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1
De Kinkelder, Marijke C. "Franciscus Hamers, dozijnschilder in Antwerpen". Oud Holland - Quarterly for Dutch Art History 118, nr 3-4 (2005): 203–12. http://dx.doi.org/10.1163/187501705x00349.
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AbstractIn I987 a painting with illegible signature was shown at the RKD. When in spring 2002 a painting with similar signature came alight at a Paris art-dealer, it proved possible to read the signature correctly and identify the artist as the Antwerp-based Franciscus Hamers, only known through his membership of the guild in I674. Several other paintings could be attributed to him either on stylistic grounds or by recognising the characteristic signature. The paintings presented here show that he proved to be what was known in the seventeenth century as 'dozijnschilder' (lit: dozen painter), assembling his works by imitating, borrowing and copying from examples by other artists, notably Haarlem painters such as Pieter van Laer, Philips Wouwerman and Nicolaes Pietersz. Berchem. This proved to be a typical feature of the artistic climate in the I670s in Antwerp when economic recession forced many artists to produce paintings and copies by the dozen for art-dealers such as Guillaume Forchondt and Bartholomeus Floquet who then exported these paintings to France, Austria, Spain and Portugal.
2
Lemainque, Ingrid. "Les tableaux italiens du Settecento dans les ventes parisiennes au XVIIe siècle". Studiolo 2, nr 1 (2003): 138–66. http://dx.doi.org/10.3406/studi.2003.1118.
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Ingrid Lemainque, Italian paintings of the Settecento in 18th-century Parisian sales ; In 19th-century France, contemporary Italian painting seems to have been little valued, if one believes the artistic literature of the time. A statistical analysis based on the thorough survey of Parisian sales catalogues between 1730 and 1799 enables one to distinguish a different truth, the presence of a particular taste for Settecento Italian paintings and reveals the importance of landscape and the Venetian school in these sales, to the detriment of more conventional schools and artists.
3
Elsaed, Hala Ibrahim Mohamed. "Vision of Vincent van Gogh and Maurice Utrillo in Landscape Paintings and their Impact in Establishing the Identity of the Place". Academic Research Community publication 1, nr 1 (18.09.2017): 12. http://dx.doi.org/10.21625/archive.v1i1.133.
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There are varieties of visions, visual solutions and plastic relations for various painting topics, but the landscape painting is still the closest subject to the identity of the place.When the artist translates the realistic features of the place describing it with his special style and touches, this represents a record for characteristics of a certain period related to this place. It might also depict the landscape by his sense, telling us with his painting brush the story of its heritage. The artist links it with the reality experienced -here the memory adds the highest value to the view and translates features of nature of this place in terms of form- or feelings and influence through the ages.When Van Gogh was influenced by a city, like Arles in France, he produced the most beautiful of his paintings, which appeared to show his style and colors. Actually, we see this city through a creative artist with radiant colors, each panting as a celebration or a poem singing the beauty of this place.And when Maurice Utrillo was influenced by a city -like Paris in France especially Montmartre district with its steep winding streets, picturesque windmills, snowfall, and clouds of gray affected- he created his most important paintings of landscape. The paintings reflected the nature of this place by his simple style which seems like a zap from the internal inventory of the artist about this place.
4
Gao, Hui. "Oriental Elements in Cezanne’s Art". BCP Social Sciences & Humanities 18 (30.06.2022): 266–69. http://dx.doi.org/10.54691/bcpssh.v18i.994.
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Paul Cezanne is one of the representative artists of post-impressionism in France. In the early 19th century, Japanese paintings were famous and influenced by the second industrial revolution and respected Oriental works of art. Many Western artists initially increased Oriental elements to create but superficial. In the mid-19th century, with the emergence of Oriental art stores in the streets of France, the popularity of Oriental works has been further developed. Until the late 19th century, represented by Cezanne artists, art has been dared to explore and innovate on the road. Painting, especially in the late paintings of many potential injections of Oriental elements. Cezanne did not go to the East; a visible blend of Eastern and Western art exploration seems to have a hidden fusion very early. Therefore, this paper attempts to conduct a preliminary discussion on three aspects of composition, artistic temperament, and color, which helps us further explore the early integration of Eastern and Western art.
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Park, Joohyang. "A Study of the Roman de Fauvel, a 14th Century French Manuscript: Focusing on the Satirical Technique of Images in Roman de Fauvel". Korean Society of Culture and Convergence 45, nr 9 (30.09.2023): 435–49. http://dx.doi.org/10.33645/cnc.2023.09.45.09.435.
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Roman de Fauvel conveys the turbulent politics of France during the reign of Philip IV (1268-1314) through poetry, music and painting. This thesis discusses how such political themes were expressed in paintings in Roman de Fauvel. Before discussing the paintings, a discussion of the two authors of Roman de Fauvel will examine the context in which they were created and their intentions. Because the manuscript was created from the perspective of Roman de Fauvel's alignment with political forces and criticism of his time. Based on this understanding, the painting techniques used in Roman de Fauvel to convey the intent of the work include the choice of colors according to the characters, Fauvel's imitation of the French royal family, and the use of anti-biographical techniques, which expose the fake as a clumsy imitation of the real thing. Through this study, we hope to get closer to the achievements of Roman de Fauvel, who achieved a complete fusion of literature, music, and painting.
6
Pullins, David. "“Quelques misérables places à remplir”Locating Shaped Painting in Eighteenth-Century France". Zeitschrift für Kunstgeschichte 80, nr 4 (30.12.2017): 544–71. http://dx.doi.org/10.1515/zkg-2017-0029.
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Abstract This article addresses in depth for the first time the irregularly shaped canvases known as tableaux chantournés (cut-out paintings) that were produced in vast numbers by leading academicians between the 1730s and 1750s and occupy a tenuous place between fine and applied or decorative arts. Through an examination of the term’s first uses in regard to painting and eighteenth-century critics’ responses to these works, tableaux chantournés are positioned as a means of rethinking the extraction of painting from a richer visual field and the relationship of this medium-specific agenda to the historiography of the rococo.
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Tomalska-Więcek, Joanna. "Pracownia kopii artystycznych w białostockim getcie". Studia Podlaskie, nr 31 (2023): 43–56. http://dx.doi.org/10.15290/sp.2023.31.02.
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The article presents a poorly recognized thread in the history of the German occupation of Bialystok. In September 1939, a wave of refugees from other parts of Poland flowed into the city and region. Among them were a significant number of artists, mainly – though not exclusively – of Jewish origin. Under Soviet occupation, they were absorbed into the propaganda machine, painting portraits of officials and decorations for state holidays. Their fate changed after the outbreak of the German-Soviet war, when the Jews were confined to a ghetto. There, a Wehrmacht officer set up a workshop for artistic copies or, rather, forged paintings, employing some 20 painters. Few witnesses claimed that the production of paintings was very large and was sent to art dealers in the Third Reich, France, the Netherlands and other occupied countries. The further fate of the paintings painted in the ghetto remains unknown.
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Colas, Gérard, Usha Colas-Chauhan i Francis Richard. "Text and Paintings". Cracow Indological Studies 24, nr 2 (19.12.2022): 25–58. http://dx.doi.org/10.12797/cis.24.2022.02.02.
