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Littérature scientifique sur le sujet « Art, European – 18th century »

Auteur : Grafiati

Publié le 10 mars 2023

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Articles de revues sur le sujet "Art, European – 18th century"

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Ponte, Alessandra, and Georges Teyssot. "18th-Century Air Conditioning and Purifying: Homage to Carl B. Wadström and George Kubler." Architext 9 (2021): 8–16. http://dx.doi.org/10.26351/architext/9/1.

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The paper presents a compelling early example of mechanical air conditioning for the dwellings of Europeans in a colony in West Africa at the end of the 18th century. The scheme was published by the Swedish engineer and abolitionist Carl B. Wadström in An Essay on Colonization (1794–1795), a well-informed compendium of the strategies and politics of colonization implemented by European powers. Wadström’s ingenious air-conditioned house appeared in a 1944 article by the eminent art historian George Kubler under the title “The Machine for Living in 18th-Century West Africa.”

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Klyushina, Elena V. "Rhino mania in the Western European Art of the 18th Century." Actual Problems of Theory and History of Art 8 (2018): 28–37. http://dx.doi.org/10.18688/aa188-1-2.

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Almelek İşman, Sibel. "Portrait historié: Ladies as goddesses in the 18th century European art." Journal of Human Sciences 14, no. 1 (2017): 396. http://dx.doi.org/10.14687/jhs.v14i1.4198.

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Portrait historié is a term that describes portrayals of known individuals in different roles such as characters taken from the bible, mythology or literature. These portraits were especially widespread in the 18th century French and English art. In the hierarchy of genres established by the Academy, history painting was at the top and portraiture came next. Artists aspired to elevate the importance of portraits by combining it with history. This article will focus on goddesses selected by history portrait artists. Ladies of the nobility and female members of the royal families have been depicted as goddesses in many paintings. French artists Nicolas de Largillière, Jean Marc Nattier and Louise Élisabeth Vigée Le Brun; English artists George Romney and Sir Joshua Reynolds can be counted among the artists working in this genre. Mythological figures such as Diana, Minerva, Venus, Hebe, Iris, Ariadne, Circe, Medea, Cassandra, Muses, Graces, Nymphs and Bacchantes inspired the artists and their sitters. Ladies were picturised with the attributes of these divine beings.

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Karyakina, Tatyana Dmitrievna. "The Allegorical and Symbolic Meaning in West European Porcelain Craft of the 18th Century." Исторический журнал: научные исследования, no. 2 (February 2020): 30–37. http://dx.doi.org/10.7256/2454-0609.2020.2.32607.

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The article takes a look at the works of various porcelain manufactories: Italian Docchia, German Meissen and Nymphenburg, Viennese and French S&egrave;vres. These works are subject to allegorical interpretation and symbolic meaning. This content feature is one of the characteristic features of Baroque and Rococo art. The author pays particular attention to the identification of allegorical attributes and specific elements of form and decor that carry symbolic meaning. Porcelain artifacts, the authors of which are prominent European masters (Soldani, K&auml;ndler, Eberlein, Bustelli, Niedermeier and Fournier), are examined in detail. These kinds of decorative and applied arts reflected the unique worldview of a person living in the 18th century - the period of Enlightenment. The following methods of art history laid the foundation for this study: the formal-stylistic and iconological analyses of porcelain artifacts, which enabled the author to identify the semantic content of examined images. The scientific novelty of this article lies in the fact that for the first time in Russian art studies, a comprehensive study of the works of 18th-century porcelain crafts from different countries was carried out in order to identify their symbolic meanings. A detailed study of these works gives the author reason to conclude that bestowing artifacts with symbolic content is characteristic of Baroque and Rococo art, and that these works reflected one of the features of the figurative art system of the 18th century.

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Портнова, Ирина. "Russian Animalier Art in the XVIII- XIX Centuries in the Context of European Schools: The Origins and Nature of Development." Space and Culture, India 9, no. 1 (2021): 50–65. http://dx.doi.org/10.20896/saci.v9i1.1135.

