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

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Статті в журналах з теми "Art, European – 17th century"

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Akimov, Sergey S. "The 17th Century Dutch Art in E.I.Rotenberg’s Studies." Vestnik of Saint Petersburg University. Arts 13, no. 3 (2023): 413–31. http://dx.doi.org/10.21638/spbu15.2023.302.

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The contribution of Evsei Rotenberg to the studies in history of the 17th century Dutch art is analyzed in this article. Investigations in Dutch art of the Golden Age were one of the main lines in scientific interests of Evsei Rotenberg, great specialist in classical West-European art, during all his activity. He also wrote about Italian Renaissance, especially Michelangelo and Titian, and about the most important esthetic and creative problems and tendencies of the 17th century art, the greatest masters of this epoch. The paper highlights his evolution as a researcher from point of view subjects and methodology of studies, analyzes the conceptual ideas explaining the specificity of the Dutch art, shows their place in Russian scientific tradition and their significance for the further development of art historian science. His professional formation was held under guidance of Prof. B.R.Vipper in Moscow University and in post-graduate course. Rotenberg’s PhD dissertation (1956) was devoted to realistic bases of Dutch art of the period of flourishing (Rembrandt and masters of genre painting). He is the author of works about Rembrandt and Vermeer, the monograph about development of the Dutch art including architecture, sculpture and decorative crafts. His most fundamental investigations — “West-European 17th Century Art” and “West-European 17th Century Painting. Thematic Principles” — were published in 1971 and 1989. Rotenberg analyzed Dutch school in aspects of style and non-style line and relationships between mythological and non-mythological creative conceptions in art of this epoch.
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Montanari, Riccardo, Philippe Colomban, Maria Francesca Alberghina, Salvatore Schiavone, and Claudia Pelosi. "European Smalt in 17th-Century Japan: Porcelain Decoration and Sacred Art." Heritage 7, no. 6 (June 5, 2024): 3080–94. http://dx.doi.org/10.3390/heritage7060145.

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Japanese art tradition, contrary to the case of China, is characterized by an efficient and continued, although mostly undocumented, use of smalt from the late 16th century onward. Recent studies have successfully identified this pigment, the cobalt-colored glass that spread throughout the Old Continent during the Renaissance period, as the coloring agent employed for overglaze-blue enameling on Japanese porcelains produced at the kilns of Arita (the porcelain production center of Japan) from the early 1640s until the 20th century. Fragmentary evidence of the use of smalt in Japanese sacred art has also been reported, yet its earliest incorporation into such a type of traditional art form could not be identified. In order to resolve this crucial issue, portable EDXRF was employed for the non-destructive analyses of Japanese porcelains and sacred images bearing blue decoration. Scientific analysis allowed, for the first time ever, to establish a clear timeline of smalt use. Furthermore, this evidence and the literature data both agree, leading to the identification of the origin of the blue material used on both art productions.
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3

Lisovich, Inna I. "Visual Representation of Scientific Corporations in European Culture of the 17th Century." Observatory of Culture, no. 2 (April 28, 2014): 98–103. http://dx.doi.org/10.25281/2072-3156-2014-0-2-98-103.

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Is devoted to the comparative analysis of visual representations of scientific corporations in European painting and graphic art in the 17th century. The author reveals both organizational principles of scientific institutions and symbolic, cultural, political, scientific and social values which underpinned them.
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Abdullayeva, Sevda, and Samira Gasimova. "XVII century Azerbaijani culture through the eyes of european travelers." Grani 24, no. 2 (February 28, 2021): 41–45. http://dx.doi.org/10.15421/172113.

