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Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarotti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind. Dieses Album beinhaltet daher überwiegend Scans.
Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarotti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind. Dieses Album beinhaltet daher überwiegend Scans.
Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarotti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind. Dieses Album beinhaltet daher überwiegend Scans.
Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarotti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind. Dieses Album beinhaltet daher überwiegend Scans.
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021. Dal Colosseo a Michelangelo = "Un Gemello Digitale" (e tutto il patrimonio italiano ora può essere legalmente venduto in tutto il mondo), ora Nft interessa anche al ministro Franceschini. [Italiano & English]. Corriere Della Sera (14/05/2021); Italian Tech (06/10/2021) & Cinello - Florence / Fb (06/10/2021). wp.me/pbMWvy-21q
Foto: l’iconico Tondo Doni di Michelangelo degli Uffizi / DAW (Digital Art Work) = 70000-140000 Euro. Il Direttore degli Uffizi, Eike Schmidt. Cinello / Fb (06/10/2021).
1). ITALIA - NUOVE STRATEGIE - Michelangelo ha un gemello digitale e la Venere di Botticelli è crittografata. Corriere Della Sera (14/05/2021).
Niente visitatori o mostre, i conti dei musei più importanti sono in rosso. Gli uffizi di Firenze hanno avuto un’idea: creare avatar, riproduzioni virtuali delle grandi opere, e metterle in vendita. A caro prezzo.
Una chiavetta microprocessore, un brevetto mondiale, una protezione informatica (su Blockchain con gli immancabili NFT a corredo) e giuridica, un’autentica del museo che dà valore assoluto a questi perfetti gemelli digitali crittografati (in edizione limitata) dei grandi capolavori italiani, tra cui la Venere del Botticelli. Non la solita copia fatta benissimo nei laboratori cinesi, ma un DAW (Digital Art Work), avatar dell’originale ben custodito nelle collezioni. Signori il catalogo è questo: Mantegna, Raffaello, Caravaggio, Tiziano, Botticelli, Bronzino, Leonardo, Michelangelo, Lippi, Signorelli, Canaletto e molti altri maestri che il mondo ci invidia e che ora si possono avere (a caro prezzo) in duplicato. Un centinaio (a catalogo) le opere fedelmente riproposte in versione digitale su schermo, in collaborazione con Uffizi, Gallerie dell’Accademia di Venezia, Pinacoteca di Brera e Pinacoteca Ambrosiana di Milano, Galleria Nazionale delle Marche a Urbino, i Musei Reali di Torino, il Museo e Real Bosco di Capodimonte a Napoli, il Complesso monumentale della Pilotta a Parma, il Museo di Palazzo Pretorio a Prato, la Fondazione Cavallini Sgarbi di Ferrara, la Fondazione MPS di Siena.
Regalo di compleanno
Lo sviluppo tecnologico è frutto dell’ingegno di Franco Losi (una passione per l’arte ereditata dal padre pittore) e del suo socio John Blem. Dal 2017, con la loro società Cinello, hanno sviluppato questo progetto (benvoluto anche dal Mic) giunto a maturazione proprio nell’era Covid-19. Prima opera DAW ad essere venduta (a 140 mila euro, di cui 70 andranno al museo) l’iconico Tondo Doni di Michelangelo degli Uffizi. Questa Sacra Famiglia (tanto ammirata dal Vasari e poi anche da Roberto Longhi ma criticata nei secoli da altri storici dell’arte per l’esecuzione compositiva), con le figure plastiche e imponenti di Maria, del Bambino e di Giuseppe con sullo sfondo figure nude, fu dipinta dall’artista a Firenze tra il 1506 e il 1508 per il banchiere Agnolo Doni.
Opere fisiche ma create da un algoritmo
Il Direttore degli Uffizi, Eike Schmidt, parla di quest’opera DAW non come di un clone, ma nei termini di una “traduzione” dell’originale in una tecnologia. In un primo tempo saranno 17 le opere DAW (su una più ampia selezione) che gli Uffizi concedono a questo mercato, ottenendo da Cinello il 50% sul prezzo di vendita. Certo questi profitti non risolvono il bilancio stravolto del museo (34 milioni d’incassi globali nel 2019, 8,8 nel 2020) ma se i collezionisti si fanno avanti, aiutano le casse magre. «Nel medio termine potranno contribuire alle finanze di un museo, paragonabile ai proventi della ristorazione. Non è un cambiamento di rotta quanto a fonte di introiti, è un ricavo aggiuntivo. Ma la creazione di un mercato di questo tipo non è una cosa veloce», dice Schmidt. «Queste opere DAW (dalla doppia appartenenza sia al mondo fisico che a quello degli algoritmi) sono così un “pezzo” degli Uffizi. Per ciascun dipinto del progetto abbiamo voluto far realizzare nove esemplari digitali identici (nove è un numero ben testato per i multipli della scultura), per distinguerle dall’originale».
Fonte / source:
--- Corriere Della Sera (14/05/2021).
www.corriere.it/sette/cultura-societa/21_maggio_14/michel...
2). ITALY - ART 2.0. From the Colosseum to Michelangelo, now Nft is also of interest to Minister Franceschini. Italian Tech (06/10/2021).
The initiative of a collective of politicians, artists, philosophers and curators follows the sale by the Uffizi of a Non Fungible Token of a work by Michelangelo for 70 thousand euros. Italy can play a leading role on the cryptoart.
It all started with an unconventional proposal to say the least: «We sell the Colosseum». The idea comes from a collective of politicians, artists, philosophers and curators (or "researchers" as they prefer to define themselves) which includes Alessandro Fusacchia, Alex Braga, Federico Clapis, Andrea Colamedici and Serena Tabacchi. Let's sell it, they tell us in an open letter published last July, because today it would be possible to do so "without touching a single stone, and clearly leaving the property to the Italian State."
It is not a joke, nor a comedy by Totò: we can sell the Flavian amphitheater, the collective suggests, because to end up on the market and in some collector's computer it would be only his NFT, acronym stands for Non Fungible Token (non-fungible token ), and which defines a digital file created using the computer code of the blockchain. A digital item that is purchased using cryptocurrencies such as Ether or Wax and that exists as a single file that cannot be duplicated.
To create and sell the NFT of the famous monument, many different technologies and skills would be needed: for example, those necessary to create a 3D digital copy of a huge object. Any collection could then be used, for example, for the conservation and enhancement of the immense patrimony of Italian cultural heritage, which in turn can be digitized according to the same criteria and can be sold with the same noble purpose.
It would be just the beginning: behind the "provocation" that touched one of the greatest icons of Italian cultural and artistic heritage, there is in fact a strategic vision according to which "after covid-19, culture cannot restart only with protection of existing assets, because now we have the opportunity to exploit digital and new technologies to enhance what already exists, but also and above all to produce new culture ", explains Alessandro Fusacchia, parliamentarian and member of the VII Commission (Culture, Science, Instruction).
ossibility that the group of researchers is determined to grasp: «The idea is to build a center of gravity - continues Fusacchia - to bring together a group of people who represent different and complementary worlds. And who have decided to think at a systemic level on which legislative, civil society, entrepreneurial and artistic initiatives can be set up to raise awareness of the centrality of new technologies throughout the country. And then their adoption to create a new cultural and economic ecosystem capable of generating wealth and projecting Italy into the future ».
A few months ago, the Uffizi Galleries sold the NFT of Michelangelo's Tondo Doni, a very high resolution copy made with technology developed by the Cinello startup, bringing around 70,000 euros to the museum's coffers. It is perhaps an isolated case, but sufficient to arouse the interest of Minister Dario Franceschini, who has already promised guidelines for museums.
And it is always from the world of art - in this case contemporary and digital - that examples of what happens when culture, technology and business meet. Not so much and not only for the case of the experienced artist Beeple (40 years old), who through the auction house Christie's sold a work entitled Everydays: The First 5000 Days, composed from five thousand images taken in as many days and then brought together in a single picture.
But also and above all for what artists of the so-called generation Z are doing: we are talking about digital natives like the 15-year-old Jaiden Stipp, who already last March had auctioned his first collection of digital artwork earning 20ETH, at the exchange rate of 30 thousand dollars. And who has since sold four other works, then using the money he earned to help his parents pay the mortgage, but also to finance other artists of his age.
Or even like Benyamin Ahmed, who at the age of 12 creates and sells collections of pixelated art, or objects and characters made according to the style of the Minecraft video game, and who had already collected the equivalent of 350 thousand dollars in Ethereum at the end of August.
A new generation that is already fully ready to be the protagonist of that change hoped for by the group of researchers, which is partly already underway and which now requires the participation of all stakeholders to be fully realized also in Italy: "They must be brought aboard this operation intellectuals, artists, operators, startuppers, entrepreneurs, and then obviously the institutions - concludes Alessandro Fusacchia - And we need to understand that if we combine technology and culture, we strengthen both by giving a future to the country ».
Fonte / source:
--- Italian Tech (06/10/2021).
www.italian.tech/2021/11/02/news/vendiamo_l_nft_del_colos...
3). ITALIA - Cinello / @CinelloOfficial · Art / Firenze - Milano - COPENAGHEN / Fb (06/10/2021).
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021. Dal Colosseo a Michelangelo = "Un Gemello Digitale" (e tutto il patrimonio italiano ora può essere legalmente venduto in tutto il mondo), ora Nft interessa anche al ministro Franceschini. [Italiano & English]. Corriere Della Sera (14/05/2021); Italian Tech (06/10/2021) & Cinello - Florence / Fb (06/10/2021). wp.me/pbMWvy-21q
Foto: l’iconico Tondo Doni di Michelangelo degli Uffizi / DAW (Digital Art Work) = 70000-140000 Euro. Il Direttore degli Uffizi, Eike Schmidt. Cinello / Fb (06/10/2021).
1). ITALIA - NUOVE STRATEGIE - Michelangelo ha un gemello digitale e la Venere di Botticelli è crittografata. Corriere Della Sera (14/05/2021).
Niente visitatori o mostre, i conti dei musei più importanti sono in rosso. Gli uffizi di Firenze hanno avuto un’idea: creare avatar, riproduzioni virtuali delle grandi opere, e metterle in vendita. A caro prezzo.
