Littérature scientifique sur le sujet « Counter-Reformation art »
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Articles de revues sur le sujet "Counter-Reformation art"
Caldwell, Dorigen. « Re-Viewing Counter-Reformation Art ». Oxford Art Journal 29, no 1 (1 mars 2006) : 139–42. http://dx.doi.org/10.1093/oxartj/kci052.
Texte intégralVasileva, Svetlana. « COUNTER-REFORMATION IN GERMANY ». Studia Humanitatis 16, no 3 (décembre 2020) : 28–37. http://dx.doi.org/10.15393/j12.art.2020.3621.
Texte intégralQuírico, Tamara. « Michelangelo’s Last Judgement : Art and Religion Between Reformation and Counter-Reformation ». IKON 11 (janvier 2018) : 115–26. http://dx.doi.org/10.1484/j.ikon.4.2018012.
Texte intégralWoodcock, Philippa. « The French Counter-Reformation ». Church History and Religious Culture 94, no 1 (2014) : 22–49. http://dx.doi.org/10.1163/18712428-09401004.
Texte intégralPozdnyakov, E. V. « Philosophical and Aesthetic Components of the Art of the Baroque Style ». MGIMO Review of International Relations, no 3(30) (28 juin 2013) : 243–44. http://dx.doi.org/10.24833/2071-8160-2013-3-30-243-244.
Texte intégralViladesau, Richard. « Counter-Reformation Theology and Art : The Example of Rubens's Paintings of the Passion ». Toronto Journal of Theology 28, no 1 (mars 2012) : 29–42. http://dx.doi.org/10.3138/tjt.28.1.29.
Texte intégralMeissen, Randall. « Francisco Pacheco’s Book of True Portraits : Humanism, Art, and the Practice of “Visual History” ». Representations 145, no 1 (2019) : 32–54. http://dx.doi.org/10.1525/rep.2019.145.1.32.
Texte intégralMcIver, Katherine A., et Steven F. Ostrow. « Art and Spirituality in Counter-Reformation Rome : The Sistine and Pauline Chapels in S. Maria Maggiore. » Sixteenth Century Journal 28, no 1 (1997) : 189. http://dx.doi.org/10.2307/2543238.
Texte intégralFromson, Michele. « A Conjunction of Rhetoric and Music : Structural Modelling in the Italian Counter-Reformation Motet ». Journal of the Royal Musical Association 117, no 2 (1992) : 208–46. http://dx.doi.org/10.1093/jrma/117.2.208.
Texte intégralGarcía, Juan Luis González. « Retórica del decoro y censura de las imágenes en el Barroco temprano español ». Rhetorica 32, no 1 (2014) : 47–61. http://dx.doi.org/10.1525/rh.2014.32.1.47.
Texte intégralThèses sur le sujet "Counter-Reformation art"
Tsoumis, Karine. « Giovanni Battista Cavalieri's Ecclesiae militantis triumphi : Jesuits, martyrs, print, and the counter-reformation ». Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83842.
Texte intégralPorter, Mary Allen. « The draftsmanship of Jacopo Chimenti da Empoli ». [S.l. : s.n.], 1995. http://www.ohiolink.edu/etd/view.cgi?case1061992945.
Texte intégralMuraoka, Anne H. « Il fine della pittura : Canon Reformulation in the Age of Counter-Reformation. The Lombard-Roman Confluence ». Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/24398.
Texte intégralPh.D.
