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Artigos de revistas sobre o tema "Civilzation, Medieval, in art"

Autor: Grafiati

Publicado: 29 de julho de 2024

Última modificação: 30 de julho de 2024

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1

Wood, Charles T. "Dictionary of the Middle Ages. Joseph R. StrayerDictionary of Medieval Civilzation. Joseph Dahmus". Speculum 60, n.º 4 (outubro de 1985): 967–71. http://dx.doi.org/10.2307/2853748.

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2

Woodacre, Elena. "Medieval Art in Motion". Medieval Feminist Forum 56, n.º 2 (25 de março de 2021): 218–20. http://dx.doi.org/10.17077/1536-8742.2263.

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3

Hofmann, Richie. "Looking at Medieval Art". Yale Review 108, n.º 2 (2020): 168. http://dx.doi.org/10.1353/tyr.2020.0056.

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4

Foster, Paul. "Medieval Manichaean Book Art". Expository Times 121, n.º 1 (11 de setembro de 2009): 26. http://dx.doi.org/10.1177/00145246091210010302.

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5

Hofmann, Richie. "Looking at Medieval Art". Yale Review 108, n.º 2 (julho de 2020): 168. http://dx.doi.org/10.1111/yrev.13641.

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6

Pestell, Richard. "Medieval art and the performance of Medieval music". Early Music XV, n.º 1 (fevereiro de 1987): 57–70. http://dx.doi.org/10.1093/earlyj/xv.1.57.

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7

Clifton, Nicole. "Medieval Romance, Medieval Contexts (review)". Arthuriana 22, n.º 2 (2012): 110–11. http://dx.doi.org/10.1353/art.2012.0023.

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8

PETRAKIS, N. "Earmarks of art history: Cerumen and medieval art". American Journal of Otolaryngology 21, n.º 1 (janeiro de 2000): 5–8. http://dx.doi.org/10.1016/s0196-0709(00)80067-8.

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PETRAKIS, N. "Earmarks of art history: Cerumen and medieval art". American Journal of Otolaryngology 21, n.º 1 (janeiro de 2000): 5–8. http://dx.doi.org/10.1016/s0196-0709(00)80104-0.

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10

Frazer, Margaret E., Jane Hayward, Timothy Husband e Katharine R. Brown. "Medieval Art and the Cloisters". Recent Acquisitions, n.º 1985/1986 (1985): 14. http://dx.doi.org/10.2307/1513683.

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11

Husband, Timothy B. "Medieval Art and the Cloisters". Metropolitan Museum of Art Bulletin 59, n.º 1 (2001): 33. http://dx.doi.org/10.2307/3269168.

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12

Brown, Katharine R., William D. Wixom, Charles T. Little, Barbara Drake Boehm e Timothy B. Husband. "Medieval Art and the Cloisters". Metropolitan Museum of Art Bulletin 49, n.º 2 (1991): 14. http://dx.doi.org/10.2307/3258929.

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13

Wixom, William D., Margaret E. Frazer, Timothy B. Husband, Barbara Drake Boehm e Katharine R. Brown. "Medieval Art and the Cloisters". Metropolitan Museum of Art Bulletin 48, n.º 2 (1990): 16. http://dx.doi.org/10.2307/3258949.

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14

Wixom, William D., Charles T. Little, Katharine R. Brown e Timothy B. Husband. "Medieval Art and The Cloisters". Metropolitan Museum of Art Bulletin 47, n.º 2 (1989): 14. http://dx.doi.org/10.2307/3259893.

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15

Chikarkova, Maria. "Medieval origins of street art". Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 10, n.º 19 (2020): 99–106. http://dx.doi.org/10.34079/2226-2830-2020-10-19-99-106.

