Auswahl der wissenschaftlichen Literatur zum Thema „Style Louis XVI“
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Zeitschriftenartikel zum Thema "Style Louis XVI"
Martin, Marie-Pauline. „‹ Rococo › : du jargon à la catégorie de style“. Zeitschrift für Kunstgeschichte 80, Nr. 4 (30.12.2017): 474–87. http://dx.doi.org/10.1515/zkg-2017-0024.
Der volle Inhalt der QuelleDWYER, PHILIP G. „NAPOLEON AND THE FOUNDATION OF THE EMPIRE“. Historical Journal 53, Nr. 2 (27.04.2010): 339–58. http://dx.doi.org/10.1017/s0018246x1000004x.
Der volle Inhalt der QuelleBercu, Alina. „Golden Era of Baroque Dance“. Studia Universitatis Babeş-Bolyai Musica 66, Nr. 2 (30.12.2021): 69–78. http://dx.doi.org/10.24193/subbmusica.2021.2.05.
Der volle Inhalt der QuelleRonnes, Hanneke. „The architecture of William of Orange and the culture of friendship“. Archaeological Dialogues 11, Nr. 1 (Juni 2004): 57–72. http://dx.doi.org/10.1017/s1380203804001369.
Der volle Inhalt der QuelleLin, Xiwen. „A Comparative Study of The Palace of Versailles and Imperial Garden Yuanmingyuan“. Communications in Humanities Research 32, Nr. 1 (26.04.2024): 72–77. http://dx.doi.org/10.54254/2753-7064/32/20240015.
Der volle Inhalt der QuelleBeletskaya, Olga Alexandrovna. „Jacques Champion de Chambonnières and French harpsichord school of the 17th century“. Manuscript 16, Nr. 6 (21.12.2023): 389–94. http://dx.doi.org/10.30853/mns20230069.
Der volle Inhalt der QuelleMansfield, Bruce E. „Claude Joly (1607-1700) on Utopia and Other Works of More“. Moreana 35 (Number 134), Nr. 2 (Juni 1998): 25–34. http://dx.doi.org/10.3366/more.1998.35.2.4.
Der volle Inhalt der QuelleCowart, Georgia. „Carnival in Venice or Protest in Paris? Louis XIV and the Politics of Subversion at the Paris Opéra“. Journal of the American Musicological Society 54, Nr. 2 (2001): 265–302. http://dx.doi.org/10.1525/jams.2001.54.2.265.
Der volle Inhalt der QuelleYunizal, Dwi. „KAJIAN BUDAYA JEPANG PADA PROSES DAN TEKNIK SENI LUKIS TAKASHI MURAKAMI“. Gorga : Jurnal Seni Rupa 11, Nr. 2 (25.12.2022): 513. http://dx.doi.org/10.24114/gr.v11i2.39802.
Der volle Inhalt der QuelleSmith, Ross. „J'ai failli attendre: a guide to emergency translation“. English Today 28, Nr. 2 (17.05.2012): 10–14. http://dx.doi.org/10.1017/s0266078412000090.
Der volle Inhalt der QuelleDissertationen zum Thema "Style Louis XVI"
Wilewski, Sarah. „Styles of sovereignty : the relevance of Louis XIV to English royal iconography, 1689-1714“. Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:a65349cf-629a-4a8a-a961-c281f34a248e.
Der volle Inhalt der QuelleThéron, Magali. „L'ornementation sculptée et peinte des vaisseaux du roi, 1660-1792“. Paris 4, 2003. http://www.theses.fr/2003PA040224.
Der volle Inhalt der QuelleHuchet, de Quénétain Christophe. „Nicolas Besnier (1686-1754) : architecte, orfèvre du roi, directeur de la Manufacture royale de tapisseries de Beauvais, et échevin de la Ville de Paris“. Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040025.
