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Добірка наукової літератури з теми "Art, European – 15th century"

Автор: Grafiati
Опубліковано: 27 липня 2024
Оновлено: 28 липня 2024

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Статті в журналах з теми "Art, European – 15th century"

1

Artamonova, Svetlana. "Art Collections of the Russian State Library." Art Libraries Journal 17, no. 2 (1992): 27–28. http://dx.doi.org/10.1017/s0307472200007793.

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The former Lenin State Library in Moscow, now the Russian State Library, holds extensive collections of graphic and photographic materials, Russian and foreign, dating from the 15th century to the present day. These include a collection of some 434,000 posters, of which film and political posters form the largest subsections; a smaller number of pre-Revolutionary posters is of special interest. The collection of engravings totals some 93,000 items, and includes both works of European masters and Russian popular prints. There are also collections of postcards, “albums”, and manuscripts.
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Chernyi, Valentin D. "FOREIGNERS’ PERCEPTION OF RUSSIAN ARTWORK IN THE 16TH-17TH CENTURIES." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2022): 112–24. http://dx.doi.org/10.28995/2073-6401-2022-3-112-124.

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The article considers general approaches to the perception of Russian artwork by foreigners in medieval Russia from the end of the 15th to the 17th century. The establishment of a unified Russian state made ways for establishing various contacts with European countries. Representatives of different countries who came from Europe to Russia on various missions formed their own idea of the unfamiliar state, including its artistic culture. Artwork rarely came to the attention of travelers, who, due to the difference of religion, were usually not allowed into Orthodox churches. As a result, stable stereotypes were formed about the low artistic quality of icons and about the attitude of Russians to them as objects of pagan worship. Only a few of travelers, who got direct access to the best works and relevant explanations, could appreciate the artistic merits of icons as works of art. Along with icons, according to the testimony of foreign authors, since the end of the 15th century, portrait images also began to come into use. Despite the different foundations and traditions of ancient Russian and European art, the close interaction of the countries inevitably led to a common understanding of the tasks and forms of artistic work
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ZADNIPRYANY, Gennady. "SEARCH FOR ARTISTIC SOLUTIONS IN THE EUROPEAN RENAISSANCE ENGRAVING." ART Space 1, no. 4 (2024): 99–118. http://dx.doi.org/10.28925/2519-4135.2024.46.

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The article examines the search for artistic solutions in the European engraving of the Renaissance. The technological, aesthetic and social reasons for the emergence of this new art form are considered. The difference between edge and incisal engraving techniques on wood and metal is highlighted. The main features and mannerisms of famous masters of various national schools of reproduction, creative and book engraving are described. Engraving on the territory of Europe arose at the turn of the 14th and 15th centuries. It had its own technological prototypes that existed before. For xylography, these are stamps-seals and punches, for engraving - the craft of jewelers, for etching – the skill of gunsmiths. But, like a print on paper of an image cut on a special board or etched on a metal plate, it appears only in our time. This coincided with the collapse of the medieval highly synthetic type of art, the growing desire for a more visually accurate depiction of nature, interest in a scientific perspective, secular themes. Unlike painting, engraving took on the qualities of symbolism and abstraction. In addition, engraving differs from other types of fine art by a special quality – circulation. In the second half of the 15th century, books appeared with illustrations showing various tools or the structure of the Solar System, the specifics of certain plants, and city views. The circulation of the engraving contributed to the rapid and convenient distribution of the nobility. This continued until the middle of the 19th century, when photography and photomechanics appeared, which in many ways replaced engraving [4]. But until that moment, thanks to its ability to reproduce, engraving itself can be considered one of the tools for expanding knowledge. Today, in the era of digital technologies, interest in traditional engraving techniques does not disappear. Studying and rethinking the achievements of previous periods makes it possible to expand the expressive means of artistic works.
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Haneca, Kristof, Ria De Boodt, Valérie Herremans, Hilde De Pauw, Joris Van Acker, Carl Van de Velde, and Hans Beeckman. "Late Gothic Altarpieces as Sources of Information on Medieval Wood Use: A Dendrochronological and Art Historical Survey." IAWA Journal 26, no. 3 (July 15, 2005): 273–98. http://dx.doi.org/10.1163/22941932-02603001.

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Wooden altarpieces are important features of European medieval material culture, especially of the Late Gothic Fine Arts from the 15th and 16th century. Many of them were carved in the Brabantine towns of Antwerp, Brussels and Mechelen in present-day Belgium. Although they were highly esteemed and exported all over Europe, little is known about their production process. In order to understand the context of the creation of the altarpieces, a detailed analysis of the wood has been completed to supplement and test historical documentation and art historical approaches. Tree-ring patterns and anatomical features of 209 wooden sculptures from collections of different museums were analyzed. Tree-ring analysis proved the 15th –16th century origin of the sculptures but also allowed a detailed technical characterization of the carversʼ basic material. The striking uniformity of the grain and the sawing pattern revealed that medieval woodcarvers preferred quarter sawn oak lumber, imported from the Baltic area. Stylistic and iconographic hypotheses concerning the current setting of several altarpieces could be founded, based on the wood anatomical and dendrochronological observations. Intensive collaboration between wood biologists and art historians proved to be essential in order to reconstruct the creation process of carved wooden altarpieces.
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Haneca, Kristof, Ria De Boodt, Valérie Herremans, Hilde De Pauw, Joris Van Acker, Carl Van de Velde, and Hans Beeckman. "Late Gothic Altarpieces as Sources of Information on Medieval Wood Use: A Dendrochronological and Art Historical Survey." IAWA Journal 26, no. 3 (2005): 273–98. http://dx.doi.org/10.1163/22941932-90000116.

