ramonage des cheminées, les Auvergnats sont porteurs d’eau ou marchands de charbon, les Bretonnes domestiques, etc. Les solidarités régionales perdurent aussi dans l’entretien de la culture d’origine : ici, par exemple, ce quatuor auvergnat avec ses costumes traditionnels se produit dans un café-concert. La musique auvergnate fut à l’origine des bals-musette de Paris.","type":"Affiche","holder":"Bibliothèque nationale de France","dates":"1885","location":"Paris","keywords":["Communautés; Paris; Auvergne"],"artist":"[anonyme]"},"f99fda0f-bbfe-5494-9147-d4cccb13620e":{"name":"*Théâtre du Châtelet. Germinal*","short_description":"Treizième roman du cycle des *Rougon-Macquart*, *Germinal* (1885) est le plus connu et le plus discuté de l’œuvre de Zola. L’écrivain naturaliste décide en effet une approche inédite du monde ouvrier en dépeignant les conditions de travail effroyables des mineurs et la violence de la répression des grèves. Craignant que l’adaptation du roman au théâtre occasionne des débordements, la censure refuse dans un premier temps son autorisation. La pièce est finalement portée à la scène en 1888 au théâtre du Châtelet. L’affiche du spectacle met en scène les moments forts du roman : travail dans la mine, grève, etc.","type":"Affiche","holder":"National Library of France","dates":"1880","location":"Paris","keywords":["Grèves; mineurs; France; Zola"],"artist":"[anonyme]"}}

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@@ -1 +1 @@
-{"52384f24-9940-5834-bc9f-a6f4efa2c373":{"name":"Modello del Teatro Comunale di Bologna","description":"Il modello è la traduzione fedele del progetto originale di Antonio Bibiena per il Teatro Comunale di Bologna. Ne documenta accuratamente la struttura architettonica e gli elementi decorativi dell'interno; è molto importante perchè molte di queste decorazioni sono andate perdute nel XIX secolo, a causa di una ristrutturazione.  \nQuesta sezione longitudinale mostra i larghi stalli, la *frons scenae* e i quattro ordini di palchi più la galleria. Ordini di palchi separati tutt'attorno alla sala erano stati uno degli elementi distintivi dei Bibiena, intesi specialmente per i teatri baricchi dell'opera e furono adottati nei più importanti teatri barocchi europei.  \nI tre ordini architettonici utilizzati su diversi livelli riflettono la sobria tradizione accademica bolognese. Modelli lignei come questo furono realizzati da artigiani e scultori, traendoli dai disegni di architetti, normalmente per edifici importanti, edifici pubblici o cattedrali, fino dal Rinascimento.  \nCirca 10 anni dopo il teatro fu finalmente aperto al pubblico, il 14 maggio 1763, con la rappresentazione del *Trionfo di Clelia* di C. W. Gluck.","short_description":"Questo è il modello ligneo del Teatro Comunale di Bologna, progettato tra il 1755 e il 1763 dal celebre architetto Antonio Bibiena, uno degli ultimi membri della famiglia.  \nLa costruzione del nuovo teatro pubblico per la città fu piuttosto travagliata e il progetto presentato dall'architetto causò varie polemiche tra i componenti del mondo accademico. Per questo motivo il Comune chiese un modello accurato dell'edificio da esibire nel palazzo comunale, in modo che tutti i cittadini lo potessero vedere ed esprimere il proprio parere.","type":"Intaglio ligneo, modello architettonico","holder":"Museo Internazionale e Biblioteca della Musica","owner":"Museo Internazionale e Biblioteca della Musica","initial_owner":"Il Teatro Comunale e il suo modellino ligneo firono commissionati dal Comune di Bologna","dates":"1756","location":"Bologna","dimensions":"95x195x168 cm.","place_of_production":"Bologna","method_for_datation":"documenti","provenance":"Palazzo Comunale (?)","bibliography":"Bergamini, W. “Antonio Galli Bibiena. Nuovo teatro pubblico di Bologna 1755-1763”, *L'arte del Settecento emiliano. Architettura, scenografia, pittura di paesaggio* (exhibition catatlogue) (ed. A. M. Matteucci), Bologna, 1979, pp. 122-123, n. 180.","author":"Marta Forlai","keywords":["Bibiena","modello","modello architettonico","teatro"],"materials":["Legno solpito, dipinto e dorato"]},"5d024ced-cde4-5d7a-9dd5-c31339648895":{"name":"Teatrino per marionette","description":"Il teatrino per marionette fu commissionato dalla famiglia forlivese Albicini, di cui è dipinto lo stemma sul boccascena, intorno al settimo decennio del Settecento. Nell'attuale allestimento è montato un fondale che raffigura un “atrio magnifico” e due coppie di quinte che completano la scena, dipinte da un artista che ripropone la nuova cultura scenografica dei Bibiena, in particolare di Antonio Galli, attivo proprio in quegli anni a Forlì. Infatti il fondale, con tre fuochi e fuga prospettica centrale, mette in pratica l'accorgimento della visione per angolo e conferisce autonomia allo spazio scenico, suggerendo una ambientazione che continua oltre la scena visibile allo spettatore. Quest'ultimo ha una visione articolata dell'ambientazione da qualsiasi punto di vista stia guardando, anche se non ottimale.  \nOltre ai pezzi esposti al pubblico, il teatrino è dotato di altri 5 fondali e 7 coppie di quinte, alcuni dei quali dipinti nel XIX secolo.  \nAnche dell'intero corredo di marionette si può ammirare solo una parte; vi sono 74 figure maschili e femminili (maschere e non), 9 cavalli e 1 scimmia, realizzati in ambito veneto. I pezzi più antichi sono del 1750 ca., quindi precedenti alla costruzione del teatrino assieme al quale ci sono pervenuti; i restanti sono comunque esemplari del XVIII secolo. Pur non essendo state eseguite in una stessa bottega, queste marionette presentano accorgimenti tecnici raffinati e all'avanguardia: bocca mobile, arti snodati e movimentati con il bilanciere. Vi sono anche alcune marionette “a trasformazione”, molto apprezzate all'epoca: dame che si trasformano in nani e nani che diventano giganti.  \nI teatrini per marionette erano molto in voga a Venezia per le rappresentazioni delle Commedie dell'arte e dei testi di Goldoni e per lo più erano allestiti nei palazzi della nobiltà. Nel corso del XVIII secolo questo uso si diffuse rapidamente anche nelle altre città del Nord Italia, dove però sono rari i materiali sopravvissuti e le notizie sul loro impiego.","short_description":"Il teatrino per marionette fu dipinto da un artista di cultura bibienesca nel VII decennio del Settecento per gli Albicini di Forlì. La sua ricca dotazione di fondali, quinte e marionette (74 figure maschili e femminili, 9 cavalli e 1 scimmia realizzati in ambito veneto a partire dal 1750 ca.) ne fa una delle collezioni più importanti del XVIII secolo conservatesi.","holder":"Museo di Arte Industriale e Galleria Davia Bargellini","owner":"Pinacoteca Nazionale di Bologna (deposito)","initial_owner":"XVIII secolo: famiglia Albicini (Forlì); inizio del XX secolo: Raffaele De Courten (Firenze)","dates":"Teatrino: 1770 ca.; marionette: 1750 ca.","location":"Bologna","dimensions":"Boccascena cm. 154x224; fondale cm. 82x172; quinte cm. 81,5x25-34,5;   Marionette: l’altezza varia da cm. 23 a 50 ca.","place_of_production":"Teatrino: Forlì; marionette: Veneto","method_for_datation":"Datazione assegnata per ragioni stilistiche","provenance":"Teatrino: Forlì; marionette: Veneto","obtention":"L’opera fu acquistata dall’antiquario veneziano Dino Barozzi nel 1921 da parte del Ministero della Pubblica Istruzione, che lo destinò alla Pinacoteca Nazionale di Bologna in quanto ritenuta opera di cultura bibienesca. Nel 1930 fu trasferito al Museo di Arte Industriale e Galleria Davia Bargellini.","bibliography":"Ghirardi, A. in *L'arte del Settecento. Architettura, Scenografia, Pittura di paesaggio (*exhibition catalogue) (ed. A. M. Matteucci), Bologna, 1980, n. 192, pp.132-133.  \nLenzi, D. and Melloni, R., in *Museo Civico d'Arte Industriale e Galleria Davia Bargellini* (ed. R. Grandi), Bologna, 1987, pp. 174-180.  \nAdani, G., “Lo strumentario domestico”, *Atlante dei beni culturali dell'Emilia Romagna*, I. *I Beni Artistici. I Beni degli artigianati storici* (eds. J. Bentini and G. Adani), Milano, 1993, p. 208, fig. 34.  \nTumidei, S. in *I Bibiena una famiglia europea*  (exhibition catalogue) (eds. D. Lenzi  and J. Bentini), Venice, 2000, n. 91, pp. 344-345.","workshop":"Scuola dei Bibiena","author":"Silvia Battistini","translator":"Antonella Mampieri","keywords":["Bibiena","Commedia dell'Arte","famiglia Albicini","Forlì","marionetta","scenografia del Settecento","Teatrino","Venezia"],"materials":["Boccascena: legno dipinto","fondale e quinte: tempera su tela","marionette: legno, piombo, stucco, cera, tela imbottita, cartapesta per i corpi, mentre per i vestiti è utilizzata una grande varietà di tessuti e guarnizioni."]},"60e1aa5c-a47e-5cdf-ab3b-bdba4f9694bd":{"name":"*Prospettiva con scena di convito*","description":"Questa prospettiva di architettura è opera di Ferdinando Bibiena, il grande architetto e scenografo che, assieme ai figli, diffuse in tutta Europa la moda artistica e teatrale italiana. Il dipinto fu eseguito nel 1721, al suo rientro in patria dopo una lunga permanenza a Vienna e fa pendant con un'altra tela di analogo soggetto, eseguita da un allievo. Le monumentali architetture, archi, lacunari, colonne, balaustre, sono costruite per angolo, con punti di fuga laterali che consentono un'ampia articolazione degli spazi, secondo esigenze d'uso proprie delle scene teatrali. Le piccole figure invitate ad un sontuoso banchetto, entrano dalle diverse direzioni, si soffermano alla base delle enormi colonne, mettendo in risalto la magnificenza dell'ambiente. Il Bibiena negli ultimi anni fu professore all'Accademia Clementina, dal suo insegnamento derivò la diffusione della pittura di prospettiva come genere decorativo autonomo.","short_description":"Il dipinto fu commissionato dall'Accademia Clementina a Ferdinando Galli Bibiena nel 1721 ed offerto al Senato bolognese per onorare l'aggregazione all'Accademia e il ritorno in patria di questo celebre architetto teatrale e scenografo. Grandiose architetture viste per angolo compongono un insieme eclettico e fantastico, conferendo una dimensione teatrale al gusto barocco dell’illusione.","type":"Dipinto prospettico","holder":"Collezioni Comunali d'Arte","initial_owner":"Accademia Clementina","dates":"1721","location":"Bologna","dimensions":"173,3 x 229 cm.","place_of_production":"Bologna","method_for_datation":"Da documenti, conservati presso l’Archivio di stato di Bologna, si apprende che il 6 novembre 1721 il dipinto era già terminato e l'Accademia Clementina aveva già disposto il suo trasferimento nell’appartamento del Gonfaloniere, al primo piano di Palazzo Comunale","provenance":"Bologna","obtention":"Il dipinto, fin dalle origini collocato al primo piano di Palazzo Comunale, fu trasferito nelle sale del museo, al secondo piano dello stesso palazzo, nel 1992","bibliography":"Lenzi, D. \"Le tempere di architettura\", *Meravigliose scene piacevoli inganni. Galli Bibiena*, (exhibition catalogue), Arezzo, 1992, pp. 94-95, n. 40.  \nLenzi, D. in I *Bibiena una famiglia europea* (exhibition catalogue)  (eds.  J. Bentini and D. Lenzi ), Bologna,  2000, pp. 415-417, n. 127.","workshop":"Barocco","artist_birthdate":"1657","artist_birthplace":"Bologna","artist_deathdate":"1743","artist_deathplace":"Bologna","author":"Elisabetta Berselli","translator":"Antonella Mampieri","keywords":["Accademia Clementina","Ferdinando Galli Bibiena","Illusione","Pendant","pittura Settecento Bologna","prosèettiva d'angolo","prospettive di architettura","Scenografia","teatro"],"materials":["Olio su tela"]},"8882d0e5-57fa-5c65-adef-21bc617bd242":{"name":"*Ritratto di giovane che ride*","description":"Il dipinto è citato per la prima volta in collezione nell'inventario del 1693; è stato variamente attribuito nel passato, ma è confermato come “Caricatura del Carracci” dal Fidecommesso del 1833 (atto che impediva agli eredi Borghese di disperdere la collezione). Nel '900 il ritratto viene considerato un'opera giovanile dell'artista bolognese, difatti il Carracci degli esordi si era avvicinato più volte alla cosiddetta “pittura di genere”, avendone lasciato superbi esempi, tra cui la famosa tela *Il Mangiafagioli* della Galleria Colonna di Roma (1583-1584 ca.).    \nIl ritratto di buffone è stato sempre ritenuto un personaggio legato alla Commedia dell'Arte. Il piccolo schizzo ritrae un giovane sorridente e beffardo insieme, abbigliato in corsetto scuro, gorgiera e con un copricapo chiaro, goffamente riverso. L'ipotetico buffone, col naso grottescamente arrossato, non è del tutto identificabile nella tradizione comica teatrale e, sebbene i vestiti severi e sobri richiamino alla maschera bolognese del “Dottor Graziano”, il copricapo inusuale è forse un elemento d'invenzione carraccesca.  \nLa luce proviene da destra e crea con le pieghe del copricapo un gioco chiaroscurale che dà risalto allo sguardo compiaciuto e al sorriso ambiguo del personaggio, punto focale del ritratto.  \nSono lo sguardo ed il sorriso, ammiccanti e complici, di un attore comico che, tra finzione e realtà, stabilisce con mestiere la relazione d'intesa con il suo pubblico.  \nLa costruzione del ritratto risalta su un fondo giallo compendiario, che permette la concentrazione sul viso burlesco, la cui espressione arguta e realistica è resa con una tavolozza cromaticamente parca.  \nI contorni a carboncino definiscono velocemente lo schizzo, il cui tratto libero si unisce alla rapida esecuzione delle pennellate fluide. Sembrano gli strumenti, insieme al supporto, carta applicata su tela, di una ricerca di immediatezza propria del ritratto dal vivo, piuttosto che la realizzazione di una caricatura, come talvolta ipotizzato, sebbene fosse un genere d'interesse del pittore.    \nLo schizzo è di tale modernità di espressione da anticipare di mezzo secolo la ritrattistica di Bernini e Velázquez e pare dare l'avvio allo studio dei moti dell'animo e della tipizzazione dei personaggi, che caratterizzeranno la ricerca artistica secentesca.  \nL'opera s'inserisce nell'ambito dei “ritrattini” eseguiti da Carracci a partire dal 1582, dove la ricerca del dato reale avveniva attraverso tratti sintetici e non con riproduzioni puntuali delle fisionomie.","short_description":"Quest'opera rappresenta un interessante esempio di rinnovamento artistico perseguito da Carracci. Il giovane artista coglie il momento del riso nel suo ritratto abbozzato del *Ragazzo che ride*, datato circa 1584.  \nCon la sua spontaneità risulta straordinariamente moderno e anticipa i ritratti di Bernini e Velázquez di cinquata anni dopo. Forse è il ritratto di una attore, come si può vedere dal cappello, che era usato solitamente  per la maschera bolognese del “dottore”.","type":"Dipinto","holder":"Galleria Borghese","owner":"Stato Italiano","initial_owner":"sconosciuto","dates":"1584 ca","location":"Roma","dimensions":"Cm 44,5 x 29","provenance":"collezione Borghese","obtention":"La collezione Borghese è stata acquistata dallo Stato Italiano nel 1902","bibliography":"Della Pergola P., *Galleria Borghese. I Dipinti*, I, Roma, 1955, n.16 p. 21  \n   \nSantolini S., in *L'Anima e il Volto. Ritratto e fisionomica da Leonardo a Bacon*, catalogo della mostra, Milano, 1998, pp. 148-149  \n   \nBenati D., in *Annibale Carracci*, catalogo della mostra (Roma), Milano, 2007, cat. II. 9 pp. 110-111","artist_birthdate":"1560","artist_birthplace":"Bologna","artist_deathdate":"1609","artist_deathplace":"Roma","copyright":"Copyright immagine: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","keywords":["chiaroscuro","Commedia dell'Arte","pittura di genere","ritratto","tipizzazione dei caratter"],"materials":["Olio su carta su tela"]},"8a50a95e-def1-531c-840c-040f6cf8a2f3":{"name":"Marionetta di Amleto","description":"William Shakespeare compose presumibilmente \"La tragedia di Amleto, Principe di Danimarca\" verso il 1600–1601. Il protagonista di quest'opera teatrale è uno dei personaggi più conosciuti e famosi della letteratura mondiale e il suo successo fu immediato, tanto che Pietro Resoniero realizzò questa marionetta, il cui abbigliamento è originale, in seguito al suo trasferimento a Vienna, nel 1667. Resoniero, che veniva da Venezia, fondò nella capitale austriaca un teatro stabile di marionette italiane (mosse dall'alto verso il basso), al \"JUVEN MARKT\" ed una scuola per marionettisti: a lui è attribuita l'introduzione della maschera di Pulcinella in Austria e Germania, dove assumerà il nome di Casperl e Hanswurt (Gianni Salsiccia). \"E uscivano dall'Italia i Rezzonieri (riferito alla stirpe dei Resonieri) ed i Griffi, che in Germania esibirono sulle scene i primi fantocci dei Puppenspielen\" (Yorik \"La storia dei burattini\" 1884). La testa della marionetta è in legno di cirmolo, i capelli sono in filugello di seta; la bocca femminile finemente truccata, gli occhi di vetro soffiato, probabilmente di Murano, e l'abbigliamento prezioso dichiarano la nobiltà del soggetto. L'arco sopraccigliare rivolto verso il basso, e le rughe di espressione ai lati della bocca, lasciando trasparire la disperazione e prefigurando la tragedia incombente, definiscono l'espressione drammatica del volto. La grande possibilità di movimento è resa attraverso un meccanismo molto sofisticato che consente ai piedi snodati di camminare sulle punte e permette alle ginocchia di compiere l'inchino davanti al fantasma del padre suo omonimo.","short_description":"Questa marionetta rappresenta Amleto, il celebre personaggio scespiriano. Indossa ancora gli abiti originali e grazie ad un sofisticato meccanismo può camminare e piegare le ginocchia. Fu realizzato dal maestro burattinaio, Pietro Resonieri, nella seconda metà del XVII secolo.","type":"Marionetta","holder":"Museo dei Burattini Zanella/Pasqualini","dates":"Seconda metà del XVII secolo","location":"Budrio, Bologna","dimensions":"Altezza 60 cm.","place_of_production":"Forse Italia o Vienna","bibliography":"Guarino, M., Fabbri, I. *Chi è di scena! Burattini e Marionette in Emilia Romagna,* Regione Emilia Romagna, Istituto per i beni artistici culturali e naturali, Bologna, 2009 (DVD Rom).","workshop":"Barocco","artist_birthdate":"1640","artist_deathdate":"1735","author":"Vittorio Zanella","translator":"Antonella Mampieri","keywords":["Amleto","marionetta","Resoniero","teatro"],"materials":["Legno intagliato e dipinto, seta, vetro"]},"b70d09b4-b304-5766-96c2-44d09249f330":{"name":"*Ritratto di Carlo Broschi detto Farinelli*","description":"Il dipinto raffigura il famosissimo cantante castrato Carlo Broschi in arte Farinelli avvolto nel mantello dell'ordine di Calatrava assegnatogli nel 1750 dai reali di Spagna Ferdinando VI e Maria Barbara di Braganza, ritratti in un ovale alle sue spalle circondati da un tripudio barocco di amorini e ninfe. Con la mano sinistra sfiora un foglio di musica posto su un cembalo. Sempre alle spalle del cantante in penombra un autoritratto del pittore. Il ritratto fece parte della ricca quadreria posseduta dal Farinelli nella sua villa di Bologna, in cui si ritirò a vita privata al rientro del lungo periodo trascorso alla corte di Madrid (1737 – 1759).","short_description":"Il dipinto raffigura il famosissimo cantante castrato Carlo Broschi in arte Farinelli avvolto nel mantello dell’ordine di Calatrava assegnatogli nel 1750 dai reali di Spagna Ferdinando VI e Maria Barbara di Braganza, ritratti in un ovale alle sue spalle circondati da un tripudio barocco di amorini e ninfe. Con la mano sinistra sfiora un foglio di musica posto su un cembalo. Sempre alle spalle del cantante in penombra un autoritratto del pittore.","type":"Dipinto","holder":"Museo internazionale e biblioteca della musica","owner":"Comune di Bologna - Museo internazionale e biblioteca della musica","initial_owner":"Ereditato da Maria Carlotta Pisani nipote di Farinelli","dates":"1727 – 1765 ca","location":"Bologna","dimensions":"275,5x185,5 cm.","place_of_production":"Napoli?","provenance":"Villa di Farinelli in Bologna via Lame 228","obtention":"Fu donato al Comune di Bologna nel 1850 da Maria Carlotta Pisani nipote di Farinelli","bibliography":"*Mostra della pittura italiana  del '600 e del '700* (exhibition catalogue), Rome, 1922, p. 21.  \n*Pittura Italiana del Settecento* (exhibition catalogue) (eds. E. Riccòmini and J. Winkelmann), Bologna, 1974, pp. 38-39.  \n*Collezionismo e storiografia musicale nel Settecento. La quadreria e la biblioteca di Padre Martini* (exhibition catalogue), Bologna, 1984.  \n*Le stanze della musica* (exhibition catalogue), Cinisello Balsamo (Mi), 2002.  \n*Guida al percorso espositivo del Museo della Musica*, Bologna, 2004.","workshop":"Barocco napoletano","artist_birthdate":"8 febbraio 1703","artist_birthplace":"Molfetta (BA)","artist_deathdate":"1766","artist_deathplace":"Napoli","author":"Jenny Servino","translator":"Antonella Mampieri","keywords":["Autoritratto","cantante","musica","opera","pittura napoletana","ritratto","Settecento Corrado Giaquinto"],"materials":["Olio su tela"]}}
