Relevant bibliographies by topics / Art Europe History 18th century

Academic literature on the topic 'Art Europe History 18th century'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Art Europe History 18th century"

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Fekete, Albert, and Peter Gyori. "Chinese pavilions in the early landscape gardens of Europe." Landscape architecture and art 18 (October 7, 2021): 78–87. http://dx.doi.org/10.22616/j.landarchart.2021.18.08.

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The image of China perceived by the Europeans in the 17th to 18th century was based on the travelogues of the travellers and missionaries. Despite the fact that the first descriptions did not include any pictures of the world, people and landscapes described, the far exotic country with its history and tangible heritage became very popular. This article deals with Chinese pavilions (pagodas, teahouses) built in the early European landscape gardens before 1750 without any architectural plans, using only sketches based on descriptions and travelogues, since in the first half of the 18th century, no relevant technical guidance was available yet. The structures reviewed started to be used frequently in European gardens and public parks from 1750’s, having an inevitable influence on the garden pavilions built from the second half of the 18th century, and indirectly to the image and character of some influential gardens in European context. Moreover, through their craggy appearance, the Chinese pavilions – as eye catchers – played an accentuated compositional and spatial role too in the European garden history.
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Luhovska, Anna. "Ontological Foundations of Conceptualization of Art Institutions." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 171–76. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235252.

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The article describes the stages of formation and the main reasons for the transformation of the current art institutional system. Its characteristics, conventional to Europe at the end of the 18th century, became common to most countries by the second half of the 19th century. Globalization processes that accompany the entire history of the previous century are the key factor of the rapid changes in society, including the art sphere. The role of global economic changes with the orientation on the society of consumption, on the growing importance of art market, commercialization of culture in general, emergence of new technologies and changes in attitudes to contemporary art in all its manifestations were observed. The reasons for shifting the emphasis and rethinking the role of artist, curator and spectator in the modern mode of existence of art institutions were analyzed. The conditions for updating existing and new forms of art representation, as well as expanding the concept of an artwork and the difference in understanding its value in historical and commercial terms that do not always coincide, were described.
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Luengo, Pedro. "Yuánmíng Yuán en el siglo XVIII: Arte entre la diplomacia y la filosofía; entre Europa y Pekín." Araucaria, no. 35 (2015): 193–216. http://dx.doi.org/10.12795/araucaria.2016.i35.10.

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Malik, Jamal. "Muslim Culture and Reform in 18th Century South Asia." Journal of the Royal Asiatic Society of Great Britain & Ireland 13, no. 2 (July 2003): 227–43. http://dx.doi.org/10.1017/s1356186303003080.

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AbstractUsually the European perception of South Asia and, related to it, academic research into this region, is informed by specific, powerful images and metaphors that establish a dichotomisation of the world. The reasons for this development cannot be analysed in detail here. Suffice it to say, however, that this organisation and designation of the world has deep roots. Until the Reformation, Europe was basically perceived only in terms of geographical boundaries. But the dichotomy between “Europe” and “Asia” acquired a new dimension in the seventeenth and eighteenth centuries, when, in the wake of a change of paradigm into modernity, European self-consciousness gradually developed into a sense of European intellectual superiority. Just as a new form of collective identity had developed within the boundaries of Europe, based on the idea of “nation” in the late eighteenth century, and just as the members of the early nation-states forcibly dissociated themselves by definition from members of other societies in order to be able to establish their own identity, now, with the same intention, though on a different level, Europeans dissociated themselves from “Asia”, the “Orient” and “Islam”. The political recollection of important master narratives kept the mythical fictions in mind and imbued the nation-building process with enormous real power. This development towards a modern European identity was based, as can be deduced from many travellers' testimonies, on the history of reception, reciprocal perceptions, and the development of enemy images. In this process, the Orient and the Orientals were also used by Europeans as a didactic background for the critique of their own (European) urban societies. The literary technique of contextual alienation and distancing, such as can be found in Montesquieu's “Persian Letters”, was born in this period. These and following processes of projection were connected among others things with the fact that Europeans, as colonial masters, advanced to confront the world outside Europe. There they were faced with attitudes and norms that forced them to question their own perceptions. In doing so, they also tended to accept some of these strange and different ideas, and, thus, exposed themselves to cultural hybridisation which could then only be overcome by the reconstructing of their own culture as something “pure”, in contrast to the “degenerate” culture of the colonialised. In this way, collective antagonisms developed. Even the Oriental crusades that had been critically evaluated by European academicians, were now for the first time perceived in terms of cultural clash. Analogously, Europe and Asia were constructed in the eighteenth century and very predominantly in the nineteenth century in terms of arenas of power politics. For instance, it was during this time that the eastern borders of Europe were conceptualised, with the Balkans and Transoxania being considered as buffers or gaps between the two.
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Bigliardi, Victoria. "The Reincarnation of the Aura." International Journal of Semiotics and Visual Rhetoric 1, no. 1 (January 2017): 72–80. http://dx.doi.org/10.4018/ijsvr.2017010108.

