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🇫🇷 Le premier grand-orgue de l'église St Jean fut construit en 1742 par le facteur italien Giuseppe LAZZARI, originaire de Chiavenna en Lombardie et actif en Corse et en Sardaigne
En 1837, Luigi DE FERRARI a reconstruit la partie instrumentale en conservant le buffet.
En 1887, l'orgue a été transféré dans l'église St Charles de Bastia et a été remplacé par un instrument neuf d'AGATI-TRONCI.
En 1943, l'orgue fut très endommagé lors des bombardements.
En 1958, le facteur vosgien JACQUOT-LAVERGNE reconstruit un orgue neuf dans le buffet d'AGATI-TRONCI. A noter que les tuyaux de façade sont de TRONCI.
L'orgue est entretenu par François DELANGUE.
🇬🇧
The first grand organ of St John’s Church was built in 1742 by the Italian factor Giuseppe LAZZARI, originally from Chiavenna in Lombardy and active in Corsica and Sardinia
In 1837, Luigi DE FERRARI rebuilt the instrumental part keeping the buffet.
In 1887, the organ was transferred to the church of St Charles de Bastia and was replaced by a new AGATI-TRONCI instrument.
In 1943, the organ was badly damaged during the bombing.
In 1958, the Vosges factor JACQUOT-LAVERGNE rebuilt a new organ in the AGATI-TRONCI sideboard. Note that the facade pipes are TRONCI.
The organ is maintained by François DELANGUE.
......
Die erste Orgel der St. Johannes-Kirche wurde 1742 vom italienischen Orgelbauer Giuseppe LAZZARI gebaut, der aus Chiavenna in der Lombardei stammt und in Korsika und Sardinien tätig ist
1837 baute Luigi DE FERRARI den Instrumententeil wieder auf und behielt das Sideboard bei.
1887 wurde die Orgel in die Kirche St. Charles de Bastia verlegt und durch ein neues Instrument von AGATI-TRONCI ersetzt.
1943 wurde die Orgel bei den Bombenangriffen stark beschädigt.
1958 baute der vosgische Orgelbauer JACQUOT-LAVERGNE eine neue Orgel im Sideboard von AGATI-TRONCI um. Beachten Sie, dass die Fassadenrohre von TRONCI stammen.
Die Orgel wird von François DELANGUE gepflegt.
🇫🇷 Le premier grand-orgue de l'église St Jean fut construit en 1742 par le facteur italien Giuseppe LAZZARI, originaire de Chiavenna en Lombardie et actif en Corse et en Sardaigne
En 1837, Luigi DE FERRARI a reconstruit la partie instrumentale en conservant le buffet.
En 1887, l'orgue a été transféré dans l'église St Charles de Bastia et a été remplacé par un instrument neuf d'AGATI-TRONCI.
En 1943, l'orgue fut très endommagé lors des bombardements.
En 1958, le facteur vosgien JACQUOT-LAVERGNE reconstruit un orgue neuf dans le buffet d'AGATI-TRONCI. A noter que les tuyaux de façade sont de TRONCI.
L'orgue est entretenu par François DELANGUE.
🇮🇹
Il primo organo maggiore della chiesa di San Giovanni fu costruito nel 1742 dal postino italiano Giuseppe LAZZARI, originario di Chiavenna in Lombardia e attivo in Corsica e in Sardegna
Nel 1837 Luigi DE FERRARI ricostruì la parte strumentale conservando il buffet.
Nel 1887 l'organo fu trasferito nella chiesa di San Carlo di Bastia e sostituito da un nuovo strumento di AGATI-TRONCI.
Nel 1943 l'organo fu gravemente danneggiato durante i bombardamenti.
Nel 1958, il postino vosgien JACQUOT-LAVERGNE ricostruì un organo nuovo nella credenza di AGATI-TRONCI. Da notare che i tubi della facciata sono di TRONCI.
L'organo è curato da François DELANGUE.
