13067 Results
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events
events
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Description:
In this lecture, Christophe Girot discusses digital landscape models: A quiet revolution has taken place in digital landscape design and analysis over the past decade, caused by the introduction of digital point-cloud models. The scope and precision of these digital landscape models, created with terrestrial laser scanners and mobile and airborne lidar, lead to new(...)
In this lecture, Christophe Girot discusses digital landscape models: A quiet revolution has taken place in digital landscape design and analysis over the past decade, caused by the introduction of digital point-cloud models. The scope and precision of these digital landscape models, created with terrestrial laser scanners and mobile and airborne lidar, lead to new(...)
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Date:
6 October 2016, 6pm
6 October 2016, 6pm
Title:
Unravelling the Digital Landscape
Actions:
Description:
In this lecture, Christophe Girot discusses digital landscape models: A quiet revolution has taken place in digital landscape design and analysis over the past decade, caused by the introduction of digital point-cloud models. The scope and precision of these digital landscape models, created with terrestrial laser scanners and mobile and airborne lidar, lead to new(...)
Unravelling the Digital Landscape
Actions:
Description:
In this lecture, Christophe Girot discusses digital landscape models: A quiet revolution has taken place in digital landscape design and analysis over the past decade, caused by the introduction of digital point-cloud models. The scope and precision of these digital landscape models, created with terrestrial laser scanners and mobile and airborne lidar, lead to new(...)
Form:
events
events
Date:
6 October 2016
6pm
6 October 2016
6pm
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Form:
events
events
Title:
Learning from... Shanghai
Learning from... Shanghai
Actions:
Description:
In 2001, Shanghai announced the development plan of “One City Nine Towns,” a series of towns each built around a theme inspired by a different Western tradition. Chinese urban theorist Xiangning Li examines the themed spaces in the city’s post-colonial context, relating them to Shanghai’s contemporary urban culture and situating them within the changing dynamics between(...)
In 2001, Shanghai announced the development plan of “One City Nine Towns,” a series of towns each built around a theme inspired by a different Western tradition. Chinese urban theorist Xiangning Li examines the themed spaces in the city’s post-colonial context, relating them to Shanghai’s contemporary urban culture and situating them within the changing dynamics between(...)
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Date:
7 May 2009
7 May 2009
Title:
Learning from... Shanghai
Actions:
Description:
In 2001, Shanghai announced the development plan of “One City Nine Towns,” a series of towns each built around a theme inspired by a different Western tradition. Chinese urban theorist Xiangning Li examines the themed spaces in the city’s post-colonial context, relating them to Shanghai’s contemporary urban culture and situating them within the changing dynamics between(...)
Learning from... Shanghai
Actions:
Description:
In 2001, Shanghai announced the development plan of “One City Nine Towns,” a series of towns each built around a theme inspired by a different Western tradition. Chinese urban theorist Xiangning Li examines the themed spaces in the city’s post-colonial context, relating them to Shanghai’s contemporary urban culture and situating them within the changing dynamics between(...)
Form:
events
events
Date:
7 May 2009
7 May 2009
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Form:
exhibitions
exhibitions
Actions:
Description:
British conceptual artist Victor Burgin has been influential both as an artist and as a theorist of the still and moving image. Commissioned by the CCA, Voyage to Italy comprises two series of black and white photographs and an evocative video that engage the timeless beauty and lasting resonance of a nineteenth-century Carlo Fratacci photograph of Pompeii in the CCA(...)
British conceptual artist Victor Burgin has been influential both as an artist and as a theorist of the still and moving image. Commissioned by the CCA, Voyage to Italy comprises two series of black and white photographs and an evocative video that engage the timeless beauty and lasting resonance of a nineteenth-century Carlo Fratacci photograph of Pompeii in the CCA(...)
Location:
Octagonal gallery
Octagonal gallery
Date:
7 December 2006 to 25 March 2007
7 December 2006 to 25 March 2007
Title:
Victor Burgin: Voyage to Italy
Actions:
Description:
British conceptual artist Victor Burgin has been influential both as an artist and as a theorist of the still and moving image. Commissioned by the CCA, Voyage to Italy comprises two series of black and white photographs and an evocative video that engage the timeless beauty and lasting resonance of a nineteenth-century Carlo Fratacci photograph of Pompeii in the CCA(...)
