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Guadalupe","url":"https://www.academia.edu/Documents/in/La_Virgen_de_Guadalupe"},{"id":39428,"name":"Virgin of Guadalupe","url":"https://www.academia.edu/Documents/in/Virgin_of_Guadalupe"},{"id":680481,"name":"Marian Iconography","url":"https://www.academia.edu/Documents/in/Marian_Iconography"},{"id":16925,"name":"Visions And Dreams","url":"https://www.academia.edu/Documents/in/Visions_And_Dreams"}]} ); if ($a.is_logged_in() && $viewedUser.is_current_user()) { $('body').addClass('profile-viewed-by-owner'); } $socialProfiles = []</script><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://unige-it.academia.edu/LauraStagno","location":"/LauraStagno","scheme":"https","host":"unige-it.academia.edu","port":null,"pathname":"/LauraStagno","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" style="display:none" data-component-name="ProfileCheckPaperUpdate" data-props="{}" data-trace="false" data-dom-id="ProfileCheckPaperUpdate-react-component-a4140ac0-c954-4ca6-973a-e95ade0cdf1b"></div> <div id="ProfileCheckPaperUpdate-react-component-a4140ac0-c954-4ca6-973a-e95ade0cdf1b"></div> <div class="DesignSystem"><div class="onsite-ping" id="onsite-ping"></div></div><div class="profile-user-info DesignSystem"><div class="social-profile-container"><div class="left-panel-container"><div class="user-info-component-wrapper"><div class="user-summary-cta-container"><div class="user-summary-container"><div class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" alt="Laura Stagno" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/1998554/6766107/7640805/s200_laura.stagno.jpg" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">Laura Stagno</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://unige-it.academia.edu/">University of Genova</a>, <a class="u-tcGrayDarker" href="https://unige-it.academia.edu/Departments/Diraas/Documents">Diraas</a>, <span class="u-tcGrayDarker">Faculty Member</span></div></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" data-click-track="profile-user-info-follow-button" data-follow-user-fname="Laura" data-follow-user-id="1998554" data-follow-user-source="profile_button" data-has-google="false"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">add</span>Follow</button><button class="ds2-5-button hidden profile-cta-button grow js-profile-unfollow-button" data-broccoli-component="user-info.unfollow-button" 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class="js-profile-total-view-text">Public Views</span></p><p class="data"><span class="js-profile-view-count"></span></p></div></span></div><div class="user-bio-container"><div class="profile-bio fake-truncate js-profile-about" style="margin: 0px;">LAURA STAGNO, University of Genoa, Associate Professor<br /><br />Degree in the Arts, 1993, University of Genoa. Two years in the Art History postgraduate course of the University of Siena,1994-1995. PhD in “History of Artistic Heritage” at the State University of  Milan, 25.2.2000. Participation in the Garden and Landscape Studies program at the Dumbarton Oaks research center (an Institute of Harvard University), Washington, D.C., 2000. Research grant for 3D renderings of Genoese Early Modern architectures and decorations, 2003. Participation in a number of  research projects (MURST “Young Researcher Projects”, 2001 and 2001, as coordinator; National Research Projects – PRIN: 2004, “Aristocratic palaces and urban transformations”, 2008 “Art collecting and its spaces, 17th-18th century”;  University of Genoa Research Projects - PRA:  2006, 2007, 2008, 2010 as coordinator, 2012, 2013). <br />Between the years 1998 and 2005 she was curator of the Museum of the Palazzo del Principe in Genoa; she is still in charge of  supervising restorations and cultural activities there. <br />From January 2006 to march 2015 she was a lecturer (“ricercatore”) of Early Modern Art History at the University of Genoa. On April 1st, 2015, she became Associate Professor at the same University<br />Her teaching responsibilities include the courses of "History of Early Modern Art in Liguria" and “Iconography and Iconology” at the School of Humanities, as well as a course in “Image education” for future teachers at the School of Social Sciences. She also teach classes at the post-degree Specialization School for Artistic Heritage and supervises art history Ph.D. candidates at the University of Genoa.<br />Her fields of research include classical and religious iconography, civic and princely festivals, with reference to ephemeral apparati for triumphal entries, and the Genoese ruling class’s patronage and art collecting from the 16th to the 18th century. Among her recent publications are essays on the Doria’s patronage and collections (Da Genova a Roma: collezioni e palazzi Doria Pamphilj, in Collezionismo e spazi del collezionismo, Roma, Gangemi, 2013; L’attività di Filippo e Domenico Parodi per i Doria principi di Melfi, “Rivista d’arte”, n.s. V, 2, 2012) as well as an article and a monograph on Vanitas iconographies (The Status of Art in a Vanitas Perspective. Case Studies in Genoese Painting, “Ikon”, 7, 2014; Vanitas, Roma, De Luca, 2012), and essays on religious iconography (Embedding Byzantine Icons in Post-Tridentine and Baroque Splendour. Reception and Celebration of Eastern Cult Images in the Republic of Genoa, 16th-18th Century,  “Ikon”, 9, 2016).