Дисертації з теми "Art, European – 15th century"
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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.
Повний текст джерелаTsang, 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.
Повний текст джерелаTsang, 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.
Повний текст джерелаNorris, 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.
Повний текст джерелаWong, 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.
Повний текст джерелаMannering, Hildegard Kirsten. "European stylistic influence on early twentieth century South African painters." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002207.
Повний текст джерелаSchneider, 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.
Повний текст джерелаFitzpatrick, 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.
Повний текст джерелаZhu, 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.
Повний текст джерелаNelson, 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.
Повний текст джерелаSandoval, Elizabeth Marie. "A Material Sign of Self: The Book as Metaphor and Representation in Fifteenth-Century Northern European Art." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531875789992912.
Повний текст джерелаMaxson, Brian Jeffrey, and Stefano U. Baldassarri. "Giannozzo Manetti's Oratio in Funere Iannotii Pandolfini: Art, Humanism and Politics in Fifteenth-Century Florence." Digital Commons @ East Tennessee State University, 2016. https://doi.org/10.1400/249098.
Повний текст джерелаIgnatidou, Artemis. "Four short (hi)stories of a 19th century Greek-European musical interaction, and the cultural outcomes thereof." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/16094.
Повний текст джерелаSilva, Maria do Carmo Couto da. "Rodolfo Bernardelli, escultor moderno = análise da produção artítica e de sua atuação entre a Monarquia e a República." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280542.
Повний текст джерелаTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Nossa tese de doutorado tem por objetivo contribuir para 0 conhecimento acerca da historia da arte brasileira do final do século XIX e começo do XX, por meio da analise de obras e dos momentos que marcaram a trajetória do escultor Rodolfo Bernardelli (1852-1931). O jovem aluno da Academia Imperial de Belas Artes começa a ganhar destaque no cenário das artes nacionais a partir da sua participação nas Exposições Gerais de Belas Artes, na década de 1870. Apos um período de estudo na Europa, o artista retornou ao Brasil em 1885 e por seus trabalhos realizados no exterior, foi denominado pela critica como artista moderno, recebendo as principais encomendas monumentais da época. Bernardelli foi o principal escultor da primeira década republicana no Brasil e Primeira Republica e atuou como diretor da Escola Nacional de Belas Artes - ENBA, por cerca de 25 anos.
Abstract: Our aim in this thesis is to contribute to the knowledge of the history of Brazilian Art between the end of the 19th century and the beginning of the 20th century through the study of the works and the life moments of the sculptor Rodolfo Bernardelli (1852-1931). The young pupil of the Imperial Academy of Fine Arts begun to gain attention from the national art realm after his participations, along the 187 O's, at General Fine Arts Exhibitions. In 1885, after a period of studies in Europe, the artist returned to Brazil and was then acclaimed as a modern artist by the critics because of the pieces produced abroad. He then received the main monumental commissions of the period. Bernardelli was the main sculptor of Brazil during the first decade of the Republic and was the director of the National School of Fine Arts - ENBA, during almost 25 years.
Doutorado
Historia da Arte
Doutor em História
Kennedy, Shane Michael. "Expressionist Art and Drama Before, During, and After the Weimar Republic." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.
Повний текст джерелаMaxson, Brian. "Review of The Young Leonardo: Art and Life in Fifteenth-Century Florence by Larry J. Feinberg." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/6208.
Повний текст джерелаHolford, Stephen Charles John. "Cocteau in London: the Lady Chapel, Notre-Dame de France." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12327.
Повний текст джерелаHagglund, Sarah. "The Myth of Bologna? Women's Cultural Production during the Seventeenth Century." Kent State University Honors College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1620502410389001.
Повний текст джерелаWhitehead, Eileen. "A Leap In The Dark: Identity, Culture And The Trauma Of War Mediated Thorough The Visual Arts Of North-East European Migrants And Émigrés To Australia After 1945." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1438.
Повний текст джерелаSilverman, Sarah Kelly. "The 1363 English Sumptuary Law: A comparison with Fabric Prices of the Late Fourteenth-Century." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1322596483.
Повний текст джерелаSilva, Maria do Carmo Couto da. "A obra Cristo e a mulher adultera e a formação italiana do escultor Rodolfo Bernardelli." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281531.
