Relevant bibliographies by topics / Arte francescana

Academic literature on the topic 'Arte francescana'

Author: Grafiati
Published: 10 March 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Arte francescana.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Arte francescana"

1

Lowe, Kate. "Franciscan and papal patronage at the Clarissan convent of San Cosimato in Trastevere, 1440–1560." Papers of the British School at Rome 68 (November 2000): 217–39. http://dx.doi.org/10.1017/s0068246200003937.

Full text
Abstract:
IL PATROCINIO FRANCESCANO E PAPALE AL CONVENTO DELLE CLARISSE DI SAN COSIMATO A TRASTEVERE, 1440–1560Questo articolo esamina gli aspetti relativi agli studi sul ruolo della donna nel patrocinio papale e francescano al convento delle Clarisse di San Cosimato a Roma durante il Rinascimento. Le monache erano trattate come dipendenti indigenti, e le varie strategie di patrocinio per loro erano formulate da rappresentanti maschili della chiesa. Una cruciale fonte di informazione è rappresentata dalla cronaca del convento scritta da Suor Orsola Formicini alia fine del XVI secolo. San Cosimato era fermamente collocato in una complessa rete di connessioni francescane, che andavano dall'individuale all'istituzionale, e che tutte esercitavano una qualche forma di patrocinio. Il patrocinio finanziario e sull'edificio esercitato da papa Sisto IV (lui stesso un francescano) e da papa Alessandro VI viene analizzato in dettaglio. Il fenomeno del patrocinio di due parenti di sesso femminile di questi papi, Franchetta della Rovere e Vannozza Catanei, è anche discusso.
APA, Harvard, Vancouver, ISO, and other styles
2

Cooper, Donal. "‘Qui Perusii in archa saxea tumulatus’: the shrine of Beato Egidio in San Francesco al Prato, Perugia." Papers of the British School at Rome 69 (November 2001): 223–44. http://dx.doi.org/10.1017/s0068246200001811.

Full text
Abstract:
‘QUI PERUSII IN ARCHA SAXEA TUMULATUS’: LA TOMBA DEL BEATO EGIDIO NELLA CHIESA DI SAN FRANCESCO AL PRATO, PERUGIAL'autore presenta una nuova ricostruzione della tomba del Beato Egidio (†1262), il terzo compagno di San Francesco ed una delle figure più importanti della prima storia francescana. La tomba di Egidio a San Francesco al Prato, Perugia, ha acquisito una notevole considerazione nello studio del primo patrocinio francescano grazie sia all'uso di un sarcofago paleocristiano che all'indiscutibile influenza di quest'arca sulla pala d'altare dipinta su entrambi i lati per la chiesa dal Maestro di San Francesco (c. 1272). Conseguentemente, gli studiosi hanno collocato il sarcofago di Egidio al di sotto dell'altare maggiore di San Francesco al Prato, in modo da formare un unico insieme visivo con il retroaltare. Tuttavia, una serie di fonti inedite indica che il Beato fu invece sepolto nel transetto meridionale. Secondo questa ricostruzione, la sua tomba va invece collocata nella tradizione delle tombe elevate a cassa, esemplificata dall'arca di tredicesimo secolo di San Domenico a Bologna. In termini di accesso e pratica devozionale, la tomba a cassa elevata era da un punto di vista funzionale più soddisfacente della sistemazione dell'altare maggiore impiegata nella stessa tomba di Francesco. La tomba di Egidio dimostra dunque come, quando necessario, i Frati Minori potessero rifiutare il modello fornito dalla loro Chiesa Madre di Assisi.
APA, Harvard, Vancouver, ISO, and other styles
3

Pereira, Bruno, and Fernando Silva Teixeira Filho. "Francesca Woodman: a fotografia para além dos limites da representação." Discursos Fotograficos 13, no. 23 (December 5, 2017): 161. http://dx.doi.org/10.5433/1984-7939.2017v13n23p161.

Full text
Abstract:
Este artigo pretende articular as relações entre fotografia e arte, por meio da obra da fotógrafa estadunidense Francesca Woodman (1958-1981). A análise centrar-se-á nas contribuições de Woodman às discussões acerca da fotografia enquanto meio, em especial, as questões relativas a representação, para assim, demonstrar como Woodman questionou os preceitos da fotografia de seu tempo e apresentou pistas para a construção de uma nova linguagem fotográfica mais atrelada à arte e sua potência inventiva.
APA, Harvard, Vancouver, ISO, and other styles
4

Sapunaru, Raquel Anna. "DIMENSÕES FÍSICAS, GEOMETRIA, PERSPECTIVA, FILOSOFIA E ARTE." Sapere Aude 10, no. 19 (July 14, 2019): 184–202. http://dx.doi.org/10.5752/p.2177-6342.2019v10n19p184-202.

