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Books on the topic 'Narrative art, European'

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Author: Grafiati

Published: 10 March 2023

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1

Pradel, Jean-Louis. La figuration narrative. [Paris]: Hazan, 2000.

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2

Pijaudier, Joëlle. Panorama 6: Casting stories. Tourcoing]: Le Fresnoy, 2005.

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3

Schnapp, Alain. L' histoire ancienne: À travers 100 chefs-d'œuvre de la peinture. Paris: Presses de la Renaissance, 2004.

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4

Rouen (France). Musée des beaux arts., ed. Jeanne d'Arc, les tableaux de l'histoire, 1820-1920. [Rouen]: Musées ville de Rouen, 2003.

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5

Caroline, Caron-Lanfranc de Panthou, ed. L'Antiquité éternelle par les peintres. Paris: Seuil, 2010.

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6

Museum, Seattle Art, ed. States of war: New European and American paintings. Seattle, WA: Seattle Art Museum, 1985.

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7

Die Bilderzählung: Narrative Strukturen in Zyklen des 18. und 19. Jahrhunderts : von Tiepolo und Goya bis Rethel. Petersberg: M. Imhof, 1998.

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8

Ochęduszko, Rafał. European history painting in the 19th century: Mutual connections, common themes, differences. Kraków: Universitas, 2010.

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9

Wolf, Gerhard. Jerusalem as narrative space: Erzahlraum Jerusalem. Leiden: Brill, 2012.

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10

L'arte racconta il diritto e la storia di Roma. Ospedaletto (Pisa): Pacini giuridica, 2016.

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11

collab, Lebrette François, ed. L' histoire ancienne: À travers 100 chefs-d'oeuvre de la peinture. Paris: Presses de la Renaissance, 2004.

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12

von, Hülsen-Esch Andrea, Körner Hans 1951-, and Reuter Guido, eds. Bilderzählungen, Zeitlichkeit im Bild. Köln: Böhlau, 2003.

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13

Museo Nacional de Escultura (Valladolid, Spain). and Sociedad Estatal para la Conmemoración de los Centenarios de Felipe II y Carlos V., eds. La época de Carlos V y Felipe II en la pintura de historia del siglo XIX: Museo Nacional de Escultura, Palacio de Villena, Valladolid, 7 de septiembre - 21 de noviembre, 1999. Madrid: Sociedad Estatal para la Conmemoración de los Centenarios de Felipe II y Carlos V, 1999.

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14

Gerdts, William H. Grand illusions: History painting in America. Fort Worth, Tex: Amon Carter Museum, 1988.

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15

Jean, Tulard, ed. Histoire de Napoléon par la peinture. Paris: Editions de l'Archipel, 2005.

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16

Italy) Convegno "Narrare/rappresentare" (2002 Parma. Narrare/rappresentare. Bologna: CLUEB, 2003.

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17

Jean, Tulard, Fierro Alfred, and Léri Jean-Marc, eds. L' Histoire de Napoléon par la peinture. [Paris]: Belfond, 1991.

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18

Everyday saints and the art of narrative in the South English legendary. Aldershot, Hants, U.K: Ashgate, 2003.

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19

Historienmalerei: Vom Spätmittelalter bis zum 19. Jahrhundert. Köln: Böhlau, 2010.

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20

Britain), National Gallery (Great, ed. An illustrated dictionary of narrative painting. London: John Murray in association with National Gallery Publications, 1994.

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21

Stefan, Berger, Eriksonas Linas, and Mycock Andrew, eds. Narrating the nation: Representations in history, media, and the arts. New York: Berghahn Books, 2008.

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22

La battaglia nel Rinascimento meridionale: Moduli narrativi tra parole e immagini. Roma: Viella, 2011.

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23

Bentley, Tamara H., ed. Picturing Commerce in and from the East Asian Maritime Circuits, 1550-1800. NL Amsterdam: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462984677.

