Relevant bibliographies by topics / Draperies in art

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  2. Dissertations / Theses
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Academic literature on the topic 'Draperies in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 March 2023

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Journal articles on the topic "Draperies in art"

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Posèq, Avigdor W. G. "Aspects of Italian Baroque Art: I. Bernini’s Non-Figural Draperies as “Simbolic Forms”; II. Directional Reading in Caravaggio." Acta Historiae Artium 51, no. 1 (December 1, 2010): 111–38. http://dx.doi.org/10.1556/ahista.51.2010.1.6.

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Тарасенко, О. А., and А. А. Тарасенко. "Світобудова Михайла Гуйди." Art and Design, no. 2 (August 11, 2021): 152–63. http://dx.doi.org/10.30857/2617-0272.2021.2.14.

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Purpose of the article is to show the particular features of the model of the universe in the genre portrait-paintings and compositions of the modern Ukrainian artist M. E. Guyda are investigated. Historico-culturalogical, comparative, iconographic and iconological methods are applied. The ideological content and the particular features of the formal solution of figurative compositions are considered in the context of the heritage of world art. The national character of the images and symbols of the house, the clan and the native land are revealed; as is the nature of the manifestation of the relationship of the earthly and the heavenly. It was found that in the center of creation in compositions of M. E. Guyda is a spiritually inspired person from the folk. The depiction of people of different ages in interaction with nature helps to convey a natural course of time. It was clarified that the European aristocratic ceremonial portrait is foundational for the Ukrainian master. Artistic-stylistic analysis revealed that in the portrait-paintings "At the Well" (2013) and "Baba Kilyna" (2016), canonical composition was transformed by the artist through the expansion of space filled with individual symbolic content. The components of the ritual ceremonial portrait (columns, draperies, table-altar) are transformed into the image of a Cossack courtyard with a hedge, a tree of life, a well, a rainbow path. In the painting "Green Festivities" (2004), the house is shown as a temple. In the composition "Chumatsky Way" (2014), the world is presented as a universe – a model of the universe-house, with the architectonics of earth and sky. Scientific novelty is that the transformation of the canonical composition of the ceremonial portrait in the work of the contemporary artist M. E. Guyda is shown. The cultural and historical content of the master’s compositions was studied in connection with the problems of national self-identification and polystylism of the art of the twentieth century.is that the appeal to archetypes and symbols allowed the artist to expand the chamber space of his native Cossack house-yard to the "Model of Guyda’s Universe". The persuasiveness of individual pictorial images and symbols is based on the unity of personal, emotional perception of life with supra-individual mythological thinking. Practical significance. The presented materials, their artistic and stylistic analysis and generalization can be used in scientific research devoted to the art of portrait painting in Ukraine and in the world.
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Espinosa Pesqueira, Manuel E., and Elsa Arroyo Lemus. "The Use of Smalt in Simon Pereyns Panel Paintings: Intentional Use and Color Changes." MRS Proceedings 1618 (2014): 131–39. http://dx.doi.org/10.1557/opl.2014.462.

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ABSTRACTThe Flemish painter Simón Pereyns travelled to New Spain in 1566 as a member of the viceroyal court. In two important paintings La Virgen del Perdón (1568) and San Cristóbal (1588) we identified wide use of blue smalt pigment, a potassium glass with cobalt oxide. The color of this material depends on its manufacture process, from pale greyish blue to violet or dark blue. The more blue color the more expensive the pigment. On the 16th century market the commerce of smalt was divided into many categories based on the material quality. Historical archive documents testify smalt imports from Seville to New Spain in two different qualities: fine and smalt woody ashes. In Pereyns` paintings the smalt was used in specific parts of the composition as the dark sky in landscapes, shadows of draperies and under layers in order to create a color background for the figures. Nowadays, in these areas, the alteration of the paint layer is evident. The blue has been changed into brown color. Optical microscopy (MO), scanning and transmission electron microscopies were performed in order to characterize the particles of smalt. The degradation of potassium glass was verified, as a consequence of aging and degradation process due to environmental conditions. These phenomena are well known and study on European paintings. In this research our aim is to explore the intentional use of smalt on Pereyns’ compositions and how color change as a consequence of microscopic materials instability can influence the contemporary reception of the paintings. Many paintings from New Spain have a dull, dark and limited palette but the original was very different. The remarks about the color of New Spain's paintings should considered the normal aging of the paint components, studied by materials science and art history.
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Morozova, Anna V., and Aysan Daroudi. "Written and Pictorial Sources on the Architecture of Persia and Central Asia during the Era of Timur’s and Timurids’ Rule." Vestnik of Saint Petersburg University. Arts 12, no. 4 (2022): 724–43. http://dx.doi.org/10.21638/spbu15.2022.409.