Victor Burgin: Voyage to Italy
Actions:
Description:
British conceptual artist Victor Burgin has been influential both as an artist and as a theorist of the still and moving image. Commissioned by the CCA, Voyage to Italy comprises two series of black and white photographs and an evocative video that engage the timeless beauty and lasting resonance of a nineteenth-century Carlo Fratacci photograph of Pompeii in the CCA(...)
Form:
exhibitions
exhibitions
Date:
7 December 2006 to
25 March 2007
7 December 2006 to
25 March 2007
Location:
Octagonal gallery
Octagonal gallery
Form:
drawings
Quantity:
3 portfolio(s)
drawings
Quantity:
3 portfolio(s)
Actions:
Reference number:
DR1974:0002:031:001-055
Description:
- The three portfolios of this group are entitled: Figures et Statues (DR1974:0002:031:001 - DR1974:0002:031:024), Architecture Antique Mélanges (DR1974:0002:031:025 - DR1974:0002:031:043), and Architecture Moderne Mélanges (DR1974:0002:031:044 - DR1974:0002:031:055). -- Portfolio Figures et Statues comprises primarily drawings of classical figures and architectural sculpture from both antique and 19th century sources. Few of the sources of these drawings are clearly identified, with the exception of Genie de la Liberté from the Colonne de Juillet (DR1974:0002:031:016:003). There are a number of drawings of sculpture from the 16th century tomb monument of Maximillian I in Innsbruck (DR1974:0002:031:017 - DR1974:0002:031:023:001-003). -- Portfolio Architecture Antique Mélanges comprises mostly architectural drawings from buildings or monuments in Pisa, Rome, Tivoli, Naples, Florence, Viterbo, and Nice. Also included are a reconstruction of Pliny the Younger's Villa Laurentine (DR1974:0002:031:043), an orthographic drawing of the L'arc des orfèvres (DR1974:0002:031:032:001-002), and an interior perspective of an imaginary church, perhaps inspired by Pugin (DR1974:0002:031:027). -- Portfolio Architecture Moderne Mélanges comprises drawings which represent the classical tradition of 19th century French and English architecture (Bergdoll, p. 2). The French subjects include the Palais de justice, Amiens (DR1974:0002:031:044:002), the Louvois fountain by Visconti, (DR1974:0002:031:049:002), the Arc du Carrousel (DR1974:0002:031:053:001), and the Vendome column (DR1974:0002:031:053:002). English architecture is represented by Charles Robert Cockerell's Hanover Chapel, Regent Street, London (DR1974:0002:031:054:001), and late Georgian\early Regency houses (DR1974:0002:031:045:001-002 and DR1974:0002:031:046:001-002). The drawings related to Amiens Cathedral (DR1974:0002:031:044:001-002) and the Cloaca Maxima (DR1974:0002:031:052:002) are notable exceptions to the contemporary contents of the folder.
DR1974:0002:031:001-055
Description:
- The three portfolios of this group are entitled: Figures et Statues (DR1974:0002:031:001 - DR1974:0002:031:024), Architecture Antique Mélanges (DR1974:0002:031:025 - DR1974:0002:031:043), and Architecture Moderne Mélanges (DR1974:0002:031:044 - DR1974:0002:031:055). -- Portfolio Figures et Statues comprises primarily drawings of classical figures and architectural sculpture from both antique and 19th century sources. Few of the sources of these drawings are clearly identified, with the exception of Genie de la Liberté from the Colonne de Juillet (DR1974:0002:031:016:003). There are a number of drawings of sculpture from the 16th century tomb monument of Maximillian I in Innsbruck (DR1974:0002:031:017 - DR1974:0002:031:023:001-003). -- Portfolio Architecture Antique Mélanges comprises mostly architectural drawings from buildings or monuments in Pisa, Rome, Tivoli, Naples, Florence, Viterbo, and Nice. Also included are a reconstruction of Pliny the Younger's Villa Laurentine (DR1974:0002:031:043), an orthographic drawing of the L'arc des orfèvres (DR1974:0002:031:032:001-002), and an interior perspective of an imaginary church, perhaps inspired by Pugin (DR1974:0002:031:027). -- Portfolio Architecture Moderne Mélanges comprises drawings which represent the classical tradition of 19th century French and English architecture (Bergdoll, p. 2). The French subjects include the Palais de justice, Amiens (DR1974:0002:031:044:002), the Louvois fountain by Visconti, (DR1974:0002:031:049:002), the Arc du Carrousel (DR1974:0002:031:053:001), and the Vendome column (DR1974:0002:031:053:002). English architecture is represented by Charles Robert Cockerell's Hanover Chapel, Regent Street, London (DR1974:0002:031:054:001), and late Georgian\early Regency houses (DR1974:0002:031:045:001-002 and DR1974:0002:031:046:001-002). The drawings related to Amiens Cathedral (DR1974:0002:031:044:001-002) and the Cloaca Maxima (DR1974:0002:031:052:002) are notable exceptions to the contemporary contents of the folder.
