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Journal articles on the topic 'Philostrat'

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Published: 10 March 2023

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1

Grossardt, Peter. "Der Heroikos des Flavius Philostrat – eine Nachlese." Wiener Studien 131 (2018): 13–75. http://dx.doi.org/10.1553/wst131s13.

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2

Flinterman, Jaap-Jan. "Einführung, Übersetzung und Kommentar zum Heroikos von Flavius Philostrat." Mnemosyne 62, no. 3 (2009): 493–96. http://dx.doi.org/10.1163/156852509x340075.

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3

Grossardt, Peter. "Die Philostrat-Rezeption im philologischen und poetischen Werk des Angelo Poliziano." Wiener Studien 133 (2020): 237–78. http://dx.doi.org/10.1553/wst133s237.

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4

Vielberg, Meinolf. "Ciceros Staatsschrift und die philosophische Tradition der Verfassungsdebatte bei Cassius Dio und Philostrat." Wiener Studien 129 (2016): 233–56. http://dx.doi.org/10.1553/wst129s233.

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5

Miles, Graeme. "Peter Grossardt: Einführung, Übersetzung und Kommentar zum Heroikos von Flavius Philostrat. 1. Teilband: Einführung und Übersetzung; 2. Teilband: Kommentar." Gnomon 81, no. 3 (2009): 201–4. http://dx.doi.org/10.17104/0017-1417_2009_3_201.

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6

Hodkinson, Owen. "Literature - (P.) Grossardt Ed.Einführung, Übersetzung und Kommentar zum Heroikos von Flavius Philostrat. (Schweizerische Beiträge zur Altertumswissenschaft 33). Basel: Schwabe, 2006. 2 vols. Pp. xii + 825. €103.50. 9783796522031." Journal of Hellenic Studies 128 (November 2008): 202–3. http://dx.doi.org/10.1017/s0075426900000392.

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7

Sidebottom, H. "Philostratus." Classical Review 49, no. 1 (April 1999): 34–35. http://dx.doi.org/10.1093/cr/49.1.34.

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8

Siebert, Gérard. "Goethe, lecteur de Philostrate." Revue des Études Grecques 123, no. 1 (2010): 387–96. http://dx.doi.org/10.3406/reg.2010.8009.

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9

Conan, Michel. "TheImaginesof Philostratus." Word & Image 3, no. 2 (April 1987): 162–71. http://dx.doi.org/10.1080/02666286.1987.10435376.

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10

Robiano, Patrick. "Flavius Philostrate biographe de Philostrate de Lemnos : fragments de vie d’un sophiste exemplaire ?" Revue des Études Grecques 128, no. 2 (2015): 355–84. http://dx.doi.org/10.3406/reg.2015.8386.

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11

Henderson, Ian H. "Speech representation and religious rhetorics in Philostratus' Vita Apollonii." Studies in Religion/Sciences Religieuses 32, no. 1-2 (March 2003): 19–37. http://dx.doi.org/10.1177/000842980303200102.

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Philostratus' Vita Apollonii is structured by the stylistic distinction, older than Aristotle, between composed and improvisational rhetorics. Philostratus extends this bipolar theory of rhetorical styles to define for Apollonius a religious discourse beyond sophistic rhetoric, marked by silence and oracular speech. The Vita represents and evaluates speech in a variety of rhetorical modes and voices, especially those of Apollonius and the narrator. The whole continuum from vulgar lies, through sophistic rhetoric to Pythagorean or Delphic oracle is exemplified inside the range of Apollonius' own speech habits as Philostratus represents them. Whatever its merits as historical biography, Philostratus' narrative methodically interprets key possibilities of eccentric religious and political speech in the Roman Empire.
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12

Stefec, Rudolf S. "Die Handschriften der Sophistenviten Philostrats." Römische Historische Mitteilungen 1 (2015): 137–206. http://dx.doi.org/10.1553/rhm56s137.

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13

Schubert, P. "Philostrate Et Les Sophistes D'Alexandrie." Mnemosyne 48, no. 4 (1995): 178–88. http://dx.doi.org/10.1163/156852595x00121.

