|12/4/2018: SPORT: Forrest out for revenge after Belgium defeat Cache Translate Page|
JAMES Forrest is relishing a revenge mission against Belgium in the Euro 2020 qualifiers. Roberto Martinez and Shaun Maloney’s starstudded outfit were the top seeds in a section which also includes Russia, Cyprus, Kazakhstan and San Marino, with our...
|Jorge Lorenzo ya se ha operado el pie que se lesionó en Aragón, y tiene dos meses para recuperarse Cache Translate Page|
Jorge Lorenzo no ha tenido el final de temporada que cualquier piloto hubiese deseado. El balear se fue al suelo durante los primeros compases de la carrera del GP de Aragón sufriendo una luxación metatarso falángica del primer dedo y una fractura subcapital sin desplazamiento del segundo metatarsiano del pie derecho.
Lorenzo deberá mantener mantener el pie sin apoyar una semana
Este lunes, con la temporada 2018 y los primeros test de pretemporada culminados, el balear ha pasado por el quirófano para poder tomarse su tiempo para recuperarse y llegar al cien por cien físicamente de cara a los test que se celebrarán a partir del 6 de febrero en Sepang.
Según ha asegurado Motorsport.es ha sido una intervención sencilla que ha durado menos de media hora y que ha sido todo un éxito. Ha sido el Doctor Rabat el encargado de operar al de Honda en el Hospital Quirón de Barcelona.
No ha sido la única vez que ha pasado por el quirófano en los últimos meses. Durante el GP de Tailandia se fue al suelo en una impactante caída en la que se fracturó el radio de la mano izquierda y le obligó a someterse a una operación días más tarde. Ahora el mallorquín tendrá que recuperarse de ambas lesiones para recibir a su Honda RC213V en el mejor estado de forma posible.
También te recomendamos
|Bohlin Cywinski Jackson adds nature to midcentury Miami modernism Cache Translate Page||Located on an artificial island in the Biscayne Bay, the San Marino Residence designed by Bohlin Cywinski Jackson in Miami Beach, Florida, was inspired by post-war Miami modernism, yet takes a humanist approach to the style by cultivating the surrounding nature and capitalising on the sea view. Built on a narrow site, the slim house that stretches towards the bay, is a telescope for the views of the water and the Miami beach skyline.
The ‘modest 0.3 acre wedge-shaped lot’ in a densely populated neighbourhood was the major challenge for the architects, who had to think outside the box to create the illusion of endless, luxuriating space.
Internal staircase leading up the the pool. Photography: Jeffrey Totaro
Part of the solution was the first floor pool, which dramatically cantilevers 5.5 metres with a walkway running the full length beneath it. Marking the entry to the house and extending through the plot towards the sea, the pool cleverly...|
|Lietuvos stalo tenisininkai nugalėjo San Marino komandą Cache Translate Page||none|
|San Marino, approvato pdl su “Disciplina della frode sportiva e dell’abusivo esercizio di giuoco o di scommessa” Cache Translate Page|
Il Consiglio Grande e Generale nella seduta di ieri ha esaminato e approvato il progetto di legge: "Disciplina della frode sportiva e dell'abusivo esercizio...
L'articolo San Marino, approvato pdl su “Disciplina della frode sportiva e dell’abusivo esercizio di giuoco o di scommessa” è disponibile su JAMMA.
|Attributed to Ferdinando Tacca (1619-1686), Apollo and Daphne, Italian, Florence, circa 1640-1650 Cache Translate Page|
Lot 67. Attributed to Ferdinando Tacca (1619-1686), Apollo and Daphné, Italian, Florence, circa 1640-1650; bronze, on a later marble base, bronze: 44 by 44.5cm; 17¼ by 17½in., base: 9 by 31cm., 3½ by 12¼in.. Estimate 200,000 — 300,000 GBP. Lot sold 322,000 GBP. © Sotheby's.
Provenance: Private collection, United Kingdom.
Note: Ferdinando Tacca's bronze two-figure groups are as coveted by collectors today as they were in the 17th century. The emergence of this arresting bronze on the market presents a unique opportunity to acquire a previously unrecorded version of one of Tacca's rarest models, his Apollo and Daphne.