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Combining strikingly new scholarship by art historians, historians, and ethnomusicologists, this interdisciplinary volume illuminates trade ties within East Asia, and from East Asia outwards, in the years 1550 to 1800. While not encyclopedic, the selected topics greatly advance our sense of this trade picture. Throughout the book, multi-part trade structures are excavated; the presence of European powers within the Asian trade nexus features as part of this narrative. Visual goods are highlighted, including lacquerwares, paintings, prints, musical instruments, textiles, ivory sculptures, unfired ceramic portrait figurines, and Chinese, Japanese, Korean, and Southeast Asian ceramic vessels. These essays underscore the significance of Asian industries producing multiples, and the rhetorical charge of these goods, shifting in meaning as they move. Everyday commodities are treated as well; for example, the trans-Pacific trade in contraband mercury, used in silver refinement, is spelled out in detail. Building reverberations between merchant networks, trade goods, and the look of the objects themselves, this richly-illustrated book brings to light the Asian trade engine powering the early modern visual cultures of East and Southeast Asia, the American colonies, and Europe.

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24

Relating narratives: Storytelling and selfhood. London: Routledge, 2000.

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25

Deller, Jeremy. The English Civil War part II: Personal accounts of the 1984-85 miners' strike. [London]: Artangel, 2002.

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26

Modernisms Second Act A Cultural Narrative. Palgrave Macmillan, 2012.

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27

The Art Gallery: Stories. Peter Bedrick, 2000.

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28

Wilkinson, Philip. The Art Gallery: Faces. Peter Bedrick, 2000.

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29

Museum, J. Paul Getty, Minneapolis Institute of Art, and Cleveland Museum of Art, eds. Eyewitness views: Making history in eighteenth-century Europe. J. Paul Getty Museum, 2017.

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30

Kochankowie z masakrą w tle. Wydawnictwo Stentor, 2004.

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31

La época de Carlos V y Felipe II en la pintura de historia del siglo XIX: Museo Nacional de Escultura, Palacio de la Virreina, Valladolid : 7 de septiembre-21 de noviembre de 1999. [Madrid]: Sociedad Estatal Conmemoración de los Centenarios de Felipe II y Carlos V, 1999.

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32

Seacex. La Epoca de Carlos V y Felipe II en la Pintura de Historia del Siglo XIX: Museo Nacional de Escultura, Palacio de la Virreina, Valladolid: 7 de Septie. Sociedad Estatal P/ Accion Cultural Exterior, 2001.

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33

In the Footsteps of Christ: Hans Memling's Passion Narratives and the Devotional Imagination in the Early Modern Netherlands. Brepols Publishers, 2013.

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34

L' histoire de Napoléon par la peinture. Paris: Archipel, 2005.

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35

NapolÃ©on par les peintres (French Edition). Éditions de Seuil, 2009.

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36

Østermark-Johansen, Lene. Walter Pater's European Imagination. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192858757.001.0001.

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Abstract Walter Pater’s European Imagination addresses Pater’s literary cosmopolitanism as the first in-depth study of his fiction in dialogue with European literature. Pater’s short pieces of fiction, the so-called ‘imaginary portraits’, trace the development of the European self over a period of some two thousand years. They include elements of travelogue and art criticism, together with discourses on myth, history, and philosophy, and are not easily classified. With settings ranging from ancient Greece to nineteenth-century England, they engage with the visual arts and operate pictorially in a series of receding planes of frame, foreground, and background. Examining Pater’s methods of composition, use of narrative voice, and construction of character, the book draws on all of Pater’s oeuvre and includes discussions of a range of his unpublished manuscripts, essays, and reviews. It engages with Pater’s dialogue with the visual portrait and problematizes the oscillation between type and individual, the generic and the particular, which characterizes both the visual and the literary portrait. Exploring Pater’s involvement with nineteenth-century historiography and collective memory, the book positions Pater’s fiction solidly within such nineteenth-century genres as the historical novel and the Bildungsroman, while also discussing the portraits as specimens of biographical writing. As the ‘Ur-texts’ from which generations of modernist life-writing developed, Pater’s ‘imaginary portraits’ became pivotal for such modernist writers as Virginia Woolf and Harold Nicolson, and Walter Pater’s European Imagination explores such twentieth-century successors, together with French precursors like Sainte-Beuve and followers like Marcel Schwob.

