Bibliografías temáticas / Painting, european – 17th century – exhibitions

Literatura académica sobre el tema "Painting, european – 17th century – exhibitions"

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Publicado: 25 de julio de 2024

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Artículos de revistas sobre el tema "Painting, european – 17th century – exhibitions"

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Акимов, С. С. "“The Dutch Landscape” in funds of the Museum-Reserve Dmitrov Kremlin — unknown work by Abraham Begeyn". Iskusstvo Evrazii [The Art of Eurasia], n.º 2(33) (28 de junio de 2024): 222–31. http://dx.doi.org/10.46748/arteuras.2024.02.015.

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В статье обосновывается атрибуция картины «Голландский пейзаж», хранящейся в музее-заповеднике «Дмитровский кремль» (г. Дмитров Московской области) и считавшейся работой неизвестного художника XVIII или XIX века. Будучи включено в постоянную экспозицию и опубликовано в альбоме о коллекциях музея (2004), произведение тем не менее до сих пор не привлекало внимания специалистов по западноевропейской живописи. В результате образно-стилистического анализа установлено, что его автором является голландский мастер, представитель итальянизирующего направления Абрахам Бегейн (1637–1697). Об этом свидетельствуют сюжет и типажи персонажей, композиционная схема и трактовка пространства, конкретные мотивы ландшафта. Весь образный строй полотна раскрывает характерные для творчества художника черты. А. Бегейн представлен в России сравнительно немногочисленными живописными произведениями (в коллекциях Государственного Эрмитажа, музея-заповедника «Павловск»), и обнаружение его ранее неизвестной работы имеет значение для исследования итальянизирующего течения в голландском искусстве. The article supports the attribution of the painting “Dutch Landscape” held in the Museum-Reserve Dmitrov Kremlin (Dmitrov, Moscow region). The picture is considered to be the work of unknown artist of the 18th or 19th century. It is presented in the permanent exhibition and published in an album about the museum collections (2004). However, it has yet to garner the interest of specialists in West-European art. In fact, its author is the Dutch master of Italianized line Abraham Begeyn (1637–1697). This is evidenced by the specificity of plot and types of characters, the composition scheme and interpretation of space, the specific motifs of the landscape. The whole structure of the image reveals the characteristic features of Begeyn's manner. This painter is represented in Russian museums by comparatively few works and the discovery of his previously unknown picture is important for investigation in the field of Italianized movement in the 17th century Dutch art.
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Akimov, Sergey S. "The 17th Century Dutch Art in E.I.Rotenberg’s Studies". Vestnik of Saint Petersburg University. Arts 13, n.º 3 (2023): 413–31. http://dx.doi.org/10.21638/spbu15.2023.302.

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The contribution of Evsei Rotenberg to the studies in history of the 17th century Dutch art is analyzed in this article. Investigations in Dutch art of the Golden Age were one of the main lines in scientific interests of Evsei Rotenberg, great specialist in classical West-European art, during all his activity. He also wrote about Italian Renaissance, especially Michelangelo and Titian, and about the most important esthetic and creative problems and tendencies of the 17th century art, the greatest masters of this epoch. The paper highlights his evolution as a researcher from point of view subjects and methodology of studies, analyzes the conceptual ideas explaining the specificity of the Dutch art, shows their place in Russian scientific tradition and their significance for the further development of art historian science. His professional formation was held under guidance of Prof. B.R.Vipper in Moscow University and in post-graduate course. Rotenberg’s PhD dissertation (1956) was devoted to realistic bases of Dutch art of the period of flourishing (Rembrandt and masters of genre painting). He is the author of works about Rembrandt and Vermeer, the monograph about development of the Dutch art including architecture, sculpture and decorative crafts. His most fundamental investigations — “West-European 17th Century Art” and “West-European 17th Century Painting. Thematic Principles” — were published in 1971 and 1989. Rotenberg analyzed Dutch school in aspects of style and non-style line and relationships between mythological and non-mythological creative conceptions in art of this epoch.
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3

Lisovich, Inna I. "Visual Representation of Scientific Corporations in European Culture of the 17th Century". Observatory of Culture, n.º 2 (28 de abril de 2014): 98–103. http://dx.doi.org/10.25281/2072-3156-2014-0-2-98-103.