Full text
Abstract:
A ideia de um espaço tridimensional começou a se formar no século XV. Antes disso, em um mundo dominado pelo aristotelismo, o espaço era vinculado à superfície e não ao volume. Foi através das artes que essa realidade começou a mudar. A perspectiva racional, definida aqui como um recurso gráfico que utiliza o efeito visual de linhas convergentes para criar a ilusão de tridimensionalidade do espaço e das formas representadas sobre uma superfície plana de um papel ou tela, nascida a partir de uma retomada da geometria euclidiana, entrou em cena para ficar no século XVI. Entre os muitos nomes que poderiam ser citados, destacaram-se o matemático e filósofo John Dee, o arquiteto e designer Filippo Brunelleschi, e o pintor e matemático Pierro della Francesca. Através da combinação das ideias e realizações desses três atores é possível entender uma época de transição entre o antigo e o moderno, em termos de ciência e arte.PALAVRAS-CHAVE: Espaço tridimencional. Geometria. Perspectiva racional. Filosofia e arte. ABSTRACTThe idea of a three-dimensional space began to form in the fifteenth century. Before that, in a world dominated by Aristotelianism, space was bound to the surface and not to the volume. It was through the arts that this reality began to change. The rational perspective, defined here as a graphic resource that uses the visual effect of converging lines to create the illusion of three-dimensionality of space and forms represented on a flat surface of a paper or canvas, born from a resumption of Euclidean geometry, came into the scene to stay in the sixteenth century. Among the many names that could be cited were the mathematician and philosopher John Dee, the architect and designer Filippo Brunelleschi, and the painter and mathematician Pierro della Francesca. By combining the ideas and achievements of these three actors it is possible to understand a time of transition between the old and the modern, in terms of science and art.KEYWORDS: Three-dimensional space. Geometry. Rational Perspective. Philosophy and Art.
APA, Harvard, Vancouver, ISO, and other styles
5

Bortulucce, Vanessa Beatriz. ""Os Pintores Futuristas" de Roberto Longhi." Revista de Italianística, no. 31 (June 10, 2016): 42. http://dx.doi.org/10.11606/issn.2238-8281.v0i31p42-61.

Full text
Abstract:
Este artigo apresenta, pela primeira vez em língua portuguesa, o texto “Os pintores futuristas”, escrito pelo historiador e crítico de arte Roberto Longhi (1890-1970). Professor, pesquisador, ensaísta e editor, Longhi possui uma posição de destaque no estudo da história da arte italiana. Seus escritos atestam seu conhecimento e erudição no campo das artes, e suas monografias foram pioneiras no processo de valorização de artistas como Mattia Preti, Caravaggio e Piero della Francesca. Constatação semelhante pode ser verificada com os pintores futuristas, aos quais Longhi dedicou, em 1913, um ensaio vibrante e consistente, que valoriza as obras do grupo, ao mesmo tempo que o insere na cronologia da arte italiana. Trata-se, portanto, de um texto de particular importância, por ser um dos primeiros trabalhos que se propõe a analisar, em profundidade, a estética futurista e sua produção pictórica
APA, Harvard, Vancouver, ISO, and other styles
6

Queller, Donald E., and Thomas F. Madden. "Father of the Bride: Fathers, Daughters, and Dowries in Late Medieval and Early Renaissance Venice." Renaissance Quarterly 46, no. 4 (1993): 685–711. http://dx.doi.org/10.2307/3039019.

Full text
Abstract:
In February 1382 Franceschina Grimani took as her husband Giacobello Trevisan, son of Stefano. A few months later, in May, another young noble girl, Franceschina Querini, married Bernardo Giustinian, son of the prosperous nobleman Orsato Giustinian. Despite the similarities shared by these two Venetian brides, one important factor separated them. Franceschina Grimani's father was Nicolò Grimani of Santa Sofia parish. According to the estimo of 1379, Nicolò's real wealth totaled approximately 30,000 ducats, making him one of the wealthiest men in Venice. In contrast, Franceschina Querini's father Marco possessed only 2,000 ducats in real wealth according to the same estimo. Despite the huge disparity between the economic fortunes of these two fathers of the bride, both of their daughters brought equal dowries of 1,000 ducats to their marriages.
APA, Harvard, Vancouver, ISO, and other styles
7

Baker, George, Ann Daly, Nancy Davenport, Laura Larson, and Margaret Sundell. "Francesca Woodman Reconsidered." Art Journal 62, no. 2 (June 2003): 52–67. http://dx.doi.org/10.1080/00043249.2003.10792158.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Hessler, Christiane J. "Piero della Francescas Panorama." Zeitschrift für Kunstgeschichte 55, no. 2 (1992): 161. http://dx.doi.org/10.2307/1482609.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Damisch, Hubert, and Stephen Bann. "Hubert Damisch e Stephen Bann: uma conversa." ARS (São Paulo) 14, no. 27 (July 15, 2016): 16. http://dx.doi.org/10.11606/issn.2178-0447.ars.2016.117618.

Full text
Abstract:
Discípulo de Merleau-Ponty e Pierre Francastel, Hubert Damisch (1928) marca presença decisiva na renovação epistemológica da disciplina história da arte, franqueando-a às contribuições da psicanálise, da filosofia, da antropologia e da semiótica, e conferindo a ela inédita envergadura teórica, para muito além das demarcações tradicionais de competência que a separam da teoria da arte. Tendo sido músico de jazz na juventude e se dedicado inicialmente ao cinema antes de se voltar às artes visuais, manteve sempre uma perspectiva teórica forte da história da arte, visando um campo diversificado de interesses - a pintura, a estética, a arquitetura, a literatura, a fotografia, o cinema. Autor de livros fundamentais como Théorie du nuage: pour une histoire de la peinture (Paris: Seuil, 1972), L’Origine de la perspective (Paris: Flammarion, 1987), Le Jugement de Pâris: iconologie analytique, (Paris: Flammarion, 1992), Un Souvenir d’enfance par Piero della Francesca (Paris: Seuil, 1997) e La Dénivelée: à l’épreuve de la photographie (Paris: Seuil, 2001), Damish produziu reflexão crucial sobre a lógica da imagem, nos oferecendo uma prática nada convencional da história da arte, marcada pelo livre trânsito metodológico entre a arte do passado e a do presente. Foi professor na École Normale Supérieure e depois na École des Hautes Études en Sciences Sociales. A entrevista a seguir, concedida a um grupo de teóricos e críticos, entre eles, Stephen Bann, historiador da arte e um dos editores da Oxford Art Journal, apareceu, originalmente, em número especial dessa publicação [vol. 28, n. 2, 2005, p. 157-181], tendo resultado de seminário dedicado à obra de Damisch, promovido pela revista, em parceria com a Tate Britain, em outubro de 2003. Além de Stephen Bann, entrevistaram Hubert Damisch Margaret Iversen, John Goodman, Stephen Melville e Yve-Alain Bois.
APA, Harvard, Vancouver, ISO, and other styles
10