<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="ri-section"><div class="ri-section-header"><span>Interests</span><a class="ri-more-link js-profile-ri-list-card" data-click-track="profile-user-info-primary-research-interest" data-has-card-for-ri-list="1998554">View All (32)</a></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="1998554" href="https://www.academia.edu/Documents/in/Christian_Iconography"><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://unige-it.academia.edu/LauraStagno","location":"/LauraStagno","scheme":"https","host":"unige-it.academia.edu","port":null,"pathname":"/LauraStagno","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Christian Iconography"]}" data-trace="false" data-dom-id="Pill-react-component-0922a37d-0258-41da-a1e7-1ab4663cc16f"></div> <div id="Pill-react-component-0922a37d-0258-41da-a1e7-1ab4663cc16f"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="1998554" href="https://www.academia.edu/Documents/in/Iconography"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Iconography"]}" data-trace="false" data-dom-id="Pill-react-component-6efa7745-7391-49b8-830d-be94c7b47713"></div> <div id="Pill-react-component-6efa7745-7391-49b8-830d-be94c7b47713"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="1998554" href="https://www.academia.edu/Documents/in/16th_Century_Italian_Art"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["16th Century Italian Art"]}" data-trace="false" data-dom-id="Pill-react-component-00454fc7-65fd-462f-bf31-1b6b06871279"></div> <div id="Pill-react-component-00454fc7-65fd-462f-bf31-1b6b06871279"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="1998554" href="https://www.academia.edu/Documents/in/Baroque_art_and_architecture"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Baroque art and architecture"]}" data-trace="false" data-dom-id="Pill-react-component-01a82c51-9ebc-4d05-b14f-6e5584b0ff7b"></div> <div id="Pill-react-component-01a82c51-9ebc-4d05-b14f-6e5584b0ff7b"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="1998554" href="https://www.academia.edu/Documents/in/Genoa"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Genoa"]}" data-trace="false" data-dom-id="Pill-react-component-eb932e65-db34-44b0-8df9-daf797c5f5f2"></div> <div id="Pill-react-component-eb932e65-db34-44b0-8df9-daf797c5f5f2"></div> </a></div></div><div class="external-links-container"><ul class="profile-links new-profile js-UserInfo-social"><li class="left-most js-UserInfo-social-cv" data-broccoli-component="user-info.cv-button" data-click-track="profile-user-info-cv" data-cv-filename="LAURA_STAGNO_-_CV.pdf" data-placement="top" data-toggle="tooltip" href="/LauraStagno/CurriculumVitae"><button class="ds2-5-text-link ds2-5-text-link--small" style="font-size: 20px; 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Immagini, committenze artistiche, rapporti politici e culturali tra Genova e la Spagna - ristampa 2021." class="work-thumbnail" src="https://attachments.academia-assets.com/110720514/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/79051008/Giovanni_Andrea_Doria_1540_1606_Immagini_committenze_artistiche_rapporti_politici_e_culturali_tra_Genova_e_la_Spagna_ristampa_2021">Giovanni Andrea Doria (1540-1606). Immagini, committenze artistiche, rapporti politici e culturali tra Genova e la Spagna - ristampa 2021.</a></div><div class="wp-workCard_item"><span>GUP (Genova University Press), collana ARTI VISIVE E PATRIMONIO CULTURALE, ISBN:9788894943030 </span><span>, 2018</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="65dce9de1cbb0553451a752bf05c0a82" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":110720514,"asset_id":79051008,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/110720514/download_file?st=MTczMzI2MjM1Miw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="79051008"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="79051008"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 79051008; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=79051008]").text(description); $(".js-view-count[data-work-id=79051008]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 79051008; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='79051008']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 79051008, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "65dce9de1cbb0553451a752bf05c0a82" } } $('.js-work-strip[data-work-id=79051008]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":79051008,"title":"Giovanni Andrea Doria (1540-1606). 