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14

Schubert, P. "Philostrate Et Les Sophistes D'Alexandrie." Mnemosyne 48, no. 4 (1995): 178–88. http://dx.doi.org/10.1163/156852595x00121-b.

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15

Kemezis, Adam. "Roman Politics and the Fictional Narrator in Philostratus' Apollonius." Classical Antiquity 33, no. 1 (April 1, 2014): 61–101. http://dx.doi.org/10.1525/ca.2014.33.1.61.

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Philostratus' eight-book work on Apollonius of Tyana begins with an elaborate frame narrative in which the narrator describes how the empress Julia Domna commissioned him to edit a recently discovered authoritative account of that sage's career, written by one his disciples. This narrative has clear marks of conscious fictionality, and identifies the Apollonius with such pseudepigraphic works as Dictys Cretensis and The Wonders beyond Thule. This article will explore how this claim functions within Philostratus' larger narrative self-presentation. Philostratus in effect presents the reader with two models of how one obtains authoritative knowledge about cultural phenomena. The first is seen in the frame narrative, and involves single key texts authorized by politically powerful figures. The second is seen in the rest of the narrative, and involves wide-ranging research and critical argument by cultural professionals such as the narrator himself. Philostratus, although he would appear more to endorse the second model, ironically undercuts them both. The tension thus created is crucial to Philostratus' portrait of his protagonist's ambiguously human or divine status. It also has a key political component, however, inasmuch as various members of the Severan dynasty, like Philostratus' Julia, were claiming for themselves the power both to re-write political history and to redefine their status within Greco-Roman cultural discourse. The frame narrative and narratorial persona of the Apollonius are a uniquely sophistic reflection on the relationship of political power to Hellenic paideia.
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16

Bakke, Jørgen. "Painting, Interpretation, Education: Tables of Knowledge in the Imagines of Philostratus the Athenian." Open Cultural Studies 6, no. 1 (January 1, 2022): 280–93. http://dx.doi.org/10.1515/culture-2022-0158.

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Abstract This article shows how the descriptions of paintings (Imagines) by the ancient Greek author Philostratus (third century AD) can be viewed as pedagogical tools in the introduction to higher education. Philostratus presented his descriptions in the context of a tour in a picture gallery for young students. In the study presented here, the pedagogical context is taken seriously. With the means of three examples, the study shows how Philostratus uses his descriptions to guide his students into the interpretation of paintings, agriculture, and astronomy. Rather than simply present exemplary rhetorical descriptions of paintings as one would expect a rhetorical teacher to do, Philostratus uses paintings as pedagogical working tables where students can view simplified versions of complex fields of knowledge, an approach that is not unlike the visual presentation of introductory knowledge on old-fashioned cardboard wallcharts in modern schools.
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17

Koortbojian, Michael, and Ruth Webb. "Isabella d'Este's Philostratos." Journal of the Warburg and Courtauld Institutes 56 (1993): 260. http://dx.doi.org/10.2307/751375.

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18

Stocking, Charles H. "The Use and Abuse of Training “Science” in Philostratus' Gymnasticus." Classical Antiquity 35, no. 1 (April 1, 2016): 86–125. http://dx.doi.org/10.1525/ca.2016.35.1.86.

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This article addresses how the sophistic-style analysis in Philostratus' Gymnasticus gives expression to the physical and social complexities involved in ancient athletic training. As a case in point, the article provides a close reading of Philostratus' description and criticism of the Tetrad, a four-day sequence of training, which resulted in the death of an Olympic athlete. To make physiological sense of the Tetrad, this method of training is compared to the role of periodization in ancient medicine and modern kinesiology. At the same time, Philostratus' own critique of the Tetrad is compared to Foucauldian models of discipline and bodily attention. Ultimately, it is argued that the Tetrad fails because it does not incorporate καιρός, a theme common to athletics, medicine, and rhetoric. Overall, therefore, Philostratus' critique of the Tetrad helps us to appreciate the underrepresented role that γυμναστική occupied in the larger debates on bodily knowledge in antiquity.
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19

Elsner, John. "Hagiographic geography: travel and allegory in theLife of Apollonius of Tyana." Journal of Hellenic Studies 117 (November 1997): 22–37. http://dx.doi.org/10.2307/632548.