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In 1935, Walter Benjamin introduced the aura as the abstract conceptualization of uniqueness, authenticity, and singularity that encompasses an original art object. With the advent of technological reproducibility, Benjamin posits that the aura of an object deteriorates when the original is reproduced through the manufacture of copies. Employing this concept of the aura, I outline the proliferation of plaster casts of sculptures in 18th- and 19th-century Europe, placing contextual emphasis on the cultural and prestige value of originals and copies. Theories of authenticity in both art history and material culture are used to examine the nature of the aura and to consider how the aura transforms when an original object is lost from the material record. Through an object biography of a 15th-century sculpture by Francesco Laurana, I propose that the aura does not disappear upon the loss of the original, but is reincarnated in the authentic reproduction.
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Tokarska-Bakir, Joanna. "WHY IS THE HOLY IMAGE "TRUE"? THE ONTOLOGICAL CONCEPT OF TRUTH AS A PRINCIPLE OF SELF-AUTHENTICATION OF FOLK DEVOTIONAL EFFIGIES IN THE 18TH AND 19TH CENTURY." Numen 49, no. 3 (2002): 255–81. http://dx.doi.org/10.1163/156852702320263936.

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AbstractThe present article examines the twofold material provided by analyses of the borderline between the ethnology of religion and the history of folk art. It refers first of all to the etiological legends of holy images venerated in Central and Eastern Europe in the post-tridentine period, and secondly to folk holy images, in particular woodcut prints, self-declared as "true images," which were widespread until the last century, and richly represented in Polish folk piety.
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Elezovic, D. M. "The role of Dmitry Kantemir’s writings for the Western educational historiography (a case study of the manuscript “The History of Turkey” of the 18th century)." Rusin, no. 63 (2021): 34–42. http://dx.doi.org/10.17223/18572685/63/3.

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The article uses a case study of the manuscript The History of Turkey written by an anonymous author in French in the 18th century and kept in the Bern City Library archives, to discuss West European writers’ evaluation of Dmitry Kantemir’s works. Dmitry Kantemir was not only a prominent political leader and diplomat, but also one of the most educated people in Eastern Europe of his time. When living in Constantinople, he attended a theological school, then studied history, philosophy, literature, art, theology, and ancient languages (he knew eight languages). Highly regarded in Russia, his writings attracted attention in the West and were used as sources by European historians. As an outstanding scientist and diplomat in Eastern Europe, Dmitry Kantemir earned the recognition of his Western European contemporaries as well as historians of later periods, who highly appreciated his works. This article analyses one historical plot, which has not been in the focus of scholarly studies so far: Kantemir’s History of the Growth and Decay of the Ottoman Empire is mentioned as one of the main sources in the manuscript The History of Turkey and repeatedly quoted there.
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Neglinskaya, M. A. "Часовая коллекция Цяньлуна (1736–1795): первое собрание европейского искусства в Китае." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 168–75. http://dx.doi.org/10.46748/arteuras.2020.04.014.

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Many of European clocks in the Beijing’s Palace Museum (Gugong) were made in second half of the 18th century, by the Qing Emperor Qianlong’s governing (1736–1795), when an exotic “Chinese style” (chinoiserie) in the decorative arts was at its height. The research methodology proposed below, which combines art history and cultural analysis, allows us to see, that the Palace Collection’s mix determined evolution of the clock’s industry in China and some European lands, who took part in the international clock and watch market. In forms and decor of Chinese clocks the 18th century were reflected the change of European market. Together with western mechanical clock, being at the same time scientific device and work of decorative art, the European styles system was by ritual participation admitted in China. В статье показано, что западная часовая коллекция Цяньлуна (1736–1795), явившаяся первым в империи Цин (1644–1911) собранием произведений европейского искусства, связана с художественным рынком и феноменом шинуазри. Предложенная ниже методология, сочетающая искусствоведческий и культурологический подходы, позволяет увидеть, что состав этой коллекции повлиял на развитие производства механических часов в самом Китае и западных странах — участницах международного рынка искусств XVIII века. Собирательство механических хронометров в государстве Цин было обусловлено ритуализацией часов, устранившей проблему дуализма китайского и западного начал в цинской культуре и искусстве.
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Svyrydenko, N. "Music in museum (second half of 20th century, Ukraine)." Musical art in the educological discourse, no. 3 (2018): 61–65. http://dx.doi.org/10.28925/2518-766x.2018.3.6165.