By virtue of its subject, Apollo and Daphne is the most dynamic among Tacca's small-scale bronze compositions. As recounted in Ovid's Metamorphoses, having provoked the god of Love, Apollo was shot by one of Cupid’s arrows and fell passionately in love with the woodland nymph Daphne. Daphne had in turn been shot by another of Cupid’s arrows, resulting in a profound hatred for Apollo. Having escaped the amorous god’s advances and sworn to a life of virginity, Daphne was eventually caught by Apollo (with Cupid’s help) and begged her father, the river god Peneus, to change her form and save her from her plight. Before Apollo could ultimately seize her, Daphne was turned into a laurel tree. The rousing climax of the myth provided ample inspiration for Baroque artists, most famously Gian Lorenzo Bernini (1598-1680), whose dazzling marble Apollo and Daphne, completed in 1625, remains the star attraction of the Villa Borghese in Rome. Tacca's bronze is no less dramatic: it captures the figures mid-flight, Apollo running after Daphne as her toes grow into roots and merge with the ground below. Apollo eagerly reaches forward with his right arm, his left hand holding a now-lost bow, while Daphne lunges forward with both arms, caught in an alarmed, open-mouthed expression.
Ferdinando Tacca's authorship of a series of bronze groups representing subjects from Ovid’s Metamorphoses and Ariosto's epic poem, Orlando Furioso, was first systematically recognised by Anthony Radcliffe and outlined in his 1976 article (op. cit.). Radcliffe established this oeuvre of small-scale bronzes for the Florentine master based on comparisons with secured works, in particular the relief depicting The Martyrdom of St Stephen in Santo Stefano al Ponte, Florence. Since then, several further such groups attributable to Tacca have come to light, and the number of known models from the series now stands at ten, including variants (see Wengraf, op. cit., p. 196). Imbued with dramatic tension, the pairings invariably combine a male and a female figure within an amorous thematic context. Ferdinando is thought to have conceived his two-figure statuettes relatively early in his career, around 1640, when he inherited his father’s workshop. This dating of the groups is substantiated by their appearance in a 1650 inventory of the collection of Jean-Baptiste de Bretagne in Paris, which also testifies to their immediate popularity among eminent collectors outside Italy. Notably, a number of bronzes from Tacca’s series were bequeathed to Louis XIV by his gardener, André le Nôtre, in 1693.
While most of Tacca’s two-figure models exist in a number of surviving casts, Apollo and Daphne has so far been known for certain in only a single version. What must be considered a prime cast is now in the Musée du Louvre (inv. no. OA 10309); it was formerly in a British private collection and sold at Sotheby’s London on 16 May 1968. The Louvre group is traceable to Louis XIV’s inventory (No 196), having been among the bronzes included in le Nôtre’s gift. In his 1976 article, Radcliffe (op. cit., p. 20) discusses a version of the Apollo and Daphne supposedly in the Royal Collection in Madrid, which is listed in the 1822 inventory of the Palacio de Oriente alongside an Angelica and Medoro. A cast of the latter Tacca model is indeed preserved in Madrid (inv. no. 10069916), but the Apollo and Daphne has not been located in the Royal Collection. (Sotheby’s is grateful to María Jesús Herrero Sanz for her kind assistance with this matter.)
Having remained in private hands for generations, the present bronze then appears to be only the second version of the model to come to light and, as such, represents a significant addition to Ferdinando Tacca's oeuvre. Though closely related in appearance and facture to the Louvre cast, there are some differences between the two bronzes. Most notable is the absence of laurel leaves on Daphne’s fingers in the present version, as well as the absence of a quiver at Apollo’s hip, which was added to the Louvre cast. Daphne’s ponytail appears to be lost in the present cast, and the titular inscription seen in the Louvre cast is lacking. These inscriptions appear on only some casts of Tacca’s two-figure groups, and may be interpreted as denoting prime versions (of which there may have been more than one for each model; see Warren, op. cit., p. 94). While the treatment to the hair and facial features is very similar in the two bronzes, there are subtle differences in facture, particularly in the modelling of the drapery, and in the texturing of the terrasse: the Louvre example displays more of the meticulous, undulating punching of the base that is characteristic of Ferdinando's bronzes. Interestingly, the somewhat muted stippling of the terrasse seen here is also seen in two groups of Lion and Bull Hunts in the Peter Marino Collection, which are tentatively attributed to Ferdinando Tacca and the bronze founder Damiano Capelli (Warren, op. cit. no. 9). As Warren notes (ibid., p. 111), several specialist founders worked for Ferdinando, and variations in the finishing of casts are therefore to be expected.