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In this paper I shall explore the motif of travel in theLife of Apollonius of Tyana, composed by Philostratus in the first half of the third century AD and published after 217. This text, apart from its novelistic, hagiographic and apologetic features, is an exemplary portrait of an ideal life. One aspect of its appeal (rather ignored in modern scholars' keenness to assess its veracity and the extent of Philostratus' elaboration) is the metaphorical nature of much of the work's content—designed to create an ideal literary image of the Greek philosopher in the Roman empire. I examine the theme of travel (with its deep debts to ancient ethnography, pilgrimage writing and the novel) as a masterly rhetorical device on the part of Philostratus by which to establish and demonstrate the superiority of Apollonius.
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20

Graham Anderson. "Philostratus (review)." American Journal of Philology 131, no. 3 (2010): 525–28. http://dx.doi.org/10.1353/ajp.2010.0008.

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21

LOVE, HAROLD. "ROCHESTER IN BLOUNT'S PHILOSTRATUS." Notes and Queries 35, no. 2 (June 1, 1988): 171—b—173. http://dx.doi.org/10.1093/nq/35-2-171b.

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22

Jackson, Donald F. "Philostratos and the Pentathlon." Journal of Hellenic Studies 111 (November 1991): 178–81. http://dx.doi.org/10.2307/631897.

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One of the most vexing problems facing students of ancient athletics has been the method by which overall victory in the pentathlon was determined. Testimony from ancient sources assures us that the overall victor won three events of the five contested, but that a man of lesser talent could very well emerge victorious. Because one athlete in a large field of competitors could not be expected to outclass his opponents in three of five events, two interpretations of what occurred in the pentathlon have arisen. One theory suggests a progressive elimination of competitors so as to reduce the field and facilitate the emergence of one champion. Another theory allots points to contestants for higher and lower finishes and sometimes allows elimination of athletes who consistently finish behind others.
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23

Penella, Robert J. "Philostratus (review)." Classical World 104, no. 3 (2011): 380–82. http://dx.doi.org/10.1353/clw.2011.0053.

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24

Stefec, Rudolf. "Zur Überlieferung und Textkritik der Sophistenviten Philostrats." Wiener Studien 1 (2010): 63–93. http://dx.doi.org/10.1553/wst123s63.

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25

Robiano, Patrick. "Philostrate et la chevelure d'Apollonios de Tyane." Pallas 41, no. 1 (1994): 57–65. http://dx.doi.org/10.3406/palla.1994.1338.

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26

Trapp, M. B. "Philostratus Kommentar zu ausgewählten Sophistenviten des Philostratos: Die Lehrstuhlinhaber in Athen und Rom. By S. Rothe. (Sammlung Groos, 38.) Heidelberg: Groos, 1989. Pp.xii + 306. DM 32." Journal of Hellenic Studies 111 (November 1991): 229–30. http://dx.doi.org/10.2307/631924.

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27

Xian, Ruobing. "TWO NOTES ON PHILOSTRATUS’ IMAGINES 2.28 (‘LOOMS’)." Classical Quarterly 67, no. 1 (March 16, 2017): 335–38. http://dx.doi.org/10.1017/s0009838817000180.

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In their edition of Philostratus’ Imagines Benndorf and Schenkel established an index locorum, ‘ex quibus tamquam fontibus Philostratus ea quae in Imaginibus leguntur hausisse videtur’. For the passage quoted above, they note three allusions to the Odyssey: (1) the famous snow-melting simile (19.204-9), which describes the weeping Penelope; (2) Penelope's loom, on which she unravelled at night what she had woven during the day (19.150; 2.105); and (3) the invisible bonds of Hephaestus as fine as spiders’ webs (8.280).
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28

Brod, Artemis. "Embodying Kairos in Philostratus' Lives of the Sophists." Rhetorica 39, no. 4 (2021): 432–63. http://dx.doi.org/10.1525/rh.2021.39.4.432.