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This study delves into the process of development of Russian animal art of the 18th-19th Centuries. The primary purpose of the research was to make a review of these two historical periods, which determined the typical features of the early and mature periods of development of animal art in Russia—the time of the birth and development of the genre. According to the author, genre issues are important, and talking about it is necessary to define the image of the animalistic nature in all its specificity. In addition, it is noted that researchers do not characterise the stage of early Animalism, which first appeared in the 18th Century, sufficiently. Nevertheless, this genre has demonstrated all the love of artists for the real perception of the natural world and their sincere will to create its truthful and reliable reflection in their works. This tendency is typical for Western European Art. At the same time, it has been explicitly expressed in the works of Russian animal artists. Compared with European Animal Art of the 17th-18th Centuries, Russian ‘Kunstkammer drawing’ and how the class of ‘animal and birds’ was organised looked like a real innovation. These two factors have contributed to the creation of a full-fledged animalistic image. The author underlines that the main principle of imitation of nature was at the basis of teaching in the Russian school. It eventually led to the formation of the genre with its complex, distinctive features. These unique features was observed in the animal art of the 19th Century, mainly in the form of hippique images. Nevertheless, there was an attempt to combine two separated historical periods— the 18th and 19th Centuries, which demonstrated different images, approaches (animal naturalia of the 18th Century and horse characters of the 19th Century). The author, here, tends to talk about Russian Animalism of the 19th Century, one of the most explored ones. Doing so underlines the importance of animal art of the two periods as a historically conditioned cultural phenomenon in the relationship between genres of Fine Art and trends of the time. The historical and artistic method made it possible to identify the connection between these two eras in which Animalism was expressed significantly. Its originality is that it combined two diverse eras into one national whole. Submitted: December 20, 2020; Revised: 12 February 2021; Accepted: 8 April 2021

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Spalva, Rita. "Ballet Art Reforms During the Enlightenment." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 17, 2015): 436. http://dx.doi.org/10.17770/sie2015vol2.427.

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<p><strong>T<em>he article focuses on</em></strong><em> identifying the essence of the 18th century ballet reform within the context of contemporary ballet art. <strong>The chosen topic </strong>is explored through the monographs of Sergey Hudekov and Vera Krasovska, works of Jury Sloņimsky, Richard Kraus, Sarah Chapman Hilsendager, Brenda Dixon, B. and other dance researchers. In Latvia this topic has been addressed by R. Spalva in the monograph Classical Dance and Ballet in European Culture. <strong>The aim of the article </strong>is to analyse preconditions of 18th century ballet reforms, as well as to recognise the essence of reforms and their impact upon further development of ballet art. <strong>Research subject </strong>- ballet reforms of the Enlightenment era and contribution of Jean-Georges Noverre to their realisation. <strong>Research methods </strong>- scientific literature analysis, dance theory and history research. </em></p>

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Neglinskaya, M. A. "Часовая коллекция Цяньлуна (1736–1795): первое собрание европейского искусства в Китае". Iskusstvo Evrazii [The Art of Eurasia], № 4(19) (30 грудня 2020): 168–75. http://dx.doi.org/10.46748/arteuras.2020.04.014.

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Many of European clocks in the Beijing’s Palace Museum (Gugong) were made in second half of the 18th century, by the Qing Emperor Qianlong’s governing (1736–1795), when an exotic “Chinese style” (chinoiserie) in the decorative arts was at its height. The research methodology proposed below, which combines art history and cultural analysis, allows us to see, that the Palace Collection’s mix determined evolution of the clock’s industry in China and some European lands, who took part in the international clock and watch market. In forms and decor of Chinese clocks the 18th century were reflected the change of European market. Together with western mechanical clock, being at the same time scientific device and work of decorative art, the European styles system was by ritual participation admitted in China. В статье показано, что западная часовая коллекция Цяньлуна (1736–1795), явившаяся первым в империи Цин (1644–1911) собранием произведений европейского искусства, связана с художественным рынком и феноменом шинуазри. Предложенная ниже методология, сочетающая искусствоведческий и культурологический подходы, позволяет увидеть, что состав этой коллекции повлиял на развитие производства механических часов в самом Китае и западных странах — участницах международного рынка искусств XVIII века. Собирательство механических хронометров в государстве Цин было обусловлено ритуализацией часов, устранившей проблему дуализма китайского и западного начал в цинской культуре и искусстве.

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Malik, Jamal. "Muslim Culture and Reform in 18th Century South Asia." Journal of the Royal Asiatic Society of Great Britain & Ireland 13, no. 2 (2003): 227–43. http://dx.doi.org/10.1017/s1356186303003080.