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Due to the process of early music revival, started in the USSR from the 60s of the 20th century, there are searches of the appropriate premises, in which early music could be perceived naturally, where one can feel a single style in combination of rooms, music, instrumentation and performance style that would increase the perception of each of the components of the creative process. Such most suitable premises are found out to be the halls of museums — former mansions, or palaces, which serve as museums in our time. The practice of conducting concerts in museums was introduced in Western Europe in the first half of the 20th century as a part of the overall process of early music revival and became an example for other countries including Ukraine.The Museum of Ukrainian Fine Arts was one of the first museums where concerts of early music were held in 1988. The concert programs featured the music of prominent Ukrainian composers of the 16th–18th centuries. Since 1989, the «Concerts in Museum» began to be held at the Museum of Russian Art, where one could hear music from the 18th to the beginning of the 19th century from «The Music Collection of the Razumovsky Family». Since 2003, the door has opened for concerts at the National Museum of History of Ukraine, where, in addition to chamber music, the visitors watched the whole performance — the chamber opera by D. Bortniansky «Sokil». The performance of this opera was also held at other museums of Ukrainian cities, as well as in Poland.Ancient instruments in some museums, that have lost its sound and artistic qualities, attracted attention of the musical experts. In association with scholars and the administration of museums, restoration work was carried out and brought back the old tools to life, which made it possible to hear the true «voice of the past «. This happened from the pianoforte at the Museum of Ukrainian History, the Lesia Ukrainka Museum in the village Kolodyazhny of Kovelsky District in Volyn and the Memorial Museum of Maxim Rylsky in Kyiv. Nowadays many museums in Ukraine have become centres of culture, both visual and musical. Due to this process, contemporaries’ views about the past art have expanded, the recordings of ancient music phonograms initiated film-making.
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Borovkova, Natalia V. "Lapidary Art of the Altai and the Urals of the Late 18th — 19th Centuries: The Russian Cultural Phenomenon and European Influence." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 3 (2021): 291–303. http://dx.doi.org/10.15826/izv2.2021.23.3.060.

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The study of Russian stone-cutting art remains an important and urgent task of contemporary Russian art history. It is necessary to take a fresh look at this direction of Russian decorative art and find out whether Russian stone-cutting art is an internal phenomenon, or it is based on European borrowing. This article refers to works of stone-cutting enterprises of the Urals and the Altai, i. e. Yekaterinburg and Loktevsk Manufactories, which worked exclusively at the order of the Cabinet. In the late eighteenth century, there was a system for ordering stone products in Russia. To do this, they formed sets of “samples” of natural ornamental stone from Russian deposits and compiled albums of product projects. When sending an order to the factory, they attached a sketch and indicated the number of the stone which the product was to be made of. A complex analysis of Russian stone-cutting art testifies to the fact that it followed European fashion, traditions, and technology. European specialists were invited to Russia in order to organise stone-cutting production. Also, travellers brought elegant artworks made of decorative stone by European masters. By the late eighteenth century, stone-cutting production had come a much longer way in Western Europe than in Russia. The production of works of art made of stone was carried out in Italy, France, England, Sweden, and other European countries. Russian commissioners wanted to obtain similar items, and the masters imitated and reproduced European originals. When comparing designs of decorative vases, one can see an undoubted influence of European analogues. However, if there is an obvious similarity to their decorative design, Russian masters are characterised by the ability to reveal the unique aesthetic properties of the material. At the first stage, the influence of European masters was not to be argued, but later on, Russian stone-cutting art began to acquire its own unique features, although it developed along the lines of the dominating pan-European stylistic trends.
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Dissertations / Theses on the topic "Art Europe History 18th century"

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Schneider, Leann G. "Capturing Otherness on Canvas: 16th - 18th century European Representation of Amerindians and Africans." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437430892.

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Abel, Jonathan 1985. "Jacques-Antoine-Hippolyte, Comte De Guibert: Father of the Grande Armée." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700071/.

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Jacques-Antoine-Hippolyte, comte de Guibert (1743-1790) dedicated his life and career to creating a new doctrine for the French army. Little about this doctrine was revolutionary. Indeed, Guibert openly decried the anarchy of popular participation in government and looked askance at the early days of the Revolution. Rather, Guibert’s doctrine marked the culmination of an evolutionary process that commenced decades before his time and reached fruition in the Réglement of 1791, which remained in force until the 1830s. Not content with military reform, Guibert demanded a political and social constitution to match. His reforms required these changes, demanding a disciplined, service-oriented society and a functional, rational government to assist his reformed military. He delved deeply, like no other contemporary writer, into the linkages between society, politics, and the military throughout his career and his writings. Guibert exerted an overwhelming influence on military thought across Europe for the next fifty years. His military theories provided the foundation for military reform during the twilight of the Old Regime. The Revolution, which adopted most of Guibert’s doctrine in 1791, continued his work. A new army and way of war based on Guibert’s reforms emerged to defeat France’s major enemies. In Napoleon’s hands, Guibert’s army all but conquered Europe by 1807. As other nations adopted French methods, Guibert’s influence spread across the Continent, reigning supreme until the 1830s. This dissertation adopts a biographical approach to examine Guibert’s life and influence on the creation of the French military system that led to Napoleon’s conquest of Europe. As no such biography exists in Anglophone literature, such a work will fill a crucial gap in understanding French military success to 1807. It examines the period of French military reform from 1760 to the creation and use of Napoleon’s Grande Armée from 1803 to 1807, illustrating the importance of Guibert’s systemic doctrine in the period. Moreover, the work argues that Guibert belongs in the ranks of authors whose works exerted a primary influence on the French Enlightenment and Revolution by establishing Guibert as a “Great Man” of the Republic of Letters between 1770 and his death in 1790.
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Gilbert, Bennett. "Some Neglected Aspects of the Rococo: Berkeley, Vico, and Rococo Style." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1872.