Counter-Reformation treatises are typically dismissed as determiners of style. This dissertation challenges the prevailing view that rejects Counter-Reformation theory as key motivators of sacred style, and will prove that one treatise in particular, Cardinal Gabriele Paleotti's 1582 Discorso intorno alle imagini sacre e profane, held a considerable amount of authority almost immediately after its publication. Through a close study of the Discorso's nature-centered language and its applicability to the Lombard tradition of presenting "tangible presences," it is evident that one artist, in particular, fulfilled Paleotti's vision for a "reformed" sacred style, and one who seldom appears in connection with the cardinal: Michelangelo Merisi da Caravaggio. The interconnection of Paleotti's theology of nature, Lombard painting style, and the sacred works of Caravaggio is established through this contextual study of Counter-Reformation Rome in the late Cinquecento and early Seicento. Paleotti's Discorso is evaluated as a whole and as an expression of Paleotti's ideas on sacred art. This examination and analyses of Paleotti's major points and emphases shows how they collectively form a cohesive language and theoretical basis ("theology of nature") for the reformulation of sacred images based on naturalism. Careful readings of Cinquecento and Seicento literature on art (from Vasari to Bellori) draw correspondences between the words used to describe Lombard style and Paleotti's language in his Discorso. The dissemination of his "theology of nature" is demonstrated through reconstruction of Paleotti's Roman circle. Paleotti's important ties to the Oratorians, the Jesuits, the Accademia di San Luca, and his friendships with key cardinal-patrons in the circle of Cardinal Francesco Maria Del Monte, provided an ideal network for the dissemination of his ideas that would in fact put him into contact with Caravaggio. Caravaggio's plebian religious scenes and figures correlate with Paleotti's conviction that naturalism served as a bridge between painted subject and Christian viewer. This dissertation fills not only a critical lacuna in Counter-Reformation studies, but also opens new contextualizing avenues of research and dialogue on the intricate and determining relationship between Counter-Reformation theory and style, at which, at the heart, stand Cardinal Paleotti and Caravaggio.
Temple University--Theses
Smith, Martha Kellogg. « Les nus-pieds et la pauvreté d'esprit : French counter reformation thought and the peasant paintings of the Le Nain brothers / ». Thesis, Connect to this title online ; UW restricted, 1989. http://hdl.handle.net/1773/6214.
Texte intégralMarquaille, Léonie. « Peindre pour les milieux catholiques dans les Pays-Bas du Nord au XVIIe siècle ». Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100126.
Texte intégralThis research intends to be part of the Dutch art historiography’s renewal. The traditional opposition between North and South, Calvinism and Catholicism, History painting and Genre painting is no longer relevant. Although the Reformed church was the public church, the choice of personal religion permitted « sects », like Catholicism, Anabaptism, Lutheranism, to remain active. The presence of Catholics in the calvinist Dutch Republic during the 17th century maintains a demand for paintings : religious art works for churches or private devotion, portraits of the clergy or catholic lay, allegory of the catholic faith. I considered not only the expectations of Catholics in terms of painting, but also the responses of the painters whether they were Catholic or not. My aim is to extend the knowlegde of the production and reception of paintings during the age of the Counter-Reformation in an uncommon political and geographic situation
Ladd, Adam J. « Bernini's Cornaro Chapel : Visualizing Mysticism in the Age of Reformation ». Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1342488915.
Texte intégralDilla, Martí Ramon. « Sant Ramon de Penyafort. Imatge, devoció i santedat ». Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/418807.
Texte intégralThe thesis analyses the representations of the catalan Dominican Raymond of Penafort (c.1185-1275). Raymond was probably the most famous and respected jurist in canon law of his time. After occupying the Chair of canon law at the University of Bologna, he received the Dominican habit in Barcelona in 1222, and begun a promising career inside the Order of Preachers, that reached the nomination as Great Master in 1239. During those years, Raymond also became a famous writer after his Summa de casibus poenitentiae, a book of cases for confessors. Knowing Raymond's reputation in the juridical sciences, Gregory IX appointed him chaplain and grand penitentiary, and also commissioned him the compilation of the Decretales, the most important collection of canon laws approved officially in 1234, that became a Standard until 1917. After Raymond’s death in the convent of Santa Caterina of Barcelona, his tomb was the scenario of different miraculous healings attributed to the friar’s intercession. This fact attracted many pilgrims and encouraged his brothers to begin a canonization process to ascend Raymond to the glory of the altars. The main objective of the thesis is the study of Raymond’s representations as confluence between art, sanctity and devotion in the modern era. Although the work is chronologically focused in the seventeenth and eighteenth centuries, in first instance are closely studied the medieval representations of the friar, in order to observe in a wide and transverse view the genesis, evolution and variants experienced on the iconography of the friar before and after his canonization, held in Rome in 1601.
Bastet, Delphine. « Les Mays de Notre-Dame de Paris (1630-1707) : Peinture, Eglise et monarchie au XVIIe siècle ». Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3116.