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The article deals with "street art" as a kind of urban culture, outrageous self-expression of urban youth. Its study is condensed mainly on modern modifications of phenomena such as graffiti, video projection, art intervention, flash mob and more. But the historical forms of this phenomenon, whose roots go back to cave times, are much more diverse and unexpected. The ancient street art is pretty well known to us, however the medieval street art, even the closest ‒ European, scientists were much less interested. However, the Soviet-era disregard for the experience of the Middle Ages, which was one of the most important links in the progress of our culture, is deeply flawed. The aim of this study is a scientific description of the street art of medieval Europe, its structure, spiritual orientation, genre originality and potential for further development. The article gives a detailed analysis of the theoretical projection of the problem (formation of the phenomenon of "street art" on the border of folklore and experience of professional art) and the practical need to expand the concept of street art in its historical diachrony in the study and teaching of world and domestic culture. The main idea of the articles is a comparison of medieval street art with its folklore and, in part, ancient origins, as well as the establishment of points of contact with the future Proto-Renaissance world. The article emphasizes that religious-Christian consciousness prevailed in medieval Europe, and this meant a radical change in worldview. Being ceased to be perceived as an "eternal whirlpool": the eschatological concept of the Bible prompted us to realize the temporality of the material world and the need to find ways to Eternity. Thus, street art, which used to be a signification of the everyday interests of citizens, has now received the status of a "signpost to Heaven", expressing a predominantly pious spiritual search for the urban community. This can be seen even in various inscriptions, signs, craft communities, etc. At the same time, phenomena marginal to the dominant church culture, such as "carnival culture", which condensed the hedonistic motives of pagan heritage, developed certain traditions of chivalric culture and were sometimes an echo of heretical teachings, are carefully analyzed. This article reports the results of a medieval street art as a powerful component in the formation of European culture and contributed to the involvement of broad sections of uneducated citizens in the spiritual life of the era. This situation largely became the foundation of the formation of the Renaissance process. The article is of great help to a more detailed and in-depth study of this important historical and cultural phenomenon.

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16

Whelan, Estelle, e Eva Baer. "Metalwork in Medieval Islamic Art". Journal of the American Oriental Society 110, n.º 1 (janeiro de 1990): 136. http://dx.doi.org/10.2307/603940.

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17

v. GladiSS, Almut, e Eva Baer. "Metalwork in Medieval Islamic Art". Die Welt des Islams 29, n.º 1/4 (1989): 221. http://dx.doi.org/10.2307/1571024.

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18

HICKS, CAROLA. "ANIMALS IN EARLY MEDIEVAL ART". Art Book 1, n.º 2 (março de 1994): 27. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00032.x.

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19

Kessler, Herbert L. "Reading ancient and medieval art". Word & Image 5, n.º 1 (janeiro de 1989): 1. http://dx.doi.org/10.1080/02666286.1989.10435390.

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20

Kornbluth, Genevra. "Early Medieval Art. Lawrence Nees". Speculum 79, n.º 3 (julho de 2004): 805–7. http://dx.doi.org/10.1017/s0038713400090321.

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21

Jensen, Robin M. "Book Review: Medieval Liturgical Art". Expository Times 122, n.º 2 (21 de outubro de 2010): 98–99. http://dx.doi.org/10.1177/00145246101220020702.

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22

Foletti, Ivan, e Adrien Palladino. "Roundtable. Medieval Art Today, Why?" Convivium 7, n.º 2 (julho de 2020): 160–85. http://dx.doi.org/10.1484/j.convi.5.123124.

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23

Barral i Altet, Xavier, e Ivan Foletti. "Medieval Art History in Prison". Convivium 4, n.º 1 (janeiro de 2017): 11–14. http://dx.doi.org/10.1484/j.convivium.4.2017002.

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24

Mocholí Martínez, María Elvira. "Medieval Christian Religion and Art". Religions 15, n.º 3 (28 de fevereiro de 2024): 298. http://dx.doi.org/10.3390/rel15030298.

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25

Bauduin, Tessel M., e Julia W. Krikke. "Images of Medieval Art in the French Surrealist Periodicals Documents (1929–31) and Minotaure (1933–39)". Journal of European Periodical Studies 4, n.º 1 (30 de junho de 2019): 144–61. http://dx.doi.org/10.21825/jeps.v4i1.8843.

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The avant-garde movement Surrealism claimed historical figures as supposed ancesters, as is well known, but also interacted with the past, and especially art of the past, in other ways. This article explores the reception of the European Middle Ages in French Surrealism, in particular medieval art, by means of a case study: illustrations of medieval and early-modern Western art in the surrealist periodicals Documents (1929-1931) and Minotaure (1933-1939). The cerebral and contrary Documents challenged the canon of art by actively looking at the margins of European art, reproducing medieval art from a wide variety of periods and geographic locations, and in very differing media, including jewelry and vessels, murals, bronze church doors, and manuscript illuminations. The glossy art review Minotaure, which came with coloured inserts, was more conventional in its selection, reproducing primarily late-medieval and renaissance art works, mainly (panel) paintings. However, the intention is just as contrary, as late-medieval and renaissance art in Minotaure is framed in terms of surrealist aesthetics in a manner undermining the conventional canon. In Documents medieval art primarily serves to makes points about style and iconography, which is often posited as primitive or exotic. In Minotaure, medieval art serves to make points about Surrealism, about the oneiric qualities of form or iconography. Both periodicals offered an interesting array of medieval and renaissance art and introduced this art into the surrealist discours.

