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Journal articles on the topic 'Renaissance art history'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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1

HARTT, FREDERICK, and ROBERT ORME. "HISTORY OF ITALIAN RENAISSANCE ART." Art Book 1, no. 3 (June 1994): 17b. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00134.x.

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2

Wilson, Robin, and Florence Fasanelli. "Renaissance Art." Mathematical Intelligencer 22, no. 1 (December 2000): 80. http://dx.doi.org/10.1007/bf03024451.

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3

James, Sara Nair, Gabriele Neher, and Rupert Shepherd. "Revaluing Renaissance Art." Sixteenth Century Journal 33, no. 2 (2002): 471. http://dx.doi.org/10.2307/4143918.

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4

Cibelli, Deborah H., Carol M. Richardson, Kim W. Woods, Carol M. Richardson, and Angeliki Lymberopoulou. "Locating Renaissance Art." Sixteenth Century Journal 39, no. 3 (October 1, 2008): 930. http://dx.doi.org/10.2307/20479121.

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5

Weed, Stanley E., and Kim Woods. "Making Renaissance Art." Sixteenth Century Journal 39, no. 4 (December 1, 2008): 1248. http://dx.doi.org/10.2307/20479230.

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6

Steele, Brian D. "Renaissance Art, Education, and History: An Art Historian's Perspective." Art Education 46, no. 2 (March 1993): 41. http://dx.doi.org/10.2307/3193375.

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7

Joost-Gaugier, Christiane, John T. Paoletti, and Gary M. Radke. "Art in Renaissance Italy." Sixteenth Century Journal 34, no. 1 (April 1, 2003): 163. http://dx.doi.org/10.2307/20061319.

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8

CHESSICK, RICHARD D. "History of Italian Renaissance Art, 5th ed." American Journal of Psychiatry 162, no. 12 (December 2005): 2415–17. http://dx.doi.org/10.1176/appi.ajp.162.12.2415.

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9

Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.

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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Included as well have been exhibitions with a particular focus, such as that on the Grosvenor Gallery, and the more broadly inclusive The Victorians held at the National Gallery of Art in Washington D.C., this last being the most appropriate point of departure to assess the impact of Victorian art on the viewing public in the States.
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10

Och, Marjorie A., and Mary Rogers. "Fashioning Identities in Renaissance Art." Sixteenth Century Journal 32, no. 3 (2001): 786. http://dx.doi.org/10.2307/2671517.

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11

Goffen, Rona. "Renaissance Dreams." Renaissance Quarterly 40, no. 4 (1987): 682–706. http://dx.doi.org/10.2307/2862448.

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Family, marriage, and sex—although it seems to me that the sequence is uncertain—are naturally interrelated in life but not always so in art or, for that matter, in art history. While family and marriage have been much discussed in recent years by historians, they have received very little attention indeed from art historians. Sex, on the other hand, we have always had with us. And while all of one's work is self-referential to some extent, whether one is an artist or an historian of art, it may be that this psychological truth carries a particular danger when one is dealing with matters that are so intimate as family, marriage, and sex. Moreover, there is another issue involved when one is concerned with works of art, at least in the Renaissance or in any period when art was made for patrons, and that is precisely the presence of another psyche in the mixture, in addition to that of the artist himself and that of the historian-observer.
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12

Barolsky, Paul. "The history of Italian Renaissance art re-envisioned." Word & Image 12, no. 3 (July 1996): 243–50. http://dx.doi.org/10.1080/02666286.1996.10434252.

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13

Wright, George C., and Studio Museum in Harlem. "Harlem Renaissance: Art of Black America." Journal of American History 77, no. 1 (June 1990): 253. http://dx.doi.org/10.2307/2078660.

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14

Dempsey, Charles. "Response:Historiaand Anachronism in Renaissance Art." Art Bulletin 87, no. 3 (September 2005): 416–21. http://dx.doi.org/10.1080/00043079.2005.10786250.