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AbstractUsually the European perception of South Asia and, related to it, academic research into this region, is informed by specific, powerful images and metaphors that establish a dichotomisation of the world. The reasons for this development cannot be analysed in detail here. Suffice it to say, however, that this organisation and designation of the world has deep roots. Until the Reformation, Europe was basically perceived only in terms of geographical boundaries. But the dichotomy between “Europe” and “Asia” acquired a new dimension in the seventeenth and eighteenth centuries, when, in the wake of a change of paradigm into modernity, European self-consciousness gradually developed into a sense of European intellectual superiority. Just as a new form of collective identity had developed within the boundaries of Europe, based on the idea of “nation” in the late eighteenth century, and just as the members of the early nation-states forcibly dissociated themselves by definition from members of other societies in order to be able to establish their own identity, now, with the same intention, though on a different level, Europeans dissociated themselves from “Asia”, the “Orient” and “Islam”. The political recollection of important master narratives kept the mythical fictions in mind and imbued the nation-building process with enormous real power. This development towards a modern European identity was based, as can be deduced from many travellers' testimonies, on the history of reception, reciprocal perceptions, and the development of enemy images. In this process, the Orient and the Orientals were also used by Europeans as a didactic background for the critique of their own (European) urban societies. The literary technique of contextual alienation and distancing, such as can be found in Montesquieu's “Persian Letters”, was born in this period. These and following processes of projection were connected among others things with the fact that Europeans, as colonial masters, advanced to confront the world outside Europe. There they were faced with attitudes and norms that forced them to question their own perceptions. In doing so, they also tended to accept some of these strange and different ideas, and, thus, exposed themselves to cultural hybridisation which could then only be overcome by the reconstructing of their own culture as something “pure”, in contrast to the “degenerate” culture of the colonialised. In this way, collective antagonisms developed. Even the Oriental crusades that had been critically evaluated by European academicians, were now for the first time perceived in terms of cultural clash. Analogously, Europe and Asia were constructed in the eighteenth century and very predominantly in the nineteenth century in terms of arenas of power politics. For instance, it was during this time that the eastern borders of Europe were conceptualised, with the Balkans and Transoxania being considered as buffers or gaps between the two.

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Pérez-Jiménez, Aurelio. "The Lamp of Anaxagoras (Plu., Per. 16.8-9) and its Reception in the Art of the 17th-19th centuries." Ploutarchos 14 (October 30, 2017): 69–106. http://dx.doi.org/10.14195/0258-655x_14_4.

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In this article I follow the trails wich the famous anecdote of Anaxagoras, Pericles and the lamp (Plu., Per. 16.8-9) has let in European art of the last centuries. I will comment the details of different artistic pieces from the17th century emblematic and from Neoclassical painting and sculpture of the 18th and 19th Centuries, as well as some 19th French ‘pendules’, to put in value the importance that this anecdote has had in European art, due to its didactic strength and to its litterary plasticity.

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Fekete, Albert, and Peter Gyori. "Chinese pavilions in the early landscape gardens of Europe." Landscape architecture and art 18 (October 7, 2021): 78–87. http://dx.doi.org/10.22616/j.landarchart.2021.18.08.

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The image of China perceived by the Europeans in the 17th to 18th century was based on the travelogues of the travellers and missionaries. Despite the fact that the first descriptions did not include any pictures of the world, people and landscapes described, the far exotic country with its history and tangible heritage became very popular. This article deals with Chinese pavilions (pagodas, teahouses) built in the early European landscape gardens before 1750 without any architectural plans, using only sketches based on descriptions and travelogues, since in the first half of the 18th century, no relevant technical guidance was available yet. The structures reviewed started to be used frequently in European gardens and public parks from 1750’s, having an inevitable influence on the garden pavilions built from the second half of the 18th century, and indirectly to the image and character of some influential gardens in European context. Moreover, through their craggy appearance, the Chinese pavilions – as eye catchers – played an accentuated compositional and spatial role too in the European garden history.

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Thèses sur le sujet "Art, European – 18th century"

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Schneider, Leann G. "Capturing Otherness on Canvas: 16th - 18th century European Representation of Amerindians and Africans." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437430892.

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Abel, Jonathan 1985. "Jacques-Antoine-Hippolyte, Comte De Guibert: Father of the Grande Armée." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700071/.