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Анотація:
Wooden altarpieces are important features of European medieval material culture, especially of the Late Gothic Fine Arts from the 15th and 16th century. Many of them were carved in the Brabantine towns of Antwerp, Brussels and Mechelen in present-day Belgium. Although they were highly esteemed and exported all over Europe, little is known about their production process. In order to understand the context of the creation of the altarpieces, a detailed analysis of the wood has been completed to supplement and test historical documentation and art historical approaches. Tree-ring patterns and anatomical features of 209 wooden sculptures from collections of different museums were analyzed. Tree-ring analysis proved the 15th–16th century origin of the sculptures but also allowed a detailed technical characterization of the carvers' basic material. The striking uniformity of the grain and the sawing pattern revealed that medieval woodcarvers preferred quarter sawn oak lumber, imported from the Baltic area. Stylistic and iconographic hypotheses concerning the current setting of several altarpieces could be founded, based on the wood anatomical and dendrochronological observations. Intensive collaboration between wood biologists and art historians proved to be essential in order to reconstruct the creation process of carved wooden altarpieces.
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6

Lacko, Miroslav. "Výroba zelenej farby v Uhorsku do konca 18. storočia." Historica. Revue pro historii a příbuzné vědy 15, no. 1 (July 2024): 17–41. http://dx.doi.org/10.15452/historica.2024.15.0002.

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Since only a few stable pigment production centres in Central Europe subsisted until the industrial period in the 19th century, those that became regionally known and influenced the European pigment market deserve the attention of historical research. One of the significant European green pigment production centres in the Late Middle Ages and the Early Modern Age was the Banská Bystrica mining district in present day Central Slovakia, the former part of the Lower Hungarian mining area. Production of green copper pigment was carried out continually from the mid-15th century until 1950 at the latest. However, the methods of its application changed over time. While in the Late Middle Ages this green pigment was applied as a colouring matter for objects of art, from the 16th century it was used as a utilitarian colour for coating indoor walls and exterior facades. During the 19th century, the mentioned green pigment (Berggrün) was produced only as a concentrate for the production of copper
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7

Schrire, Carmel. "The historical archaeology of the impact of colonialism in 17th-century South Africa." Antiquity 62, no. 235 (June 1988): 214–25. http://dx.doi.org/10.1017/s0003598x00073932.

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The written sources are overwhelming for that great historical event, the conquest of the world by Europeans between the 15th and the 19th centuries. Historical archaeology, especially in north America, now provides an important source of evidence of a different character. But what was it like to receive Europeans on your shore, what was it like to be dispossesed? Here is a report specifically concerned with relations between native and newcomer at the Cape, one of those African regions which first felt the European impact.
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8

Bella, Takushinova. "Parsuna – the first secular representation of the traditional Russian icon." Resourceedings 2, no. 3 (November 12, 2019): 1. http://dx.doi.org/10.21625/resourceedings.v2i3.618.

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The second half of the 15th century in the Russian Church history marked a strong decline of spiritual life, which naturally found its reflection in the icon painting. The feeling of integrity of an image, its depth were lost. At the same time, the weakening influence of the Orthodox Balkans and the Byzantine Empire gave way to the influence of the Catholic West with its profoundly different principles of religious art.In this transitional period of the Russian cultural life, characterized by the transformation of the medieval worldview and the formation of new artistic ideals, appeared parsuna (a rough Russian transliteration of the Latin word “persona”) - an early secular portrait of a lay person in the iconographic style that represents an important transition in Russia’s art history. The first pasruna were painted, most probably, by the iconographers of the Moscow Kremlin Armoury in the 17th century. The painters of these portraits were usually monks that tended to be anonymous, showing a humility.Although the stylized forms used in parsuna reveal a lack of concern with preserving the actual features of a person, but rather their overall image (special attributes and signatures allow to define represented), it still can be viewed as one of the very first attempts to look at person not only through the rigid iconographic canons, but also through a prism of psychological interpretation. Thus, this transitional image may be concerned as the initial fundamental step on the way to the further introduction fo the European portrait tradition in Russia.In this study, we would like to consistently trace how parsuna, thanks to its completely new stylistic value, can be considered one of the earliest stages on the way to the secularization of the Russian art in the early 17th century, which led to the separation from the strict iconographic religious canons and, consequently, to the rapprochement with the European art.
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9

Tchernik, Alexander. "Armillary Sphere in the Ideology of the Late Middle Ages and Early Modern Times." ISTORIYA 14, no. 6 (128) (2023): 0. http://dx.doi.org/10.18254/s207987840027170-6.