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15

Maguire, Henry. "Epigrams, Art, and the "Macedonian Renaissance"." Dumbarton Oaks Papers 48 (1994): 105. http://dx.doi.org/10.2307/1291723.

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16

McTavish, Lianne, and Fredrika H. Jacobs. "The Living Image in Renaissance Art." Sixteenth Century Journal 38, no. 2 (July 1, 2007): 506. http://dx.doi.org/10.2307/20478405.

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17

Clarke, Theodore C., and Scott J. Bolton. "The planets and our culture a history and a legacy." Proceedings of the International Astronomical Union 6, S269 (January 2010): 199–212. http://dx.doi.org/10.1017/s1743921310007428.

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AbstractThis manuscript relates the great literature, great art and the vast starry vault of heaven. It relates the myths of gods and heroes for whom the planets and the Medicean moons of Jupiter are named. The myths are illustrated by great art works of the Renaissance, Baroque and Rococo periods which reveal poignant moments in the myths. The manuscript identifies constellations spun off of these myths. In addition to the images of great art are associated images of the moons and planets brought to us by spacecraft in our new age of exploration, the New Renaissance, in which we find ourselves deeply immersed.
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18

Fekete, Albert. "Late Renaissance Garden Art in the Carpathian Basin." Landscape & Environment 14, no. 2 (September 21, 2020): 1–19. http://dx.doi.org/10.21120/le/14/2/1.

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The aim of the article was to find, scientifically define and locate the most frequent occurrences of the Late Renaissance garden units of the Carpathian Basin. This article - as partial result of a research work entitled "Castle Garden Inventory in the Carpathian Basin" and conducted by teachers and students of the Faculty of Landscape Architecture and Urbanism of Szent István University, Budapest - aims to identify through historical research, on-site visits and assessments the current status of 148 Late Renaissance residency gardens located in seven different countries of the Carpathian Basin (Austria, Hungary, Slovakia, Ukraine, Romania, Croatia and Slovenia). Based on the archival and literary sources as well as the field studies carried out, we defined the spatial distribution of Late Renaissance residential gardens, we delineated six very characteristic Late Renaissance garden units and we defined the most typical Late Renaissance garden features for the region. At the same time, we explored and documented still existing values of garden history at some locations from the Renaissance era.
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19

Etro, Federico. "The Economics of Renaissance Art." Journal of Economic History 78, no. 2 (June 2018): 500–538. http://dx.doi.org/10.1017/s0022050718000244.

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I analyzed the market of paintings in Florence and Italy (1285–1550). Hedonic regressions on real prices allowed me to advance evidence that the market was competitive and that an important determinant of artistic innovation was driven by economic incentives. Price differentials reflected quality differentials between painters as perceived at the time (whose proxy is the length of the biography of Vasari) and did not depend on regional destinations, as expected under monopolistic competition with free entry. An inverse-U relation between prices and age of execution is consistent with reputational theories of artistic effort, and prices increased since the 1420s.
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20

Barolsky, Paul. "As in Ovid, So in Renaissance Art." Renaissance Quarterly 51, no. 2 (1998): 451–74. http://dx.doi.org/10.2307/2901573.

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AbstractThis essay is a prolegomenon to the general study of Ovid's relations to Renaissance art and art theory. As is well known, the Metamorphoses determined the subjects of numerous works of art during the Renaissance. What is not sufficiently appreciated, however, is the extent to which the ancient poet's sense of "metamorphosis" as a figure of poesis, making or "poetry," helped shape Renaissance notions of poetic transformation in the visual arts. The emergent taste for the non finito in the Renaissance, most notably in the work of Michelangelo, had important roots in Ovidean aesthetics.
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21

Belting, Hans. "Perspective: Arab Mathematics and Renaissance Western Art." European Review 16, no. 2 (May 2008): 183–90. http://dx.doi.org/10.1017/s106279870800015x.