Una chiavetta microprocessore, un brevetto mondiale, una protezione informatica (su Blockchain con gli immancabili NFT a corredo) e giuridica, un’autentica del museo che dà valore assoluto a questi perfetti gemelli digitali crittografati (in edizione limitata) dei grandi capolavori italiani, tra cui la Venere del Botticelli. Non la solita copia fatta benissimo nei laboratori cinesi, ma un DAW (Digital Art Work), avatar dell’originale ben custodito nelle collezioni. Signori il catalogo è questo: Mantegna, Raffaello, Caravaggio, Tiziano, Botticelli, Bronzino, Leonardo, Michelangelo, Lippi, Signorelli, Canaletto e molti altri maestri che il mondo ci invidia e che ora si possono avere (a caro prezzo) in duplicato. Un centinaio (a catalogo) le opere fedelmente riproposte in versione digitale su schermo, in collaborazione con Uffizi, Gallerie dell’Accademia di Venezia, Pinacoteca di Brera e Pinacoteca Ambrosiana di Milano, Galleria Nazionale delle Marche a Urbino, i Musei Reali di Torino, il Museo e Real Bosco di Capodimonte a Napoli, il Complesso monumentale della Pilotta a Parma, il Museo di Palazzo Pretorio a Prato, la Fondazione Cavallini Sgarbi di Ferrara, la Fondazione MPS di Siena.
Regalo di compleanno
Lo sviluppo tecnologico è frutto dell’ingegno di Franco Losi (una passione per l’arte ereditata dal padre pittore) e del suo socio John Blem. Dal 2017, con la loro società Cinello, hanno sviluppato questo progetto (benvoluto anche dal Mic) giunto a maturazione proprio nell’era Covid-19. Prima opera DAW ad essere venduta (a 140 mila euro, di cui 70 andranno al museo) l’iconico Tondo Doni di Michelangelo degli Uffizi. Questa Sacra Famiglia (tanto ammirata dal Vasari e poi anche da Roberto Longhi ma criticata nei secoli da altri storici dell’arte per l’esecuzione compositiva), con le figure plastiche e imponenti di Maria, del Bambino e di Giuseppe con sullo sfondo figure nude, fu dipinta dall’artista a Firenze tra il 1506 e il 1508 per il banchiere Agnolo Doni.
Opere fisiche ma create da un algoritmo
Il Direttore degli Uffizi, Eike Schmidt, parla di quest’opera DAW non come di un clone, ma nei termini di una “traduzione” dell’originale in una tecnologia. In un primo tempo saranno 17 le opere DAW (su una più ampia selezione) che gli Uffizi concedono a questo mercato, ottenendo da Cinello il 50% sul prezzo di vendita. Certo questi profitti non risolvono il bilancio stravolto del museo (34 milioni d’incassi globali nel 2019, 8,8 nel 2020) ma se i collezionisti si fanno avanti, aiutano le casse magre. «Nel medio termine potranno contribuire alle finanze di un museo, paragonabile ai proventi della ristorazione. Non è un cambiamento di rotta quanto a fonte di introiti, è un ricavo aggiuntivo. Ma la creazione di un mercato di questo tipo non è una cosa veloce», dice Schmidt. «Queste opere DAW (dalla doppia appartenenza sia al mondo fisico che a quello degli algoritmi) sono così un “pezzo” degli Uffizi. Per ciascun dipinto del progetto abbiamo voluto far realizzare nove esemplari digitali identici (nove è un numero ben testato per i multipli della scultura), per distinguerle dall’originale».
Fonte / source:
--- Corriere Della Sera (14/05/2021).
www.corriere.it/sette/cultura-societa/21_maggio_14/michel...
2). ITALY - ART 2.0. From the Colosseum to Michelangelo, now Nft is also of interest to Minister Franceschini. Italian Tech (06/10/2021).
The initiative of a collective of politicians, artists, philosophers and curators follows the sale by the Uffizi of a Non Fungible Token of a work by Michelangelo for 70 thousand euros. Italy can play a leading role on the cryptoart.
It all started with an unconventional proposal to say the least: «We sell the Colosseum». The idea comes from a collective of politicians, artists, philosophers and curators (or "researchers" as they prefer to define themselves) which includes Alessandro Fusacchia, Alex Braga, Federico Clapis, Andrea Colamedici and Serena Tabacchi. Let's sell it, they tell us in an open letter published last July, because today it would be possible to do so "without touching a single stone, and clearly leaving the property to the Italian State."
It is not a joke, nor a comedy by Totò: we can sell the Flavian amphitheater, the collective suggests, because to end up on the market and in some collector's computer it would be only his NFT, acronym stands for Non Fungible Token (non-fungible token ), and which defines a digital file created using the computer code of the blockchain. A digital item that is purchased using cryptocurrencies such as Ether or Wax and that exists as a single file that cannot be duplicated.
To create and sell the NFT of the famous monument, many different technologies and skills would be needed: for example, those necessary to create a 3D digital copy of a huge object. Any collection could then be used, for example, for the conservation and enhancement of the immense patrimony of Italian cultural heritage, which in turn can be digitized according to the same criteria and can be sold with the same noble purpose.
It would be just the beginning: behind the "provocation" that touched one of the greatest icons of Italian cultural and artistic heritage, there is in fact a strategic vision according to which "after covid-19, culture cannot restart only with protection of existing assets, because now we have the opportunity to exploit digital and new technologies to enhance what already exists, but also and above all to produce new culture ", explains Alessandro Fusacchia, parliamentarian and member of the VII Commission (Culture, Science, Instruction).
ossibility that the group of researchers is determined to grasp: «The idea is to build a center of gravity - continues Fusacchia - to bring together a group of people who represent different and complementary worlds. And who have decided to think at a systemic level on which legislative, civil society, entrepreneurial and artistic initiatives can be set up to raise awareness of the centrality of new technologies throughout the country. And then their adoption to create a new cultural and economic ecosystem capable of generating wealth and projecting Italy into the future ».
A few months ago, the Uffizi Galleries sold the NFT of Michelangelo's Tondo Doni, a very high resolution copy made with technology developed by the Cinello startup, bringing around 70,000 euros to the museum's coffers. It is perhaps an isolated case, but sufficient to arouse the interest of Minister Dario Franceschini, who has already promised guidelines for museums.
And it is always from the world of art - in this case contemporary and digital - that examples of what happens when culture, technology and business meet. Not so much and not only for the case of the experienced artist Beeple (40 years old), who through the auction house Christie's sold a work entitled Everydays: The First 5000 Days, composed from five thousand images taken in as many days and then brought together in a single picture.
But also and above all for what artists of the so-called generation Z are doing: we are talking about digital natives like the 15-year-old Jaiden Stipp, who already last March had auctioned his first collection of digital artwork earning 20ETH, at the exchange rate of 30 thousand dollars. And who has since sold four other works, then using the money he earned to help his parents pay the mortgage, but also to finance other artists of his age.
Or even like Benyamin Ahmed, who at the age of 12 creates and sells collections of pixelated art, or objects and characters made according to the style of the Minecraft video game, and who had already collected the equivalent of 350 thousand dollars in Ethereum at the end of August.
A new generation that is already fully ready to be the protagonist of that change hoped for by the group of researchers, which is partly already underway and which now requires the participation of all stakeholders to be fully realized also in Italy: "They must be brought aboard this operation intellectuals, artists, operators, startuppers, entrepreneurs, and then obviously the institutions - concludes Alessandro Fusacchia - And we need to understand that if we combine technology and culture, we strengthen both by giving a future to the country ».
Fonte / source:
--- Italian Tech (06/10/2021).
www.italian.tech/2021/11/02/news/vendiamo_l_nft_del_colos...
3). ITALIA - Cinello / @CinelloOfficial · Art / Firenze - Milano - COPENAGHEN / Fb (06/10/2021).
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021. Dal Colosseo a Michelangelo = "Un Gemello Digitale" (e tutto il patrimonio italiano ora può essere legalmente venduto in tutto il mondo), ora Nft interessa anche al ministro Franceschini. [Italiano & English]. Corriere Della Sera (14/05/2021); Italian Tech (06/10/2021) & Cinello - Florence / Fb (06/10/2021). wp.me/pbMWvy-21q
Foto: l’iconico Tondo Doni di Michelangelo degli Uffizi / DAW (Digital Art Work) = 70000-140000 Euro. Il Direttore degli Uffizi, Eike Schmidt. Cinello / Fb (06/10/2021).
1). ITALIA - NUOVE STRATEGIE - Michelangelo ha un gemello digitale e la Venere di Botticelli è crittografata. Corriere Della Sera (14/05/2021).
Niente visitatori o mostre, i conti dei musei più importanti sono in rosso. Gli uffizi di Firenze hanno avuto un’idea: creare avatar, riproduzioni virtuali delle grandi opere, e metterle in vendita. A caro prezzo.
Una chiavetta microprocessore, un brevetto mondiale, una protezione informatica (su Blockchain con gli immancabili NFT a corredo) e giuridica, un’autentica del museo che dà valore assoluto a questi perfetti gemelli digitali crittografati (in edizione limitata) dei grandi capolavori italiani, tra cui la Venere del Botticelli. Non la solita copia fatta benissimo nei laboratori cinesi, ma un DAW (Digital Art Work), avatar dell’originale ben custodito nelle collezioni. Signori il catalogo è questo: Mantegna, Raffaello, Caravaggio, Tiziano, Botticelli, Bronzino, Leonardo, Michelangelo, Lippi, Signorelli, Canaletto e molti altri maestri che il mondo ci invidia e che ora si possono avere (a caro prezzo) in duplicato. Un centinaio (a catalogo) le opere fedelmente riproposte in versione digitale su schermo, in collaborazione con Uffizi, Gallerie dell’Accademia di Venezia, Pinacoteca di Brera e Pinacoteca Ambrosiana di Milano, Galleria Nazionale delle Marche a Urbino, i Musei Reali di Torino, il Museo e Real Bosco di Capodimonte a Napoli, il Complesso monumentale della Pilotta a Parma, il Museo di Palazzo Pretorio a Prato, la Fondazione Cavallini Sgarbi di Ferrara, la Fondazione MPS di Siena.