🇪🇸
El primer gran órgano de la iglesia de San Juan fue construido en 1742 por el cartero italiano Giuseppe LAZZARI, originario de Chiavenna en Lombardía y activo en Córcega y Cerdeña
En 1837, Luigi DE FERRARI reconstruyó la parte instrumental conservando el aparador.
En 1887, el órgano fue trasladado a la iglesia de San Carlos de Bastia y fue reemplazado por un instrumento nuevo de AGATI-TRONCI.
En 1943, el órgano fue muy dañado durante los bombardeos.
En 1958, el factor vosiano JACQUOT-LAVERGNE reconstruye un órgano nuevo en el aparador de AGATI-TRONCI. A tener en cuenta que los tubos de fachada son de TRONCI.
El órgano es mantenido por François DELANGUE.
San Gregorio Armeno is a church and a monastery in Naples, Italy. It is one of the most important Baroque complexes in Naples. The church is located on a street of the same name just south of Via dei Tribunali and a few blocks south of the church of San Paolo Maggiore, Naples.
In the 8th century, the iconoclast decrees in Greece caused a number of religious orders to flee the Byzantine empire and seek refuge elsewhere. San Gregorio Armeno in Naples was built in the 16th century over the remains of a Roman temple dedicated to Ceres, by a group of nuns escaping from the Byzantine Empire with the relics of St. Gregory, bishop of Armenia. During the Norman domination the monastery was united to that of the Salvatore and San Pantaleone, assuming the Benedictine rule.
The construction of the church was begun in 1574, using designs by Giovanni Battista Cavagni, and consecrated five years later. A later consecration dates to 1674, and refurbishment to 1762. The façade has three arcades surmounted by four pilaster strips in Tuscan order. The interior has a single nave with five side arcades: the decoration, with the exception of the five chapels, was finished by Luca Giordano (also author of the Saints over the windows of the dome) in 1679. Bernardino Lama, likely the son of Giovanni Bernardo Lama, was author of the altarpiece. The interior houses also the famous Holy Staircase, used by the nuns during their penitences.
The cupola was painted with a Glory of San Gregorio by Luca Giordano. The ceiling cassettoni or framed canvases depict the Life of the St Gregorio Armeno and were commissioned by the abbess Beatrice Carafa from the Flemish Teodoro d'Errico. On the right, the altarpieces include an Annunciation of Mary by Pacecco De Rosa, a Virgin of the Rosary by Nicola Malinconico, and frescoes by Francesco Di Maria. On the left, is a St. Benedict altarpiece by Spagnoletto. The main altar was designed by Dionisio Lazzari, and has an altarpiece depicting the Resurrection by Giovanni Bernardo Lama.
The Idria Chapel houses eighteen paintings by Paolo De Matteis, portraying the Life of Mary. Over the chapel's high altar is a medieval icon, in Byzantine style, of the Madonna dell'Idria.
The main attraction is the cloister (1580). In the centre is a marble fountain, decorated with dolphins and other marine creatures, with the statues of "Christ and the Samaritan Woman", by Matteo Bottiglieri.
En 2006 el Museo de Arte Tigre (MAT) abrió sus puertas al público. Funciona en un edificio histórico del delta, el ex Tigre Club, y posee una destacada colección de pintura argentina de los siglos diecinueve y veinte.
El MAT, desde su creación, es un importante atractivo cultural de la zona norte. Fundado por el intendente Ricardo Ubieto (1933-2006), su criterio para formar la colección fue privilegiar la compra de obras que mostraran el paisaje y las costumbres del Tigre y su Delta, denominado antaño como una “Venecia de jardines”.