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This paper deals with the transfer of Arab visual theory in the Middle Ages, as it is believed that the cultural significance of this transfer needs a new emphasis. Mathematical perspective was invented in Florentine Renaissance Art. However, except in the history of science, it is a little known fact that this visual theory was based on the Book of Optics, written by Ibn al Haithan, also known as Alhazen, and was translated, probably in Spain, with the Latin title Perspectiva. We therefore can speak of a double history of perspective, as visual theory and as pictorial theory. The main argument is to identify the importance of images, which separate Arab thought from Western thinking. It was the transformation of mathematics into art, in the Western sense, that allows us to distinguish two different cultures. In this process, the invention of mathematical space by Biagio Pelacani was an important step. Thereafter, the gaze and its looking space became a new concern of the Renaissance.
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22

Holmes, G. "Art, Memory and the Family in Renaissance Florence." English Historical Review 117, no. 471 (April 1, 2002): 459–60. http://dx.doi.org/10.1093/ehr/117.471.459.

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23

Chastel, Andre, and William Hood. "French Scholarship on Italian Renaissance Art." Art Bulletin 69, no. 4 (December 1987): 649. http://dx.doi.org/10.2307/3051005.

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24

Agoston, Laura, Francis Ames-Lewis, and Mary Rogers. "Concepts of Beauty in Renaissance Art." Art Bulletin 82, no. 4 (December 2000): 768. http://dx.doi.org/10.2307/3051421.

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25

Emison, Patricia, Patricia Lee Rubin, and Alison Wright. "Renaissance Florence: The Art of the 1470s." Sixteenth Century Journal 31, no. 3 (2000): 867. http://dx.doi.org/10.2307/2671130.

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26

Lange, Marjory E., James Haar, and Paul Corneilson. "The Science and Art of Renaissance Music." Sixteenth Century Journal 31, no. 4 (2000): 1203. http://dx.doi.org/10.2307/2671258.

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27

James, Sara Nair, Patricia Lee Rubin, Alison Wright, and Nicholas Penny. "Renaissance Florence: The Art of the 1470s." Sixteenth Century Journal 32, no. 3 (2001): 852. http://dx.doi.org/10.2307/2671561.

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28

Hornik, Heidi J., Giovanni Ciappelli, and Patricia Lee Rubin. "Art, Memory and Family in Renaissance Florence." Sixteenth Century Journal 32, no. 2 (2001): 485. http://dx.doi.org/10.2307/2671765.

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29

Joost-Gaugier, Christiane L., and Loren Partridge. "The Art of Renaissance Rome: 1400-1600." Sixteenth Century Journal 29, no. 2 (1998): 507. http://dx.doi.org/10.2307/2544530.

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30

Hostetter, Rachel, Luke Syson, and Dora Thornton. "Objects of Virtue: Art in Renaissance Italy." Sixteenth Century Journal 34, no. 3 (October 1, 2003): 861. http://dx.doi.org/10.2307/20061584.

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31

Katz, Dana E., and Thomas P. Campbell. "Tapestry in the Renaissance: Art and Magnificence." Sixteenth Century Journal 34, no. 3 (October 1, 2003): 938. http://dx.doi.org/10.2307/20061634.

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32

Peacock, John. "Inigo Jones and Renaissance art." Renaissance Studies 4, no. 3 (September 1990): 245–72. http://dx.doi.org/10.1111/j.1477-4658.1990.tb00213.x.

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33

Peacock, John. "Inigo Jones and Renaissance Art." Renaissance Studies 4, no. 3 (September 1990): 245–72. http://dx.doi.org/10.1111/1477-4658.00089.

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34

Derks, Sebastiaan. "Frontier interactions. René de Challant and transregional lordship." Virtus | Journal of Nobility Studies 27 (December 31, 2020): 155–58. http://dx.doi.org/10.21827/virtus.27.155-158.

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Review of Matthew Vester, Transregional lordship and the Italian Renaissance. René de Challant, 1504-1565, Renaissance History, Art and Culture 5 (Amsterdam: Amsterdam University Press, 2020, 329 p., ill., index).
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35

Kestner, Joseph A. "VICTORIAN ART HISTORY: RAP 2 UNWRAPPED." Victorian Literature and Culture 29, no. 1 (March 2001): 149–58. http://dx.doi.org/10.1017/s1060150301291098.