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Is devoted to the comparative analysis of visual representations of scientific corporations in European painting and graphic art in the 17th century. The author reveals both organizational principles of scientific institutions and symbolic, cultural, political, scientific and social values which underpinned them.
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4

Kulakova, Olga Yu. "Dutch Flower Still Life of 17th Century: Interest and Oblivion through the Centuries". Observatory of Culture 18, n.º 5 (29 de octubre de 2021): 496–505. http://dx.doi.org/10.25281/2072-3156-2021-18-5-496-505.

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Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in the price. Still lifes and landscapes were cheaper than allegorical and historical scenes, but there were exceptions, for example, in the works of Jan Brueghel the Elder and Jan Davidsz. de Heem. Art theorists Willem van Hoogstraten and Arnold Houbraken, resting upon academic tastes, downplayed the importance of still-life painting. Meanwhile, the artists themselves, determining the worth of their paintings, sought for maximum naturalism, and such paintings were sold well.In the 20th century, this genre attracted the attention of collectors in Europe and the United States. A revival of interest in Dutch still lifes in general, and in flower ones in particular, began in the 20th century, the paintings rose in price at auctions, and collecting them became almost a fashion. Art societies and art dealers of the Netherlands and Belgium organized several small exhibitions of still lifes. The course for studying symbolic messages in still lifes, presented by Ingvar Bergström, is continued by Eddie de Jong, who emphasizes the diverse nature of symbolism in Dutch painting of the 17th century. Svetlana Alpers, on the contrary, criticizes the iconological method and presents the Dutch painting of that period as an example of visual culture. Norman Bryson’s view of Dutch still lifes is formed against the background of the development of a consumer society, economic prosperity and abundance. Finally, there has been an increasing interest in the natural science aspects of flower still-life painting in the researches of the last twenty years. Curiosity, skill, and admiration for nature are the impulses that can still be felt in the images of bouquets and fruits.
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Хребтенко, М. С. "ЗОБРАЖЕННЯ ОДЯГУ І АТРИБУТІВ СВЯТИХ В ІКОНОПИСІ ЛІВОБЕРЕЖНОЇ УКРАЇНИ ТА КИЇВЩИНИ ДРУГОЇ ПОЛОВИНИ XVII – ПЕРШОЇ ПОЛОВИНИ XVIII ст." Art and Design, n.º 2 (21 de septiembre de 2020): 129–46. http://dx.doi.org/10.30857/2617-0272.2020.2.11.

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To identify and analyze ways of depiction of clothing in the iconography of the Left Bank Ukraine and Kyiv region in the second half of the 17th - the first half of the 18th centuries. The author conducted a field exploration of painted icon monuments from the mentioned period in the collections of Ukrainian museums. The data obtained was supplemented with information from published scientific papers and archival sources. The analysis performed made it possible to trace the peculiarities of the depiction of different fabrics in the iconography of the Left Bank Ukraine and Kyiv region in the second half of the 17th – first half of the 18th centuries, and to identify the aspects of the effects on it of Byzantine and Western European painting techniques. It is revealed that in the Ukrainian icon painting till the end of the 17th century was used a method for depicting fabrics, whose roots go back to the Byzantine system of tempera painting. Although white levkas remained dominant in Ukrainian iconography, by the beginning of the 18th century masters could tone grounds and make imprimaturas, which had their influence on the process of painting clothing and the icon in general. Since about the second quarter of the 18th century the use of grisaille underpaints has been encountered in some icons. These innovations demonstrate the impact of Western European painting at the technical and technological level. Gold and silver were widely used for decorating icons. In that time to decorate the icons were widely used leaf gold and silver and powdered gold and silver. For the first time, the subject of research is the process of painting the garment part of the icons of Left-Bank Ukraine and the Kiev region in the second half of the XVII - the first half of the XVIII centuries. The methods of depicting clothing and common techniques for decorating and depicting texture of fabrics are described and analyzed in detail. The study expands knowledge about Ukrainian icon painting and reveals the technique of its creation.
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6

Sun, Jia. "A comparative study on the form and style of landscape painting in the Northern Song Dynasty and Dutch Landscape Painting in the 17th Century". Highlights in Art and Design 1, n.º 2 (25 de octubre de 2022): 55–57. http://dx.doi.org/10.54097/hiaad.v1i2.2074.