Der volle Inhalt der QuelleNicolas Besnier (1686-1754) is the son of François Besnier, head of the Gobelet du Roi and Henriette Delaunay. His uncle is Nicolas Delaunay and his godfather is Corneille Van Clève. As an architect, Nicolas Besnier traveled to Italy from 1709 to 1712. As student at the Academy of France in Rome, he obtained the first prize of architecture of the Académie de Saint-Luc in 1711. He became master goldsmith in 1714, partner with Delaunay, and was housed in the Galeries du Louvre from 1718. He was appointed goldsmith of the king by a patent in 1723. He worked for the court of France, notably for the replacement of the king's ordinary serveware and for the Foreign Affairs, as well as for the Counts of Tarroca, of Pontchartrain, the Duchess of Retz, of Harcourt, the Marshal de Castries, the Dukes of Bouillon, of Levy, Horatio Walpole, Gaspard-Caesar-Charles de Lescalopier,William Bateman... He became the alderman of the city of Paris in 1729. At that time, he decided to collaborate with his son in law Jacques Roëttiers de La Tour, who led the his workshop of goldsmith. From 1734, and until 1753, he was director of the Royal Manufacture of Tapestry of Beauvais. He supervised the creation of newhangings by Jean-Baptiste Oudry - Metamorphosis of Ovide, Fine verdures, by Charles Joseph Natoire - History of Don Quixote and by François Boucher - Italian festivals, Story of Psiché, the second Chinese hangings, the Loves of the gods, the Noble pastoral, Fragments of opera. This period is truly the « golden age » ofmanufacturing. He left his lodging at the galleries of the Louvre in 1739 and in 1744 gave back his hallmark of goldsmith
Coquery, Emmanuel. „Charles Errard : ou l'ambition du décor“. Paris 4, 2004. http://www.theses.fr/2004PA040049.
Der volle Inhalt der QuelleThis thesis deals with the work and life of Charles Errard (Nantes v. 1603-Rome 1689), painter, architect and decorator. The first part studies his first roman period (c. 1625-1642), in which Errard reveals a prolific draughtsman, and a well established young artist. The second part analyses this production. The third part deals with the conditions of this partisan career, as a decorator. The fourth part tackles the elements of his art in Paris. The fifth part regards his role as a print publisher and his conception of architecture. The last embraces his final years in Rome, as the first director of the French academy in Rome and as the Principe of the San Luca academy. The catalogue, here established, counts 5 paintings, 15 decorations, 400 drawings and 500 prints
Cavalié, Hélène. „Pierre Germain dit le Romain (1703-1783). Une vie à l'ombre des orfèvres du roi“. Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040280.
Der volle Inhalt der QuelleThe Parisian silversmith Pierre Germain the Roman (1703-1783). A career near the silversmiths of the king. The Parisian silversmith Pierre Germain the Roman (Villeneuve-lès-Avignon, 1703-Paris, 1783), known for his book the Éléments d’orfèvrerie, had an original career. During his youth he worked for the silversmiths of the king, Thomas Germain (1726-1729); and after some time in Rome (1729-1733), worked for Jacques Roettiers (1733-1736) and as an apprentice for Nicolas Besnier from 1736. Master in 1744, he kept working for Roettiers until 1755-1756. Great messenger of the University, fond of engravings, he published in 1748 the largest book of models of the time, Élémentsd’orfèvrerie, 100 plates of rococo religious and civil silverware, engraved by Bacquoy and Pasquier, reprinted and copied until the 19th century in France and abroad (London, Turin). He also published in 1751 a short Livre d’ornemens. Installed quai des orfèvres, he had a small production, 1410 kg of silver up to his death, beautiful or simple objects,including orders for Joseph I of Portugal under contract for François Thomas Germain (1755-1756, 1765), for the Wal de Baronville family (1761-1763), the princess of Asturias in collaboration with Philippe Caffieri and Thomas Chancellier (1765), the Wandalin Mnisech (1762-1764), the Rocheblave (1777), the count of Artois and the princess of Ligne (1782). This study also covers artists he knew well: in Paris, his masters Germain, Roettiers, Besnier, his collegue Denys Frankson, his apprentices Ange Joseph Aubert and Pontaneau; in Avignon, the Clerc and Mézangeau families and Claude Imbert, his parents the architects J.-B. and François Franque, the organ builder Charles Boisselin; in Marseille, the Durand and Giraud families and his nephew Antoine Germain
林榮楨. „A study on the differences of furniture style between Louis XIV and Louis XV period“. Thesis, 2016. http://ndltd.ncl.edu.tw/handle/da8k2d.