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AT THE END OF THE TWENTIETH CENTURY, Victorian painting experienced at least one mass media event, so far as circulation is concerned — the appearance of Frederic Leighton’s The Bath of Psyche (1890) on the wall of the drug kingpin in Paul Thomas Anderson’s notorious film Boogie Nights of 1997. As a ferocious deal is going awry, over the desperate dealers looms one of the masterpieces of the Victorian High Renaissance, a commentary through the cool classicism of the late Victorians about the corresponding fin-de-siècle of the lately finished century. It is a stunning moment — perhaps recognized only by historians of British art — but there it is nonetheless. One is to presume that the dealer has acquired the original from the Tate Gallery, since he would never own a copy, let alone a poster! Busboy superstud Mark Wahlberg has brief, violent contact with a masterpiece.
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36

Tukhtaeva, Malika. "THE CONTRIBUTION OF ART HISTORIANS OF THE TWENTIETH CENTURY IN STUDYING OF THE ART HISTORY OF CENTRAL ASIA OF THE MUSLIM RENAISSANCE PERIOD." JOURNAL OF LOOK TO THE PAST 23, no. 2 (December 8, 2019): 59–67. http://dx.doi.org/10.26739/2181-9599-2019-23-08.

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This scientific article provides a historiographical review of scientific studies of Uzbek scholars of art in which the basic laws of the development of visual, applied arts, and the history of architecture of Uzbekistan are reflected in the example of the Muslim Renaissance period of the 9th-12th centuries. In particular, on the basis of attracting large factual material, its scale, results, historical and cultural significance, and the influence of the Muslim renaissance on world civilization are shown
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37

Radding, Charles M., and Karl F. Morrison. "History as a Visual Art in the Twelfth-Century Renaissance." American Historical Review 97, no. 3 (June 1992): 832. http://dx.doi.org/10.2307/2164802.

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38

Goldstein, Carl. "Rhetoric and Art History in the Italian Renaissance and Baroque." Art Bulletin 73, no. 4 (December 1991): 641. http://dx.doi.org/10.2307/3045834.

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39

Simons, Walter. "History as a visual art in the twelfth-century renaissance." History of European Ideas 17, no. 5 (September 1993): 669–71. http://dx.doi.org/10.1016/0191-6599(93)90266-s.

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40

Corrigan, John Michael. "The American Art of Memory." Religion and the Arts 25, no. 1-2 (March 24, 2021): 70–98. http://dx.doi.org/10.1163/15685292-02501003.

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Abstract This article provides a genealogy of the architectural figuration of human cognition from the ancient world to Renaissance Europe and, finally, to the American Renaissance where it came to possess a striking cultural and literary potency. The first section pursues the two-fold task of elucidating this archetypal trope for consciousness, both its ancient moorings and its eventual transmission into Europe. The second section shows that three of the most prominent writers of the American Renaissance—Ralph Waldo Emerson, Henry David Thoreau, and Nathaniel Hawthorne—engaged this mystically inspired architectonic symbolism, employing far older techno-cultural suppositions about interior space. I thereby offer an account of the intellectual and spiritual heritage upon which Romantic writers in the United States drew to articulate cognitive interiority. These Romantics did more than value creativity in contradistinction to Enlightenment rationalism; they were acknowledging themselves as recipients of the ancient belief in cosmogenesis as self-transformation.
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41

Pesic, Peter. "Shapes of Proteus in Renaissance Art." Huntington Library Quarterly 73, no. 1 (March 2010): 57–82. http://dx.doi.org/10.1525/hlq.2010.73.1.57.

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42

Kotliar, Svitlana, and Iryna Zaspa. "Master’s Art Photo Project “Ukrainian Renaissance”. Part 2: “Mavka Ofeliia”." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 152–74. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235103.