Lusardi, Giada. "61° Salón de Julio." Index, revista de arte contemporáneo, no. 14 (November 30, 2022): 150–63. http://dx.doi.org/10.26807/cav.v7i14.508.

Full text
Abstract:
El Salón de julio de Guayaquil, con sus 61 ediciones, es unos de los certámenes más antiguos y relevantes de la escena artística ecuatoriana. Desde su fundación en 1959 se estableció como Salón de Pintura, caracterización que se ha seguido manteniendo hasta la actualidad, asumiendo el lenguaje pictórico como un medio expresivo propio del campo del arte contemporáneo. El presente texto curatorial introdujo al público a la edición 61 del Salón, que se inauguró el día 22 de julio de 2022, en el Museo Municipal de Guayaquil bajo la dirección de la curadora Giada Lusardi. En esta edición participaron las jurados internacionales de selección: Carolina Castro (Chile), Direlia Lazo (Cuba - Miami) y Alma Cardoso (México), quienes seleccionaron 24 artistas provenientes de distintas provincias del país: José Luis Chóez Peñafiel, Juan Carlos Fernández (Mago), Francesca Fruci, Dayana Garrido, Ilowasky Ganchala, Bryan Gavilanes, Pedro Gavilanes Sellan, Cristhian Godoy, Jimmy Lara, Isabel Llaguno Albán, José Luis Macas Paredes, Harold Maridueña, Teo Monsalve, Sisa Morán, Deborah Morillo, Francesca Palma, Mateo Del Pozo, Glenda Rosero Andrade, Oswaldo Terreros, David Federico Uttermann, Raymundo Valdez, Andrés Velásquez Dután, Juanca Vargas y Daniel Zambrano.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Arte francescana"

1

SALVESTRINI, AMALIA MARIA SOFIA. "L'artefice nel pensiero francescano." Doctoral thesis, Università degli studi di Genova, 2022. http://hdl.handle.net/11567/1073198.