Texte intégralThe mays of Notre-Dame, paintings offered from 1630 till 1707 by the brotherhood Sainte-Anne-Saint-Marcel of the Parisian silversmiths to the cathedral Notre-Dame de Paris in sign of worship in the Virgin, are one of main group of paintings of the XVIIth century. The doctoral thesis proposes a study of this series in two steps, an analytical approach through a essay and a synthetic approach by means of a catalog. The essay approaches on a first part the fraternal context and explains the choice of large formats presented in the nave of the cathedral. The second part is interested in the religious function and the politics of these paintings. The third part becomes attached in the conditions of the command and to the questions of style and estimates the reception of the works at the XVIIIth, XIXth and XXth centuries. The catalog resumes for every picture all the documentary and visual data. Texts accompanying paintings (contracts, explanations, inventories of Notre-Dame) establish appendices. The importance of mays in the religious painting of the XVIIth century holds their echos with the pastoral concerns and théologales of the Church of Paris, as well as in their status of model for the religious painting. Exposed at the heart of the cathedral of Paris, they constitute a decoration crowned in the service of king and of religious politics of the kingdom
Bertolini, Manuel. « Les autorités ecclésiastiques et la réglementation de la musique à l'époque moderne ». Thesis, Clermont-Ferrand 2, 2013. http://www.theses.fr/2013CLF20004.
Texte intégralIs it possible to censure music? This question may sound rather extravagant, and this is perhaps why music is often overlooked in studies on ecclesiastical censorship in the early modern period, for it would seem that its very essence is incompatible with any form of control. In fact, the huge transformation the Catholic Church had to face, between the sixteenth and the seventeenth century, had a big impact on the music scene. Unavoidably, music was involved in the disputes between Catholics and Protestants as essential liturgical element. The musicologists have mainly studied the Council of Trent action, which seemed to be animated by the desire to remove the secular textual and melodic components from the church repertory. Therefore, Rome became the main center of production for sacred and spiritual music used in celebrations, devotional practices and also in teaching catechism. The case of the Society of Jesus is exemplar: music represent a powerful means of education in college programs, and a strategic tool in the catechesis work. To the enhancement of spiritual genres corresponds as well the will of ‘suppress’ the profane repertories. This is well documented during the age of Counter Reformation, by the variety of cases of ‘‘travestimento’’ which invest canzonette and madrigals. This attitude was also proved by some of the measures the ecclesiastical censure adopted against the vocal production since the seventies of the sixteenth century. In ancient Greek musical theory, harmony was seen as being endowed with a natural virtue capable of altering the rational faculties of the listener’s soul, to the extent of depriving that person of his freedom. The many ethical implications of this classical axiom featured in early modern theological debates. My thesis tries to provide a first answer to these questions by studying the conciliar decrees, the documents of the Index Congregation, the treatises on music and the manuals on demonology. These sources reveal musical censorship did not only involve zealous inquisitors battling with some licentious musician, but also the language of worship and the circulation of prohibited knowledge, which included dangers in the form of sounds that went beyond erotic seduction
Heussler, Carla. « De cruce Christi : Kreuzauffindung und Kreuzerhöhung : Funktionswandel und Historisierung in nachtridentinischer Zeit / ». Paderborn [u.a.] : Schöningh, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2753288&prov=M&dok_var=1&dok_ext=htm.
Texte intégralLivres sur le sujet "Counter-Reformation art"
The sensuous in the Counter-Reformation church. New York : Cambridge University Press, 2012.
Trouver le texte intégralPorta, Guglielmo Della. Guglielmo della Porta : A Counter-Reformation sculptor. Madrid : Coll & Cortés, 2012.
Trouver le texte intégralHall, Marcia B. The sensuous in the Counter-Reformation church. New York : Cambridge University Press, 2012.
Trouver le texte intégralJones, Pamela M. Federico Borromeo and the Ambrosiana : Art patronage and reform in seventeenth-century Milan. Cambridge [England] : Cambridge University Press, 1992.
Trouver le texte intégralHermann, Bauer. Franz Georg Hermann, 1692-1768 : Festschrift der Stadt Kempten (Allgäu) zum 300. Geburtstag am 29. Dezember 1992. Kempten : T. Dannheimer, 1992.