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The manuscript now preserved as Indien 745 in the Manuscript Department of the Bibliothèque nationale de France (BnF) contains 137 paintings by an Indian artist, each accompanied by an explanation in French. These paintings depict deities and sages in static posture or narrative mode, as well as icons associated with temples. The present contribution forms a preliminary study of this manuscript in our project on South Indian manuscripts with paintings of deities preserved in the BnF.
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Wang, Yaoxuan. "Exploring The Impressionist Style: The Language of Manet's Two-Dimensional Planar Paintings as An Example". Journal of Education, Humanities and Social Sciences 28 (1.04.2024): 608–12. http://dx.doi.org/10.54097/m9wsmx70.
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With the development and progress of the 19th century in culture, science, and technology, the Industrial Revolution, and other aspects, Paris, France, was undoubtedly pushed to the focus of art development. This article takes the 18th and early 19th-century Impressionist paintings from being denied and not accepted to finally establishing their position in the whole world as the research background. Taking the flatness characteristic in Manet's works as the starting point, through the study of Manet's paintings, it is found that he was deeply influenced by photography, Spanish painting style, Japanese ukiyo-e prints, and so on, and gradually discovered and perfected his own personal style. The specific analysis method is used to analyze and feel Manet's two-dimensional planar style of composition and the technique of flat painting in his works. Eventually, it was concluded that he liberated his painting from the traditional constraints of pursuing three-dimensional space since the Renaissance, and took a crucial step towards two-dimensional planar creation, which not only influenced the trend of art in the same period but also led the way forward to modern art.
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Wang, Xinchi. "Enlightenment Response: A Study of Rational Spirit in the Works of Jean-Honoré Fragonard". International Journal of Arts and Humanities Studies 3, nr 4 (10.12.2023): 48–59. http://dx.doi.org/10.32996/ijahs.2023.3.4.7.
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This paper utilizes Jean-Honoré Fragonard’s paintings, housed in collections across Europe and North America, as primary source material. Employing methods from art history, social art history, literary analysis, and intellectual history, the study aims to explore the connections between Fragonard’s artistic philosophy, the social context of 18th-century France, and the cultural trends of the time. The paper investigates Fragonard’s response to Enlightenment and rationality through his paintings. The results indicate that, situated in an era oscillating between Rococo and realistic styles, Fragonard’s works provide a glimpse into the social and cultural milieu of late 18th-century France. Driven by the spirit of reason, Fragonard created a series of landscapes and genre paintings. Simultaneously, his sensitivity to emotions rendered his works vivid and dynamic, embodying the collaborative interplay of sensibility and reason.
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Valladas, H., N. Tisnérat-Laborde, H. Cachier, M. Arnold, F. Bernaldo de Quirós, V. Cabrera-Valdés, J. Clottes i in. "Radiocarbon AMS Dates for Paleolithic Cave Paintings". Radiocarbon 43, nr 2B (2001): 977–86. http://dx.doi.org/10.1017/s0033822200041643.
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Advances in radiocarbon dating by accelerator mass spectrometry (AMS) have made it possible to date prehistoric cave paintings by sampling the pigment itself instead of relying on dates derived from miscellaneous prehistoric remains recovered in the vicinity of the paintings. The work at the Laboratoire des Sciences du Climat et de l'Environnement (LSCE) concentrated on prehistoric charcoal cave paintings from southern France and northern Spain. In most caves, pigment samples were collected from several paintings, and in some instances the sample size allowed for multiple independent measurements on the same figure, so that the coherence of the calculated dates could be tested. Before being dated, each specimen was subjected to a thermal treatment preceded by an acid and basic treatment of intensity commensurate with the sample size.Nine bison drawings from three caves in the Cantabrian region of Spain—two from Covaciella, three from Altamira, and four from El Castillo—were sampled and dated. The 27 dates fell between 13,000 and 14,500 BP, allowing us to attribute the drawings to the Magdalenian period. The 24 dates for 13 drawings in the Cosquer cave indicated two distinct periods of painting activity—one around 28,000 BP and the other around 19,000 BP. The Chauvet cave paintings turned out to be the oldest recorded to date, as five dates fell between 32,000 and 31,000 BP. After discussing the sample preparation protocol in more detail, we will discuss the ages obtained and compare them with other chronological data.
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Daneyko, Olga, Natale Stucchi i Daniele Zavagno. "The Poggendorff illusion in Ruben's Descent from the Cross in Antwerp: Does the illusion even matter?" i-Perception 13, nr 5 (wrzesień 2022): 204166952211258. http://dx.doi.org/10.1177/20416695221125879.
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Two experiments are described, the purpose of which was to investigate the presence of a misalignment illusion caused by Poggendorff-like conditions in two paintings by Peter Paul Rubens, both depicting the Descent from the Cross, one located in Antwerp (Belgium), the other in Lille (France). The first shows a geometrical misalignment made by Rubens in a minor detail, which is considered proof that the artist observed the Poggendorff illusion. The second painting, instead, shows a perfect geometrical alignment in a similar detail. In experiment 1, participants were asked to align a top segment to a lower one in two types of stimuli: a full-size digitally manipulated reproduction of the painting and a Poggendorff-like configuration that recalled the painting's lines displacement and tilt. Adjustments were performed from two distances, one up close (painting distance) and one from below and far (observation distance). Results confirmed the presence of the Poggendorff illusion, but mean adjustments significantly differed from the misalignment perpetrated by Rubens. Experiment 2 was set up in a similar fashion with the Lille painting. Results confirmed the presence of the Poggendorff illusion also in this painting; however, the alignment by Rubens coincides with the geometrical one. Results from both experiments do not support the claim that Rubens observed the Poggendorff illusion and therefore corrected for it in the Antwerp painting. An alternative account is discussed, which relates to the structural layout of the painting.
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Vallet, Jean-Marc, Livio De Luca, Marie Feillou, Odile Guillon i Marc Pierrot-Deseilligny. "An Interactive 3-Dimensional Database Applied to the Conservation of a Painted Chapel". International Journal of Heritage in the Digital Era 1, nr 2 (czerwiec 2012): 233–50. http://dx.doi.org/10.1260/2047-4970.1.2.233.
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Matteo Giovannetti's frescoes (1355–1356) which decorate the Innocent VI chapel of La Chartreuse du Val des Bénédictins (Villeneuve-lez-Avignon, France) are very sensitive to the alteration. They need a new restoration campaign. Because of the geometrical complexity of the place, the environment and the involved degradation mechanisms, a good conservation management of these murals is essential. Therefore, an interactive 3- dimensional spatial database, including dated data was developped. Architectural measurements, digital scientific documentation were gathered. A historical documentation including restoration acts, used restoration products has been collected. Last, the paintings degradations, up-to-date deterioration patterns description and conservation state diagnosis of these wall paintings including a deterioration mapping are monitored. Results of the physical and chemical analyses of painting, restoration techniques and deterioration products are also integrated. The entire collected and interactive database will be available for conservation managers and researchers within the next three years.
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Degrigny, Christian, Francesca Piqué, Nutsa Papiashvili, Julien Guery, Alamin Mansouri, Gaëtan Le Goïc, Vincent Detalle i in. "Technical study of Germolles’ wall paintings: the inputof imaging technique". Virtual Archaeology Review 7, nr 15 (15.11.2016): 1. http://dx.doi.org/10.4995/var.2016.5831.