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The armillary sphere is one of the most famous badges. The opinion that this image of a navigation device visualizes Portugal is an anachronism. In Europe the armillary sphere was used not only in Portugal. Models of the celestial structure based on the concept of the sphericity of the universe have a long tradition. In the 15th — 16th centuries the armillary sphere served as a designation of the highest imperial ambitions and appeared in various contexts related to messianism and the interpretation of biblical prophecy. The armillary sphere is a conceptual model of the cosmos structure, its physical, spiritual, and political sides. By the end of the 15th century the armillary sphere became a stable representation of the universe — an image full of Christian meaning, which had a pan-European distribution and pan-European significance. The image of the sphere is a visualization of the highest European values of that time, an example of which is the use of it by Elizabeth I and her entourage.
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Pezzè, Stefano. "“Una cerbia bianchissima e bella”." Reinardus / Yearbook of the International Reynard Society 28 (December 31, 2016): 142–67. http://dx.doi.org/10.1075/rein.28.10pez.

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Considering European literature’s relationship with animals, it is immediately evident that the stag (and its feminine counterpart, the doe) performs a prominent role, and that this role has evolved considerably throughout cultures and centuries. Of further interest is the symbology associated with white stags and hinds, creatures which make several appearances in Western literature and art. Whilst the meanings they carry vary according to space and time, their main feature – being guiding animals – remains basically constant. After a presentation of the most important values of the symbol from the classics to French literature, this paper aims to explore its recurrences in Italian literature in the 14th and 15th century, in order to confirm the survival of the guiding pattern and to unravel the relationships between the Italian examples and their precedents.
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Дисертації з теми "Art, European – 15th century"

1

Flynn, Jeremy Paul. "A consideration of the nature, methods and practices of fifteenth-century European warfare with particular reference to the Wars of the Roses." Thesis, University of Wales Trinity Saint David, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683280.

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

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

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Norris, R. Mae. "Beyond the battlefield : Venice's Condottieri families and artistic patronage : the Colleoni of Bergamo, Martinengo di Padernello of Brescia and the Savorgnan del Monte of Udine (1450-1600)." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708397.

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Wong, Mei-kin Maggie, and 黃美堅. "Collecting and picturing the orient: China's impact on nineteenth-century European Art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2954452X.

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Mannering, Hildegard Kirsten. "European stylistic influence on early twentieth century South African painters." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002207.

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South African artists, d i ssatisfied with the staid environment in local circles, felt the need to travel abroad for fresh stimulation. This need allowed for a historical investigation into the results, beneficial or otherwise, of the influence of European modernism on early twentieth century South African painters. Because of the numerous practising artists in South Africa at the time, it was found necessary to give cohesion to the artists discussed and, therefore the most pertinent were grouped into artistic movements. Thus, H.Naude, R . G. Goodman and H.S. Caldecott are discussed in conjunction with Impressionism. B. Everard, R. Everard-Haden and J.H. Pierneef are compared to the post-Impressionists and finally, I.Stern and M. Laubser are equated with the Fauves and Expressionists. To ascertain the true effect of European stylistic influence, a comparative analysis of work executed before European visits and upon the artists' return was imperative. Simultaneously, as part of the analysis, reference was also made to any work executed by these artists while in Europe. European movements of the period are also reviewed, enabling precise grouping and better understanding of t he styles adopted by the chosen group of early twentieth century South African artists. Some attention is given to the impact these artists had on South African art upon their return, as this confirms the degree of European influence and facilitates the classification of styles adopted by the selected group. In conclusion, to establish the extent to which European art was influential, a brief synopsis shows the changes in local groups, once these artists had re-established themselves in South Africa.
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Schneider, Leann G. "Capturing Otherness on Canvas: 16th - 18th century European Representation of Amerindians and Africans." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437430892.

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Fitzpatrick, Devin Marie. "The interrelation of art and space an investigation of late nineteenth and early twentieth century European painting and interior space /." Online access for everyone, 2004. http://www.dissertations.wsu.edu/Thesis/Spring2004/d%5Ffitzpatrick%5F043004.pdf.

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Zhu, Ying. "Evidence of existing knowledge of China and its influence on European art and architecture in the sixteenth and seventeenth centuries." Diss., Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/37096.