Full text
Abstract:
Il presente lavoro si propone d’interrogare alcuni testi premoderni, quelli del Medioevo francescano in particolare, per comprendere come la figura dell’artefice e l’esperienza della produzione artificiale sono stati oggetto di una riflessione che potremmo chiamare “estetica”, prima della nascita dell’estetica in quanto disciplina. Il fenomeno della poiesis nel Medioevo è pensato attraverso una distinzione fondamentale, ossia quella tra artefice umano e artefice divino. Sulla base di questa distinzione, la poiesis non è considerata come una creazione a partire dal nulla da parte di qualcuno che, fuori da un ordine cosmico e metafisico, obbedisce alle sole leggi che si dà in modo autonomo. Al contrario, pensare la poiesis in questo periodo implica avere coscienza dell’ordine nel quale l’artefice si pone, dei criteri ai quali egli si conforma e che sono l’espressione delle scelte originarie per mezzo delle quali Dio artefice creò il mondo. La riflessione francescana sull’artefice è qui studiata a partire da un corpus di testi di Bonaventura da Bagnoregio, Pietro di Giovanni Olivi, Giovanni Duns Scoto e Guglielmo di Ockham. Nel Volume 1 si studia la costituzione filosofica dell’artefice. In primo luogo, si osserva la sua genesi attraverso fonti scritturistiche, filosofiche e retoriche (Parte I). In secondo luogo, si ricostruiscono le prospettive francescane sull’artefice attraverso l’articolazione dell’attività poietica in progetto, opera e fruizione (Parte II). Nell’ultima parte, dedicata al passaggio dall’artefice all’artista (Parte III), ci si interroga, alla luce del percorso effettuato, sulla possibilità di “estetiche” francescane, così come sul passaggio da queste all’arte francescana. Infine, si aprono alcune linee di ricerca sulle possibili relazioni tra l’artefice francescano e le teorie artistiche rinascimentali. Nel Volume 2 della dissertazione (Appendice. Le parole. Lo spazio semantico dell’artefice) si mette a disposizione la documentazione commentata del corpus di testi dei quattro autori francescani.
This work aims to question some pre-modern texts, those of the Franciscan Middle Ages in particular, in order to understand how the figure of the maker (artifex) and the experience of artificial production were the subject of a reflection that we could call "aesthetic", before the birth of Aesthetics as a discipline. The phenomenon of poiesis in the Middle Ages is conceptualised through a fundamental distinction, namely that between human and divine maker. On the basis of this distinction, poiesis is not considered as a creation from nothing by someone who, outside of a cosmic and metaphysical order, obeys only the laws he gives himself. On the contrary, thinking of poiesis in this period implies being aware of the order in which the maker places himself, of the criteria to which he conforms and which are the expression of the original choices through which God the artifex created the world. Franciscan reflection on the maker is studied here from a corpus of texts by Bonaventure of Bagnoregio, Peter of John Olivi, John Duns Scotus and William of Ockham. Volume 1 studies the philosophical constitution of the maker. Firstly, its genesis is observed through scriptural, philosophical and rhetorical sources (Part I). Secondly, the Franciscan perspectives on the maker are reconstructed through the articulation of the poietic activity in project, work and fruition (Part II). In the last part, dedicated to the passage from the artifex to the artist (Part III), in the light of the path taken, the possibility of Franciscan "aesthetics" is questioned, as well as the passage from these to Franciscan art. Finally, some lines of research are opened on the possible relations between the Franciscan maker and the artistic theories of the Renaissance. In Volume 2 of the dissertation (Appendix: The words. The semantic space of the artifex) the commented documentation of the corpus of texts of the four Franciscan authors is made available.
Notre travail se propose d’interroger certains textes pré-modernes, ceux du Moyen Âge franciscain en particulier, pour comprendre comment la figure de l'artifex et l'expérience de la production d'artefacts ont fait l'objet d'une réflexion que l'on pourrait qualifier d'« esthétique », avant même la naissance de l'esthétique en tant que discipline. Le phénomène de la poiesis est pensé tout au long de la période médiévale par moyen d’une distinction fondamentale, c’est-à-dire celle entre l’artifex humain et l’artifex divin. Sur la base de cette distinction, la poiesis n’est pas considérée comme une création à partir du néant par quelqu’un qui, en dehors d’un ordre à la fois cosmique et métaphysique, obéit seule aux lois qu’il se donne de manière autonome. Au contraire, penser la poiesis à cette époque implique de prendre conscience de l’ordre dans lequel l’artifex se place, des critères auxquels il se conforme et qui sont l’expression des choix originaires par lesquels le Dieu artifex a créé le monde. La réflexion franciscaine sur l'artifex est ici étudiée à partir d'un corpus de textes de Bonaventure de Bagnoregio, Pierre de Jean Olivi, Jean Duns Scot et Guillaume d'Ockham. Le Volume 1 étudie la constitution philosophique de l'artifex. Tout d'abord, sa genèse est observée à travers les sources scripturaires, philosophiques et rhétoriques (Partie I). Deuxièmement, les perspectives franciscaines sur l'artifex sont reconstruites à travers l'articulation de l'activité poïétique dans le projet, l’œuvre et la fruition (Partie II). Dans la dernière partie, consacrée au passage de l'artifex à l'artiste (Partie III), à la lumière du chemin parcouru on s'interroge sur la possibilité d'une "esthétique" franciscaine, ainsi que sur le passage de celle-ci à l'art franciscain. Enfin, quelques axes de recherche sont ouverts sur les relations possibles entre l'artiste franciscain et les théories artistiques de la Renaissance. Dans le Volume 2 de la thèse (Annexe: Les paroles. L'espace sémantique de l'artifex) la documentation commentée du corpus de textes des quatre auteurs franciscains est mise à disposition.
APA, Harvard, Vancouver, ISO, and other styles
2

GALLO, Marina Didier Nunes. "Francesca Woodman e o lugar de onde eu me olho." Universidade Federal de Pernambuco, 2015. https://repositorio.ufpe.br/handle/123456789/17087.

Full text
Abstract:
Submitted by Isaac Francisco de Souza Dias (isaac.souzadias@ufpe.br) on 2016-06-13T18:43:21Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Versão Final - Dissertação - MarinaDidier--Copiar.pdf: 5537504 bytes, checksum: 1a62631e1fa6ac438a71f08eba6404cb (MD5)
Made available in DSpace on 2016-06-13T18:43:21Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Versão Final - Dissertação - MarinaDidier--Copiar.pdf: 5537504 bytes, checksum: 1a62631e1fa6ac438a71f08eba6404cb (MD5) Previous issue date: 2015-08-31
CAPES
A partir da leitura das obras da fotógrafa americana Francesca Woodman, passo a tecer diálogos com a temática das categorizações sociais femininas, da identidade e da singularidade, com o intuito de refletir sobre o modo como a produção de subjetividade encontra, contemporaneamente, seus obstáculos, e como as instituições tendem a dificultar tal produção. Ao percorrer as imagens de Francesca, nas quais ela questiona e confronta padrões femininos estabelecidos dentro do seu contexto histórico, falo da representação fotográfica como meio de construção das identidades e da arte como um dos lugares no qual certas construções naturalizadas podem ser quebradas e confrontadas, e onde a singularidade pode ser expressada. Entre o ensaio, as fotografias e os trechos de diários, meu e dela, reflito sobre as influências desses ordenamentos sociais nas produções das imagens que as mulheres fazem de si mesmas.
By taking as a guideline tread the works of the American photographer Francesca Woodman, I weave dialogues with issues such as women's social categorizations, identity and uniqueness, in order to reflect on how the production of subjectivity faces, nowadays, its obstacles, and how institutions tend to hinder such production. By scrolling through the pictures of Francesca, in which she questions and confronts female standards set within her historical context, I speak of photographic representation as a means to construction of identities and art as one of the places in which certain naturalized constructions can be broken and confronted, and where the uniqueness can be expressed. Among the essay, the photographs and journal entries, hers and mine, I raise considerations regarding the influences of these social standards and stereotyping upon the images produced by female artists.
APA, Harvard, Vancouver, ISO, and other styles
3

Palumbo, Fiorella <1994&gt. "Francesca Woodman: Unfinished self- portrait." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19556.

