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"The Accademia degli Arcadi or Accademia dell'Arcadia, "Academy of Arcadia" or "Academy of the Arcadians", was an Italian literary academy founded in Rome in 1690. The full Italian official name was Pontificia Accademia degli Arcadi. History Stamp of the Academy of Arcadia The beginnings of the Accademia degli Arcadi date to February 1656, when a literary circle formed under the patronage of Queen Christina of Sweden, who had abdicated the Swedish crown in 1654, converted to Catholicism, and taken up her residence in Rome, where she spent much of the rest of her life. There she became a significant patron of music and opera, with composers including Alessandro Scarlatti, Alessandro Stradella and Arcangelo Corelli dedicating works to her. After her death in 1689, the academy was established in her memory and elected her as its symbolic head (basilissa, the Greek term for 'Queen'). The Academy lasted for the next two hundred years, remaining a leading cultural institution into the 20th century. The Accademia degli Arcadi was so called because its principal intention was to reform the diction of Italian poetry, which the founders believed had become corrupt through over-indulgence in the ornamentation of the baroque style, under the inspiration of pastoral literature, the conventions of which imagined the life of shepherds, originally supposed to have lived in Arcadia in the golden age, divinely inspired in poetry by the Muses, Apollo, Hermes and Pan. The Academy chose as its emblem the pipe of Pan with its seven unequal reeds. The fourteen founders selected as the first Custode di Arcadia or president of the academy, Giovanni Mario Crescimbeni who was the author of a history of Italian poetry and of various literary works. The Arcadians resolved to return to the fields of truth, always singing of subjects of pastoral simplicity and drawing their inspiration from Greco-Roman bucolic poetry. The ideal parameters for the artistic work were simplicity and a sense of measure and beauty. Common to all the poets was the desire to oppose the poetry of the Marinists, and return to classic poetry, embracing also the recent rationalist influence of Descartes. Norms and rituals of the academy took their cue from classic and pastoral mythology, as in the custom of assuming 'pastoral' names; (Crescimbeni, for example, chose that of Alfesibeo Cario). The fourteen founder members included the librettist Silvio Stampiglia and the poet Vincenzo Leonio. The first solemn gathering of the Arcadians was held on the Janiculum hill, in a wood belonging to the Reformed Minorites, on 5 October 1690. In 1692, the meetings were transferred to the gardens of Duke Orsini on the Esquiline hill; in 1696, to the Farnese Gardens on the Palatine. Finally, the generosity of John V of Portugal, one of its members under the name of Arete Melleo, enabled the society to secure (1723) on the Janiculum a site known as the Bosco Parrasio or (Parrasian Grove). Here they held their meetings in summer days, in winter moving to the Teatro degli Arcadi in the Palazzo Salviati. In 1696 the Accademia admitted seven musicians including Giovanni Bononcini. While the academy was still on the Palatine, its Statuto or Constitution was drawn up. This constitution (the work of co- founder Gian Vincenzo Gravina) was modelled on the ancient Roman laws of the 'Twelve Tables', and was engraved on marble. Differing tendencies soon asserted themselves, following the ideas of the two founders: that of Gravina stood in the tradition of Homer and Dante, while that of Crescimbeni was more influenced by Petrarch. Because of these differences Gravina left to found the Accademia dei Quirini in 1711. Despite this loss, Arcadia retained its vigour in the following years, and created colonies in many cities of Italy. Many noblemen, ecclesiastics, and artists held membership of it to be an honour, and very soon it numbered 1,300. Much of what they produced, however, was either mediocre or pretentious (an example is Saverio Bettinelli's disparagement of Dante), although the Academy did receive some endorsement for its attack on the redundant Rococo style, then dominant in art and literature. The celebrated opera librettist Pietro Metastasio (1698–1782) although he had his own differences with Arcadia, was a student of Gravina's, and a leading light of the academy's second generation. His works, of which the best remembered might be Il Re Pastore because of its setting by Mozart, may represent the closest thing to a justification of its program that Arcadia achieved. In 1795, the academy admitted the Italian Diodata Saluzzo Roero, as one of its first female members,Letizia Panizza & Sharon Wood (2000). "A History of Women's Writing in Italy". p. 144. but already in the 17th century the poet Maria Antonia Scalera Stellini was elected a member. A violent anti- Arcadian reaction soon developed, and, starting from the early 19th century, Arcadianism began to be regarded as a late and unconvincing expression of the ancien régime. After the end of the French Revolution, the Academy strove to renew itself in accord with the spirit of the times, without sacrificing its traditional system of sylvan associations and pastoral names. The Academy no longer represented a literary school, but a general interest in the classics, and figures like Dante came to be greatly honoured by its members. Furthermore, the Academy's field of endeavour was enlarged to include many branches of study, including history and archaeology. The new Arcadian revival was marked by the foundation (1819) of the Giornale Arcadico. In 1925 the Academy was renamed to become the Arcadia – Accademia Letteraria Italiana, a historical institute. The Accademia degli Arcadi counted among its members some of the principal literary men and women of the time, including Menzini, Redi, Metastasio, Rolli, Guidi, Clotilde Tambroni and others. The famous composer George Frideric Handel is known to have often attended the meetings and symposia of the Arcadians when studying in Italy, under the patronage of Ruspoli, a leading member of the Academy. There is an interesting account of the Academy's history and program in Goethe's 'Italian Journey'. The archives of the academy are currently housed in the Biblioteca Angelica, next to the church of Sant'Agostino in Rome. The paintings are housed in the Palazzo Braschi. Atti e memorie dell'Accademia letteraria italiana was published by the academy.Copac record; accessed 19 July 2019 NotesReferences * Barroero, L. and Susinno, S. 