Giacobbe Giusti, The Adoration of the Magi (Beato Angelico)
The Adoration of the Magi is a tondo of the Adoration of the Magi. It is credited to Fra Angelico and Filippo Lippi and dates to c. 1440/1460.
https://en.wikipedia.org/wiki/Fra_Angelico
WWW.giacobbegiusti.com
Giacobbe Giusti, Giotto, Gemäldegalerie Berlin
Die Grablegung Mariae (Marientod) von Giotto, etwa aus dem Jahr 1310. Das Bild wurde 1914 vom Kaiser-Friedrich-Museums-Verein erworben.
Eine Galerie mit 14 Bildern (2013)
Giacobbe Giusti, Giotto, Gemäldegalerie Berlin
Giacobbe Giusti, Botticelli in Berlin
Raczynski Tondo
Description:
Sandro Botticelli (Alessandro di Mariano di Vanni Filipepi) (1445 – 1510)
Raczynski Tondo
Tempera on panel, about 1481-1483
207 x 148 cm
Staatliche Museen zu Berlin, Gemaldegalerie, Berlin, Germany
Exhibitions
The Botticelli Renaissance
from: 24.09.2015 to: 24.01.2016
Gemäldegalerie
http://www.smb.museum/en/exhibitions/detail/the-botticelli-renaissance.html
Giacobbe Giusti, Botticelli in Berlin
botticelli birth of venus detail
An exhibition that portrays the 15th-century Italian painter Sandro Botticelli opens in Berlin on Sept 24 and moves to the V&A in March.
http://www.wallpaperawesome.com/wallpaper-botticelli-birth-of-venus-detail.php
http://www.giacobbegiusti.com
Giacobbe Giusti, Giotto in Milan
Scene dalla vita del Virgin
La presentazione al tempiale,
affresco part. angelo 1305-13
Cappella dell’arena a Padova
Scene dalla vita del Virgin
Il volo in Egitto part.
affresco angelo 1304-13
Cappella dell’arena a Padova
Ascensione 1305-13 affresco,
Cappella dell’arena a Padova
Scene dalla vita del Virgin
Il volo in Egitto,
affresco 1304-13
Cappella dell’arena, Padova
Scene dalla vita di Gioacchino,
Espulsione di Gioacchino
dal tempio, affresco 1305-13
Cappella dell’arena, Padova
Giotto, l’Italia is the major exhibition that will conclude the semester of Expo 2015 at the Palazzo Reale in Milan.
The exhibition, under the patronage of the President of the Italian Republic, promoted by the Ministry of Heritage and Culture and Tourism and the City of Milan–Culture, with the patronage of the Lombardy Region, is produced and organized by Palazzo Reale and by the publishing house Electa. The scholarly project is by Peter Petraroia (Éupolis Lombardia) and Serena Romano (University of Lausanne), who are also the exhibition curators.
Giotto, l’Italia will remain open to the public from September 2, 2015, until January 10, 2016. The exhibit design by Mario Bellini will be installed in the galleries of Palazzo Reale where Giotto, in the Visconti period, painted his latest work, unfortunately lost: the frescoes in the palace of Azzone Visconti.
The exhibition is guided by a prestigious Scholarly Committee comprising the directors of Italian institutions that over the years not only have contributed to the preservation and protection of Giotto’s works, but have also to a very remarkable degree enlarged our knowledge and scholarly and technical understanding of the master’s painting, with internationally significant and advanced studies and contributions. The Committee consists of the president Antonio Paolucci and Cristina Acidini, Davide Banzato, Giorgio Bonsanti, Caterina Bon Valsassina, Gisella Capponi, Marco Ciatti, Luigi Ficacci, Cecilia Frosinini, Marica Mercalli and Angel Tartuferi.