Full text
Abstract:
In questo elaborato viene letto e interpretato il lavoro della fotografa americana Francesca Woodman. La sua vita, strettamente legata all’amore per la fotografia, è segnata da una morte prematura e volontaria che non diventa qui l’unica chiave di lettura della sua opera. Al contrario sono i confronti con le opere d’arte che studiò e che amò sin dalla giovane età a diventare un valido supporto per l’interpretazione delle sue fotografie, tanto evocative quanto enigmatiche. Le sue stesse parole, estratte da alcune lettere personali, facilitano la comprensione circa la sua devozione per l’arte tutta. Parte del corpus delle sue opere fotografiche, pittoriche, cianografiche e di videoriproduzione vengono in questa sede analizzate operando numerosi confronti tra queste e i lavori di altri artisti. Ciò che ne scaturisce è un elaborato monografico su un’artista affascinante ed emotiva che vive ancora oggi grazie ai suoi autoritratti celati e, per questo, incompleti. È questo, dunque, il senso di “Unfinished self-portrait”: una ricerca basata su una giovane donna che si servì dell’arte per rispecchiarsi in essa e per comprendere maggiormente il suo Io. Il percorso deduttivo basato sull’arte in quanto strumento di comprensione - dalla fotografa finalizzato all’analisi personale e introspettiva - viene usato qui per definire la genesi dei suoi lavori. Si può quindi affermare che questo elaborato segue i medesimi criteri adoperati da Woodman sia per la realizzazione di bozzetti preparatori che per la messa in atto delle sue opere, se così si possono definire, “compiute”.
APA, Harvard, Vancouver, ISO, and other styles
4

Janhsen, Angeli. "Perspektivregeln und Bildgestaltung bei Piero della Francesca /." München : W. Fink, 1990. http://catalogue.bnf.fr/ark:/12148/cb35531486f.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Jensen, Christina. "Sakral Konst i Renässans och Nutid - En Betraktelse av Piero della Francescas "Kristi Dop"." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-385223.

Full text
Abstract:
Uppsala Universitet, Konstvetenskapliga institutionen, Konstvetenskap Christina Jensen, jensenkfz@gmail.com Sakral konst i Renässans och Nutid - En betraktelse av Piero della Francescas "Kristi Dop". Sacral Art in the Renaissance and Today - A Study of Piero della Francesca´s "Baptism of Christ". The aim of the study is to examine the relevance of sacral art to modern secular viewers. I have chosen the painting "Baptism of Christ" by Piero della Francesca from the Italian renaissance, since it has a well-known christological theme and narrative. I compare the impact of the painting on a renaissance viewer with the impact on a modern secular viewer. The intention is to find a common ground in these two viewers experiences, the inner signification behind the symbolic expressions in the painting. The renaissance viewer is rendered against a cultural context of Roman-Catholic theology with gnostic and neo-platonic cogitations. The modern viewer is described in relation to Protestant theology and to a modern existentialist context. In analysing the viewers experiences I use the iconography-iconology method, the hermeneutic theory of play and the theory of the aesthetics of reception.  In comparing these viewers experiences and using a process of demythologization a considerably older symbolic content emerges. This has a universal relevance and constitute the inner signification behind the symbols in the painting, relevant both for the viewer from the renaissance and for the modern viewer of today, as well as for a far more distant historical viewer. When the symbolic expressions from the Judeo-Palestinian context are excluded from the interpretation universal archetypes elucidates, these have a capacity to influence the modern individuals intellectual and spiritual cogitations.
APA, Harvard, Vancouver, ISO, and other styles
6

Moraes, Vagner Rodrigues de. "Um estudo das relações entre arte e ciência no Renascimento: a visão de Piero della Francesca sobre a perspectiva." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/13294.

Full text
Abstract:
Made available in DSpace on 2016-04-28T14:16:19Z (GMT). No. of bitstreams: 1 Vagner Rodrigues de Moraes.pdf: 3264561 bytes, checksum: c94e1e1b101048a8bbd1c6e85a879f95 (MD5) Previous issue date: 2014-03-26
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The study of the distortions created to represent three-dimensional figures in two-dimensional planes, as in paintings and frescoes, brought up the issue of how such distortions could be reduced from the optical, geometric and physiological points of view. Focusing on perspective as studied during the Renaissance by Piero della Francesca (c.1420 - 1492), this research aims to understand what the author meant by distortion and how he had solved it. Piero della Francesca was a painter and also an art theorist, who promoted changing in aesthetic principles. Besides, he conducted research on pictorial, geometric and architectural issues. Of all the treatises he had wrote, only three are conserved, on perspective (De Prospectiva Pingendi), on geometry (Libellus of Quinque Corporibus Regullaribus) and on arithmetic (Trattado d'Abaco). To achieve such responses we have used as documents, the critical edition made from Nicco-Fasola of De Prospectiva Pingendi and, as a secondary bibliography, books and articles about the society in which such theory was inserted, on the writings of optical and art developed in the fifteenth century, that Piero della Francesca, most likely, had accessed
O estudo sobre as distorções criadas ao se tentar representar figuras tridimensionais em planos bidimensionais, como em quadros e afrescos, trouxe a problemática de como se poderiam reduzir tais distorções do ponto de vista óptico, geométrico e fisiológico. Olhando para a perspectiva estudada durante o Renascimento por Piero della Francesca (c.1420 1492), pretendeu-se entender o que este autor compreendia por distorção e como a solucionou. Piero della Francesca foi pintor e destacou-se por apresentar uma postura revolucionária quanto aos princípios estéticos. Realizou investigações sobre questões pictóricas, geométricas e arquitetônicas. Dos tratados que escreveu, conservam-se apenas três, sobre perspectiva (De Prospectiva Pingendi), geometria (Libellus de Quinque Corporibus Regullaribus) e aritmética (Trattado d Abaco). Para alcançar as respostas à problemática citada no primeiro parágrafo foram usados como documentos a edição crítica aos cuidados de Nicco-Fasola de De Prospectiva Pingendi e, como bibliografia secundária, livros e artigos sobre a sociedade em que tal teoria estava inserida, sobre os escritos de óptica e de arte desenvolvidos e estudados no século XV, aos quais Piero della Francesca, muito provavelmente, teve acesso
APA, Harvard, Vancouver, ISO, and other styles
7