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<p class="VARAbstract">The <em>Château de Germolles</em> is one of the rare palace in France dating from the 14<sup>th</sup> century. The noble floor is decorated with wall paintings that are a unique example of courtly love spirit that infused the princely courts of the time. After being concealed sometime in the 19<sup>th</sup> century, the paintings were rediscovered and uncovered in the middle of the 20<sup>th</sup> century and partly restored at the end of the 1990s. No scientific documentation accompanied these interventions and important questions, such as the level of authenticity of the mural decorations and the original painting technique(s) used in the medieval times remained unanswered. The combined scientific and financial supports of COSCH Cost Action and DRAC-Burgundy enabled to study Germolles’ wall paintings using some of the most innovative imaging and analytical techniques and to address some of the questions raised. The study provided significant information on the material used in the medieval times and on the conservation condition of the paintings. The data collected is vast and varied and exposed the owners of the property to the challenges of data management.</p>
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Sullivan, Edward J. "Francisco Oller and France: New Perspectives". Nineteenth Century Studies 33, nr 1 (1.12.2021): 242–55. http://dx.doi.org/10.5325/ninecentstud.33.0242.
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Abstract Francisco Oller was one of the most distinguished and influential artists to emerge from the Caribbean in the mid-nineteenth century. Often referred to as the painter of Puerto Rico, he is most noted for his depictions of everyday life on the island, landscapes, still lifes, portraits, and history paintings. However, his four lengthy journeys to Spain and France throughout his life indelibly marked his artistic production. This essay reconsiders the impact of French art on Oller. It deals with two heretofore unstudied paintings (both in private collections). A tabletop still life with peonies and other flowers reminds us of his interest in Henri Fantin-Latour and his contemporaries in Paris. Oller’s small but panoramic landscape of the pilgrimage shrine to Our Lady of Lourdes in southern France opens up questions regarding the artist’s own religious leanings and his interest in depicting public spaces.
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Unković, Nina. "Matej Sternen as a Restorer: Selected examples in Slovenia and Croatia". Ars & Humanitas 11, nr 1 (31.07.2017): 204–23. http://dx.doi.org/10.4312/ah.11.1.204-223.
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Matej Sternen (1870–1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a master in the preparation of the painting’s surface, or “the ground,” and always considered the laws of colours and their relationships and proportions to the white painted surface.In his restoration practice, working together with his close colleagues the art historians France Stele (1886–1972) and Ljubo Karaman (1886–1971), Matej Sternen actualized the principle “conserve instead of restore” that was the rule in his day. This paper is based on fieldwork data and archive sources, kept in Ljubljana, Celje, Split and Zagreb, and focuses on two important monuments — the painted ceiling in the Old Manor House in Celje (Slovenia), and a wall painting in the church of St Michael in Ston (Croatia). These two cases, which are different from both technical and methodological approaches to monument protection, clearly show Sternen’s professional expertise and practical realization of “conserve instead of restore,” which speaks in favour of preserving the original work as opposed to aggressive restoration interventions.
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Unković, Nina. "Matej Sternen as a Restorer: Selected examples in Slovenia and Croatia". Ars & Humanitas 11, nr 1 (31.07.2017): 204–23. http://dx.doi.org/10.4312/ars.11.1.204-223.
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Matej Sternen (1870–1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a master in the preparation of the painting’s surface, or “the ground,” and always considered the laws of colours and their relationships and proportions to the white painted surface.In his restoration practice, working together with his close colleagues the art historians France Stele (1886–1972) and Ljubo Karaman (1886–1971), Matej Sternen actualized the principle “conserve instead of restore” that was the rule in his day. This paper is based on fieldwork data and archive sources, kept in Ljubljana, Celje, Split and Zagreb, and focuses on two important monuments — the painted ceiling in the Old Manor House in Celje (Slovenia), and a wall painting in the church of St Michael in Ston (Croatia). These two cases, which are different from both technical and methodological approaches to monument protection, clearly show Sternen’s professional expertise and practical realization of “conserve instead of restore,” which speaks in favour of preserving the original work as opposed to aggressive restoration interventions.
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Beck, Lucile, Dominique Genty, Sophia Lahlil, Matthieu Lebon, Florian Tereygeol, Colette Vignaud, Ina Reiche i in. "Non-Destructive Portable Analytical Techniques for Carbon In Situ Screening Before Sampling for Dating Prehistoric Rock Paintings". Radiocarbon 55, nr 2 (2013): 436–44. http://dx.doi.org/10.1017/s003382220005757x.
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Direct dating of prehistoric paintings is playing a major role in Paleolithic art studies. Very few figures can be directly dated since the necessary condition is that they contain organic carbon-based material. Thus, it is very important to check the presence of organic carbon-based material in situ before sampling in order to protect the visual integrity of the paintings or drawings. We have tested and compared 3 different portable analytical systems that can be used in cave environments for detecting carbon in prehistoric paintings: (1) a very compact X-ray fluorescence (XRF) system in Villars Cave (Dordogne, France); (2) a portable micro-Raman spectrometer in Rouffignac Cave (Dordogne, France); and (3) an infrared reflectography camera in both caves. These techniques have been chosen for their non-destructiveness: no sample has to be taken from the rock surface and no contact is made between the probes and the paintings or drawings. The analyses have shown that all the animal figures have been drawn with manganese oxides and cannot be directly dated by radiocarbon. However, carbon has been detected in several spots such as black dots and lines and torch marks. 14C results were obtained from 5 torch marks selected in Villars Cave, with ages between 17.1–18.0 ka cal BP. Three methods were used to identify carbon in black pigments or to confirm the presence of torch marks by carbon detection. Thanks to these new analytical developments, it will be now possible to select more accurately the samples to be taken for 14C dating prehistoric paintings and drawings.
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von Petzinger, Genevieve, i April Nowell. "A question of style: reconsidering the stylistic approach to dating Palaeolithic parietal art in France". Antiquity 85, nr 330 (listopad 2011): 1165–83. http://dx.doi.org/10.1017/s0003598x00061986.
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The authors deconstruct the basis for dating the Palaeolithic cave paintings of France and find it wanting. Only five per cent are directly dated and the remainder belong to a stylistic framework that has grown organically, and with much circularity, as new paintings were brought to light. Following a constructive bouleversement, the authors recommend a new chronometric foundation based on chains of evidence anchored by radiocarbon dates. The story so far is striking: it brings many of the themes and techniques thought typical of the later painters into the repertoire of their much earlier predecessors.
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Lizun, Damian. "From Paris and Shanghai to Singapore: A Multidisciplinary Study in Evaluating the Provenance and Dating of Two of Liu Kang’s Paintings". Journal of Conservation Science 37, nr 4 (31.08.2021): 322–39. http://dx.doi.org/10.12654/jcs.2021.37.4.02.