Повний текст джерелаDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Esta pesquisa enfoca o grupo escultórico monumental Cristo e a mulher adúltera, de Rodolfo Bernardelli (Guadalajara, México, 1852 ¿ Rio de Janeiro RJ, 1931). Realizado em Roma entre 1881 e 1884, é considerado pela crítica como a sua obra-prima. Nosso projeto procurou estabelecer ligações entre essa escultura, outras obras do artista no mesmo período e a arte italiana e francesa contemporânea. Outro objetivo desse projeto foi a análise da importância do estágio italiano do escultor, enquanto pensionista da Academia Imperial de Belas Artes do Rio de Janeiro em Roma, entre 1877 e 1885, para melhor conhecimento acerca da vertente realista a qual o artista se filiou. Além de procurar inserir a produção de Rodolfo Bernardelli no contexto histórico e artístico em que foi realizada, nos últimos anos do Segundo Reinado, a pesquisa buscou a compreensão do papel desses trabalhos na constituição da cultura visual do Brasil daqueles anos
Abstract: This research deals with Rodolfo Bernardelli's (Guadalajara, Mexico, 1852 - Rio de Janeiro, Brazil, 1931) monumental group of sculptures called "Christ and the adulteress". Sculpted in Roma between 1881 and 1884 it is considered by the critics as his master piece. Our project intends to stablish links among this sculpture, some other works of the artist made in the same period and the contemporary French and Italian arts. Another aim of this project was to analize Bernardelli's Italian apprenticeship, sponsored by the Academia Imperial de Belas Artes do Rio de Janeiro in Rome between 1877 and 1885, in order to grasp better understanding of the realistic school to which the artist connected himself. Besides aiming to insert Rodolfo Bernardelli's work on the historical context of its production, that is the last years of the Second Reign, this research tried to understand the role played by his sculptures on the formation of Brazilian's visual culture during those years
Mestrado
Historia da Arte
Mestre em História
Dechamps, Claire. "Au plaisir de treshault et trespuissant seigneur Louis bastard de Bourbon gendre de Louis XI : échanges et commandes artistiques au sein du milieu royal." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040235.
Повний текст джерелаKnown for his excellence as a bibliophile, Louis bâtard de Bourbon was also close to Louis XI, whose illegitimate daughter he married. Having attained a station well above that which his birth reserved for him, he and Jeanne batârde de France acquired, after 1465 and over a period of some twenty years, a series of works meant to assert the rank and power of this new princely couple. The object of the present work has been first to reconstitute this corpus, consisting of a tapestry, a painted panel, several illuminated manuscripts and architectural commissions and then to study it in depth in order to shed light on the interconnections between the commissions, the social network, the career of an officer attached to the throne of France and the historical events likely to have influenced the choice of works or of models to which these were expected to refer. This body of work has been studied as a whole without regard for the usual disciplinary separations and with an eye to defining as precisely as possible the meanings and functions of the works, thereby enriching the traditional stylistic approaches. This study then goes on to show how the couple assimilated the values of the monarchy, under what circumstances and to what ends. This examination of the larger context of creation has brought to light the unique role in Louis XI’s political strategy played by this nobleman as well as by his wife, whose long neglected role sheds new light on the exchanges between the works and the artists who participated in this network
Doyle, Alice. ""The Essence of Greekness": The Parthenon Marbles and the Construction of Cultural Identity." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1209.
Повний текст джерелаGallian, Nastasia. "Les collections d’estampes en Europe (v. 1450-v. 1610)." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL144.
Повний текст джерелаThe origins of print collecting are ill documented and cannot be dated nor located with certainty. The early signs can be traced back to ca. 1450, when prints were collected to be pasted in manuscripts and printed books. From the 1470s-1480s onwards, these archaic practices tended to be replaced by modern collecting. It then spread throughout Europe and became a common practice at the dawn of the Baroque era. There are several types of print collectors at that time. Enthusiasts and connoisseurs such as Ferdinand Columbus, Willibald Imhoff and Abraham Ortelius created special methods for selecting, storing and classifying high quality engravings and woodcuts. Ferdinand of Tyrol, Philip II of Spain and others princes gathered prints in their encyclopedic collections and libraries. Other collectors were interested in using them as sources. Artists and craftsmen kept prints to train apprentices and use them as models and tools in the creative process. Scholars purchased them for their subject-matter and used them as historical, geographical, and scientific documents. This wide range of practices is maybe what define the most early print collecting
Thomas, Leah. "Literary Landscapes: Mapping Emergent American Identity in Transatlantic Narratives of Women's Travel of the Long Eighteenth Century." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/589.