'Arcadian Rome, Universal Capital of the Arts', in Art in Rome in the Eighteenth Century, ed. E. P. Bowron and J. J. Rishel, 47–77 (Philadelphia: Philadelphia Museum of Art, 2000) * Dixon, S. M. (1999) "Women in Arcadia", Eighteenth Century Studies, 32(3), pp. 371–375. * Dixon, S. M. (2006) Between the real and the ideal: the Accademia degli Arcadi and its garden in eighteenth-century Rome (Newark, Del.: University of Delaware Press). * Forment, B. (2008) Moonlight on Endymion: In Search of “Arcadian Opera,” 1688-1721, Journal of Seventeenth-Century Music, 14(1). Online: https://sscm-jscm.org/v14/no1/forment.html * Giorgetti Vichi, A. M. (ed.) (1977) Gli Arcadi dal 1690 al 1800: Onomasticon (Rome, Arcadia – Accademia Letteraria Italiana). (List of members.) * Claudio Rendina, Enciclopedia di Roma, Rome: Newton Compton, 2000. External links *Official website *Notes on the Accademia dell'Arcadia from the Scholarly Societies project Category:Education in Rome Category:Italian literature Category:1690 establishments in Italy Category:Italian writers' organisations "
"1 Million Signatures Kurt Wenner is an artist best known for inventing 3D pavement art. His artwork has become a global phenomenon and his images are an internet sensation. Early life, education, and work Wenner was born in Ann Arbor, Michigan in 1958, but grew up in Santa Barbara, California. He attended Rhode Island School of Design and Art Center in California. While at Art Center he was recruited to work for NASA at the Jet Propulsion Laboratory. Media coverage Wenner invented 3D pavement artk and is known for driving the media and generating social media buzz with his images. He has taken on many cause-related works of art to raise awareness of things such as the Colorado River running dry, poor air quality, and more. In 2010, Greenpeace called for a ban of genetically modified crops by presenting the European Union members in Brussels with one million signatures on a petition. It was the first time the EU members forced a vote by invoking the 1-million member signature rule. Wenner was asked to create a 3D image to commemorate the historical day when the people of Europe stood up, voicing action for no GMO in their food. Wenner's enormous 3D image was at the center of this historical moment. His work has been in more than 30 countries around the world. An advocate of arts education, he says it must be taught properly. Wenner points out that at no other time in the past 500 years, and with an abundance of Universities across the globe, do so few people know how to draw. In 1991, he received the Kennedy Center Medallion for his outstanding contribution to the arts. Wenner works on a variety of commissions. His most recent being for 23 murals and portraits at the soon to open Legacy Center in San Diego. He sells his fine art through gallery, and accepts a limited number of private commissions each year in addition to 3D event work. ReferencesExternal links *Kurt Wenner's Official Web Page *Greenpeace EU Petition Category:Rhode Island School of Design alumni Category:American artists Category:Pavement artists Category:Living people Category:1958 births Category:Art Center College of Design alumni Category:Trompe-l'œil artists Category:Artists from Ann Arbor, Michigan "
"Revisited is a 1960 album by Tom Lehrer, consisting of live recordings of all the songs from 1953's Songs by Tom Lehrer. The CD reissue of the album contains two additional tracks that Lehrer wrote and performed for the PBS television show The Electric Company (and produced and conducted by Joe Raposo). Track listing # "Introduction" – 3:27 # "I Wanna Go Back to Dixie" – 2:56 # "The Wild West is Where I Want to Be" – 2:31 # "The Old Dope Peddler" – 1:42 # "Fight Fiercely, Harvard" – 2:41 # "Lobachevsky" – 4:19 # "The Irish Ballad" – 5:13 # "The Hunting Song" – 1:59 # "My Home Town" – 2:58 # "When You are Old and Grey" – 2:27 # "The Wiener Schnitzel Waltz" – 2:21 # "I Hold Your Hand in Mine" – 1:55 # "Be Prepared" – 2:39 # "L-Y" – 2:11 (CD bonus track) # "Silent E" – 1:30 (CD bonus track) Notes On the original Lehrer Records release of Revisited, tracks 1–6 (side 1) were recorded live on November 23 & 24, 1959, in Kresge Auditorium at MIT in Cambridge, MA, while tracks 7–13 (side 2) were recorded live at two concerts during Lehrer's tour of Australia in spring 1960 (March 21 in Melbourne and May 4 in Sydney). Because of issues with the sound quality of the Australian recordings, England's Decca Records assembled its release of the album solely from the MIT concert tapes. The Decca configuration was the basis for the 1990 Reprise/Warner Bros. CD reissue. The cover photograph was taken at Royal Festival Hall in London, England, UK, after his performance there on June 29, 1960. Tracks 14 and 15 were recorded May 28, 1971, and December 14, 1972. See also *Tom Lehrer *An Evening Wasted with Tom Lehrer *Songs By Tom Lehrer (album) ReferencesExternal linksSee also *Tom Lehrer *An Evening Wasted with Tom Lehrer *Songs By Tom Lehrer (album) Category:Tom Lehrer albums Category:1960 live albums Category:Reprise Records live albums Category:Albums conducted by Joe Raposo Category:Albums produced by Joe Raposo Category:1960s comedy albums Category:Live comedy albums "