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Jacques-Antoine-Hippolyte, comte de Guibert (1743-1790) dedicated his life and career to creating a new doctrine for the French army. Little about this doctrine was revolutionary. Indeed, Guibert openly decried the anarchy of popular participation in government and looked askance at the early days of the Revolution. Rather, Guibert’s doctrine marked the culmination of an evolutionary process that commenced decades before his time and reached fruition in the Réglement of 1791, which remained in force until the 1830s. Not content with military reform, Guibert demanded a political and social constitution to match. His reforms required these changes, demanding a disciplined, service-oriented society and a functional, rational government to assist his reformed military. He delved deeply, like no other contemporary writer, into the linkages between society, politics, and the military throughout his career and his writings. Guibert exerted an overwhelming influence on military thought across Europe for the next fifty years. His military theories provided the foundation for military reform during the twilight of the Old Regime. The Revolution, which adopted most of Guibert’s doctrine in 1791, continued his work. A new army and way of war based on Guibert’s reforms emerged to defeat France’s major enemies. In Napoleon’s hands, Guibert’s army all but conquered Europe by 1807. As other nations adopted French methods, Guibert’s influence spread across the Continent, reigning supreme until the 1830s. This dissertation adopts a biographical approach to examine Guibert’s life and influence on the creation of the French military system that led to Napoleon’s conquest of Europe. As no such biography exists in Anglophone literature, such a work will fill a crucial gap in understanding French military success to 1807. It examines the period of French military reform from 1760 to the creation and use of Napoleon’s Grande Armée from 1803 to 1807, illustrating the importance of Guibert’s systemic doctrine in the period. Moreover, the work argues that Guibert belongs in the ranks of authors whose works exerted a primary influence on the French Enlightenment and Revolution by establishing Guibert as a “Great Man” of the Republic of Letters between 1770 and his death in 1790.

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Weiss, Victoria A. "Food and the Master-Servant Relationship in Eighteenth and Nineteenth-Century Britain." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984138/.

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This thesis serves to highlight the significance of food and diet in the servant problem narrative of eighteenth and nineteenth-century Britain and the role of food in master-servant relationships as a source of conflict. The study also shows how attitudes towards servant labor, wages, and perquisites resulted in food-related theft. Employers customarily provided regular meals, food, drink, or board wages and tea money to their domestic servants in addition to an annual salary, yet food and meals often resulted in contention as evidenced by contemporary criticism and increased calls for legislative wage regulation. Differing expectations of wage components, including food and other perquisites, resulted in ongoing conflict between masters and servants. Existing historical scholarship on the relationship between British domestic servants and their masters or mistresses in context of the servant problem often tends to place focus on themes of gender and sexuality. Considering the role of food as a fundamental necessity in the lives of servants provides a new approach to understanding the servant problem and reveals sources of mistrust and resentment in the master-servant relationship.

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Gilbert, Bennett. "Some Neglected Aspects of the Rococo: Berkeley, Vico, and Rococo Style." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1872.

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The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley's views of the perfect contingency of the world and on Vico's theories of truth and ingenium. A reading of Diderot's critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu's aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as a pre-cinematic effects that represent the non-material, non-causal deep structure of reality.

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Jarrett, Nathaniel W. "Collective Security and Coalition: British Grand Strategy, 1783-1797." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984129/.

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On 1 February 1793, the National Convention of Revolutionary France declared war on Great Britain and the Netherlands, expanding the list of France's enemies in the War of the First Coalition. Although British Prime Minister William Pitt the Younger had predicted fifteen years of peace one year earlier, the French declaration of war initiated nearly a quarter century of war between Britain and France with only a brief respite during the Peace of Amiens. Britain entered the war amid both a nadir in British diplomacy and internal political divisions over the direction of British foreign policy. After becoming prime minister in 1783 in the aftermath of the War of American Independence, Pitt pursued financial and naval reform to recover British strength and cautious interventionism to end Britain's diplomatic isolation in Europe. He hoped to create a collective security system based on the principles of the territorial status quo, trade agreements, neutral rights, and resolution of diplomatic disputes through mediation - armed mediation if necessary. While his domestic measures largely met with success, Pitt's foreign policy suffered from a paucity of like-minded allies, contradictions between traditional hostility to France and emergent opposition to Russian expansion, Britain's limited ability to project power on the continent, and the even more limited will of Parliament to support such interventionism. Nevertheless, Pitt's collective security goal continued to shape British strategy in the War of the First Coalition, and the same challenges continued to plague the British war effort. This led to failure in the war and left the British fighting on alone after the Treaty of Campo Formio secured peace between France and its last continental foe, Austria, on 18 October 1797.

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Baker, Daniel Alexander. "Technologies of encounter : exhibition-making and the 18th century South Pacific." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13703/.

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Between 1768 and 1780 Captain James Cook led three epic voyages from Britain into the Pacific Ocean, where he and his fellow explorers- artists, naturalists, philosophers and sailors, were to encounter societies and cultures of extraordinary diversity. These 18th Century South Pacific encounters were rich with performance, trade and exchange; but they would lead to the dramatic and violent transformation of the region through colonisation, settlement, exploitation and disease. Since those initial encounters, museums in Britain have become home to the images and artefacts produced and collected in the South Pacific; and they are now primary sites for the representation of the original voyages and their legacies. This representation most often takes the form of exhibitions and displays that in turn choreograph and produce new encounters with the past, in the present. Drawing on Alfred Gell's term 'technologies of enchantment' my practice reconceives the structures of exhibitions as 'technologies of encounter': exploring how they might be reconfigured to produce new kinds of encounter. Through reflexive practice I critically engage with museums as sites of encounters, whilst re-imagining the exhibition as a creative form. The research submission takes the form of an exhibition: an archive of materials from the practice, interwoven with a reflective dialogue in text. The thesis progresses through a series of exhibition encounters, each of which explores a different approach to technologies of encounter, from surrealist collage (Cannibal Dog Museum) and critical reflexivity (The Hidden Hand), to a conversational mode (Modernity's Candle and the Ways of the Pathless Deep).