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At the beginning of the 16th century, due to the establishment of the Safavid Empire of Azerbaijan, the culture of the people also developed significantly, especially due to the strengthening of the centralized political structure. “Language commonality, which is one of the factors of the national stage of public unity” was a reality that closely united the people of Azerbaijan in the 17th century.In the 17th century, Azerbaijan was remaining one of the most important cultural centers of the Near and Middle East. The ongoing Safavid-Ottoman wars at that time dealt a crushing blow to the cultural development of the people. Many famous Azerbaijani scientists were captivated and taken to Istanbul, and some were transferred to Qazvin and Isfahan. Only in the middle of the 17th century there was a certain revival in the development of science and education in Azerbaijan. There were various educational institutions in the cities of the country, which were the centers of crafts, trade and culture. In the Middle Ages, all educational institutions, including madrassas, neighbour schools, tekyehs, were, of course, religious in nature.A careful analysis of the information provided by medieval historians and travelers leads to the conclusion that book printing was not only known in Azerbaijan in the middle of the 17th century, but even a printing press was brought here. The French traveler Chardin writes that the Safavid Empire, aware of the benefits of printing, was in favor of bringing it to Iran.Generally, the history of Azerbaijan in the Middle Ages (as well as in the XVII century) had the character of a scientific chronicle. However, even the mere recording of real events served to develop the historical thinking of the people, to ensure the connection of inheritance. The expansion of folk art, the spread of cultural potential in the Near and Middle East was one of the features of the development of Azerbaijani culture in the 17th century. Unfavorable socio-economic and political processes had a negative impact on the development of culture in the country.
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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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Trofimova, Violetta S. "SPACES OF ART CULTURE ORGANIZATION CREATED BY WOMEN INTELLECTUALS OF THE 17TH CENTURY." Russian Studies in Culture and Society 8, no. 2 (June 30, 2024): 71–93. http://dx.doi.org/10.12731/2576-9782-2024-8-2-238.

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Background. The concepts of cultural space and cultural space were analyzed by A.Ya. Flier, L.P. Repina and others. In Western European culture of the 17th century, the problem of the place and role of a woman creator became more acute. The beginning of the present of women’s creativity originates in those times. Women's intellectual culture is a mental and verbal foundation created by creative women of a specific historical era and a specific country. The relevance of the study of women's intellectual culture of the 17th century is associated with the revival of the awareness of women creators of the past and the destruction of stereotypes in relation to women's creativity. The article analyzes the aspect of the organization of women's intellectual culture of the 17th century in order to identify the spaces in which women creators created works of art. Methods. While analyzing cultural institutions, an axiological approach is used with the inclusion of an anthropological component. While analyzing the space of art culture organization, methods such as analysis of the physical characteristics of the space, its internal structure, functions, values, place and role of creators in it and the results of their creative activity are used. Results. Creative women in the 17th century create their own spaces for the production of artistic cultural objects. Such spaces are monastery, female academy, salon, and Women’s Republic of Letters. Conclusion. The closed spaces for the organization of women's intellectual culture were monastery and female academy, where works of art were created within the framework of tradition. The open space was the salon, which created favorable conditions for creative innovation. In the space of Women’s Republic of Letters the new principles of upbringing and education were worked out.
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Antonucci, Gianluca. "The Church and the art of governing people in a period of crisis: An analysis of the Inchiesta Innocenziana (1650-55)." CONTABILITÀ E CULTURA AZIENDALE 23, no. 1 (June 2023): 39–59. http://dx.doi.org/10.3280/cca2023-001003.

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Introduction. The focus of this work is the Inchiesta Innocenziana (Enquiry by Pope Innocenzo the 10th) upon the monasteries of the Italian States in the mid-17th century. Aim of the work. This study intends to demonstrate that in the Church, in the mid- 17th century - around one century later than in the European States - economics is introduced in the art of government as the correct manner of managing individ- uals, goods, and wealth in action at a distance. Methodological approach. The study is based on the investigation of primary and secondary sources related to the Inchiesta Innocenziana. The study analyses the various aspects and specially chosen techniques which, in a period of crisis, led the Catholic Church to run one of the first large-scale ‘auditing' upon its ‘branches' (monasteries) located within the Italian States. Main findings. It is shown, through an interpretative approach, how the Church worked inspired, not by the Law of God (human, natural, and divine), but by the art of governing people, as described by Foucault, giving techniques and practices for a concrete form of political rationality. Originality. The paper considers the relevant emergence of accounting and accountability practices, in a power/knowledge scheme, in decisions regarding a reconstruction after a crisis, by a complex interacting organisation such as the Catholic Church of the mid-17th century.
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Pérez-Jiménez, Aurelio. "The Lamp of Anaxagoras (Plu., Per. 16.8-9) and its Reception in the Art of the 17th-19th centuries." Ploutarchos 14 (October 30, 2017): 69–106. http://dx.doi.org/10.14195/0258-655x_14_4.