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Philostratus' Lives of the Sophists (VS) is not usually understood as a text with much relevance for rhetorical theory. But this omission cedes theory to the handbooks and reinforces the dichotomy between theory and practice. I argue that Philostratus' theory of efficacious performance—implicit as it may be—has much to offer scholars of rhetoric and classical studies. I demonstrate that Philostratus prizes improvisation not only because it reveals the paideia of the orator, who becomes a cultural ideal, but also because it affords processes of mutual constitution between orator and audience. This occurs when the sophist becomes a physical manifestation of what the moment calls for, which compels recognition from the audience. In the second part of the paper, I focus on Polemo, the most improvisatory of sophists. In the scenes in which he features, Polemo repeatedly emerges as a man and, in recognizing him, spectators come to embody their own masculinity, in turn.
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29

Kozić, Ranko. "ΦΙΛΟΣΟΦΗΣΑΝΤΕΣ ΕΝ ΔΟΞΗΙ ΤΟΥ ΣΟΦΙΣΤΕΥΣΑΙ: An Enigmatic Depiction of the Second Sophistic in Philostratus and Eunapius’ Lives of the Sophists or What is Indeed the Mentioned Sophistic?" ATHENS JOURNAL OF PHILOSOPHY 1, no. 1 (January 20, 2022): 51–70. http://dx.doi.org/10.30958/ajphil.1-1-4.

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On the basis of evidence obtained by unravelling enigmas in Philostratus and Eunapius’ Lives of the Sophists and lifting the veil of mystery surrounding some of the crucial, sophistic-related passages from Isocrates and Dio Chrysostom’s writings, we were able to arrive to a conclusion that, contrary to all expectations, the Second Sophistic is closely connected not so much with rhetoric as with philosophy itself, no matter what the so-called sophists say of the phenomenon in their attempts to disguise the essence of things. Paradoxically enough, it turned out that the enigma in Eunapius and, above all, Philostratus’ work played almost the same role as did myth in Herodotus’ historical work in so far as only the skillful use of the mentioned stylistic device might confer an aura of magic to the scarce material being at the disposal of the authors. Keywords: Second Sophistic, Philostratus, Eunapius, legend of Socrates, Xenophon’s Memorabilia, Isocrates, Platonism, enigma, symbolism
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30

Thein, Karel. "Gods and Painters: Philostratus the Elder, Stoic Phantasia and the Strategy of Describing." Ramus 31, no. 1-2 (2002): 136–45. http://dx.doi.org/10.1017/s0048671x00001417.

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I shall comment upon the way the elder Philostratus, author of Imagines, inscribes both the art of painting and his own interpretation of 65 particular paintings within a larger framework, which is composed of nature on the one hand, and the human perception of nature on the other. To get to this framework in a slightly oblique way, I will start with a brief reminder of Philostratus' often neglected classification of the arts.In his Life of Apollonius of Tyana 8.7, Philostratus takes notice of the established opposition between the mechanic and the liberal arts (τέχναι βάναυσοι and τέχναι σοϕαί), but then proceeds to further divide the liberal arts into three groups: some are simply σοϕαί (poetry, music, astronomy, the art of sophist and orator); others are only seemingly liberal, ψευδόσοϕοι (the art of wizards or jugglers); between these two groups are situated the ‘less liberal arts’ or ὑπόσοϕοι τέχναι, namely painting, plastic art, sculpture, navigation and agriculture.
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31

Boter, Gerard. "The title of Philostratus’ Life of Apollonius of Tyana." Journal of Hellenic Studies 135 (2015): 1–7. http://dx.doi.org/10.1017/s0075426915000026.