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The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley's views of the perfect contingency of the world and on Vico's theories of truth and ingenium. A reading of Diderot's critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu's aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as a pre-cinematic effects that represent the non-material, non-causal deep structure of reality.
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Jarrett, Nathaniel W. "Collective Security and Coalition: British Grand Strategy, 1783-1797." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984129/.

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On 1 February 1793, the National Convention of Revolutionary France declared war on Great Britain and the Netherlands, expanding the list of France's enemies in the War of the First Coalition. Although British Prime Minister William Pitt the Younger had predicted fifteen years of peace one year earlier, the French declaration of war initiated nearly a quarter century of war between Britain and France with only a brief respite during the Peace of Amiens. Britain entered the war amid both a nadir in British diplomacy and internal political divisions over the direction of British foreign policy. After becoming prime minister in 1783 in the aftermath of the War of American Independence, Pitt pursued financial and naval reform to recover British strength and cautious interventionism to end Britain's diplomatic isolation in Europe. He hoped to create a collective security system based on the principles of the territorial status quo, trade agreements, neutral rights, and resolution of diplomatic disputes through mediation - armed mediation if necessary. While his domestic measures largely met with success, Pitt's foreign policy suffered from a paucity of like-minded allies, contradictions between traditional hostility to France and emergent opposition to Russian expansion, Britain's limited ability to project power on the continent, and the even more limited will of Parliament to support such interventionism. Nevertheless, Pitt's collective security goal continued to shape British strategy in the War of the First Coalition, and the same challenges continued to plague the British war effort. This led to failure in the war and left the British fighting on alone after the Treaty of Campo Formio secured peace between France and its last continental foe, Austria, on 18 October 1797.
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Baker, Daniel Alexander. "Technologies of encounter : exhibition-making and the 18th century South Pacific." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13703/.

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Between 1768 and 1780 Captain James Cook led three epic voyages from Britain into the Pacific Ocean, where he and his fellow explorers- artists, naturalists, philosophers and sailors, were to encounter societies and cultures of extraordinary diversity. These 18th Century South Pacific encounters were rich with performance, trade and exchange; but they would lead to the dramatic and violent transformation of the region through colonisation, settlement, exploitation and disease. Since those initial encounters, museums in Britain have become home to the images and artefacts produced and collected in the South Pacific; and they are now primary sites for the representation of the original voyages and their legacies. This representation most often takes the form of exhibitions and displays that in turn choreograph and produce new encounters with the past, in the present. Drawing on Alfred Gell's term 'technologies of enchantment' my practice reconceives the structures of exhibitions as 'technologies of encounter': exploring how they might be reconfigured to produce new kinds of encounter. Through reflexive practice I critically engage with museums as sites of encounters, whilst re-imagining the exhibition as a creative form. The research submission takes the form of an exhibition: an archive of materials from the practice, interwoven with a reflective dialogue in text. The thesis progresses through a series of exhibition encounters, each of which explores a different approach to technologies of encounter, from surrealist collage (Cannibal Dog Museum) and critical reflexivity (The Hidden Hand), to a conversational mode (Modernity's Candle and the Ways of the Pathless Deep).
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Berkovich, Ilya. "Motivation in the armies of old-regime Europe." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610794.

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Sörlin, Per. "Trolldoms- och vidskepelseprocesserna i Göta hovrätt 1635-1754." Doctoral thesis, Umeå universitet, Historiska studier, 1993. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-65857.

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Extensive witchcraft trials took place in Sweden between the years 1668 and 1676. Approximately three hundred individuals were executed during a period of very few years. However, far more common were trials of a more modest nature, concerning minor magic and malevolent witchcraft without aspects of diabolism. The present dissertation deals with these minor cases, which have previously attracted very little academic interest. The source material for this study comprises 353 cases (involving 880 individuals), submitted to the Göta Royal Superior Court by informants during the period 1635-1754. The area of jurisdiction covered by the Göta Royal Superior Court embraced the southernmost areas of Sweden. This study discusses witchcraft and magic trials from three perspectives: 1. The elite perspective (the acculturation model); 2. The functionalistic conflict perspective; and 3. The systems-oriented perspective of popular magic. Ideologically and religiously coloured perceptions of magic became more pervasive at the same time as the number of trials increased. This was caused by central administrative measures, which broadened the opportunities for pursuing cases on the local level. However, the increased influence of the dite cannot be characterized as a conquest of folk culture by the elite. It is more adequate to speak of a movement of repression, originating in a state become all the more civilized. Death sentences were few and far between and most of the cases concerned minor magic. There existed no independent popular level such as emerges in the reports from the proceedings of the trials. People clearly differentiated between different types of malevolent witchcraft when standing before the courts. They were more likely to go directly to trial when the signs preceding their misfortunes hinted at magical activity (viewed as sorcery), than they were when suspicions against witches were based on threats made in conflict situations. Witchcraft which had its basis in conflict situations appears to have been more dependent upon first receiving encouragement in the form of obliging courts, before people would take their cases to trial. This has created a pattern which ostensibly makes it seem that the level of social tensions was low, so that people therefore appeared indifferent toward malevolent witchcraft. Just as illusory is the competing image of an uninfluenced popular perception of witchcraft which actually emerges in the Göta Royal Superior Court. However, this does not mean that the actions of individuals was characterized by an assimilation of the values of the dominant culture. Receptivity to the signals of the elite was certainly clear, but at the same time the responses indicate a great deal of independence. Popular participation in witchcraft trials took place without any prerequisite profound cultural transformations.
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Dynner, Glenn. "Yikhus and the early Hasidic movement : principles and practice in 18th and 19th century Eastern Europe." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27940.