The project has also drawn on the work of the Superintendencies, museums in Italy and abroad and religious institutions that preserve works by Giotto: the Vatican Museums; the Gallerie dell’Accademia and the Gallerie degli Uffizi in Florence; the Soprintendenza Belle Arti e Paesaggio for the provinces of Florence, Pistoia and Prato and the Polo Museale Regionale della Toscana; the Pinacoteca Nazionale di Bologna and the Polo Museale dell’Emilia Romagna; the San Diego Museum of Art – California; the Fondo Edifici di Culto del Ministero dell’Interno; the Musei Civici agli Eremitani in Padua and the Soprintendenza Belle Arti e Paesaggio for the Provinces of Venice, Belluno, Padua and Treviso; the church of San Lorenzo, Borgo San Lorenzo (Florence); the Museo Diocesano di Santo Stefano al Ponte, Florence; the Opera di Santa Maria del Fiore and the Opera di Santa Croce in Florence; the Archdiocese of Florence.
Giacobbe Giusti, Power and Pathos: Bronze Sculpture of the Hellenistic World
Boy Removing a Thorn from His Foot, “The Spinario,” about 50 B.C., bronze and copper. Musei Capitolini, Rome, Palazzo dei Conservatori, Sala dei Trionfi – foto Zeno Colantoni
July 28–November 1, 2015Getty Center
During the Hellenistic period from the death of Alexander the Great in 323 B.C. until the establishment of the Roman Empire in 31 B.C., the medium of bronze drove artistic innovation. Sculptors moved beyond Classical norms, supplementing traditional subjects and idealized forms with realistic renderings of physical and emotional states. Bronze—surpassing marble with its tensile strength, reflective effects, and ability to hold fine detail—was employed for dynamic compositions, dazzling displays of the nude body, and graphic expressions of age and character.
Cast from alloys of copper, tin, lead, and other elements, bronze statues were produced in the thousands: honorific portraits of rulers and citizens populated city squares, and images of gods, heroes, and mortals crowded sanctuaries. Few, however, survive. This unprecedented exhibition unites fifty significant bronzes of the Hellenistic age. New discoveries appear with works known for centuries, and several closely related statues are presented side by side for the first time.
This exhibition was organized by the J. Paul Getty Museum, the Fondazione Palazzo Strozzi in Florence, and the National Gallery of Art in Washington, with the participation of the Soprintendenza per i Beni Archeologici della Toscana. It is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Bank of America is the National Sponsor of this touring exhibition. The Los Angeles presentation is also supported by the Getty Museum’s Villa Council, Vera R. Campbell Foundation, and the A. G. Leventis Foundation.
http://www.getty.edu/art/exhibitions/power_pathos/
Giacobbe Giusti, Ancient bronze sculptures comes to Getty Museum
The Pompeii Apollo”
Kenneth Lapatin, associate curator at the J. Paul Getty Museum, gestures toward a sculpture which is part of the “Power and Pathos: Bronze Sculpture of Hellenistic World” exhibit in Los Angeles, Monday, July 27, 2015. (AP / Nick Ut)
LOS ANGELES — It’s almost as if the dozens of exquisitely detailed, often perfectly intact bronze sculptures on display at the J. Paul Getty Museum disappeared into an ancient witness-protection program — and decided to stay there for thousands of years.
“Power and Pathos: Bronze Sculpture of the Hellenistic World,” which opened at the museum Tuesday, brings together more than 50 bronzes from the Hellenistic period that extended from about 323 to 31 B.C.
Many of them, like the life-size figure of an exhausted boxer, his hands still bandaged from a match, brow cut and bruised, are stunning in their detail. So is the “The Medici Riccardi Horse,” a horse’s head complete with flaring nostrils and a detailed mane. “Sleeping Eros” shows an infant sprawled out sound asleep on a pedestal. One arm is draped across the child’s chest, his tousled hair in gentle repose.
Perhaps even more stunning, however, is the fact that any of these things survived.