Повний текст джерелаAbel, Jonathan 1985. "Jacques-Antoine-Hippolyte, Comte De Guibert: Father of the Grande Armée." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700071/.
Повний текст джерелаJeffers, Leah Rachel. "Fashion and Court-Building in the Sixteenth-Century Florentine Ducal Court: Politics, Agency, and Paleopathology in the Wardrobes of Eleonora di Toledo and Giovanna d'Austria." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1024.
Повний текст джерелаGlomm, Anna Sandaker. "Graphic revolt! : Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3171.
Повний текст джерелаRowley, Neville. "Pittura di luce. La manière claire dans la peinture du Quattrocento." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040197/document.
Повний текст джерелаThis thesis starts from an 1990 Florentine exhibition called “Pittura di luce” which intended to identify a trend in the mid-15th-century Florentine painting. This “painting of light” is not only, as was said at the time, a “coloured style” led by Fra Angelico and Domenico Veneziano, but it should be extended to a more “white manner”, from Masaccio to the first works of Andrea del Verrocchio, in the early 1470s. The technical and symbolical meanings of this style are to be studied as they reinforce the sense and the coherence of a trend publicly sustained by the Medici. The major aim of the “pittura di luce” is to make “emerge” religious paintings from the darkness of the churches (I). The study of the vast but also discontinuous geographical development of this “bright style” amplifies the hypotheses of the Florentine case: as much as a modern way of painting, it has very often a more archaic connotation of divine light. Piero della Francesca is surely the major figure of this ambivalent development (II). He is also one of the most significant examples of the way in which the “pittura di luce” was forgotten, and then rediscovered during the 19th and 20th centuries, thanks to art historians and artists, but also to the changes of the conditions of vision of the works of art. In this sense, the “pittura di luce” is an important chapter of the history of look, that we propose to compare with other rediscoveries of similar “paintings of apparition” (III)
Gilbert, Bennett. "Some Neglected Aspects of the Rococo: Berkeley, Vico, and Rococo Style." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1872.
Повний текст джерелаDavidson, Matthew J. "Interaction on the Frontier of the 16th-17th Century World Economy: Late Fort Ancient Hide Production and Exchange at the Hardin Site, Greenup County, Kentucky." UKnowledge, 2016. http://uknowledge.uky.edu/anthro_etds/20.
Повний текст джерелаHenderiks, Valentine. "Catalogue critique de l'oeuvre d'Albrecht Bouts et les pratiques de son atelier." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210361.
Повний текст джерелаLa thèse se compose de cinq chapitres. Le premier établit une biographie complète, sélective et chronologique, se basant sur les sources livrées par les archives de la ville de Louvain. Leur interprétation critique renouvelée et enrichie livre ainsi de nombreux arguments pour mieux définir l’individualité d’Albrecht Bouts et justifier le développement de sa carrière.
Le second chapitre concerne l’étude de l’œuvre d’Albrecht Bouts et débute par un examen approfondi de la seule peinture au caractère autographe reconnu, le Triptyque de l’Assomption de la Vierge. L’examen combiné du style et de la technique d’exécution de cette œuvre de maturité du maître permet de mettre en exergue les influences de Dirk Bouts et d’Hugo van der Goes et de définir la personnalité artistique singulière d’Albrecht Bouts. Suite à cette analyse, le catalogue de son œuvre est reconstitué de façon linéaire, depuis sa genèse jusqu’à son terme. Chacune des peintures qui lui sont attribuées est ensuite étudiée de façon chronologique et détaillée, précédée d’une notice technique préliminaire reprenant les données matérielles et bibliographiques, dans le cinquième chapitre consacré au catalogue raisonné.