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Yikhus--the salient feature of the Jewish aristocracy--may be defined as a type of prestige deriving from the achievements of one's forbears and living family members in the scholarly, mystical, or, to a lesser degree, economic realms. Unlike land acquisition, by which the non-Jewish aristocracy preserved itself, yikhus was intimately linked with achievement in the above realms, requiring a continual infusion of new talent from each generation of a particular family.
A question which has yet to be resolved is the extent to which the founders of Hasidism, a mystical revivalist movement that swept Eastern European Jewish communities from the second half of the eighteenth century until the Holocaust, challenged prevailing notions of yikhus. The question relates to the identities of Hasidism's leaders--the Zaddikim--themselves. If, as the older historiography claims, the Zaddikim emerged from outside the elite stratum, and therefore lacked yikhus, they might be expected to challenge a notion which would threaten their perceived right to lead. If, on the other hand, the Zaddikim were really the same scions of noble Jewish families who had always led the communities, they would probably uphold the value of yikhus. (Abstract shortened by UMI.)
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Turner, Grace S. "An Allegory for Life: An 18th century African-influenced cemetery landscape, Nassau, Bahamas." W&M ScholarWorks, 2013. https://scholarworks.wm.edu/etd/1539623360.

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I use W.E.B. Du Bois' reference to the worlds 'within and without the veil' as the narrative setting for presenting the case of an African-Bahamian urban cemetery in use from the early eighteenth century to the early twentieth century. I argue that people of African descent lived what Du Bois termed a 'double consciousness.' Thus, the ways in which they shaped and changed this cemetery landscape reflect the complexities of their lives. Since the material expressions of this cemetery landscape represent the cultural perspectives of the affiliated communities so changes in its maintenance constitute archaeologically visible evidence of this process. Evidence in this study includes analysis of human remains; the cultural preference for cemetery space near water; certain trees planted as a living grave site memorial; butchered animal remains as evidence of food offerings; and placement of personal dishes on top of graves.;Based on the manufacture dates for ceramic and glass containers African-derived cultural behavior was no longer practiced after the mid-nineteenth century even though the cemetery remained in use until the early twentieth century. I interpret this change as evidence of a conscious cultural decision by an African-Bahamian population in Nassau to move away from obviously African-derived expressions of cultural identity. I argue that the desire for social mobility motivated this change. Full emancipation was granted in the British Empire by 1838. People of African descent who wanted to take advantage of social opportunities had to give up public expressions of African-derived cultural identity in order to participate more fully and successfully in the dominant society.
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Fisher, Karen B. "Community in Gloucestertown, Virginia: The Context and Archaeology of Town Development in 17th and 18th Century Virginia." W&M ScholarWorks, 1986. https://scholarworks.wm.edu/etd/1539625335.

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Books on the topic "Art Europe History 18th century"

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Reading the royal monument in eighteenth-century Europe. Farnham, Surrey, UK England: Ashgate, 2010.

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The first modern museums of art: The birth of an institution in 18th- and early-19th-century Europe. Los Angeles: J. Paul Getty Museum, 2012.

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Henry Lloyd and the military enlightenment of eighteenth-century Europe. Westport, Conn: Greenwood Press, 2002.

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de, Jonge Krista, and Ottenheym Koen, eds. Unity and discontinuity: Architectural relations between the Southern and Northern low countries 1530-1700. Turnhout, Belgium: Brepols, 2007.

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The age of Minerva. Philadelphia: University of Pennsylvania Press, 1995.

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Draper, James David. Playing with fire: European terracotta models, 1740-1840. New York, NY: Yale University Press, 2004.

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1951-, Hecht Peter, Museum Boijmans Van Beuningen (Rotterdam, Netherlands), and Städtische Galerie im Städelschen Kunstinstitut Frankfurt am Main., eds. Senses and sins: Dutch painters of daily life in the seventeenth century. Ostfildern-Ruit: Hatje Cantz, 2004.

