Thematische Bibliographien / Painting, 19th century – Dictionaries

Auswahl der wissenschaftlichen Literatur zum Thema „Painting, 19th century – Dictionaries“

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Veröffentlicht am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Painting, 19th century – Dictionaries"

Myakshin, V. A. „A Brief Report on the Research Regarding Art History Texts (19th – First Half of the 20th Century) into Foreign Language Teaching (Courses: “Foreign Language” and “English for Professional Communication”) Carried out at Sergey Andriaka Academy of Watercolor and Fine Arts“. Secreta Artis 6, Nr. 4 (22.05.2024): 27–35. http://dx.doi.org/10.51236/2618-7140-2023-6-4-27-35.

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The scientific and methodological article focuses on authentic art history texts spanning from the second half of the 19th century to the first half of the 20th century. These texts serve as the foundation for the English teaching methodology tailored for students of Sergey Andriaka Academy of Watercolor and Fine Arts, an approach currently being developed by the author. The research is characterized by a certain degree of scientific novelty, as the majority of these texts are introduced into the educational curriculum of a higher art educational institution for the first time, thereby lending special relevance to the study.For a variety of reasons, the texts in question are of paramount importance for English language instruction. They offer a rich array of source materials to choose from. These include, among others: lectures on painting and sculpture, art masterclasses, catalogues of museum and private collections, artist biographies, academic journals, encyclopedias and dictionaries of painters. Original teaching materials are created on the basis of authentic texts in line with the educational needs of art students.

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Tatham, David, Albert Boime, Elizabeth Johns und John Wilmerding. „19th-Century American Painting“. Art Journal 51, Nr. 4 (1992): 95. http://dx.doi.org/10.2307/777290.

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Kasemu, Shermaymayti, Alfiya Sh Yusupova, Elvira N. Denmukhametova und Firdaus G. Khisamitdinova. „Dialect vocabulary that has enriched bilingual dictionaries“. Laplage em Revista 6, Extra-B (24.12.2020): 117–22. http://dx.doi.org/10.24115/s2446-622020206extra-b601p.111-116.

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In the 19th century, broad functional development begins in the field of styles, where there is an even greater stability of linguistic norms, the increase in national characteristics and internal capabilities of the language, as well as the widespread use of various stylistic methods in speech, which they begin to record in dictionaries. The relevance of the study is explained by the interest in the dialectal vocabulary of the Tatar language, as one of the components of the lexical fund of bilingual dictionaries of the 19th century. The purpose of the study is to determine the role of dialect words in the system of Tatar speech of the 19th century, as one of the Turkic languages. In the course of the study, the authors studied the modern works of Russian and foreign authors on linguistics, lexicography; the dialectal material recorded in the Russian-Tatar dictionaries of the 19th century is analyzed; comparisons are made between the dictionary by M. Kashgari and the modern Tatar language.

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Goldberg, Marcia. „Textured Panels in 19th-Century American Painting“. Journal of the American Institute for Conservation 32, Nr. 1 (1993): 33. http://dx.doi.org/10.2307/3179650.

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Goldberg, Marcia. „Textured Panels in 19th-Century American Painting“. Journal of the American Institute for Conservation 32, Nr. 1 (Januar 1993): 33–42. http://dx.doi.org/10.1179/019713693806066492.

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Pandevska, Maria, und Makedonka Mitrova. „The Concept of the millet in Turkish dictionaries: Its alteration and the impact on Ottoman Macedonia“. Balcanica Posnaniensia. Acta et studia 26 (26.01.2020): 171–92. http://dx.doi.org/10.14746/bp.2019.26.10.

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In the 19th century the dictionaries/glossaries represent the first brace which connected different cultures and languages, thus also linking the Orient with the Occident and vice versa. In this context the research is focused on the Turkish dictionaries/glossaries, which for a long time actually represented one of the basic media of transmitting the new Western ideas in the East, and in our case, in the Ottoman Empire. Through the short comparative analyses of these dictionaries/glossaries and their authors (from the 19th century and early 20th century) we follow the change of the cognitive concept of the term millet with the term nation. The case study is focused on Ottoman Macedonia and on the political implications caused by this change of the meaning of the Ottoman term millet.

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Huang, Xinyi. „The influence of Japanese Ukiyo-e on Western painting art in the 19th Century“. BCP Social Sciences & Humanities 20 (18.10.2022): 304–10. http://dx.doi.org/10.54691/bcpssh.v20i.2334.

