GANZO_StudentFinalExhibition_Sprin2019

CATERI NA DE MEDICI AND THE NEW IDENTI TIES Fine Arts Final Exhibit Spring 2019

Cover Design: Sarah Gardella - Digital Graphic Illustration

CATERI NA DE MEDICI AND THE NEW IDENTI TIES Fine Arts Final Exhibit Spring 2019

MAY 1 - 28 Opening Wed May 1, 2019 6:00PM GANZO Via dei Macci 85/r Firenze ganzoflorence.com

The Florence University of the Arts students with this Spring 2019 Final Exhibition open a unique event journeying though the exploration of their own identities through the one of a significant historical figure. As a great patroness of the arts, and a Renaissance Queen, Caterina de’ Medici stands once again at the core of a cultural and artistic expression. This time through the eyes of the Fine Art students, whom all have such var ying upbringings and aesthetic tendencies, they have created a complete collection of empirical inspirations and creative representations.

Caterina’s life was a full one and in fact it really began when she moved to France at the age of fourteen in order to become the wife of Henr y II and the new queen of France. She was able in many different areas to combine and infuse her home culture with the one with which she was learning to integrate into. As the great granddaughter of Lorenzo de’ Medici, Caterina already had a full plate of family traditions, great patronages in what came to be canonical art. As the successor of this immensely powerful lineage, she soared socially and following her husband’s death and the end her oppression from him, she became one of the most influential women in Europe and was viewed as the Mother of the French Renaissance.

In this final exhibition of the semester, students dedicate this journey to this woman’s crucial intellectuality and her aesthetic impact on several civilizations throughout histor y. Fourteen classes have worked in the same path as Caterina herself in order to seek these new identities through the arts.

La vita di Caterina de’ Medici si può dire che iniziò dav vero quando si trasferì in Francia all'età di quattordici anni, nel 1533, per diventare la moglie di Enrico II e quindi, di lì a poco, regina di Francia.

Fu in grado, in molte aree, di combinare e infondere la propria cultura familiare fiorentina con quella francese, con la quale stava imparando via via ad integrarsi.

Come pronipote del grande Lorenzo de’ Medici, Caterina aveva già proprie tante tradizioni familiari, da grande famiglia di mecenati quali i Medici sono stati, dalle arti alla cucina, fino allo stile di vita.

Come erede di questo lignaggio, con la morte del marito, divenne una delle donne più influenti in Europa e fu riconosciuta come la Madre del Rinascimento francese.

Con questa mostra, a cui hanno contribuito 14 classi del dipartimento di Fine Arts, gli studenti hanno voluto cercare, come Caterina, tante nuove identità attraverso le varie arti visive.

L’organizzazione e l’allestimento dell’esposizione nei locali di Ganzo è interamente a cura degli studenti del corso di Galler y and Exhibition Curating.

Haley Abruzzese | Ruby Bronaugh | Emma Derr | Nina Fiol | Abrianna Macon | Dylan Minowa | Matthew Reyes | Morgan Seemann | Hannah Todd | Evan Turner | Sydney Wild Gallery and Exhibition Curating

Sophie Lascaris Gallery and Exhibition Curating - Experiential Learning

Allen Hebert | Marielle Medina SPEL in Fine Arts - Gallery Assistant

F O U N D AT I O N PA I N T I N G SAS School of Art and Sciences

At the foundation level we focus on learning to see the reality that surrounds us and to interpreted it through from and colour. This requires constant practice and dedication but most importantly, at the beginning level, it requires patience and openness to a different way of looking at the world.

Subjectivity is essential, in the sense that each individual will interpret an object in a unique way that has traits of objectivity, but that is fundamentally personal, specific to his/her own identity.