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Images of Religious alterity from Genoa and the Christian Mediterranean</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uned.academia.edu/BorjaFranco">Borja Franco Llopis</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://unige-it.academia.edu/LauraStagno">Laura Stagno</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2c516dbda4eb2d896b05cc4c76c66399" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65785301,"asset_id":45200498,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65785301/download_file?st=MTczMzI2MjM1Miw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="45200498"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="45200498"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 45200498; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=45200498]").text(description); $(".js-view-count[data-work-id=45200498]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 45200498; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='45200498']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 45200498, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2c516dbda4eb2d896b05cc4c76c66399" } } $('.js-work-strip[data-work-id=45200498]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":45200498,"title":"Lepanto and Beyond. 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Percorsi iconografici nell'arte genovese tra Cinquecento ed età barocca" class="work-thumbnail" src="https://attachments.academia-assets.com/31319351/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/2300383/Vanitas_Percorsi_iconografici_nellarte_genovese_tra_Cinquecento_ed_et%C3%A0_barocca">Vanitas. Percorsi iconografici nell'arte genovese tra Cinquecento ed età barocca</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Al tema della Vanitas rimanda una molteplicità di iconografie diverse, “di oggetti” (le nature m...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Al tema della Vanitas rimanda una molteplicità di iconografie diverse, “di oggetti”  (le nature morte moralizzate) e “di figure” (allegorie ed immagini di santi), che in modi differenti declinano la riflessione sui concetti fondanti del tempo che trascorre, dell’inconsistenza dei beni terreni e della centralità della morte ineluttabile. Questo studio, dopo aver analizzato le radici del concetto, propone un’analisi sistematica dei percorsi iconografici che nel Cinquecento e poi in età barocca traducono visivamente i diversi versanti di questa complessa tematica, focalizzando l’attenzione sul contesto genovese, nel quale una serie di fattori concorre a radicare una visione del mondo sensibile ai motivi dell’instabilità della fortuna e ai moniti del memento mori. Dalle allegorie di Luca Cambiaso, giocate sul rapporto tra Vanitas e Verità, alla dimensione monumentale del Carro del Tempo affrescato nel palazzo Balbi Senarega da Valerio Castello, dalle variazioni sul tema proposte dalle raffinati composizioni di Giovanni Benedetto Castiglione, il Grechetto, alle personificazioni ammonitrici del Tempo di Domenico Piola, i differenti  aspetti  del tema trovano traduzione figurativa in esiti pittorici di notevole qualità.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="920ed6ef50349c697750da88e690bd0a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31319351,"asset_id":2300383,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31319351/download_file?st=MTczMzI2MjM1Miw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="2300383"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="2300383"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2300383; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2300383]").text(description); $(".js-view-count[data-work-id=2300383]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2300383; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='2300383']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 2300383, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "920ed6ef50349c697750da88e690bd0a" } } $('.js-work-strip[data-work-id=2300383]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":2300383,"title":"Vanitas. 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Insediamenti, committenze, iconografie" class="work-thumbnail" src="https://attachments.academia-assets.com/31319352/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/2300406/I_Francescani_in_Liguria_Insediamenti_committenze_iconografie"> I Francescani in Liguria. Insediamenti, committenze, iconografie</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Il volume, curato da Lauro Magnani e Laura Stagno, raccoglie gli atti del convegno organizzato pr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Il volume, curato da Lauro Magnani e Laura Stagno, raccoglie gli atti del convegno organizzato presso l’Università degli Studi di Genova nell’ottobre 2009, mirato a creare un momento di confronto tra studiosi di diversa provenienza e ricercatori impegnati ad indagare tematiche francescane nell’ambito specifico del territorio ligure. <br />William R. Cook (State University of New York), riconosciuto esperto di arte francescana medievale, discute le origini di “quasi otto secoli” di produzione artistica legata all’ordine, mentre altri <br />studiosi - tra i quali Bert Treffers, Giorgio Leone, Andrea Spiriti, Mario Alberto Pavone, Mimma Pasculli Ferrara, Francesca Sinagra - presentano in questa sede i risultati delle proprie ricerche sul tema condotte in ambiti geografici diversi, con analisi di complessi decorativi e letture iconografiche talora puntate sul ruolo di singoli artisti, in particolare Caravaggio. <br />Una serie ampia ed articolata di contributi incentrati sul contesto ligure, proposti da autori legati per la maggior parte all’ateneo genovese, alle Soprintendenze e ai musei della regione, ricostruisce il mosaico degli insediamenti, delle architetture, delle committenze artistiche – conservate, o solo documentate – delle comunità francescane, e approfondisce, attraverso approcci metodologici diversificati, caratteri e significati delle scelte iconografiche delle diverse famiglie dell’ordine in un territorio che,  generalmente trascurato dalle precedenti indagini sull’argomento, si rivela invece, sotto questo profilo, particolarmente ricco.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="feb5f59d329c0d738ed9828105082739" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31319352,"asset_id":2300406,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31319352/download_file?st=MTczMzI2MjM1Miw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="2300406"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="2300406"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2300406; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2300406]").text(description); $(".js-view-count[data-work-id=2300406]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2300406; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='2300406']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 2300406, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "feb5f59d329c0d738ed9828105082739" } } $('.js-work-strip[data-work-id=2300406]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":2300406,"title":" I Francescani in Liguria. 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Cook (State University of New York), riconosciuto esperto di arte francescana medievale, discute le origini di “quasi otto secoli” di produzione artistica legata all’ordine, mentre altri\r\nstudiosi - tra i quali Bert Treffers, Giorgio Leone, Andrea Spiriti, Mario Alberto Pavone, Mimma Pasculli Ferrara, Francesca Sinagra - presentano in questa sede i risultati delle proprie ricerche sul tema condotte in ambiti geografici diversi, con analisi di complessi decorativi e letture iconografiche talora puntate sul ruolo di singoli artisti, in particolare Caravaggio.\r\nUna serie ampia ed articolata di contributi incentrati sul contesto ligure, proposti da autori legati per la maggior parte all’ateneo genovese, alle Soprintendenze e ai musei della regione, ricostruisce il mosaico degli insediamenti, delle architetture, delle committenze artistiche – conservate, o solo documentate – delle comunità francescane, e approfondisce, attraverso approcci metodologici diversificati, caratteri e significati delle scelte iconografiche delle diverse famiglie dell’ordine in un territorio che, generalmente trascurato dalle precedenti indagini sull’argomento, si rivela invece, sotto questo profilo, particolarmente ricco.","more_info":"Atti del Convegno (Genova 2009), a cura di L. 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The villa of Andrea Doria, Genoa, Genova, Sagep, 2005" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/1249373/Palazzo_del_Principe_The_villa_of_Andrea_Doria_Genoa_Genova_Sagep_2005">Palazzo del Principe. The villa of Andrea Doria, Genoa, Genova, Sagep, 2005</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The book is the first to deal with Palazzo del Principe and its collections from a comprehensive...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The book is the first to deal with Palazzo del Principe and its collections  from a comprehensive point of view, encompassing  architecture, frescoes and stucco, as well as paintings, tapestries and furniture (some of the works of art were brought back to Genoa in recent years from the Roman palace of the Doria Pamphilj family,  after archival researches demonstrated their provenance from the Genoese palace).  While Andrea Doria’s patronage remains absolutely central , with special reference to Perino del Vaga’s 1529-1533 influential decorative cycle (partially restored prior to publication of the volume), a fair amount of attention has been focused on the much less investigated role of his successors, such as his heir Giovanni Andrea I, for whom artists such as Luca Cambiaso worked, and Giovanni Andrea III, who commissioned important works of art -  many of them still on display in the palace -  to masters of the Genoese Baroque such as Domenico Piola and Filippo Parodi.  The time span covered by the book  extends from the mid Quattrocento – in relation to the two Tournai-woven “Alexander the Great” tapestries” – to the 19th century, when the palace and especially its gardens underwent significant transformations.