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In this article I follow the trails wich the famous anecdote of Anaxagoras, Pericles and the lamp (Plu., Per. 16.8-9) has let in European art of the last centuries. I will comment the details of different artistic pieces from the17th century emblematic and from Neoclassical painting and sculpture of the 18th and 19th Centuries, as well as some 19th French ‘pendules’, to put in value the importance that this anecdote has had in European art, due to its didactic strength and to its litterary plasticity.
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Bevz, Mykola. "The wooden architectural complex of the city and royal residence of the John III Sobieski in Kukizów." Budownictwo i Architektura 18, no. 4 (March 20, 2020): 059–82. http://dx.doi.org/10.35784/bud-arch.710.

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The palace in Kukizów of King of Poland John III Sobieski is known only to a narrow group of architecture and art historians. The palace and park complex ceased to exist in the 19th century. The architecture of the palace is known especially from the descriptions in the inventory documents from the early 18th century. Although the authorship of the palace design belongs to the well-known artists of the era – Augustyn Wincenty Locci and Piotr Beber, its architecture has not yet been reconstructed. A specific feature of the royal residence in Kukizów was the construction of royal buildings and town buildings in a wooden material. The intention to create a city complex and an entirely wooden residence was a unique experiment in the field of European architecture and urban planning of the 17th century. In the paper we present the results of our research on the architecture of the palace and town for the end of the 17th century.
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Agyarkoh, Dr Eric, and Dr Eric Kwadwo Amissah. "Development of Graphic Design Practice and Education in Ghana." Journal of Education and Culture Studies 6, no. 2 (April 30, 2022): p71. http://dx.doi.org/10.22158/jecs.v6n2p71.

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In Ghana, Graphic Design is regarded as one of the contemporary arts that was introduced in the Gold Coast by the British (The colonial administration) and European merchants in the 17th Century. Since then, the art has gone through series of metamorphosis in various aspects till date. However, empirical evidence indicates that the developmental patterns of the art in Ghana has not been documented comprehensively. Using qualitative research approaches such as historical research method, interviews, document review, narrative and inductive analysis, this paper sought to conduct a comprehensive research into the local Graphic Design industry to gather pieces of fragmented documented and oral information from relevant stake holders who were purposively selected from different parts of Ghana based on their professional memory on industrial practice and Graphic Design education in Ghana, to reconstruct the history of the art for posterity. The study revealed that, commercial press printing and newspaper advertising were introduced in the Gold Coast first before outdoor advertising and desktop publishing. Also, colonisation, successive government policies, technological inventions in the western countries, and developments in computer technologies have contributed immensely to the development of Graphic Design practice and education in Ghana from the 17th Century to date.
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Дисертації з теми "Art, European – 17th century"

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Levitt, Ruth L. "Cuyp's cattle : aesthetic transformations in Dutch 17th-century art." Thesis, University College London (University of London), 1990. https://kclpure.kcl.ac.uk/portal/en/theses/cuyps-cattle-aesthetic-transformations-in-dutch-17thcentury-art(b4f9c421-cfd9-4221-aae2-54ed218b139f).html.