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Ukiyo had a profound influence on western painting in the 19th century. It can be seen from the works of Artists such as Monet and Van Gogh that they extensively used, imitated and improved Japanese Ukiyo techniques such as brushwork, composition and color. In addition, under the historical background and social environment at that time, the expression of thoughts and emotions was also greatly influenced by Ukiyo. This paper, starting from the origin and characteristics of Japanese Ukiyo, explains in detail the influence of Japanese Ukiyo-e on western painting in the 19th century, explores the way of expression of Impressionist and post-Impressionist works, analyzes the process of its absorption and re-innovation of Ukiyo-e, in order to provide some reference for modern painting creation. This paper explores the influence of Japanese Ukiyo on western painting in the 19th century in two chapters. First of all, from the origin of Japanese Ukiyo, style, techniques, representatives of the detailed interpretation of Japanese Ukiyo artistic characteristics; Secondly, based on the background of the introduction and integration of Ukiyo in western painting art, the paintings of Monet and Van Gogh, the representative painters of Impressionism and post-Impressionism, are extracted respectively, so as to explore the influence of Japanese Ukiyo on western painting art in the 19th century in terms of style, techniques and ideas.

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Kaszewski, Marek. „Opisy interiekcji w wybranych XIX-wiecznych słownikach języka polskiego“. LingVaria 31, Nr. 1 (10.05.2021): 11–24. http://dx.doi.org/10.12797/lv.16.2021.31.02.

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Descriptions of Interjections in Selected Polish Dictionaries from 19th Century The author of the text analyses interjections present in three Polish dictionaries from the 19th century: the dictionaries by S.B. Linde, J.S. Bandtkie and A. Osiński, which are a part of a larger linguistic collection created in order to study and describe historical Polish interjections. The article takes into account the internal diversity of the historical class of interjections in the light of the lexicographers’ attempts to describe such units. Our attention is drawn to the lack of graphical normalization of interjections in the dictionaries, as well as the inconsistency of their marking and definition on the one hand, and the wide range of functional variants on the other. Differences in the manner of presentation of interjections in these dictionaries are also taken into account. Moreover, the author emphasizes the fact that they include a large number of animal-related (hunting) interjections. The study of the dictionary materials confirmed that their authors did not work out a method of a lexicographical description of these linguistic units.

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Hilton, Alison, und Elizabeth K. Valkenier. „The Wanderers: Masters of 19th-Century Russian Painting“. Russian Review 52, Nr. 1 (Januar 1993): 106. http://dx.doi.org/10.2307/130872.

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Dissertationen zum Thema "Painting, 19th century – Dictionaries"

Lee, Sai-chong Jack, und 李世莊. „China trade painting: 1750s to 1880s“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45015442.

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Gill, Laura Fox. „Peripheral vision : the Miltonic in Victorian painting, poetry, and prose, 1825-1901“. Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/72673/.

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This thesis explores the influence of John Milton on the edges of Victorian culture, addressing temporal, geographical, bodily, and sexual thresholds in Victorian poetry, painting, and prose. Where previous studies of Milton's Victorian influence have focused on the poetic legacy of Paradise Lost, this project identifies traces of Miltonic concepts across aesthetic borders, analysing an interdisciplinary cultural sample in order to state anew Milton's significance in the period between British Romanticism and early twentieth-century critical debates about the value of Paradise Lost. The project is divided into four chapters. The first explores apocalyptic images and texts from the 1820s-Mary Shelley's The Last Man (1826) and the paintings of John Martin-in relation to Miltonic aetiology and eschatology. These texts offer a complex re-thinking of the relation between personal loss and universal catastrophe, which draws on and positions itself against prophecy and apocalypse in Paradise Lost. In the second chapter I address conceptual connections that cross boundaries of medium and nationality, identifying the presence of a Miltonic notion of powerful passivity in the writing and marginalia of Herman Melville and the paintings and anecdotal appendages of J. M. W. Turner. In the third chapter I consider Milton's importance for A. C. Swinburne's poetic presentation of peripheral sexualities, identifying in Milton's poetry a pervasive metaphysics of bodily 'melting' or 'cleaving' which is essential to Swinburne's poetic project. The final chapter analyses the presence of the Miltonic in the fiction of Thomas Hardy, whose repeated readings of Milton contributed to both establishing his poetic vocabulary, and prompting a career-long engagement with Miltonic ideas. The thesis refocuses attention on peripheral elements of the work of these writers and artists to re-articulate Milton's importance for the Victorians, whilst bringing together models of influence which show the Victorian Milton to be at once liminal and galvanising.