Riegle, Allison E. "Rieglematica: Re-Imagining the Photobooth Through Female Performativity and Self-Portraiture." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/328.

Full text
Abstract:
This paper explores the historical significance and advancements of automatic photobooth portraiture from the late 1800s onwards, focusing specifically on the intention behind the photobooth’s creation and the significance and cultural implications of its introduction into society. As it gradually became a staple of modern society, regularly visited by citizens to have their portraits taken, numerous artists sought out the photobooth as both a studio and a stage in which to document performative self-portraiture. The space and aesthetics of the photobooth have inspired artists to re-envision the confines of the booth and use its automatic function as a point of inspiration. I will also highlight the significance of female self-portraiture and the significance of women performing within and occupying specific spaces. My work is a combination of these histories, providing me with the opportunity to continue the discussion of women’s self-representation and the unique artistic space the photobooth provides between public and private spheres.
APA, Harvard, Vancouver, ISO, and other styles
8

Clergeau, Marie-Françoise. "Piero della Francesca, de prospectiva pingendi : texte italien, traduction française et annotations." Paris 4, 1987. http://www.theses.fr/1987PA040206.

Full text
Abstract:
La transcription et la traduction française du traite de perspective de prospectiva pingendi de Piero della Francesca (1415-20, 1492) ont été réalisées a partir du manuscrit de la bibliothèque palatine de parme (codex parmensis 1576) écrit au XVème siècle en langue toscane et illustre de figures dessinées a la plume, en faisant appel accessoirement au manuscrit de la bibliothèque ambrosienne de milan (codex ambrosianus c 307 inf), traduction latine du traite de la fin du XVème siècle, également illustre. Elles se fondent également sur les deux publications existantes : celle de c. Winterberg en 1899 (texte toscan et traduction allemande) et celle de g. Nicco-fasola en 1942 (texte toscan). La traduction a été accompagnée de notes qui tentent d'éclairer a la fois la conception générale de la perspective chez Piero della Francesca et le détail souvent obscur de ses croquis et démonstrations graphiques
The transcription and the French translation of the perspective's treatise de prospectiva pingendi by Piero della Francesca (1415-20,1492) were realized from palatine library of parma's codex (codex parmensis 1576), tuscan language written in the XVth century and illustrated with pen drawn figures, if need be recording ambrosian library of Milan's codex (codex ambrosianus c 307 inf), treatise's latin translation of the late xvth century, illustrated too. They also base on the two existing publications : c. Winterberg's one in 1899 (tuscan text and german translation) and g. Nicco-fasola's one in 1942 (tuscan text). Translation was completed by notes which try to clear both the Piero della Francesca's perspective's general conception and the often dark detail of his sketches and graphics demonstrations
APA, Harvard, Vancouver, ISO, and other styles
9

Barwell, Michael John. "Patterns of redemption : parachronicity in the work of Piero della Francesca, Frank Zappa and Stanley Spencer." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/1267/.

Full text
Abstract:
Works of art often refer to one another. Perhaps a closer examination of this relationship occurs if they are theoretically displaced from the sequence of events that contextualise them. Placed side-by-side, they may take on a fresh meaning that might identify artistic intention as universal — as a 'redemptive' statement of Being. Both Piero della Francesca and Stanley Spencer painted 'Resurrection' pictures. The five hundred years that separate them notwithstanding, the reasons for their so doing must bear some comparison. Each made a statement of belief in their depiction of a metaphysical world created primarily in the imagination but housed in cultural milieus that would identify them as 'visionary' amongst their peers. Yet, in many ways, one picture is the antithesis to the other, the first deeply religious, the second highly personal. Regardless of their differences, each work might perpetually and simultaneously strive toward 'the spiritual' in an individual and universal sense. As an artist whose work ostensibly denies any lofty 'spiritual' aspiration whatsoever, Frank Zappa's dismissal of authority, whether couched in religious, musical or sociological terms, marks a valid juxtaposition to current acceptance of artistic form. Not only was it legitimate to invite a musician into the affray, for me it was a vital continuation of my earlier exploration. Zappa seriously challenges the notion of 'feeling' as little more than a pre-set conditioned response to music. I hoped to establish that Zappa's own quest for musical perfection flew in the face of his notorious cynicism, proclaiming his output as 'redemptive' — alongside that of Piero della Francesca and Stanley Spencer. It is the main contention here that as the human predicament requires that the artist should attempt to re-present his vision in order to redefine reality for himself and his peers, the role of artist as 'visionary' is worthy of perennial consideration.
APA, Harvard, Vancouver, ISO, and other styles
10

Hägertorp, Sara. "Fotografi som medium för att uttrycka identitet : En jämförande analys mellan Cindy Shermans och Francesca Woodmans sätt att arbeta med identitet i relation till ett didaktiskt perspektiv." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96114.