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="1249373"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="1249373"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1249373; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1249373]").text(description); $(".js-view-count[data-work-id=1249373]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1249373; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='1249373']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 1249373, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=1249373]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":1249373,"title":"Palazzo del Principe. 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While Andrea Doria’s patronage remains absolutely central , with special reference to Perino del Vaga’s 1529-1533 influential decorative cycle (partially restored prior to publication of the volume), a fair amount of attention has been focused on the much less investigated role of his successors, such as his heir Giovanni Andrea I, for whom artists such as Luca Cambiaso worked, and Giovanni Andrea III, who commissioned important works of art - many of them still on display in the palace - to masters of the Genoese Baroque such as Domenico Piola and Filippo Parodi. 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While Andrea Doria’s patronage remains absolutely central , with special reference to Perino del Vaga’s 1529-1533 influential decorative cycle (partially restored prior to publication of the volume), a fair amount of attention has been focused on the much less investigated role of his successors, such as his heir Giovanni Andrea I, for whom artists such as Luca Cambiaso worked, and Giovanni Andrea III, who commissioned important works of art - many of them still on display in the palace - to masters of the Genoese Baroque such as Domenico Piola and Filippo Parodi. 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Immagini e fonti apocrife nella pittura genovese tra XV e XVIII secolo</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c7686dfa2d032501914a5fdbd9e04bc2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36942143,"asset_id":2335758,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36942143/download_file?st=MTczMzI2MjM1Miw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="2335758"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="2335758"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2335758; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2335758]").text(description); $(".js-view-count[data-work-id=2335758]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2335758; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='2335758']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 2335758, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c7686dfa2d032501914a5fdbd9e04bc2" } } $('.js-work-strip[data-work-id=2335758]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":2335758,"title":"Sant'Anna \"Mater Deiparae\". 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Laura Stagno</h3></div><div class="js-work-strip profile--work_container" data-work-id="120544215"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/120544215/Committenze_artistiche_tra_Genova_e_Loano_Giovanni_Andrea_I_e_Andrea_II_Doria"><img alt="Research paper thumbnail of Committenze artistiche tra Genova e Loano: Giovanni Andrea I e Andrea II Doria" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/120544215/Committenze_artistiche_tra_Genova_e_Loano_Giovanni_Andrea_I_e_Andrea_II_Doria">Committenze artistiche tra Genova e Loano: Giovanni Andrea I e Andrea II Doria</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120544215"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120544215"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120544215; 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Percorsi iconografici nell'arte genovese tra Cinquecento ed età barocca" class="work-thumbnail" src="https://attachments.academia-assets.com/31319351/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/2300383/Vanitas_Percorsi_iconografici_nellarte_genovese_tra_Cinquecento_ed_et%C3%A0_barocca">Vanitas. Percorsi iconografici nell'arte genovese tra Cinquecento ed età barocca</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Al tema della Vanitas rimanda una molteplicità di iconografie diverse, “di oggetti” (le nature m...