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Sprague, Abbie Noel. „The craftsman painters of the arts and crafts movement“. Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609045.

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Hoene, Katherine Anne. „Tracing the Romantic impulse in 19th-century landscape painting in the United States, Australia, and Canada“. Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278748.

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The purpose of this thesis is to identify essential characteristics of the first generation of Romantic landscape painters and painting movements in a given English-speaking country which followed the generation of Turner, Constable and Martin in England, and then trace how the second generation of Romantic-realist painters represents a different paradigm. For a paradigmatic construct of the first generation, the focus is on the lives and major works of the American arch-Romantic landscape painter Thomas Cole (1801--1848) and the Australian Romantic landscape painter Conrad Martens (1801--1878). The second generation model features the American Frederic Edwin Church (1826--1900), the Australian William Charles Piguenit (1836--1914), and the British Canadian Lucius Richard O'Brien (1832--1899). Cole and Martens, closer to their predecessors in England, created dynamic paradigm shifts in their new countries. Following them, the second generation of Romantic-realists produced a synthesis of romanticism, scientific naturalism, and nationalistic symbolism.

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Dudley, Ian A. „Edward Goodall's 'Sketches in British Guiana' : art, anthropography and colonialism in 19th century Amazonia“. Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20121/.

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This thesis examines sketched portraits of Amerindian peoples created by the English artist Edward Goodall during the 1841-1844 Boundary Survey of British Guiana, now Guyana, which was carried out by the German scientific explorer, Robert Schomburgk. The portraits formed part of a larger body of over 250 drawn and watercolour works labelled as Sketches in British Guiana, and carried out by Goodall in his role as official expedition illustrator. These sketches captured a wide range of geographical subjects, from botany, topography and zoology, to hydrography, geology and historical scenes of the expedition itself, in addition to the ethnographic representations upon which this thesis focuses, and which dominate the body in terms of their numbers and interest. The sketches were carried out in relation to the cartographic and geographical mapping and documenting of the Guayana territory and its peoples by Schomburgk as he moved across the disputed border regions between British Guiana and its neighbouring colonial states, Brazil, Venezuela and Surinam. Focusing on the works as a manifestation of the different subjective forces and ideologies at play within this colonial enterprise, I argue the portraits and Sketches more generally, exemplify art’s cooption as a tool of colonial reconnaissance, expansion and domination during the mid-nineteenth century, playing a key role in visualising the geographical colonization that Schomburgk’s Boundary Survey represented, capturing disputed inhabitants and their locales as they were inscribed onto British colonial maps, and substantiating British imperial claims over them. In essence, through Goodall’s work, Schomburgk sought to cultivate and performatively demonstrate knowledge of and control over Amerindians through their representation, which paralleled the way the Guayana landscape was brought into British guardianship, all under the aegis of Christian humanitarianism, scientific advance and national-imperial prestige.

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Lam, Lai Sing. „Origins and development of the traditional Chinese roof : 16th century B.C.-19th century A.D“. Thesis, Queensland University of Technology, 2001.

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Anesti, Maria. „'La femme modèle' from the first communicant to the affectionate mother : a dialogue between painting and moral discourse under the early Third Republic (1870-1900)“. Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7574.

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This PhD dissertation seeks to define the configuration and evolution of French women’s moral identity and social status, through works of art created during the first thirty years of the Third Republic (1870-1900). More specifically, my thesis investigates the artistic perception and visual recording of “traditional” female roles and analyses the socio-historical factors which contributed to the construction of the ideal woman. I focus on the representation of young girls’ education and First Communion and study the portrayal of maternity which was perceived both as a personal role and a republican ideal. Furthermore, I consider the institutions of marriage and family through portraits and scenes of everyday life. The woman’s relations to the Catholic Church within a secular state, as well as the notions of chastity and patriotism, are thoroughly explored. In my dissertation I prioritised nineteenth century texts, where French doctors, demographers and statesmen from different ideological backgrounds give moral guidelines concerning hygiene, breastfeeding and childcare, or analyse phenomena such as the birth rate decline. The writings of these authors who communicated major social anxieties served as an evaluative platform; more specifically, I ventured to see how French painters and illustrators participated to the most important debates of their time. Therefore, the criterion for the choice of images was not artistic excellence, but their engagement with the moral and social issues I decided to consider. Since in my thesis pictures are treated within a socio-historical context, I was challenged to achieve a balance between the visual and theoretical material, making them inter-relate effectively. Finally, my time-frame covers the three first decades of the French Third Republic and observes the succession of different governments. I investigate to what extent certain social attitudes which were developed during this period of thirty years shifted, and try to find out whether these alterations are conveyed in painting.