ANTONIA COMI

F O U N D AT I O N PA I N T I N G

Julia Fuller

Charlotte, North Carolina, USA University of South Carolina

Kathryn Rafferty New Haven, Connecticut, USA Fairfield University

Casey Daw University of Idaho

Mackenzie Ellefson

St. Louis Park, USA Saint Mary's University of Minnesota

Untitled 40 X 60 (overall) Oil on gesso and paper

W AT E R C O L O R A N D T E M P E R A / G O U A C H E T E C H N I Q U E S SAS

School of Art and Sciences

How can a contemporary artist compairs himself with a fellow man of the 16th century, in the era of Caterina De ’Medici? It would be extremely difficult to make the comparison on a technical level, also speaking about aesthetics, until mentioning the conceptual one.

Someone said that the art of the past took much longer to make than to understand it, while contemporary art on the contrary is much more difficult to understand than to create ... Well, my beginners students of watercolor and introduction to watercolor have faced technique and concept dedicating the same commitment and the same expertise, putting to good use a semester of research and study on the great past, on its cultural "identity", but with the mind turned to their future with the same meticulous attention and, very importantly, the same level of passion.

ANDREA MANCINI

W AT E R C O L O R A N D T E M P E R A / G O U A C H E T E C H N I Q U E S

Brenna McWhorter

Greeley, Colorado, USA Colorado State University

Union 50x35 cm Mixed Media As someone who is studying art history, I am very intrigued

by Renaissance style portraiture and for as long as I can remember I have been fascinated with the Medici family.

As patrons of the arts and influential rulers of Florence, the dynasty of the Medici family is one of the most important themes in the history of Renaissance art. Upon learning that the theme for this exhibition was Caterina de’ Medici, I decided to embrace the subject of Renaissance portraiture and to portray the marriage of Caterina and the King of France, Henry II. As a defining moment in Caterina’s life and in the histories of both France and Italy, it seemed like an appropriate theme to encapsulate the course that Caterina de’ Medici’s life took upon her marriage to Henry II. There are very few moments in Caterina’s life that likely impacted her as much as her marriage to the King of France, and I chose this moment when Henry II is placing the ring on Caterina’s hand because this is the last moment that she is Caterina de’ Medici before being united with the House of Valois. However, I chose to focus on Caterina as the subject of this scene and not Henry II, particularly because this moment would have impacted Caterina far more so than her new husband. She was uprooted from her home country and forced to adapt to her new life in the French court, and so I wanted to focus on this moment right before she loses her identity as a Medici and becomes the Queen consort of France.

I hope that my work conveys the immense courage of Caterina de’ Medici and allows the viewer to evaluate Caterina’s position and influence in the French court and the immense impact that she has had on history.

I N T E R M E D I AT E PA I N T I N G SAS School of Art and Sciences

Examining the figure, personality, personal world, and public roles of Caterina de Medici, painting and drawing students excavated beyond the surface of making images of her likeness and objects and moments in her world, to reveal, explore, and also re-present her importance, her suffering, and her relevance to the culture we enjoy today.

Both as a Medici and as a woman, patroness, cultural influencer, and connoisseur, her complex roles, conflictual realities, and subsequent powers’ treatment of her legacy are expressed and re-envisioned in imagery that owes much to the Renaissance’s classical, observational visual language that Medici patronage made the gold standard not only to measure beauty, but to express the best of human creativity and thought.

ANDY NUFER

I N T E R M E D I AT E PA I N T I N G

Caroline Worrell Boone, North Carolina, USA Appalachian State University

Ora Tempera on Gessoed Board 13cm x 18cm Although Caterina de'Medici is revered for her contributions to the arts and enterainment industries throughout the 1500's, I felt a deep connection to her spirit; or rather her ora. In this piece, I specifically responded to her spirit viewed through the Valois Tapestries. Each tapestry is a small glimpse into Caterina's magnificent life, whether it be the Ballet or the royal court, her soul radiates through the work.Through the use of various different elegant female forms and a sumptuous monochrome color scheme, I aim to channel Caterina's strong female energy and regal presence.

I N T E R M E D I AT E PA I N T I N G

Ivette Noemi Calderon Merida, Yucatan, Mexico Anahuac Mayab

Lemons from the Garden Oil On Gessoed Paper 50x35 I decided to do a still life with lemons because the Medici family, for hundreds of years, had a passionate love relationship with citrus, and specifically, with lemons. This is a fruit that is also very important for Italians and their cuisine and liquors today. My goal was to express something that was not only in the Medici environment, but transcends their era to become integral to contemporary Italian culture.