La révision du corpus de l’œuvre d’Albrecht Bouts est fondée sur un travail d’attribution reposant à la fois sur l’approche stylistique traditionnelle et sur les résultats fournis par les documents de laboratoire. Une importante documentation photographique et technologique des œuvres, dont certaines inédites, a ainsi été rassemblée et sa confrontation constitue un support essentiel à la démonstration.
Le troisième chapitre propose, à partir des hypothèses émises à propos de la biographie et du catalogue des œuvres d’Albrecht Bouts, une analyse de la production de son atelier, particulièrement intense à partir de la première décennie du XVIe siècle. Dans cette partie, l’objectif n’est pas d’établir un exposé circonstancié et complet de chaque peinture abordée, mais plutôt de rassembler des groupes cohérents d’œuvres, également fondés sur une approche combinée du style et de la technique d’exécution. Un même principe de renvoi aux notices dans le catalogue raisonné est adopté.
Enfin, le quatrième chapitre est consacré à la réalisation en série d’œuvres de dévotion privée dans l’atelier du maître. De nombreuses généralités et quelques études ponctuelles ont préparé le terrain, annonçant l’importance de ce phénomène sans, toutefois, en mesurer l’ampleur. C’est pourquoi, nous lui accorderons une investigation la plus exhaustive tant sur les pratiques en vigueur dans l’atelier, que sur l’iconographique et le contexte socio-économique de la création de prototypes par Albrecht, dans la foulée de l’héritage des modèles paternels.
Ainsi, ce travail permettra de mieux cerner la personnalité d’Albrecht Bouts, de retracer son individualité artistique, mais aussi de réévaluer la participation de son atelier, afin de rétablir chacun de ces éléments à leur juste place au sein de la peinture flamande de la fin du XVe siècle et du début du XVIe siècle
The subject of the thesis is to establish a critical catalogue of Albrecht Bouts’ (1451-55/1549) work. Son of Dirk Bouts (1410-1420/1475), official painter to the city of Leuven, Albrecht and his elder brother, Dirk the Younger (1448-1491), inherited their father’s workshop after his death. The work of the elder son, Dirk the Younger, is still a discussed topic since no painting could be attributed to him with certainty. It is quite different for Albrecht who is the likely author of the Tryptich of the Assumption of the Virgin from the Musées royaux des Beaux-Arts of Belgium. The corpus of his work, established in 1925 by Max J. Friedländer and in 1938 by Wolfgang Schöne based on this autograph altarpiece, includes an important number of paintings. This catalogue has however never been revised by art historians since then. Only some paintings have occasionally been published.
Considering the high number of paintings attributed to the master, there was a need to undertake a deeper study in order to distinguish Albrecht Bouts’ own creations from those of his workshop.
The thesis is divided into five chapters. The first one includes a complete, selective and chronological biography of the master, based on the data found in the archives of the city of Leuven. A newly enriched critical interpretation of these documents has allowed a better definition of Albrecht Bouts’s personality and a clearer understanding of the development of his career.
The second chapter is devoted to the study of the master’s work and starts with an in-depth examination of the Tryptich of the Assumption of the Virgin, the only painting recognized as an autograph work. The combined examination of the style and the technical execution of this altarpiece, painted during the mature period of his career, underlines both the influences of Dirk Bouts and Hugo van der Goes and helps to display his original artistic personality.
From there, the catalogue of his work is re-established, in the last chapter, from the very beginning to the end of his working life. In the last chapter devoted to the catalogue, each painting attributed to the master is carefully studied, on a chronological basis and in details, with an introductive technical note giving material as well as bibliographical information.
The review of the corpus of Albrecht Bouts’ work is based on a traditional stylistic approach and on the results given by laboratory documents. An important photographical and technological documentation of his works – some of them unpublished until now- has been gathered. Their comparison brought forward essential arguments on which our demonstration is based.
The third chapter, which builds on the two first ones, consists of an analysis of Albrecht Bouts’ workshop production, which was particularly active at the beginning of the XVIth century. The purpose was not to study thoroughly each painting but to extract coherent groups of works thanks to the same combined examination of style and technique. Like the master’s autograph work, each painting is subject to a careful study in the critical catalogue.