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Pasco, Hélène. „When 19th century painters prepared organic-inorganic hybrid gels : physico-chemical study of « gumtions »“. Electronic Thesis or Diss., Sorbonne université, 2019. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2019SORUS296.pdf.

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Les médiums étaient utilisés par les peintres aﬁn de modiﬁer la texture et le séchage de leur peinture. Au 19ème siècle, des artistes britanniques ont développé un médium composé d’huile siccative, de résine mastic et d’acétate de plomb trihydraté : le « gumtion ». Ce matériau de type gel surpasse les additifs alors existants. Dans cette thèse, nous contribuons à la compréhension des processus chimiques impliqués dans la formation et le vieillissement des gumtions. Dans un premier temps, nous avons centré l’étude sur la résine mastic, car il s’agit d’un élément clé dans la préparation des gels. La fraction triterpénique de la résine a été identiﬁée et quantiﬁée par GC/MS. De plus, nous avons étudié par ellipsométrie les propriétés optiques de vernis sous forme de ﬁlms minces, ainsi que leur comportement (gonﬂement) sous différentes atmosphères. Puis, en reproduisant des recettes historiques et aﬁn d’approfondir la compréhension des interactions chimiques entre les composants du gel, nous avons développé des formulations simpliﬁées à base d’acide oléanolique (triterpène commercial) et d’un composé de plomb (acétate ou oxyde). L’utilisation de techniques d’analyses complémentaires aux échelles moléculaire (IR, MAS-RMN) et supramoléculaire (cryo-TEM, SAXS) indique dans un premier temps la formation d’un complexe de coordination entre le plomb et les fonctions acides des triterpénoïdes, qui s’arrangent en objets 2D expliquant le comportement viscoélastique du matériau. Après plusieurs mois de vieillissement, nous avons observé l’auto-organisation de nanoparticules cristallines en en lamelles, témoignant du caractère dynamique de ce matériau même avec géliﬁcation
Mediums were used by painters in order to modify the texture and drying properties of their paint. During the 19th century, British artists developed a particular medium made of siccative oil, mastic resin and lead acetate trihydrate. The so-called “gumtions” form gel-like materials in a relatively short time, outperforming the existing paint media. This thesis contributes unveiling the chemical processes involved in the formation and ageing of gumtions. As a ﬁrst step, we focused on mastic resin since it is a key component for the preparation of gumtion. The triterpenic fraction of the resin was identiﬁed and quantiﬁed using GC and GC/MS. Moreover, we took advantage of Spectroscopic Ellipsometry so as to study the optical properties of varnish thin ﬁlms as well as their behaviour (swelling) under various atmospheres. Then, we reproduced historical recipes that helped us afterwards to deﬁne simpliﬁed formulations to deepen the understanding of the chemical interactions between the gel components, made of oleanolic acid (commercial triterpenoid) and a lead compound (acetate or oxide). They were investigated at dierent scales by spectroscopic (FTIR, MASNMR) and supramolecular analyses (Cryo-TEM, SAXS). The use of these complementary techniques gives an overview of the gel’s structure and formation: rapidly, a coordination complex is formed between lead and the carboxylic acid moieties of the triterpenoids, that organizeinto2Dobjectsleadingtothesolid-likebehaviorofthematerial. After few months ageing, we observed the self-assembly of crystalline nanoparticles into lamellar structures, witnessing the dynamic occurring in the material even after gelation.bly of crystalline nanoparticles into lamellar structures, witnessing the dynamic occurring in the material even after gelation

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Filippa, Kenne. „The object biography of Breakfast-Piece by Nicolaes Gillis : The reception of Netherlandish art in Sweden during the 19th century“. Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182722.

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Wilsey, Shannon K. „Interpretations of Medievalism in the 19th Century: Keats, Tennyson and the Pre-Raphaelites“. Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/20.