I N T E R M E D I AT E PA I N T I N G

Anel Tulegenova Almaty, Kazakhstan DOS education group

Still Life with Seashell and Wine Oil on paper 43x36cm 24x23cm I like to learn about Renaissance still life. Every object and every detail carries great significance for me, and for this work, I chose the shell-shaped vase that I found in Pallazo Pitti, which is a symbol of fertility, wealth and prosperity. It also reminds me a feeling of the sea, romance and relaxation.

The fruit accompanied by the red wine is a classic combination of pleasant tastes.

I N T E R M E D I AT E PA I N T I N G

Emily Neat

Louisville, Kentucky, USA Transylvania University

The Art of the Deal Gold Leaf, Oil Paint, Gouache Overall 35x45 cm Patronage. A deal to make art is an art. Money is a universal driving force, and those who give it are often praised as the connoisseurs of culture in their time. But what about the deal itself? The intimate transaction between artist and patron. There was pressure, no doubt, on the artist’s end. Without the artist, the money would be useless, for the patron themselves would not make the art. The deal is double-sided, in truth.

I N T E R M E D I AT E PA I N T I N G

Morgan Seemann Waterloo, Iowa, USA

Double Personality Oil on Canvas 50x35 cm With a literal approach to the theme of Caterina de Medici, my work centralizes around the concept of identity within one woman, who in her life seemed to take on a number of roles and identities in order to survive as a young Medici and later, a queen of France. Through my work, I wanted to portray Caterina’s role has a dual nature. The more obvious of dualities life. She transitions from identities like Medici to Queen, young girl to mother, and pawn to controller. My work reflects these dualities and their transitions in the arrangement of the two figures, their portraits facing alternate directions while remaining situated under the same overarching structure of white that connects the indistinctive shape of each Caterina.

I N T E R M E D AT E D R A W I N G SAS School of Art and Sciences

Examining the figure, personality, personal world, and public roles of Caterina de Medici, painting and drawing students excavated beyond the surface of making images of her likeness and objects and moments in her world, to reveal, explore, and also re-present her importance, her suffering, and her relevance to the culture we enjoy today.

Both as a Medici and as a woman, patroness, cultural influencer, and connoisseur, her complex roles, conflictual realities, and subsequent treatment of her legacy are expressed and re-envisioned in imagery that owes much to the Renaissance’s classical, observational visual language that Medici patronage made the gold standard not only to measure beauty, but to express the best of human creativity and thought.

ANDY NUFER

I N T E R M E D I AT E D R A W I N G

María Begoña Bertrán

Mexico City, Mexico Florence University of the Arts

Behind the Golden Facade Markers and gold sheet 41.9x 30 cm As a developing artist, I’m interested in creating works that call the attention of the audience by captivating their curiosity. Since a very young age, my admiration for artists through the ages and around the world has swung between two exceptional men: the one and only italian artist Amedeo Modigliani and the Japanese master Hayao Miyazaki. If you know them, you might have realized that they do not share a common ground in style; however, their long journey of self discovery and their eventual enlightenment in their creativity inspires me in following what I believe through my art, but most importantly, it pushes me in taking risks and failling.

I N T E R M E D I AT E D R A W I N G

Holly Barrett Mason, Ohio, USA Ohio University

Displaced Pen & Ink 35x50cm Often times when people are introduced, one of the first questions asked is “where are you from?” A person’s origins, their birthplace, and their current homestead are considered contributing factors to their identity. This artwork combines the various “homes” of Caterina de’ Medici, from Convent to Court. The use of warped perspective and disappearing lines is in the hopes of creating an architectural drawing that feels unsettled, or displaced, like Caterina de’ Medici would have felt her entire life.

I N T E R M E D I AT E D R A W I N G

Rosie Petree

Arlington, Virginia, USA University of North Carolina Wilmington

Portrait of a Queen’s Attire Ink, Graphite 20x33 cm This ink and graphite portrait of Catarina de Medici showcases her grandeur through her extravagant dress and centered position. She was widely known for her feminine creativity and is able to use her clothing as an outlet for this and for her greatness and importance as part of Florentine royalty.