Finally, the fourth chapter is dedicated to the serial production of private devotional works carried out in the master’s workshop. There were already many general writings and some occasional studies on the subject, but none of them really measured the importance of the mass production. We therefore undertook a deep and thorough research on the workshop practices ,on the iconography and on the social-economical context of the realisation of works by Albrecht following the prototypes created by his father.
The thesis contributes to a better knowledge and understanding of the life, the personality and the work of Albrecht Bouts and re-evaluates the participation of his workshop. This will give to each of these elements its proper place in the Flemish Masters Painting of the end of the XVth and the beginning of the XVIth centuries.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
Purdie, Margaret Helen. "An account by John Cananus of the siege of Constantinople in 1422." University of Western Australia. School of Humanities, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0189.
Повний текст джерелаLeonard, Charles C. "Paul Renner and Futura: The Effects of Culture, Technology, and Social Continuity on the Design of Type for Printing." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/art_design_theses/2.
Повний текст джерелаTycz, Katherine Marie. "Material prayers : the use of text in early modern Italian domestic devotions." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/276240.
Повний текст джерелаCHIU, CHIH-WEN, and 邱致文. "Witches in the European Paintings (15th-19th Century)." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/y8nfkk.
Повний текст джерела國立高雄師範大學
美術學系
107
The present of witches has begun in early ages and its history has made a huge impact on Western society. Witches are the outcomes of consciousness androcentrism no matter what forms they appear in various eras, as animism in the ancient period, the wise and curer in the witchcraft prevalent age, the Scapegoat of natural and man-made calamities under Christian believe in medieval, the superstitious and fraud during Enlightenment, or even the muse who pass down the ancient knowledge in age of Romanticism. Witches have reflected the thoughts of demonized, vilify and sexualized under the lead of patriarchy. From the Renaissance to the nineteen century, European artists visualized witches from legends, religious or literature into paintings. Through these paintings, the images of witches have appears in various ways and styles. With its controversial traits and the images deliberated rendered, the witches have become the perfect objects that can inspire artists’ unlimited imaginations and present their own styles. The concept within the withes paintings is basically influenced by the patriarchy society. These male created paintings not only fully express males’ sexual domination but also granted an atypical painting aesthetic, which challenged the classical aesthetic hegemony and also opposed the existing heroism and aesthetic.
HALIKOWSKI, SMITH Stefan. "Portugal and the European spice trade, 1480-1580." Doctoral thesis, 2001. http://hdl.handle.net/1814/5828.
Повний текст джерелаExamining Board: Prof. K.N. Chaudhuri (supervisor), formerly Vasco da Gama Chair & Professor at the School of Oriental and African Studies London ; Prof. H. Van Der Wee, Prof. Emeritus Katholieke Universiteit Leuven ; Prof. D.S.A. Abulafia, Professor of Mediterranean History, Cambridge University ; Prof. D. Ramada Curto, Vasco da Gama Chair, E.U.I.
First made available online on 11 April 2014.
This thesis grows out of the Portuguese inruption on to the Eurasian spice trade at the very beginning of the sixteenth century with the inauguration of a dramatic oceanic route to the traditional areas of spice cultivation in the East, that is the Indian Malabar coast, Ceylon and the Moluccas in the Indonesian archipelago (Insulindia). If spices had never disappeared from European markets, it was the first direct and sustained commercial contact Europeans enjoyed with the Indian Ocean since the demise of the Red Sea fleets based at Myos-Hormos the Roman Emperor Augustus had used to exploit the luxury trades of the Indies from the latter half of the first century B.C. and that Pliny had once valued at 100 million sesterces a year; the few adventurous Venetian merchants that got so far during the pax mongolica of the fourteenth century brought back little in terms of marketable commodities but helped to keep alive the dim awareness of a bountiful land of milk and honey in the European collective memory.
Borges, Rui Luís Perry da Camara. "Portuguese silver from the 15th to the 17th century, the 11 dinheiros silver coins." Doctoral thesis, 2018. http://hdl.handle.net/10362/57050.
Повний текст джерелаTOFFOLO, Sandra. "Depicting the city, depicting the state : fifteenth-century representations of Venice and the Venetian terraferma." Doctoral thesis, 2013. http://hdl.handle.net/1814/29618.