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26

Perratore, Julia. "The Art of Medieval Iberia at The Metropolitan Museum of Art and The Met Cloisters". La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures 50, n.º 1-2 (setembro de 2021): 435–47. http://dx.doi.org/10.1353/cor.2021.a910138.

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Abstract: This essay reflects upon the rich holdings in medieval Iberian art at The Metropolitan Museum of Art, acknowledging both the organizational challenges and intellectual rewards of delving into this multifaceted collection. Focusing on the Department of Medieval Art and The Cloisters, it highlights a selection of artworks that reveal encounters between people of different faith traditions in medieval Iberia. In so doing, it argues for the importance of looking to the visual arts for layered, complex, and nuanced testimonies of interfaith interaction in the medieval peninsula.

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27

Richards, Jeffrey. "Robin Hood Medieval and Post-Medieval edited by Helen Phillips". Arthuriana 15, n.º 4 (2005): 75–76. http://dx.doi.org/10.1353/art.2005.0034.

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28

Sheingorn, Pamela. "The Medieval Feminist Art History Project". Medieval Feminist Newsletter 12 (setembro de 1991): 5–10. http://dx.doi.org/10.17077/1054-1004.1591.

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29

Muzaffarli, D. "GROTESQUE IN MEDIEVAL ART OF AZERBAIJAN". Journal of history 88, n.º 1 (2018): 20–25. http://dx.doi.org/10.26577/jh-2018-1-175.

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30

Brook, Leslie C., e Douglas Kelly. "The Art of Medieval French Romance". Modern Language Review 90, n.º 1 (janeiro de 1995): 180. http://dx.doi.org/10.2307/3733306.

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31

Voyer, Cécile. "Collectif, The Art of Medieval Hungary". Cahiers de civilisation médiévale, n.º 256 (1 de dezembro de 2021): 367–69. http://dx.doi.org/10.4000/ccm.8646.

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32

Иванова, С. В. "Angelic Trumpets in Medieval Christian Art". OPERA MUSICOLOGICA, n.º 2022 (12 de setembro de 2022): 46–63. http://dx.doi.org/10.26156/om.2022.14.3.003.

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В статье исследуются изображения духового музыкального инструмента, в который трубят ангелы; подобные изображения появляются в христианском искусстве с XI века. Это труба характерной формы, слегка изогнутая, с очень небольшим раструбом, она может быть как сравнительно небольшой, так и довольно значительного размера, бывает украшена резьбой или же инкрустацией. Сопоставление изображений позволяет сделать вывод, что перед нами шофар — особый библейский инструмент, труба, изготовленная из рога парнокопытных животных (диких и домашних баранов, козлов, антилоп). Шофары описаны в видениях ветхозаветных пророков и имеют огромное значение в библейской культуре. В христианском искусстве Западной Европы и Византии с XI столетия появляются произведения — фрески, барельефы, мозаики, иконы, миниатюры, — в которых шофары изображаются весьма правдоподобно. После XV века в западноевропейском искусстве значение шофара перестает осознаваться, вместо них начинают изображаться просто медные трубы, с характерным широким раструбом и бликами на металле. Понимание значения шофара объясняет роль духовых инструментов в иконографии христианских сюжетов, а также появление в искусстве эпохи Возрождения образов музицирующих ангелов. The article investigates a special music instrument of angels. This image is first reflected in the Christian art of the XI–XV centuries and is depicted as a Biblical instrument called a shofar, a pipe made from a ram’s horn. The pipe has a distinctive shape, slightly curved; with a small bell-mouth. The instrument varies in size and can be decorated with carvings or incrustations. Shofar is an instrument that was used only for ritual purposes and, being of great importance in the Biblical culture, is described in the visions of the Old Testament prophets. Besides the End of Time, shofar is also symbolically connected with the beginning of the Jubilee year, the holy time, proclaimed by the sounds of shofar. In Christian Art of Western Europe, beginning from XI century, one can see frescoes, mosaic, icons, miniatures, bas-relieves that depict shofar quite credibly. In the miniatures of the Western European manuscripts, one can often see two angels positioned differently: one blowing his horn over the condemned sinners, while the other — over the resurrecting righteous men. It would be right to state that the popularity of shofar in the Western European art fades away after XV century, it being replaced by simple copper pipes with wide openings and metallic glitter. Understanding of the symbolical meaning of the shofar, however, sheds some light onto the significance of these instruments in the scenes of the end of the world.