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This paper focuses on the dating and provenance of two paintings, Climbing the hill and View from St. John’s Fort by the prominent Singaporean artist Liu Kang (1911–2004). Climbing the hill, from the National Gallery Singapore collection, was believed to have been created in 1937, based on the date painted by the artist. However, a non-invasive examination unveiled evidence of an underlying paint scheme and a mysterious date, 1948 or 1949. These findings prompted a comprehensive technical study of the artwork in conjunction with comparative analyses of View from St. John’s Fort (1948), from the Liu family collection. The latter artwork is considered to be depicting the same subject matter. The investigation was carried out with UVF, NIR, IRFC, XRR, digital microscopy, PLM and SEM-EDS to elucidate the materials and technique of both artworks and find characteristic patterns that could indicate a relationship between both paintings and assist in correctly dating Climbing the hill. The technical analyses were supplemented with the historical information derived from the Liu family archives. The results showed that Climbing the hill was created in 1948 or 1949 on top of an earlier composition painted in Shanghai between 1933 and 1937. As for the companion View from St. John’s Fort from 1948, the artist reused an earlier painting created in France in 1931. The analytical methods suggested that Liu Kang used almost identical pigment mixtures for creating new artworks. However, their painting technique demonstrates some differences. Overall, this study contributes to the understanding of Liu Kang’s painting materials and his working practice.
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Cui, Enyu. "Chinoiserie in Eighteenth Century France: Francois Boucher’s Imagination of China". Journal of Education, Humanities and Social Sciences 24 (31.12.2023): 682–89. http://dx.doi.org/10.54097/eadyv236.
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Through the eyes of Francois Boucher, one of the most prominent court painters of the Rococo period, this essay delves into the enthralling world of Rococo art. Through the analysis of several of Boucher's paintings, such as "The Portrait of Madame de Pompadour" and "The Chinese Garden", the author intends to determine how various aspects of Chinese culture and aesthetics, as interpreted by Boucher's active imagination, were fluidly incorporated into the Rococo aesthetic. This study examines how Boucher deftly incorporated Chinese design elements, such as porcelain and scent sachets, into his works of art. These components, which are frequently considered symbolic of the Orient, provide a one-of-a-kind glimpse into Europeans' fascination with Chinese culture during the Rococo period. This article demonstrates that the influence of Orientalism on the aesthetics of European art is not limited to paintings but rather encompasses architecture as well as everyday objects, like tapestries, by demonstrating how the fusion of Chinese culture and Rococo aesthetics led to this influence.
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Ismailinejad, Zahra Sadat. "Orientalist Paintings and said Orientalism". International Letters of Social and Humanistic Sciences 50 (marzec 2015): 68–81. http://dx.doi.org/10.18052/www.scipress.com/ilshs.50.68.
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Westerners came to this conclusion that to dominate Orient, they should gain sufficient knowledge about them. Therefore, they established the so-called field of Orientalism to study Orient since this knowledge gave them the power to rule. Based on this type of knowledge, they thought that there were sharp contrasts and differences between Orient and Occident and they tended to gain advantage from them. The problem started when Orient internalized these notions and embraced them with open arms due to the inferiority complex that was imposed on him. Orientalist painters also took their cues from the Orientalism to reflect their governments’ ideas and politics in disguise. These paintings began in nineteenth-century and different artists from Britain, France, Italy, Germany and Spain went to the East or started to paint based on others’ paintings or description of Eastern land. The problem is that some of these painters were first-hand observers but some others let their imaginations to shape their conceptions of Orient. Here, attempts have been made to review these paintings based on Said’s book, Orientalism.
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CROSLAND, MAURICE. "Popular science and the arts: challenges to cultural authority in France under the Second Empire". British Journal for the History of Science 34, nr 3 (wrzesień 2001): 301–22. http://dx.doi.org/10.1017/s0007087401004435.
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The National Institute of Science and the Arts, founded in 1795, consists of parallel academies, concerned with science, literature, the visual arts and so on. In the nineteenth century it represented a unique government-sponsored intellectual authority and a supreme court judgement, a power which came to be resented by innovators of all kinds. The Académie des sciences held a virtual monopoly in representing French science but soon this came to be challenged. In the period of the Second Empire (1852–70) we find a group of men carving out a new career for themselves as professional popularizers of science, commissioned to write regular articles in newspapers and journals. Although they had begun by simply reporting the meetings of the Académie des sciences, they soon widened their scope and even began criticizing the august Académie. Thus they represented the alternative voice of science, distinct from ‘official science’. These independent writers had their counterpart in painting and literature, both of which were developing radical new approaches in mid-century. When the very traditional Fine Art Academy refused to consider their paintings, painters like Cézanne and Manet found an alternative outlet. Writers too asserted their independence from the Académie française. There were not only many parallels between the independent practitioners in science, painting and literature but also new schools of ‘naturalism’ in painting and literature which looked to science as a model.
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Knowles, Marika Takanishi. "Tricky, Fine, and Trapped: Painting the Femme Forte in Early Seventeenth-Century France". Zeitschrift für Kunstgeschichte 82, nr 1 (19.04.2019): 92–114. http://dx.doi.org/10.1515/zkg-2019-0004.
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Abstract Between the late 1620s and late 1640s, Jacques Blanchard, Simon Vouet, and Claude Vignon all painted the femme forte (strong woman), an exemplary, heroic femal type whose popularity was linked to the presence of Marie de Medici and Anne of Austria on the royal stage of France. This article puts early seventeenth-century French paintings of femmes fortes into conversation with period discourse regarding the reception of paintings and the status of women. Pictorial representation tended to cast the femme forte into contexts that compromised her exemplary status. Nude, on the verge of death by her own hand, the figure of the femme forte invited the very kind of sensual consumption that the femme forte herself attempted to disavow. Yet the ultimate threat posed by the femme forte was that her image might ‘trick’ male viewers into unwise actions.
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Abbing, Michiel Roscam. "Some notes by Ernst Brinck (1582-1649) on painters, collectors and exceptional art". Oud Holland – Journal for Art of the Low Countries 135, nr 4 (24.11.2022): 204–24. http://dx.doi.org/10.1163/18750176-13504004.
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This article focuses on the Harderwijk regent Ernst Brinck (1582-1649) who owned an extensive cabinet of curiosities and a library full of valuable books. His exceptionally wide range of interests is also evident from surviving notebooks of his in the Harderwijk archives. The entries they contain show that Brinck visited other collectors and viewed their cabinets. It goes without saying that interesting information was exchanged during these encounters, which Brinck noted in his booklets. It can be found scattered there among all kinds of other topics. Around 1645, Brinck classified some of these notes under the heading ‘De picturis eximiis, et [rebus] quae concernunt picturas’ (Of exceptional paintings and [all manner of things] that concern the art of painting) and ‘Van eenige treflicke Conststucken’ (Of several excellent works of art). Twenty-two previously unpublished anecdotal statements can be found in these categories. Examples include the average cost of the civic guard portraits in the Great Hall of the Arquebusiers Company (Doelenzaal) in Amsterdam (no. 6); the wealthy collector Pieter Spiering and his art books (no. 12): the obscene paintings of Torrentius (no. 7); Rubens’ earnings for the cycle of paintings on the life of Marie de’ Medici, queen of France, in Paris (no. 8); the Brazilian paintings commissioned by John Maurice of Nassau and painted by Jacob van Campen, which Brinck saw at the artist’s estate near Amersfoort (no. 5); and the wooden prayer nut, now in the Abegg-Stiftung, Switzerland (no. 19). In one of the booklets, hidden among other notes, Brinck penned an entry on Rembrandt’s Hundred guilder print that would have fitted very well in his list on exceptional art, but is absent there. Brinck wrote that Rembrandt had sold a print with the subject ‘Let the children come to me’ (Matthew 19: 13-15) for a hundred guilders. The note establishes that Rembrandt himself sold the print for that amount, in 1648 or 1649.