People:
Subject:
architecture, interior design, painting, sculpture
architecture, interior design, painting, sculpture
Date:
between 1800 and 1868
between 1800 and 1868
Title:
Three portfolios of drawings of classical figures, statues from the sepulchral monument of Maximilian I, Innsbruck, and ancient and modern buildings
Actions:
DR1974:0002:031:001-055
Description:
- The three portfolios of this group are entitled: Figures et Statues (DR1974:0002:031:001 - DR1974:0002:031:024), Architecture Antique Mélanges (DR1974:0002:031:025 - DR1974:0002:031:043), and Architecture Moderne Mélanges (DR1974:0002:031:044 - DR1974:0002:031:055). -- Portfolio Figures et Statues comprises primarily drawings of classical figures and architectural sculpture from both antique and 19th century sources. Few of the sources of these drawings are clearly identified, with the exception of Genie de la Liberté from the Colonne de Juillet (DR1974:0002:031:016:003). There are a number of drawings of sculpture from the 16th century tomb monument of Maximillian I in Innsbruck (DR1974:0002:031:017 - DR1974:0002:031:023:001-003). -- Portfolio Architecture Antique Mélanges comprises mostly architectural drawings from buildings or monuments in Pisa, Rome, Tivoli, Naples, Florence, Viterbo, and Nice. Also included are a reconstruction of Pliny the Younger's Villa Laurentine (DR1974:0002:031:043), an orthographic drawing of the L'arc des orfèvres (DR1974:0002:031:032:001-002), and an interior perspective of an imaginary church, perhaps inspired by Pugin (DR1974:0002:031:027). -- Portfolio Architecture Moderne Mélanges comprises drawings which represent the classical tradition of 19th century French and English architecture (Bergdoll, p. 2). The French subjects include the Palais de justice, Amiens (DR1974:0002:031:044:002), the Louvois fountain by Visconti, (DR1974:0002:031:049:002), the Arc du Carrousel (DR1974:0002:031:053:001), and the Vendome column (DR1974:0002:031:053:002). English architecture is represented by Charles Robert Cockerell's Hanover Chapel, Regent Street, London (DR1974:0002:031:054:001), and late Georgian\early Regency houses (DR1974:0002:031:045:001-002 and DR1974:0002:031:046:001-002). The drawings related to Amiens Cathedral (DR1974:0002:031:044:001-002) and the Cloaca Maxima (DR1974:0002:031:052:002) are notable exceptions to the contemporary contents of the folder.
Three portfolios of drawings of classical figures, statues from the sepulchral monument of Maximilian I, Innsbruck, and ancient and modern buildings
Actions:
DR1974:0002:031:001-055
Description:
- The three portfolios of this group are entitled: Figures et Statues (DR1974:0002:031:001 - DR1974:0002:031:024), Architecture Antique Mélanges (DR1974:0002:031:025 - DR1974:0002:031:043), and Architecture Moderne Mélanges (DR1974:0002:031:044 - DR1974:0002:031:055). -- Portfolio Figures et Statues comprises primarily drawings of classical figures and architectural sculpture from both antique and 19th century sources. Few of the sources of these drawings are clearly identified, with the exception of Genie de la Liberté from the Colonne de Juillet (DR1974:0002:031:016:003). There are a number of drawings of sculpture from the 16th century tomb monument of Maximillian I in Innsbruck (DR1974:0002:031:017 - DR1974:0002:031:023:001-003). -- Portfolio Architecture Antique Mélanges comprises mostly architectural drawings from buildings or monuments in Pisa, Rome, Tivoli, Naples, Florence, Viterbo, and Nice. Also included are a reconstruction of Pliny the Younger's Villa Laurentine (DR1974:0002:031:043), an orthographic drawing of the L'arc des orfèvres (DR1974:0002:031:032:001-002), and an interior perspective of an imaginary church, perhaps inspired by Pugin (DR1974:0002:031:027). -- Portfolio Architecture Moderne Mélanges comprises drawings which represent the classical tradition of 19th century French and English architecture (Bergdoll, p. 2). The French subjects include the Palais de justice, Amiens (DR1974:0002:031:044:002), the Louvois fountain by Visconti, (DR1974:0002:031:049:002), the Arc du Carrousel (DR1974:0002:031:053:001), and the Vendome column (DR1974:0002:031:053:002). English architecture is represented by Charles Robert Cockerell's Hanover Chapel, Regent Street, London (DR1974:0002:031:054:001), and late Georgian\early Regency houses (DR1974:0002:031:045:001-002 and DR1974:0002:031:046:001-002). The drawings related to Amiens Cathedral (DR1974:0002:031:044:001-002) and the Cloaca Maxima (DR1974:0002:031:052:002) are notable exceptions to the contemporary contents of the folder.