Der volle Inhalt der Quelle中國科技大學
室內設計系
104
Abstract From ancient times to the present, Europe has always been the paramount hall of western art, and France the center of fashion trends. Throughout European history, King Louis XIV and XV of France had significant influence on western culture and art, especially in the aspect of furniture style. At that time, France had such enormous financial strength and political power that it not only exercised different levels of influence on the style of furniture but has become the pioneer of the art of furniture of later ages. The research uses the castles near the Loire Valley and the Palace of Versailles as background, and the paper is based on the field study of the researcher’s visit in France and personal interview with a number of Italian professional furniture manufacturers. It aims to provide an in-depth analysis of the differences between the furniture styles of the periods of both Louis XIV and XV. There are two steps in writing this paper: 1. The castles near the Loire Valley and the Palace of Versailles: Study the social backgrounds of the periods of Louis XIV and XV by visiting the Palace of Versailles. Understand its construction, historical value, structural style, interior design, garden features in order to collect necessary information for this paper. 2. The furniture: Read historical data, interview the furniture manufacturers, examine all kinds of furniture in the castles and palaces, and use the graphic analyses to expound the stylistic differences of the furniture of both Louis XIV and XV periods and the evolution of their appearances, materials, curves, coatings, inlays, metal decorations. Based on the on-site investigation and the experts’ explanation of the production process, along with the hypothesis testing, this study hopes to present the issues on the differences between the Louis XIV and XV furniture styles in a more scientific way. The study reveals the furniture in the periods not only emphasizes on the function but takes an awful lot of crafts, arts and luxury. Still now, it remains as a monument. Stuck goad leaf on the wooden material or used fancy silk on the surface of the chair is kind of a gorgeous style that has never been applied to furniture before. Auther hope to provide the objective viewpoints as references for interior designers using the ancient wisdom and creativity to build a brand new style in the 21th century. For those who have enthusiasm for gorgeous style furniture can enjoy it just like Louis XIV and XV. Hope the study can inherit the past and usher in the future in the academics. Key words:Louis XIV, Louis XV, the furniture style, differential analysis.
Bücher zum Thema "Style Louis XVI"
Quéré, François. Les Roussel: Une dynastie d'ébénistes au XVIIIe siècle. Dijon]: Faton, 2012.
Den vollen Inhalt der Quelle findenDebrabandere, Paul. Franse-stijlinterieurs in de 18de eeuw en het Empire in Kortrijk. Kortrijk: De Leiegouw, 1990.
Den vollen Inhalt der Quelle findenCastelluccio, Stéphane. Le château de Marly sous le règne de Louis XVI: Étude du décor et de l'ameublement des appartements du Pavillon royal sous le règne de Louis XVI. Paris: Réunion des musée nationaux, 1996.
Den vollen Inhalt der Quelle findenGulbenkian, Museu Calouste. Chefs-d'œuvre du Musée Gulbenkian de Lisbonne: Meubles et objets royaux du XVIIIe siècle français. Paris: Réunion des musées nationaux, 2000.
Den vollen Inhalt der Quelle findenJohn, Whitehead. The French interior in the eighteenth century. [London]: L. King, 1992.
Den vollen Inhalt der Quelle findenMaës, Antoine. La laiterie de Marie-Antoinette à Rambouillet: Un temple pastoral pour le plaisir de la reine. Montreuil: Gourcuff Gradenigo, 2016.
Den vollen Inhalt der Quelle findenBarrielle, Jean-François. Le style Louis XIV. Paris: Flammarion, 1997.
Den vollen Inhalt der Quelle findenGeck, Francis J. French interiors & furniture. Roseville, MI: Stureck Educational Services, 1993.
Den vollen Inhalt der Quelle findenGeck, Francis J. French interiors & furniture. Boulder, Colo: Stureck Educational Services, 1985.
Den vollen Inhalt der Quelle findenGeck, Francis J. French interiors & furniture. Boulder, CO: Stureck Educational Services, 1989.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Style Louis XVI"
„Early Neoclassicism in France: Louis XVI Style, c. 1750s, Dominant 1774–1792“. In The Guide to Period Styles for Interiors, herausgegeben von Judith Gura, 85–96. Bloomsbury Publishing Inc, 2016. http://dx.doi.org/10.5040/9781501371660.ch-008.
Der volle Inhalt der Quelle„French Baroque: Louis XIV Style, c. 1643–1715“. In The Guide to Period Styles for Interiors, herausgegeben von Judith Gura, 3–12. Bloomsbury Publishing Inc, 2016. http://dx.doi.org/10.5040/9781501371660.ch-001.
Der volle Inhalt der QuelleRahm, Philippe. „The Anthropocene Style“. In Advances in Media, Entertainment, and the Arts, 258–69. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0666-9.ch014.
Der volle Inhalt der QuelleBolens, Guillemette. „Saint-Simon“. In Kinesic Humor, 63–80. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190930066.003.0004.
Der volle Inhalt der QuelleHaskell, Yasmin Annabel. „Gentle Labour: Jesuit Georgic in the Age of Louis XIV“. In Loyola's Bees. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262849.003.0002.
Der volle Inhalt der QuelleWeiss, Piero. „The Grand Siègle Absorbs The Tragédie En Musique“. In Opera, 44–50. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195116373.003.0009.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Style Louis XVI"
Sanzharov, V. „A complex digital model of parallel Franco-Burgundian itinerarii (Louis XI, Philip the Good and Karl the Bold) as a tool for studying administrative institutions, military-political and diplomatic activity“. In Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1826.978-5-317-06529-4/311-316.
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