The Medici family crest is featured in the background to honor Caterina and her family’s important role in the history of Florence.

FLORENCE SKETCHBOOK SAS School of Art and Sciences

Examining the figure, personality, personal world, and public roles of Caterina de Medici, painting and drawing students excavated beyond the surface of making images of her likeness and objects and moments in her world, to reveal, explore, and also re-present her importance, her suffering, and her relevance to the culture we enjoy today.

Both as a Medici and as a woman, patroness, cultural influencer, and connoisseur, her complex roles, conflictual realities, and subsequent powers’ treatment of her legacy are expressed and re-envisioned in imagery that owes much to the Renaissance’s classical, observational visual language that Medici patronage made the gold standard not only to measure beauty, but to express the best of human creativity and thought.

ANDY NUFER

FLORENCE SKETCHBOOK

Jennifer Leutters Durham, New Hampshire, USA - University o New Hampshire Gabrielle Neuman Allentown, Pennsylvania, USA - Muhlenberg College Andria Banker Richmond, Kentucky, USA - Eastern Kentucky University Lexie Mottolo Fairfield, Connecticut, USA - Fairfield University Santa Croce Facade Detail - Angel Graphite on paper Overall: 20 x 20 cm Each: 10 x 10 cm Deeply seeing and entering into one’s own, small piece and collaborating to create a collective, shared experience. zooming in to lose context but perceive and encounter the specific, and then putting it all together to comprehend the whole. the familiar, overlooked detail capture the attention to reveal the true, extraordinary beauty of everyday florence becomes once again perceptible by stopping, zooming in and slowing down to truly have an encounter ourselves that we hope also opens the viewer’s eyes to how we can learn to perceive the transcendent meaning and joy in the overlooked present moment.

FLORENCE SKETCHBOOK

Izabella Botto Jacqueline Gangi Allyson O’connell Brigette Thomas

Ottumwa, Iowa, USA - Indiana Hills Community College Fairfield, Connecticut, USA - Fairfield University Fairfield, Connecticut, USA - Fairfield University Fort Collins, Colorado, USA - Colorado State University

Santa Croce Detail - Door Knocker Graphite On Paper Overall: 20 X 20 Cm Each: 10 X 10 Cm Deeply seeing and entering into one’s own, small piece and collaborating to create a collective, shared experience. zooming in to lose context but perceive and encounter the specific, and thenputting it all together to comprehend the whole. the familiar, overlooked detail capture the attention to reveal the true, extraordinary beauty of everyday florence becomes once again perceptible by stopping, zooming in and slowing down to truly have an encounter ourselves that we hope also opens the viewer’s eyes to how we can learn to perceive the transcendent meaning and joy in the overlooked present moment.

A D VA N C E D PA I N T I N G SAS School of Art and Sciences

Hidden Caterina Among the reactions Caterina de’ Medici’s multifaceted personality and complex life trigged in my students imagination, was an urge to know more about her as a woman, beyond her official images: who is deep inside the Caterina we see disguised beyond the serious and committed girl getting married to Henri of Valois, or the Caterina as a powerful dark queen allegedly responsible for questionable political decisions?

Art is able to point at individualities beyond stereotyped roles.

As the queen’s character, moods and personal issues had to be veiled, if not hidden, within the roles she embodied, the paintings exhibited are to be seen as homages to Caterina the woman, captured as absorbed in moments of rest, rituals of self-care, private concerns and hidden conflict.

While selecting their individual perspectives on the topic, students found themselves relying upon a series of artistic choices that allude to a shared human experience, where the social necessity to wear a mask, a persona, in order to protect ourselves, gets along with the need of getting rid of it in order to be just ourselves.

Eventually, while trying to unveil Caterina’s intimacy as a part of her individuality – both in figurative as non figurative ways – their challenge has been also to reveal something about themselves, in an imaginary intimate correspondence with their Caterina.