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In the history of Chinese and European painting, landscape painting in the Northern Song Dynasty and Dutch landscape painting in the 17th century have achieved important artistic achievements. Generally speaking, the meaning of comparison is to compare the commonality, difference and mutual influence of paintings produced in different contexts. The purpose of studying and comparing the differences between the two is to take the painting forms of different countries and nations as reference, so as to have a thorough understanding of the forms and styles of the two arts in different times, different regions and different cultural backgrounds.
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7

Xiao, Jie. "Literati Ingredients in the 17th-Century Chinese Christian Paintings". Religions 15, n.º 4 (22 de marzo de 2024): 383. http://dx.doi.org/10.3390/rel15040383.

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In this paper, the modification methods of the Chinese Christian painting created by the missionaries in the late Ming Dynasty (1573–1644) were analyzed with the Chinese Catholic studies of the “Song nianzhu guicheng” and the “Tianzhu Jiangsheng Chuxiang Jingjie”. After carefully studying the differences between the Chinese Christian painting and the original European version, the study shows that these Chinese Christian paintings were integrated with the Chinese literati paintings’ elements and literati symbols, which include the “Yudiancun” (raindrop texture stroke), “Pimacun” (hemp-fiber texture stroke), “landscape screen” (painted screens with natural landscapes), and the mark of Chinese famous literati such as Dong Qichang. These adjustments conducted by missionaries aimed to make religious paintings more in line with literati aesthetics, which could build connections between the missionaries and the literati community for proselytization. However, the missionaries neglected that the literati community certainly would not sacrifice the existing social order and the vested interest brought by the current Confucian culture to support new ideas of “liberty” and “equality” in the Catholic doctrine, which caused a huge setback in the missionary work since the Nanjing Teaching Case in 1616. This research makes significant contributions to the understanding of cultural exchanges in the 17th century through a detailed exploration of the adjustments made by missionaries in the visual representations within Chinese Catholic literature.
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Morein, Ksenia N. y Liudmila N. Shaymukhametova. "Ensemble Music-Making in the Mirror Reflection of 17th and 18th Century Western European Painting". ICONI, n.º 1 (2019): 135–40. http://dx.doi.org/10.33779/2658-4824.2019.1.135-140.

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During the Baroque era ensemble music-making was a favorite pastime. For the nobility and the middle class “communication by means of music” was an inherent part of life: the musical language was the means of expressing respect, presenting “musical offerings” and confessions of love. In musical competitions virtuosi demonstrated their exceptional performing skills, and high-society ladies accompanied readings of poetical works with playing the harp or the lute. The desire to make music in the form of solo or ensemble performance was shared by players on various instruments endowed with different levels of preparedness. This “social demand” resulted in the appearance of the two-staff form of notation, endowed with traits of a quasi-score, which it was customary to call the keyboard urtext. However, this music can be termed as being for the keyboard only upon the condition of their performance on the organ or the harpsichord. The structure of the “two-staff scores” from the 17th and 18th centuries possesses immense possibilities, since it presents a universal form of notation for ensemble and orchestral compositions in convolved form. As the result of the traits of the quasi-score, the baroque urtext became a unique phenomenon, a peculiar “mirror of the epoch”, which registered numerous 17th and 18th century musical instrumental clichés, scenes of music-making in duos, trios, and even images of groups of the baroque orchestra — the solo and the continuo. A sort of mirror reflecting pictures of music-making and ensemble groups was provided by the art canvases of 17th and 18th century painters.
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Naydenov, Hristo. "Mezzotint: The Halftone Effect". Visual Studies 6, n.º 2 (12 de diciembre de 2022): 185–88. http://dx.doi.org/10.54664/clvn5198.

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Compared to etching and its established visual traditions, some artists use mezzotint as a means of expression for original depiction. One of the reasons is probably that, since the time of its invention, this technique has been used especially for reproducing oil paintings in printed form. The use of tone rather than line as a characteristic means of expression and its remarkable ability to convey texture matched perfectly for its role. In addition, its velvety black and saturated shades of brown correspond to the strong contrast between light and shadow, which is characteristic of 17th-century oil painting, and to a technique that remains characteristic of European painting.
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10

Solomonea, Carmen Cecilia. "Restoration project of the mural paintings of the Dragomirna Monastery Church". CaieteARA. Arhitectură. Restaurare. Arheologie, n.º 8 (2017): 165–84. http://dx.doi.org/10.47950/caieteara.2017.8.12.