La particular geografía del Tigre y sus costumbres se recrean en obras de artistas que nos visitaron en el siglo diecinueve, como el francés Juan León Pallière -un viajero que documentó la vida en las islas del Paraná y los exóticos paisajes a sus ojos de extranjero. A comienzos del siglo veinte el muralista italiano Carlos Barberis, afincado en la Argentina, pintó iglesias a la par que apacibles visiones del Delta. Otros artistas más contemporáneos, como Horacio Butler, Jorge Larco y Fermín Eguía, que vivieron en el Tigre y lo pintaron, forman parte del acervo junto a los maestros de otro río, el Riachuelo, los de la escuela de la Boca. Este grupo, fuertemente influido por la inmigración italiana, está presente en el museo a través de las obras de Víctor Cúnsolo, Eugenio Daneri, Fortunato Lacámera, Alfredo Lázzari, Marcos Tiglio, Miguel Diomede, Benito Quinquela Martín y Miguel Carlos Victorica.
Otra sección de la colección del siglo diecinueve reúne acuarelas, óleos y litografías que son parte de las primeras imágenes del arte rioplatense. Obras de Carlos Enrique Pellegrini, Juan León Pallière, Juan Mauricio Rugendas y José Aguyari registran escenas urbanas y rurales desde la mirada romántica que busca lo característico de cada lugar y su pintoresquismo. De los artistas argentinos que se formaron en Europa e introdujeron la pintura académica y el modelo vivo, la llamada Generación del 80, el MAT posee notables piezas de Eduardo Sívori, Ángel Della Valle, Antonio Alice y Graciano Mendilaharzu.
Del grupo Nexus (1905-1907), las obras de Fernando Fader, Cesáreo Bernaldo de Quirós, Carlos Ripamonte, Pío Collivadino y Justo Lynch muestran cómo estos artistas, actuantes en los años previos a los festejos del primer Centenario de la Revolución de Mayo, veían en el paisaje la evidencia y el carácter particular de la identidad nacional.
Del período entre la década del 20 y la actualidad, la colección reúne importantes pinturas de Norah Borges, Valentín Thibon de Libian, Lino Enea Spilimbergo, Antonio Berni, Raúl Soldi, Juan Carlos Castagnino, Carlos Alonso y Raquel Forner, entre otros.
Just another beautiful church in Rome, Italy, as seen from the Monument to Victor Emmanuel II.
Built in the 1500s in true Renaissance style by (in sequence) Donato Bramante, Andrea Sansovino, and Antonio da Sangallo the younger, it is possibly the earliest example of a domed square church built on classical forms.
Shot with a Nikon D7000 and a Nikkor AFS DX 18-200mm F/3.5-5.6G lens, and processed in GIMP and Photoscape.
Polmone verde del centro Salento-Puglia Sud Italia
Green lung of the center Salento-Puglia Sud Italy
BENITO QUINQUELA MARTIN
(Buenos Aires, 1890 - 1977) Pintor y muralista argentino. Fue uno de los “Pintores de La Boca” (uno de los barrios de su ciudad natal). Con un estilo naturalista, la temática de su obra giró, sobre todo, en torno a los barcos y las labores portuarias en general. Se le consideró el pintor del riachuelo por su tratamiento de los temas portuarios.
Abandonado a poco de nacer, permaneció en un orfanato hasta que, a los seis años, el matrimonio formado por Manuel Chinchella y Justina Molina decidió adoptarlo. Empezó su formación en una escuela de enseñanza en la que únicamente permaneció dos cursos ya que, con tan sólo nueve años, tuvo que empezar a trabajar en la carbonería paterna.
Posteriormente, y hasta que cumplió los quince, fue obrero portuario de La Boca; su trabajo consistía en trepar a los barcos para llenar las bolsas vacías de carbón y cargarlas en los carros. Esta actividad la completaba con la participación activa en la política de La Boca. Pegaba carteles y repartía pasquines a favor del doctor Alfredo Palacios.
En 1907 ingresó en una modesta academia de dibujo de su barrio para estudiar pintura con Alfredo Lazzari. Desde entonces se dedicó a la pintura. Conoció a Juan de Dios Filiberto, un estudiante de música con quien mantuvo una estrecha amistad. También conoció al, por entonces, director de la Academia de Bellas Artes, Pío Collivadino, que le ayudó a iniciarse en el dibujo de retratos y a incorporar el color a sus obras.