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Tsang, Wing-yi. "Jewish imagery and orientalism in nineteenth and early twentieth century European art." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B40040355.

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Tsang, Wing-yi, and 曾穎怡. "Jewish imagery and orientalism in nineteenth and early twentieth century European art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B40040355.

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Turner, Grace S. "An Allegory for Life: An 18th century African-influenced cemetery landscape, Nassau, Bahamas." W&M ScholarWorks, 2013. https://scholarworks.wm.edu/etd/1539623360.

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I use W.E.B. Du Bois' reference to the worlds 'within and without the veil' as the narrative setting for presenting the case of an African-Bahamian urban cemetery in use from the early eighteenth century to the early twentieth century. I argue that people of African descent lived what Du Bois termed a 'double consciousness.' Thus, the ways in which they shaped and changed this cemetery landscape reflect the complexities of their lives. Since the material expressions of this cemetery landscape represent the cultural perspectives of the affiliated communities so changes in its maintenance constitute archaeologically visible evidence of this process. Evidence in this study includes analysis of human remains; the cultural preference for cemetery space near water; certain trees planted as a living grave site memorial; butchered animal remains as evidence of food offerings; and placement of personal dishes on top of graves.;Based on the manufacture dates for ceramic and glass containers African-derived cultural behavior was no longer practiced after the mid-nineteenth century even though the cemetery remained in use until the early twentieth century. I interpret this change as evidence of a conscious cultural decision by an African-Bahamian population in Nassau to move away from obviously African-derived expressions of cultural identity. I argue that the desire for social mobility motivated this change. Full emancipation was granted in the British Empire by 1838. People of African descent who wanted to take advantage of social opportunities had to give up public expressions of African-derived cultural identity in order to participate more fully and successfully in the dominant society.

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Hennings, Jan. "Russian diplomatic ceremonial and European court cultures 1648-1725." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609625.

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Livres sur le sujet "Art, European – 18th century"

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Humana fragilitas: The themes of death in Europe from the 13th century to the 18th century. Ferrari editrice, 2002.

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Russia) Antikvariat na Sofiĭskoĭ (Moscow. Iskusstvo Rossii i Zapadnoĭ Evropy XVIII - XX Vekov: Russian & European 18th - 20th Century Art. ZAO "Antik-Biznes-Tsentr, ", 2002.

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Shearer, West, ed. Italian culture in northern Europe in the eighteenth century. Cambridge University Press, 1998.

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Italy) Paolo Antonacci (Gallery : Rome. Landscapes of the Grand Tour: From the late 18th to the 19th century. Paolo Antonacci, 2011.

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Kirsi, Eskelinen, Sinebrychoffin taidemuseo, and Valtion taidemuseo (Finland), eds. Magiasta lääketieteeseen: Tiede ja usko 1500-1700 -luvun taiteessa = From magic to medicine : science and belief in 16th to 18th century art. Sinebrychoffin taidemuseo, 2004.

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Gallery, Winnipeg Art. The decorative element: British earthenware, mid 18th-early 20th century : collection of the Winnipeg Art Gallery. The Gallery, 2000.

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Ischia in the memoirs and vedute of 18th and 19th-Century foreign travellers. Grimaldi & C. editori, 2019.

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1917-, Collard Elizabeth, ed. The translucent quality: English porcelain from 18th century beginnings : collection of the Winnipeg Art Gallery. Winnipeg Art Gallery, 2002.

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dir, Álvarez Barrientos Joaquín, ed. Don Quijote: Tapices españoles del siglo XVIII = 18th century spanish tapestries : Meadows Museum, Dallas, EEUU, septiembre-noviembre, 2005 : Museo de Santa Cruz, Toledo, España. Ediciones El Viso, 2005.

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Draper, James David. Playing with fire: European terracotta models, 1740-1840. Yale University Press, 2004.

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Chapitres de livres sur le sujet "Art, European – 18th century"

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Al-Attar, Iman. "European Involvement in the 18th Century." In A Glimpse at the Travelogues of Baghdad. Routledge, 2022. http://dx.doi.org/10.4324/b23141-6.