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This dissertation investigates the extent of knowledge of China in Europe and, more particularly, Chinese influence on European art and architecture in the sixteenth and seventeenth centuries. It attempts to answer the following questions: 1. What visual and literature resources on China and Chinese art in Europe were available in the sixteenth and seventeenth centuries? 2. To which extent was there any understanding of Chinese art and architecture in Europe in the sixteenth and seventeenth centuries? 3. To which extent might this understanding have affected European art and architecture in the sixteenth and seventeenth centuries? Although European contacts with China began in the early sixteenth century, few scholars have touched on the evidence that exists of the extent of European knowledge of Chinese architecture before 1720, even on the possible impact of the Chinese architectural designs that were depicted on Chinese porcelains and other merchandise imported into Europe for two centuries before that date. This dissertation examines the evidence for the employment of new and differing aesthetics derived from Chinese artifacts and then assimilated in European art, architecture and landscape in the sixteenth and seventeenth centuries. After examining the variety of resources from which the new aesthetics derived from Chinese artifacts imported into Europe was evolved, the dissertation analyzes Chinese influence in different nations in an order which follows the most consistently open and effective communications to the Far East. In the process, the dissertation quotes the contemporary historical descriptions of those Chinese artifacts as well as attempting to identify their influence on European art and architecture, thus providing evidence that the interaction between China and Europe served as subtle but active, generative force in European art throughout the period. In sum, the thesis attempts to explore the European understanding of Chinese art in the sixteenth and seventeenth centuries and to examine the consequences of that influence as they were reflected in European art and architecture. It analyzes some of the most influential and related social, political, and religious aspects that acted as powerful stimuli, which in turn affected in the growth of Chinese influence on European art, architecture and landscape. This dissertation thus attempts to push back the significance of the Chinese influence on aspects of European artistic styles from the accepted date of the early eighteenth century to the seventeenth and even earlier - the sixteenth century.
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Nelson, Charmaine Andrea. "Narrating blackness : studies in femininity, sexuality and race in European and American art of the nineteenth-century." Thesis, University of Manchester, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540694.

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This dissertation is an exploration of the representation of black female subjects within American and European art of the nineteenth century. The popularity of Cleopatra among artists and specifically her nineteenth-century re-incarnation as a black woman, has been used as a starting point for an examination of abolitionist visual discourse and for the examination of the (im)possibility of the black female subject within western visual culture generally. The period of study includes a time of great change and upheaval in the social, symbolic and legal status of the black body, marking the shift from Trans Atlantic Slavery through abolitionism to Emancipation - which is also the transition from the enslaved to the "liberated" black body. I have chosen to focus upon neoclassical sculpture in order to explore its aesthetic and material specificity which, privileging white marble, disavowed the signification of race at the level of skin/complexion. Within neoclassicism, racial disavowal was also registered at the level of subject, symbolism and narrative where the white fear and rejection of the so-called full-blooded negro type resulted in the prevalence of the white-negro body of the inter-racial female -a miscegenated body that in its proximity to whiteness both alleviated and (em)bodied the cross-racial contact which colonial logic most abhorred. But my choices are also informed by my desire to interrogate neoclassicism's investment in the racial differencing of bodies and its relatedness to the biological construction of race within nineteenth-century human sciences. Both fields were dependant upon the paradigmatic status of the white male body as the unquestioned apex of an hierarchical arrangement of racial types and the authority of vision as a supposedly objective tool of physical observation and differentiation. Neoclassical objects have been contextualized by sculpture of other media, specifically polychromy, as well as painting and other popular cultural objects to demonstrate the representational limits and subjective possibilities of specific art forms. These different styles and types of art were governed by different material and aesthetic requirements and practices which engendered different processes of viewing. However, this is not only an exploration of identity and identification of the represented subject, but also an inquiry into how the identity of the artists/producers and viewers impacts their representation and consumption of "other" bodies. This dissertation is an intervention into the hegemonic practice of western culture which challenges the traditional disciplinarity of art history by insisting upon the importance of race to cultural practice. Using post-colonial and feminist rereadings of Freudian and Lacanian psychoanalysis which can account for both the material and the psychic, I have theorized the process through which racial identification is achieved, locating culture as a colonial field where identifications are produced, secured and deployed. The significance of a black feminist agenda is the fundamental belief in the inseparability of sex and gender identifications from race and colour in any-body, as well as an attentiveness to the multiplicity and simultaneity of marginalization. Ultimately, I am questioning the extent to which an identification is registered not only in the object of representation, but occurs within the process of viewing.
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Книги з теми "Art, European – 15th century"

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Women Art Patrons and Collectors Conference Organization, ed. Vanishing boundaries: Scientific knowledge and art production in the Early Modern era. Ramsey, New Jersey: The WAPACC Organization, 2015.

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2

Łazicka, Małgorzata. Old master prints: From the 15th century to the 1820s : German School, Barthel Beham and Sebald Beham. Warszawa: University of Warsaw Library, 2019.

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3

Zeren, Tanındı, and Association internationale de bibliophilie, eds. Turkish bookbinding in the 15th century: The foundation of an Ottoman court style. London: Azimuth editions on behalf of l'Association Internationale de Bibliophile, 1993.

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4

Belarusʹ, Natsyi︠a︡nalʹny mastatski muzeĭ Rėspubliki. Natsyi︠a︡nalʹny mastatski muzeĭ Rėspubliki Belarusʹ: Mastatstva XV-pachatku XX stahoddzi︠a︡ = Nat︠s︡ionalʹnyĭ khudozhestvennyĭ muzeĭ Respubliki Belarusʹ : iskusstvo XV-nachala XX veka = The National Art Museum of the Republic of Belarus : the 15th-early 20th century art. Minsk: Belarusʹ, 2004.