En 1921 realizó su primera exposición internacional en Río de Janeiro. Su primer viaje a Europa lo realizó dos años más tarde, concretamente a Madrid. En 1925 llegó a París, dos años más tarde a Nueva York y en 1929 a Italia, donde Mussolini lo nombró su pintor predilecto “porque sabe retratar el trabajo”. Todos estos viajes lo separaban de sus padres; de ahí que rechazara una invitación a Japón para quedarse junto a ellos en el barrio argentino de La Boca.
Muy querido en el barrio, actuó como un protector de las artes y fundó el Café Tortoni para que los artistas pudieran difundir sus obras. En 1933 compró varios terrenos que donó al Estado para que construyera instituciones dedicadas a la expansión del arte y obras sociales. En uno de estos terrenos construyeron la Escuela Museo Pedro de Mendoza, hoy Museo de Bellas Artes de La Boca, que una vez construida fue decorada por él. Entre sus mejores obras destacan Tormenta en el Astillero (Museo de Luxemburgo), Puente de La Boca (Palacio Saint James, Londres) y Crepúsculo en el astillero (Museo de Bellas Artes de La Boca
fuente: www.biografiasyvidas.com/
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The St Peter Martyr Altarpiece or Minor San Domenico Altarpiece is a altarpiece in tempera and gold on panel by the Italian Renaissance painter Carlo Crivelli, executed c. 1476. Its central panel of the Madonna and Child, signed "OPVS CAROLI CRIVELLI VENETI", is now in the Museum of Fine Arts in Budapest. The altarpiece's other panels (Michael the Archangel, Saint Jerome, Saint Peter Martyr and Saint Lucy) were seen in Rome by Luigi Lanzi in 1789 before being moved to Florence with the Rinuccini family. In 1868 it moved from the Demidov collection to the National Gallery in London, where they still hang.
The four panels entered the National Gallery with a central panel. The four panels were topped by four semi-circles and a Neo-Gothic cusp above Mary. Above this register was a final one of four more full-length saints. In time the work was recognised as an arbitrary assembly of panels from different altarpieces.
Orsini and Lazzari mention an altarpiece produced in 1476 for the church of San Domenico in Ascoli Piceno – Dominican saints in the lower two registers of the Demidov polyptych confirm that they come from the so-called 1476 Altarpiece. Lazzari (1724) and Ricci (1834, on Bartoli's earliest testimony) also mention a second altarpiece by the artist in the same church, also dating to 1476, now known as the Saint Peter Martyr Altarpiece'. It is therefore theorised that the altarpieces were both dismantled during rebuilding of the church in 1776, then sold to the antiquarian Grossi who sold all the panels separately and grouped some of them into the altarpiece that Cardinal Zelada bought from him.
Federico Zeri and Rodolfo Pallucchini then joined the altarpieces together, initially referring to the first (the high altarpiece), the Pietà in the Metropolitan Museum, and then to the Madonna in the Museum of Fine Arts in Budapest, already in the Esterhazy collection. The altarpieces also had to have a predella each, now all lost. In 1961 the National Gallery dismantled the panels by reconstructing them into two separate altarpieces.
Matera - Basilicata - Italy
it.wikipedia.org/wiki/Ferrandina
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Marrakech
Tensift-El Haouz
Les tanneries di Marrakech si
trova a nord-est della Medina all'interno del quartiere di Bab Debbagh.
Bell tower of San Gregorio Armeno, parched over the famous Via S. Gregorio Armeno (Christmas Alley)
"San Gregorio Armeno ("St. Gregory the Armenian") is a church and a monastery in Naples, Italy. It is one of the most important Baroque complexes in Naples. The church is located on a street of the same name just south of Via dei Tribunali and a few blocks south of the church of San Paolo Maggiore, Naples.