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Křupková, Lenka. "“Ideologically Progressive Art” Meets Western Avant-Garde." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century). Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch10.

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Křupková, Lenka. "“Ideologically Progressive Art” Meets Western Avant-Garde." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century). Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch10.

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Atanasovski, Srđan. "Allies in Music: French Influence and Role Models in the Cvijeta Zuzorić Association of Friends of Art." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century). Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch6.

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Atanasovski, Srđan. "Allies in Music: French Influence and Role Models in the Cvijeta Zuzorić Association of Friends of Art." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century). Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch6.

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Hessenbruch, Arne. "Bottlenecks: 18th Century Science and the Nation State." In The Spread of the Scientific Revolution in the European Periphery, Latin America and East Asia. Brepols Publishers, 1999. http://dx.doi.org/10.1484/m.dda-eb.4.00422.

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Müller, Leos. "Swedish Trade and Shipping in the Mediterranean in the 18th Century." In Atti delle «Settimane di Studi» e altri Convegni. Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-857-0.23.

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This paper analyses the rise of Swedish trade and shipping in the Mediterranean in the eighteenth century. It focuses on three factors that shaped Sweden’s role in the area: foreign policy interest, foreign trade policy (mercantilism), and commodity demand and supply. The foreign policy interest is represented by attempts to build an alliance with the Ottoman Empire against Russia. An outcome of this was the short-lived Swedish Levant Company. The second factor relates to Sweden’s mercantilist policy in the Mediterranean, embodied in the Swedish Navigation Act, trade and peace treaties with the North-African states, and the consular services in southern Europe. Sea salt was in the core of this policy—a strategic commodity in northern Europe. Southern Europe, too, was important market for Swedish exports goods: iron, tar and pitch, and planks.

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Carneiro, Ana, Ana Simões, and Paula Diogo. "Science in 18th Century Portugal: The Naturalist Correia da Serra." In The Spread of the Scientific Revolution in the European Periphery, Latin America and East Asia. Brepols Publishers, 1999. http://dx.doi.org/10.1484/m.dda-eb.4.00427.

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Lafuente, Antonio, and Juan Pimentel. "Local and Global Science in the 18th Century Hispanic World." In The Spread of the Scientific Revolution in the European Periphery, Latin America and East Asia. Brepols Publishers, 1999. http://dx.doi.org/10.1484/m.dda-eb.4.00431.

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Glaister, Helen. "Chinese Porcelain in European Style." In Chinese Art Objects, Collecting, and Interior Design in Twentieth-Century Britain. Routledge, 2022. http://dx.doi.org/10.4324/9781003230779-1.

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Actes de conférences sur le sujet "Art, European – 18th century"

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Dima, Gabriela. "WESTERN EUROPEAN GEOGRAPHICAL KNOWLEDGE OF THE ROMANIAN PRINCIPALITIES IN THE 18TH CENTURY." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s26.057.

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Dima, Gabriela E. "PETER THE GREAT OF RUSSIA AND CHARLES XII OF SWEDEN IN THE 18TH CENTURY ROMANIAN TRANSLATIONS OF WESTERN EUROPEAN HISTORY BOOKS." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b31/s10.049.

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Mengel, Swetlana. "The cultural-lingustic situation in Russia from the end of the 17th until the first third of the 18th century in prospects of foreign first Russian grammar-authors." In Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.16.

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The lecture addresses the sight of foreign first Russian grammar-authors on the cultural-lingustic situation in Russia from the end of the 17th until the first third of the 18th century. It takes a closer look at the first grammar-models of Russian language codifi cations, which are based on West European grammatical traditions and individual decisions.

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Carneiro De Carvalho, Vânia. "Decoration and Nostalgia - Historical Study on Visual Matrices and Forms of Diffusion of Fêtes Galantes in the 20th Century." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001365.