Regalo di compleanno
Lo sviluppo tecnologico è frutto dell’ingegno di Franco Losi (una passione per l’arte ereditata dal padre pittore) e del suo socio John Blem. Dal 2017, con la loro società Cinello, hanno sviluppato questo progetto (benvoluto anche dal Mic) giunto a maturazione proprio nell’era Covid-19. Prima opera DAW ad essere venduta (a 140 mila euro, di cui 70 andranno al museo) l’iconico Tondo Doni di Michelangelo degli Uffizi. Questa Sacra Famiglia (tanto ammirata dal Vasari e poi anche da Roberto Longhi ma criticata nei secoli da altri storici dell’arte per l’esecuzione compositiva), con le figure plastiche e imponenti di Maria, del Bambino e di Giuseppe con sullo sfondo figure nude, fu dipinta dall’artista a Firenze tra il 1506 e il 1508 per il banchiere Agnolo Doni.
Opere fisiche ma create da un algoritmo
Il Direttore degli Uffizi, Eike Schmidt, parla di quest’opera DAW non come di un clone, ma nei termini di una “traduzione” dell’originale in una tecnologia. In un primo tempo saranno 17 le opere DAW (su una più ampia selezione) che gli Uffizi concedono a questo mercato, ottenendo da Cinello il 50% sul prezzo di vendita. Certo questi profitti non risolvono il bilancio stravolto del museo (34 milioni d’incassi globali nel 2019, 8,8 nel 2020) ma se i collezionisti si fanno avanti, aiutano le casse magre. «Nel medio termine potranno contribuire alle finanze di un museo, paragonabile ai proventi della ristorazione. Non è un cambiamento di rotta quanto a fonte di introiti, è un ricavo aggiuntivo. Ma la creazione di un mercato di questo tipo non è una cosa veloce», dice Schmidt. «Queste opere DAW (dalla doppia appartenenza sia al mondo fisico che a quello degli algoritmi) sono così un “pezzo” degli Uffizi. Per ciascun dipinto del progetto abbiamo voluto far realizzare nove esemplari digitali identici (nove è un numero ben testato per i multipli della scultura), per distinguerle dall’originale».
Fonte / source:
--- Corriere Della Sera (14/05/2021).
www.corriere.it/sette/cultura-societa/21_maggio_14/michel...
2). ITALY - ART 2.0. From the Colosseum to Michelangelo, now Nft is also of interest to Minister Franceschini. Italian Tech (06/10/2021).
The initiative of a collective of politicians, artists, philosophers and curators follows the sale by the Uffizi of a Non Fungible Token of a work by Michelangelo for 70 thousand euros. Italy can play a leading role on the cryptoart.
It all started with an unconventional proposal to say the least: «We sell the Colosseum». The idea comes from a collective of politicians, artists, philosophers and curators (or "researchers" as they prefer to define themselves) which includes Alessandro Fusacchia, Alex Braga, Federico Clapis, Andrea Colamedici and Serena Tabacchi. Let's sell it, they tell us in an open letter published last July, because today it would be possible to do so "without touching a single stone, and clearly leaving the property to the Italian State."
It is not a joke, nor a comedy by Totò: we can sell the Flavian amphitheater, the collective suggests, because to end up on the market and in some collector's computer it would be only his NFT, acronym stands for Non Fungible Token (non-fungible token ), and which defines a digital file created using the computer code of the blockchain. A digital item that is purchased using cryptocurrencies such as Ether or Wax and that exists as a single file that cannot be duplicated.
To create and sell the NFT of the famous monument, many different technologies and skills would be needed: for example, those necessary to create a 3D digital copy of a huge object. Any collection could then be used, for example, for the conservation and enhancement of the immense patrimony of Italian cultural heritage, which in turn can be digitized according to the same criteria and can be sold with the same noble purpose.
It would be just the beginning: behind the "provocation" that touched one of the greatest icons of Italian cultural and artistic heritage, there is in fact a strategic vision according to which "after covid-19, culture cannot restart only with protection of existing assets, because now we have the opportunity to exploit digital and new technologies to enhance what already exists, but also and above all to produce new culture ", explains Alessandro Fusacchia, parliamentarian and member of the VII Commission (Culture, Science, Instruction).
ossibility that the group of researchers is determined to grasp: «The idea is to build a center of gravity - continues Fusacchia - to bring together a group of people who represent different and complementary worlds. And who have decided to think at a systemic level on which legislative, civil society, entrepreneurial and artistic initiatives can be set up to raise awareness of the centrality of new technologies throughout the country. And then their adoption to create a new cultural and economic ecosystem capable of generating wealth and projecting Italy into the future ».
A few months ago, the Uffizi Galleries sold the NFT of Michelangelo's Tondo Doni, a very high resolution copy made with technology developed by the Cinello startup, bringing around 70,000 euros to the museum's coffers. It is perhaps an isolated case, but sufficient to arouse the interest of Minister Dario Franceschini, who has already promised guidelines for museums.
And it is always from the world of art - in this case contemporary and digital - that examples of what happens when culture, technology and business meet. Not so much and not only for the case of the experienced artist Beeple (40 years old), who through the auction house Christie's sold a work entitled Everydays: The First 5000 Days, composed from five thousand images taken in as many days and then brought together in a single picture.
But also and above all for what artists of the so-called generation Z are doing: we are talking about digital natives like the 15-year-old Jaiden Stipp, who already last March had auctioned his first collection of digital artwork earning 20ETH, at the exchange rate of 30 thousand dollars. And who has since sold four other works, then using the money he earned to help his parents pay the mortgage, but also to finance other artists of his age.
Or even like Benyamin Ahmed, who at the age of 12 creates and sells collections of pixelated art, or objects and characters made according to the style of the Minecraft video game, and who had already collected the equivalent of 350 thousand dollars in Ethereum at the end of August.
A new generation that is already fully ready to be the protagonist of that change hoped for by the group of researchers, which is partly already underway and which now requires the participation of all stakeholders to be fully realized also in Italy: "They must be brought aboard this operation intellectuals, artists, operators, startuppers, entrepreneurs, and then obviously the institutions - concludes Alessandro Fusacchia - And we need to understand that if we combine technology and culture, we strengthen both by giving a future to the country ».
Fonte / source:
--- Italian Tech (06/10/2021).
www.italian.tech/2021/11/02/news/vendiamo_l_nft_del_colos...
3). ITALIA - Cinello / @CinelloOfficial · Art / Firenze - Milano - COPENAGHEN / Fb (06/10/2021).
Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarotti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind. Dieses Album beinhaltet daher überwiegend Scans.
Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarotti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind. Dieses Album beinhaltet daher überwiegend Scans.
Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarotti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind. Dieses Album beinhaltet daher überwiegend Scans.
I primed Rootstein's Magaret, Mounia, Tracy, and Allesandra. I Dremeled and Bondoed Sayoko. Tracy still needs more work, noticed only after I had finished priming her. Sayoko had a bunch of cracks and potholes. Blisters....
Beim Jüngsten Gericht ist Christus der Richter die zentrale Figur und entscheidet über das Schicksal der menschlichen Rasse. Mit einer Armbewegung verdammt er einen großen Teil der Menschenund schickt sie in die Hölle, während die Erlösten zum Himmel aufsteigen. Seine Mutter Maria an seiner Seite wendet sich mit einer Geste des Mitleids von der erschreckenden Szene ab.
The center figure of the Last Judgment is Christ deciding the destiny of the human race. With a gesture of his arms he damns quite a part of mankind, sending them into hell, but the saved ones are rising to heaven. His mother Mary at his side turns away from the frightening scene with a gesture of compassion.
Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarotti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind. Dieses Album beinhaltet daher überwiegend Scans.
Das Foto hat Notizen.
Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarotti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind. Dieses Album beinhaltet daher überwiegend Scans.
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021. Dal Colosseo a Michelangelo = "Un Gemello Digitale" (e tutto il patrimonio italiano ora può essere legalmente venduto in tutto il mondo), ora Nft interessa anche al ministro Franceschini. [Italiano & English]. Corriere Della Sera (14/05/2021); Italian Tech (06/10/2021) & Cinello - Florence / Fb (06/10/2021). wp.me/pbMWvy-21q
Foto: l’iconico Tondo Doni di Michelangelo degli Uffizi / DAW (Digital Art Work) = 70000-140000 Euro. Il Direttore degli Uffizi, Eike Schmidt. Cinello / Fb (06/10/2021).
1). ITALIA - NUOVE STRATEGIE - Michelangelo ha un gemello digitale e la Venere di Botticelli è crittografata. Corriere Della Sera (14/05/2021).
Niente visitatori o mostre, i conti dei musei più importanti sono in rosso. Gli uffizi di Firenze hanno avuto un’idea: creare avatar, riproduzioni virtuali delle grandi opere, e metterle in vendita. A caro prezzo.
Una chiavetta microprocessore, un brevetto mondiale, una protezione informatica (su Blockchain con gli immancabili NFT a corredo) e giuridica, un’autentica del museo che dà valore assoluto a questi perfetti gemelli digitali crittografati (in edizione limitata) dei grandi capolavori italiani, tra cui la Venere del Botticelli. Non la solita copia fatta benissimo nei laboratori cinesi, ma un DAW (Digital Art Work), avatar dell’originale ben custodito nelle collezioni. Signori il catalogo è questo: Mantegna, Raffaello, Caravaggio, Tiziano, Botticelli, Bronzino, Leonardo, Michelangelo, Lippi, Signorelli, Canaletto e molti altri maestri che il mondo ci invidia e che ora si possono avere (a caro prezzo) in duplicato. Un centinaio (a catalogo) le opere fedelmente riproposte in versione digitale su schermo, in collaborazione con Uffizi, Gallerie dell’Accademia di Venezia, Pinacoteca di Brera e Pinacoteca Ambrosiana di Milano, Galleria Nazionale delle Marche a Urbino, i Musei Reali di Torino, il Museo e Real Bosco di Capodimonte a Napoli, il Complesso monumentale della Pilotta a Parma, il Museo di Palazzo Pretorio a Prato, la Fondazione Cavallini Sgarbi di Ferrara, la Fondazione MPS di Siena.