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This thesis describes how different 19th century poets and artists depicted elements of the medieval in their artwork as a means to contradict the rapid progress and metropolitan build-up of the Industrial Revolution. The poets discussed are John Keats and Alfred, Lord Tennyson; the painters include William Holman Hunt and John William Waterhouse. Examples of the poems and corresponding Pre-Raphaelite depictions include The Eve of Saint Agnes, La Belle Dame Sans Merci and The Lady of Shalott.

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Bücher zum Thema "Painting, 19th century – Dictionaries"

Mark, Poltimore, Hrsg. Popular 19th century painting: A dictionary of European genre painters. Woodbridge, Suffolk: Antique Collectors' Club, 1986.

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Christopher, Wood. Victorian painters. Woodbridge, Suffolk: Antique Collectors' Club, 1995.

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Galleries, Hammer. 19th & 20th century American paintings. New York: Hammer Galleries, 1991.

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Marius, Gerarda Hermina. Dutch painters of the 19th century. Woodbridge: Antique Collectors' Club, 1988.

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Kossak, Steven. Indian court painting, 16th-19th century. New York: Metropolitan Museum of Art, 1997.

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Kossak, Steven. Indian court painting, 16th-19th century. London: bThemes and Hudson, 1997.

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Cleveland Museum of Art. European paintings of the 19th century. [Cleveland]: Cleveland Museum of Art, 1999.

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Vincent, Adrian. 19th century maritime watercolours. Newton Abbot: David & Charles, 1989.

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Friborg, Flemming. French painting in the 19th century: Catalogue. Copenhagen: Carlsberg Glyptotek, 1994.

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Chicago, Art Institute of. Treasures of 19th- and 20th- century painting. New York: Abbeville, 1993.

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Buchteile zum Thema "Painting, 19th century – Dictionaries"

Nuccorini, Stefania. „Chapter 3. Teaching phraseology in the 19th century“. In AILA Applied Linguistics Series, 43–58. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/aals.20.03nuc.

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Phraseology has long been associated with lexicography (Knappe, 2004), especially with bilingual dictionaries, which have traditionally had a didactic aspect (Moon, 2000). In the 19th century, it was considered a fundamental area of concern in teaching and learning a foreign language and the Royal phraseological English–French, French–English dictionary (Tarver, Vol. 1, 1845; Vol. 2, 1849) addressed it by recording “an extensive phraseology to illustrate the proper manner of using the words” (1845, p. 7), with a novel lexicological, lexicographical and pedagogical approach. This chapter shows that Tarver’s dictionary innovates in relation to the few previous, comparable lexicographical works, and that it foreshadows later, especially 20th-century, approaches to the inclusion and treatment for didactic purposes of word combinations in English general-purpose and specialized learner dictionaries.

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Eitner, Lorenz. „French Landscape“. In An Outline of 19th Century European Painting, 197–223. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-8.

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Eitner, Lorenz. „David and His School“. In An Outline of 19th Century European Painting, 15–54. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-2.

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Eitner, Lorenz. „British Neoclassicism and William Blake“. In An Outline of 19th Century European Painting, 75–99. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-4.

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Eitner, Lorenz. „English Landscape“. In An Outline of 19th Century European Painting, 121–54. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-6.

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Eitner, Lorenz. „Edouard Manet, 1832-1883“. In An Outline of 19th Century European Painting, 289–312. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-11.

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Eitner, Lorenz. „Academic and Salon Painters“. In An Outline of 19th Century European Painting, 269–87. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-10.

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Eitner, Lorenz. „Francisco José de Goya y Lucientes, 1746-1828“. In An Outline of 19th Century European Painting, 55–73. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-3.

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Eitner, Lorenz. „Impressionism“. In An Outline of 19th Century European Painting, 334–418. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-13.

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Eitner, Lorenz. „Edgar Degas, 1834-1917“. In An Outline of 19th Century European Painting, 313–31. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-12.

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Konferenzberichte zum Thema "Painting, 19th century – Dictionaries"

Lu, Zhang. „THE INTERTEXTUALITY OF RUSSIAN LITERATURE AND RUSSIAN PAINTING IN THE 19TH CENTURY“. In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.21.

