MUSEO DELLE TORTURE INTERNAZIONALE DI GRAZZANO VISCONTI PC
Un misto di storia, cultura, mistero uniscono questa indagine avvenuta al museo internazionale delle torture a Grazzano Visconti presso il palazzo dell'istituzione alla ricerca di probabili manifestazioni anomale che fanno da sfondo ad una promettente collaborazione con il Cineclub G. Cattivelli Di Piacenza.
Museo delle torture San Gimignano/toscana
Visita al museo delle torture e stregoneria di San Gimignano Rock Intro 4 di Audionautix è un brano autorizzato da Creative Commons Attribution (
Artista:
Museo delle Torture
La più bella e unica collezione di torture del Sud Italia al tempo dell’Inquisizione.
“Un museo che illustra quanto la fantasia umana non abbia avuto limiti nella ricerca di mezzi atti ad infliggere le più abominevoli torture, dimenticando ogni forma di umano rispetto”.
Museo delle Torture
La più bella e unica collezione di torture del Sud Italia al tempo dell’Inquisizione.
“Un museo che illustra quanto la fantasia umana non abbia avuto limiti nella ricerca di mezzi atti ad infliggere le più abominevoli torture, dimenticando ogni forma di umano rispetto”.
MUSEO DELLA TORTURA - VOLTERRA
Torture Museum: San Gimignano, Siena, Volterra, Lucca, Montepulciano
A journey through human cruelty.
This exhibit captures with words and images a unique world-wide collection: 100 instruments produced for causing pain and death.
It shows exceptionally rare pieces dated back to the XVI, XVII and XVIII century and more recent philological reconstructions of ancient and lost instruments.
torturemuseum.it
San Marino (Museo dei Vampiri / Museo della Tortura) - TRASHEIRA VIOLENTA
Nesse vídeo, a Trasheira Violenta visita o Museo dei Vampiri e o Museo della Tortura, dois museus um pouco peculiares, na república de San Marino.
Museo della Tortura HD - San Gimignano 2016
Preview of Museo della Tortura in San Gimignano (2016)
museo delle torture
Visita al museo delle torture di volterra
San Marino-museo della tortura,Torture Museum of San Marino,Przewodnik po San marino
-Museo della Tortura
-Contrada San Francesco 2, 47890 San Marino RN, Włochy
Museo della Tortura
Lato Porta San Francesco – San Marino Città
Ingresso: interi 8,00€, ridotti 6,00€, gruppi 4,00€
【K】Italy Travel-San Gimignano[이탈리아 여행-산 지미냐뇨]마녀 박물관/Criminal Museum/Torture/San Giovanni/Toscana
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[한국어 정보]
산 지오반니 거리의 또 다른 명물은 고문 박물관! 들어가는 입구부터 온갖 해골들로 관객들을 서늘하게 한다. 이 고문 박물관은 산 지미냐노에 중세 마을이라는 관광 컨셉을 더 넣기 위해 5년 전 개관했다고 한다. 박물관의 고문 기구들은 주로 중세에 사용되던 것들. 주로 전쟁 포로나 정치범, 마녀 등의 고문을 위해 쓰였다고 한다. 뾰족한 쇠못로 만들어진 이 심문용 의자는 중세의 마녀들을 고문하던 것인데, 무거운 돌을 올려놓으면서 고문의 강도를 높였다. 사람의 사지를 속박하던 이 도구는 런던탑에서도 똑같은 것이 발견될 만큼 16~7세기에 유럽에서 유행했다고 한다. 박물관을 구경하던 한 학생이 장난기가 발동했나보다. “기분이 어때요?” “안 좋아요. 그만 해. 열어 줘. 짜증나려고 해.“ “안 열리는데.” “화나게 하지 말고.” 중세의 대표적 고문기구, 아이언 메이든은 그 잔혹함 때문에 뭇사람들을 공포에 떨게 했다. 상징적으로 만들기만 했는지 공식적으로 사용했다는 기록은 다행히도 없다. 중세는 참 잔혹한 시대였던 것 같다. 차마 떠올리기도 힘든 잔인한 고문도구로 숱한 목숨을 앗아 갔을걸 생각해보니 아직도 당시의 처절한 비명소리가 들리는 것 같다. 도대체 그 잔혹함은 어디서 나오는 걸까? 광기는 때때로 인간의 이성을 마비시킨다.
[English: Google Translator]
Another specialty is torture museum in San Giovanni distance! Thereby cool the audience from the entrance to the kinds of skeletons. The torture museum has opened five years ago to get more tourism to the concept of the medieval village of San Gimignano. Museum of torture are mainly those that were used in the Middle Ages. The high mainly it spent for the torture of political prisoners, including prisoners of war or a witch. Geotinde was made by the chair for questioning sharp soemot torture witches in the Middle Ages, noteumyeonseo heavy stones raised the intensity of the torture. This tool was bound to the extremities of the people that fashion in Europe in the 16-7 century is the same as is found in the Tower of London. A student who visited the museum a more playful Did activated. How do you feel? Not good. Stop it. Open her up. Annoying to try. Do not yeolrineunde Do not be angry. Typical of medieval torture, Iron Maiden were the gulls who tremble in fear because of its cruelty. Make sure you only use a symbolic record was officially Fortunately there. It seems medieval era was indeed cruel. Come to think you bear to think of life as countless prayers have gone away the hard cruel torture seems to still hear the desperate screams of time. I wonder where the hell he is coming out of cruelty? Madness is sometimes paralyzes the human reason.
[Italian: Google Translator]
Altra specialità è il museo della tortura a San Giovanni a distanza! In tal modo raffreddare il pubblico dall'ingresso al tipo di scheletri. Il museo della tortura ha aperto cinque anni fa per ottenere di più il turismo al concetto del borgo medievale di San Gimignano. Museo della tortura sono principalmente quelli che sono stati utilizzati nel Medioevo. L'elevata soprattutto ha speso per la tortura dei prigionieri politici, tra cui i prigionieri di guerra o di una strega. Geotinde è stata fatta dal presidente per un interrogatorio taglienti streghe soemot tortura nel Medioevo, pietre noteumyeonseo pesanti sollevato l'intensità della tortura.
[Information]
■클립명: 유럽103-이탈리아05-14 중세 마녀 고문 박물관/Medieval Criminal Museum/Torture/San Giovanni/Toscana
■여행, 촬영, 편집, 원고: 한경택 PD (travel, filming, editing, writing: KBS TV Producer)
■촬영일자: 2008년 3월 March
[Keywords]
도시,downtown,도심, 시가지, urban, city, metropolitan,거리,street,avenue, route, downtown, shop, square,박물관,museum,institution, gallery, relic, history,유럽,Europe,유럽,이탈리아,Italy,italia,이태리,한경택,2008,3월 March,투스카니,Tuscany,Toscana
Museo della Tortura
Immagini originali dei Musei della Tortura in Italia.
SAN GIMIGNANO - MUSEO DI CRIMINOLOGIA MEDIEVALE
A San Gimignano, in provincia di Siena, si trova il Museo della tortura, detto anche Museo Criminale Medievale che, insieme al Museo della Pena di Morte poco distante, ospita una curiosa e inquietante esposizione di strumenti e congegni di tortura del Medioevo, utilizzati per lo più dalla Santa Inquisizione.
Ghigliottina, banco di stiramento, garrota, sedia inquisitoria, asce, spade, mannaie per le decapitazioni, pinze da lingua e strappaseni, sono solo alcuni dei terrificanti strumenti esposti nel museo. Tra questi è molto nota la cosiddetta Vergine di Norimberga, ovvero un sarcofago che presenta al suo interno una serie di punte acuminate che trafiggevano i malcapitati in punti non vitali, per prolungarne al massimo l’agonia.
Museo della Tortura
Presentazione del sito dei Musei della Tortura in Italia - museodellatortura.com
Gladiator Museum, Santa Maria Capua Vetere, Caserta, Campania, Italy, Europe
The Museo dei Gladiatori stands near the Campano Amphitheater in Santa Maria Capua Vetere. In the museum, the surviving elements of the decoration of the Campanian Amphitheater were presented to the public for the first time. It was inaugurated in 2003 and is divided into three rooms. In the first room, placed at the entrance, various inscriptions have been placed bearing dedications to the emperors Hadrian and Antoninus Pius, a model that reproduces the original structure of the Amphitheater and, at the top right, there are three of the arch keys that decorated the exterior of the monument: a male head with a Phrygian cap identified with Mitra or Attis, a female with a diadem (perhaps Giunone), a head of Minerva with an attic helmet and the cast of the Volturno, whose original is kept in the Museo Campano of Capua. In the second room, with an original layout that reproposes the steps of the auditorium, the decoration of one of the vomitoria (accesses to the cavea) was reconstructed in its entirety; on the bottom there is a relief with a procession of magistrates and lictors, depicted in the act of entering the amphitheater to occupy their seats. The side balustrades instead reproduce felines that bite the prey; other fragments of lateral balustrades depict animals that seem to run towards the arena: gazelles, bears, elephants, lions. Fragments of the frontal plutei are also placed on the walls of the same room. Among the represented themes stand out sacrifice scenes, a depiction of the amphitheater under construction and mythological scenes; in particular we note, on the right wall, the exploits of Hercules (cleaning the Augean, Hercules and Antaeus stables) and two fragments with the Dioscuri. To the right of the entrance is the punishment of Prometheus, the torture of Marsyas, Mars and Rhea Silvia, as well as a fragment with dancing Maenads and another with Apollo. To the left of the entrance one can also recognize a scene with towered deities, the construction of the amphitheater, the representation of a sacred enclosure, a scene of sacrifice for the dedication of the amphitheater. On the left wall, scenes of Centauromachy and Actaeon torn apart by dogs. The stylistic features of the reliefs, the choice of subjects and the way of treating them in response to a strongly classical taste indicate the Hadrian age as a period of execution of the sculptures. In the third room, to the left of the first, there is a mechanical representation of a gladiatorial fight.
TORTURA BERTA VOLTERRA MUSEO
NESSUNO E' GIUSTIFICATO NEL TORTURARE
Artemisia Gentileschi exhibition opens in Rome
(29 Nov 2016) LEAD IN:
Artemisia Gentileschi - the Italian 17th century baroque painter whose talent, passion and dramatic personal story have brought her rock star status in the art world - is the centre of a new exhibit in Rome.
The exhibit titled Artemisia Gentileschi and her Times displays some of Gentileschi's most prominent works and some works by artists of the same period who influenced her style.
STORY-LINE:
The new Artemisia Gentileschi exhibition covers periods the painter's life when she lived in Rome, Florence and Naples.
Gentileschi had a troubled life which is vigorously reflected in her work. She is renown for having testified against the painter who raped her when she was a teenager.
Artemisia Gentileschi has become a star. The fact that you just say Artemisia that you don't need to call her Gentileschi but everyone knows who she is is a sign, sort of like Madonna the rock star. She is really a woman who was successful and whose biography has made people passionate about her. There have been novels, books, series of conferences. She is a woman who has been studied more from a biographical point of view than an artistic point of view. This exhibit would like instead to highlight the true painter Artemisia, says curator Francesca Baldassari.
Artemisia was born in Rome in 1593, daughter of Orazio Gentileschi, a well-respected artist who supported his family of four children on his regular contracts with the Vatican, Cardinals and noble families in Rome.
Her mother died when Artemisia was just a teenager, leaving her to help her father raise her three younger brothers. From an early age Artemisia worked assisting her father in his studio, preparing the canvases and colours.
Artemisia's first signed and dated painting is Susanna and the Elders done in 1610 when she was 17. The painting gets a prominent place at the beginning of the exhibition.
Susanna and the Elders evokes the biblical story in which a beautiful young woman named Susanna is bathing in her garden when she is accosted by two older men who tell her they will say they caught her with a lover unless she agrees to have sex with them. Susanna refuses. Art historians say that in this painting Artemisa may have been telling her own story.
Orazio Gentileschi arranged for his colleague and friend, Antonio Tassi, an expert in painting perspective with geometrical precision to give lessons to his daughter. Over a period of nine months Tassi repeatedly raped Artemisia. She kept quiet about it in the hopes that he would eventually marry her. In those days, a woman who had been deflowered had little chance of ever finding a husband.