Form:
drawings
Quantity:
3 portfolio(s)
drawings
Quantity:
3 portfolio(s)
Date:
between 1800 and 1868
between 1800 and 1868
People:
Subject:
architecture, interior design, painting, sculpture
architecture, interior design, painting, sculpture
Form:
events
events
Title:
Learning from... Cairo
Learning from... Cairo
Actions:
Description:
Nasser Rabbat challenges the traditional framing strategies of East vs. West or traditional vs. modern, focusing instead on the dialectical relationship of modernity and history in the making of contemporary Cairo. Shaped by distinct waves of modernity from the colonial Napoleonic invasion of 1789 to the revolution and independence in 1952, the city responded with layers(...)
Nasser Rabbat challenges the traditional framing strategies of East vs. West or traditional vs. modern, focusing instead on the dialectical relationship of modernity and history in the making of contemporary Cairo. Shaped by distinct waves of modernity from the colonial Napoleonic invasion of 1789 to the revolution and independence in 1952, the city responded with layers(...)
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
Date:
15 September 2011 , 7pm
15 September 2011 , 7pm
Title:
Learning from... Cairo
Actions:
Description:
Nasser Rabbat challenges the traditional framing strategies of East vs. West or traditional vs. modern, focusing instead on the dialectical relationship of modernity and history in the making of contemporary Cairo. Shaped by distinct waves of modernity from the colonial Napoleonic invasion of 1789 to the revolution and independence in 1952, the city responded with layers(...)
Learning from... Cairo
Actions:
Description:
Nasser Rabbat challenges the traditional framing strategies of East vs. West or traditional vs. modern, focusing instead on the dialectical relationship of modernity and history in the making of contemporary Cairo. Shaped by distinct waves of modernity from the colonial Napoleonic invasion of 1789 to the revolution and independence in 1952, the city responded with layers(...)
Form:
events
events
Date:
15 September 2011
7pm
15 September 2011
7pm
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
Form:
exhibitions
exhibitions
Description:
Meditations on Piero presents contemporary sculptures by British/Canadian artist Geoffrey Smedley alongside over thirty rare books from the fifteenth to the eighteenth centuries. The sculptures draw their inspiration from a series of drawings of the human head by the great Italian Renaissance artist Piero della Francesca. The exhibition relates these drawings and(...)
Meditations on Piero presents contemporary sculptures by British/Canadian artist Geoffrey Smedley alongside over thirty rare books from the fifteenth to the eighteenth centuries. The sculptures draw their inspiration from a series of drawings of the human head by the great Italian Renaissance artist Piero della Francesca. The exhibition relates these drawings and(...)
Location:
Octagonal gallery
Octagonal gallery
Date:
2 May 2001 to 16 September 2001
2 May 2001 to 16 September 2001
Title:
Meditations on Piero
Actions:
Description:
Meditations on Piero presents contemporary sculptures by British/Canadian artist Geoffrey Smedley alongside over thirty rare books from the fifteenth to the eighteenth centuries. The sculptures draw their inspiration from a series of drawings of the human head by the great Italian Renaissance artist Piero della Francesca. The exhibition relates these drawings and(...)