+{"52384f24-9940-5834-bc9f-a6f4efa2c373":{"name":"Modello del Teatro Comunale di Bologna","description":"Il modello è la traduzione fedele del progetto originale di Antonio Bibiena per il Teatro Comunale di Bologna. Ne documenta accuratamente la struttura architettonica e gli elementi decorativi dell'interno; è molto importante perchè molte di queste decorazioni sono andate perdute nel XIX secolo, a causa di una ristrutturazione.  \nQuesta sezione longitudinale mostra i larghi stalli, la *frons scenae* e i quattro ordini di palchi più la galleria. Ordini di palchi separati tutt'attorno alla sala erano stati uno degli elementi distintivi dei Bibiena, intesi specialmente per i teatri baricchi dell'opera e furono adottati nei più importanti teatri barocchi europei.  \nI tre ordini architettonici utilizzati su diversi livelli riflettono la sobria tradizione accademica bolognese. Modelli lignei come questo furono realizzati da artigiani e scultori, traendoli dai disegni di architetti, normalmente per edifici importanti, edifici pubblici o cattedrali, fino dal Rinascimento.  \nCirca 10 anni dopo il teatro fu finalmente aperto al pubblico, il 14 maggio 1763, con la rappresentazione del *Trionfo di Clelia* di C. W. Gluck.","short_description":"Questo è il modello ligneo del Teatro Comunale di Bologna, progettato tra il 1755 e il 1763 dal celebre architetto Antonio Bibiena, uno degli ultimi membri della famiglia.  \nLa costruzione del nuovo teatro pubblico per la città fu piuttosto travagliata e il progetto presentato dall'architetto causò varie polemiche tra i componenti del mondo accademico. Per questo motivo il Comune chiese un modello accurato dell'edificio da esibire nel palazzo comunale, in modo che tutti i cittadini lo potessero vedere ed esprimere il proprio parere.","type":"Intaglio ligneo, modello architettonico","holder":"Museo Internazionale e Biblioteca della Musica","owner":"Museo Internazionale e Biblioteca della Musica","initial_owner":"Il Teatro Comunale e il suo modellino ligneo firono commissionati dal Comune di Bologna","dates":"1756","location":"Bologna","dimensions":"95x195x168 cm.","place_of_production":"Bologna","method_for_datation":"documenti","provenance":"Palazzo Comunale (?)","bibliography":"Bergamini, W. “Antonio Galli Bibiena. Nuovo teatro pubblico di Bologna 1755-1763”, *L'arte del Settecento emiliano. Architettura, scenografia, pittura di paesaggio* (exhibition catatlogue) (ed. A. M. Matteucci), Bologna, 1979, pp. 122-123, n. 180.","author":"Marta Forlai","keywords":["teatro; modello; modello architettonico; Bibiena"],"materials":["Legno solpito, dipinto e dorato"]},"5d024ced-cde4-5d7a-9dd5-c31339648895":{"name":"Teatrino per marionette","description":"Il teatrino per marionette fu commissionato dalla famiglia forlivese Albicini, di cui è dipinto lo stemma sul boccascena, intorno al settimo decennio del Settecento. Nell'attuale allestimento è montato un fondale che raffigura un “atrio magnifico” e due coppie di quinte che completano la scena, dipinte da un artista che ripropone la nuova cultura scenografica dei Bibiena, in particolare di Antonio Galli, attivo proprio in quegli anni a Forlì. Infatti il fondale, con tre fuochi e fuga prospettica centrale, mette in pratica l'accorgimento della visione per angolo e conferisce autonomia allo spazio scenico, suggerendo una ambientazione che continua oltre la scena visibile allo spettatore. Quest'ultimo ha una visione articolata dell'ambientazione da qualsiasi punto di vista stia guardando, anche se non ottimale.  \nOltre ai pezzi esposti al pubblico, il teatrino è dotato di altri 5 fondali e 7 coppie di quinte, alcuni dei quali dipinti nel XIX secolo.  \nAnche dell'intero corredo di marionette si può ammirare solo una parte; vi sono 74 figure maschili e femminili (maschere e non), 9 cavalli e 1 scimmia, realizzati in ambito veneto. I pezzi più antichi sono del 1750 ca., quindi precedenti alla costruzione del teatrino assieme al quale ci sono pervenuti; i restanti sono comunque esemplari del XVIII secolo. Pur non essendo state eseguite in una stessa bottega, queste marionette presentano accorgimenti tecnici raffinati e all'avanguardia: bocca mobile, arti snodati e movimentati con il bilanciere. Vi sono anche alcune marionette “a trasformazione”, molto apprezzate all'epoca: dame che si trasformano in nani e nani che diventano giganti.  \nI teatrini per marionette erano molto in voga a Venezia per le rappresentazioni delle Commedie dell'arte e dei testi di Goldoni e per lo più erano allestiti nei palazzi della nobiltà. Nel corso del XVIII secolo questo uso si diffuse rapidamente anche nelle altre città del Nord Italia, dove però sono rari i materiali sopravvissuti e le notizie sul loro impiego.","short_description":"Il teatrino per marionette fu dipinto da un artista di cultura bibienesca nel VII decennio del Settecento per gli Albicini di Forlì. La sua ricca dotazione di fondali, quinte e marionette (74 figure maschili e femminili, 9 cavalli e 1 scimmia realizzati in ambito veneto a partire dal 1750 ca.) ne fa una delle collezioni più importanti del XVIII secolo conservatesi.","holder":"Museo di Arte Industriale e Galleria Davia Bargellini","owner":"Pinacoteca Nazionale di Bologna (deposito)","initial_owner":"XVIII secolo: famiglia Albicini (Forlì); inizio del XX secolo: Raffaele De Courten (Firenze)","dates":"Teatrino: 1770 ca.; marionette: 1750 ca.","location":"Bologna","dimensions":"Boccascena cm. 154x224; fondale cm. 82x172; quinte cm. 81,5x25-34,5;   Marionette: l’altezza varia da cm. 23 a 50 ca.","place_of_production":"Teatrino: Forlì; marionette: Veneto","method_for_datation":"Datazione assegnata per ragioni stilistiche","provenance":"Teatrino: Forlì; marionette: Veneto","obtention":"L’opera fu acquistata dall’antiquario veneziano Dino Barozzi nel 1921 da parte del Ministero della Pubblica Istruzione, che lo destinò alla Pinacoteca Nazionale di Bologna in quanto ritenuta opera di cultura bibienesca. Nel 1930 fu trasferito al Museo di Arte Industriale e Galleria Davia Bargellini.","bibliography":"Ghirardi, A. in *L'arte del Settecento. Architettura, Scenografia, Pittura di paesaggio (*exhibition catalogue) (ed. A. M. Matteucci), Bologna, 1980, n. 192, pp.132-133.  \nLenzi, D. and Melloni, R., in *Museo Civico d'Arte Industriale e Galleria Davia Bargellini* (ed. R. Grandi), Bologna, 1987, pp. 174-180.  \nAdani, G., “Lo strumentario domestico”, *Atlante dei beni culturali dell'Emilia Romagna*, I. *I Beni Artistici. I Beni degli artigianati storici* (eds. J. Bentini and G. Adani), Milano, 1993, p. 208, fig. 34.  \nTumidei, S. in *I Bibiena una famiglia europea*  (exhibition catalogue) (eds. D. Lenzi  and J. Bentini), Venice, 2000, n. 91, pp. 344-345.","workshop":"Scuola dei Bibiena","author":"Silvia Battistini","translator":"Antonella Mampieri","keywords":["Teatrino; marionetta; scenografia del Settecento; Bibiena; famiglia Albicini; Forlì; Commedia dell'Arte; Venezia"],"materials":["Boccascena: legno dipinto; fondale e quinte: tempera su tela; marionette: legno, piombo, stucco, cera, tela imbottita, cartapesta per i corpi, mentre per i vestiti è utilizzata una grande varietà di tessuti e guarnizioni."]