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"The main Church of the Dragomirna Monastery has its nave and altar decorated mural paintings which date back to as early as the early 17th century. These were created in the affresco technique, with areas completed in mezzo fresco, and extensive gilded surfaces. There is a wide diversity of stone-carved elements– flowers, ribs, torsade embossing, sculpted and painted shields, which cannot be found in any previous mediaeval churches in Moldavia. These elements complete the iconographic programme of the painting, which spans over 22 registers, differentiating and defining the uniqueness of Dragomirna. A series of degradations due to infiltration, which occurred over time in the upper part of the nave and the base of the bell tower, led to the architectural restoration of the Church in the ‘60s. The mural painting is first restored 400 years after its creation. The complex works were possible through the implementation of a project funded by the European Union between November 10th 2010 and February 15th 2012.The ample restauration and conservation process of the 900 square meters of mural painting highlighted its amazing original appearance and its artistic elements influenced by the techniques and chromatics of miniature painting. The interventions have been carried out in accordance with the international standards of conservation and involved a team of 50 specialists. The project ‘Dragomirna Church’s 17th Century Frescoes,Suceava, ROMÂNIA’ has been among the winners of the 2014 EU Prize for Cultural Heritage / Europa Nostra Awards in the ‘Conservation’ category. The project has received the Grand Prix and the Public Choice Award. "
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Libros sobre el tema "Painting, european – 17th century – exhibitions"

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Geijutsukan, Hokkaidōritsu Kushiro. Kareinaru 17-seiki Yōroppa kaiga: 17th century European paintings Museum John Paul II. The Carroll-Porczyński Foundation. [Tokyo]: Howaito Intānashonaru, 2004.

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Albert, Blankert, Museum Boijmans Van Beuningen (Rotterdam, Netherlands) y Städelsches Kunstinstitut (Frankfurt am Main, Germany), eds. Dutch classicism in seventeenth-century painting. Rotterdam: NAi Publishers, 1999.

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3

Pauline, Rohatgi, Patel Divia, Godrej Pheroza, Victoria and Albert Museum y Chhatrapati Shivaji Maharaj Vastu Sangrahalaya., eds. Indian life and landscape by western artists: An exhibition of paintings and drawings from the 17th to the early 20th century. Mumbai: Chhatrapati Shivaji Maharaj Vastu Sangrahalaya in association with V & A, London, 2008.

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Pauline, Rohatgi, Patel Divia, Godrej Pheroza, Victoria and Albert Museum y Chhatrapati Shivaji Maharaj Vastu Sangrahalaya., eds. Indian life and landscape by western artists: An exhibition of paintings and drawings from the 17th to the early 20th century. Mumbai: Chhatrapati Shivaji Maharaj Vastu Sangrahalaya in association with V & A, London, 2008.

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Pauline, Rohatgi, Patel Divia, Godrej Pheroza, Victoria and Albert Museum y Chhatrapati Shivaji Maharaj Vastu Sangrahalaya., eds. Indian life and landscape by western artists: An exhibition of paintings and drawings from the 17th to the early 20th century. Mumbai: Chhatrapati Shivaji Maharaj Vastu Sangrahalaya in association with V & A, London, 2008.

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Parlett, Graham, Pheroza Godrej, Pauline Rohatgi, Shirley Imray y Behroze J. Bilimoria. Indian life and landscape by Western artists: Paintings and drawings from the Victoria and Albert Museum : 17th to the early 20th century. Mumbai: Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, 2008.

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M, Helmus Liesbeth, Groot Arie de, Saenredam Pieter Jansz 1597-1665, Centraal Museum (Utrecht Netherlands) y J. Paul Getty Museum, eds. Pieter Saenredam, the Utrecht work: Paintings and drawings by the 17th-century master of perspective. Los Angeles, CA: J. Paul Getty Museum, 2002.

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Grit͡saĭ, Natalʹi͡a Ivanovna. The State Hermitage Museum catalogue of Flemish painting: 17th-18th centuries. New Haven: Yale University Press, 2006.

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Sarah, Faunce, Strick Jeremy, National Gallery of Art (U.S.), Brooklyn Museum y St Louis Art Museum, eds. In the light of Italy: Corot and early open-air painting. Washington: National Gallery of Art, 1996.

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10

Buvelot, Quentin. A choice collection: Seventeenth-century Dutch paintings from the Frits Lugt Collection. Zwolle: Waanders, 2001.

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Capítulos de libros sobre el tema "Painting, european – 17th century – exhibitions"

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"Pieter Codde and the Industry of Copies in 17th-century Dutch Painting". En The Primacy of the Image in Northern European Art, 1400–1700, 564–71. BRILL, 2017. http://dx.doi.org/10.1163/9789004354128_043.

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Poddubtsev, Ruslan A. "The Newspaper Nov’ and the Supplement Utrennij Telefon “Novi”: List of Contents". En Russian Literature and Journalism in the Pre-revolutionary Era: Forms of Interaction and Methodology of Analysis, 562–681. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0661-1-562-681.

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This work is a list of the contents of the daily newspaper Nov’, as well as the accompanying supplement Utrennij telefon “Novi”. The objects of attention were publications that touch upon topics related to literature, music, painting, theater, architecture, sculpture and philosophy. The pages of a relatively short-lived newspaper reflected, in particular, such events as the arrival in Moscow of F. Marinetti, H. Wells, G. Kogan, the protest actions of European suffragettes, the exclusion of V. Rozanov from the Religiousphilosophical society, the centenary anniversary of T. Shevchenko, the return of M. Gorky to Russia and exhibitions of avant-garde artists. This indicates that the Nov’ newspaper can be used as a valuable source for the study of Russian culture at the beginning of the 20th century.
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Letkiewicz, Ewa. "Naga Wenus – obraz Alegoria triumfu Wenus Agnola Bronzina". En Nagość i odzienie, 59–75. Wydawnictwo Avalon Sp. z o.o., 2022. http://dx.doi.org/10.55288/9788377305812.05.

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The attention of visitors to National Gallery in London is attracted to the image of a naked woman whose unnaturally positioned body, painted in white hue of cold, metallic glow, fills up the field of the picture (photo 1). The multiplicity of props and figures in the background, including different allegorical topics, mythological allusions, so jointly it creates a complex image, which is difficult to interpret unambiguously. The author of this intriguing work is Agnolo di Cosimo di Mariano, known as Agnolo Bronzino (1503–1572). Exhibitions presenting his achievements, undertaken after the year 2010, revived the discussions on the legacy of one of the greatest Italian 16th century artists of unusually rich, unfettered imagination. Agnolo Bronzino’s successes attracted the attention of Cosimo I the Medici and his wife Eleanor of Toledo, for whom he started working in 1540. On their commission, between 1540–1545 he made a painting that has been surprising until today and one of the most famous ones in the European art, the pride of the National Gallery in London. The work was designed for a diplomatic gift for the ruler of France, king Francois I. What is surprising in the painting, except many enigmatic figures, is the nudity of the goddess Venus, her unreal, metallic color, the smooth surface of her body, resembling enamel or china. Unfortunately, the reports concerning reception of the painting on the French court are unknown, but we can suppose that the king liked it, because it became his strictly private property.
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Actas de conferencias sobre el tema "Painting, european – 17th century – exhibitions"

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Plastova, T. "PROBLEMS OF THE EXPOSITION OF PAINTINGS OF THE XXTH C. EXHIBITION EXPERIENCE OF A. PLASTOV'S PAINTINGS". En Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2543.978-5-317-06726-7/48-50.

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The article is devoted tothe problems of XX century art exposition. The experience of A. Plastov exhibitions and the analysis of principles of European museums expositions allowed us to formulate some principles of XX century painting representation.
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2

Гришин, Р. В. y Д. А. Гребенникова. "THE MEANING OF LIGHT IN THE WORKS OF MICHELANGELO MERISI DA CARAVAGGIO". En Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.62.

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Свет в творчестве Караваджо традиционно воспринимается как образно- пластическое средство. В результате же настоящего исследования обнаруживается философскоэстетическая нагрузка света в работах итальянского художника, реформатора европейской живописи XVII в., основателя реализма в живописи, одного из крупнейших мастеров барокко. С помощью хронологического метода выявлены предпосылки формирования художественного языка Караваджо, проработана проблема интерпретации света. Light in Caravaggio’s work is traditionally perceived as a figurative and plastic means. As a result of this research, the philosophical and aesthetic load of light is revealed in the works of the Italian artist, reformer of European painting of the 17th century, founder of realism in painting, one of the greatest masters of the Baroque. Using the chronological method, the prerequisites for the formation of Caravaggio’s artistic language were identified, and the problem of interpreting light was worked out.
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