NICOLETTA SALOMOM

A D VA N C E D PA I N T I N G

Mary McCoy Wichita, Kansas, USA University of Kansas

A Queen’s Stretching, Cleansing, Resting Oil on grain canvas 3 pieces, each 36 x 48cm Even a queen must stretch. Even a queen must cleanse. Even a queen must rest. In this series, I aim to reflect a woman experiencing content and calm moments in her every day life. These are moments every woman goes through, even a queen, such as Caterina de’ Medici. My painting style is sketchlike and fluid. The brushstrokes are strong, celebrating every curve and tone of the woman’s body. The composition is fleeting just as the moment in time it captures. A queen, in moments experienced by all.

A D VA N C E D PA I N T I N G

Nina Manougian Paramus, New Jersey, USA Rutgers

If Hell is Other People Heaven is Solitude Oil Paint & Canvas 35 x 52cm An intimate, personal moment of self-reflection is the state at which a every person, from peasant to queen, is able to be their true natural self without a façade. Being able to see another person’s private moment gives the viewer a rare glimpse into the true identity of a person. The identity that lies within us all which must be masked by the roles we play, as we put on a happy face or a regal aura to face the world. In these intimate moments beauty incarnate is found. The beauty of true self without the masks we carve to hide from the world and ourselves.

A D VA N C E D PA I N T I N G

Heidi Hartman

Fort Collins, Colorado, USA Colorado State University

Modelling Paste on Canvas Oil on grain camvas 56.5 cm x 48 cm x 5 cm Every human being is a whirlpool; our emotions, relationships, and existence remain in constant motion, moving and turning beneath the surface.

Caterina de’ Medici is no exception: a queen is still human. The aspects of ourselves as individuals are formed over time through our experiences which mold us into the people we are at this very moment. The movement within this piece captures the ever-circling inner currents within ourselves, caught as a still moment on canvas. The painting is left with intentional holes and warped edges to keep it purposefully imperfect, causing it to embrace the flaws as a part of its individuality. The space the piece occupies reflects that of a human being, one who has several dimensions both internally and externally, and like the painting has both conceptually and physically. The modelling paste and palette knife create an intentionally chaotic painting that causes the viewer’s eye to move around the canvas and even behind it. The piece stands out from the frame the same way we stand out from others around us, each of us a completely different person, all while being grounded to the same earth. The nails ground the canvas to the frame and are left exposed to emphasize our relationship with the physical world. Allow yourself to get lost in the whirlpool and let it inspire you to ponder your own individuality.

ART THERAPY SAS School of Art and Sciences

Hidden Caterina Among the reactions Caterina de’ Medici’s multifaceted personality and complex life trigged in my students imagination, was an urge to know more about her as a woman, beyond her official images: who is deep inside the Caterina we see disguised beyond the serious and committed girl getting married to Henri of Valois, or the Caterina as a powerful dark queen allegedly responsible for questionable political decisions?

Art is able to point at individualities beyond stereotyped roles.

As the queen’s character, moods and personal issues had to be veiled, if not hidden, within the roles she embodied, the paintings exhibited are to be seen as homages to Caterina the woman, captured as absorbed in moments of rest, rituals of self-care, private concerns and hidden conflict.

While selecting their individual perspectives on the topic, students found themselves relying upon a series of artistic choices that allude to a shared human experience, where the social necessity to wear a mask, a persona, in order to protect ourselves, gets along with the need of getting rid of it in order to be just ourselves.

Eventually, while trying to unveil Caterina’s intimacy as a part of her individuality – both in figurative as non figurative ways – their challenge has been also to reveal something about themselves, in an imaginary intimate correspondence with their Caterina.

NICOLETTA SALOMOM

ART THERAPY

Tonetto Anna Giulia Florence Italy Florence University of the Arts

Hair Acrylic and gel pen on canvas 10x15 cm We are made out of the books we read, the flowers we love, the words we speak, and the acts we set into motion. Through a series of doodles I have attempted to portray the story of five different characters, and let that their narrative be created by chance. There is a hidden organic element in all of the drawings, connecting them to my own identity, and individuality.