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Belarusʹ, Natsyi︠a︡nalʹny mastatski muzeĭ Rėspubliki. Natsyi︠a︡nalʹny mastatski muzeĭ Rėspubliki Belarusʹ: Mastatstva XV-pachatku XX stahoddzi︠a︡ = Nat︠s︡ionalʹnyĭ khudozhestvennyĭ muzeĭ Respubliki Belarusʹ : iskusstvo XV-nachala XX veka = The National Art Museum of the Republic of Belarus : the 15th-early 20th century art. 2-ге вид. Minsk: Belarusʹ, 2006.

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6

Walter-Dressler, Helga. Masterpieces of graphic art: German, French, and Italian copperplate, engravings, and etchings of the 15th to 18th century from the Ferdinand Siegel Collection of the City of Karlsruhe. Karlsruhe: Stadt Karlsruhe-Städtische Galerie, 1991.

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7

Robert, Klein. Italian art, 1500-1600: Sources and documents. Evanston, Ill: Northwestern University Press, 1989.

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8

Lorne, Campbell, Attwood Philip, and National Gallery (Great Britain), eds. Renaissance faces: Van Eyck to Titian. London: National Gallery Co., 2008.

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9

Borri, Claudio, Giuliano Augusti, Gianni Bartoli, and Luca Facchini, eds. 5 European & African Conference on Wind Engineering. Florence: Firenze University Press, 2009. http://dx.doi.org/10.36253/978-88-6453-041-3.

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The 5th European-African Conference of Wind Engineering is hosted in Florence, Tuscany, the city and the region where, in the early 15th century, pioneers moved the first steps, laying down the foundation stones of Mechanics and Applied Sciences (including fluid mechanics). These origins are well reflected by the astonishing visionary and revolutionary studies of Leonardo Da Vinci, whose kaleidoscopic genius intended the human being to become able to fly even 500 years ago… This is why the Organising Committee has decided to pay tribute to such a Genius by choosing Leonardo's "flying sphere" as the brand of 5th EACWE.
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19th century European art. New York: Christie's, 2004.

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Частини книг з теми "Art, European – 15th century"

1

Baumgarten, Elisheva. "Christian Time in a Jewish Miscellany: A Hebrew Christian Calendar from Thirteenth Century Northern France." In Religious cohabitation in European towns (10th-15th centuries), 169–83. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.relmin-eb.5.103868.

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2

Peggie, David A. "CHAPTER 10. The Chemistry and Chemical Investigation of the Transition from Egg Tempera Painting to Oil in Italy in the 15th Century." In Science and Art, 209–29. Cambridge: Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781839161957-00209.

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Afonso, Luís U., and Tiago Moita. "Tradition and modernity in Portuguese Hebrew book art of the late 15th century." In Textes et Etudes du Moyen Âge, 169–89. Turnhout: Brepols Publishers, 2015. http://dx.doi.org/10.1484/m.tema-eb.4.000183.

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Sárosi, Edit. "Hungarian grey cattle on the European market between the 15th and 17th century." In Ruralia, 391–98. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.ruralia-eb.1.100181.

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Manninger, Sandra, and Matias del Campo. "Deep Mining Authorship." In Computational Design and Robotic Fabrication, 3–10. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-8405-3_1.

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AbstractConsidering the emerging field of architecture and artificial intelligence, it might be necessary to contemplate the remodeling of the concept of authorship entirely. The invention of authorship is a complex historical process that can be traced back to the emergence of print culture in Europe in the 15th century. Prior to this period, most literary and artistic works were created anonymously or attributed to collective or anonymous sources, such as folklore or religious traditions. However, with the rise of printing, texts became more easily reproducible and marketable, and there emerged a need for individual authors to take credit for their works. The notion of authorship was closely tied to the idea of originality and ownership, as authors sought to assert their exclusive rights to their works and to distinguish themselves from other writers. This was supported by the development of copyright law, which granted legal protection to authors and their works, and helped to establish a market for literary and artistic works. The idea of the author as a singular, autonomous figure gained further prominence in the 18th and 19th centuries, with the emergence of romanticism and the cult of the individual. This period saw the rise of the idea of the artist as a genius, whose works were the product of their own unique creativity and imagination. This idea was further reinforced by the rise of literary criticism, which focused on the interpretation and analysis of individual works and their authors. However, as Michel Foucault and other scholars have argued, the notion of authorship is not a universal or timeless concept, but rather a historically contingent and culturally specific one. Different societies ad cultures have different understandings of authorship, and these have shifted over time in response to changes in technology, culture, and social values. As it stands now, authorship in its traditional form can hardly be applied in a context where automated collaborations provide more than 50% of the generated material. This is true for multiple art fields. Visual Arts (Mario Klingemann, Sofia Crespo, Memo Atken, Ooouch, etc.), Music (Dadabots, YACHT, Holly Herndon), Literature, etc. Very soon this will also be true for Architecture. The consequence is also an entire rethinking of the concept of the sole genius. This notion, developed by German Romanticists in the early 19th century, is, in the current context of AI-assisted creativity, completely obsolete, as we are drawing from the genius of hundreds of thousands of artists and artworks in order to interrogate the latent space for unseen artistic opportunities. More akin to an archeological dig leading to the discovery of a next-generation jet fighter plane.
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Glaister, Helen. "Chinese Porcelain in European Style." In Chinese Art Objects, Collecting, and Interior Design in Twentieth-Century Britain, 1–32. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003230779-1.

