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dc.contributor.authorROMEO, ILARIA
dc.date.accessioned2025-01-20T11:27:12Z
dc.date.available2025-01-20T11:27:12Z
dc.date.issued2024
dc.date.submitted2024-12-20T12:39:25Z
dc.identifierONIX_20241220_9791221503760_300
dc.identifier2704-5870
dc.identifierhttps://library.oapen.org/handle/20.500.12657/96505
dc.identifier.urihttps://doab-dev.siscern.org/handle/20.500.12854/149266
dc.description.abstractRome and Florence in modern centuries competed as Italian capitals of art, and two of the most appreciated ancient sculptures cannot be excluded from this rivalry: the Venus de’ Medici, exhibited since the 17th century in the Uffizi Gallery, and the Capitoline Venus, which in the following century it found its place in the New Museum on the hill of the same name. This contribution, in addition to summarizing the state of the art of research on the two works, considers their different fortunes and the multiple and varied reactions that they aroused in modern observers. We will therefore investigate the reasons why the Florentine Venus appears to have been more appreciated and famous than its urban rival.
dc.languageItalian
dc.relation.ispartofseriesStrumenti per la didattica e la ricerca
dc.rightsopen access
dc.subject.otherRoman sculpture
dc.subject.otherHistory of Classical Archaeology
dc.subject.otherUffizi Museum
dc.subject.otherCapitoline Museums
dc.subject.otherVenus
dc.subject.otherthema EDItEUR::N History and Archaeology::NK Archaeology
dc.subject.otherthema EDItEUR::N History and Archaeology::NK Archaeology::NKD Archaeology by period / region
dc.titleChapter «L’eterno femminino che ci attira in alto accanto a sé»: celebri Veneri tra Roma e Firenze
dc.typechapter
oapen.identifier.doi10.36253/979-12-215-0376-0.38
oapen.relation.isPublishedBy2ec4474d-93b1-4cfa-b313-9c6019b51b1a
oapen.relation.isbn9791221503760
oapen.pages14
oapen.place.publicationFlorence
dc.seriesnumber225
dc.abstractotherlanguageRome and Florence in modern centuries competed as Italian capitals of art, and two of the most appreciated ancient sculptures cannot be excluded from this rivalry: the Venus de’ Medici, exhibited since the 17th century in the Uffizi Gallery, and the Capitoline Venus, which in the following century it found its place in the New Museum on the hill of the same name. This contribution, in addition to summarizing the state of the art of research on the two works, considers their different fortunes and the multiple and varied reactions that they aroused in modern observers. We will therefore investigate the reasons why the Florentine Venus appears to have been more appreciated and famous than its urban rival.


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