Meditations on Piero
Actions:
Description:
Meditations on Piero presents contemporary sculptures by British/Canadian artist Geoffrey Smedley alongside over thirty rare books from the fifteenth to the eighteenth centuries. The sculptures draw their inspiration from a series of drawings of the human head by the great Italian Renaissance artist Piero della Francesca. The exhibition relates these drawings and(...)
Form:
exhibitions
exhibitions
Date:
2 May 2001 to
16 September 2001
2 May 2001 to
16 September 2001
Location:
Octagonal gallery
Octagonal gallery
Reference number:
PHCON2002:0016:010
Description:
Binder documents exhibitions from 2001 to 2002 that included the work of Gordon Matta-Clark, along with exhibition reviews, photographs, slides, and articles. Also included is documentation about his contemporaries including an obituary of his art dealer, Holly Solomon. Binder contains slides and textual records.
PHCON2002:0016:010
Description:
Binder documents exhibitions from 2001 to 2002 that included the work of Gordon Matta-Clark, along with exhibition reviews, photographs, slides, and articles. Also included is documentation about his contemporaries including an obituary of his art dealer, Holly Solomon. Binder contains slides and textual records.
People:
Date:
2001-2002
2001-2002
Title:
Reviews, Announcements, Catalogues 2001-2002
Actions:
PHCON2002:0016:010
Description:
Binder documents exhibitions from 2001 to 2002 that included the work of Gordon Matta-Clark, along with exhibition reviews, photographs, slides, and articles. Also included is documentation about his contemporaries including an obituary of his art dealer, Holly Solomon. Binder contains slides and textual records.
Reviews, Announcements, Catalogues 2001-2002
Actions:
PHCON2002:0016:010
Description:
Binder documents exhibitions from 2001 to 2002 that included the work of Gordon Matta-Clark, along with exhibition reviews, photographs, slides, and articles. Also included is documentation about his contemporaries including an obituary of his art dealer, Holly Solomon. Binder contains slides and textual records.
Date:
2001-2002
2001-2002
People:
Form:
works of art
works of art
Reference number:
DR1986:0442:001-022
Description:
- Michele Marieschi was a short-lived Venetian vedutista whose small graphic output was limited almost exclusively to this group of twenty-one etchings. The album is a modern-bound collection of the first edition (before the addition of plate numbers) of Marieschi's prints. The prints were all designed and etched by Marieschi himself, with only two exceptions. The frontpiece, with its portrait of Marieschi (and proud proclamation of his status as painter and architect) was drawn by Anzolo Trivisan (Angelo Trevisani, 1669-after 1753) and engraved by Carlo Orsolini (1710-1780). The dedication to the Prince of Beauvau-Craon and the prince's coat of arms, which appear below Marieschi's view of the Piazzetta and Ducal Palace, were also engraved by Orsolini. RH - Marieschi was probably called an architect in the frontispiece to this volume of etchings (folio 1) in reference to his activity as a stage designer. Folio 21 gives us an indication of Marieschi's activity as a stage designer. According to Fabio Mauroner (Print Collector's Quarterly, vol. 27), the painted façade shown on the Church of San Rocco on the first state of folio 21 was designed by Marieschi. Here Marieschi is probably illustrating a festival which took place on the saint's feast day, since easel paintings are also shown placed against the façades of the buildings to the right in the square. It is interesting that in the second state of the same folio, another façade is shown, the one added to the church by the architect Macarazzi in 1768. According to the text on the first state of the same folio, the original façade on San Rocco was constructed in marble according to a design by Sebastiano Serlio (Mauroner, pl. 16). In addition, the exaggerated two-point and multi-point perspectives which Marieschi uses in many of his views of Venice, also reveal the influence of the principles of stage set design as illustrated in the contemporary drawings of the Bibiera family. MNR
DR1986:0442:001-022
Description:
- Michele Marieschi was a short-lived Venetian vedutista whose small graphic output was limited almost exclusively to this group of twenty-one etchings. The album is a modern-bound collection of the first edition (before the addition of plate numbers) of Marieschi's prints. The prints were all designed and etched by Marieschi himself, with only two exceptions. The frontpiece, with its portrait of Marieschi (and proud proclamation of his status as painter and architect) was drawn by Anzolo Trivisan (Angelo Trevisani, 1669-after 1753) and engraved by Carlo Orsolini (1710-1780). The dedication to the Prince of Beauvau-Craon and the prince's coat of arms, which appear below Marieschi's view of the Piazzetta and Ducal Palace, were also engraved by Orsolini. RH - Marieschi was probably called an architect in the frontispiece to this volume of etchings (folio 1) in reference to his activity as a stage designer. Folio 21 gives us an indication of Marieschi's activity as a stage designer. According to Fabio Mauroner (Print Collector's Quarterly, vol. 27), the painted façade shown on the Church of San Rocco on the first state of folio 21 was designed by Marieschi. Here Marieschi is probably illustrating a festival which took place on the saint's feast day, since easel paintings are also shown placed against the façades of the buildings to the right in the square. It is interesting that in the second state of the same folio, another façade is shown, the one added to the church by the architect Macarazzi in 1768. According to the text on the first state of the same folio, the original façade on San Rocco was constructed in marble according to a design by Sebastiano Serlio (Mauroner, pl. 16). In addition, the exaggerated two-point and multi-point perspectives which Marieschi uses in many of his views of Venice, also reveal the influence of the principles of stage set design as illustrated in the contemporary drawings of the Bibiera family. MNR