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37

Taroutina, Maria, and Galina Mardilovich. New Narratives of Russian and East European Art. Taylor & Francis Group, 2019.

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38

Narrating the Nation: Representations in History, Media and the Arts. Berghahn Books, Incorporated, 2011.

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39

Eriksonas, Linas, Stefan Berger, and Andrew Mycock. Narrating the Nation: Representations in History, Media and the Arts. Berghahn Books, Incorporated, 2013.

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40

Eriksonas, Linas, Stefan Berger, and Andrew Mycock. Narrating the Nation: Representations in History, Media and the Arts. Berghahn Books, Incorporated, 2008.

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41

Eriksonas, Linas, Stefan Berger, and Andrew Mycock. Narrating the Nation: Representations in History, Media and the Arts. Berghahn Books, Incorporated, 2008.

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42

Corbalán, Ana M., and Betty Kaklamanidou. Contemporary European Cinema: Crisis Narratives and Narratives in Crisis. Taylor & Francis Group, 2018.

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43

Corbalán, Ana M., and Betty Kaklamanidou. Contemporary European Cinema: Crisis Narratives and Narratives in Crisis. Taylor & Francis Group, 2018.

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44

Taroutina, Maria, and Galina Mardilovich. New Narratives of Russian and East European Art: Between Traditions and Revolutions. Taylor & Francis Group, 2022.

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45

Taroutina, Maria, and Galina Mardilovich. New Narratives of Russian and East European Art: Between Traditions and Revolutions. Taylor & Francis Group, 2019.

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46

Nowakowska, Natalia. A New Narrative? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198813453.003.0002.

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Our three existing master narratives of the early Reformation in Poland are all over a century old and mutually contradictory, drawing on different sources to serve differing confessional and national/ist agendas. This chapter offers a fresh narrative of the impact of Lutheranism on the Polish composite monarchy to c.1540, synthesizing these older accounts and updating them with new research findings. This is a narrative in three parts: early signs (1517–24), the great Reformation year (1525), and aftershocks (1526–40). The chapter discusses the challenges of measuring ‘Lutheran’ sentiment, sets these Polish-Prussian events clearly in their comparative European context, and considers what implications they might have for that bigger, familiar tale. It stresses the precocity of Sigismund I’s monarchy, which saw the most far-reaching urban and violent Reformation in 1520s Europe (Danzig), a peasant Reformation rising, and Christendom’s first territorial-princely Reformation, in Ducal Prussia.

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47

New Narratives of Russian and East European Art: Between Traditions and Revolutions. Taylor & Francis Group, 2019.

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48

Taroutina, Maria, and Galina Mardilovich. New Narratives of Russian and East European Art: Between Traditions and Revolutions. Taylor & Francis Group, 2019.

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49

Taroutina, Maria, and Galina Mardilovich. New Narratives of Russian and East European Art: Between Traditions and Revolutions. Taylor & Francis Group, 2019.

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50

al-Musawi, Muhsin. The Medieval Turn in Modern Arabic Narrative. Edited by Waïl S. Hassan. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199349791.013.4.

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This chapter examines the medieval turn in modern Arabic fiction, which includes historical reconstruction, neo-historicism, topographical narration, Sufi dreams and visions, allegorical travelogues, biographies, chats and anecdotes, and majālis, or assemblies accommodating hashish addicts and Sufi gatherings. The chapter first considers the Arabic historical novel before turning to narrative genealogies in modern Arabic fiction in which visions and dreams are present as markers of medieval Sufism and poetics. It then explores the phenomenal growth of Sufism among peasants, craftsmen, and artisans, including women; Arabic novels that connect well with the khiṭaṭ genre; the travelogue as a venue for an allegorical critique; the use of Qur’anic phrases or catchwords in Arabic narratives; and works entrenched in classical style. The chapter provides examples to dispute the notion that pre-modern Arab culture has not survived its encounter with Europe and the engagement with European literary norms.

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