Full text
Abstract:
Syftet med denna uppsats är att jämföra Cindy Shermans och Francesca Woodmans sätt att arbeta med temat identitet och sätta detta i relation till ett didaktiskt perspektiv. Utifrån frågeställningarna: Vad finns det för likheter och skillnader mellan Cindy Shermans och Francesca Woodmans sätt att arbeta med identitet genom fotografi? och Hur kan man utifrån dessa fotografer arbeta med identitet i bildundervisningen? kommer en komparativ analys göras på fyra bilder. Två av Cindy Sherman och två av Francesca Woodman. Resultatet påvisar att Francesca Woodman arbetar med identitet utifrån ett modernistiskt synsätt där inre psykologiska processer och tillstånd uttrycks i fotografiska bilder. Cindy Sherman däremot arbetar med iscensättning av sociala roller och kulturella representationer utifrån ett postmodernistiskt perspektiv.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Arte francescana"

1

1948-, Marchi Alessandro, and Mazzacchera Alberto, eds. Arte francescana: Tra Montefeltro e papato, 1234-1528. Milano: Skira, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Greppi, Raffaella. Arte francescana a Masserano: Tra le antiche mura di San Teonesto. Biella: DocBi - Centro Studi Biellesi, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Claudio, Crescentini, ed. Arte francescana e pauperismo dalla Valle dell'Aniene, l'exemplum di Subiaco: Atti delle Giornate di studio organizzate da Associazione culturale Pio VI, Ass. cult. Shakespeare and Company 2. Subiaco (Roma): Iter, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Pavone, Mario Alberto. Iconologia francescana: Il Quattrocento. Todi (PG): Ediart, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Palazzo Magnani (Reggio Emilia, Italy), ed. Piero della Francesca: Il disegno tra arte e scienza. Milano: Skira, 2015.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

editor, Bergamini Matteo, and Santi Veronica editor, eds. Francesca Alinovi. Milano: Postmedia books, 2019.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

La città immaginata: Arezzo nella leggenda francescana. Città di Castello (Perugia): Edimond, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Marigliani, Sergio. Arte e cultura: Francesca da Rimini e I promessi sposi. Italy]: [publisher not identified], 2016.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Leone, Francesca. Francesca Leone. [Dogana, San Marino]: Maretti editore, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Vittorio, Sgarbi, and Biennale di Venezia (54th : 2011), eds. Francesca Leone. [Dogana, San Marino]: Maretti editore, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Arte francescana"

1

Indovina, Grazia. "L’omologia e Piero della Francesca." In Matematica e Arte, 129–49. Milano: Springer Milan, 2011. http://dx.doi.org/10.1007/978-88-470-1729-0_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Gammaitoni, Milena. "Francesca Caccini." In The History and Life Stories of European Women in the Arts, 53–65. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-94456-8_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

De Rosa, Agostino, and Francesco Bergamo. "Geometries of Light and Shadows, from Piero della Francesca to James Turrell." In Handbook of the Mathematics of the Arts and Sciences, 1–37. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-70658-0_14-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

De Rosa, Agostino, and Francesco Bergamo. "Geometries of Light and Shadows, from Piero della Francesca to James Turrell." In Handbook of the Mathematics of the Arts and Sciences, 763–99. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-57072-3_14.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Houliston, Victor. "Releasing the Prisoners of Hope: Dante’s Purgatorio Breaks the Chains of the Born Frees." In Studi e saggi, 117–29. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-458-8.07.

Full text
Abstract:
Beginning with a tribute to the late Chris 'Zithulele' Mann, a poet and activist who was deeply immersed in Dante, this chapter comments on some of the patterns that emerge from the creative contributions of the Dantessa students. Two authors affirm and explore ideas of black womanhood by appealing to Beatrice and Francesca, potentially combining the two figures. Several authors are acutely aware of the purgatorial condition of post-apartheid South Africa, suggesting a long and arduous march to freedom. The image of flight recurs: thrice, madly, into the inferno and once, temporarily, in limbo. These lively responses to La Commedia prompt the question: what kind of literary studies is proper to purgatory, and elicit a tentative reply, urging a re-invention of the discipline of letters.
APA, Harvard, Vancouver, ISO, and other styles
6

Amadio de Oliveira, Vitoria. "Personagens literárias femininas na arte brasileira Oitocentista: Heloíse e Francesca." In Anais do 41º Colóquio do Comitê Brasileiro de História da Arte: Arte em Tempos Sombrios (evento online), 23-27 nov. 2021. Comitê Brasileiro de História da Arte, 2022. http://dx.doi.org/10.54575/cbha.41.043.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

"Z33 Casa per le arti contemporanee di Francesca Torzo." In Recinti, 62–63. Quodlibet, 2021. http://dx.doi.org/10.2307/j.ctv2gz3xdd.27.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

"7. Piero della Francesca's The Resurrection of Christ." In Words for Pictures: Seven Papers on Renaissance Art and Criticism. Yale University Press, 2003. http://dx.doi.org/10.37862/aaeportal.00179.009.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Kozlowski, Sarah K. "Chapter 8 Matter and Meaning in Piero della Francesca’s Legend of the True Cross." In Space, Image, and Reform in Early Modern Art, 191–210. De Gruyter, 2021. http://dx.doi.org/10.1515/9781501513480-009.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Schultz, William Todd. "The Unifying Glue." In The Mind of the Artist, 34–55. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197611098.003.0004.