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33

Busby, Keith, e Douglas Kelly. "The Art of Medieval French Romance". Comparative Literature 47, n.º 3 (1995): 263. http://dx.doi.org/10.2307/1771489.

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34

Haidu, P. "The Art of Medieval French Romance". Modern Language Quarterly 54, n.º 3 (1 de janeiro de 1993): 427–30. http://dx.doi.org/10.1215/00267929-54-3-427.

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35

Dunbabin, J. "Anjou: Medieval Art, Architecture and Archaeology". English Historical Review 119, n.º 480 (1 de fevereiro de 2004): 171. http://dx.doi.org/10.1093/ehr/119.480.171.

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36

Bagnoli, Martina. "Preface: Medieval art and the object". Word & Image 22, n.º 3 (julho de 2006): 193–95. http://dx.doi.org/10.1080/02666286.2006.10435746.

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37

Lord, Carla, e Carol Lewine. "INTRODUCTION: SECULAR IMAGERY IN MEDIEVAL ART". Source: Notes in the History of Art 33, n.º 3/4 (março de 2014): 1–2. http://dx.doi.org/10.1086/sou.33.3_4.23725944.

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38

Gillerman, Dorothy. "Seeing Medieval Art. Herbert L. Kessler". Speculum 81, n.º 2 (abril de 2006): 546–48. http://dx.doi.org/10.1017/s0038713400003146.

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39

Gutmann, Joseph. "On Biblical Legends in Medieval Art". Artibus et Historiae 19, n.º 38 (1998): 137. http://dx.doi.org/10.2307/1483588.

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40

Smith, L. "Sex and obscenity in medieval art". Journal of Family Planning and Reproductive Health Care 35, n.º 1 (1 de janeiro de 2009): 65–66. http://dx.doi.org/10.1783/147118909787072342.

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41

Toussaint, Manuel. "Medieval American Art, de Pal Kelemen". Anales del Instituto de Investigaciones Estéticas 3, n.º 11 (30 de julho de 2012): 127. http://dx.doi.org/10.22201/iie.18703062e.1944.11.376.

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42

Moffatt, Ann. "Early medieval art (review)". Parergon 11, n.º 1 (1993): 186–87. http://dx.doi.org/10.1353/pgn.1993.0014.

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43

Marshall, Louise. "Medieval decorative art (review)". Parergon 12, n.º 1 (1994): 129–31. http://dx.doi.org/10.1353/pgn.1994.0038.

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44

Brown, Rachel Fulton. "Make Art—and Academia—Medieval Again". Academic Questions 33, n.º 3 (18 de julho de 2020): 377–82. http://dx.doi.org/10.1007/s12129-020-09908-4.

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45

Yang, Shu. "Development of Art and Religion Through Compromise: Medieval Christian Art and Chinese Religious Art". Communications in Humanities Research 29, n.º 1 (19 de abril de 2024): 28–34. http://dx.doi.org/10.54254/2753-7064/29/20230521.

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The significance of this paper lies in the analysis of medieval religious art in China and Europe, which sheds light on how the intersection of religion and art reflects cultural and societal values. To understand the delicate balance between artistic expression and religious influence, this study delves into the development and evolution of religious art during the medieval period. The comprehensive comparative analysis is conducted using an interdisciplinary and cross-cultural approach that integrates perspectives from art history, history, religious studies, and aesthetics. The findings reveal that while initially, art in both regions was predominantly influenced by religious ideals, it gradually asserted its independence and shifted from a God-centered to a human-centered approach. The results of this study imply that despite its oppressive origins, religious art managed to harness religion as a catalyst for innovation and enrichment, showcasing the resilience and adaptive capacities of art.

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46

Meek, Christine. ":The Medieval Salento: Art and Identity in Medieval Italy". Sixteenth Century Journal 46, n.º 3 (1 de setembro de 2015): 807–9. http://dx.doi.org/10.1086/scj4603184.

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47

Meliksetyan, Gor. "MONUMENTAL ART IN ARMENIA/MONUMENTAL ART, FRESCO PAINTING/". JOURNAL FOR ARMENIAN STUDIES 2, n.º 61 (28 de abril de 2023): 98–107. http://dx.doi.org/10.24234/journalforarmenianstudies.v2i61.51.