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The article is devoted to the study of the most valuable source at the culture and architecture of Persia and Central Asia during the reign of Timur (late 14th — early 15th centuries) — the diary of the Spanish ambassador to the court of Timur. At this stage in the development of researching on the Persian and Central Asian architecture of the Timurid period, along with the problem of “analysis” of monuments and artistic style, the problem of “synthesis” of image of these architecture is urgent. The authors of this article propose a methodology for restoring the general impression of this architecture, which can serve as a basis for the process of “synthesis”, based on the study of the contemporary written source of the early 15th century — the diary of the Spanish grandee Ruy Gonzalez de Clavijo, who was part of the Spanish embassy, sent by the Castilian king Enrice III to the court of Timur at 1403–1406. Being an educated man and receptive to the new, Clavijo was able to isolate the characteristic features of the worldview of a man of the East, primarily an oriental despot, and the associated features of the art of the East. He and his colleagues in the embassy drew attention to the cunning, treachery, ingenuity, secrecy of the eastern rulers. The Spaniards were struck by the luxury, power and wealth of Timur’s state, which at that time was at the zenith of glory. The Spaniards, accustomed to the stability of architectural images in their native Spain, were amazed at the variability of the artistic images of the East. They drew attention to the love of the representatives of the peoples of the East for free draperies, giving themselves to the will of the wind, in the temporary architecture and in festive women’s clothes, that by their nature were well consistent with the decoration of architectural buildings. The Spanish envoys revealed that subservient to the first and most faithful fresh impression, tenaciously grasping the main difference between the architecture of Timur’s state and contemporary European architecture. This difference consisted in the desire to create an image that is changing, diverse, fluid, mobile, not instantly solved and full of mystery, but at the same time striking the imagination with its luxury and wealth and according to the understanding of their masters, customers and spectators. The conclusion about the specifics of Timurid architecture, made on the basis of a study of the diary of the Spanish ambassador, is supported by the authors of the article turning to the analysis of written and pictorial sources created by representatives of the studied culture itself.
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Roch, Jean-Louis. "Innovations et résistances dans la draperie : exemples normands." Médiévales 19, no. 39 (2000): 46–56. http://dx.doi.org/10.3406/medi.2000.1493.

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Long, Beverly Whitaker. "Performing against time: Reading Ruth Draper's monologues." Text and Performance Quarterly 12, no. 1 (January 1992): 68–74. http://dx.doi.org/10.1080/10462939209359635.

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McNeil, Lynda. "Bridal Cloths, Cover-UPS, and Kharis: The ‘Carpet Scene’ in Aeschylus’ Agamemnon." Greece and Rome 52, no. 1 (April 2005): 1–17. http://dx.doi.org/10.1093/gromej/cxi009.

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Past readings of Aeschylus’ Agamemnon (458 BC) have spawned numerous theories about the nature and significance of the cloth stage prop central to the ‘Carpet Scene’ (783-974). Kenneth Morrell has pointed out that ‘recent critics at best emphasize the ambiguous nature of the “fabric” ’, which the critics refer to variously as something carpet-like, as rugs or blankets, as garment-like tapestries or loosely-fitting garments, as draperies, and more generally as the household's treasure. But what fabric, if any, would have been versatile enough to function as a tapestry, a robe, and a blanket, and would have inspired outrage when used as a rug?More symbolically significant than the most luxurious carpet, the fabric strewn on the ground before Agamemnon strongly suggests a bridal cloth, an object replete with symbolism, which would have served as both a nuptial robe and a coverlet for the marriage bed. Scholars who discuss Athenian weddings in the context of the Oresteia have overlooked the nuptial nuances of the ‘carpet’.
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Backscheider, Paula R. "Behind City Walls: Restoration Actors in the Drapers' Company." Theatre Survey 45, no. 1 (May 2004): 75–87. http://dx.doi.org/10.1017/s0040557404000067.