ART THERAPY

Anel Tulegenova Almaty, Kazakhstan DOS education group

Legendary Woman Watercolor and ink on paper 3 pieces, each 36*48 cm I emphasize in my paintings the essence and character of Caterina de’ Medici and of her way life. This woman had the status of not only the Queen of France, but unpopular name - the Black Queen. Caterina de’ Medici has many flaws, but she was educated, a brilliant politician, and was characterized by extraordinary refinement and generosity.

She is a connoisseur of art, literature and ballet. All these qualities are associated with bright colors. Caterina de’ Medici is a lover of astrology and alchemy. This is combined with cosmos and deep colors.

ART THERAPY

Izabella Botto Fairfield, Iowa, USA Independent enrollment

The Silhouetted Queen Watercolor on paper 27.9 cm x 38.1 cm My work is about the three different sides of the controversial queen of France, Caterina de’ Medici as represented by animals. The snake comes from her unpopular nickname as the ‘Queen of Serpents’. The snake is cunning, but deadly. It represents the dark deeds and actions she carried out as a ruler of a particularly turbulent time in history. The snake is not trusted, just as Caterina was not trusted or accepted as an Italian noble in French court.

The owl is the symbol of Athena, the Greek goddess of wisdom. It symbolizes Caterina’s intellect and inner voice. The owl is a predator and nocturnal, making it quiet and mysterious. Caterina often worked in the shadow of her husband and sons, who she secured on the throne and wielded her power as Queen Mother. This painting shows the controversial queen in her most intimate moments.

The gold painting features the queen with a lion, the symbol of courage and justice. I got the inspiration for the painting from the lions that decorate the facade of Palazzo Pitti, the residence of the Medici family. The lion is the representation of the positive and noble traits of Caterina’s character.

This includes her love of her family, country, and being a great patron of the arts.

ART THERAPY

Shay Waldsmith

Durham, New Hampshire, USA University of New Hampshire

Alien Girl Watercolor on paper.

3 pieces, each cm 32x24 The alien girl represents the struggle in discovering one’s identity. In Art Therapy, free self-expression is encouraged and sometimes difficult to convey. The different colored nuances change in unison with my feelings and emotions. Our reactions and feelings make us unique. The alien girl shows the development of my own individuality and discovery of what makes me who I am.

W O R D S , PA I N T I N G , A N D E M O T I O N S : T H E M I N D M A P O F C R E AT I V I T Y SAS School of Art and Sciences

Hidden Caterina Among the reactions Caterina de’ Medici’s multifaceted personality and complex life trigged in my students imagination, was an urge to know more about her as a woman, beyond her official images: who is deep inside the Caterina we see disguised beyond the serious and committed girl getting married to Henri of Valois, or the Caterina as a powerful dark queen allegedly responsible for questionable political decisions?

Art is able to point at individualities beyond stereotyped roles.

As the queen’s character, moods and personal issues had to be veiled, if not hidden, within the roles she embodied, the paintings exhibited are to be seen as homages to Caterina the woman, captured as absorbed in moments of rest, rituals of self-care, private concerns and hidden conflict.

While selecting their individual perspectives on the topic, students found themselves relying upon a series of artistic choices that allude to a shared human experience, where the social necessity to wear a mask, a persona, in order to protect ourselves, gets along with the need of getting rid of it in order to be just ourselves.

Eventually, while trying to unveil Caterina’s intimacy as a part of her individuality – both in figurative as non figurative ways – their challenge has been also to reveal something about themselves, in an imaginary intimate correspondence with their Caterina.

NICOLETTA SALOMOM

W O R D S , PA I N T I N G , A N D E M O T I O N S : T H E M I N D M A P O F C R E AT I V I T Y

Emily Flick

Brier, Washington, USA Washington State University

A Persona Acrylic on canvas paper 30 x 40 cm Many layers compose who we are and these layers involve some that are seen; others are cleverly secretive. A power within the crust of the layers is formed over time; strength that holds us, sometimes so close to breaking. A representation I relate with the powerful persona Catherine de Medici held as the Queen of France. A well known figure with unknown braveries, and dark mysterious endeavors that created her successors.