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In São Paulo/Brazil, between the years 1950 and 1980, porcelain sculptures representing courtesy scenes were fashionable in wealthy and middle-class homes. Several Brazilian factories started to produce such images and many others were imported, the most of them from Germany. These representations were inspired by the fêtes gallants, a rococo style genre from the 18th century. Factories like Meissen, Limoges and Capodimonte produced thousands of copies which circulated in Western Europe and the Russian Empire. During the 19th century, from French institutional policies, the fêtes galantes were revalued along with the recovery of the rococo. This political and cultural movement resulted not only in domestic interiors decorated with authentic pieces from the 18th century gathered together by collectors, but also in the production of new objects. Following decorative practices, studies anachronistically reclassified 18th artisans as artists, constructing their biographies, circumscribing their peculiarities, and identifying their works. Many pieces from the privates collections ended in museums. The porcelain aristocratic figures won the world and are produced until today. It was at the end of the 19th century, in the region of Thuringia, that the technique of lace porcelain emerged. Produced by women in a male-dominated environment, the technique involved the use of cotton fabric soaked with porcelain mass which was then sewed and molded over the porcelain bodies of male and female figures. After that, the piece was placed in the oven at high temperature, burning the fabric and leaving the lace porcelain. It is significant and relevant for the purposes of this research that the lace porcelain technique was never recognized as a object of interest by the academic literature on porcelain. It is likely that the presence of the female labor, the practice of sewing and the use of fabric have been interpreted by the male academic and amateur elite as discredit elements. Added to this, the lace porcelain became very popular in the 20th century. The reinterpretation of rococo in the 20th century was also understood as a lack of artistic inventiveness associated with marketing interests, which resulted in the marginalization of these sculptures. What is proposed here is to study these objects as pieces of domestic decoration practices, recognizing in them capacities to act on the production of social, age and gender distinctions. I intend, therefore, to demonstrate how these small and seemingly insignificant objects were associated with decorative practices of fixing women in the domestic space in Brazil during the 20th century. They acted not alone but in connection with other contemporary phenomena such as post-war fashion, the glamorization of personalities from the American movie and European aristocracy and the rise of Disney movies, which promoted the gallant pair as a romantic idea for children in the western world.

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Themelis, Nickolas J. "Current Status of Global WTE." In 20th Annual North American Waste-to-Energy Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/nawtec20-7061.

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This paper is based on data compiled in the course of developing, for InterAmerican Development Bank (IDB), a WTE Guidebook for managers and policymakers in the Latin America and Caribbean region. As part of this work, a list was compiled of nearly all plants in the world that thermally treat nearly 200 million tons of municipal solid wastes (MSW) and produce electricity and heat. An estimated 200 WTE facilities were built, during the first decade of the 21st century, mostly in Europe and Asia. The great majority of these plants use the grate combustion of as-received MSW and produce electricity. The dominance of the grate combustion technology is apparently due to simplicity of operation, high plant availability (>90%), and facility for training personnel at existing plants. Novel gasification processes have been implemented mostly in Japan but a compilation of all Japanese WTE facilities showed that 84% of Japan’s MSW is treated in grate combustion plants. Several small-scale WTE plants (<5 tons/hour) are operating in Europe and Japan and are based both on grate combustion and in implementing WTE projects. This paper is based on the sections of the WTE Guidebook that discuss the current use of WTE technology around the world. Since the beginning of history, humans have generated solid wastes and disposed them in makeshift waste dumps or set them on fire. After the industrial revolution, near the end of the 18th century, the amount of goods used and then discarded by people increased so much that it was necessary for cities to provide landfills and incinerators for disposing wastes. The management of urban, or municipal, solid wastes (MSW) became problematic since the middle of the 20th century when the consumption of goods, and the corresponding generation of MSW, increased by an order of magnitude. In response, the most advanced countries developed various means and technologies for dealing with solid wastes. These range from reducing wastes by designing products and packaging, to gasification technologies. Lists of several European plants are presented that co-combust medical wastes (average of 1.8% of the total feedstock) and wastewater plant residue (average of 2% of the feedstock).

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Boldureanu, Ana, and Gheorghe Postică. "Monedele otomane din complexele funerare de la Mănăstirea Căpriana." In Cercetarea și valorificarea patrimoniului arheologic medieval. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.37710/idn-c12-2022-190-203.

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The authors present the coins discovered during the archaeological excavations carried out in 1993, 2001-2003, 2005-2008 and 2016. During the archaeological excavations at the Căpriana Monastery, 132 coins were discovered in the necropolis of the founders inside the Church of the Dormition of the Mother of God, within the filling soil under the floor of the church, in the necropolis around the church, in the wall of a building located to the west of the church, as well as in the cultural layer around the church. A total of 36 coins discovered inside the church come from 10 graves and its cultural layer, while the coins discovered in the necropolis around the church come from 7 graves. From the total number of 88 investigated graves, coins were discovered in 17 burial complexes (19%). Most of the graves contain a single coin, in grave 39 2 coins were found, in grave 56 24 pieces were deposited, representing a small treasure, and in another case (grave 18) a monetary deposit consisting of 83 coins was found. The coins deposited in graves represent several monetary areas. The European ones are issues of the Kingdom of Poland and the Holy German Empire issued starting from the third decade of the 16th century and up to 1627. Most of the coins from Căpriana come from the Ottoman Empire, representing coins issued in the 18th century, but also two copies with a large denomination - ikilik, issued by Selim III, being the most recent coins from the tombs.