Regalo di compleanno
Lo sviluppo tecnologico è frutto dell’ingegno di Franco Losi (una passione per l’arte ereditata dal padre pittore) e del suo socio John Blem. Dal 2017, con la loro società Cinello, hanno sviluppato questo progetto (benvoluto anche dal Mic) giunto a maturazione proprio nell’era Covid-19. Prima opera DAW ad essere venduta (a 140 mila euro, di cui 70 andranno al museo) l’iconico Tondo Doni di Michelangelo degli Uffizi. Questa Sacra Famiglia (tanto ammirata dal Vasari e poi anche da Roberto Longhi ma criticata nei secoli da altri storici dell’arte per l’esecuzione compositiva), con le figure plastiche e imponenti di Maria, del Bambino e di Giuseppe con sullo sfondo figure nude, fu dipinta dall’artista a Firenze tra il 1506 e il 1508 per il banchiere Agnolo Doni.
Opere fisiche ma create da un algoritmo
Il Direttore degli Uffizi, Eike Schmidt, parla di quest’opera DAW non come di un clone, ma nei termini di una “traduzione” dell’originale in una tecnologia. In un primo tempo saranno 17 le opere DAW (su una più ampia selezione) che gli Uffizi concedono a questo mercato, ottenendo da Cinello il 50% sul prezzo di vendita. Certo questi profitti non risolvono il bilancio stravolto del museo (34 milioni d’incassi globali nel 2019, 8,8 nel 2020) ma se i collezionisti si fanno avanti, aiutano le casse magre. «Nel medio termine potranno contribuire alle finanze di un museo, paragonabile ai proventi della ristorazione. Non è un cambiamento di rotta quanto a fonte di introiti, è un ricavo aggiuntivo. Ma la creazione di un mercato di questo tipo non è una cosa veloce», dice Schmidt. «Queste opere DAW (dalla doppia appartenenza sia al mondo fisico che a quello degli algoritmi) sono così un “pezzo” degli Uffizi. Per ciascun dipinto del progetto abbiamo voluto far realizzare nove esemplari digitali identici (nove è un numero ben testato per i multipli della scultura), per distinguerle dall’originale».
Fonte / source:
--- Corriere Della Sera (14/05/2021).
www.corriere.it/sette/cultura-societa/21_maggio_14/michel...
2). ITALY - ART 2.0. From the Colosseum to Michelangelo, now Nft is also of interest to Minister Franceschini. Italian Tech (06/10/2021).
The initiative of a collective of politicians, artists, philosophers and curators follows the sale by the Uffizi of a Non Fungible Token of a work by Michelangelo for 70 thousand euros. Italy can play a leading role on the cryptoart.
It all started with an unconventional proposal to say the least: «We sell the Colosseum». The idea comes from a collective of politicians, artists, philosophers and curators (or "researchers" as they prefer to define themselves) which includes Alessandro Fusacchia, Alex Braga, Federico Clapis, Andrea Colamedici and Serena Tabacchi. Let's sell it, they tell us in an open letter published last July, because today it would be possible to do so "without touching a single stone, and clearly leaving the property to the Italian State."
It is not a joke, nor a comedy by Totò: we can sell the Flavian amphitheater, the collective suggests, because to end up on the market and in some collector's computer it would be only his NFT, acronym stands for Non Fungible Token (non-fungible token ), and which defines a digital file created using the computer code of the blockchain. A digital item that is purchased using cryptocurrencies such as Ether or Wax and that exists as a single file that cannot be duplicated.
To create and sell the NFT of the famous monument, many different technologies and skills would be needed: for example, those necessary to create a 3D digital copy of a huge object. Any collection could then be used, for example, for the conservation and enhancement of the immense patrimony of Italian cultural heritage, which in turn can be digitized according to the same criteria and can be sold with the same noble purpose.
It would be just the beginning: behind the "provocation" that touched one of the greatest icons of Italian cultural and artistic heritage, there is in fact a strategic vision according to which "after covid-19, culture cannot restart only with protection of existing assets, because now we have the opportunity to exploit digital and new technologies to enhance what already exists, but also and above all to produce new culture ", explains Alessandro Fusacchia, parliamentarian and member of the VII Commission (Culture, Science, Instruction).
ossibility that the group of researchers is determined to grasp: «The idea is to build a center of gravity - continues Fusacchia - to bring together a group of people who represent different and complementary worlds. And who have decided to think at a systemic level on which legislative, civil society, entrepreneurial and artistic initiatives can be set up to raise awareness of the centrality of new technologies throughout the country. And then their adoption to create a new cultural and economic ecosystem capable of generating wealth and projecting Italy into the future ».
A few months ago, the Uffizi Galleries sold the NFT of Michelangelo's Tondo Doni, a very high resolution copy made with technology developed by the Cinello startup, bringing around 70,000 euros to the museum's coffers. It is perhaps an isolated case, but sufficient to arouse the interest of Minister Dario Franceschini, who has already promised guidelines for museums.
And it is always from the world of art - in this case contemporary and digital - that examples of what happens when culture, technology and business meet. Not so much and not only for the case of the experienced artist Beeple (40 years old), who through the auction house Christie's sold a work entitled Everydays: The First 5000 Days, composed from five thousand images taken in as many days and then brought together in a single picture.
But also and above all for what artists of the so-called generation Z are doing: we are talking about digital natives like the 15-year-old Jaiden Stipp, who already last March had auctioned his first collection of digital artwork earning 20ETH, at the exchange rate of 30 thousand dollars. And who has since sold four other works, then using the money he earned to help his parents pay the mortgage, but also to finance other artists of his age.
Or even like Benyamin Ahmed, who at the age of 12 creates and sells collections of pixelated art, or objects and characters made according to the style of the Minecraft video game, and who had already collected the equivalent of 350 thousand dollars in Ethereum at the end of August.
A new generation that is already fully ready to be the protagonist of that change hoped for by the group of researchers, which is partly already underway and which now requires the participation of all stakeholders to be fully realized also in Italy: "They must be brought aboard this operation intellectuals, artists, operators, startuppers, entrepreneurs, and then obviously the institutions - concludes Alessandro Fusacchia - And we need to understand that if we combine technology and culture, we strengthen both by giving a future to the country ».
Fonte / source:
--- Italian Tech (06/10/2021).
www.italian.tech/2021/11/02/news/vendiamo_l_nft_del_colos...
3). ITALIA - Cinello / @CinelloOfficial · Art / Firenze - Milano - COPENAGHEN / Fb (06/10/2021).
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021. Dal Colosseo a Michelangelo = "Un Gemello Digitale" (e tutto il patrimonio italiano ora può essere legalmente venduto in tutto il mondo), ora Nft interessa anche al ministro Franceschini. [Italiano & English]. Corriere Della Sera (14/05/2021); Italian Tech (06/10/2021) & Cinello - Florence / Fb (06/10/2021). wp.me/pbMWvy-21q
Foto: l’iconico Tondo Doni di Michelangelo degli Uffizi / DAW (Digital Art Work) = 70000-140000 Euro. Il Direttore degli Uffizi, Eike Schmidt. Cinello / Fb (06/10/2021).
1). ITALIA - NUOVE STRATEGIE - Michelangelo ha un gemello digitale e la Venere di Botticelli è crittografata. Corriere Della Sera (14/05/2021).
Niente visitatori o mostre, i conti dei musei più importanti sono in rosso. Gli uffizi di Firenze hanno avuto un’idea: creare avatar, riproduzioni virtuali delle grandi opere, e metterle in vendita. A caro prezzo.
Una chiavetta microprocessore, un brevetto mondiale, una protezione informatica (su Blockchain con gli immancabili NFT a corredo) e giuridica, un’autentica del museo che dà valore assoluto a questi perfetti gemelli digitali crittografati (in edizione limitata) dei grandi capolavori italiani, tra cui la Venere del Botticelli. Non la solita copia fatta benissimo nei laboratori cinesi, ma un DAW (Digital Art Work), avatar dell’originale ben custodito nelle collezioni. Signori il catalogo è questo: Mantegna, Raffaello, Caravaggio, Tiziano, Botticelli, Bronzino, Leonardo, Michelangelo, Lippi, Signorelli, Canaletto e molti altri maestri che il mondo ci invidia e che ora si possono avere (a caro prezzo) in duplicato. Un centinaio (a catalogo) le opere fedelmente riproposte in versione digitale su schermo, in collaborazione con Uffizi, Gallerie dell’Accademia di Venezia, Pinacoteca di Brera e Pinacoteca Ambrosiana di Milano, Galleria Nazionale delle Marche a Urbino, i Musei Reali di Torino, il Museo e Real Bosco di Capodimonte a Napoli, il Complesso monumentale della Pilotta a Parma, il Museo di Palazzo Pretorio a Prato, la Fondazione Cavallini Sgarbi di Ferrara, la Fondazione MPS di Siena.
Regalo di compleanno
Lo sviluppo tecnologico è frutto dell’ingegno di Franco Losi (una passione per l’arte ereditata dal padre pittore) e del suo socio John Blem. Dal 2017, con la loro società Cinello, hanno sviluppato questo progetto (benvoluto anche dal Mic) giunto a maturazione proprio nell’era Covid-19. Prima opera DAW ad essere venduta (a 140 mila euro, di cui 70 andranno al museo) l’iconico Tondo Doni di Michelangelo degli Uffizi. Questa Sacra Famiglia (tanto ammirata dal Vasari e poi anche da Roberto Longhi ma criticata nei secoli da altri storici dell’arte per l’esecuzione compositiva), con le figure plastiche e imponenti di Maria, del Bambino e di Giuseppe con sullo sfondo figure nude, fu dipinta dall’artista a Firenze tra il 1506 e il 1508 per il banchiere Agnolo Doni.
