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You searched for subject:(baroque stage). Showing records 1 – 2 of 2 total matches.

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1. HAMMOND, VICTORIA. High Baroque scenography and the architecture of Antonio Galli Bibiena.

Degree: 2015, University of Melbourne

This is the first comprehensive study of the Italian scenographer, architect and quadratura painter, Antonio Galli Bibiena (1697-1774). It is based on research conducted in numerous cities and towns in which he worked, in Austria, Hungary, Slovakia and northern Italy. This research found that Bibiena presents himself as an apposite subject for a specific, detailed exploration of the influence of scenography on the architecture of the Baroque. As second, and, later, first theatrical architect to Habsburg sovereigns for thirty years, Bibiena designed numerous and varied scenographic productions for the Viennese court. He also designed a series of ecclesiastical interiors featuring quadratura domes in various parts of Austro-Hungary, the most well known being the presbytery of Peterskirche in Vienna. After his return to Italy he became known as a specialist in theatre architecture, notably Il Nuovo Teatro Pubblico (Teatro Comunale) in Bologna and the Teatro Scientifico in Mantua. At the same time he continued to develop domed interiors, the culmination of which is the luminous stucco-domed ceiling of the Church of Sant’Antonio Abate at Villa Pasquali. Each of Bibiena’s works, whether a massive quadratura dome of astonishing illusionism, or a tiny theatre conceived as an opera house in miniature, has a markedly individual character. The thesis proposes that this is largely the result of Bibiena’s mastery of scenographic techniques and effects. The focus of the thesis is Bibiena’s development of illusionistic or fictive domes from 1726 to 1773. The discovery during my Italian researches of an unknown work by Bibiena, his quadratura decoration of the Sacristy of Cremona Cathedral (1764), sheds new light on this relatively neglected aspect of his work. The sacristy is here attributed to Antonio Bibiena for the first time. The study has three principal objectives. The first is to provide a systematic account of Bibiena’s development that addresses his stylistic diversity. This involves a detailed examination of the various milieux in which he worked, both in geographical terms and in relation to his direct confrontations with the call for Neo-Classicism; the latter are contextualised via reference to an overlooked memoir written by Bibiena himself, and the writings of architectural theorists such as Francesco Algarotti and the shifting positions of Giovanni Battista Piranesi. The second aim is to investigate the various ways in which Bibiena increasingly utilised scenography to illusionistic space-expanding and sensorial effect, in both painted and built architecture. The word ‘architecture‘ in the title thus refers to the illusionistic architecture of quadratura painting as well as to built architecture. Bibiena’s status as a second generation member of the widely acclaimed Galli Bibiena dynasty of court architect-scenographers is explored as a foundation from which he drew on numerous other sources, many of them hitherto unidentified. The thesis demonstrates that scena per angolo, the revolutionary…

Subjects/Keywords: Baroque; Baroque art; Baroque architecture; Scenography; Baroque scenography; Bibiena; Quadratura; Antonio Galli Bibiena; ceiling painting; quadratura domes; Italian art; Italian architecture; Italian Baroque; late Baroque; domes; Illusionism; Illusionistic painting; theatre architecture; eighteenth-century architecture; Galli Bibiena family; Bibiena family; eighteenth-century European art; eighteenth-century European architecture; scena per angolo; Baroque stage design; Ferdinando Galli Bibiena

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APA (6th Edition):

HAMMOND, V. (2015). High Baroque scenography and the architecture of Antonio Galli Bibiena. (Doctoral Dissertation). University of Melbourne. Retrieved from http://hdl.handle.net/11343/55610

Chicago Manual of Style (16th Edition):

HAMMOND, VICTORIA. “High Baroque scenography and the architecture of Antonio Galli Bibiena.” 2015. Doctoral Dissertation, University of Melbourne. Accessed January 17, 2020. http://hdl.handle.net/11343/55610.