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In 1934, Louis B. Wright wrote, “All the world knows since the publication of studies by Professors Graves, Rollins, and Hotson that . . . [the drama's] light never went out completely.” Yet in a 2001 reference book, a contributor writes, “After an eighteen year hiatus. . . .” No wonder that Dale Randall could legitimately write in 1995, “We are asked to believe that little or nothing happened in English drama for the next eighteen years” beginning in 1642. His Winter Fruit is an important survey of dramatic activity during the Interregnum, and scholars continue to document the varieties of theatrical activities in the period. My essay is a modest contribution to the accumulation of details about a lingering, integral puzzle: how two London companies with experienced actors and new stars came into existence so quickly in 1660. It also shows that the Old City of London was not as inhospitable to drama as it is often portrayed. The piece of this puzzle that I can supply is the picture of John Rhodes and the Drapers' Company. Of Rhodes, John Downes wrote that in the winter of 1659–60 he “fitted up a House then for Acting call'd the Cock-Pit in Drury-Lane, and in a short time Compleated his Company.” Downes supplies a list of plays acted there beginning in February and comments that one of these new actors, Thomas Betterton, then “but 22 Years Old, was highly Applauded for his Acting . . . ; his Voice being then as Audibly strong, full and Articulate, as in the Prime of his Acting.”
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Guidotti, Tee L. "Occupational Medicine and the Construction of “Difficult Reputations”." NEW SOLUTIONS: A Journal of Environmental and Occupational Health Policy 18, no. 3 (September 30, 2008): 285–98. http://dx.doi.org/10.2190/ns.18.3.b.

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The creation of “difficult reputations” is a collective act of disparagement often undertaken to diminish the influence of the target individual or group for political reasons. This process can be observed in efforts to discredit the field of occupational medicine and the American College of Occupational and Environmental Medicine (ACOEM) by revising its history. Examples are given from Draper's The Company Doctor: Risk, Responsibility, and Corporate Professionalism and LaDou, in which new sources of historical information do not support the allegations or impressions conveyed. This tendency is inimical to progress in occupational health in general and may be highly destructive to the field if not recognized and discouraged.
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Gerrard, James. "WELLS AND BELIEF SYSTEMS AT THE END OF ROMAN BRITAIN: A CASE STUDY FROM ROMAN LONDON." Late Antique Archaeology 7, no. 1 (2011): 551–72. http://dx.doi.org/10.1163/22134522-90000167.

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The recent discovery of a large hoard of copper-alloy, pewter and iron vessels in a late 4th to early 5th c. well at Drapers’ Gardens in the City of London highlights the role that wells and shafts played in late antique ritual life. Examination of the well’s contents reveals that these ‘pots and pans’ were not hidden in a time of crisis but were carefully placed alongside ritually killed objects and a dismembered juvenile red deer in a complex ritual act. This paper undertakes a speculative exploration of this act’s significance and its possible meaning.
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Dissertations / Theses on the topic "Draperies in art"

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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.

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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
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Becchia, Alain. "La draperie d'Elbeuf, des origines à 1870 /." Rouen : Publ. de l'Université de Rouen, 2000. http://catalogue.bnf.fr/ark:/12148/cb377040653.

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Ragnestam, Maria. "Drapering av en illusion : En komparativ studie med utgångspunkt i fotografierna av Leila Khaled och Shirin Neshat." Thesis, Södertörn University College, The School of Culture and Communication, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1033.

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The aim of this paper is to perform a comparative study between the photography’s of Leila Khaled and Shirin Neshat in order to observe if the woman are able to recede from an conventional formation to become the bearer of the veil and not only reduced to that which

needs to be concealed. From a feministic perspective I have observed how the symbolic of the veil moulds the woman and how the woman in her context moulds the veil.

In the description of the news photography of Khaled and the art photography produced by Neshat the mechanisms that lies as a foundation for the modelling of the portraits becomes

the essays primary entrance. Mechanisms that evolve around the creation of the woman as aconcept, a subject shaped for being looked at and the woman’s self-image through others.