People:
Subject:
architecture
architecture
Date:
ca. 1741
ca. 1741
Title:
Magnificentiores Selectioresque Urbis Venetiarum Prospectus
Actions:
DR1986:0442:001-022
Description:
- Michele Marieschi was a short-lived Venetian vedutista whose small graphic output was limited almost exclusively to this group of twenty-one etchings. The album is a modern-bound collection of the first edition (before the addition of plate numbers) of Marieschi's prints. The prints were all designed and etched by Marieschi himself, with only two exceptions. The frontpiece, with its portrait of Marieschi (and proud proclamation of his status as painter and architect) was drawn by Anzolo Trivisan (Angelo Trevisani, 1669-after 1753) and engraved by Carlo Orsolini (1710-1780). The dedication to the Prince of Beauvau-Craon and the prince's coat of arms, which appear below Marieschi's view of the Piazzetta and Ducal Palace, were also engraved by Orsolini. RH - Marieschi was probably called an architect in the frontispiece to this volume of etchings (folio 1) in reference to his activity as a stage designer. Folio 21 gives us an indication of Marieschi's activity as a stage designer. According to Fabio Mauroner (Print Collector's Quarterly, vol. 27), the painted façade shown on the Church of San Rocco on the first state of folio 21 was designed by Marieschi. Here Marieschi is probably illustrating a festival which took place on the saint's feast day, since easel paintings are also shown placed against the façades of the buildings to the right in the square. It is interesting that in the second state of the same folio, another façade is shown, the one added to the church by the architect Macarazzi in 1768. According to the text on the first state of the same folio, the original façade on San Rocco was constructed in marble according to a design by Sebastiano Serlio (Mauroner, pl. 16). In addition, the exaggerated two-point and multi-point perspectives which Marieschi uses in many of his views of Venice, also reveal the influence of the principles of stage set design as illustrated in the contemporary drawings of the Bibiera family. MNR
Magnificentiores Selectioresque Urbis Venetiarum Prospectus
Actions:
DR1986:0442:001-022
Description:
- Michele Marieschi was a short-lived Venetian vedutista whose small graphic output was limited almost exclusively to this group of twenty-one etchings. The album is a modern-bound collection of the first edition (before the addition of plate numbers) of Marieschi's prints. The prints were all designed and etched by Marieschi himself, with only two exceptions. The frontpiece, with its portrait of Marieschi (and proud proclamation of his status as painter and architect) was drawn by Anzolo Trivisan (Angelo Trevisani, 1669-after 1753) and engraved by Carlo Orsolini (1710-1780). The dedication to the Prince of Beauvau-Craon and the prince's coat of arms, which appear below Marieschi's view of the Piazzetta and Ducal Palace, were also engraved by Orsolini. RH - Marieschi was probably called an architect in the frontispiece to this volume of etchings (folio 1) in reference to his activity as a stage designer. Folio 21 gives us an indication of Marieschi's activity as a stage designer. According to Fabio Mauroner (Print Collector's Quarterly, vol. 27), the painted façade shown on the Church of San Rocco on the first state of folio 21 was designed by Marieschi. Here Marieschi is probably illustrating a festival which took place on the saint's feast day, since easel paintings are also shown placed against the façades of the buildings to the right in the square. It is interesting that in the second state of the same folio, another façade is shown, the one added to the church by the architect Macarazzi in 1768. According to the text on the first state of the same folio, the original façade on San Rocco was constructed in marble according to a design by Sebastiano Serlio (Mauroner, pl. 16). In addition, the exaggerated two-point and multi-point perspectives which Marieschi uses in many of his views of Venice, also reveal the influence of the principles of stage set design as illustrated in the contemporary drawings of the Bibiera family. MNR
Form:
works of art
works of art
Date:
ca. 1741
ca. 1741
People:
Subject:
architecture
architecture
Form:
exhibitions
exhibitions
Actions:
Description:
Coined in the early twentieth century to designate progressive literary journals, the term “little magazine” was remobilized during the 1960s to grapple with the contemporary proliferation of independent architectural periodicals that appeared in response to the political, social, and artistic changes of the period. Clip/Stamp/Fold 2 investigates how a diverse group of(...)