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Minea, Cosmin. "Habsburg Scholars and Writings about Romanian Historical Monuments in the Late Nineteenth Century." In East Central European Art Histories and Austria, 39–64. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839473634-003.

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Hilton, Alison. "Iaroslavna’s Lament and Its Echoes in Late Nineteenth-Century Russian Art." In New Narratives of Russian and East European Art, 32–47. New York: Routledge, 2020. | Series: [Studies in art historiography]: Routledge, 2019. http://dx.doi.org/10.4324/9780429028595-3.

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Pattison, George. "Music, Madness and Mephistopheles: Art and Nihilism in Thomas Mann’s Doctor Faustus." In European Literature and Theology in the Twentieth Century, 1–14. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1057/9780230379503_1.

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Uchacz, Tianna Helena. "Mars, Venus, and Vulcan. Equivocal Erotics and Art in Sixteenth-Century Antwerp." In Studies in European Urban History (1100-1800), 245–68. Turnhout: Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.seuh-eb.5.114011.

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Тези доповідей конференцій з теми "Art, European – 15th century"

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RUSU, Eduard. "Alla Turca, the Origin of the main Percussion Instruments in Symphony Orchestras and the Romanian Principalities." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0003.

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Alla turca, percussion instruments of a symphony orchestra and the Romanian Principalities are, at first glance, a strange and inappropriate combination of words. Yet, if one goes deeper into the subject, one may easily find a silver thread running through them all, which facilitates the understanding of these combinations of words and especially the reason for their combination. In this case, the culture of mobility is extremely visible and interesting. Alla turca was a cultural phenomenon specific to Western Europe since the 17th century, which was due to the interest shown by Europeans in the oriental culture gradually brought to Europe by the Ottomans. The increasingly powerful Ottoman Empire, its incursions towards the West and frequent military, diplomatic and cultural contacts piqued the Europeans’ interest in the exoticism of the new world with which they came in contact, music being one of the main areas of influence. This is due to Ottoman military music (mehterhane), consisting mainly of percussion musical instruments, which produced extremely loud music accompanying the Ottoman armies on the battlefield and supporting the efforts of the soldiers through its marches. At the same time, the effect of this music on their opponents was the complete opposite, as they were not used to such sonorities and were easily intimidated by it. The effectiveness of Ottoman military music proven on the battlefield and its physical appearance impressed the European monarchs who tried to imitate it in various forms and by various methods and implement it both in their armies and in their ceremonial music, as a symbol of political power, since the mehterhane was also a powerful political symbol in the Ottoman Empire. Starting from here, various European composers, the most important being Mozart, were also influenced by the exotic features of this music and by its novelty and used it in their own creations, at first playing it using Western musical instruments and then gradually adopting in the orchestra instruments specific to mehterhane, the so-called “Turkish drums”, thus developing the symphony orchestra to the form in which it is present today. As far as the Romanian Principalities are concerned, their connection with the elements mentioned above consists precisely in the fact that their geo-political location allowed the contact between the West and the East and the occurrence of alla turca influences, since the mehterhane had been present in the Romanian Principalities since the 15th century and foreign Western travellers crossing these regions listened to it and described it in their memoirs, making it known to the West, its most important promoter being Franz Joseph Sulzer.
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"[Cover art]." In 2011 15th European Conference on Software Maintenance and Reengineering (CSMR 2011). IEEE, 2011. http://dx.doi.org/10.1109/csmr.2011.69.

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

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Węcławowicz-Gyurkovich, Ewa. "Image of a Hanseatic city in the latest Polish architectural solutions." In International Conference Virtual City and Territory. Barcelona: Centre de Política de Sòl i Valoracions, 2016. http://dx.doi.org/10.5821/ctv.8086.