Opere fisiche ma create da un algoritmo
Il Direttore degli Uffizi, Eike Schmidt, parla di quest’opera DAW non come di un clone, ma nei termini di una “traduzione” dell’originale in una tecnologia. In un primo tempo saranno 17 le opere DAW (su una più ampia selezione) che gli Uffizi concedono a questo mercato, ottenendo da Cinello il 50% sul prezzo di vendita. Certo questi profitti non risolvono il bilancio stravolto del museo (34 milioni d’incassi globali nel 2019, 8,8 nel 2020) ma se i collezionisti si fanno avanti, aiutano le casse magre. «Nel medio termine potranno contribuire alle finanze di un museo, paragonabile ai proventi della ristorazione. Non è un cambiamento di rotta quanto a fonte di introiti, è un ricavo aggiuntivo. Ma la creazione di un mercato di questo tipo non è una cosa veloce», dice Schmidt. «Queste opere DAW (dalla doppia appartenenza sia al mondo fisico che a quello degli algoritmi) sono così un “pezzo” degli Uffizi. Per ciascun dipinto del progetto abbiamo voluto far realizzare nove esemplari digitali identici (nove è un numero ben testato per i multipli della scultura), per distinguerle dall’originale».
Fonte / source:
--- Corriere Della Sera (14/05/2021).
www.corriere.it/sette/cultura-societa/21_maggio_14/michel...
2). ITALY - ART 2.0. From the Colosseum to Michelangelo, now Nft is also of interest to Minister Franceschini. Italian Tech (06/10/2021).
The initiative of a collective of politicians, artists, philosophers and curators follows the sale by the Uffizi of a Non Fungible Token of a work by Michelangelo for 70 thousand euros. Italy can play a leading role on the cryptoart.
It all started with an unconventional proposal to say the least: «We sell the Colosseum». The idea comes from a collective of politicians, artists, philosophers and curators (or "researchers" as they prefer to define themselves) which includes Alessandro Fusacchia, Alex Braga, Federico Clapis, Andrea Colamedici and Serena Tabacchi. Let's sell it, they tell us in an open letter published last July, because today it would be possible to do so "without touching a single stone, and clearly leaving the property to the Italian State."
It is not a joke, nor a comedy by Totò: we can sell the Flavian amphitheater, the collective suggests, because to end up on the market and in some collector's computer it would be only his NFT, acronym stands for Non Fungible Token (non-fungible token ), and which defines a digital file created using the computer code of the blockchain. A digital item that is purchased using cryptocurrencies such as Ether or Wax and that exists as a single file that cannot be duplicated.
To create and sell the NFT of the famous monument, many different technologies and skills would be needed: for example, those necessary to create a 3D digital copy of a huge object. Any collection could then be used, for example, for the conservation and enhancement of the immense patrimony of Italian cultural heritage, which in turn can be digitized according to the same criteria and can be sold with the same noble purpose.
It would be just the beginning: behind the "provocation" that touched one of the greatest icons of Italian cultural and artistic heritage, there is in fact a strategic vision according to which "after covid-19, culture cannot restart only with protection of existing assets, because now we have the opportunity to exploit digital and new technologies to enhance what already exists, but also and above all to produce new culture ", explains Alessandro Fusacchia, parliamentarian and member of the VII Commission (Culture, Science, Instruction).
ossibility that the group of researchers is determined to grasp: «The idea is to build a center of gravity - continues Fusacchia - to bring together a group of people who represent different and complementary worlds. And who have decided to think at a systemic level on which legislative, civil society, entrepreneurial and artistic initiatives can be set up to raise awareness of the centrality of new technologies throughout the country. And then their adoption to create a new cultural and economic ecosystem capable of generating wealth and projecting Italy into the future ».
A few months ago, the Uffizi Galleries sold the NFT of Michelangelo's Tondo Doni, a very high resolution copy made with technology developed by the Cinello startup, bringing around 70,000 euros to the museum's coffers. It is perhaps an isolated case, but sufficient to arouse the interest of Minister Dario Franceschini, who has already promised guidelines for museums.
And it is always from the world of art - in this case contemporary and digital - that examples of what happens when culture, technology and business meet. Not so much and not only for the case of the experienced artist Beeple (40 years old), who through the auction house Christie's sold a work entitled Everydays: The First 5000 Days, composed from five thousand images taken in as many days and then brought together in a single picture.
But also and above all for what artists of the so-called generation Z are doing: we are talking about digital natives like the 15-year-old Jaiden Stipp, who already last March had auctioned his first collection of digital artwork earning 20ETH, at the exchange rate of 30 thousand dollars. And who has since sold four other works, then using the money he earned to help his parents pay the mortgage, but also to finance other artists of his age.
Or even like Benyamin Ahmed, who at the age of 12 creates and sells collections of pixelated art, or objects and characters made according to the style of the Minecraft video game, and who had already collected the equivalent of 350 thousand dollars in Ethereum at the end of August.
A new generation that is already fully ready to be the protagonist of that change hoped for by the group of researchers, which is partly already underway and which now requires the participation of all stakeholders to be fully realized also in Italy: "They must be brought aboard this operation intellectuals, artists, operators, startuppers, entrepreneurs, and then obviously the institutions - concludes Alessandro Fusacchia - And we need to understand that if we combine technology and culture, we strengthen both by giving a future to the country ».
Fonte / source:
--- Italian Tech (06/10/2021).
www.italian.tech/2021/11/02/news/vendiamo_l_nft_del_colos...
3). ITALIA - Cinello / @CinelloOfficial · Art / Firenze - Milano - COPENAGHEN / Fb (06/10/2021).
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021. Dal Colosseo a Michelangelo = "Un Gemello Digitale" (e tutto il patrimonio italiano ora può essere legalmente venduto in tutto il mondo), ora Nft interessa anche al ministro Franceschini. [Italiano & English]. Corriere Della Sera (14/05/2021); Italian Tech (06/10/2021) & Cinello - Florence / Fb (06/10/2021). wp.me/pbMWvy-21q
Foto: l’iconico Tondo Doni di Michelangelo degli Uffizi / DAW (Digital Art Work) = 70000-140000 Euro. Il Direttore degli Uffizi, Eike Schmidt. Cinello / Fb (06/10/2021).
1). ITALIA - NUOVE STRATEGIE - Michelangelo ha un gemello digitale e la Venere di Botticelli è crittografata. Corriere Della Sera (14/05/2021).
Niente visitatori o mostre, i conti dei musei più importanti sono in rosso. Gli uffizi di Firenze hanno avuto un’idea: creare avatar, riproduzioni virtuali delle grandi opere, e metterle in vendita. A caro prezzo.
Una chiavetta microprocessore, un brevetto mondiale, una protezione informatica (su Blockchain con gli immancabili NFT a corredo) e giuridica, un’autentica del museo che dà valore assoluto a questi perfetti gemelli digitali crittografati (in edizione limitata) dei grandi capolavori italiani, tra cui la Venere del Botticelli. Non la solita copia fatta benissimo nei laboratori cinesi, ma un DAW (Digital Art Work), avatar dell’originale ben custodito nelle collezioni. Signori il catalogo è questo: Mantegna, Raffaello, Caravaggio, Tiziano, Botticelli, Bronzino, Leonardo, Michelangelo, Lippi, Signorelli, Canaletto e molti altri maestri che il mondo ci invidia e che ora si possono avere (a caro prezzo) in duplicato. Un centinaio (a catalogo) le opere fedelmente riproposte in versione digitale su schermo, in collaborazione con Uffizi, Gallerie dell’Accademia di Venezia, Pinacoteca di Brera e Pinacoteca Ambrosiana di Milano, Galleria Nazionale delle Marche a Urbino, i Musei Reali di Torino, il Museo e Real Bosco di Capodimonte a Napoli, il Complesso monumentale della Pilotta a Parma, il Museo di Palazzo Pretorio a Prato, la Fondazione Cavallini Sgarbi di Ferrara, la Fondazione MPS di Siena.
Regalo di compleanno
Lo sviluppo tecnologico è frutto dell’ingegno di Franco Losi (una passione per l’arte ereditata dal padre pittore) e del suo socio John Blem. Dal 2017, con la loro società Cinello, hanno sviluppato questo progetto (benvoluto anche dal Mic) giunto a maturazione proprio nell’era Covid-19. Prima opera DAW ad essere venduta (a 140 mila euro, di cui 70 andranno al museo) l’iconico Tondo Doni di Michelangelo degli Uffizi. Questa Sacra Famiglia (tanto ammirata dal Vasari e poi anche da Roberto Longhi ma criticata nei secoli da altri storici dell’arte per l’esecuzione compositiva), con le figure plastiche e imponenti di Maria, del Bambino e di Giuseppe con sullo sfondo figure nude, fu dipinta dall’artista a Firenze tra il 1506 e il 1508 per il banchiere Agnolo Doni.
Opere fisiche ma create da un algoritmo
Il Direttore degli Uffizi, Eike Schmidt, parla di quest’opera DAW non come di un clone, ma nei termini di una “traduzione” dell’originale in una tecnologia. In un primo tempo saranno 17 le opere DAW (su una più ampia selezione) che gli Uffizi concedono a questo mercato, ottenendo da Cinello il 50% sul prezzo di vendita. Certo questi profitti non risolvono il bilancio stravolto del museo (34 milioni d’incassi globali nel 2019, 8,8 nel 2020) ma se i collezionisti si fanno avanti, aiutano le casse magre. «Nel medio termine potranno contribuire alle finanze di un museo, paragonabile ai proventi della ristorazione. Non è un cambiamento di rotta quanto a fonte di introiti, è un ricavo aggiuntivo. Ma la creazione di un mercato di questo tipo non è una cosa veloce», dice Schmidt. «Queste opere DAW (dalla doppia appartenenza sia al mondo fisico che a quello degli algoritmi) sono così un “pezzo” degli Uffizi. Per ciascun dipinto del progetto abbiamo voluto far realizzare nove esemplari digitali identici (nove è un numero ben testato per i multipli della scultura), per distinguerle dall’originale».
Fonte / source:
--- Corriere Della Sera (14/05/2021).
www.corriere.it/sette/cultura-societa/21_maggio_14/michel...
2). ITALY - ART 2.0. From the Colosseum to Michelangelo, now Nft is also of interest to Minister Franceschini. Italian Tech (06/10/2021).
The initiative of a collective of politicians, artists, philosophers and curators follows the sale by the Uffizi of a Non Fungible Token of a work by Michelangelo for 70 thousand euros. Italy can play a leading role on the cryptoart.