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Abstract:The title of Philostratus’ Life of Apollonius of Tyana as it stands in all editions since Kayser’s 1844 edition, Tὰ ὲç τòν Tυανέα Ἀπολλώνιοώ is not correct. The genuine title of the work is Eἰç τòν Tυανέα Ἀπολλώνιον. The suggestion by Ewen Bowie, that the title of the work characterizes it as a novel, must therefore be dismissed. The meaning of the title is ambiguous: it means both ‘About Apollonius of Tyana’ and ‘In honour of Apollonius of Tyana’. This ambiguity may very well have been intended by Philostratus.
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32

Côté, Dominique. "The Two Sophistics of Philostratus." Rhetorica 24, no. 1 (2006): 1–35. http://dx.doi.org/10.1525/rh.2006.24.1.1.

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Abstract The overview of Sophistic proposed by Philostratus in the introduction to the Lives of the Sophists creates a serious problem of interpretation. The system of two Sophistics: Old Sophistic and Second Sophistic as the author of the Lives defines them, appears to involve weaknesses and contradictions which bring into question the credibility of Philostratus. One might therefore believe that the Philostratean sysem of two Sophistics, through its apparent incoherence, in no way clarifies the question of the definition of a sophist. This article proposes, in contrast, to make visible the conception of Sophistic that hides behind the opposition between Old Sophistic and Second Sophistic, by analysing the introduction and the preface of the Lives of the Sophists.
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33

JONES, CHRISTOPHER P. "THE HISTORIAN PHILOSTRATUS OF ATHENS." Classical Quarterly 61, no. 1 (May 2011): 320–22. http://dx.doi.org/10.1017/s0009838810000583.

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34

Robiano, Patrick. "Les gymnosophistes éthiopiens chez Philostrate et chez Héliodore." Revue des Études Anciennes 94, no. 3 (1992): 413–28. http://dx.doi.org/10.3406/rea.1992.4507.

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35

Allgaier, Benjamin. "Der Sprecher in Philostrats „Eikones“ zwischen Distanz und Immersion." Hermes 149, no. 4 (2021): 487. http://dx.doi.org/10.25162/hermes-2021-0036.

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36

Guast, William. "Greek Declamation Beyond Philostratus’ Second Sophistic." Journal of Hellenic Studies 139 (September 20, 2019): 172–86. http://dx.doi.org/10.1017/s0075426919000685.

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AbstractThis article examines the surviving Greek declamations of the first to third century AD. They are found to be at odds with Philostratus’ familiar picture of the genre in respect of their brevity and stylistic simplicity. Explanations in terms of forgery/misattribution, textual adulteration of some form or the youth of the declaimers at the time of composition are rejected, and it is concluded rather that Philostratus’ picture of the genre is significantly distorted. Specifically, the Vitae sophistarum (1) omit declamations composed for didactic ends in favour of show declamations and (2) even among show declamations focus almost exclusively on the more florid end of the stylistic spectrum.
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37

Small. "Circling Round Vitruvius, Linear Perspective, and the Design of Roman Wall Painting." Arts 8, no. 3 (September 14, 2019): 118. http://dx.doi.org/10.3390/arts8030118.

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Many scholars believe that linear perspective existed in classical antiquity, but a fresh examination of two key texts in Vitruvius shows that 1.2.2 is about modularity and symmetria, while 7.Pr.11 describes shading (skiagraphia). Moreover, these new interpretations are firmly based on the classical understanding of optics and the history of painting (e.g., Pliny the Elder). A third text (Philostratus, Imagines 1.4.2) suggests that the design of Roman wall painting depends on concentric circles. Philostratus’ system is then used to successfully make facsimiles of five walls, representing Styles II, III, and IV of Roman wall painting. Hence, linear perspective and its relatives, such as Panofsky’s vanishing vertical axis, should not be imposed retrospectively where they never existed.
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38

Makhlayuk, Alexander. "“Sophists” of Philostratus in Russian Translation." Вестник древней истории 78, no. 3 (2018): 724–30. http://dx.doi.org/10.31857/s032103910001276-6.

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39

Könczöl-Kiss, Erzsébet. "Ekphrasis és illúzió Philostratos Eikones ében." Antik Tanulmányok 52, no. 1 (June 1, 2008): 103–7. http://dx.doi.org/10.1556/anttan.52.2008.1.7.