Повний текст джерелаExamining Board: Professor Luca Molà, EUI (Supervisor); Professor Antonella Romano, EUI; Professor Filippo de Vivo, Birkbeck, University of London; Professor Deborah Howard, University of Cambridge
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
This thesis addresses the construction of ideas concerning the identities of geographical spaces, focusing on Venice in the period 1381-1509. It concentrates on the representations of two different roles held in this period by Venice: that of a city in a circumscribed urban setting, and that of the capital of an emerging state on the Italian mainland. Employing a corpus that consists mainly of geographical descriptions but that also includes cases of art and ceremonies, the dissertation closely analyses how fifteenth-century representations of Venice and the Venetian Terraferma were constructed, how they were transformed over time, and how these processes can be explained through the links with the various contexts in which the representations came into being. The thesis underlines, more than is currently the case in historiography, the multiplicity and transformability of simultaneously existing images of Venice. It analyses the large variety of factors to which contemporaries reacted when they created their geographical representations. Rather than merely following a centuries-old tradition of images of Venice (a tradition which in historiography has been called the ‘myth of Venice’), or rather than simply mirroring the institutionalised characteristics of the Venetian state, contemporaries took into account a multitude of contexts when constructing and transforming their representations. This is clearly shown by the very existence of different, sometimes even contradictory images of Venice and its mainland state in the fifteenth century. Taking into account the multiplicity of representations also explains that images of Venice in its role as city on the one hand, and as capital of a mainland state on the other hand, did not have to be in conflict, but that they could exist alongside each other, and that the processes by which they were created could impact upon one another.
Cohen, Joshua Irwin. "Masks and the Modern: African/European Encounters in 20th-Century Art." Thesis, 2014. https://doi.org/10.7916/D8BG2M4Z.
Повний текст джерелаDossin, Catherine Julie Marie 1978. "Stories of the Western artworld, 1936-1986 : from the "fall of Paris" to the "invasion of New York"." 2008. http://hdl.handle.net/2152/18306.
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Pal-Lapinski, Piya. "Defiant Odalisques: Exoticism, Resistance and the Female Body in Nineteenth Century Fiction." 1997. https://scholarworks.umass.edu/dissertations/AAI9809379.
Повний текст джерелаMCGEEVER, Matthew. "Monuments in Arcadia : cultural landscape, textual exchange and artistic transfers c.1760-c.1790." Doctoral thesis, 2009. http://hdl.handle.net/1814/12034.
Повний текст джерелаExamining Board: Prof. Heinz Gerhard Haupt (EUI) – supervisor; Dr. Luisa Calè (Birkbeck College, London); Dr. Ana Vrdoljak (University of Western Australia); Prof. Giulia Calvi (EUI)
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
No abstract available
Clark, Alexis. "A Republic of the Arts: Constructing Nineteenth-Century Art History at the Musée national du Luxembourg, 1871-1914." Diss., 2014. http://hdl.handle.net/10161/8660.
Повний текст джерелаBefore the rise of the ubiquitous MOCA (museum of contemporary) there was the Musée national du Luxembourg that since its foundation in 1818, served as the first museum anywhere dedicated to contemporary art. Yet the Luxembourg has been left to lurk in the shadows of art history. Best remembered for its mismanagement of the Caillebotte Bequest (1894-1897) that left the French state as the beneficiary of several dozen Impressionist canvases, the Luxembourg has been dismissed as epitomizing official support for an exhausted academicism.
This dissertation has sought to correct these misconceptions of the museum and the Third Republic Fine Arts administration. It provides an institutional history of the museum under the early Third Republic (1871-1914) that reconsiders how different interpretations of republicanism informed its curators' policies and practices. Information culled from archives, official publications, art criticism, and even tourist brochures, has revealed that in the 1890s and especially the 1900s, the museum's curators embraced the politics of solidarism. Applying solidarist principles such as eclecticism, tolerance, and commitment to public education, its curators defended their acquisition of both avant-garde and academic works of art. These principles further spurred curators to trace the spectrum of contemporary painterly styles to French artist tradition. In so doing, the Luxembourg's administrators implicitly upheld republicanism as a characteristically, even classically, French ideology that, in its translation into paint and institutional policies, testified to the nation's continued cultural, artistic, and political supremacy.