MLA Handbook (7th Edition):

HAMMOND, VICTORIA. “High Baroque scenography and the architecture of Antonio Galli Bibiena.” 2015. Web. 17 Jan 2020.

Vancouver:

HAMMOND V. High Baroque scenography and the architecture of Antonio Galli Bibiena. [Internet] [Doctoral dissertation]. University of Melbourne; 2015. [cited 2020 Jan 17]. Available from: http://hdl.handle.net/11343/55610.

Council of Science Editors:

HAMMOND V. High Baroque scenography and the architecture of Antonio Galli Bibiena. [Doctoral Dissertation]. University of Melbourne; 2015. Available from: http://hdl.handle.net/11343/55610


Freie Universität Berlin

2. Konwitschny, Seollyeon. Alessandro Mauro: a venetian theatre and festival decorator of late Baroque (active ca. 1694-1736).

Degree: 2015, Freie Universität Berlin

My monographic work discusses the relevance of the rediscovery of – and the new appreciation for – Venetian theatre architect and festival designer Alessandro Mauro. His diverse scope of work in stage-, festival- and costume design, and the construction of magnificent gondolas, represents Late Baroque courtly festival culture and goes back to a centuries-old, family-run business in Venice. Mauro was stylistic one of the French master Jean Berain recipients in art history. He had a personal drawing style. His delicate brushstroke shows a loose, simple and naturalistic curve-style. His close-to-nature, light and picturesque representation of space characterizes Mauro’s design. However, he did not have his own, always same style. The originality of Mauro’s Œuvre lies in its mix of various trends. Mauro’s willingness and openness to merge his style with the styles of on-site artists during work assignments led to multiple commissions at the leading courts in Italy and Dresden. This, however, also let his work fall into oblivion soon after his death. This (certainly) made it difficult, both for his contemporary audience and for posterity, to clearly visualize Mauro’s work. Moreover, his extensive activities at the interface of art, theatre and music history were examined separately by Italian and German researchers. This makes it more difficult to get a concrete overview of Mauro’s Œuvre thus far. The author hopes to give an impulse for more intensive research efforts on Mauro in the future. Advisors/Committee Members: w (gender), Prof. Dr. Christiane Salge (firstReferee), Prof. Dr. Sebastian Fitzner (furtherReferee).

Subjects/Keywords: baroque theatre; baroque stage; festival design; venetian Gondola decoration in 18th century; court culture in Dresden; 700 Künste und Unterhaltung::740 Zeichnung, angewandte Kunst::745 Angewandte Kunst; 700 Künste und Unterhaltung::740 Zeichnung, angewandte Kunst::747 Innendekoration

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Konwitschny, S. (2015). Alessandro Mauro: a venetian theatre and festival decorator of late Baroque (active ca. 1694-1736). (Thesis). Freie Universität Berlin. Retrieved from https://refubium.fu-berlin.de/handle/fub188/12386

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

Konwitschny, Seollyeon. “Alessandro Mauro: a venetian theatre and festival decorator of late Baroque (active ca. 1694-1736).” 2015. Thesis, Freie Universität Berlin. Accessed January 17, 2020. https://refubium.fu-berlin.de/handle/fub188/12386.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

Konwitschny, Seollyeon. “Alessandro Mauro: a venetian theatre and festival decorator of late Baroque (active ca. 1694-1736).” 2015. Web. 17 Jan 2020.

Vancouver:

Konwitschny S. Alessandro Mauro: a venetian theatre and festival decorator of late Baroque (active ca. 1694-1736). [Internet] [Thesis]. Freie Universität Berlin; 2015. [cited 2020 Jan 17]. Available from: https://refubium.fu-berlin.de/handle/fub188/12386.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Konwitschny S. Alessandro Mauro: a venetian theatre and festival decorator of late Baroque (active ca. 1694-1736). [Thesis]. Freie Universität Berlin; 2015. Available from: https://refubium.fu-berlin.de/handle/fub188/12386

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

.