Coined in the early twentieth century to designate progressive literary journals, the term “little magazine” was remobilized during the 1960s to grapple with the contemporary proliferation of independent architectural periodicals that appeared in response to the political, social, and artistic changes of the period. Clip/Stamp/Fold 2 investigates how a diverse group of(...)
Location:
Octagonal gallery and library rotunda
Octagonal gallery and library rotunda
Date:
12 April 2007 to 9 September 2007
12 April 2007 to 9 September 2007
Title:
Clip/Stamp/Fold 2: The Radical Architecture of Little Magazines 196X - 197X
Actions:
Description:
Coined in the early twentieth century to designate progressive literary journals, the term “little magazine” was remobilized during the 1960s to grapple with the contemporary proliferation of independent architectural periodicals that appeared in response to the political, social, and artistic changes of the period. Clip/Stamp/Fold 2 investigates how a diverse group of(...)
Clip/Stamp/Fold 2: The Radical Architecture of Little Magazines 196X - 197X
Actions:
Description:
Coined in the early twentieth century to designate progressive literary journals, the term “little magazine” was remobilized during the 1960s to grapple with the contemporary proliferation of independent architectural periodicals that appeared in response to the political, social, and artistic changes of the period. Clip/Stamp/Fold 2 investigates how a diverse group of(...)
Form:
exhibitions
exhibitions
Date:
12 April 2007 to
9 September 2007
12 April 2007 to
9 September 2007
Location:
Octagonal gallery and library rotunda
Octagonal gallery and library rotunda
Form:
exhibitions
exhibitions
Description:
Disneyland, with its far-flung colonies in Florida, Japan, and France, is a key symbol of contemporary American culture that has been both celebrated and attacked as the ultimate embodiment of consumer society, of simulation and pastiche, of the blurring of distinctions between reality and mass-media imagery. The Architecture of Reassurance: Designing the Disney Theme(...)
Disneyland, with its far-flung colonies in Florida, Japan, and France, is a key symbol of contemporary American culture that has been both celebrated and attacked as the ultimate embodiment of consumer society, of simulation and pastiche, of the blurring of distinctions between reality and mass-media imagery. The Architecture of Reassurance: Designing the Disney Theme(...)
Location:
Main galleries
Main galleries
Date:
17 June 1997 to 28 September 1997
17 June 1997 to 28 September 1997
Title:
The Architecture of Reassurance: Designing the Disney Theme Parks
Actions:
Description:
Disneyland, with its far-flung colonies in Florida, Japan, and France, is a key symbol of contemporary American culture that has been both celebrated and attacked as the ultimate embodiment of consumer society, of simulation and pastiche, of the blurring of distinctions between reality and mass-media imagery. The Architecture of Reassurance: Designing the Disney Theme(...)
The Architecture of Reassurance: Designing the Disney Theme Parks
Actions:
Description:
Disneyland, with its far-flung colonies in Florida, Japan, and France, is a key symbol of contemporary American culture that has been both celebrated and attacked as the ultimate embodiment of consumer society, of simulation and pastiche, of the blurring of distinctions between reality and mass-media imagery. The Architecture of Reassurance: Designing the Disney Theme(...)
Form:
exhibitions
exhibitions
Date:
17 June 1997 to
28 September 1997
17 June 1997 to
28 September 1997
Location:
Main galleries
Main galleries