Trouver le texte intégralCarlo, Cresti, dir. Altari controriformati in Toscana : Architettura e arredi. Firenze : A. Pontecorboli, 1997.
Trouver le texte intégralThe sacred image in the Renaissance. New Haven [Conn.] : Yale University Press, 2010.
Trouver le texte intégralArt et pouvoirs à l'Age baroque : Crise mystique et crise esthétique aux XVIe et XVIIe siècles. Paris : L'Harmattan, 1990.
Trouver le texte intégralAndrea, Bacchi, Tumidei Stefano 1962- et Museo civico medievale di Bologna., dir. Il Michelangelo incognito : Alessandro Menganti e le arti a Bologna nell'età della Controriforma. [Ferrara] : Edisai, 2002.
Trouver le texte intégralReformations and their impact on the culture of memoria. Turnhout, Belgium : Brepols, 2016.
Trouver le texte intégralChapitres de livres sur le sujet "Counter-Reformation art"
Canalda i Llobet, Sílvia, et Cristina Fontcuberta i Famadas. « The Mystic Winepress : evolution, use and meaning of a controversial image at the time of the Reformation and Counter-Reformation ». Dans Arts, Portraits and Representation in the Reformation Era, 39–60. Göttingen : Vandenhoeck & Ruprecht, 2019. http://dx.doi.org/10.13109/9783666552496.39.
Texte intégralParina, Elena, et Erich Poppe. « “In the Most Common and Familiar Speech among the Welsh” ». Dans Übersetzungskulturen der Frühen Neuzeit, 79–100. Berlin, Heidelberg : Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-62562-0_5.
Texte intégralAcciarino, Damiano. « 9 Art Grotesques in the Counter-Reformation ». Dans Lexis Supplements. Venice : Fondazione Università Ca’ Foscari, 2022. http://dx.doi.org/10.30687/978-88-6969-538-4/009.
Texte intégralRinne, Katherine W. « Water in Counter-Reformation Rome ». Dans Art and Reform in the Late Renaissance, 222–39. Routledge, 2018. http://dx.doi.org/10.4324/9780429460326-12.
Texte intégral« Disputes : The Sacred Image and the Counter-Reformation ». Dans Art in Dispute, 32–85. BRILL, 2021. http://dx.doi.org/10.1163/9789004472235_003.
Texte intégral« 9 St. Jacob’s Counter Reformation Confraternities ». Dans St. Jacob’s Antwerp Art and Counter Reformation in Rubens’s Parish Church, 398–490. BRILL, 2016. http://dx.doi.org/10.1163/9789004311886_011.
Texte intégral« THE THEATRICS OF THE COUNTER-REFORMATION NARRATIVE ». Dans Art and the Religious Image in El Greco’s Italy, 97–123. Penn State University Press, 2015. http://dx.doi.org/10.5325/j.ctv14gpcgd.9.
Texte intégral« Chapter Four The Theatrics of the Counter-Reformation Narrative ». Dans Art and the Religious Image in El Greco’s Italy, 97–124. Penn State University Press, 2015. http://dx.doi.org/10.1515/9780271063065-007.
Texte intégral« Preliminary Material ». Dans St. Jacob’s Antwerp Art and Counter Reformation in Rubens’s Parish Church, i—xxvi. BRILL, 2016. http://dx.doi.org/10.1163/9789004311886_001.
Texte intégral« Introduction ». Dans St. Jacob’s Antwerp Art and Counter Reformation in Rubens’s Parish Church, 1–12. BRILL, 2016. http://dx.doi.org/10.1163/9789004311886_002.
Texte intégralActes de conférences sur le sujet "Counter-Reformation art"
Fardadi, Mahshid, Dustin F. McLarty et Faryar Jabbari. « Controlling Spatial Temperature Variation in a Rapid Load Following SOFC ». Dans ASME 2013 11th International Conference on Fuel Cell Science, Engineering and Technology collocated with the ASME 2013 Heat Transfer Summer Conference and the ASME 2013 7th International Conference on Energy Sustainability. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/fuelcell2013-18309.
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