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Al tema della Vanitas rimanda una molteplicità di iconografie diverse, “di oggetti”  (le nature morte moralizzate) e “di figure” (allegorie ed immagini di santi), che in modi differenti declinano la riflessione sui concetti fondanti del tempo che trascorre, dell’inconsistenza dei beni terreni e della centralità della morte ineluttabile. Questo studio, dopo aver analizzato le radici del concetto, propone un’analisi sistematica dei percorsi iconografici che nel Cinquecento e poi in età barocca traducono visivamente i diversi versanti di questa complessa tematica, focalizzando l’attenzione sul contesto genovese, nel quale una serie di fattori concorre a radicare una visione del mondo sensibile ai motivi dell’instabilità della fortuna e ai moniti del memento mori. Dalle allegorie di Luca Cambiaso, giocate sul rapporto tra Vanitas e Verità, alla dimensione monumentale del Carro del Tempo affrescato nel palazzo Balbi Senarega da Valerio Castello, dalle variazioni sul tema proposte dalle raffinati composizioni di Giovanni Benedetto Castiglione, il Grechetto, alle personificazioni ammonitrici del Tempo di Domenico Piola, i differenti  aspetti  del tema trovano traduzione figurativa in esiti pittorici di notevole qualità.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="920ed6ef50349c697750da88e690bd0a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31319351,"asset_id":2300383,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31319351/download_file?st=MTczMzI2MjM1Miw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="2300383"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="2300383"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2300383; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2300383]").text(description); $(".js-view-count[data-work-id=2300383]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2300383; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='2300383']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 2300383, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "920ed6ef50349c697750da88e690bd0a" } } $('.js-work-strip[data-work-id=2300383]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":2300383,"title":"Vanitas. 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Dalle allegorie di Luca Cambiaso, giocate sul rapporto tra Vanitas e Verità, alla dimensione monumentale del Carro del Tempo affrescato nel palazzo Balbi Senarega da Valerio Castello, dalle variazioni sul tema proposte dalle raffinati composizioni di Giovanni Benedetto Castiglione, il Grechetto, alle personificazioni ammonitrici del Tempo di Domenico Piola, i differenti aspetti del tema trovano traduzione figurativa in esiti pittorici di notevole qualità. ","publisher":"De Luca Editori d'arte, Roma","publication_date":{"day":null,"month":11,"year":2012,"errors":{}}},"translated_abstract":"Al tema della Vanitas rimanda una molteplicità di iconografie diverse, “di oggetti” (le nature morte moralizzate) e “di figure” (allegorie ed immagini di santi), che in modi differenti declinano la riflessione sui concetti fondanti del tempo che trascorre, dell’inconsistenza dei beni terreni e della centralità della morte ineluttabile. Questo studio, dopo aver analizzato le radici del concetto, propone un’analisi sistematica dei percorsi iconografici che nel Cinquecento e poi in età barocca traducono visivamente i diversi versanti di questa complessa tematica, focalizzando l’attenzione sul contesto genovese, nel quale una serie di fattori concorre a radicare una visione del mondo sensibile ai motivi dell’instabilità della fortuna e ai moniti del memento mori. Dalle allegorie di Luca Cambiaso, giocate sul rapporto tra Vanitas e Verità, alla dimensione monumentale del Carro del Tempo affrescato nel palazzo Balbi Senarega da Valerio Castello, dalle variazioni sul tema proposte dalle raffinati composizioni di Giovanni Benedetto Castiglione, il Grechetto, alle personificazioni ammonitrici del Tempo di Domenico Piola, i differenti aspetti del tema trovano traduzione figurativa in esiti pittorici di notevole qualità. 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Insediamenti, committenze, iconografie" class="work-thumbnail" src="https://attachments.academia-assets.com/31319352/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/2300406/I_Francescani_in_Liguria_Insediamenti_committenze_iconografie"> I Francescani in Liguria. Insediamenti, committenze, iconografie</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Il volume, curato da Lauro Magnani e Laura Stagno, raccoglie gli atti del convegno organizzato pr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Il volume, curato da Lauro Magnani e Laura Stagno, raccoglie gli atti del convegno organizzato presso l’Università degli Studi di Genova nell’ottobre 2009, mirato a creare un momento di confronto tra studiosi di diversa provenienza e ricercatori impegnati ad indagare tematiche francescane nell’ambito specifico del territorio ligure. <br />William R. Cook (State University of New York), riconosciuto esperto di arte francescana medievale, discute le origini di “quasi otto secoli” di produzione artistica legata all’ordine, mentre altri <br />studiosi - tra i quali Bert Treffers, Giorgio Leone, Andrea Spiriti, Mario Alberto Pavone, Mimma Pasculli Ferrara, Francesca Sinagra - presentano in questa sede i risultati delle proprie ricerche sul tema condotte in ambiti geografici diversi, con analisi di complessi decorativi e letture iconografiche talora puntate sul ruolo di singoli artisti, in particolare Caravaggio. <br />Una serie ampia ed articolata di contributi incentrati sul contesto ligure, proposti da autori legati per la maggior parte all’ateneo genovese, alle Soprintendenze e ai musei della regione, ricostruisce il mosaico degli insediamenti, delle architetture, delle committenze artistiche – conservate, o solo documentate – delle comunità francescane, e approfondisce, attraverso approcci metodologici diversificati, caratteri e significati delle scelte iconografiche delle diverse famiglie dell’ordine in un territorio che,  generalmente trascurato dalle precedenti indagini sull’argomento, si rivela invece, sotto questo profilo, particolarmente ricco.