Thousands of such beautifully detailed bronzes were created during the Hellenistic Age. Larger works were assembled piece-by-piece and welded together by artisans working in almost assembly line fashion and displayed in both public places and the homes of the well to do.
But most, say the exhibition’s co-curators, Kenneth Lapatin and Jens Daehner, were eventually melted down and turned into something else like coins.
“We know Lysippos made 1,500 bronzes in his lifetime, but not one survives,” Lapatin said of the artist said to be Alexander the Great’s favourite sculptor. “They’ve all been melted down.”
To this day, roads, fields and other public places across Greece and much of the rest of the Mediterranean are dotted with empty stone bases where bronze statues once stood, added Daehner during a walk-through of the stunning, hilltop museum ahead of the exhibition’s opening.
Which is why you rarely see more than one or two when you visit most any museum, said J. Paul Getty Director Timothy Potts.
The nearly 60 that will be on display at the J. Paul Getty until Nov. 1 are believed to represent the largest such collection ever assembled. They have been contributed by 32 lenders from 14 countries on four continents.
“Many of these are national treasures,” Potts said. “They are the greatest works of ancient art that these nations possess. So it’s been an extraordinary act of generosity for them to be lent to us.”
Many are completely intact, so much so that several still have their eyes, made of tin and glass. The result, they can stare right back in eerie fashion at museum visitors who go to check them out.
That they survived was in most cases the result of simple good fortune on their part, if not their owners’.
“It’s only through shipwrecks, through being buried in the foundations of buildings, being buried by a volcano at Pompeii or landslides that most of these pieces have survived,” said Lapatin.
“Herm of Dionysus,” for example, was believed to have been commissioned by a wealthy Roman homeowner. The detailed work of a bearded man with hat and animated eyes was found in a shipwreck off the coast of Tunisia in 1907.
The sculpture of an athlete raising an arm in victory was uncovered in the Adriatic Sea by Italian fishermen in the 1960s.
“The Pompeii Apollo” was discovered in 1977 in the dining room of a house in Pompeii that had been buried by the volcanic eruption of Mount Vesuvius in 79 A.D.
It is believed to have been used, in a very ungodlike fashion, to hold the room’s lights. That’s something that inspired Lapatin to refer to it as the equivalent of a modern-day lawn jockey.
The exhibition featuring it and the other pieces was organized by the J. Paul Getty Museum, the Fondazione Palazzo Strozzi in Florence and the National Gallery of Art in Washington. It opened at the Palazzo Strozzi earlier this year. After it leaves the Getty, will go on display Dec. 6 at the National Gallery of Art.
It will also be the subject of study when the 19th International Congress on Ancient Bronzes convenes in Los Angeles in October.
http://www.ctvnews.ca/entertainment/ancient-bronze-sculptures-comes-to-l-a-s-getty-museum-1.2490939
Giacobbe Giusti, Horses of Saint Mark
Bronze. Attributed to the Greek sculptor Lysippos, 4th century BCE.”>
Venice, Basilica of St. Mark
http://ancientrome.ru/art/artworken/img.htm?id=5739
http://www.giacobbegiusti.com
Giacobbe Giusti, ‘Dying Gaul ‘
Dying Gaul Musei Capitolini
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The Dying Gaul is one of the best-known and most important works in the Capitoline museum. It is a replica of one of the sculptures in the ex-voto group dedicated to Pergamon by Attalus I to commemorate the victories over the Galatians in the 3rd and 2nd centuries BC. The identity of the sculptor of the original is unknown, but it has been suggested that Epigonus, the court sculptor of the Attalid dynasty of Pergamon, may have been its sculptor.
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| Date | 1st century BC |
| Medium | sculpture in the round / marble |
| Dimensions | Length: 1.865 cm (0.7 in). Height: 0.93 cm (0.4 in). Depth: 0.89 cm (0.4 in). |
Giacobbe Giusti, Alexander the Great
Statue of Alexander the Great
Giacobbe Giusti, a new world 