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Tamang, Nem Bahadur. "Distortion of Forms and Subjects in Paul Cezanne’s Paintings". Journal of Fine Arts Campus 3, nr 1 (31.12.2021): 31–34. http://dx.doi.org/10.3126/jfac.v3i1.42493.
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Paul Cezanne is the 19th century painter born in France who was a very important figure in the history of modern art. He had painted so many paintings like landscapes, portraits and still life. The figures and forms in his artwork do resemble the real world but the distortion is the most significant feature. The subject matters reveal the changes and gives emphasis upon forms. Subjects lack likeness and negate imitation as art followed by predecessors. The flatness and geometric forms are amplified along with expression in the paintings. The formal distortion played a vital role to give birth to Modernism in 20th century Western Art. So, he is called “Father of Modern Art”.
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Fan, Wenwei. "The Fusion of East and West in Chinese Painting from the Formal Language of Lin Fengmian's Paintings". Highlights in Art and Design 2, nr 3 (24.04.2023): 12–14. http://dx.doi.org/10.54097/hiaad.v2i3.7544.
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Lin Fengmian was a scholar who travelled to France in the early 20th century to study Western art, and he dedicated his life to research and art education on the fusion of East and West in Chinese oil painting. He had many followers who interpreted the creativity of combining East and West in their creative works. Although the concept of integration of East and West has long been introduced into local oil painting and contemporary ink painting through the efforts of generations, the overall standard and artistic value of Chinese oil painting and contemporary ink painting has yet to be improved, and the slow pace seems to be a long way from the ideal. This paper attempts to reconceptualize Lin Fengmian's concept of the fusion of East and West, and to study his artistic ideas in aesthetics and culture in depth, in order to provide a clear idea for the creation of contemporary art.
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Roxburgh, David J. "In Pursuit of Shadows: Al-Hariri’s Maqāmāt". Muqarnas Online 30, nr 1 (31.01.2014): 171–212. http://dx.doi.org/10.1163/22118993-0301p0009.
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Focusing on the well-known 1237 Maqāmāt copied and illustrated by Yahya b. Mahmud. b. Yahya. b. Abi al-Hasan b. Kurriha al-Wasiti (Bibliothèque nationale de France, Paris, Ms. Arabe 5847), this essay reexamines the question of the interaction between al-Hariri’s text and al-Wasiti’s interpretation of it through a cycle of narrative paintings. The absence of such an approach can be explained by scholarly judgments going back to D. S. Rice’s essay of 1959—in which he argues that the images are a distraction—mostly restated in subsequent studies by Richard Ettinghausen (1962), David James (1974), and Oleg Grabar (1984). Grabar concluded that “the purpose and success of the story lie exclusively in its language, not in its narrative,” an assessment that gave license to the interpretation of al-Wasiti’s paintings as indices of contemporary culture and society. This essay considers the various effects of the paintings on the text and its meaning, and examines the interplay between truth and fiction, a tension that was at issue since the immediate reception of al-Hariri’s work.
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Groom, Gloria. "Landscape as Decoration: Edouard Vuillard's Ile-de-France Paintings for Adam Natanson". Art Institute of Chicago Museum Studies 16, nr 2 (1990): 146. http://dx.doi.org/10.2307/4101597.
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Chrysovitsanou, Vasiliki, i Christina Palaiologou. "German Art of the 19th Century through the Lens of The Greek Literary Magazine Kleiō (Clio): Academic Formalism Versus Modernism". International Journal of Arts, Humanities & Social Science 05, nr 07 (12.07.2024): 5–16. http://dx.doi.org/10.56734/ijahss.v5n7a2.
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We examine the work of 19th-century German painters as presented in the Greek-language magazine Kleiō published in Germany in the late 19th century. Through an extensive catalogue of paintings, the article highlights the themes that preoccupied German painters during this period. It places particular emphasis on their approach, aesthetic preferences, the decisive role played by the Academies of Fine Arts, and their attitudes towards the modern movements developing in France during the 19th century. It explores the reasons for which Kleiō magazine promoted academic German painting to its Greek readership. It reports the particularly close relations between Greece and Germany during this period and the fact that many Greek painters completed their studies at the Munich Academy of Fine Arts. Since for most of the 19th century, Germany was deeply influenced by the achievements of ancient Greek art, many German painters opposed modernism, instead upholding what they perceived to be the values and ideals of classical antiquity integrating them into German art
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Steland, Anne Charlotte. "Studien zu Herman van Swanevelt: Zeichnungen zu Fresken und Gemälden". Oud Holland - Quarterly for Dutch Art History 115, nr 1 (2001): 19–60. http://dx.doi.org/10.1163/187501701x00343.
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AbstractBetween 1628/20) and 1641, in Rome, the painter, draughtsman and etcher Herman van Swanevelt (ca. 1600-1663) developed, in collaboration with Claude Lorrain (who was the same age as himself), a genre that was to have far-reaching consequences: the idyllic, ideal landscape characterised by effects of light appropriate to the time of day. His most eminent patrons during this period were the Barberini and Philip IV of Spain. In his Paris years, from 1643/44, he catered to another circle of customers with perfect but less innovative paintings and most of his highly successful sets of etchings. Up to Goethe's day, and notably in France, renderings of the landscape influenced the development of the period's taste. Anticipating a monograph in progress with a critical oeuvre catalogue of Swanevelt's drawings and paintings, this article presents fourteen drawings for frescos and paintings dating from 1634 to after 1650. These drawings form a record of Swanevelt's stylistic development throughout virtually his entire working life. Research has already linked six of them with frescos and paintings; they are presented here with further-reaching pointers. Six of the other eight drawings are examined in detail, two more briefly in view of the impending publication of an article. The discussion centres on the function of the drawings (preliminary / copy / variant / ricordo / autonomous) and their chronology. The article is preceded by a brief biography of the painter, summarising the scattered published results of relevant research. There are two appendices: the first is a list of dated drawings (15); the second lists the dated paintings (43).
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Brown, Howard Mayer. "Ut musica poesis: Music and Poetry in France in the Late Sixteenth Century". Early Music History 13 (październik 1994): 1–63. http://dx.doi.org/10.1017/s0261127900001297.
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By praising rulers, whose magnificence formed a crucial part of the world order, Pierre de Ronsard and his French colleagues in the second half of the sixteenth century often depicted the world not as it was but as it ought to be. This idea informs Margaret McGowan's book on ideal forms in the age of Ronsard, in which she explores the ways poets and painters extolled the virtues and the theatrical magnificence of perfect princes following the Horatian dictum ut pictura poesis: as is painting so is poetry. McGowan demonstrates the virtuosity of the painters and poets of the sixteenth century in shaping their hymns of praise from the subject matter and ideals of ancient Greece and Rome by following Horace's advice to regard paintings as mute poems and poems as speaking pictures. McGowan shows how artists and intellectuals pursued their goals by creating four kinds of ideal form: iconic forms, sacred images derived from classical literary sources offering princes some guarantee of immortality; triumphal forms that evoke the heroic imperial past; ideal forms of beauty to be found in contemplating the beloved; and dancing forms that mirror rituals of celebration. McGowan claims that such ideal forms were intended to enlighten the ruler himself as much as they celebrated his grandeur in the eyes of others.