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The background color of Russian literature and Russian painting art in the 19th century is gloomy and heavy, and there exists text intertextuality between them, which is different from single text and single painting. Literary words and painting invisible words quote, permeate, insinuate and rewrite each other. Literature is the writing of painting, and painting is the color of literature. The main line of literature development and the main line of painting development seem to be twisted together like a rope, presenting spiral development, closely linked, complementary and inseparable.The same value orientation and aesthetic purpose have intertextuality, mutual influence, mutual interaction and mutual transformation, no matter in creation method, theme, artistic style or creation background. Direct description or sharp pen, or by the protagonist of indirect irony, using realistic and critical realism creation method, revealing the tsarist autocracy savage, dissatisfaction with the reality in protest of rebellion, as well as being bullied and oppressed pain and struggle, at the same time reflects the immortality of the Russian national literature and art achievement.

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Farhangpour, Yasaman. „THE EFFECTS OF AESTHETIC HEDONISM IN PAINTING RESTORATION IN THE 19TH CENTURY“. In 2nd Arts & Humanities Conference, Florence. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/ahc.2017.002.001.

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Bardik, M. А. „THE PRESERVED MURAL PAINTING OF THE LATE 19TH CENTURY IN THE GREAT PECHERSK CHURCH“. In DEVELOPMENT OF CULTURE AND ART IN THE WAR AND POST-WAR PERIODS. Izdevnieciba “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-341-5-20.

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Zhang, Xiaojie. „The Painting Technical Characteristics and Sources of Hungarian Painter MihALy MunkACsy in the 19th Century“. In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.65.

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Morozova, Anna Valentinovna. „THE DEVELOPMENT OF RUSSIAN PERCEPTION OF SPANISH PAINTING IN THE PERIOD FROM THE MIDDLE OF THE 19TH CENTURY TO THE BEGINNING OF THE 20TH CENTURY“. In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s12.004.

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Артемова, А. А. „ORCHID PAINTING IN ART OF CHUSA KIM JEONGHUI (1786–1856)“. In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.16.

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Чхуса Ким Чонхи — центральная фигура культурной жизни Кореи XIX в. среди художников- интеллектуалов — посвятил свою жизнь исследованию природы творчества, был признанным специалистом в области науки и искусства, а также объединил вокруг себя художников, увлеченных его идеалами. В данном исследовании будет предпринята попытка проанализировать три произведения Ким Чонхи в жанре живописи орхидей и дать краткую характеристику его творчеству на разных этапах жизненного пути. Chusa Kim Jeonguhui is a major figure in 19th century Korean Art Circles among literati painters. He became well-known as a painter, calligrapher and a scholar, who devoted his life to a creative journey in Classical arts and studies. His main body or paintings is done in Orchid painting genre, so we’re going to examine three of his art pieces in this genre to analyze his creative approach in different stages of his life.

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Edlichko, Anzhela I. „CODIFICATION OF THE ORTHOEPIC NORMS OF THE GERMAN LANGUAGE: HISTORY AND CURRENT SITUATION“. In 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.07.

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The article discusses the development of the lexicographic codification of pronunciation norms of German. It gives an overview of the orthoepic norm, its varieties and inherent features, relations between the norm and standard of pronunciation. Pronouncing dictionaries since the end of the 19th century have been studied as primary sources, some phonetic phenomena are also illustrated with the explanatory dictionaries of earlier periods. The lexicographic codification of the pronunciation norms in historical retrospect is briefly analyzed: from exaggerated articulation of actors in Germany to actual sound phenomena using in the pronunciation of professional radio and television announcers, which includes the pronouncing features of authentic oral media communication. Special attention is paid to the problem of codification of the orthoepic standard in different types of dictionaries in light of the pluricentricity of German, due to lack of empirical analyses. The article also represents the current orthoepic dictionaries, which include information about the sounds of three standards of German in Germany, Austria and Switzerland. Study of their structure and content features made it possible to identify some advantages and disadvantages. As a result of the study, the author concludes with changing approaches to the codification of pronunciation norms, such as transformation of the metalanguage, expansion of the empirical base, use of contemporary sociophonetic methods in its analysis, some structural and content changes in the dictionaries. These modifications are shown to be connected with the change of the lexicographic paradigm and the turn from monocentricity to pluricentricity due to sociocultural and sociolinguistic factors. Refs 24.

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Kushida, Maria. „Образ писателя-художника как коммуникативный феномен“. In Пражская Русистика 2020 – Prague Russian Studies 2020. Charles University, Faculty of Education, 2020. http://dx.doi.org/10.14712/9788076032088.16.