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Grit͡saĭ, Natalʹi͡a Ivanovna. The State Hermitage Museum catalogue of Flemish painting: 17th-18th centuries. New Haven: Yale University Press, 2006.

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H, Munger Jeffrey, ed. The Forsyth Wickes collection in the Museum of Fine Arts, Boston: Catalogue. Boston: Museum of Fine Arts, Boston, 1992.

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The afterlife of images: Translating the pathological body between China and the West. Durham: Duke University Press, 2008.

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Book chapters on the topic "Art Europe History 18th century"

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Golvers, Noël. "The Jesuits as translators between Europe and China (17th–18th century)." In Studies in the History of the Language Sciences, 101–28. Amsterdam: John Benjamins Publishing Company, 2021. http://dx.doi.org/10.1075/sihols.130.03gol.

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Vivier, Nadine. "3. The Interventions of the French State in Rural Society. The Major Concerns of the State, Mid-18th Mid-20th century." In Rural History in Europe, 57–76. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.rurhe-eb.4.00049.

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Plack, Noelle. "5. Collective Agricultural Practices and the French State: Aspects of the Rural Code in France from the 18th to the 20th Century." In Rural History in Europe, 95–110. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.rurhe-eb.4.00051.

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Schabert, Ina. "From Feminist to Integrationist Literary History: 18th-Century Studies, 2005–2013." In Die Feministische Aufklärung in Europa | The Feminist Enlightenment in Europe | Les Lumières européennes au féminin, 235–47. Berlin, Heidelberg: Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-62981-9_13.

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Křupková, Lenka. "“Ideologically Progressive Art” Meets Western Avant-Garde." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 155–64. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch10.

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Křupková, Lenka. "“Ideologically Progressive Art” Meets Western Avant-Garde." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 155–64. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch10.

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van Duijn, Esther. "The (In)Visibility of the Paintings Restorers of the Rijksmuseum in the First Half of the Twentieth Century." In Histories of Conservation and Art History in Modern Europe, 163–77. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003127369-14.

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Atanasovski, Srđan. "Allies in Music: French Influence and Role Models in the Cvijeta Zuzorić Association of Friends of Art." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 77–91. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch6.

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Atanasovski, Srđan. "Allies in Music: French Influence and Role Models in the Cvijeta Zuzorić Association of Friends of Art." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 77–91. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch6.

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Carlen, Joe. "Captains of the Revolution." In A Brief History of Entrepreneurship. Columbia University Press, 2016. http://dx.doi.org/10.7312/columbia/9780231173049.003.0008.

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The Industrial Revolution that began in 18th-century Britain would, in fairly short order, transform Western Europe, North America, and other regions of the world irreversibly. This momentous change would compel government, church, and other institutions to make unprecedented and often reluctant adjustments to the social structure. These entities were reacting to a revolution but who actually instigated it? Savvy and inventive British entrepreneurs did—the “captains” of new industries. Many of these remarkable figures and their often unintended impact on the world around them are discussed in this chapter.
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Conference papers on the topic "Art Europe History 18th century"

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Themelis, Nickolas J. "Current Status of Global WTE." In 20th Annual North American Waste-to-Energy Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/nawtec20-7061.

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This paper is based on data compiled in the course of developing, for InterAmerican Development Bank (IDB), a WTE Guidebook for managers and policymakers in the Latin America and Caribbean region. As part of this work, a list was compiled of nearly all plants in the world that thermally treat nearly 200 million tons of municipal solid wastes (MSW) and produce electricity and heat. An estimated 200 WTE facilities were built, during the first decade of the 21st century, mostly in Europe and Asia. The great majority of these plants use the grate combustion of as-received MSW and produce electricity. The dominance of the grate combustion technology is apparently due to simplicity of operation, high plant availability (>90%), and facility for training personnel at existing plants. Novel gasification processes have been implemented mostly in Japan but a compilation of all Japanese WTE facilities showed that 84% of Japan’s MSW is treated in grate combustion plants. Several small-scale WTE plants (<5 tons/hour) are operating in Europe and Japan and are based both on grate combustion and in implementing WTE projects. This paper is based on the sections of the WTE Guidebook that discuss the current use of WTE technology around the world. Since the beginning of history, humans have generated solid wastes and disposed them in makeshift waste dumps or set them on fire. After the industrial revolution, near the end of the 18th century, the amount of goods used and then discarded by people increased so much that it was necessary for cities to provide landfills and incinerators for disposing wastes. The management of urban, or municipal, solid wastes (MSW) became problematic since the middle of the 20th century when the consumption of goods, and the corresponding generation of MSW, increased by an order of magnitude. In response, the most advanced countries developed various means and technologies for dealing with solid wastes. These range from reducing wastes by designing products and packaging, to gasification technologies. Lists of several European plants are presented that co-combust medical wastes (average of 1.8% of the total feedstock) and wastewater plant residue (average of 2% of the feedstock).
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Dima, Gabriela E. "PETER THE GREAT OF RUSSIA AND CHARLES XII OF SWEDEN IN THE 18TH CENTURY ROMANIAN TRANSLATIONS OF WESTERN EUROPEAN HISTORY BOOKS." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b31/s10.049.