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Grussenmeyer, P., A. Burens, S. Guillemin, E. Alby, F. Allegrini Simonetti i M. L. Marchetti. "3D Recording methodology applied to the Grotta Scritta Prehistoric Rock-Shelter in Olmeta-Di-Capocorso (Corsica, France)". ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5/W7 (11.08.2015): 179–85. http://dx.doi.org/10.5194/isprsarchives-xl-5-w7-179-2015.
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The Grotta Scritta I prehistoric site is located on the west side of Cap Corse, in the territory of the municipality of Olmeta-di- Capocorso (Haute-Corse, France). This rock shelter is located on a western spur of the mountains La Serra, at 412 m height above sea level. In the regional context of a broad set of megalithic burial sites (regions Nebbiu and Agriates) and a rich insular prehistoric rock art with several engraved patterns (mainly geometric), the Grotta Scritta is the only site with painted depictions of Corsica. Around twenty parietal depictions are arranged in the upper part of the rock-shelter and takes advantage of the microtopography of the wall. Today, the Grotta Scritta is a vulnerable site, made fragile by the action of time and man. The 3D scanning of the rockshelter and paintings of the Grotta Scritta was carried out by surveyors and archaeologists from INSA Strasbourg and from UMR 5602 GEODE (Toulouse), by combining accurate terrestrial laser scanning and photogrammetry techniques. These techniques are based on a full 3D documentation without contact of the rock-shelter paintings. The paper presents the data acquisition methodology followed by an overview of data processing solutions based on both imaging and laser scanning. Several deliverables as point clouds, meshed models, textured models and orthoimages are proposed for the documentation. Beyond their usefulness in terms of valorization, communication and virtual restitution, the proposed models also provide support tools for the analysis and perception of the complexity of the volumes of the shelter (namely for the folded forms of the dome housing the paintings) as well as for the accuracy of the painted depictions recorded on the orthophotos processed from the 3D model.
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Sušanj Protić, Tea. "Tabulae pictae u palači Petris-Moise u Cresu". Ars Adriatica 8, nr 1 (28.12.2018): 81–104. http://dx.doi.org/10.15291/ars.2756.
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This paper presents the new finds of Renaissance wooden ceilings at the Petris-Moise Palace in Cres, decorated with painted panels and mural paintings. The construction elements, such as the composite massive beam known as trave leonardesca, are technically sophisticated and constructed in accordance with the Renaissance treatises on architecture. The painted ceiling panels are still a unique find in Croatia as to their installation and painting method, but are related to numerous painting cycles in the noble residences of southern France, Spain, Switzerland and northern Italy dating from the 14th until the mid-16th century. As for the dimensions, the pigments used, the installation and painting method, and the represented motifs, the closest analogy has been found in some Friulan examples. The difference, however, is that the Cres examples almost entirely belong to the visual language of grotesque, since they were produced somewhat later, at the time when this kind of decorative repertoire had already become highly appreciated. The constructions and decorative elements are a result of the Renaissance rebuilding in the second half of the 16th century, when the walls were painted as well. Based on an analysis of the heraldic symbols and motifs, and their comparison with the historical data on the Petris family, the commissioner has been identified as the Imperial Golden Knight Ivan Juraj Petris, a close relative of Franciscus Patricius (Petris). It has been assumed that the painting cycle was created under the influence of this renowned Renaissance philosopher.
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Caramanna, Claudia. "La precoce diffusione delle opere dei Bassano in Francia". Studiolo 10, nr 1 (2013): 228–41. http://dx.doi.org/10.3406/studi.2013.905.
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The Early Dissemination of Works by the Bassano Family in France. This article examines several early accounts of the reputation of the Bassano in France, drawn from documents that have already published but remain little known or not fully understood : these include Jacopo Bassano's life written by Karel van Mander (1604) for example, which mentions the presence of some of his large-scale canvases at the French court, and Vincenzo Giustiniani's travel journal (1606), which describes a gallery and a camerino adorned with paintings by the Bassano in the house of Girolamo Gondi in Paris. These accounts are complemented by further evidence, such as Jean-Baptiste du Val's description of his visit to Leandro Bassano's studio in Venice (1609) and the reference to numerous Works by the Bassano family in Sébastien Zamet's inventory (1614). All of these elements allow us to reconstruct the reception of works by the Bassano family in France, an aspect hitherto overlooked by scholars.
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Antropova, Nataliya D. "HISTORICAL AND PHILOSOPHICAL ASPECTS IN THE RENEWAL OF THE LANGUAGE OF CHURCH MONUMENTAL PAINTING IN FRANCE AT THE TURN OF THE 20th CENTURY ON THE EXAMPLE OF PAINTINGS BY MAURICE DENIS". Architecton: Proceedings of Higher Education, nr 3(71) (29.09.2020): 21. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-21.
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The study analyzes the historical and philosophical origins of the renewal in church monumental art in French culture at the turn of the 20th century. The crisis that broke out in the second half of the 19th century within the philosophical knowledge and classical religion and an attempt to rethink the evolution of Christianity entailed significant changes in artistic creativity devoted to the sacred theme. The author explores the topic based on the church mural paintings of the French painter Maurice Denis, who stood at the origins of the transformation of the language of religious painting and whose role is significant for the further history of European art. The relevance of the work lies in the fact that all previous studies on this topic were primarily art criticisms. They paid special attention to the analysis of the artistic language and pictorial and expressive means. At the same time, questions of historical and philosophical nature and their role in the formation of new European religious painting were analyzed to a much lesser extent.
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Dunlop, C. T. "Looking at the Wind: Paintings of the Mistral in Fin-de-Siecle France". Environmental History 20, nr 3 (17.04.2015): 505–18. http://dx.doi.org/10.1093/envhis/emv047.
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Mounier, Aurélie, i Floréal Daniel. "The role of the under-layer in the coloured perception of gildings in mediaeval mural paintings". Open Journal of Archaeometry 1, nr 1 (31.12.2013): 16. http://dx.doi.org/10.4081/arc.2013.e16.
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A study of the gildings used in mural paintings from the 12th to 16th century showed rather limited types of application techniques (essentially mixtion techniques, but also in rare examples distemper techniques) and a higher variety of employed metals. Samples have been taken off from mural paintings in the southwest of France as in the Bordeaux Cathedral, Meyrals Castle, Ste-Marie Church of Audignon. Samples analyses have been carried out by scanning electron microscopy coupled with an energy dispersive X-ray analysis system, Raman spectroscopy and Fourier transform infrared spectroscopy. Depending on the metal used for the gilding, the under-layer could be different in terms of material and colour. Under the gold leaves, the layer is usually red or yellow. That can be explained by the absorption properties of light by the gold leaf. Under tin leaves, which are thicker and opaque, the usefulness of the under-layer is less obvious. An experimental study illustrates the role of the coloured under-layer.
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Ros Piñeiro, Iria. "The influence of Japanese kimono on European bustles and their representation in the paintings of the late nineteenth century". Mutual Images Journal, nr 8 (20.06.2020): 3–20. http://dx.doi.org/10.32926/2020.8.ros.kimon.