},"60e1aa5c-a47e-5cdf-ab3b-bdba4f9694bd":{"name":"*Prospettiva con scena di convito*","description":"Questa prospettiva di architettura è opera di Ferdinando Bibiena, il grande architetto e scenografo che, assieme ai figli, diffuse in tutta Europa la moda artistica e teatrale italiana. Il dipinto fu eseguito nel 1721, al suo rientro in patria dopo una lunga permanenza a Vienna e fa pendant con un'altra tela di analogo soggetto, eseguita da un allievo. Le monumentali architetture, archi, lacunari, colonne, balaustre, sono costruite per angolo, con punti di fuga laterali che consentono un'ampia articolazione degli spazi, secondo esigenze d'uso proprie delle scene teatrali. Le piccole figure invitate ad un sontuoso banchetto, entrano dalle diverse direzioni, si soffermano alla base delle enormi colonne, mettendo in risalto la magnificenza dell'ambiente. Il Bibiena negli ultimi anni fu professore all'Accademia Clementina, dal suo insegnamento derivò la diffusione della pittura di prospettiva come genere decorativo autonomo.","short_description":"Il dipinto fu commissionato dall'Accademia Clementina a Ferdinando Galli Bibiena nel 1721 ed offerto al Senato bolognese per onorare l'aggregazione all'Accademia e il ritorno in patria di questo celebre architetto teatrale e scenografo. Grandiose architetture viste per angolo compongono un insieme eclettico e fantastico, conferendo una dimensione teatrale al gusto barocco dell’illusione.","type":"Dipinto prospettico","holder":"Collezioni Comunali d'Arte","initial_owner":"Accademia Clementina","dates":"1721","location":"Bologna","dimensions":"173,3 x 229 cm.","place_of_production":"Bologna","method_for_datation":"Da documenti, conservati presso l’Archivio di stato di Bologna, si apprende che il 6 novembre 1721 il dipinto era già terminato e l'Accademia Clementina aveva già disposto il suo trasferimento nell’appartamento del Gonfaloniere, al primo piano di Palazzo Comunale","provenance":"Bologna","obtention":"Il dipinto, fin dalle origini collocato al primo piano di Palazzo Comunale, fu trasferito nelle sale del museo, al secondo piano dello stesso palazzo, nel 1992","bibliography":"Lenzi, D. \"Le tempere di architettura\", *Meravigliose scene piacevoli inganni. Galli Bibiena*, (exhibition catalogue), Arezzo, 1992, pp. 94-95, n. 40.  \nLenzi, D. in I *Bibiena una famiglia europea* (exhibition catalogue)  (eds.  J. Bentini and D. Lenzi ), Bologna,  2000, pp. 415-417, n. 127.","workshop":"Barocco","artist_birthdate":"1657","artist_birthplace":"Bologna","artist_deathdate":"1743","artist_deathplace":"Bologna","author":"Elisabetta Berselli","translator":"Antonella Mampieri","keywords":["Ferdinando Galli Bibiena; prospettive di architettura; prosèettiva d'angolo; pittura settecento Bologna; Teatro; Illusione; Accademia Clementina; Pendant; Scenografia"],"materials":["olio su tela"]},"8882d0e5-57fa-5c65-adef-21bc617bd242":{"name":"*Ritratto di giovane che ride*","description":"Il dipinto è citato per la prima volta in collezione nell'inventario del 1693; è stato variamente attribuito nel passato, ma è confermato come “Caricatura del Carracci” dal Fidecommesso del 1833 (atto che impediva agli eredi Borghese di disperdere la collezione). Nel '900 il ritratto viene considerato un'opera giovanile dell'artista bolognese, difatti il Carracci degli esordi si era avvicinato più volte alla cosiddetta “pittura di genere”, avendone lasciato superbi esempi, tra cui la famosa tela *Il Mangiafagioli* della Galleria Colonna di Roma (1583-1584 ca.).    \nIl ritratto di buffone è stato sempre ritenuto un personaggio legato alla Commedia dell'Arte. Il piccolo schizzo ritrae un giovane sorridente e beffardo insieme, abbigliato in corsetto scuro, gorgiera e con un copricapo chiaro, goffamente riverso. L'ipotetico buffone, col naso grottescamente arrossato, non è del tutto identificabile nella tradizione comica teatrale e, sebbene i vestiti severi e sobri richiamino alla maschera bolognese del “Dottor Graziano”, il copricapo inusuale è forse un elemento d'invenzione carraccesca.  \nLa luce proviene da destra e crea con le pieghe del copricapo un gioco chiaroscurale che dà risalto allo sguardo compiaciuto e al sorriso ambiguo del personaggio, punto focale del ritratto.  \nSono lo sguardo ed il sorriso, ammiccanti e complici, di un attore comico che, tra finzione e realtà, stabilisce con mestiere la relazione d'intesa con il suo pubblico.  \nLa costruzione del ritratto risalta su un fondo giallo compendiario, che permette la concentrazione sul viso burlesco, la cui espressione arguta e realistica è resa con una tavolozza cromaticamente parca.  \nI contorni a carboncino definiscono velocemente lo schizzo, il cui tratto libero si unisce alla rapida esecuzione delle pennellate fluide. Sembrano gli strumenti, insieme al supporto, carta applicata su tela, di una ricerca di immediatezza propria del ritratto dal vivo, piuttosto che la realizzazione di una caricatura, come talvolta ipotizzato, sebbene fosse un genere d'interesse del pittore.    \nLo schizzo è di tale modernità di espressione da anticipare di mezzo secolo la ritrattistica di Bernini e Velázquez e pare dare l'avvio allo studio dei moti dell'animo e della tipizzazione dei personaggi, che caratterizzeranno la ricerca artistica secentesca.  \nL'opera s'inserisce nell'ambito dei “ritrattini” eseguiti da Carracci a partire dal 1582, dove la ricerca del dato reale avveniva attraverso tratti sintetici e non con riproduzioni puntuali delle fisionomie.","short_description":"Quest'opera rappresenta un interessante esempio di rinnovamento artistico perseguito da Carracci. Il giovane artista coglie il momento del riso nel suo ritratto abbozzato del *Ragazzo che ride*, datato circa 1584.  \nCon la sua spontaneità risulta straordinariamente moderno e anticipa i ritratti di Bernini e Velázquez di cinquata anni dopo. Forse è il ritratto di una attore, come si può vedere dal cappello, che era usato solitamente  per la maschera bolognese del “dottore”.","type":"Dipinto","holder":"Galleria Borghese","owner":"Stato Italiano","initial_owner":"sconosciuto","dates":"1584 ca","location":"Roma","dimensions":"Cm 44,5 x 29","provenance":"collezione Borghese","obtention":"La collezione Borghese è stata acquistata dallo Stato Italiano nel 1902","bibliography":"Della Pergola P., *Galleria Borghese. I Dipinti*, I, Roma, 1955, n.16 p. 21  \n   \nSantolini S., in *L'Anima e il Volto. Ritratto e fisionomica da Leonardo a Bacon*, catalogo della mostra, Milano, 1998, pp. 148-149  \n   \nBenati D., in *Annibale Carracci*, catalogo della mostra (Roma), Milano, 2007, cat. II. 9 pp. 110-111","artist_birthdate":"1560","artist_birthplace":"Bologna","artist_deathdate":"1609","artist_deathplace":"Roma","copyright":"Copyright immagine: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","keywords":["Ritratto; Commedia dell'Arte; chiaroscuro; tipizzazione dei caratter; pittura di genere"],"materials":["Olio su carta su tela"]},"8a50a95e-def1-531c-840c-040f6cf8a2f3":{"name":"Marionetta di Amleto","description":"William Shakespeare compose presumibilmente \"La tragedia di Amleto, Principe di Danimarca\" verso il 1600–1601. Il protagonista di quest'opera teatrale è uno dei personaggi più conosciuti e famosi della letteratura mondiale e il suo successo fu immediato, tanto che Pietro Resoniero realizzò questa marionetta, il cui abbigliamento è originale, in seguito al suo trasferimento a Vienna, nel 1667. Resoniero, che veniva