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Item Number: 50387
Title: La Pittura Medievale a Roma, 312-1431, Corpus e Atlante, Corpus, Volume I: L'orizzonte tardoantico e le nuove immagini 312-468
Author: Andaloro, Maria
Price: Not Available
ISBN: 9788816603714
Description: Milano: Jaca Book, 2006. 31cm., hardcover, 482pp. illus., numerous color plates. (La pittura medievale a Roma is an ambitious project that will track every sign and evidence of the pictorial heritage in Rome throughout the centuries. The complete series will consist of six volumes of Corpus and three volumes of Atlante. The goal of the Corpus and Atlante research project is to offer both a comprehensive listing and an extensive study of all existing medieval wall paintings, mosaics and icons, many of which still adorn several sacred monuments in Rome. But the project also tracks every sign and evidence of this pictorial heritage throughout the centuries and its imprint on Western history and collective memory. Surprisingly enough, watercolours, drawings, copies, antique photographs, descriptions, all contribute to our better knowledge of medieval painting in Rome, whether the original work of art is lost or an early copy shows, for example, various states of preservation, or (now) invisible restoration, thus documenting a so-called ‘critical account’ of a monument and its wall covering. There are two main reasons to this project. On the one hand, a desire to write - rewrite - the history of painting in Rome. This is the task assigned to the Corpus volumes with their plausible chronological listing and analytical study of every single artwork that we know, or merely know of - the first such large-scale critical inventory ever attempted. On the other hand, a desire to go beyond the mere rewriting of the history of painting and offer a new approach to structuring and sharing the newly-gained information. In the Atlante approach, therefore, it is not chronology but contextual accuracy that matters: the paintings, mosaics, icons and copies of lost works of art are presented in their original context, i.e. on the walls of the sacred monuments of Rome. State-of-the-art digital technology, planimetry and 3D make the impossible come true as frescoes unfold anew on their original supports and the various decorative stages of a particular monument are made visible - and simultaneously, as the case may be - to visitors as they follow a 3D visit. The lavish decorative environment of medieval Rome thus comes to life. All through the Middle Ages, Rome’s churches, basilicas, bishops’residences, cardinals’ and senators’ palaces, monasteries and nunneries were the battlegrounds of what could be called a media warfare, and the extraordinary refined artistic means with which it was fought certainly hold their own against modern-day communication techniques)

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