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This article investigates the relationship between Europe and Japan at the end of the nineteenth century through the influence of the clothing from both countries. Paintings and portraits from that era are analysed. A typical European clothing piece of that period, the bustle, is proof that little by little the traditional Japanese kimono began to enter the fashion of England and France. In addition, the article also investigates how the Japanese kimono became a luxury item in Europe; however, it was used as a gown-style clothing for the home, losing its original function. At the same time, some kimono and furisode were trimmed and re-sewn as decorative parts of European bustles. The dresses that have survived to this day, most of them preserved in museums, are compared with the European paintings of that period to show how painters portrayed these changes in fashion and modified the use of Japanese garments through their interpretations in Europe.
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Bastian, F., V. Jurado, A. Nováková, C. Alabouvette i C. Saiz-Jimenez. "The microbiology of Lascaux Cave". Microbiology 156, nr 3 (1.03.2010): 644–52. http://dx.doi.org/10.1099/mic.0.036160-0.
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Lascaux Cave (Montignac, France) contains paintings from the Upper Paleolithic period. Shortly after its discovery in 1940, the cave was seriously disturbed by major destructive interventions. In 1963, the cave was closed due to algal growth on the walls. In 2001, the ceiling, walls and sediments were colonized by the fungus Fusarium solani. Later, black stains, probably of fungal origin, appeared on the walls. Biocide treatments, including quaternary ammonium derivatives, were extensively applied for a few years, and have been in use again since January 2008. The microbial communities in Lascaux Cave were shown to be composed of human-pathogenic bacteria and entomopathogenic fungi, the former as a result of the biocide selection. The data show that fungi play an important role in the cave, and arthropods contribute to the dispersion of conidia. A careful study on the fungal ecology is needed in order to complete the cave food web and to control the black stains threatening the Paleolithic paintings.
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Zavyalova, Anna E. "Konstantin Somov’s Early Works and Impressionism: A New View on the Issue". Observatory of Culture 18, nr 4 (11.10.2021): 409–15. http://dx.doi.org/10.25281/2072-3156-2021-18-4-409-415.
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The article reveals literary (Emile Zola’s novel “L’Œuvre”, Richard Muther’s work “History of Painting in the 19th Century”), literary and artistic (magazines “Mercure de France”, “L’Ermitage”, “La Revue Blanche”, “La Plume”) and artistic (exhibits of the French art exhibition of 1896) sources of Konstantin Somov’s acquaintance with the art of French impressionism at the beginning of his independent activity (before leaving for Paris in the late 1890s). There are also identified sources of phenomena in his work that are similar to impressionism only externally. These issues become the subject of special consideration for the first time. The scientific novelty of the work lies in the fact that it first reveals that the artist did not address to impressionism in the period before his departure to France, as it has been long believed. To study the tasks set, the article involves sources of personal origin (letters and diaries of K.A. Somov and his friend A.N. Benois), as well as A.N. Benois’s articles of the 1890s, published on the pages of the magazine “World of Art”. The author comes to the conclusion that K.A. Somov did not turn to the artistic method of the impressionists in his work at that time, since the information he had been able to get from the identified sources was of a verbal and theoretical nature. Black-and-white reproductions of impressionist paintings in literary and art magazines and in Muther’s “History of Painting in the 19th Century” had not provided sufficient information for the artist. The phenomena similar to impressionism in Somov’s works are based on the study of nature, the heritage of the old European artists, the art of the Barbizonians, J.-F. Millet, W. Turner.
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M. Bayer, Thomas, i John Page. "The ingenious marketing of modern paintings". Journal of Historical Research in Marketing 6, nr 2 (13.05.2014): 211–33. http://dx.doi.org/10.1108/jhrm-04-2013-0023.
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Purpose – This paper aims to analyze the evolution of the marketing of paintings and related visual products from its nascent stages in England around 1700 to the development of the modern art market by 1900, with a brief discussion connecting to the present. Design/methodology/approach – Sources consist of a mixture of primary and secondary sources as well as a series of econometric and statistical analyses of specifically constructed and unique data sets that list nearly more than 50,000 different sales of paintings during this period. One set records sales of paintings at various English auction houses during the eighteenth and nineteenth centuries; the second set consists of all purchases and sales of paintings recorded in the stock books of the late nineteenth-century London art dealer, Arthur Tooth, during the years of 1870/1871. The authors interpret the data under a commoditization model first introduced by Igor Kopytoff in 1986 that posits that markets and their participants evolve toward maximizing the efficiency of their exchange process within the prevailing exchange technology. Findings – We found that artists were largely responsible for a series of innovations in the art market that replaced the prevailing direct relationship between artists and patron with a modern market for which painters produced works on speculation to be sold by enterprising middlemen to an anonymous public. In this process, artists displayed a remarkable creativity and a seemingly instinctive understanding of the principles of competitive marketing that should dispel the erroneous but persistent notion that artistic genius and business savvy are incompatible. Research limitations/implications – A similar marketing analysis could be done of the development of the art markets of other leading countries, such as France, Italy and Holland, as well as the current developments of the art market. Practical implications – The same process of the development of the art market in England is now occurring in Latin America and China. Also, the commoditization process continues in the present, now using the Internet and worldwide art dealers. Originality/value – This is the first article to trace the historical development of the marketing of art in all of its components: artists, dealers, artist organizations, museums, curators, art critics, the media and art historians.
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James, N. "Replication for Chauvet Cave". Antiquity 90, nr 350 (kwiecień 2016): 519–24. http://dx.doi.org/10.15184/aqy.2016.63.
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As radiocarbon dates were announced, the wall paintings and engravings in Chauvet Cave, France, were hailed as fine art far earlier than any recognised before: here was the ‘Dawn of art’ (Figure 1; Chauvet et al. 1996). Soon after discovery, in 1994, the cave was closed to protect the images from chemical and microbial damage. In 2014, it was added to the World Heritage List. Then, in April 2015, replicas of the most striking imagery were opened at a purpose-built site, the Caverne du Pont d'Arc.
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Wijnands, Clim. "Reflections of the Hidden Duchess and the Moon King: The Tabula Scalata and the Engaged Beholder in Sixteenth-Century Italy". Ikonotheka, nr 29 (16.09.2020): 79–101. http://dx.doi.org/10.31338/10.31338/2657-6015ik.29.2.
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A tabula scalata consists of triangular slats painted on two sides and attached to a panel, creating a “double image”. Sometimes, a mirror was placed at straight angles of the upper frame, allowing the beholder to see both painted sides at the same time – but only when standing in the right position. This contribution analyses how these scarcely studied devices relied on the beholder’s active participation to convey intertwined layers of artistic, scientific, political, and poetic meanings. To do so, it discusses two sixteenth-century case studies. The first is a lost painting created in French royal court circles around 1550 and subsequently making its way to Rome as a diplomatic gift. The device combined a portrait of Henry II of France, a moon symbol, and a puzzle-ridden poem to convey interrelated political and poetic meanings. The second painting is Ludovico Buti’s Portrait of Charles III of Lorraine and Christina de’ Medici. It was commissioned by the Medici, and originally hung in a room filled with maps and geographical devices. This article considers three aspects central to the paintings’ reception: motion, sensory perception, and ideology. Operating in an intellectual culture fuelled by curiosity and designed to evoke wonder, these devices aimed to prolong the beholders’ attention by establishing thresholds within the artistic experience. As such, they straddled the vague boundaries between painting, scientific instrument, and poem to stimulate the beholders’ senses and involve them in an interactive game of meaning-making.