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The problem of the reconstruction of centres of Polish towns and cities after the destructions of the World War II evoke discussions even today. Over the first years after the war, in numerous cases the centres of historical cities and towns were lost; in the place of former market squares and networks of streets with tenements crowned with endwall trims, randomly dispersed concrete blocks of flats were erected, in order to satisfy urgent housing demands. The situation changed after 1980, when in Elbląg, Gdańsk, Szczecin, Kołobrzeg, a rule was adopted according to which the peripheral development of city quarters was to be recreated, restoring tenements located in historical plots of land, but contemporary in style, maintaining the silhouettes and sizes from years before. It is also possible to observe other activities in the solutions of the latest public utility buildings, which - often by using a sophisticated intellectual play - restore the climate and character of cities remembered and known from the past centuries. In the west and north of Europe there are many towns and cities, predominantly ports, which used to be members of Hansa. The organisation of Hansa, the origins of which reach back to the Middle Ages, associated a number of cities which could decide about the provision of goods to cities within a specific territory, and secure markets for products manufactured in them. Thanks to that, cities that belonged to Hansa were developing more rapidly and effectively, and the beginnings of their development within the territory of Germany and in the Baltic states date back to the 13th and 14th centuries. The peak period of the development of Hanseatic cities, where merchants were engaged in free trade with people from European countries, fell in the 14th and 15th centuries, but already in the 17th century there was a complete decline of Hansa, resulting from the occurrence of competition in the form of associations of Dutch and English cities, as well as the Scandinavian ones. From amongst Polish towns and cities, members of Hansa were e.g. Szczecin, Gdańsk, Kołobrzeg, Elbląg, as well as Cracow. In 1980 an association of partner cities of North Europe, dubbed a New Hansa, was established, the objective of which is to attract attention to the common development of tourism and trade. Nowadays, this New Hansa associates over a hundred cities, similarly to what once was in the medieval Hansa. Numerous Polish cities faced the problem of reconstruction after the destruction of the World War II. The effects varied. By adopting the programme of satisfying predominantly housing demands in the 1960s and 1970s, historical old towns in dozens of cities from amongst nearly 2 hundred destroyed by warfare of the World War II in the north and west of Poland were lost forever. Today we can still encounter ruins of Gothic churches in Głogów or Gubin, where in the place of a market square and tenements of townsmen, randomly located rows of typical four- or five-storey blocks of flats have been erected.
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Santamarina, Andrea. "When gastronomy finds in art a reference and in design an ally." In 15th International Conference of the European Academy of Design. São Paulo: Editora Blucher, 2023. http://dx.doi.org/10.5151/ead2023-1bil-03posit-07santamarina.

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Sun, Qianyi. "Correlating European Age of Discovery Through Asiatic Trade in 15th – 18th Century." In 7th International Conference on Economy, Management, Law and Education (EMLE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/aebmr.k.220306.020.

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Yang, Yeqiu. "Design Thinking for Chinese Environmental (Art) Design Education: A Case Study within Design Day Marathon." In 15th International Conference of the European Academy of Design. São Paulo: Editora Blucher, 2023. http://dx.doi.org/10.5151/ead2023-1bil-01full-03yang.

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Cocieru, Mariana. "Values of Romanian ethnological photographic art: Joseph Berman." In Conferință științifică internațională "FILOLOGIA MODERNĂ: REALIZĂRI ŞI PERSPECTIVE ÎN CONTEXT EUROPEAN". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/filomod.2023.17.20.

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In this article, the author refers to one of the elite representatives of Romanian photographic art, Joseph Berman, a distinguished personality in the field of visual documentation, who contributed enormously to the development of ethnological field research. From a theoretical and practical perspective, a visual image immortalizes a moment in space and time, facilitating the recourse to the information it holds whenever needed. The photography can communicate to you several types of information, on the one hand, about the personality of the one who made this immortalization, revealing details about the preferences and skill of the master photographer, and on the other hand, it expresses realities, historical, social, ethnographic details of eternal temporal moments and habitats, motivating us to become critical consumers of visual images. For these reasons, the rhetoric of the image (Roland Barthes) becomes emblematic for ethnological research. Researchers in the field of Romanian ethnological photography delimit the period of flourishing (development) of visual documentation from the first half of the 20th century into two segments, the first up to Joseph Berman and the second – after him. With its affirmation in the photographic field, ethnological documentation took on color, becoming „alive”, loaded with deep meaning. The famous sociologist Dimitrie Gusti, appreciating his talent, called him: „co-author of the image of the Romanian village and peasant” and, rightly, did not accept a monographic campaign through the villages of Romania without Berman’s skill and talent, considering any other type of ethnological research compromised from the start.
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Ceriachi, Melissa. "RECOVERY OF A SEVERELY DETERIORATED PAINTING: THE MARTYRDOM OF SAINT SEBASTIAN BY GIOVANNI SANTI (15TH CENTURY). INTEGRATIVE PROPOSAL." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13492.