Full text
Abstract:
Chapter 3 zeroes in on the trait of openness exclusively, including its structural and motivational elements. The author discusses how openness, like the rest of the Big Five traits, affects every aspect of mental life, but notes that traits are abstract potentials. Their existence is inferred from what people say and do, how they behave. Of more interest in this book are the habits of mind they give rise to. These involve ways of thinking, feeling, and behaving. The author describes how, depending on how high a person is in O, certain challenges may (or may not) materialize. Three artists are profiled in the chapter: John Coltrane, John Lennon, and Francesca Woodman.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Arte francescana"

1

Furlan, Annie Simões Rozestraten. "Pintura e pensamento matemático na obra de Piero Della Francesca." In Encontro da História da Arte. Universidade Estadual de Campinas, 2007. http://dx.doi.org/10.20396/eha.3.2007.3709.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Mosaner, Renata Amado Sette. "A fruição da obra de Francesca Woodman a partir de suas exposições." In Encontro de História da Arte. Universidade Estadual de Campinas, 2019. http://dx.doi.org/10.20396/eha.vi14.3440.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Stochino, Emanuele. "FRANCESCA ALINOVI AND THE KIDS OF THE BRONX." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/61/s15.047.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Schwartz, Lillian F. "Electronic restoration of great works of art: color analysis and reconstruction of Piero della Francesca's frescoes." In IS&T/SPIE 1994 International Symposium on Electronic Imaging: Science and Technology, edited by Jan Bares. SPIE, 1994. http://dx.doi.org/10.1117/12.175314.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Alvarez Perez, Alicia. "Sensibilidad de Procesamiento Sensorial: El álbum ilustrado como herramienta educativa en la diversidad en España." In V Congreso Internacional de Investigacion en Artes Visuales ANIAV 2022. RE/DES Conectar. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/aniav2022.2022.15587.

Full text
Abstract:
Según la psicóloga Francesca Lionetti un 70% de la población posee cierta sensibilidad y un 30% poseen un rasgo genético y hereditario llamado Sensibilidad de Procesamiento Sensorial, o persona Altamente Sensible (PAS). Estos individuos tienen un cerebro con una mayor reactividad en ciertas áreas, lo que les permite captar más estímulos internos y externos y procesarlos con más profundidad. Es decir, son más sensibles que la media, sin embargo, cuando pensamos en sensibilidad nos vienen a la cabeza frases como “no seas tan sensible” o “no llores tanto”, lo que se deduce con ello que la sensibilidad es percibida en general como una debilidad, algo que no debemos mostrar, a pesar de que más de la mitad de la población es sensible.Nuestra investigación surge como respuesta a esta visión negativa, que nace y persiste a raíz de los pocos conocimientos que se tienen acerca de la sensibilidad. El objetivo fundamental es demostrar su valor social y educar acerca de su importancia a través de álbumes ilustrados en los que se encuentre además representado este rasgo y puedan servir como herramienta divulgativa y educativa en España. Proponemos el álbum ilustrado como medio por sus múltiples características didácticas, las cuales desde la imagen, ayudan a que los niños y niñas sensibles se sientan representados y se pueda normalizar tanto la sensibilidad como la diversidad de individuos con diferentes sensibilidades. Ayudando con ello a romper con los estereotipos que se nos van inculcando como modelos desde la infancia. De igual manera, tratamos la importancia de una educación que dé respuestas a la diversidad desde las aulas a la sociedad, haciendo frente con ello a una realidad: que no todos aprendemos de la misma manera.
APA, Harvard, Vancouver, ISO, and other styles
6

Gorzel, A. "Parametric Analysis of a Turbine Trip Event in a BWR Using a 3D Nodal Code." In 14th International Conference on Nuclear Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/icone14-89284.

Full text
Abstract:
Two essential thermal hydraulics safety criteria concerning the reactor core are that even during operational transients there is no fuel melting and impermissible cladding temperatures are avoided. A common concept for boiling water reactors is to establish a minimum critical power ratio (MCPR) for steady state operation. For this MCPR it is shown that only a very small number of fuel rods suffers a short-term dryout during the transient. It is known from experience that the limiting transient for the determination of the MCPR is the turbine trip with blocked bypass system. This fast transient was simulated for a German BWR by use of the three-dimensional reactor analysis transient code SIMULATE-3K. The transient behaviour of the hot channels was used as input for the dryout calculation with the transient thermal hydraulics code FRANCESCA. By this way the maximum reduction of the CPR during the transient could be calculated. The fast increase in reactor power due to the pressure increase and to an increased core inlet flow is limited mainly by the Doppler effect, but automatically triggered operational measures also can contribute to the mitigation of the turbine trip. One very important method is the short-term fast reduction of the recirculation pump speed which is initiated e. g. by a pressure increase in front of the turbine. The large impacts of the starting time and of the rate of the pump speed reduction on the power progression and hence on the deterioration of CPR is presented. Another important procedure to limit the effects of the transient is the fast shutdown of the reactor that is caused when the reactor power reaches the limit value. It is shown that the SCRAM is not fast enough to reduce the first power maximum, but is able to prevent the appearance of a second — much smaller — maximum that would occur around one second after the first one in the absence of a SCRAM.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Arte francescana' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography