Eugene M. Waith suggests that the name of Tamora's son, Alarbus, could have come from George Puttenham's The Arte of English Poesie ( 1589 ), which contains the line " the Roman prince did daunt / Wild Africans and the lawless Alarbes.

Most of the Museum's 19th-century paintings come from the former Museo de Arte Moderno, including works by the Madrazo, Vicente López, Carlos de Haes, Rosales and Sorolla.

Diálogo sobre arte contemporanea, Centro de Arte Moderna ; Fundação Calouste

* J. F. Esteban Lorente, F. Galtier Martí and M. García Guatas: El nacimiento del arte románico en Aragón: Arquitectura, Investigaciones de Arte Aragonés ( Saragossa, 1982 )

In his work Prodromo dell ' Arte Maestra ( 1670 ) he proposes a lighter-than-air vessel based on logical deductions from previous work ranging from Archimedes and Euclid to his contemporaries Robert Boyle and Otto von Guericke.

Examples of historical, clown-like comedic performers have been the pantomimus in ancient Greece, the Lazzi of Commedia dell ' Arte, bouffons, court jesters, as well as the French mime tradition.

The Early Commedia dell ' Arte ( 1550 – 1621 ): The Mannerist Context by Paul Castagno discusses Mannerism's infection of the contemporary professional theatre.

* Martelli, Mario ( 2004 ), “ Tracce d ` una preistoria dell ` Arte della Guerra di Niccolò Machiavelli ”, Interpres, XXIII, pp. 256 – 8.

Nota sulle foti letterarie dell ´ Arte della guerra ”, Regards sur la Renaissance italienne.

* Le Stanze dell ' Arte, Promotrice delle Belle Arti, Turin, 1996

Columbine ( in Italian, Colombina, " little dove "; in French, Colombine ) is a stock character in the Commedia dell ' Arte.

Lazzi: The Comic Routines of the Commedia dell ' Arte.

Carlo Gozzi made use of many fairy tale motifs among his Commedia dell ' Arte scenarios, including among them one based on The Love For Three Oranges ( 1761 ).

Pierrot () is a stock character of pantomime and Commedia dell ' Arte whose origins are in the late 17th-century Italian troupe of players performing in Paris and known as the Comédie-Italienne ; the name is a hypocorism of Pierre ( Peter ), via the suffix-ot.

His physical insularity ; his poignant muteness, the legacy of the great mime Deburau ; his white face and costume, suggesting not only innocence but the pallor of the dead ; his often frustrated pursuit of Columbine, coupled with his never-to-be vanquished unworldly naïveté — all conspired to lift him out of the circumscribed world of the Commedia dell ' Arte and into the larger realm of myth.

Ludwig Tieck's The Topsy-Turvy World ( 1798 ) is an early — and highly successful — example of the introduction of the Commedia dell ' Arte characters into parodic metatheater.

Pierrot and his fellow masks were but imperfectly known in America, which, unlike England, Russia, and the countries of continental Europe, had had no early exposure to Commedia dell ' Arte.

Like the earlier masks of Commedia dell ’ Arte, Pierrot now knew no national boundaries.

Pierrot in Petrograd: Commedia dell ’ Arte / Balagan in twentieth-century Russian theatre and drama.

The Triumph of Pierrot: the Commedia dell ’ Arte and the modern imagination.

La Commedia dell ' Arte, ou le théâtre des comédiens italiens des XVI < sup > e </ sup >, XVII < sup > e </ sup > & XVIII < sup > e </ sup > siècles.

La Commedia dell ’ Arte, storia e testo.

Scenarios of the Commedia dell ’ Arte: Flaminio Scala's Il teatro delle favole rappresentative.

* John Rudlin, Commedia dell ' Arte: An Actor's Handbook, ISBN 0-415-04770-6

This was the case for instance with Commedia dell ' Arte companies and English actor-managers like Colley Cibber and David Garrick.

The " Flemish Deck " by Vandenborre ( c. 1750-1760 ) refers to this card as Le Espagnol Capitano Eracasse (" The Spanish Captain Fracasse "), after a version of Il Capitano, a character from Commedia dell ' Arte.

The series draws plot elements from Moorcock's Elric series, as well as the Commedia dell ' Arte.

As a comic actor, Totò is classified as an heir of the Commedia dell ' Arte tradition, and has been compared to such figures as Buster Keaton and Charlie Chaplin.

He learned the art of the guitti, the Neapolitan scriptless comedians, heirs to the tradition of the Commedia dell ' Arte, and began developing the trademarks of his style, including a puppet-like, disjointed gesticulation, emphasized facial expressions, and an extreme, sometimes surrealistic, sense of humor, largely based on the emphatization of primitive urges such as hunger and sexual desire.