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This contribution examines a painting on wood: The Martyrdom of Saint Sebastian, by Giovanni Santi. This work of art is the altarpiece of the chapel dedicated to the saint, located in Urbino's Church of San Bartolomeo. The history of this work of art is inextricably linked to that of its conservation: initially, the artwork was difficult to read due to the serious state of deterioration of the paint layer, with a loss of significant portions of the painting, including pictorial parts that played a decisive role in the rendering of the image. This had significant implications when it came to choosing the methodology for the pictorial reintegration of the painting. The aim was to reduce the negative effects caused by the state of deterioration as much as possible, to improve the readability of the work. Following a conservative restoration of the panel and of the polychromy, and after submitting it to art historian officer for a careful and close evaluation, a differentiated pictorial reintegration of the work was planned, applying the Florentine “selezione cromatica" method for the main figure, Saint Sebastian, and for all lacuna treatments. This intervention was carried out using tempera colours, overlapping by hatching three pure colours, chosen from the primary and secondary colours. I continued the “selezione cromatica” on the integrations, using varnish colours until achieving the desired tone, maintaining a tone of brilliancy and chromatic vivacity similar to the painting by Santi. The other parts of the painting had been very seriously damaged due to irrecoverable losses and can no longer be reconstructed; these were treated by experimenting with the “chromatic abstraction” reintegration with tonal variations within the layers of abstraction. The method involves the application of a cross-hatching where no shape is reconstructed, in a four-colour scheme (yellow, red, green/blue, black), in tempera colours.
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Dufour, Christian, Sebastien Cense, Vahid Jalili-Marandi, and Jean Belanger. "Review of state-of-the-art solver solutions for HIL simulation of power systems, power electronic and motor drives." In 2013 15th European Conference on Power Electronics and Applications (EPE). IEEE, 2013. http://dx.doi.org/10.1109/epe.2013.6632001.

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Звіти організацій з теми "Art, European – 15th century"

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Yatsymirska, Mariya. Мова війни і «контрнаступальна» лексика у стислих медійних текстах. Ivan Franko National University of Lviv, березень 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11742.

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The article examines the language of the russian-ukrainian war of the 21st century based on the materials of compressed media texts; the role of political narratives and psychological-emotional markers in the creation of new lexemes is clarified; the verbal expression of forecasts of ukrainian and foreign analysts regarding the course of hostilities on the territory of Ukraine is shown. Compressed media texts reflect the main meanings of the language of the russian-ukrainian war in relation to the surrounding world. First of all, the media vocabulary was supplemented with neologisms – aggressive and sad: “rashism”, “denazification”, “katsapstan”, “orks”, “rusnia”, “kremlins”, “parebrik”, “in the swamps”, “nuclear dictator”, “putinism”, “two hundred” and others. Numerals acquired new expressive and evaluative meanings: “200s” (dead), “300s” (wounded), “400s” (russian military personnel who filed reports for termination of the contract), “500s” (hopelessly drunk russian soldiers, alcoholics who are unable to perform combat tasks). The language of war intensified the slogans of the struggle for state independence and people’s freedom. The scope of the greeting “Glory to Ukraine! – Glory to Heroes!”. New official holidays have appeared in the history of Ukraine since 2014: “Heroes of the Heavenly Hundred” Day (February 20), “Ukrainian Volunteer Day” (March 14), “Defenders and Defenders of Ukraine Day” (October 14), “Volunteer Day” (5 December). As you know, the professional holiday of the military is the Day of the Armed Forces of Ukraine” (December 6). A special style is characteristic of media texts on military topics: “Iron Force of Ukraine” (Iron Force of Ukraine), “digitize the Army” (for effective simulation of military operations); “grain corridor” (export of Ukrainian grain to African and European countries); “don’t let Ukraine lose” (the position of the Allies at the first stage of the war), “Ukraine must win!” (the position of the Allies in the second stage of the war); “in the Russian-Ukrainian war, the thinking of the 19th century collided with the thinking of the 21st century”, “a politician is a person who understands time” (Grigori Yavlinskyy, Russian oppositionist); “aggressive neutrality” (about Turkey’s position); “in Russia”, “there, in the swamps” (in Russia), “weak, inadequate evil” (about Russia), “behind the fence”; “a great reset of the world order”; “technology of military creativity”; “they are not Russian and not Ukrainian, they are Soviet”, “people without mentality”, “in Ukraine and without Ukraine” (Vitaly Portnikov about a separate category of Russian-speaking citizens in Ukraine); “information bed of Ukraine” (about combat operations on the front line; “when a descendant asks me what I did in those terrifying moments, I will know what to answer. At the very least, I did not stand aside” (opinion of a Ukrainian fighter). Compressed in media texts is implemented in the headline, note, infographic, chronicle, digest, help, caption for photos, blitz poll, interview, short articles, caricature, visual text, commercial, etc. Researchers add “nominative-representative text (business card text, titles of sections, pages, names of presenters, etc.) to concise media texts for a functional and pragmatic purpose.” accent text (quote, key idea); text-navigator (content, news feed, indication of movement or time); chronotope”. A specific linguistic phenomenon known as “language compression” is widespread in media texts. Language compression is the art of minimization; attention is focused on the main, the most essential, everything secondary is filtered out. Compression uses words succinctly and sparingly to convey the meaning as much as possible. For example, the headline “Racism. What is the essence of the new ideology of the Russian occupiers?”. The note briefly explains the meaning of this concept and explains the difference from “nazism” and “fascism”. Key words: compressed media text, language compression, language of war, emotional markers, expressive neologisms, political journalism.
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