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This study investigates the depiction of cattle by the Dutch painter Aelbert Cuyp (1620-91). It seeks to identify possible reasons for his choices of subject-matter and to trace the implications- for subsequent taste. Origins of the Dutch 17th-century veestuk (cattle piece) can be found in artefacts and writings of many earlier cultures, in which cattle images served mythological, religious, instructional and other functions. The real and symbolic importance of Dutch cattle husbandry and dairy farming contributed further significance to this iconography, and in Cuyp's day the 'Dutch cow' was recognised as a patriotic emblem for the politically independent and economically successful United Provinces. Analysis of the colours and condition of contemporary cattle and of farming practices suggests there were evident differnces between the subjects as Cuyp depicted them and the actuality from which he derived his compositions. This prompts a reconsideration of claims, that 'realism' is the prime character of Cuyp's art. It is proposed that Cuyp adopted a deliberately selective and idealised vision, representing rural subjects in nostalgic terms. Aspects of the intricate interrelationship between observable actuality and pictorial invention are exposed by attending to the cultural imperatives that informed and were informed by the pictures. Cuyp's works not only exploited estab1ished associations to images of cattle but also carried moralising, pietistic and entertaining messages, similar to those found in still-life and genre subjects, whose meaning has become lost to modern observers. Cuyp seems to have worked entirely for a local clientele, and, since Dordrecht was not an agricultural centre, explanations of the appeal of his cattle images are sought in that community's prevailing patrician and burgerlijk attitudes and beliefs about rural subjects. It is argued that his paintings, rather than being regarded as neutrally descriptive reflections of local conditions, were valued both for their illusionistic naturalism and for their underlying meanings. Cuyp's posthumous reputation in Dordrecht and subsequent influence are examined in the light of these aesthetic transformations.
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Laanela, Erika Elizabeth. "His Majesty's Ship Saphire and the Royal Navy in 17th-Century Newfoundland." W&M ScholarWorks, 2019. https://scholarworks.wm.edu/etd/1563899019.

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The English fifth-rate frigate Saphire was set on fire by its commander in Newfoundland during an attack by a French squadron in September 1696. Prior to its untimely sinking, this small warship had served the Royal Navy for over two decades, primarily in the Mediterranean, acting as convoy and escort to English shipping. This study combines multiple lines of evidence, including archaeology and material culture recovered from the wreck and contemporary documents, art, and illustrations, to explore the significance of the Saphire through a series of multi-scalar and diachronic interpretive lenses. The approach is inspired by an analytical framework for the study of wrecks first proposed by Muckelroy in 1978, while employing a multi-disciplinary methodology informed by social theory to orient the ship in its social and historical context. The first lens considers the Saphire at the broadest level, as an entangled tool of the Royal Navy built and operated at great cost to advance the imperial ambitions of England’s Stuart rulers in the late 17th century. Contemporary records allow the formulation of a biography of this small warship from its launching in 1675 to its loss in 1696, situated against the backdrop of the major political, military and social events of 17th century England. Although the ship was not fully excavated, available archaeological information, naval correspondence and contemporary images illuminate the material processes of constructing, outfitting, operating and maintaining the Saphire as a complex technological artifact. The second lens focuses on the significance of the Saphire at the regional level by examining the social and economic relationships between naval personnel and the settlers and fishers of Newfoundland in the late 17th century. At that time, naval commanders played a role not only in defense, but also in government and judicial affairs of the island. A comparison of material culture recovered from the Saphire with the archaeological record of settlements such as Ferryland illustrates how seaborne trade led to an increasingly globalized material culture that represents a growing consumerism. The third lens examines social relationships and daily life on a small warship in the late 17th century through the material culture from the wreck and contemporary documents. It looks at how naval hierarchy was established, expressed and contested. The concept of assemblages of practice is used to better understand how the artifacts recovered from the wreck reflect the habitus of the daily lives of 17th-century seamen.
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Spencer, Justina. "Peeping in, peering out : monocularity and early modern vision." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:b8854565-ce57-4c83-9cdb-64249d171142.