Marini succeeded Martini as professor at the Scuola d ’ Arte di Villa Reale in Monza, near Milan, in 1929, a position he retained until 1940.

In 1973 a permanent installation of his work opened at the Galleria d ’ Arte Moderna in Milan, and in 1978 a Marini show was presented at the National Museum of Modern Art in Tokyo.

* M. A. N., Museo d ’ Arte Provincia di Nuoro ( Provincial Modern Art Museum ).

Monographs of Pettibon ’ s work include: Raymond Pettibon, published by Centro de Arte Contemporaneo de Malaga for his solo exhibition in 2006 at the museum in Malaga, Spain and subsequently traveled to the kestnergesellschaft in Hannover, Germany.

Within a year after he graduated from St Martin ’ s, the artist became closely associated with the emergence of Land Art ; he also participated in the first international manifestations of both Arte Povera, in Amalfi, Italy in 1968, and Earth Art, at Cornell University, New York in 1969.

View from Above / Aufsicht, Deichtorhallen Hamburg, Germany ; Castello di Rivoli — Museo d ’ Arte

* Genoa: Galleria d ’ Arte San Marco dei Giustiniani, Genova, Louis le Brocquy, Studies Towards an Image of James Joyce, November 12-December 7, 1977.

1988 Victor Burgin, Opere 1982-1986, Milan, Le Case d ’ Arte

Solo exhibitions featuring Juan Downey ’ s work include Juan Downey: Audio-Kinetic Electronic Sculptures, The Corcoran Gallery of Art in Washington DC ; With Energy Beyond These Walls, Howard Wise Gallery, New York, NY, ( 1970 ); Video Trans Americas, Contemporary Art Museum, Houston, TX, ( 1976 ); Juan Downey: Video Trans Americas, Whitney Museum of American Art, New York, NY, ( 1976 ); Video Trans Americas, Everson Museum of Art, Syracuse, NY ( 1977 ); Juan Downey: New American Filmmaker Series, Whitney Museum of American Art, New York, NY ( 1978 ); Juan Downey, Matrix / Berkeley 16, University Art Museum, Berkeley, CA ( 1978 ); Une Forêt ' Videoformes ': Retrospective Juan Downey, Festival de la Création Vidéo, Clermont-Ferrand, France ( 1993 ); Juan Downey: Instalaciones, Dibujos y Videos, Museo Nacional de Bellas Artes, Santiago ( 1995 ), Chile ; Juan Downey: Con energía más allá de estos muros, Institut Valencià d ' Art Modern, Centre del Carme, Valencia, Spain ( 1997 – 98 ); Retrospectiva de Video Arte de Juan Downey, Museo de Arte Moderno de Chiloé, Castro, Chiloé, Chile ( 2000 ); Plateau of Humankind, Honorable Mention: “ Excellence in Art Science and Technology ,” 49th Venice Biennale Chilean Pavilion, Venice, Italy ( 2001 ); and Juan Downey: El ojo pensante, Sala de Arte Fundación Telefónica, Santiago, Chile ( 2010 ); Juan Downey: The Invisible Architect, MIT List Visual Arts Center, Cambridge, MA, Arizona State University Art Museum, Tempe, AZ, The Bronx Museum of the Arts, NY ( 2011-2012 ).

Selected museum collections include Tate Modern, London, UK ; The Museum of Modern Art, New York, NY ; Centre Pompidou / Musée National d ’ Art Moderne, Paris, France ; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain ; Smithsonian Institution, Washington, DC, Museo Nacional de Bellas Artes, Santiago, Chile, among others.

Juan Downey: La Biennale di Venezia, 49 Esposizione Internazionale d ’ Arte.

In 2005, Arte TV broadcast a documentary about Brienen in which they compared his work and intensity with Kubrick ’ s Clockwork Orange.

A major exhibition about Cunningham and his collaborations, curated by Germano Celant, was first seen at the Fundació Antoni Tàpies in Barcelona in 1999, and subsequently at the Fundação de Serralves, Porto, Portugal, 1999 ; the Museum moderner Kunst Stiftung Ludwig, Vienna, 2000 ; and the Museo d ’ Arte Contemporanea, Castello di Rivoli, Turin, 2000.

* Brilliant, R. ( L ’ Arte 10, 1970 ).

Italian, L ’ Arte Moderna ( Turin: Giulio Einaudi Editore, n. d .).

* “ Esposizione Biennale internationale D ’ Arte XXVII ,” 1954 in Venice, Italy

* 1994: Best Actress award for Gautam Ghose ’ s Patang at the Taormina Arte Festival in Italy