It all started with an unconventional proposal to say the least: «We sell the Colosseum». The idea comes from a collective of politicians, artists, philosophers and curators (or "researchers" as they prefer to define themselves) which includes Alessandro Fusacchia, Alex Braga, Federico Clapis, Andrea Colamedici and Serena Tabacchi. Let's sell it, they tell us in an open letter published last July, because today it would be possible to do so "without touching a single stone, and clearly leaving the property to the Italian State."
It is not a joke, nor a comedy by Totò: we can sell the Flavian amphitheater, the collective suggests, because to end up on the market and in some collector's computer it would be only his NFT, acronym stands for Non Fungible Token (non-fungible token ), and which defines a digital file created using the computer code of the blockchain. A digital item that is purchased using cryptocurrencies such as Ether or Wax and that exists as a single file that cannot be duplicated.
To create and sell the NFT of the famous monument, many different technologies and skills would be needed: for example, those necessary to create a 3D digital copy of a huge object. Any collection could then be used, for example, for the conservation and enhancement of the immense patrimony of Italian cultural heritage, which in turn can be digitized according to the same criteria and can be sold with the same noble purpose.
It would be just the beginning: behind the "provocation" that touched one of the greatest icons of Italian cultural and artistic heritage, there is in fact a strategic vision according to which "after covid-19, culture cannot restart only with protection of existing assets, because now we have the opportunity to exploit digital and new technologies to enhance what already exists, but also and above all to produce new culture ", explains Alessandro Fusacchia, parliamentarian and member of the VII Commission (Culture, Science, Instruction).
ossibility that the group of researchers is determined to grasp: «The idea is to build a center of gravity - continues Fusacchia - to bring together a group of people who represent different and complementary worlds. And who have decided to think at a systemic level on which legislative, civil society, entrepreneurial and artistic initiatives can be set up to raise awareness of the centrality of new technologies throughout the country. And then their adoption to create a new cultural and economic ecosystem capable of generating wealth and projecting Italy into the future ».
A few months ago, the Uffizi Galleries sold the NFT of Michelangelo's Tondo Doni, a very high resolution copy made with technology developed by the Cinello startup, bringing around 70,000 euros to the museum's coffers. It is perhaps an isolated case, but sufficient to arouse the interest of Minister Dario Franceschini, who has already promised guidelines for museums.
And it is always from the world of art - in this case contemporary and digital - that examples of what happens when culture, technology and business meet. Not so much and not only for the case of the experienced artist Beeple (40 years old), who through the auction house Christie's sold a work entitled Everydays: The First 5000 Days, composed from five thousand images taken in as many days and then brought together in a single picture.
But also and above all for what artists of the so-called generation Z are doing: we are talking about digital natives like the 15-year-old Jaiden Stipp, who already last March had auctioned his first collection of digital artwork earning 20ETH, at the exchange rate of 30 thousand dollars. And who has since sold four other works, then using the money he earned to help his parents pay the mortgage, but also to finance other artists of his age.
Or even like Benyamin Ahmed, who at the age of 12 creates and sells collections of pixelated art, or objects and characters made according to the style of the Minecraft video game, and who had already collected the equivalent of 350 thousand dollars in Ethereum at the end of August.
A new generation that is already fully ready to be the protagonist of that change hoped for by the group of researchers, which is partly already underway and which now requires the participation of all stakeholders to be fully realized also in Italy: "They must be brought aboard this operation intellectuals, artists, operators, startuppers, entrepreneurs, and then obviously the institutions - concludes Alessandro Fusacchia - And we need to understand that if we combine technology and culture, we strengthen both by giving a future to the country ».
Fonte / source:
--- Italian Tech (06/10/2021).
www.italian.tech/2021/11/02/news/vendiamo_l_nft_del_colos...
3). ITALIA - Cinello / @CinelloOfficial · Art / Firenze - Milano - COPENAGHEN / Fb (06/10/2021).
Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarotti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind. Dieses Album beinhaltet daher überwiegend Scans.
Das Foto hat Notizen.
Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarotti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind. Dieses Album beinhaltet daher überwiegend Scans.
THE ROMAN EMPIRE.
TREBONIANUS GALLUS, mid June 251–August( ?) 253. Sestertius, Rome, Æ 22.34 g. Obv. IMP CAES C VIBIVS TREBONIANVS GALLVS AVG His laureate, draped and cuirassed bust right; border of dots. Rev. LIBERTAS AVGG / S – C Libertas standing facing, head left, holding pileus in right hand and leaning left hand on long sceptre; border of dots. Literature Cohen - cf. 64 (VIB instead of VIBIVS) RIC IV/3, 172, 114 Banti 21a (same dies) M.-M. Bendenoun, Coins of the Ancient World, A portrait of the JDL Collection, Tradart, Genève, 2009, 84 (this coin)
Condition In exceptional condition for the issue, possibly the finest ses- tertius of Trebonianus Gallus known. A superb portrait struck on a medallic flan and a lovely green patina. Extremely fine.
Provenance Sotheby’s, Hunt sale II, New York 1990, lot 808. P. & P. Santamaria, Signorelli sale part III, Roma 1953, lot 1168. Former Hunt and Signorelli collections.
Ever since the murder of Commodus late in A.D. 192 the office of emperor had been the object of open competition among senior military commanders and the occasional politician. By the time Trebonianus Gallus was hailed emperor by his soldiers in the summer of 251, no fewer than 23 men and boys had issued coins bearing the title of Augustus since the death of Commodus. Gallus had come to power just after a terrifying ambush by Goths had wiped out an entire Roman army and had claimed the life of the reigning emperor, Trajan Decius. Gallus agreed to a humiliating truce with the Goths before marching to Rome to seek the senate’s confirmation of his battlefield appointment. This, perhaps, was his great error in judgment for the Goths invaded the Balkans yet again and the Sasanian King Shapur I took advantage of Rome’s weakness to capture Armenia. Meanwhile, the plague was spreading wildly, claiming even the life of Gallus’ young co-emperor Hostilian. Shapur ad- vanced further, sacking Antioch in 252/3, and the Goths and Germans raided Asia Minor, pillaging as far south as Ephesus. Amid so many crises, which Gallus seemed powerless to prevent, the vigorous actions of Aemilian, the governor of Lower Moesia, was an ember of hope. Aemilian executed Goths who remained in Roman lands and crossed the Danube to score further victories. Considering his success and Gallus’ inaction, it is hardly surprising that Aemilian was hailed emperor by his troops and was compelled to march against Gallus, who in the spring or summer of 253 was murdered by his own soldiers not far from Rome. Aemilian’s glory was short-lived, though. The reinforcements from the Rhine that Gallus had ordered finally arrived under the command of Rome’s next emperor, Valerian. In a ferocious battle, Aemilian died, after which Valerian and his son Gallienus each assumed the title of Augustus.
NAC79, 43
Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarotti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind.
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021. Dal Colosseo a Michelangelo = "Un Gemello Digitale" (e tutto il patrimonio italiano ora può essere legalmente venduto in tutto il mondo), ora Nft interessa anche al ministro Franceschini. [Italiano & English]. Corriere Della Sera (14/05/2021); Italian Tech (06/10/2021) & Cinello - Florence / Fb (06/10/2021). wp.me/pbMWvy-21q
Foto: l’iconico Tondo Doni di Michelangelo degli Uffizi / DAW (Digital Art Work) = 70000-140000 Euro. Il Direttore degli Uffizi, Eike Schmidt. Cinello / Fb (06/10/2021).
1). ITALIA - NUOVE STRATEGIE - Michelangelo ha un gemello digitale e la Venere di Botticelli è crittografata. Corriere Della Sera (14/05/2021).
Niente visitatori o mostre, i conti dei musei più importanti sono in rosso. Gli uffizi di Firenze hanno avuto un’idea: creare avatar, riproduzioni virtuali delle grandi opere, e metterle in vendita. A caro prezzo.
Una chiavetta microprocessore, un brevetto mondiale, una protezione informatica (su Blockchain con gli immancabili NFT a corredo) e giuridica, un’autentica del museo che dà valore assoluto a questi perfetti gemelli digitali crittografati (in edizione limitata) dei grandi capolavori italiani, tra cui la Venere del Botticelli. Non la solita copia fatta benissimo nei laboratori cinesi, ma un DAW (Digital Art Work), avatar dell’originale ben custodito nelle collezioni. Signori il catalogo è questo: Mantegna, Raffaello, Caravaggio, Tiziano, Botticelli, Bronzino, Leonardo, Michelangelo, Lippi, Signorelli, Canaletto e molti altri maestri che il mondo ci invidia e che ora si possono avere (a caro prezzo) in duplicato. Un centinaio (a catalogo) le opere fedelmente riproposte in versione digitale su schermo, in collaborazione con Uffizi, Gallerie dell’Accademia di Venezia, Pinacoteca di Brera e Pinacoteca Ambrosiana di Milano, Galleria Nazionale delle Marche a Urbino, i Musei Reali di Torino, il Museo e Real Bosco di Capodimonte a Napoli, il Complesso monumentale della Pilotta a Parma, il Museo di Palazzo Pretorio a Prato, la Fondazione Cavallini Sgarbi di Ferrara, la Fondazione MPS di Siena.
Regalo di compleanno
Lo sviluppo tecnologico è frutto dell’ingegno di Franco Losi (una passione per l’arte ereditata dal padre pittore) e del suo socio John Blem. Dal 2017, con la loro società Cinello, hanno sviluppato questo progetto (benvoluto anche dal Mic) giunto a maturazione proprio nell’era Covid-19. Prima opera DAW ad essere venduta (a 140 mila euro, di cui 70 andranno al museo) l’iconico Tondo Doni di Michelangelo degli Uffizi. Questa Sacra Famiglia (tanto ammirata dal Vasari e poi anche da Roberto Longhi ma criticata nei secoli da altri storici dell’arte per l’esecuzione compositiva), con le figure plastiche e imponenti di Maria, del Bambino e di Giuseppe con sullo sfondo figure nude, fu dipinta dall’artista a Firenze tra il 1506 e il 1508 per il banchiere Agnolo Doni.