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Helmerich, Rosemarie. "How to assess historic iron and steel bridges." In IABSE Conference, Copenhagen 2018: Engineering the Past, to Meet the Needs of the Future. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2018. http://dx.doi.org/10.2749/copenhagen.2018.468.

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The early industrialization process required a higher and higher developed infrastructure to transfer more and more people and goods. These requirements lead to the development of new materials that can resist the higher loading, to advances in mechanical engineering, more sophisticated calculation methods and transfer of all these advances to infrastructure to build longer spanning or higher rising structures. During the 18th and 19th century, the advances in industrialization resulted in new production processes, for iron, too. After using iron in mechanical engineering, it was applied to infrastructure as well [1]. Today, these first old iron and early mild steel structures belong to the cultural and technical heritage of the world. When looking at them as an assessing engineer, it is in favour understanding the production process, the resulting microstructure and the mechanical properties of the specific material. Any historic iron structure requires special knowledge about connections, structural design and of course, the material behaviour [2]. The paper presents these basics and some guiding documents on how to “engineer the past”. Selected representative heritage structures made of cast iron, wrought iron and early mild iron as well their material- and structurespecific requirements on rehabilitation are presented. Appropriate assessment procedures, developed e.g. in technical committees and European projects, allow us keeping the witnesses of the early industrialisation in service and the surviving structures being still in use. Finally, the background documents prepared in Europe will be shortly presented to guide the assessment of old iron bridges considering the past but in line with modern methodology. The background documents support the implementation, harmonization and further development of the Eurocodes for assessment, not only for design.
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Sosnitsky, D. A. "Images of Russian history in popular art works of the second half of the 18th century." In Current Challenges of Historical Studies: Young Scholars' Perspective. Novosibirsk State University, 2020. http://dx.doi.org/10.25205/978-5-4437-1110-2-318-327.

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Ceravolo, R. "Condition Assessment, Monitoring and Preservation of Some Iconic Concrete Structures of the 20th Century." In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0054.

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<p>Great architects and structural engineers such as Berg (1870-1947), Maillart (1872-1940), Freyssinet (1879- 1962), Torroja (1899 -1961), Nervi (1891-1979), Candela (1910-1997), Isler (1926-2009) and many others have designed recognized works of art in their discipline. They conceived extraordinary concrete spatial structures, that are located mostly in Europe and represent a unique legacy. It is important to raise awareness of this heritage, define the criteria for preserving it and begin the process of its renovation and rehabilitation.</p> <p>While concrete has become a 20th century emblem, much of the world’s heritage from this period is unrecognized or undervalued, and therefore it is at risk and in need of analysis and protection. Innovative technologies and solutions are needed that contribute to the successful reuse of modern concrete built heritage. Indeed, such structures are plagued by significant deterioration and most of them are in urgent need of retrofitting and/or radical refurbishment. In other words, there is a need to bring some of these buildings back to life, while respecting the spirit of their original characters, through new technologies for long-term conservation that can maintain an adequate level of structural performance. Achieving this goal would produce substantial economic impacts through activities such as restoration, maintenance, and cultural industry.</p> <p>The keynote lecture, more specifically, focuses on the condition assessment, monitoring and preservation of 20th century architectural heritage characterized by a complex spatial structural design. The service life of civil and cultural heritage concrete spatial structures is typically thought to range from 10 to 200 years, but in practice the service environment plays a pivotal role in sustained durability. Indeed, the collapse of Polcevera Viaduct in Genoa has raised strong concerns on the durability of concrete structures conceived at that time. The scientific community has once again underlined the important role played by maintenance and continuous structural health monitoring in avoiding these disastrous events. In order to demonstrate a correct approach to condition monitoring of concrete spatial buildings and bridges, some important experiences are described that were recently obtained at the Polytechnic of Turin on the structural analysis, seismic vulnerability and condition assessment for iconic 20th century heritage buildings.</p>
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Siviero, E., and V. Martini. "Bridges in the World Heritage List Between Culture and Technical Development." In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0153.

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<p>The aim of this paper is to present some bridges inscribed in the UNESCO World Heritage List and their Outstanding Universal Values, which explain the importance of these works of art in terms of engineering, technology, culture and technical development. The Iron Bridge, the first metal bridge in the history of construction, is of considerable importance, not only in historic, technological and constructive terms: here, architecture and engineering are revealed to the full, making the bridge into a place. The Forth Bridge is a globally-important triumph of engineering, representing the pinnacle of 19th century bridge construction and is without doubt the world’s greatest trussed bridge. The Vizcaya Bridge, completed in 1893, was the first bridge in the world to carry people and traffic on a high suspended gondola and was used as a model for many similar bridges in Europe, Africa and America, only a few of which survive. The Mostar Bridge is an exceptional and universal symbol of coexistence of communities from diverse cultural, ethnic and religious backgrounds. The Oporto bridges, interpreted in Vitruvian terms, represent a heritage, a “set of spiritual, cultural, social or material values that belong, through inheritance or tradition, to a group of people…”, a complex grouping that marks and symbolises an era, the Eiffel's masterpiece. Because the bridge is not only a work of art, but also a thought.</p>
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Petrović, Emina Kristina. "Two Conceptualisations of Change in Architectural History: Towards Driving Pro-sustainable Change in Architecture." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4006pqv8s.