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The author’s message for this Master’s photo art project consisted of creating a photographic work inspired by the Renaissance and Ukrainian traditions, folklore. A harmonious combination of the Renaissance heritage with the Ukrainian historical and cultural heritage, the disclosure of the concept of “renaissance” in two contexts. The Renaissance heritage is studied as world history and art era. The Ukrainian historical and cultural heritage analysis aims at reviving Ukrainian authenticity and its learning and implementation in a modern interpretation. Since the project’s author is fond of modelling and has participated in the organisation of different shootings for more than five years, and is also the Bachelor of Fine Arts in Art and Visual Culture, it was decided to create a photo art project, where she would be a model and ideological organiser and draw parallels with the help of Fine Art. In this project, the Renaissance features are reflected through associative connections with famous paintings of artists in a new Ukrainian interpretation. The second concept of “renaissance” has the meaning of reviving Ukrainian values, customs, traditions through the symbolic image of a Ukrainian girl who appears in the photos of a photo art project in various roles. The series of works consists of portrait images of a girl following the theme of the project. In total, there are five series in the project.
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43

Gavran, Iryna, Svitlana Kotliar, and Iryna Zaspa. "Master’s Art Photo Project “Ukrainian Renaissance”. Part 1: “Ukrainian Girl with a Pearl Earring. In the Footsteps of Jan Vermeer”." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 133–51. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235102.

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The author’s message for this Master’s photo art project consisted of creating a photographic work inspired by the Renaissance and Ukrainian traditions, folklore. A harmonious combination of the Renaissance heritage with the Ukrainian historical and cultural heritage, the disclosure of the concept of “renaissance” in two contexts. The Renaissance heritage is studied as world history and art era. The Ukrainian historical and cultural heritage analysis aims at reviving Ukrainian authenticity and its learning and implementation in a modern interpretation. Since the project’s author is fond of modelling and has participated in the organisation of different shootings for more than five years, and is also the Bachelor of Fine Arts in Art and Visual Culture, it was decided to create a photo art project, where she would be a model and ideological organiser and draw parallels with the help of Fine Art. In this project, the Renaissance features are reflected through associative connections with famous paintings of artists in a new Ukrainian interpretation. The second concept of “renaissance” has the meaning of reviving Ukrainian values, customs, traditions through the symbolic image of a Ukrainian girl who appears in the photos of a photo art project in various roles. The series of works consists of portrait images of a girl following the theme of the project. In total, there are five series in the project.
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44

Junkerman, Anne Christine, and Charles H. Carman. "Images of Humanist Ideals in Italian Renaissance Art." Sixteenth Century Journal 33, no. 1 (2002): 280. http://dx.doi.org/10.2307/4144302.

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45

Joost-Gaugier, Christiane. "Renaissance Florence: The Invention of a New Art." Sixteenth Century Journal 28, no. 3 (1997): 833. http://dx.doi.org/10.2307/2542998.

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46

Regan, Lisa, and Alastair Fowler. "Renaissance Realism: Narrative Images in Literature and Art." Sixteenth Century Journal 35, no. 4 (December 1, 2004): 1210. http://dx.doi.org/10.2307/20477207.

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47

Bass, David R., Carol M. Richardson, Kim W. Woods, and Michael W. Franklin. "Renaissance Art Reconsidered: An Anthology of Primary Sources." Sixteenth Century Journal 39, no. 4 (December 1, 2008): 1123. http://dx.doi.org/10.2307/20479150.

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48

D'Amico, John F., and Gail L. Geiger. "Filippino Lippi's Carafa Chapel: Renaissance Art in Rome." American Historical Review 92, no. 3 (June 1987): 701. http://dx.doi.org/10.2307/1870002.

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49

Mandel, Corinne, and Paola Tinagli. "Women in Italian Renaissance Art: Gender, Representation, Identity." Sixteenth Century Journal 29, no. 2 (1998): 594. http://dx.doi.org/10.2307/2544574.

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50

Janson, Carol, and Christa Groessman. "Picturing Women in Late Medieval and Renaissance Art." Sixteenth Century Journal 30, no. 2 (1999): 588. http://dx.doi.org/10.2307/2544779.

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