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="feb5f59d329c0d738ed9828105082739" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31319352,"asset_id":2300406,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31319352/download_file?st=MTczMzI2MjM1Miw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="2300406"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="2300406"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2300406; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2300406]").text(description); $(".js-view-count[data-work-id=2300406]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2300406; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='2300406']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 2300406, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "feb5f59d329c0d738ed9828105082739" } } $('.js-work-strip[data-work-id=2300406]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":2300406,"title":" I Francescani in Liguria. Insediamenti, committenze, iconografie","translated_title":"","metadata":{"abstract":"Il volume, curato da Lauro Magnani e Laura Stagno, raccoglie gli atti del convegno organizzato presso l’Università degli Studi di Genova nell’ottobre 2009, mirato a creare un momento di confronto tra studiosi di diversa provenienza e ricercatori impegnati ad indagare tematiche francescane nell’ambito specifico del territorio ligure.\r\nWilliam R. Cook (State University of New York), riconosciuto esperto di arte francescana medievale, discute le origini di “quasi otto secoli” di produzione artistica legata all’ordine, mentre altri\r\nstudiosi - tra i quali Bert Treffers, Giorgio Leone, Andrea Spiriti, Mario Alberto Pavone, Mimma Pasculli Ferrara, Francesca Sinagra - presentano in questa sede i risultati delle proprie ricerche sul tema condotte in ambiti geografici diversi, con analisi di complessi decorativi e letture iconografiche talora puntate sul ruolo di singoli artisti, in particolare Caravaggio.\r\nUna serie ampia ed articolata di contributi incentrati sul contesto ligure, proposti da autori legati per la maggior parte all’ateneo genovese, alle Soprintendenze e ai musei della regione, ricostruisce il mosaico degli insediamenti, delle architetture, delle committenze artistiche – conservate, o solo documentate – delle comunità francescane, e approfondisce, attraverso approcci metodologici diversificati, caratteri e significati delle scelte iconografiche delle diverse famiglie dell’ordine in un territorio che, generalmente trascurato dalle precedenti indagini sull’argomento, si rivela invece, sotto questo profilo, particolarmente ricco.","more_info":"Atti del Convegno (Genova 2009), a cura di L. 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The villa of Andrea Doria, Genoa, Genova, Sagep, 2005" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/1249373/Palazzo_del_Principe_The_villa_of_Andrea_Doria_Genoa_Genova_Sagep_2005">Palazzo del Principe. The villa of Andrea Doria, Genoa, Genova, Sagep, 2005</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The book is the first to deal with Palazzo del Principe and its collections from a comprehensive...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The book is the first to deal with Palazzo del Principe and its collections  from a comprehensive point of view, encompassing  architecture, frescoes and stucco, as well as paintings, tapestries and furniture (some of the works of art were brought back to Genoa in recent years from the Roman palace of the Doria Pamphilj family,  after archival researches demonstrated their provenance from the Genoese palace).  While Andrea Doria’s patronage remains absolutely central , with special reference to Perino del Vaga’s 1529-1533 influential decorative cycle (partially restored prior to publication of the volume), a fair amount of attention has been focused on the much less investigated role of his successors, such as his heir Giovanni Andrea I, for whom artists such as Luca Cambiaso worked, and Giovanni Andrea III, who commissioned important works of art -  many of them still on display in the palace -  to masters of the Genoese Baroque such as Domenico Piola and Filippo Parodi.  The time span covered by the book  extends from the mid Quattrocento – in relation to the two Tournai-woven “Alexander the Great” tapestries” – to the 19th century, when the palace and especially its gardens underwent significant transformations.