Dissertation
Mayhew, Robert A. "Law, Commerce, and the Rise of New Imagery in Antwerp, 1500-1600." Diss., 2011. http://hdl.handle.net/10161/4975.
Повний текст джерелаMarinus Van Reymerswaele's painting of 1542,
This dissertation links the development of consumption practices and the rise of new pictorial subjects introduced in Antwerp with the changing business and legal climate of the city during the sixteenth century. Through an investigation of unpublished home inventories recorded between 1528 and 1588, it clarifies the acquisition preferences of the Antwerp public at large, considering both changing preferences for panel and linen paintings as well as for novel and traditional images alike. This reassessment of painting consumption reveals a starkly more conservative approach to buying images than previously assumed, underscoring the rarity of everyday life subjects in Antwerp domestic spaces. As a painter operating within this market, Marinus van Reymerswaele invented a new brand of painting -- the new old master painting -- that not only addressed broad social concerns sparked by Habsburg political, mercantile, and legal reforms, but also built on long-established Netherlandish visual traditions. As the sixteenth century drew to a close, his paintings became more desired by collectors but lost their topicality as memories of Antwerp's political anxieties faded into the past.
Dissertation
Главчева, М. А., та М. А. Glavcheva. "Творческий метод Сандро Керки: трансформация материи и цвета : магистерская диссертация". Master's thesis, 2015. http://hdl.handle.net/10995/31706.
Повний текст джерелаCurrent study is devoted to the exploration of a creative method of the Italian sculptor and painter Sandro Kerki. The first chapter provides an overview of the main trends in development of European and Italian sculpture in the late the XIX - the first half of the XX centuries, as well as factors that influenced the emergence of modern art in Italy. The second chapter covers the main stages of life and work of Sandro Kirk. It includes a detailed biography, an analysis of the sculptural heritage, as well as analysis of paintings and ceramic works that make up the private collection. Sandro Kerky was familiar with many famous Italian sculptors and painters, took an active part in the artistic life of the country. His artworks reflect a creative search and a fate of Italian artists of the twentieth century. They are interesting for their innovative, vibrant personal style. Artist is interested in a form that is hidden in a sculptural material or color, which he brought out by means of lines and planes.
Scobie, Claire. "The representation of the figure of the devadasi in European travel writing and art from 1770 to 1820 with specific reference to Dutch writer Jacob Haafner : an exegesis and The pagoda tree, a novel." Thesis, 2013. http://handle.uws.edu.au:8081/1959.7/564029.
Повний текст джерелаMcCutcheon, Shawn. "Winckelmann et ses désirs (presque) secrets : amour entre hommes et idéaux de la masculinité à l’ère néoclassique (1755-1768)." Thèse, 2014. http://hdl.handle.net/1866/11952.
Повний текст джерелаStudying the works and letters of Johann Joachim Winckelmann written between 1755 and 1768 gives new insights on love between men in the 18th century and on its relation to the construction of masculinity. The case of Winckelmann illustrates the constructed and changing nature of eroticism: the influence of the Hellenic example is visible in the homoerotic fantasy that Winckelmann used to interpret his desires. Antiquity, given its cultural authority, represented a relatively safe space where Winckelmann was able to express his homoerotic sensibility to which the western context was hostile. Greek literature exalted the display of affection between men and its statuary, the nude male body. This fantasy would later prove to be the capital in Winckelmann’s comprehension and justifications of his relations with other men in Italy after 1755. Far from being confined to the repression of homoeroticism by the 18th century European society, the case of Winckelmann illustrates its potential for partial integration. The originality of Winckelmann lies in the way he used to communicate his homoerotic ideas in scholarly texts while rendering them socially acceptable. Finally, several clues in his works and letters bear to think that Winckelmann was aware of his difference and that between 1755 and 1768 he created for himself a discrete community of men also sensitive to homoerotic desires.
Dobešová, Michaela Filipa. "Sbírka vlámského a holandského malířství Vlastislava Zátky." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-323034.
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