W O R D S , PA I N T I N G , A N D E M O T I O N S : T H E M I N D M A P O F C R E AT I V I T Y

Devin Timpone Nesconset, New York, USA SUNY New paltz

Individuality/Seeing purple Acrylic paint and grain canvas 28x35 cm Some people speak to roses, but this rose spoke to me. A purple rose embodies enchantment, wonder, the magic of youth and sensation of falling in love at first sight.

I often get lost in this state of mind finding myself in deep, intertwined with my fantasies, so much so that it becomes hard to separate myself from reality. I’ve always been an idealistic person and a “hopeless romantic.” The truth is, I have ideas for what I’d like my life to be like and deep down I am determined to make those dreams come alive. I want to live an emotionally invested life and get the most out of myself and my surroundings. Like this rose, I run deep. I’m made of romance. Wonder is my sixth sense. And though it some times brings me hardship, grief and disappointment, I would never change the way I am because it’s what makes me myself, keeps me curious, passionate, and authentic

W O R D S , PA I N T I N G , A N D E M O T I O N S : T H E M I N D M A P O F C R E AT I V I T Y

Joely Bleichert

Clifton Park, New York, USA University of New Hampshire

Saint Bartholomew’s Night Acrylic on canvas paper 30 x 40 cm

This painting depicts the uttermost horror that flooded the streets of Paris in the night of 23-24 of August 1572. Horror, pain, suffering and brutality are translated through the colors chosen. The city was turned into a chaotic blood bath that was scorched by the bright flames. This massacre was a targeted group of assassinations and a wave of Catholic mob violence, directed against the Huguenots, during the French Wars of Religion.

Some historians have referenced that this massacre was believed to have been instigated by Queen Catherine de’ Medici.

CERAMICS BEGINNER SAS School of Art and Sciences

Toys come to life thanks to the imagination and projections of the unconscious, reflecting the boundaries between internal and external reality. They represent the identity of a culture and revive history by bringing back affective impulses, companionship, and protection as well as power, aggression and role-playing games.

PARIDE MORETTI

CERAMICS BEGINNER

Jessica Dunlap Nashville, Tennesse, USA Belmont University

Wild Rulers_Toy set Ceramics, 30cm x 30cm The "Wild Rulers Toy Set" is a playful and symbolic parody to political power in its most obscure forms. Toys are miniature representations of reality and are part of the instinctive baggage common to all human beings. The creatures comment on the wild or rather evil aspects that occur within a ruling.

The corruptions, bribery, and the hidden deeds of political leaders.

MAY 1 - 28

Opening Wed May 1, 2019 6:00PM GANZO Via dei Macci 85/r Firenze ganzoflorence.com

Haley Abruzzese Ruby Bronaugh Emma Derr Nina Fiol Abrianna Macon Dylan Minowa | Matthew Reyes Morgan Seemann Hannah Todd Evan Turner Sydney Wild

Gallery and Exhibition Curating

Sophie Lascaris Gallery and Exhibition Curating - Experiential Learning

Allen Hebert Marielle Medina SPEL in Fine Arts - Gallery Assistant

Andrea Mancini

Gallery and Exhibition Curating Instructor SPEL in Fine Arts - Gallery Instructor Watercolor and Tempera/Gouache Techniques

Antonia Comi Foundation Painting

Paride Moretti Ceramics Beginner

Andi Nufer

Intermediate Painting Intermediate Drawing Florence Sketchbook

Nicoletta Salomon

Advanced Painting Art Therapy Words, Painting, and Emotions: The Mind Map of Creativity Printed May 2019

by FUA Florence University of the Arts Cover Design: Sarah Gardella - Digital Graphic Illustration

ACKNOWLEDGEMENTS RINGRAZIAMENTI

CATERI NA DE MEDICI AND THE NEW IDENTI TIES Fine Arts Final Exhibit Spring 2019

GANZO Via dei Macci 85/r Firenze ganzoflorence.com FLORENCE UNIVERSITY OF THE ARTS