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40

Snodgrass, A. M. "Another early reader of Pausanias?" Journal of Hellenic Studies 123 (November 2003): 187–90. http://dx.doi.org/10.2307/3246267.

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41

Rouget, Francois, Blaise de Vigenere, and Francoise Graziani. "Les images ou tableaux de platte-peinture de Philostrate." Sixteenth Century Journal 28, no. 4 (1997): 1380. http://dx.doi.org/10.2307/2543619.

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42

Graziani (book editor), Françoise, and Raymond Cormier (review author). "Les Images ou tableaux de platte-peinture de Philostrate." Renaissance and Reformation 34, no. 1 (January 1, 1998): 73–75. http://dx.doi.org/10.33137/rr.v34i1.10850.

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43

Trápaga Monchet, Koldo. "El estudio de los bosques reales de Portugal a través de la legislación forestal en las dinastías Avis, Habsburgo y Braganza (ca. 1435-1650)." Philostrato. Revista de Historia y Arte, no. 1 (June 20, 2017): 5. http://dx.doi.org/10.25293/philostrato.2017.01.

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Este artículo pretende estudiar la legislación forestal emanada de Portugal entre los siglos XV y XVII para la conservación y protección de los bosques reales durante tres dinastías: los Avis, Habsburgo y Braganza. Así mismo, explora el establecimiento y la evolución de la organización administrativa desarrollada para la conservación de las áreas forestales y la evolución de los aprovechamientos forestales. Ello se ha realizado teniendo en consideración la evolución de las estructuras político-institucionales del reino de Portugal, la expansión marítima y los contextos internos e internacional.
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44

Mateo Gómez, Isabel. "Luis de Morales. Influencias indirectas e interrelación de escuelas españolas: nuevas obras." Philostrato. Revista de Historia y Arte, no. 1 (June 20, 2017): 28. http://dx.doi.org/10.25293/philostrato.2017.02.

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45

Díaz Padrón, Matías. "La Visitación de Saint-Jacques de Amberes: ¿Victor Wolfvoet o Simon de Vos?" Philostrato. Revista de Historia y Arte, no. 1 (June 20, 2017): 43. http://dx.doi.org/10.25293/philostrato.2017.03.

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El artículo trata de esclarecer la autoría propuesta y asumida a Victor Wolfvoet, desde finales del siglo XVII hasta hoy, de La Visitación de la iglesia de Saint-Jacques de Amberes restituyéndola a Simon de Vos. Al relato literario acompaña el documental y el análisis estilístico y técnico de la pintura, con obras análogas de este maestro como prueba comparativa a la atribución hoy propuesta.
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46

Sanzsalazar, Jahel. "Huir del amor: Emblemática y paisaje en una nueva pintura de Otto van Veen." Philostrato. Revista de Historia y Arte, no. 1 (June 20, 2017): 56. http://dx.doi.org/10.25293/philostrato.2017.04.

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En el anonimato durante siglos y de gran tamaño, la pintura objeto de este estudio se restituye a Otto van Veen. Por su composición, modelos y estilo se vincula con su obra conocida, y se compara, entre otras obras, con Hércules y la Hidra del museo de Budapest y con el Cristo muerto de la iglesia de Sint-Waudru de Mons, Bélgica. El asunto se asocia con la emblemática a la que Van Veen se dedicó activamente. Los versos de las Elegías de Propercio en el margen inferior del lienzo reflejan el profundo conocimiento de la literatura clásica resultante de la formación humanista del pintor, al tiempo que advierten contra la inutilidad de huir del amor. Un mensaje moral asido en los principios del Neoestoicismo fundado por su gran amigo Justus Lipsius. A propósito de la ejecución del paisaje, se excluye la posibilidad de la intervención de otra mano, dadas su inclinación al género y la ausencia de evidencias documentales de tal tipo de colaboración. El hallazgo de esta pintura viene a sumarse a la relativamente limitada producción que del maestro se conoce en España hasta la fecha.
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47

Padrón Mérida, Aída. "Una tabla de Martín Gómez “el Viejo” en el Museo del Prado." Philostrato. Revista de Historia y Arte, no. 1 (June 20, 2017): 73. http://dx.doi.org/10.25293/philostrato.2017.05.