The textual discourse is visually enhanced through a comparative picture material visually enhanced and explained through photographs by the contemporary artist photographers Cindy Sherman, Catherine Opie, Laurie Simmons, Robert Mapplethorpe and Elin Berge. The visual comparative material also interacts with the essays primary picture material and further expresses the oppression of the woman that occurs irrespective of culture through a patriarch cal gender system.

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Books on the topic "Draperies in art"

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Françoise, Viatte, Leonardo da Vinci 1452-1519, and Musée du Louvre, eds. Léonard de Vinci: Les études de draperies. Paris: Herscher, 1989.

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Clifton-Mogg, Caroline. The art and technique of decorating with fabric. New York: Prentice Hall Press, 1988.

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Perigot, Alexandre. Les pieds dans le rideau: Curtain boulevard. Paris: Manucius, 2015.

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editor, Lecoq-Ramond Sylvie, and Musée des beaux-arts (Lyon, France), eds. Drapé: Degas, Christo, Michel-Ange, Rodin, Man Ray, Dürer ... Lyon]: Musée des beaux-arts de Lyon, 2019.

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Masuda, Tadashi. The design heritage of noren: Traditional Japanese storefront art. [Tokyo, Japan: Graphic-sha Pub. Co., 1989.

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Le rideau, ou, La fêlure du monde. Paris: A. Biro, 1997.

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Kemp, Wolfgang. Rembrandt: Die Heilige Familie mit dem Vorhang. Kassel: Staatliche Museen Kassel, 2003.

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International, Creative Publishing, ed. The complete photo guide to window treatments: Do-it-yourself draperies, curtains, valances, swags, and shades. Chanhassen, MInn: Creative Pub. International, 2007.

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Verhüllen und Offenbaren: Der Verhüllte Reichstag von Christo und Jeanne-Claude und seine Parallelen in der Tradition der Kirche. Regensburg: Schnell + Steiner, 2006.

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Kemp, Wolfgang. Rembrandt, die Heilige Familie, oder, Die Kunst, einen Vorhang zu lüften. Frankfurt am Main: Fischer Taschenbuch Verlag, 1986.

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Book chapters on the topic "Draperies in art"

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"Prominent Themes in International Andragogy Around the Globe." In Facilitating Adult and Organizational Learning Through Andragogy, 207–24. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-3937-8.ch010.

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Reconfiguring many hundreds of historical and philosophical andragogy documents in this research into six major themes was a formidable but worthy task. In short, Theme 1 included Draper's outlining a worldwide historical background on andragogy; Theme 2 emphasizes Savicevic's panoramic sweep of andragogy's development in the European setting; Theme 3 presents a comparison of Savicevic's European perspective and Knowles' American perspective; Theme 4 garners Newman's view of Knowles process for effectively identifying adult learner needs; Theme 5 offers Ingalls' idea of using andragogy in corporations; and Theme 6 supports Biao's contention that only andragogues teach andragogy. Knowles' presentation declared andragogy as a ‘breakthrough' in the adult education field. Draper offered an overview of historical forces influencing the origin and use of the term ‘andragogy'. Henschke and Savicevic bring together ancient sources that are antecedent developments of andragogy.
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Anderson, Raymond A. "Credit—A Microhistory." In Credit Intelligence & Modelling, 201–42. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192844194.003.0006.

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The history of credit from ancient to modern times, parties involved and media used: (1)Ancient world—Mesopotamia, Greece and Rome. Penalties for non-payment were significant, and could result in slavery of self/family, or death. (2)Mediaeval world—religious belief caused restrictions. Many modern-day practices had their origins in this era, including the use of bills of exchange, mortgages, pawn shops and merchant banking. (3)Credit evolution—the expansion of trade and personal credit, both unscrupulous {loan sharks, pawn shops} and scrupulous {philanthropic societies, industrial lenders}. Motor vehicle finance drove instalment credit. (4)Credit vendors—credit drapers, tallymen, and travelling salesmen, department stores, mail order—to promote goods’ sales. More recent are mobile-network operators and Internet service providers. (5)Credit media and Assets Financed—tools used to extend extent credit and transact {cheques, credit cards}, and major instalment finance classes {motor vehicle, consumer durables, home loans}.
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