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One of the central theoretical tenets of linear perspective is that it is based upon the idea of a monocular observer. Our lived perception, also referred to in the Renaissance as perspectiva naturalis, is always rooted in binocular vision, however, the guidelines for perspectiva artificialis often imply a single peeping eye as a starting point. In the early modern period, a number of rare art forms and instruments follow the prescriptive character of linear perspective to ludic ends. By focusing on this special class of what I would call 'monocular art forms', I will analyse the extent to which the perspectival method has been successfully applied in material form beyond the classic two-dimensional paintings. This special class of objects include: anamorphosis, peep-boxes, catoptrics, dioptric perspective tubes, and perspective instruments. It is my intention to draw attention to the different ways traditional perspectival paintings, exceptional cases such as perspective boxes and anamorphoses, and optical devices were encountered in the early modern period. In this thesis I will be examining the specific sites of each case study in depth so as to describe the various contexts - aristocratic, intellectual, religious - in which these items circulated. In Chapter 1 I illustrate a special class of perspective and anamorphic designs that confined their illusions to a peepshow. Chapter 2 examines one of the most consummate applications of the monocular principle of perspective: seventeenth-century Dutch perspective boxes. In Chapter 3, monocular catoptric designs are studied in light of the vogue for mirror cabinets in the seventeenth century. Chapter 4 examines the innovative techniques of drawing machines and their collection in early modern courts through close study of the 'perspectograph'.
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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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Gavaghan, Kerry Lynn. "The family picture : a study of identity construction in seventeenth-century Dutch portraits." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:1a2cf152-3f13-4e76-8c73-b57ef5be2463.

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The seventeenth century saw a large increase in family-related portrait materials, including group family portraits, family portrait collections, and family memorial albums. In this thesis, I contend with the meanings and functions of family portraits created in the Netherlands in an attempt to illuminate the motives behind the rise in the number of portraits of the family during this period. I focus on the ways in which Dutch families utilised portraiture as a vehicle for constructing personal and national identity. In an age of extraordinary economic success, religious tension, and political upheaval, portraits of the members of the expanding Dutch ‘middle class’, who had the means and the desire to commission them, reveal a conscious inclination to define and substantiate a fashioned identity as the new urban elite of a Republic in the making. My study assesses family portraits as sites where identity and changing notions of selfhood were envisioned and performed. The shifting notions of ‘family’, and the increasing popularity of commissioning portraits seems to signal attempts to configure and imagine their relationship to Dutch society. I propose that the amount of portraits related to the family commissioned alongside an exploration of and struggle with identity is a symptom of the anxiety surrounding politics, religion, and social changes, for which the family often served as a metaphor. New perspectives on portrait theory and identity, especially those of Ann Jensen Adams and Joanna Woodall, contributed to the shaping of this thesis, particularly as a means to comprehend how portraits functioned in the lives of families. There are four chapters that make up the body of this thesis. In each chapter, I focus on specific works of art chosen for their suitability in highlighting certain concepts and anxieties about identity and the family in its cultural context at their extremes.
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Hennings, Jan. "Russian diplomatic ceremonial and European court cultures 1648-1725." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609625.

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Harvie, Ron. "The spectre of Buckingham : art patronage and collecting in early Stuart England." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35895.

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This thesis examines the relationship of George Villiers, First Duke of Buckingham (1592--1628) to the art and aesthetic ideas of his era. As the intimate and all-powerful favourite of two successive kings, James I and Charles 1, Buckingham profoundly influenced the course of English politics, both at home and abroad, and it is as a political force that he is generally viewed. But, as a major patron of many artists and the builder of one of the largest art collections of the time, his influence in the cultural sphere must have been equally significant. Yet no modern study of this aspect of Buckingham's persona exists.
After a review of the general historiographical material on Buckingham as well as his evaluation by art historians over the years, Chapter I presents an analysis of the concept and role of Favourite in social and cultural terms. It goes on to detail Buckingham's personal position within early Stuart court culture, and argues that while this culture formed and defined him, he simultaneously re-formed and redefined it through his choices and actions.
Chapter II examines the dynamics of art patronage and Buckingham's activity as a patron, beginning with his early dealings with the native English painter, William Larkin. The relationship of Buckingham and the young Anthony Van Dyck is discussed, with parlicular attention to the artist's brief visit to England in 1620--21, and it is suggested that Buckingham was instrumental in bringing about this event. The Duke's dealings with the controversial polymath, Balthazar Gerbier, are explored, as are his many-layered connections with the premier painter of the day, Peter Paul Rubens.
In Chapter III the traditions of art collecting, especially in England are discussed, as is Buckingham's reputation as a collector compared to some of his rivals in the field. The extant documentation of his collection is examined, along with the chronology and methodology of its formation. Particular attention is given to gifts of art to Buckingham by King Charles, the Earl of Arundel and others; the art-buying by Buckingham's agents like Balthazar Gerbier; and the incorporation by the Duke into his own inventory of parts of other collections such as that of the Duke of Hamilton and, more importantly, that of Rubens.
Both in the realm of court culture and in the world of art patronage and art collecting, it was Buckingham more than anyone else who supplied the energy and set the fashion. And he continued to do so even after his premature death: the Duke's image remained bright in the memory of King Charles, whose subsequent expanded relationships with Rubens and Van Dyck owe much of their intensity to both artists' previous connections with Buckingham.
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Rankin, Deana Margaret. "The art of war : military writing in Ireland in the mid seventeenth century." Thesis, University of Oxford, 1999. http://ora.ox.ac.uk/objects/uuid:bd3cb104-bc7a-49b1-981c-d3fbecb3819e.

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'The Art of War' studies the transition of the soldier from fighter to settler as it is reflected in the texts he produces. Drawing on texts written by soldiers, in English, between c. 1624 and 1685, it focuses on representations of events in Ireland from 1641-1655, that is to say, during the Catholic Confederation and the Cromwellian campaigns and settlement. The focus and methodology of the thesis seek to restore a more literary reading of seventeenth century texts from, and about, Ireland to the current vibrant historical debate on the period. It argues that the writings of the Old Irish, Old English, New English, and Cromwellian soldiers in Ireland draw on a variety of literary influences – the traces of Guicciardini and Machiavelli, Sidney and Spenser are clear. It also charts shifts in the genres of military writing from professional handbooks, to documents of civil policy, to romance, poetry, and the theatre. In doing so, it addresses the literary tools which the soldier-writer uses to define the self within a complex network of political, national, religious, and personal allegiances. The thesis is divided into three parts. The first, chapter one, explores the trafficking of military images between military handbook and literary text. It pays particular attention to Ireland as a borderland for the European Wars and the English colonial enterprise. The second part, comprising three chapters, examines three different perspectives on the Irish Wars. The first, that of the Old English writer Richard Sellings; the second, that of the anonymous Aphorismical Discovery; the third begins with a view of the 'Irish enemy' from England, as it is constructed and enforced in the pamphlet literature of the Civil War period, and ends with the perspective of Richard Lawrence, a Cromwellian soldier-turned-settler in the early 1680s. The third part, the fifth and final chapter, explores the controversies surrounding recent Irish history as they are played out in the wake of the Exclusion Crisis. This is followed by a brief conclusion.
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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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Книги з теми "Art, European – 17th century"

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Peter, Weiermair, Azoulay Isabelle 1961-, and Frankfurter Kunstverein, eds. Erotic art: From the 17th century to the 20th century. Zurich, Switzerland: Edition Stemmle, 1995.

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2

Peter, Weiermair, Azoulay Isabelle 1961-, and Frankfurter Kunstverein, eds. Erotic art: From the 17th century to the 20h century. Zurich, Switzerland: Edition Stemmle, 1995.

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3

Harris, Ann Sutherland. Seventeenth-century art & architecture: Ann Sutherland Harris. London: Laurence King Publishing Ltd., 2005.

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4

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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5

Shearer, West, ed. Italian culture in northern Europe in the eighteenth century. New York: Cambridge University Press, 1998.

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6

Hans, Cools, Keblusek Marika, and Noldus Badeloch, eds. Your humble servant: Agents in early modern Europe. Hilversum: Verloren, 2006.