Ferdinando Tacca was both pupil and assistant to his father, Pietro Tacca, until his death in 1640, and succeeded him as the primary sculptor to the Grand Duke of Tuscany, taking over Giambologna’s former foundry and studio in the Borgo Pinti. He completed two of his father’s commissions, the statue of Ferdinando I de' Medici for the Cappella dei Principi, San Lorenzo, Florence, and the equestrian statue of Philip IV for Madrid. Among his most celebrated works are the great Martyrdom of St Stephen relief mentioned above, as well as two Angels in the Wallace Collection (inv. nos. S 138 and S 139) which remain his only signed bronzes. Ferdinando’s output as a sculptor of small bronzes diminished with the 1654 commission of a theatre for the Medici, the Teatro della Pergola, for which he was listed not only as architect and designer, but also the engineer. It has been noted that in his two-figure groups, Tacca disregarded the serpentinata principle made famous by Giambologna in favour of stage-like compositions to be read from a single viewpoint. As Radcliffe concluded in his discussion of the groups, 'perhaps it is not after all irrelevant that he was also the architect of the Teatro della Pergola' (op. cit., p. 22). Apollo and Daphne epitomises Tacca's distinctive early Baroque theatricality.
RELATED LITERATURE: A. Radcliffe, 'Ferdinando Tacca, The Missing Link in Florentine Baroque Bronzes‘, in Kunst des Barock in der Toskana, Munich, 1976, pp. 14-23; Les Bronzes de la Couronne, exh. cat. Musée du Louvre, Paris, 1999, pp. 135-136, no. 197; Brillos en Bronce: Colecciones de Reyes, exh. cat. Madrid, 2009, pp. 278-279, no. 79; J. Warren, Beauty and Power: Renaissance and Baroque Bronzes from the Peter Marino Collection, exh. cat. The Wallace Collection, London, The Huntington Art Collections, San Marino, and the Minneapolis Institute of Arts, Minneapolis, London, 2010, pp. 88-112, nos. 8 and 9 and p. 272; P. Wengraf, Renaissance & Baroque Bronzes from the Hill Collection, London, 2014, pp. 194-199 and p. 345.
Sotheby's. Old Master Sculpture and Works of Art, London, 4 december 2018
|Sacred and Secular Holiday Music by Vox Feminae Cache Translate Page||The Huntington Library, Art Collections, and Botanical Gardens in San Marino is presenting “Holiday Music: Vox Feminae” Thursday, December 13, featuring the vocal ensemble Vox Feminae Los Angeles. Dressed in elaborate costumes and performing on period instruments, the ensemble will sing sacred and secular holiday music from the Medieval and Renaissance eras, at the Huntington’s [...]|
|Gayové a lesby budou moct v San Marinu uzavřít registrované partnerství. Gratulujeme! Cache Translate Page|
Malá zemička s dost neobvyklým politickým zřízením, známá jako snad nejstarší republika, obklopená Itálií San Marino umožní gayům, lesbám a nesezdaným heterosexuálům žijícím uzavřít na jejím území registrované partnerství…
|Cosmin Contra și-a ales grupa din preliminariile Euro 2020: „Întotdeauna m-am considerat norocos” Cache Translate Page|
Selecționerul Cosmin Contra speră să aibă noroc la tragerea la sorți pentru preliminariile Euro 2020. Evenimentul va avea loc duminică, ora 13:00, la Dublin, în direct la Pro X. Cosmin Contra ar vrea ca România să pice într-o grupă cu Polonia, Austria, Irlanda de Nord, Gibraltar şi San Marino. „Întotdeauna m-am considerat norocos. La tragerile la sorţi n-am […]
Post-ul Cosmin Contra și-a ales grupa din preliminariile Euro 2020: „Întotdeauna m-am considerat norocos” apare prima dată în Libertatea.ro.