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The article analyzes the illustrative work of Russian writers of the first quarter of the 19th century. Special attention is paid to the definition of the term "writer-artist", as well as to techniques for creating the image of a writer-Illustrator in a work of fiction. In conclusion, we draw a conclusion about the relationship between literature and painting (on the example of interpreting the creativity of word masters who create illustrations for their works), as well as about the unique communicative nature of the image of the writer-artist.

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Istrate, George Dan. „The image of the other in titles pertaining to visual arts. References to painting“. In International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/56.

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The term multiculturalism is very complex and implies, among other things, the ethnic and cultural differences that exist in a specific geographical area. Our aim is to investigate the way in which these differences are noticeable in paintings and are perceived in the context of the analysis of the titles of paintings. As a part of this approach, we have to consider first and foremost the relations between the linguistic sign and the visual one. Practically, the title sequence which sets apart a visual work from all the others functions as a personal name; it is a linguistic sign which, first of all, identifies and individualises so that further on, from the point of view of the communicative process, it establishes a contact with the public who is informed about the existence of a specific visual text. Our research aims to present a typology of the titles which evoke the image of the other in the field of painting. It is limited to the Romanian cultural area, given the fact that, starting with the 19th century, this topic is well illustrated. We find it interesting to address a series of titles of paintings containing ethnonyms, as they represent characteristic images of several ethnicities found in Romania: Jews, Tartars, Roma.

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Nivat, Georges. „“TRACTS OF RUSSIAN MEMORY” OR THE MAIN “NESTS” OF MEMORY IN RUSSIA“. In 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.02.

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In this text, are given the plan and main contributions that are gathered in a collective work directed by Prof. Georges Nivat, Les sites de la mémoire russe. The first volume, Géographie de la mémoire russe, was published in 2007, the second one, Histoire et mythes de la mémoire russe, in 2019. The word “site” is meant as a prominent detail in the landscape and translated into Russian as “Uročišča”. The aim is to give a view of the main “sites” and debates that have arisen along Russian historiography since the 18th century. The “invention” of the “Chronicles” is one spectacular example. It goes from the first publication in 1846 to our days. Literature, painting, and music have constructed the Russian memory in the 18th century. Mussorgsky himself researched in the archives who were the Old believers, before writing his opera “Khovanshchina”. Ethnography appeared in the first half of the 19th century, the came great museums at the two extremities of the Empire, and a great number of ethnographical local museums are innumerable in Russia, have saved a lot of artefacts during the Soviet vandalistic period. Folklore was studied and local troubadours were registered until the end of the Soviet era. Emperor Peter the Great was keenly aware of the importance of creating his own myth during his lifetime, and succeeded, his role is still the main debate of Russian historiography and a very prominent site of memory. Loss of memory began early in the Soviet regime, loss of proletarian memory and as well as of peasant memory. Refs 9.

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Berichte der Organisationen zum Thema "Painting, 19th century – Dictionaries"

Leading Figures in Venezuelan Painting of the Nineteenth Century. Inter-American Development Bank, September 1999. http://dx.doi.org/10.18235/0006227.

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Twenty-one paintings by twelve of the most important 19th centuryVenezuelan artists, never before shown outside of Venezuela, that reveal parallels and differences with the development of painting elsewhere in the hemisphere, from the collections of the Gallery of National Arts of Venezuela, the Central Bank of Venezuela, and the Polar Enterprises Collection, all in Caracas.

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A Challenging Endeavor: The Arts in Trinidad and Tobago. Inter-American Development Bank, Mai 2002. http://dx.doi.org/10.18235/0006229.

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The exhibition traces the development of the visual arts in this Caribbean nation which celebrates its 40th anniversary as an independent Republic in 2002. 49 works in a variety of media cover nearly 150 years of art, including watercolors by Michel Jean Cazabon (19th century), oils by the pre-Independence and the post-Independence generations, and drawing and painting by the latest generation; also included are some masks used in Carnival, and folk figurines illustrating the evolution of the steel-pan, invented in the 20th century. This exhibition was organized with the collaboration of the National Museum of Trinidad and Tobago, the Central Bank of Trinidad and Tobago, and artists such as LeRoy Clarke, Christopher Cozier, Irénée Shaw, Ralph Baney, and Nina Squires.

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