Opere fisiche ma create da un algoritmo
Il Direttore degli Uffizi, Eike Schmidt, parla di quest’opera DAW non come di un clone, ma nei termini di una “traduzione” dell’originale in una tecnologia. In un primo tempo saranno 17 le opere DAW (su una più ampia selezione) che gli Uffizi concedono a questo mercato, ottenendo da Cinello il 50% sul prezzo di vendita. Certo questi profitti non risolvono il bilancio stravolto del museo (34 milioni d’incassi globali nel 2019, 8,8 nel 2020) ma se i collezionisti si fanno avanti, aiutano le casse magre. «Nel medio termine potranno contribuire alle finanze di un museo, paragonabile ai proventi della ristorazione. Non è un cambiamento di rotta quanto a fonte di introiti, è un ricavo aggiuntivo. Ma la creazione di un mercato di questo tipo non è una cosa veloce», dice Schmidt. «Queste opere DAW (dalla doppia appartenenza sia al mondo fisico che a quello degli algoritmi) sono così un “pezzo” degli Uffizi. Per ciascun dipinto del progetto abbiamo voluto far realizzare nove esemplari digitali identici (nove è un numero ben testato per i multipli della scultura), per distinguerle dall’originale».
Fonte / source:
--- Corriere Della Sera (14/05/2021).
www.corriere.it/sette/cultura-societa/21_maggio_14/michel...
2). ITALY - ART 2.0. From the Colosseum to Michelangelo, now Nft is also of interest to Minister Franceschini. Italian Tech (06/10/2021).
The initiative of a collective of politicians, artists, philosophers and curators follows the sale by the Uffizi of a Non Fungible Token of a work by Michelangelo for 70 thousand euros. Italy can play a leading role on the cryptoart.
It all started with an unconventional proposal to say the least: «We sell the Colosseum». The idea comes from a collective of politicians, artists, philosophers and curators (or "researchers" as they prefer to define themselves) which includes Alessandro Fusacchia, Alex Braga, Federico Clapis, Andrea Colamedici and Serena Tabacchi. Let's sell it, they tell us in an open letter published last July, because today it would be possible to do so "without touching a single stone, and clearly leaving the property to the Italian State."
It is not a joke, nor a comedy by Totò: we can sell the Flavian amphitheater, the collective suggests, because to end up on the market and in some collector's computer it would be only his NFT, acronym stands for Non Fungible Token (non-fungible token ), and which defines a digital file created using the computer code of the blockchain. A digital item that is purchased using cryptocurrencies such as Ether or Wax and that exists as a single file that cannot be duplicated.
To create and sell the NFT of the famous monument, many different technologies and skills would be needed: for example, those necessary to create a 3D digital copy of a huge object. Any collection could then be used, for example, for the conservation and enhancement of the immense patrimony of Italian cultural heritage, which in turn can be digitized according to the same criteria and can be sold with the same noble purpose.
It would be just the beginning: behind the "provocation" that touched one of the greatest icons of Italian cultural and artistic heritage, there is in fact a strategic vision according to which "after covid-19, culture cannot restart only with protection of existing assets, because now we have the opportunity to exploit digital and new technologies to enhance what already exists, but also and above all to produce new culture ", explains Alessandro Fusacchia, parliamentarian and member of the VII Commission (Culture, Science, Instruction).
ossibility that the group of researchers is determined to grasp: «The idea is to build a center of gravity - continues Fusacchia - to bring together a group of people who represent different and complementary worlds. And who have decided to think at a systemic level on which legislative, civil society, entrepreneurial and artistic initiatives can be set up to raise awareness of the centrality of new technologies throughout the country. And then their adoption to create a new cultural and economic ecosystem capable of generating wealth and projecting Italy into the future ».
A few months ago, the Uffizi Galleries sold the NFT of Michelangelo's Tondo Doni, a very high resolution copy made with technology developed by the Cinello startup, bringing around 70,000 euros to the museum's coffers. It is perhaps an isolated case, but sufficient to arouse the interest of Minister Dario Franceschini, who has already promised guidelines for museums.
And it is always from the world of art - in this case contemporary and digital - that examples of what happens when culture, technology and business meet. Not so much and not only for the case of the experienced artist Beeple (40 years old), who through the auction house Christie's sold a work entitled Everydays: The First 5000 Days, composed from five thousand images taken in as many days and then brought together in a single picture.
But also and above all for what artists of the so-called generation Z are doing: we are talking about digital natives like the 15-year-old Jaiden Stipp, who already last March had auctioned his first collection of digital artwork earning 20ETH, at the exchange rate of 30 thousand dollars. And who has since sold four other works, then using the money he earned to help his parents pay the mortgage, but also to finance other artists of his age.
Or even like Benyamin Ahmed, who at the age of 12 creates and sells collections of pixelated art, or objects and characters made according to the style of the Minecraft video game, and who had already collected the equivalent of 350 thousand dollars in Ethereum at the end of August.
A new generation that is already fully ready to be the protagonist of that change hoped for by the group of researchers, which is partly already underway and which now requires the participation of all stakeholders to be fully realized also in Italy: "They must be brought aboard this operation intellectuals, artists, operators, startuppers, entrepreneurs, and then obviously the institutions - concludes Alessandro Fusacchia - And we need to understand that if we combine technology and culture, we strengthen both by giving a future to the country ».
Fonte / source:
--- Italian Tech (06/10/2021).
www.italian.tech/2021/11/02/news/vendiamo_l_nft_del_colos...
3). ITALIA - Cinello / @CinelloOfficial · Art / Firenze - Milano - COPENAGHEN / Fb (06/10/2021).
Cortona is one of the oldest hill towns in Tuscany and is featured in Francis Mayes book Under the Tuscan Sun, later made into a movie. Its medieval streets are pleasant to wander and you'll be rewarded with fabulous views of the countryside along the medieval town walls. Cortona has remnants of its pre-Roman Etruscan past, Renaissance artists Luca Signorelli and Fra Angelico, and Baroque artist Pietro di Cortona.
Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarotti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind. Dieses Album beinhaltet daher überwiegend Scans.
Piero di Cosimo (Piero di Lorenzo Chimenti, Firenze 1462-1521)
Peccato Originale
Tempera su Tavola
Collezione Privata
In questo meraviglioso "Peccato Originale" del geniale Piero di Cosimo, Adamo non esiste.
La protagonista è Eva.
E Piero di Cosimo rappresenta la sua Eva come una procace giovane donna toscana, dalle forme abbondanti, carnale, sensuale, conturbante, un po’sfacciata, dalla prepotente carica erotica.
Graziosa, voluttuosa. peccaminosa, discintamente appoggiata all’esile tronco, scherza ed ammicca al serpente.
Lei incarna la tentazione.
Lei è la vera tentatrice,
L’alto nitore formale, le chiare atmosfere rarefatte dalle purissime e cristalline trasparenze e l’esecuzione dell’Albero del Bene e del Male che riprende lo stile degli alberi di arancio eseguiti da Sandro Botticelli nella sua Primavera tra 1483 ed 1485, posizionano l’esecuzione dell’opera attorno alla metà del penultimo decennio del 400, avvicinandolo concettualmente ad altre opere di Piero di Cosimo ,quali il Ritratto di Giuliano da Sangallo eseguito tra 1482 e 1485 conservato all' Amsterdam, Rijskmuseum, alla Visitazione tra i santi Nicola e Antonio abate del 1490 circa conservato a Washington nella National Gallery e alla Sacra Conversazione Del Pugliese del 1485 circa, conservato a Firenze, nello Spedale degli Innocenti.
Pur allontanandosi dalla esasperata ricerca della linea concettualmente disegnativa dei fiorentini, nel suo inventare e colorire quasi alla veneta, lo stesso intravediamo Antonio del Pollaiolo, Sandro Botticelli, il Ghirlandaio, Filippino Lippi, Luca Signorelli, Leonardo da Vinci.
Nella tecnica raffinata, nell'uso dei colori brillanti, nell'attenzione per i particolari resi realisticamente si avverte anche l'ascendente della pittura fiamminga.
Caratteristiche della sua produzione pittorica, è inoltre senza dubbio l’attenzione verso la natura: l’attenta resa del paesaggio naturale, e la particolare brillantezza coloristica, fanno di Piero di Cosimo un precursore del Realismo magico, che avrà dalla Germania alla Toscana, valenti maestri. A conferma dell’immensa portata artistica che il Rinascimento ha avuta non soltanto in Italia, ma nel mondo intero.
Dal punto di vista dello stile il dipinto rappresenta un saggio d’eccezionale qualità della raffinatezza alla quale Piero di Cosimo seppe arrivare.
La procace bellezza qui non solo ideale di Eva che quasi contrasta con la purezza del blu oltremare del cielo, offrono una sintesi della fiorentinità dell’artista e del suo interesse per il paesaggio fiammingo, letto anche alla luce delle conquiste sulla prospettiva aerea raggiunte da Leonardo da Vinci,
Fra gli eccentrici del secondo Quattrocento, il fiorentino Piero di Cosimo occupa un posto di rilievo per la sua particolare inclinazione filosofica, straordinariamente confacente al sentire del popolo toscano, in tutto e per tutto modesto e parsimonioso.
Al Rinascimento “muscolare” di Michelangelo, contrappone la parca silenziosità dalla Grecia arcaica, culla della civiltà e della coscienza dell’uomo.
Nella personale Genesi di Piero di Cosimo, Eva non è una timida e sottomessa subalterna, ma una libera, fiera e consapevole donna moderna.
Piero di Cosimo
(Piero di Lorenzo Chimenti, Florence 1462-1521)
”Original Sin”
Tempera on Panel
Private Collection
The strangest master of the Florentine Renaissance.
The wonderful "Original Sin" of Piero di Cosimo is inventive as the paintings of religious subject and outlandish as those of mythological scenes.