The figure of Susanna in Susanna and the Elders bears a strong resemblance to the young Artemisia and the man with the dark curls resembles her rapist, Antonio Tassi. She is nude, exposed and she is holding her hands up in defense against the two men who are leaning over the wall intruding on her privacy.
When Orazio discovered the situation and learned that Tassi would not marry his daughter he went to the highest authority at the time, writing a letter directly to Pope Paolo V Borghese demanding justice.
The Pope moved quickly to set an example. In 1612 Artemisia had to face a seven month rape trial during which she had to go through a form of torture during which her fingers were tied with ropes that were progressively tightened as she was repeatedly asked to confirm her version of the story. As the ropes cut into her fingers, her hands swelling painfully, she stuck to her story.
The figure of Judith is almost smiling as she slices off the head of her enemy, her maidservant Abra is holding him down as he fruitlessly struggles and blood streams down the white mattress.
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Museo della Tortura
REPUBBLICA DI SAN MARINO
Italy, Siena, Museo della Tortura
Italy, Siena, Museo della Tortura
Between Heaven and Hell: The Drawings of Jusepe de Ribera LONG VERSION
Drawing played a central role in the art of Jusepe de Ribera (1591-1652). Born in Valencia, Ribera spent most of his career in Naples where he significantly influenced the course of artistic production in the seventeenth century. Although little is known of his youth, training, and journey from Spain to Italy, Ribera is recorded in Rome in 1606, in Parma in 1611, and in Naples from 1616 until his death in 1652. After arriving in Italy, Ribera encountered the revolutionary paintings of Michelangelo Merisi da Caravaggio (1571-1610), whose distinctive qualities Ribera adopted in his own work, prompting him to be recognized as a Caravaggesque artist. Yet unlike Caravaggio, who famously did not make drawings on paper, Ribera was both an extraordinary painter and a prolific graphic artist. He produced a remarkable corpus of drawings as well as an important group of prints, and it is the strength of his works on paper – in addition to his paintings – that sets Ribera apart from his Caravaggist contemporaries.
Between Heaven and Hell: The Drawings of Jusepe de Ribera coincides with the joint publication by the Museo Nacional del Prado and the Meadows Museum of the first complete catalogue raisonné of the artist’s drawings. The study is authored by Dr. Gabriele Finaldi, former deputy director of the Museo del Prado and now director of the National Gallery in London, together with Dr. Edward Payne, former Meadows/Mellon/Prado curatorial fellow and now the senior curator of Spanish art at Auckland Castle in County Durham, as well as Doña Elena Cenalmor Bruquetas from the Museo del Prado. A total of 157 autograph sheets have been identified and catalogued by the authors, although Ribera certainly produced many more drawings during his lifetime, perhaps even double the number that survives.
Sheets by Ribera are widely dispersed in public and private collections throughout the world. This exhibition showcases highlights by Ribera from collections in Canada, France, Italy, Malta, the Netherlands, Spain, the United Kingdom, and the United States. Drawings are displayed in the context of related paintings and prints, and the exhibition is organized not chronologically but thematically in order to create striking juxtapositions between works across the trajectory of Ribera’s career. Between Heaven and Hell celebrates the variety of Ribera’s drawings, the technical skill in his use of pen, ink, and chalk, and the extraordinary originality of his subject matter, spanning anatomical figure studies and lively street scenes, to capricious subjects and scenes of martyrdom and torture.
On view at the Meadows Museum will be a total of forty-six drawings, twelve prints, eleven paintings, and one relief sculpture. Curated by Dr. Finaldi at the Prado venue and Dr. Payne at the Meadows venue, the project represents a continuation of the longstanding and productive collaboration between the two museums. Between Heaven and Hell: The Drawings of Jusepe de Ribera is the first major monographic exhibition organized on the artist in the United States in the last twenty-five years, and the most comprehensive presentation ever dedicated to the artist’s drawings.
This exhibition has been organized by the Meadows Museum and the Museo Nacional del Prado and funded by a generous gift from The Meadows Foundation.