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7

M, Helmus Liesbeth, Groot Arie de, Saenredam Pieter Jansz 1597-1665, Centraal Museum (Utrecht Netherlands), and J. Paul Getty Museum, eds. Pieter Saenredam, the Utrecht work: Paintings and drawings by the 17th-century master of perspective. Los Angeles, CA: J. Paul Getty Museum, 2002.

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8

Richard, Wrigley, ed. Regarding romantic Rome. Bern: P. Lang, 2007.

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9

Dal Pozzo, Cassiano, 1588-1657, illustrator, Macdonald, Helen, 1970- writer of foreword, Clayton Kate translator, Kane Sarah editor, and Royal Collection Trust, eds. Pasta for nightingales: A 17th-century handbook of bird-care and folklore. New Haven: Yale University Press, 2018.

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10

Pauline, Rohatgi, Patel Divia, Godrej Pheroza, Victoria and Albert Museum, and Chhatrapati Shivaji Maharaj Vastu Sangrahalaya., eds. Indian life and landscape by western artists: An exhibition of paintings and drawings from the 17th to the early 20th century. Mumbai: Chhatrapati Shivaji Maharaj Vastu Sangrahalaya in association with V & A, London, 2008.

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Частини книг з теми "Art, European – 17th century"

1

Markaki, Tatiana. "Innovations and the art of deception: mixed cloths in Venetian Crete (17th century)." In La moda come motore economico: innovazione di processo e prodotto, nuove strategie commerciali, comportamento dei consumatori / Fashion as an economic engine: process and product innovation, commercial strategies, consumer behavior, 15–24. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-565-3.04.

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This paper investigates innovations of the early modern European textile industry and practices of cultural transfer using seventeenth-century Venetian Crete as a case study. It explores the use of novelties, such as mixed cloths, in the dowries assigned to brides in the urban setting of Candia (modern Heraklion) and the surrounding countryside during the period 1600-1645. It draws on computer-processed data from marriage agreements and inventories of movables from the State Archives of Venice. It illustrates, through a comparative lens, how brides used (silk) mixed fabrics to differentiate themselves from others and how Venetian Crete followed the changes in production techniques of the European textile industry.
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2

Veracini, Cecilia. "Natural History of Non-human Primates in the 17th Century." In Primates in History, Myth, Art, and Science, 211–32. Boca Raton: CRC Press, 2024. http://dx.doi.org/10.1201/b21963-13.

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Zhang, Baichun, and Miao Tian. "The Transmission of European Mechanical Knowledge into 17th-Century China." In The 11th IFToMM International Symposium on Science of Mechanisms and Machines, 25–30. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-01845-4_3.

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Ding, Jingwen. "A Analysis of Citizen Life in 17th Century Dutch Genre Painting." In Proceedings of the 2022 4th International Conference on Literature, Art and Human Development (ICLAHD 2022), 1451–56. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-494069-97-8_186.

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5

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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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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"Marketing Workshop Versions in the 17th-century Dutch Art Market." In Making Copies in European Art 1400-1600, 449–72. BRILL, 2018. http://dx.doi.org/10.1163/9789004379596_017.

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"Pieter Codde and the Industry of Copies in 17th-century Dutch Painting." In The Primacy of the Image in Northern European Art, 1400–1700, 564–71. BRILL, 2017. http://dx.doi.org/10.1163/9789004354128_043.

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Clara, Fernando. "|A descoberta das Europas: a literatura de viagens, a geografia, a história e a evolução da identidade europeia (séculos XVI-XVIII)." In A Literatura e a construção da Europa: escrita de viagens à luz de um olhar europeu, 9–29. FLUP-ILC, 2023. http://dx.doi.org/10.21747/978-989-53476-7-4/lib34a1.