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Armenian monumental art is the undisputed leader of the early medieval and medieval art of artistic culture, with its varieties. Armenian monumental art, as well as monumental painting - mural painting, are anchored mainly on Christian themes, which increases its artistic value even more. Modern Armenian monumental works, both monumental and mural, are inspired by the national traditions and customs of medieval art, why not also by thematics. However, often these things have relative independent significance, are the important dominant of the complex. Such works are distinguished by the depth of philosophical meditations on the world, the sublimity of man, and the primacy of the principle of imaging. Other types of works of Armenian monumental art do not carry high ideas and harmoniously decorate walls, roofs, facades and other surfaces in architecture, and border on decorative art with their architectural ornamental expressions (sometimes this direction is indicated by the term monumental decorative art). However, there is no strict boundary between these two types of monumental works of art. The history of Armenian monumental art testifies that our artists have stood at the intersection of three ways in terms of creativity: custom, rule, innovation. That is the reason why their art is not unambiguous and uniform, it is diverse and special. In the field of mural painting, the characteristic features on which modern Armenian art is based, with its inexhaustible artistry, stand out. Monumental art (monumental and mural art) has existed in Armenia for three millennia and continues today. It is not only progressive, but deeply in line with the pretentiousness of Armenian art, with clearly expressed tendencies of monumentality.

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48

Bullough, Vern L. "Medieval Concepts of Adultery". Arthuriana 7, n.º 4 (1997): 5–15. http://dx.doi.org/10.1353/art.1997.0049.

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49

Gamaliia, Kateryna. "ELEMENTS OF ART STUDIES IN MEDIEVAL RESEARCH OF PETER BIZZILLI". CULTURE AND ARTS IN THE MODERN WORLD, n.º 23 (30 de junho de 2022): 93–101. http://dx.doi.org/10.31866/2410-1915.23.2022.260969.

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The purpose of the article is to consider the Professor’s contribution at Odesa University, P. Bizzilli, to the domestic medieval studies formation. The reconstruction of the people’s spiritual universe of the past epoch, initiated by P. Bizzilli, is one of the important components of the methodology of humanitarian research, characteristic of many representatives in modern medieval studies. After the romantics of the nineteenth century, interest in the Middle Ages gained new development in the early twentieth century, which contributed to his research at European universities. During the century, M. Bloch (1973), J. Huizinga (1988), M. Barg (1987), J. Le Goff (2005, 2008), U. Eco (2003, 2004) addressed this topic, exploring in detail the features of medieval culture. L. Karsavin (1995), O. Dobiash-Rozhdestvenska (1987) and P. Bizzilli (1916, 1993a, 1993b, 1993c, 1995) should be singled out as active figures in the formation of medieval studies centres in Ukraine. Scientific novelty. For the first time, the medieval works of P. Bizzilli from the standpoint of art history were analysed. Conclusions. P. Bizzilli, considering the main elements that make up the medieval picture of the world, comes to conclusions that coincided with and preceded the creative discoveries of his contemporaries (I. Greaves, L. Karsavin, O. Dobiash-Rozhdestvenska). In particular, it applies to the features of medieval art, the nature of which P. Bizzilli associated with the characteristic of medieval man’s life concept. He considered universalism, symbolism and hierarchy to be the defining features of the medieval worldview, envisaging the formulation of relevant problems by the following authors. A comparative analysis of the medieval works of P. Bizzilli, his contemporaries and researchers in the next years allows us to conclude that among the fields of humanities in which his ideas remain relevant should be called art history. One of the important conclusions of P. Bizzilli was the statement that the formula of medieval culture was symbolism and hierarchy. Medieval fine art, rich in complex and finely designed symbolism, is reduced to understanding and revealing the symbolic meaning of the surrounding reality.

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50

Bair, Lynda E. "The Art and Science of Medieval Manuscripts". Journal of Interdisciplinary Studies 5, n.º 1 (1993): 25–44. http://dx.doi.org/10.5840/jis199351/23.

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The University of Paris could lay claim to being the center of scholarship and theology in thirteenth-century Europe. Around this center, a community of craftsmen gathered to fulfill many needs of the University population. One of these needs was for a portable pocket Bible. This essay explores a preeminent craft associated with the University of Paris, that of the manuscript workshop. Exemplar leaves are examined with respect to the production steps of the Parisian pocket Bible. Conclusions reached concern the planned book layout and artist involvement in its production, including a reconstruction of such technical challenges as ruling the leaves, gathering systems, and epistle length.

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