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Jordan, Alyce A. "Remembering Thomas Becket in Saint-Lô". Arts 10, nr 3 (14.09.2021): 67. http://dx.doi.org/10.3390/arts10030067.
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France numbered second only to England in its veneration of the martyred archbishop of Canterbury. Nowhere in France was that veneration more widespread than Normandy, where churches and chapels devoted to Saint Thomas, many embellished with sculptures, paintings, and stained-glass windows, appeared throughout the Middle Ages. A nineteenth-century resurgence of interest in the martyred archbishop of Canterbury gave rise to a new wave of artistic production dedicated to him. A number of these modern commissions appear in the same sites and thus in direct visual dialogue with their medieval counterparts. This essay examines the long legacy of artistic dedications to Saint-Thomas in the town of Saint-Lô. It considers the medieval and modern contexts underpinning the creation of these works and what they reveal about Thomas Becket’s enduring import across nine centuries of Saint-Lô’s history.
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Lussier, Suzanne. "‘Habillement de la Dite Dame Reine’: An Analysis of the Gowns and Accessories in Queen Henrietta Maria's Trousseau". Costume 52, nr 1 (marzec 2018): 26–47. http://dx.doi.org/10.3366/cost.2018.0046.
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When his sister Princess Henrietta Maria left France in 1625 to marry Charles I of England, King Louis XIII provided her with a magnificent trousseau which included furniture, carriages, garments and jewellery. The seventeenth-century French text was translated into English by this author for Erin Griffey's publication on Henrietta Maria. 1 Using contemporary paintings and sumptuary accounts, this article examines the gowns listed in Henrietta Maria's inventory and considers problems inherent to the translation of seventeenth-century dress terminology. It also sheds important light on an understudied period of French court dress.
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Clarke, Joseph. "‘Valour Knows Neither Age Nor Sex’: The Recueil des Actions Héroïques and the Representation of Courage in Revolutionary France". War in History 20, nr 1 (styczeń 2013): 50–75. http://dx.doi.org/10.1177/0968344512454389.
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The outbreak of the French Revolutionary Wars prompted the production of wartime propaganda on an unprecedented scale. In France state-sponsored publications such as the mass-produced Recueil des Actions Héroïques et Civiques des Républicains Français reached an exceptionally wide audience throughout the Terror and inspired a variety of patriotic prints, plays, and paintings in the years that followed publication. This article argues that works such as this radically redefined the representation of courage in combat and left a lasting legacy on the representation of warfare well into the nineteenth century.
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Půtová, Barbora. "The Czech Painter Božena Jelínková-Jirásková. On the Life and Work on the Periphery of the Male World". Acta Musei Nationalis Pragae – Historia litterarum 61, nr 1-2 (2016): 51–58. http://dx.doi.org/10.1515/amnpsc-2017-0018.
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The article focuses on the life and work of Božena Jelínková-Jirásková (1880–1951), which are described and interpreted by means of a content analysis of her correspondence and artistic production. It presents the basic phases in the artist’s life and work in terms of the influence of her father, the writer Alois Jirásek, and subsequently her husband, the diplomat and writer Hanuš Jelínek. The study provides a chronological overview of the course of her education, life in Paris, exhibition activities, social contacts and artistic movements that affected her paintings. In this respect, a source of inspiration for the work of Jelínková-Jirásková can mainly be seen in the work of Paul Cézanne and Otakar Kubín, with the latter of whom she maintained long-term contacts. The central motif of their work was a landscape, comprising not only a major theme of her artistic production, but also a form of search for personal identity, internal security and a familiar home. A partial objective of the article is to cover the artistic development of Jelínková-Jirásková from Impressionism to realistic and figural work, her subsequent inclination to Neoclassical landscape painting and eventually a return to Realist painting, the Czech landscape and still lifes. The article presents Jelínková-Jirásková as one of the first Czech professional painters to have achieved recognition in both Czechoslovakia and France.
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Jain, Sushma. "PRE-HISTORIC ROCK PAINTING: DICKEN (DISTRICT NEEMUCH)". International Journal of Research -GRANTHAALAYAH 8, nr 3 (25.05.2020): 128–35. http://dx.doi.org/10.29121/granthaalayah.v8.i3.2020.137.
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Humans have been lovers of beauty and art from the beginning. Like human life, the history of the rise of art is very mysterious, vast and unknown. It is not easy to present the facts of past merged in innumerable layers of time, even today we have a complete lack of means and evidence.
The places where rock paintings have been found in India are still located in dense forests far away from human reach. All these prehistoric arts are pre-human. With these inscriptions we not only gain knowledge of the nature, life, struggle and conditions of the primitive human, but we also get the proof of the aesthetic sense of creativity in his consciousness. These rock paintings did not come to light suddenly, after a decade of prehistoric paintings of Spain, France, rock paintings also became a topic of discussion in India. Credit for the discovery of these Shailashrayi paintings first goes to Carlile and Cuckburn. 3
मानव प्रारम्भ से ही सौंदर्य एवं कला प्रेमी रहा है । मानव जीवन की भाँति कला के उदय का इतिहास अत्यंत रहस्यमय, विराट तथा अज्ञात है । काल की असंख्य परतों में विलीन अतीत के तथ्यों को मूर्त रूप में प्रस्तुत करना सहज नहीं है, आज भी हमारे पास साधनों एवं प्रमाणों का सर्वथा अभाव है।1
भारत में शैलचित्र जिन स्थानों पर प्राप्त हुए हैं वे स्थान आज भी मानव की पहुंँच से दूर घने जंगलों में स्थित हैं।2ये समस्त प्रागैतिहासिक कलाएँ मानव के सभ्य होने से पूर्व की हैं । इन शिलाचित्रों से हम न केवल आदिम मानव के स्वभाव, जीवन, संघर्ष तथा उसकी परिस्थितियों का ज्ञान प्राप्त करते हैं वरन् उसकी चेतना में व्याप्त सृजनशीलता से युक्त सौंदर्य बोध का भी प्रमाण पाते हैं । ये शैलचित्र अचानक ही प्रकाश में नहीं आ गए स्पेन, फ्रांस के प्रागैतिहासिक चित्रों के एक दशक पश्चात् भारत में भी शैलचित्र चर्चा का विषय बन गए । इन शैलाश्रयी चित्रों की खोज का श्रेय सर्वप्रथम कार्लाइल तथा काकबर्न को जाता है ।3
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James, N. "Cherchez la femme—a Palaeolithic preoccupation". Antiquity 86, nr 332 (czerwiec 2012): 558–60. http://dx.doi.org/10.1017/s0003598x00062955.
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The cave paintings in France and Spain are the Magdalenian’s most famous feature. The exhibition, Mille et une femmes de la fin des temps glaciaires (“1001 women from the end of the Ice Age”) explored the proposition that, more than just an archaeological culture, the Magdalenian was inspired, through most of its history, by common symbolism across the Great European Plain all the way from the Pyrenees to Poland; and that, although the landscape varied, this vast region was integrated by common techniques and imagery from 20 000 to 15 000 years ago. The “Lalinde-G¨onnersdorf style” figurines of women, was the suggestion, were particularly characteristic. Assembled from some 20 collections in France, Switzerland, Germany, Poland and the Czech Republic, the exhibition was shown at the Museum of Prehistory in Les Eyzies from June to September last year. The compact presentation was in two parts.