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At the time when it is important to act on the Climate Emergency and other pro-sustainable efforts, the key question is how to drive change. This paper examines two conceptualisations of change in architectural history in an attempt to support a better understanding of architecture-specific conceptualisations of change itself. Such understanding could offer real value in articulating how to drive pro-sustainable change in architecture. The paper identifies two conceptualisations of change which are easily found in existing writing on change in architectural history. One such conceptualisation considers architectural developments in terms of cyclical styles, or triads of early, high, and decadent stages of development of styles. Attributed to the 18th century writing of Johann Joachim Winckelmann on ancient Greek art, this conceptualisation presents one useful interpretation which links the change with natural growth. A simpler conceptualisation of two-point change is interpreted using the minor/major interpretations of change, as developed by Joan Ockman, based on the work of Gilles Deleuze and Félix Guattari. The key proposition is that the selected historical examples of conceptualisation of change reveal useful aspects of the past patterns of change in architecture. These might help understand how to drive needed change now. One critical factor in the transition which is facing us now, is that in contrast to many past transitions which were driven by technological innovation, current transition requires development of technologies capable to support the change which is scientifically proven as needed and real. Therefore, some of the historical natural ease of the past transitions in the current contexts needs active driving of change. Without an intention to propose a holistic new framework, the main value of this paper is that it identifies some of the key conceptualisations which are evident in architectural history and that could be useful in driving pro-sustainable change.
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ROHRBACH, Wolfgang. "PANDEMIJE I POLITIKA OSIGURANjA KROZ VREME." In MODERNE TEHNOLOGIJE, NOVI I TRADICIONALNI RIZICI U OSIGURANjU. Association for Insurance Law of Serbia, 2021. http://dx.doi.org/10.46793/xxsav21.132r.

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Th e corona pandemic is incredible and, allegedly, a new phenomenon for many Europeans. Th at is why few people know the history of European pandemics. Th e lack of interest (disinterest) in historical development is due to the misconception of many experts. Preventive care and advances in medicine and technology always require only “looking ahead”. Th is (future-oriented) advanced way of thinking and acting meant that any disease that has epidemic proportions can, in the shortest possible time, be “defeated”. However, history shows that in Europe, from the Middle Ages until today, not a century has passed without epidemics or pandemics, and that signifi cant lessons and conclusions for the future could be drawn from any such crisis. Since the 18th century, development has tended more and more towards an insurance-oriented health and social policy, which in the 19th century was called insurance policy. By combining traditional experience with new or modifi ed concepts based on the principle of “preserving tradition, shaping the future”, the insurance industry can adapt to the new requirements of health and social policy, even in a crisis caused by the coronavirus. In this case, there is digitization, with the help of which it is possible to network with new studies and data, in order to improve quality.
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Герцен, Андрей. "Средневековые фортификации Северо-Западного Причерноморья в атласе Рицци-Дзаннони." In Cercetarea și valorificarea patrimoniului arheologic medieval. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.37710/idn-c12-2022-89-101.

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Unique maps of the atlas of Poland compiled by G.A.B. Rizzi-Zannoni in the middle of the 18th century and published in early 1772 are important scientific sources. The atlas contains detailed information on the historical geography of the Northern and North-Western Black Sea region. Of particular importance is the unique map of Moldavia and the territories adjacent to it (the 23rd, as well as the 22nd and 24th sheets of the atlas), compiled based on earlier sources – the rich cartographic materials of the predecessors (G.L. Beauplan, D.K. Cantemir and others), and first of all, the works of the cartographers of the Ottoman Empire, which flourished in the 15th – 17th centuries, have not yet been identified or studied. The work of Rizzi-Zannoni is a reproduction of the oldest (found at the moment) topographic map of the North-Western Black Sea region, reflecting the geographical picture no later than the first half of the 16th – second half of the 17th centuries. Current and further study of the fortifications (castles, fortresses and other fortifications) marked on the maps of Rizzi-Zannoni and representing the most important complexes and objects of historical and cultural heritage are impossible without the involvement of the author’s unique information. Descriptions and reconstructions of fortifications that ignore topography and other details reported by this unique source are a priori incomplete or may even be erroneous. The historic-geographical information recorded on the Rizzi-Zannoni maps is of enormous multidisciplinary and interdisciplinary significance. Its consideration is important for modern and future studies of geography, history, archaeology, architecture, culture, art, ethnography, linguistics, the toponymy of the region as a whole and each heritage site.
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