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The text seeks to reconstruct the dynamics of the evolution of European identity throughout the 18th century. Starting with two 16th and 17th century maps of Europe (popularized by Sebastian Münster and Willem Janszoon Blaeu), it analyses a wide range of works (compendia of history and geography, essays, satires, travel accounts) that focus on Europe and the Europeans, and which are implicitly or explicitly based on the travel literature of the time. From the discovery of an Imperial Europe to the discovery of the ‘national’ diversities of the European peoples, without forgetting the discovery of a Europe inhabited by ‘European savages’, the identitarian evolution that the analysis suggests points to a European identity that is doubly marked by mobility: marked by travel and the knowledge of the world provided by travel writing, which is the touchstone from which Europe seeks to define itself, and also marked by the perspectivism that travel introduces into the ways of seeing and being European.
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Тези доповідей конференцій з теми "Art, European – 17th century"

1

Mengel, Swetlana. "The cultural-lingustic situation in Russia from the end of the 17th until the first third of the 18th century in prospects of foreign first Russian grammar-authors." In Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.16.

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The lecture addresses the sight of foreign first Russian grammar-authors on the cultural-lingustic situation in Russia from the end of the 17th until the first third of the 18th century. It takes a closer look at the first grammar-models of Russian language codifi cations, which are based on West European grammatical traditions and individual decisions.
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2

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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VOLKOV, ALEXEI. "EVANGELIZATION, POLITICS, AND TECHNOLOGY TRANSFER IN 17TH-CENTURY COCHINCHINA: THE CASE OF JOÃO DA CRUZ." In Europe and China: Science and the Arts in the 17th and 18th Centuries. WORLD SCIENTIFIC, 2012. http://dx.doi.org/10.1142/9789814390446_0002.

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4

Gamble, Susan, and Michael M. Wenyon. "17th-century optics in 20th-century art: artists working in Britain's oldest scientific institution." In OE/LASE '90, 14-19 Jan., Los Angeles, CA, edited by Stephen A. Benton. SPIE, 1990. http://dx.doi.org/10.1117/12.17978.

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5

Malletzidou, Lamprini, Triantafyllia T. Zorba, Vaios Ganitis, Nikolaos Kyriakou, Eleni Pavlidou, and Konstantinos M. Paraskevopoulos. "Folk ecclesiastical art in Northern Greece: Characterization of a 17th century portable icon." In 10th Jubilee International Conference of the Balkan Physical Union. Author(s), 2019. http://dx.doi.org/10.1063/1.5091428.

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6

Tanbakuchi, Hassan. "A Broadband Tracking YIG-Tuned Mixer for a State-of-the-Art Spectrum Analyzer." In 17th European Microwave Conference, 1987. IEEE, 1987. http://dx.doi.org/10.1109/euma.1987.333782.

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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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NII, YOKO. "THE JESUIT JEAN-JOSEPH-MARIE AMIOT AND CHINESE MUSIC IN THE EIGHTEENTH CENTURY." In Europe and China: Science and the Arts in the 17th and 18th Centuries. WORLD SCIENTIFIC, 2012. http://dx.doi.org/10.1142/9789814390446_0004.

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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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Rotaru, Ioan-Gheorghe. "Sabbatarian Literature from the 17th Century and the Contribution of Simon Pechi." In Filologia modernă: realizări şi perspective în context european. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/filomod.2021.15.38.

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Both Sabbatarianism and its poetic creation from this period were under the influence of Simon Péchi. Most of the poetic creations of the Sabbatarians came from the pen of Péchi, who also outlined the future direction regarding this kind of creation. The concern of the Sabbatarians was for the translation of Jewish religious hymns, as well as for their processing. And the literature which emerged, and which until now is an almost unknown poetic literature, which is not even very wide and which has come to us with many shortcomings, in one respect is unmatched and especially full of teachings as regarding that radical change, through which Sabbatarianism has passed from the moment Simon Péchi has reached to lead it.
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Звіти організацій з теми "Art, European – 17th century"

1

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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17th & 18th Century Sculpture in Quito. Inter-American Development Bank, October 1994. http://dx.doi.org/10.18235/0006442.

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