Born in 1462—ten years after Leonardo and thirteen before Michelangelo—Piero bemused even his contemporaries in Western art’s greatest generation. Giorgio Vasari, in the second edition of “Lives of the Artists” (1568), chalked this up to what he had been told of the artist’s personality, deciding that “if Piero had not been so abstracted and had paid more heed to himself in his life than he did, he would have won recognition for the great talent he possessed, in such manner that he would have been adored, whereas through his brutish ways he was rather held to be a madman.” (Vasari is known to have embellished the stories in his books, but he is the main source of information on Piero’s life.) More telling is Vasari’s remark that Piero “changed his style almost from one work to the next.” He devoured influences—Leonardo, Filippino Lippi, Flemish painting—and espoused radical ideas, notably a borderline heretical vision of human prehistory as brutally primitive. Compulsively original, he wouldn’t hold still to be revered.
The glancing ironies and the frequent wild humor of his art remain freshly confounding—and a good deal of fun—today.
Florence during the time of Filippino and Botticelli:
In the second half of the 15th century the city-state of Florence still kept the institutions of a republic governed by the Signoria, an elected council consisting of eight Priors and the Gonfaloniere (Standard Bearer) of Justice, a position which changed hands every two months. In fact, by controlling elections the Medici family dominated power from 1434 to 1494, with Cosimo the Elder (Florence 1389 - 1464), succeeded first by his son Piero il Gottoso (Florence 1416 - 1469), and then by Lorenzo il Magnifico (Florence 1449 - 1492).
Being in favor with the Medici was essential in politics and business as well as in the awarding of public and private art commissions. One artist who enjoyed their valuable patronage was Andrea del Verrocchio (Florence 1435 - Venice 1488), the owner of a successful bottega just behind the cathedral where sculptors, goldsmiths and painters like the young Leonardo da Vinci (Vinci 1452 - Amboise 1519) were apprenticed. Antonio del Pollaiolo (Florence 1431 - Rome 1498) and his brother Piero (Florence 1441 - Rome 1496), goldsmiths, sculptors and painters, were also under the protection of Lorenzo de' Medici. Although soon himself enough a favorite with the Medici, at the start of his career Sandro Botticelli was up against these versatile studios, bottegas adept at satisfying the most demanding requests from their exacting Florentine clients.
The 1480s were a turning point for Florence's artistic scene; Leonardo departed for Milan in 1481, Verrocchio began working on the Colleoni monument in Venice, and the Pollaiolo brothers moved to Rome to start work on their papal tombs. Meanwhile, Domenico Ghirlandaio (Florence 1449 - 1494) began working in the city and his family business quickly became the leading studio for the creation of frescos. Pietro Perugino (Città della Pieve c. 1450 - Fontignano 1523), who moved to Florence permanently in 1493, was highly praised for his religious paintings and Filippino Lippi became increasingly popular during the first ten years of the 16th century while Botticelli, in the throws of a religious and artistic crisis, suffered a decline.
Also active at the start of the 1500s were Raffaellino del Garbo (Florence? c. 1470 - after 1527), an artist who had previously collaborated with Lippi in Rome, and the eccentric Piero di Cosimo (Florence 1461/1462 - 1521), known for the bizarre compositions in his ‘pitture da camera'.
Piero di Cosimo
(Piero di Lorenzo Chimenti Florence 1462-1521)
"Péché Originel"
Tempera sur panneau de bois
Collection Partuculiere
ПЬЕРО ДИ КОЗИМО [1461/62 –около 1521]
"Первородный грех"
темпера по дереву
частная коллекция
Directly opposite the Antichrist panel is this painting. Two Angels issue the call of resurrection to the dead. Orvieto, March 2017
Luca Signorelli, The Damned Cast into Hell, 1499-1504, fresco, 23′ wide (San Brizio chapel, Orvieto Cathedral, Orvieto, Italy)
Another in-phone panorama stitch inside the Cappella Madonna di San Brizio.
In this 'near 180' image, are the frescoes on the upper left wall, ceiling, and upper right wall. On the left wall is 'The Sermon of the Antichrist'; on the right is 'The Resurrection of the Dead'.
The left ceiling panels seen here depicts the Doctors of the Church; on the right is the Choir of Patriarchs.
This is the section near the chapel entrance.
Orvieto, March 2017
La capilla es de forma rectangular y mide 40,93 m de longitud por 13,41 de anchura (las dimensiones del Templo de Salomón según el Antiguo Testamento). Su altura es de 20,7 m. Su decoración pictórica al fresco se inició recién terminada y en ella participaron Sandro Botticelli, Luca Signorelli, Perugino, Pinturicchio y Ghirlandaio entre otros. La pared sobre el altar mayor, con una superficie de 13,7 m por 12,2, la ocupa el Juicio Final. En el centro de la bóveda se representan nueve escenas rectangulares sobre la Creación y la caída del hombre, flanqueadas por profetas y sibilas, los antepasados de Jesús y arquitecturas y esculturas fingidas. Capilla Sixtina. Musei Vaticani. Roma, Italia
Luca Signorelli (c1445/50-1523) - Two panels from the altarpiece of the Bichi Chapel in San Agostino in Siena, c1491
Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarotti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind. Dieses Album beinhaltet daher überwiegend Scans.
Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarotti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind. Dieses Album beinhaltet daher überwiegend Scans.
On November 15, 1290, Pope Nicholas IV laid the cornerstone for the present building and dedicated it to the Assumption of the Virgin, a feast for which the city had a long history of special devotion. The design has often been attributed to Arnolfo di Cambio, but the prevailing modern opinion is that the master mason was an obscure monk named Fra' Bevignate from Perugia. The church is striped in white travertine and greenish-black basalt in narrow bands, similar in many ways to the cathedral of Siena and other central Italian cathedrals of that era. In the following decade, cathedral authorities called Sienese architect and sculptor Lorenzo Maitani to stabilize the building and design a façade. He enlarged the choir and planned a transept with two chapels (c. 1308-1330), spaces that were not finished until long after his death. The façade (illustration at right) is particularly striking and includes some remarkable sculpture by Lorenzo Maitani (14th century). Inside the cathedral, the Chapel of San Brizio is frescoed by Fra Angelico and with Luca Signorelli's masterpiece, his Last Judgment (1449–51). On the left side of this chapel are the tombs of the Gualterio family.
Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarotti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind. Dieses Album beinhaltet daher überwiegend Scans.
c. 1519-1522. Oli sobre fusta. 29,5 x 212,5 cm. National Gallery, Londres. NG3946. Obra no exposada.
Luca Signorelli, Cortona ca. 1450 - 1523
Porträt eines alten Mannes - Portrait of an old man (ca. 1492)
Gemäldegalerie Berlin
In 1490-1492 Signorelli was in Volterra, a city under Florentine control, under the patronage of the House of Medici. Here he painted an Annunciation, a Virgin Enthroned with Saints, a Circumcision of Christ and, perhaps, this painting, attributed to that period for its stylistic resemblance with those works.
The painting portrays an aged man from three-quarters, characterized by white hair and rich bourgeois garments, perhaps those of a jurist, including a red beret and jacket, and a black scarf. The style is inspired to the works of Hans Memling and to some by Domenico Ghirlandaio.
The background houses Roman ruins and some naked men, inspired to those in Piero della Francesca's Death of Adam in San Francesco at Arezzo, and are also in other works by Signorelli, such as the Madonna with Child and Naked Men of the Uffizi.
Source: Wikipedia
Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarotti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind. Dieses Album beinhaltet daher überwiegend Scans.
Die unter Sixtus IV. zwischen 1475 und 1481 erbaute Sixtinische Kapelle ist die Hauptattraktion der Vatikanischen Museen und immer überfüllt. Ihre malerische Ausstattung ließ sie zum Synonym für Renaissancemalerei werden.
In den Jahren 1482 und 1483 wurden unter der Leitung von Pietro Perugino an den Längswänden 16 Fresken ausgeführt, von denen noch 12 erhalten sind, und die Szenen aus dem Leben von Moses als Vorläufer Christi auf der einen Seite und aus dem Leben Christi auf der anderen Seite darstellen. Die beteiligten Künstler waren neben Perugino, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli und Cosimo Roselli. Das Fresko des Durchzugs durch das Rote Meer wurde entweder von Domenico Ghirlandaio, Biagio d'Antonio oder Cosimo Rosselli ausgeführt, aber es könnte auch eine Gemeinschaftsarbeit gewesen sein.
Das riesige Deckenfresko, das die Schöpfung und die frühe Menschheitsgeschichte zum Thema hat, wurde von Michelangelo Buonarroti in zwischen 1508 und 1512 im Auftrag von Julius II. della Rovere geschaffen.
Michelangelo schuf in den Jahren 1535 und 1536 im Auftrag von Paul III. Farnese auch das riesige Fresko des Jüngsten Gerichts an der Stirnseite der Kapelle.
Leider herrscht in der Sixtinischen Kapelle Fotoverbot, so dass nur wenige Schnappschüsse, wenn überhaupt, möglich sind.
c. 1500-1520. Oli sobre fusta. 25 x 20,32 cm. High Museum of Art, Atlanta. 58.53. Obra exposada: Galeria 204.
In the grotesques and in the arches there are still some parts that can be attributed to Luca Signorelli, Bramantino, Lorenzo Lotto and Cesare da Sesto. They date to the first decoration commissioned by Julius II at the beginning of his pontificate, that was interrupted and then replaced by the present one due to the pontiff's great admiration for the first frescoes of Raphael in the adjoining Room of the Segnatura. Raphael replaced the grotesques in the centre of the ceiling with four episodes of the Old Testament: Noah leaving the ark (Genesis 8: 15-20), The sacrifice of Isaac (Genesis 22: 1-14), Moses before the burning bush (Exodus 3:1-12), and Jacob's dream (Genesis 28: 10-22).
In the grotesques and in the arches there are still some parts that can be attributed to Luca Signorelli, Bramantino, Lorenzo Lotto and Cesare da Sesto. They date to the first decoration commissioned by Julius II at the beginning of his pontificate, that was interrupted and then replaced by the present one due to the pontiff's great admiration for the first frescoes of Raphael in the adjoining Room of the Segnatura. Raphael replaced the grotesques in the centre of the ceiling with four episodes of the Old Testament: Noah leaving the ark (Genesis 8: 15-20), The sacrifice of Isaac (Genesis 22: 1-14), Moses before the burning bush (Exodus 3:1-12), and Jacob's dream (Genesis 28: 10-22).