In the 8th century, the iconoclast decrees in Greece caused a number of religious orders to flee the Byzantine empire and seek refuge elsewhere. San Gregorio Armeno in Naples was built in the 16th century over the remains of a Roman temple dedicated to Ceres, by a group of nuns escaping from the Byzantine Empire with the relics of St. Gregory, bishop of Armenia. During the Norman domination the monastery was united to that of the Salvatore and San Pantaleone, assuming the Benedictine rule.
The construction of the church was begun in 1574, using designs by Giovanni Battista Cavagni, and consecrated five years later. A later consecration dates to 1674, and refurbishment to 1762. The façade has three arcades surmounted by four pilaster strips in Tuscan order. The interior has a single nave with five side arcades: the decoration, with the exception of the five chapels, was finished by Luca Giordano (also author of the Saints over the windows of the dome) in 1679. Bernardino Lama, likely the son of Giovanni Bernardo Lama, was author of the altarpiece. The interior houses also the famous Holy Staircase, used by the nuns during their penitences.
The cupola was painted with a Glory of San Gregorio by Luca Giordano. The ceiling cassettoni or framed canvases depict the Life of the St Gregorio Armeno and were commissioned by the abbess Beatrice Carafa from the Flemish Teodoro d'Errico. On the right, the altarpieces include an Annunciation of Mary by Pacecco De Rosa, a Virgin of the Rosary by Nicola Malinconico, and frescoes by Francesco Di Maria. On the left, is a St. Benedict altarpiece by Spagnoletto. The main altar was designed by Dionisio Lazzari, and has an altarpiece depicting the Resurrection by Giovanni Bernardo Lama.
The Idria Chapel houses eighteen paintings by Paolo De Matteis, portraying the Life of Mary. Over the chapel's high altar is a medieval icon, in Byzantine style, of the Madonna dell'Idria.
The main attraction is the cloister (1580). In the center is a marble fountain, decorated with dolphins and other marine creatures, with the statues of "Christ and the Samaritan Woman", by Matteo Bottiglieri. " (Wikipedia)
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At this beautiful place in Oia village, many couples lock the bond between them, with a padlock or with a knot! Truly a wonderfull place with thousands of feelings. . .
Casting: Ford Models Paraná.
Styling: Coletivo Ponnei. Assistente produção: Mariana Lazzari.
Cabelo: Michelle kelly ( Lolitas Salon ) | Make: Fabi Rocha.
Assessórios: Flor de Vedete e Accessorize.
Produção: Coletivo Galeria Lúdica.
Casting: Ford Models Paraná.
Styling: Coletivo Ponnei. Assistente produção: Mariana Lazzari.
Cabelo: Michelle kelly ( Lolitas Salon ) | Make: Fabi Rocha.
Assessórios: Flor de Vedete e Accessorize.
Produção: Coletivo Galeria Lúdica.
Cicladi: Thira Santorini Dhodhekanisos Greece
it.wikipedia.org/wiki/Santorini
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The church of the Purgatorio ad Arco, or Santa Maria delle Anime del Purgatorio ad Arco is a religions edifice in central Naples, Italy, located on Via dei Tribunali.
It was attached to the Congregation of the same name, established to pray for the souls in purgatory. The church was designed by Giovan Cola Di Franco, and consecrated in 1638. The apse is richly decorated with polychrome marble and stucco, and has a peculiar detail of winged skulls, by Dionisio Lazzari, on the pilasters lateral to the main altarpiece. The church has altarpiece by Massimo Stanzione (Virgin helps souls in Purgatory, 1638, main altarpiece), Andrea Vaccaro (Transit of St Joseph, 1650-51, third chapel on right), and Luca Giordano (Death and Ecstasy of St. Alessio, 1661, third chapel on left).
To the left of the altar is the funeral monument of Giulio Mastrillo, by Andrea Vaccaro. Above the main altarpiece in the cupola is a canvas by Giacomo Farelli: St Anne offers the child Virgin Sant’Anna to God the father ( 1670 ) as well as a Victory of St Michael (165) by Girolamo De Magistro.(Wikipedia)