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Helmerich, Rosemarie. "How to assess historic iron and steel bridges." In IABSE Conference, Copenhagen 2018: Engineering the Past, to Meet the Needs of the Future. International Association for Bridge and Structural Engineering (IABSE), 2018. http://dx.doi.org/10.2749/copenhagen.2018.468.

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The early industrialization process required a higher and higher developed infrastructure to transfer more and more people and goods. These requirements lead to the development of new materials that can resist the higher loading, to advances in mechanical engineering, more sophisticated calculation methods and transfer of all these advances to infrastructure to build longer spanning or higher rising structures. During the 18th and 19th century, the advances in industrialization resulted in new production processes, for iron, too. After using iron in mechanical engineering, it was applied to infrastructure as well [1]. Today, these first old iron and early mild steel structures belong to the cultural and technical heritage of the world. When looking at them as an assessing engineer, it is in favour understanding the production process, the resulting microstructure and the mechanical properties of the specific material. Any historic iron structure requires special knowledge about connections, structural design and of course, the material behaviour [2]. The paper presents these basics and some guiding documents on how to “engineer the past”. Selected representative heritage structures made of cast iron, wrought iron and early mild iron as well their material- and structurespecific requirements on rehabilitation are presented. Appropriate assessment procedures, developed e.g. in technical committees and European projects, allow us keeping the witnesses of the early industrialisation in service and the surviving structures being still in use. Finally, the background documents prepared in Europe will be shortly presented to guide the assessment of old iron bridges considering the past but in line with modern methodology. The background documents support the implementation, harmonization and further development of the Eurocodes for assessment, not only for design.

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Rizzoli, Vittorio, Andrea Neri, and Alessandra Costanzo. "Microwave Oscillator Design by State-Of-The-Art Nonlinear CAD Techniques." In 18th European Microwave Conference, 1988. IEEE, 1988. http://dx.doi.org/10.1109/euma.1988.333821.

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Lebedeva, A. Iu. "Collage. Artistic features and ideological content in the European XX century art." In ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ. НИЦ «Л-Журнал», 2019. http://dx.doi.org/10.18411/lj-03-2019-36.

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NII, YOKO. "THE JESUIT JEAN-JOSEPH-MARIE AMIOT AND CHINESE MUSIC IN THE EIGHTEENTH CENTURY." In Europe and China: Science and the Arts in the 17th and 18th Centuries. WORLD SCIENTIFIC, 2012. http://dx.doi.org/10.1142/9789814390446_0004.

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Rapports d'organisations sur le sujet "Art, European – 18th century"

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Rodrigues-Moura, Enrique, and Christina Märzhauser. Renegotiating the subaltern : Female voices in Peixoto’s «Obra Nova de Língua Geral de Mina» (Brazil, 1731/1741). Otto-Friedrich-Universität, 2023. http://dx.doi.org/10.20378/irb-57507.

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Out of ~11.000.000 enslaved Africans disembarked in the Americas, ~ 46% were taken to Brazil, where transatlantic slave trade only ended in 1850 (official abolition of slavery in 1888). In the Brazilian inland «capitania» Minas Gerais, slave numbers exploded due to gold mining in the first half of 18th century from 30.000 to nearly 300.000 black inhabitants out of a total ~350.000 in 1786. Due to gender demographics, intimate relations between African women and European men were frequent during Antonio da Costa Peixoto’s lifetime. In 1731/1741, this country clerk in Minas Gerais’ colonial administration, originally from Northern Portugal, completed his 42-page manuscript «Obra Nova de Língua Geral de Mina» («New work on the general language of Mina») documenting a variety of Gbe (sub-group of Kwa), one of the many African languages thought to have quickly disappeared in oversea slaveholder colonies. Some of Peixoto’s dialogues show African women who – despite being black and female and therefore usually associated with double subaltern status (see Spivak 1994 «The subaltern cannot speak») – successfully renegotiate their power position in trade. Although Peixoto’s efforts to acquire, describe and promote the «Língua Geral de Mina» can be interpreted as a «white» colonist’s strategy to secure his position through successful control, his dialogues also stress the importance of winning trust and cultivating good relations with members of the local black community. Several dialogues testify a degree of agency by Africans that undermines conventional representations of colonial relations, including a woman who enforces her «no credit» policy for her services, as shown above. Historical research on African and Afro-descendant women in Minas Gerais documents that some did not only manage to free themselves from slavery but even acquired considerable wealth.

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