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="1249373"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="1249373"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1249373; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1249373]").text(description); $(".js-view-count[data-work-id=1249373]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1249373; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='1249373']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 1249373, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=1249373]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":1249373,"title":"Palazzo del Principe. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="10794763" id="conferences"><div class="js-work-strip profile--work_container" data-work-id="44545434"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44545434/RISK_Research_Group_International_Conference_Questioning_Republicanism_in_Early_Modern_Genoa_1576_1684_online_conference_2_4_December_2020"><img alt="Research paper thumbnail of RISK Research Group International Conference "Questioning Republicanism in Early Modern Genoa (1576-1684)", online conference, 2-4 December 2020" class="work-thumbnail" src="https://attachments.academia-assets.com/64994584/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44545434/RISK_Research_Group_International_Conference_Questioning_Republicanism_in_Early_Modern_Genoa_1576_1684_online_conference_2_4_December_2020">RISK Research Group International Conference "Questioning Republicanism in Early Modern Genoa (1576-1684)", online conference, 2-4 December 2020</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unipd.academia.edu/EnricoZucchi">Enrico Zucchi</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unipd.academia.edu/AlessandroMetlica">Alessandro Metlica</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unige-it.academia.edu/LauraStagno">Laura Stagno</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uu.academia.edu/ArthurWeststeijn">Arthur Weststeijn</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://manchester.academia.edu/GloriaMoorman">Gloria Moorman</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unipd.academia.edu/GiacomoComiati">Giacomo Comiati</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://knaw.academia.edu/JorisOddens">Joris Oddens</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the past thirty years, several studies have been devoted to the political and cultural floweri...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In the past thirty years, several studies have been devoted to the political and cultural flowering of the republic of Genoa during the so-called ‘siglo de los Genoveses’, between 1528 and 1630, when Genoa became the hub of European trade and an important epicenter of artistic and literary production. Yet little attention has been granted to the cultural and<br />economic crisis that followed or to how Genoese republican state power was represented during the long seventeenth century, especially in relation to neighbouring polities. To address this gap, the conference explores how the Genoese Republic shaped its political image between 1559 – the year of the publication of Oberto Foglietta’s Delle cose della<br />repubblica di Genova – and 1684, when Genoa was bombed by the French. <br />The conference, aimed at art historians, literary scholars, and political and cultural historians, strongly encourages a comparative approach, with a focus on the originality of the Genoese system of political representation in the European early modern context.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a0f271b39ae215af490b5a99e114b1ca" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64994584,"asset_id":44545434,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64994584/download_file?st=MTczMzI2MjM1Miw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44545434"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44545434"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44545434; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44545434]").text(description); $(".js-view-count[data-work-id=44545434]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44545434; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44545434']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44545434, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a0f271b39ae215af490b5a99e114b1ca" } } $('.js-work-strip[data-work-id=44545434]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44545434,"title":"RISK Research Group International Conference \"Questioning Republicanism in Early Modern Genoa (1576-1684)\", online conference, 2-4 December 2020","translated_title":"","metadata":{"abstract":"In the past thirty years, several studies have been devoted to the political and cultural flowering of the republic of Genoa during the so-called ‘siglo de los Genoveses’, between 1528 and 1630, when Genoa became the hub of European trade and an important epicenter of artistic and literary production. 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