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Se atribuye a un seguidor de Yáñez de la Almedina, Martín Gómez “el Viejo”, una tabla del Museo del Prado, en controversia en cuanto a la participación del propio Yáñez en su ejecución. Además de las reflexiones sobre su autoría, se analizan las fuentes iconográficas y referentes visuales para la pintura. El artículo fue realizado por Aída Padrón Mérida hacia 1993-1995, permaneciendo inédito tras su repentino deceso. Consideramos de interés dar a conocer sus reflexiones sobre esta pintura del museo del Prado.
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48

González Martínez, Eloy. "La subcontratación de la obra de arte y sus problemas en la investigación histórico-artística: el caso de León Picardo." Philostrato. Revista de Historia y Arte, no. 2 (December 21, 2017): 5. http://dx.doi.org/10.25293/philostrato.2017.06.

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La subcontratación, o incluso el traspaso de contratos por parte de los pintores, ha sido una práctica habitual dentro de la génesis de retablos. La presente investigación, centrada en el caso concreto de León Picardo, pretende reflejar los problemas histórico-artísticos que este tipo de organización puede acarrear, ya que puede llevar a equívocos a la hora interpretar el documento escrito que sirve como base para establecer el estilo de un pintor. Nos obliga por tanto a tratar la información documental con cautela, ya que hay distintas variables a tener en cuenta para darle validez, y a cuestionar su virtualidad informativa en virtud del contexto laboral en el que se mueven los artistas.
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49

Sanzsalazar, Jahel. "The other Thys. An examination of the work of Gysbrecht Thys: a painter of ‘devotions, poetries and landscapes’ and a collaborator with Joris van Son." Philostrato. Revista de Historia y Arte, no. 2 (December 21, 2017): 21. http://dx.doi.org/10.25293/philostrato.2017.07.

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Análisis de la obra de Gysbrecht Thys: pintor de “devociones, poesías y paisajes” y colaborador de Joris van SonEl pintor flamenco Gysbrecht Thys (también escrito Thijs, Thyssen o Tijssens) (1617- h. 1684) ha sido durante siglos confundido con varios de sus homónimos. Aunque su identidad fue desentramada en 1996 en dos artículos fundamentales, ninguna obra suya había salido a la luz hasta hoy. Las pinturas estudiadas en el presente artículo, primeras aportaciones a la producción de Gysbrecht Thys, ayudan a definir la personalidad artística de un pintor olvidado. Considerando las composiciones de sus pinturas, sus fuentes de inspiración formales y literarias, y las influencias que forjan su estilo, el pintor se revela versátil, con un cierto grado de cultura clásica adquirido en Italia y probablemente en contacto con círculos religiosos eruditos en Amberes. Su participación en una Guirnalda de flores y frutas de Joris van Son permite un excurso en la producción de éste y su probable colaboración con Jan van Balen entre otros; en busca de un mejor conocimiento de la producción de algunos pintores poco estudiados de la escuela de Amberes del siglo XVII.
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50

Bermejo Malumbres, Eloy. "La renovación de la arquitectura religiosa en Cerdeña durante los siglos XVI Y XVII." Philostrato. Revista de Historia y Arte, no. 2 (December 21, 2017): 44. http://dx.doi.org/10.25293/philostrato.2017.08.

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La arquitectura religiosa en Cerdeña experimentó durante los siglos XVI y XVII una gran transformación en sus edificios religiosos que ha hecho necesario resaltar sus peculiaridades y analizar los clichés interpretativos a los que se ha visto sometida. La identificación de las posibles diferencias existentes entre norte y sur de la isla ha permitido comprobar los diferentes caminos por los que se desarrolló el fenómeno consistente en cubrir las naves de los templos con modernas bóvedas pétreas y la aparición de las cúpulas.
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