da Venezia, fondò nella capitale austriaca un teatro stabile di marionette italiane (mosse dall'alto verso il basso), al \"JUVEN MARKT\" ed una scuola per marionettisti: a lui è attribuita l'introduzione della maschera di Pulcinella in Austria e Germania, dove assumerà il nome di Casperl e Hanswurt (Gianni Salsiccia). \"E uscivano dall'Italia i Rezzonieri (riferito alla stirpe dei Resonieri) ed i Griffi, che in Germania esibirono sulle scene i primi fantocci dei Puppenspielen\" (Yorik \"La storia dei burattini\" 1884). La testa della marionetta è in legno di cirmolo, i capelli sono in filugello di seta; la bocca femminile finemente truccata, gli occhi di vetro soffiato, probabilmente di Murano, e l'abbigliamento prezioso dichiarano la nobiltà del soggetto. L'arco sopraccigliare rivolto verso il basso, e le rughe di espressione ai lati della bocca, lasciando trasparire la disperazione e prefigurando la tragedia incombente, definiscono l'espressione drammatica del volto. La grande possibilità di movimento è resa attraverso un meccanismo molto sofisticato che consente ai piedi snodati di camminare sulle punte e permette alle ginocchia di compiere l'inchino davanti al fantasma del padre suo omonimo.","short_description":"Questa marionetta rappresenta Amleto, il celebre personaggio scespiriano. Indossa ancora gli abiti originali e grazie ad un sofisticato meccanismo può camminare e piegare le ginocchia. Fu realizzato dal maestro burattinaio, Pietro Resonieri, nella seconda metà del XVII secolo.","type":"Marionetta","holder":"Museo dei Burattini Zanella/Pasqualini","dates":"Seconda metà del XVII secolo","location":"Budrio, Bologna","dimensions":"Altezza 60 cm.","place_of_production":"Forse Italia o Vienna","bibliography":"Guarino, M., Fabbri, I. *Chi è di scena! Burattini e Marionette in Emilia Romagna,* Regione Emilia Romagna, Istituto per i beni artistici culturali e naturali, Bologna, 2009 (DVD Rom).","workshop":"Barocco","artist_birthdate":"1640","artist_deathdate":"1735","author":"Vittorio Zanella","translator":"Antonella Mampieri","keywords":["Marionetta; Teatro; Resoniero; Amleto"],"materials":["Legno intagliato e dipinto, seta, vetro"]},"b70d09b4-b304-5766-96c2-44d09249f330":{"name":"*Ritratto di Carlo Broschi detto Farinelli*","description":"Il dipinto raffigura il famosissimo cantante castrato Carlo Broschi in arte Farinelli avvolto nel mantello dell'ordine di Calatrava assegnatogli nel 1750 dai reali di Spagna Ferdinando VI e Maria Barbara di Braganza, ritratti in un ovale alle sue spalle circondati da un tripudio barocco di amorini e ninfe. Con la mano sinistra sfiora un foglio di musica posto su un cembalo. Sempre alle spalle del cantante in penombra un autoritratto del pittore. Il ritratto fece parte della ricca quadreria posseduta dal Farinelli nella sua villa di Bologna, in cui si ritirò a vita privata al rientro del lungo periodo trascorso alla corte di Madrid (1737 – 1759).","short_description":"Il dipinto raffigura il famosissimo cantante castrato Carlo Broschi in arte Farinelli avvolto nel mantello dell’ordine di Calatrava assegnatogli nel 1750 dai reali di Spagna Ferdinando VI e Maria Barbara di Braganza, ritratti in un ovale alle sue spalle circondati da un tripudio barocco di amorini e ninfe. Con la mano sinistra sfiora un foglio di musica posto su un cembalo. Sempre alle spalle del cantante in penombra un autoritratto del pittore.","type":"Dipinto","holder":"Museo internazionale e biblioteca della musica","owner":"Comune di Bologna - Museo internazionale e biblioteca della musica","initial_owner":"Ereditato da Maria Carlotta Pisani nipote di Farinelli","dates":"1727 – 1765 ca","location":"Bologna","dimensions":"275,5x185,5 cm.","place_of_production":"Napoli?","provenance":"Villa di Farinelli in Bologna via Lame 228","obtention":"Fu donato al Comune di Bologna nel 1850 da Maria Carlotta Pisani nipote di Farinelli","bibliography":"*Mostra della pittura italiana  del '600 e del '700* (exhibition catalogue), Rome, 1922, p. 21.  \n*Pittura Italiana del Settecento* (exhibition catalogue) (eds. E. Riccòmini and J. Winkelmann), Bologna, 1974, pp. 38-39.  \n*Collezionismo e storiografia musicale nel Settecento. La quadreria e la biblioteca di Padre Martini* (exhibition catalogue), Bologna, 1984.  \n*Le stanze della musica* (exhibition catalogue), Cinisello Balsamo (Mi), 2002.  \n*Guida al percorso espositivo del Museo della Musica*, Bologna, 2004.","workshop":"Barocco napoletano","artist_birthdate":"8 febbraio 1703","artist_birthplace":"Molfetta (BA)","artist_deathdate":"1766","artist_deathplace":"Napoli","author":"Jenny Servino","translator":"Antonella Mampieri","keywords":["musica; cantante; opera; Settecento Corrado Giaquinto; ritratto; pittura napoletana; autoritratto"],"materials":["olio su tela"]}}

package/translations/items.pt.json

@@ -1 +1 @@
-{"27db4792-06af-5d09-8d3d-457d76486f2e":{"name":"*Átrio Magnifico com Figuras*","description":"A crescente influência e a interacção dos meios de comunicação reforçou a cultura cosmopolita que caracterizou o processo civilizacional das cortes europeias, a que Lisboa não ficou alheia, dando um novo impulso à monarquia portuguesa.  \nTanto na corte de D. João V como na Patriarcal, a música, sagrada e profana, revestiu-se de um forte significado político, reforçando a aura majestática do rei, que, por esta razão, contratou artistas como Domenico Scarlatti, mandou construir a Casa da Ópera, junto ao Palácio Real, em 1754 (destruída no terramoto de Lisboa de 1755) e estimulou o alargamento da Orquestra Real com novos solistas vindos do estrangeiro.  \nOs trabalhos da família Galli-Bibiena, na área da cenografia teatral, não eram executados em material durável. Devido ao carácter temporário das decorações para as festividades de corte, poucas das suas criações sobreviveram; contudo, a riqueza e o esplendor das suas obras podem avaliar-se pelos desenhos feitos naquele tempo, muitos deles preservados até hoje e conservados, maioritariamente, nas colecções de Viena, Munique e Dresden.  \nEste desenho, executado por Francesco Galli Bibiena, é um estudo para um cenário não identificado. É possível que tenha entrado em Portugal em 1750-51 pela mão do seu filho, Giovanni Carlo Sicino Bibiena (1717-1760), encarregado pelo rei D. José I de modernizar os teatros e os serviços teatrais.  \nRepresenta um espaço interior com grandes arcadas vistas em perspectiva diagonal. A composição é dominada por dois grandes arcos que conduzem a largos corredores no cimo de uma escadaria. As abóbadas são profusamente decoradas e as balaustradas apresentam vários medalhões, com figuras mitológicas ao centro, suportadas por pequenos anjos. O espaço central, rodeado de colunas e de esculturas femininas, é ocupado por senhoras e crianças, sendo mesmo possível observar dois cães, à esquerda. Um jovem monarca faz a sua entrada pela arcada principal, rodeado de soldados carregando estandartes, olhando e apontando para os súbditos, atraindo assim a atenção de todos.","short_description":"Este desenho de Francesco Galli Bibiena é um estudo para um cenário não identificado. Representa um espaço interior com grandes arcadas vistas em perspectiva diagonal. As abóbadas são profusamente decoradas e as balaustradas têm vários medalhões, com figuras mitológicas ao centro, sustentadas por anjos.","type":"Desenho. Cenografia.","holder":"Museu Nacional de Arte Antiga","owner":"Museu Nacional de Arte Antiga.","initial_owner":"Pertenceu provavelmente a Giovanni Carlo Sicino Bibiena (1717-1760).","dates":"Primeira metade do século XVIII","location":"Lisboa, Lisboa","dimensions":"Altura 40,6 cm; largura 57,6 cm.","place_of_production":"Itália.","method_for_datation":"Aproximação estilística à obra gráfica de Francesco Galli Bibiena.","provenance":"Academia Real de Belas Artes, Lisboa, 1884.","obtention":"Este desenho poderá ter entrado em Portugal pela mão de Giovanni Carlo Sicino Bibiena, entre 1751 e 1752, juntamente com outros. Existe pouca informação acerca do paradeiro destes desenhos durante a segunda metade do século XVIII e o início do século XIX.  \nPor volta do ano de 1845, este desenho encontrava-se na Academia Real de Belas Artes, em Lisboa, tendo sido transferido para o Museu, em 1884, data da sua criação.","bibliography":"Correia, J.M. da S., \"Teatros Régios do século XVIII - algumas considerações acerca dos desenhos da colecção do Museu Nacional de Arte Antiga\", in *Boletim do Museu Nacional de Arte Antiga*, vol. V, nº 3 e 4, Lisboa, 1969.  \nBeaumont, M. A., \"Stage-sets by the Bibienas in the Museu Nacional de Arte Antiga, Lisboa\", in *Apollo*, 1973, pp. 408-415.  \nMuraro, M. T., Povoledo, E., *Illusione e Pratica Teatrale - Proposta per una lettura dello spazio scenico dagli intermedi fiorentini all'Opera comica veneziana*, Venezia, 1975.  \nCatálogos de Exposições:  \n*Desenhos dos Galli Bibiena. Arquitectura e cenografia / Eighteenth-Century Scenic and Architectural Design*, Lisboa / USA, 1987 / 1990.  \n*I Bibiena, una famiglia europea*, Bologna, 2000.","workshop":"Escola Italiana – Bolonha.","artist_birthdate":"1659","artist_birthplace":"Bolonha","artist_deathdate":"1739","artist_deathplace":"Bolonha","copyright":"Direitos de autor fotografias: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Regina Peixeiro","keywords":["arquitectura","Bibiena","Bolonha","cenografia","desenho","teatro"],"materials":["Pena e tinta castanha, com aguada verde e castanha, sobre papel."]},"d435d9f4-9833-55f4-b40f-d413ab1c10be":{"name":"*Retrato de Domenico Scarlatti*","description":"Após ter estado ao serviço da rainha Maria Casimira da Polónia e de se tornar responsável pela Capela Giulia do Vaticano, Domenico Scarlatti (1685–1757) foi contratado, em 1714, como *maestro de capela* pelo Marquês de Fontes, embaixador de D. João V junto do Papa Clemente XI. Foi nessa qualidade que, em Roma, o infante D. António pôde apreciar o seu trabalho e, regressado a Lisboa, recomendou o mestre a seu irmão, D. João V. Este, por ter conseguido do Papa a nomeação do arcebispo de Lisboa a patriarca, bem como a elevação da Capela Real a Capela Patriarcal (1717), contratou, cerca de 1720, Scarlatti como mestre de música dos infantes D. Maria Bárbara e D. José e para dirigir a orquestra e o excelente coro do Seminário da Patriarcal. O mestre napolitano renovou o panorama musical português, introduziu o gosto das óperas ao estilo italiano e os cânones artísticos e musicais, então em voga na Europa, não só junto da corte, sob a influência da rainha D. Mariana de Áustria, mas também do grande público.  \nEm 1729, Domenico Scarlatti acompanhou a infanta D. Maria Bárbara até Madrid, quando esta se casou com futuro Fernando VI de Espanha, filho de Filipe V. Aí permaneceu como mestre de música da rainha, até à sua morte, em 1757, beneficiando da protecção financeira de D. João V, que lhe permitiu viver confortavelmente com a família, dar vazão à sua criatividade e projectar-se no âmbito da música europeia.  \nOs pintores de retratos eram muito solicitados no século XVIII, como é o caso do francês Louis-Michel Van Loo, pintor na corte de Filipe V de Espanha, entre 1738 e 1752, ou de Jean Ranc (1674–1735), que também pintou a família real portuguesa, na esteira de H. Rigaud.  \nNeste retrato, executado cerca de 1739, Domingos António Velasco segue o modelo de Van Loo, representando Domenico Scarlatti na sua condição de maestro, tendo por fundo um pomposo cortinado, o corpo virado para a direita, a mão sobre uma caixa de madeira e a luz incidindo na face e nas mãos. Enverga um traje de corte amarelo dourado e azul-cinza, ornamentado com a insígnia da prestigiada Ordem de Santiago que lhe tinha sido concedida um ano antes por D. João V, grão-mestre da Ordem.","short_description":"Domenico Scarlatti, maestro do coro e da orquestra da Patriarcal e professor de música da infanta D. Maria Bárbara, filha de D. João V e futura rainha de Espanha, é representado pelo pintor espanhol Domingos Velasco com a insígnia de Ordem de Santiago, que lhe tinha sido concedida por D. João V.","type":"Retrato","holder":"Casa dos Patudos, Museu de Alpiarça.","owner":"Casa dos Patudos, Museu de Alpiarça.","initial_owner":"Colecção José Relvas.","dates":"Cerca de 1738–1739.","location":"Alpiarça., Santarém.","dimensions":"Altura: 131,1 cm; largura: 109,5 cm.","place_of_production":"Espanha.","method_for_datation":"Análise estilística e iconográfica.","provenance":"Comprado por José Relvas a Mariano Hernandez, em Madrid, 1913, e legado ao Município de Alpiarça.","obtention":"Em 1913, o quadro foi comprado em Madrid por José Relvas a Mariano Hernandez e deixado em testamento, bem como toda a colecção da sua Casa dos Patudos, ao Município de Alpiarça, com a condição de aí ser criado um museu.","bibliography":"Monterrose Teixeira, J. de, *O Triunfo do Barroco*, Centro Cultural de Belém, Lisboa, 1993, Nº. II, 22.","workshop":"Atelier de Domingo António de Velasco.","author":"Cristina Correia","keywords":["Casa dos Patudos.","música","músico","Ordem de Santiago","pintores espanhóis","Retrato","Rococó"],"materials":["Óleo sobre tela."]}}
+{"27db4792-06af-5d09-8d3d-457d76486f2e":{"name":"*Átrio Magnifico com Figuras*","description":"A crescente influência e a interacção dos meios de comunicação reforçou a cultura cosmopolita que caracterizou o processo civilizacional das cortes europeias, a que Lisboa não ficou alheia, dando um novo impulso à monarquia portuguesa.  \nTanto na corte de D. João V como na Patriarcal, a música, sagrada e profana, revestiu-se de um forte significado político, reforçando a aura majestática do rei, que, por esta razão, contratou artistas como Domenico Scarlatti, mandou construir a Casa da Ópera, junto ao Palácio Real, em 1754 (destruída no terramoto de Lisboa de 1755) e estimulou o alargamento da Orquestra Real com novos solistas vindos do estrangeiro.  \nOs trabalhos da família Galli-Bibiena, na área da cenografia teatral, não eram executados em material durável. Devido ao carácter temporário das decorações para as festividades de corte, poucas das suas criações sobreviveram; contudo, a riqueza e o esplendor das suas obras podem avaliar-se pelos desenhos feitos naquele tempo, muitos deles preservados até hoje e conservados, maioritariamente, nas colecções de Viena, Munique e Dresden.  \nEste desenho, executado por Francesco Galli Bibiena, é um estudo para um cenário não identificado. É possível que tenha entrado em Portugal em 1750-51 pela mão do seu filho, Giovanni Carlo Sicino Bibiena (1717-1760), encarregado pelo rei D. José I de modernizar os teatros e os serviços teatrais.  \nRepresenta um espaço interior com grandes arcadas vistas em perspectiva diagonal. A composição é dominada por dois grandes arcos que conduzem a largos corredores no cimo de uma escadaria. As abóbadas são profusamente decoradas e as balaustradas apresentam vários medalhões, com figuras mitológicas ao centro, suportadas por pequenos anjos. O espaço central, rodeado de colunas e de esculturas femininas, é ocupado por senhoras e crianças, sendo mesmo possível observar dois cães, à esquerda. Um jovem monarca faz a sua entrada pela arcada principal, rodeado de soldados carregando estandartes, olhando e apontando para os súbditos, atraindo assim a atenção de todos.","short_description":"Este desenho de Francesco Galli Bibiena é um estudo para um cenário não identificado. Representa um espaço interior com grandes arcadas vistas em perspectiva diagonal. As abóbadas são profusamente decoradas e as balaustradas têm vários medalhões, com figuras mitológicas ao centro, sustentadas por anjos.","type":"Desenho. Cenografia.","holder":"Museu Nacional de Arte Antiga","owner":"Museu Nacional de Arte Antiga.","initial_owner":"Pertenceu provavelmente a Giovanni Carlo Sicino Bibiena (1717-1760).","dates":"Primeira metade do século XVIII","location":"Lisboa, Lisboa","dimensions":"Altura 40,6 cm; largura 57,6 cm.","place_of_production":"Itália.","method_for_datation":"Aproximação estilística à obra gráfica de Francesco Galli Bibiena.","provenance":"Academia Real de Belas Artes, Lisboa, 1884.","obtention":"Este desenho poderá ter entrado em Portugal pela mão de Giovanni Carlo Sicino Bibiena, entre 1751 e 1752, juntamente com outros. Existe pouca informação acerca do paradeiro destes desenhos durante a segunda metade do século XVIII e o início do século XIX.  \nPor volta do ano de 1845, este desenho encontrava-se na Academia Real de Belas Artes, em Lisboa, tendo sido transferido para o Museu, em 1884, data da sua criação.","bibliography":"Correia, J.M. da S., \"Teatros Régios do século XVIII - algumas considerações acerca dos desenhos da colecção do Museu Nacional de Arte Antiga\", in *Boletim do Museu Nacional de Arte Antiga*, vol. V, nº 3 e 4, Lisboa, 1969.  \nBeaumont, M. A., \"Stage-sets by the Bibienas in the Museu Nacional de Arte Antiga, Lisboa\", in *Apollo*, 1973, pp. 408-415.  \nMuraro, M. T., Povoledo, E., *Illusione e Pratica Teatrale - Proposta per una lettura dello spazio scenico dagli intermedi fiorentini all'Opera comica veneziana*, Venezia, 1975.  \nCatálogos de Exposições:  \n*Desenhos dos Galli Bibiena. Arquitectura e cenografia / Eighteenth-Century Scenic and Architectural Design*, Lisboa / USA, 1987 / 1990.  \n*I Bibiena, una famiglia europea*, Bologna, 2000.","workshop":"Escola Italiana – Bolonha.","artist_birthdate":"1659","artist_birthplace":"Bolonha","artist_deathdate":"1739","artist_deathplace":"Bolonha","copyright":"Direitos de autor fotografias: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Regina Peixeiro","keywords":["Bibiena; arquitectura; teatro; Bolonha; cenografia; desenho"],"materials":["Pena e tinta castanha, com aguada verde e castanha, sobre papel."]},"d435d9f4-9833-55f4-b40f-d413ab1c10be":{"name":"*Retrato de Domenico Scarlatti*","description":"Após ter estado ao serviço da rainha Maria Casimira da Polónia e de se tornar responsável pela Capela Giulia do Vaticano, Domenico Scarlatti (1685–1757) foi contratado, em 1714, como *maestro de capela* pelo Marquês de Fontes, embaixador de D. João V junto do Papa Clemente XI. Foi nessa qualidade que, em Roma, o infante D. António pôde apreciar o seu trabalho e, regressado a Lisboa, recomendou o mestre a seu irmão, D. João V. Este, por ter conseguido do Papa a nomeação do arcebispo de Lisboa a patriarca, bem como a elevação da Capela Real a Capela Patriarcal (1717), contratou, cerca de 1720, Scarlatti como mestre de música dos infantes D. Maria Bárbara e D. José e para dirigir a orquestra e o excelente coro do Seminário da Patriarcal. O mestre napolitano renovou o panorama musical português, introduziu o gosto das óperas ao estilo italiano e os cânones artísticos e musicais, então em voga na Europa, não só junto da corte, sob a influência da rainha D. Mariana de Áustria, mas também do grande público.  \nEm 1729, Domenico Scarlatti acompanhou a infanta D. Maria Bárbara até Madrid, quando esta se casou com futuro Fernando VI de Espanha, filho de Filipe V. Aí permaneceu como mestre de música da rainha, até à sua morte, em 1757, beneficiando da protecção financeira de D. João V, que lhe permitiu viver confortavelmente com a família, dar vazão à sua criatividade e projectar-se no âmbito da música europeia.  \nOs pintores de retratos eram muito solicitados no século XVIII, como é o caso do francês Louis-Michel Van Loo, pintor na corte de Filipe V de Espanha, entre 1738 e 1752, ou de Jean Ranc (1674–1735), que também pintou a família real portuguesa, na esteira de H. Rigaud.  \nNeste retrato, executado cerca de 1739, Domingos António Velasco segue o modelo de Van Loo, representando Domenico Scarlatti na sua condição de maestro, tendo por fundo um pomposo cortinado, o corpo virado para a direita, a mão sobre uma caixa de madeira e a luz incidindo na face e nas mãos. Enverga um traje de corte amarelo dourado e azul-cinza, ornamentado com a insígnia da prestigiada Ordem de Santiago que lhe tinha sido concedida um ano antes por D. João V, grão-mestre da Ordem.","short_description":"Domenico Scarlatti, maestro do coro e da orquestra da Patriarcal e professor de música da infanta D. Maria Bárbara, filha de D. João V e futura rainha de Espanha, é representado pelo pintor espanhol Domingos Velasco com a insígnia de Ordem de Santiago, que lhe tinha sido concedida por D. João V.","type":"Retrato","holder":"Casa dos Patudos, Museu de Alpiarça.","owner":"Casa dos Patudos, Museu de Alpiarça.","initial_owner":"Colecção José Relvas.","dates":"Cerca de 1738–1739.","location":"Alpiarça., Santarém.","dimensions":"Altura: 131,1 cm; largura: 109,5 cm.","place_of_production":"Espanha.","method_for_datation":"Análise estilística e iconográfica.","provenance":"Comprado por José Relvas a Mariano Hernandez, em Madrid, 1913, e legado ao Município de Alpiarça.","obtention":"Em 1913, o quadro foi comprado em Madrid por José Relvas a Mariano Hernandez e deixado em testamento, bem como toda a colecção da sua Casa dos Patudos, ao Município de Alpiarça, com a condição de aí ser criado um museu.","bibliography":"Monterrose Teixeira, J. de, *O Triunfo do Barroco*, Centro Cultural de Belém, Lisboa, 1993, Nº. II, 22.","workshop":"Atelier de Domingo António de Velasco.","author":"Cristina Correia","keywords":["Retrato; pintores espanhóis; Rococó; Ordem de Santiago; música; músico; Casa dos Patudos."],"materials":["Óleo sobre tela."]}}