Готові списки джерел за темами / Caryatid

Добірка наукової літератури з теми "Caryatid"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "Caryatid"

1

Hemingway, Colette C. "Caryatid." Sculpture Review 58, no. 4 (December 2009): 8–13. http://dx.doi.org/10.1177/074752840905800401.

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2

ALEXANDER, MITZI. "A caryatid imagines her turning point." Critical Quarterly 29, no. 4 (December 1987): 27–28. http://dx.doi.org/10.1111/j.1467-8705.1987.tb00261.x.

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3

Khalil, Lutfi A. "A BRONZE CARYATID CENSER FROM AMMAN." Levant 18, no. 1 (January 1986): 103–10. http://dx.doi.org/10.1179/lev.1986.18.1.103.

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4

Christian, Kathleen W. "Raphaels Vitruvius and Marcantonio Raimondi‘s Caryatid Façade." Bulletin of the John Rylands Library 92, no. 2 (September 2016): 91–127. http://dx.doi.org/10.7227/bjrl.92.2.7.

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Marcantonio Raimondis so-called Caryatid Façade has received scant attention, yet it occupies an important place in the printmakers oeuvre and was widely admired and imitated in the sixteenth century. The image, which features an architectural façade adorned with Caryatid and Persian porticoes and an oversized female capital, does not fit easily with the usual narrative about Raimondis career in Rome, summed up in Vasaris account that he collaborated with Raphael to publicise the masters storie. Rather than being an illustration of a religious or mythological subject, it brings together architectural fantasia, archaeology and Vitruvian studies, reflecting on the origins of the orders and the nature of architectural ornament. Arguably, it is also an indirect trace of Raphaels unfinished projects to reconstruct Rome and to collaborate with humanist Fabio Calvo and others on a new, illustrated edition of Vitruvius.
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5

Glaze, Anita J. "Call and Response: A Senufo Female Caryatid Drum." Art Institute of Chicago Museum Studies 19, no. 2 (1993): 118. http://dx.doi.org/10.2307/4108736.

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6

O’Neill, Ciarán Rua. "Column bodies: the caryatid and Frederic Leighton’s Royal Academy sketchbooks." Sculpture Journal 25, no. 3 (December 20, 2016): 421–32. http://dx.doi.org/10.3828/sj.2016.25.3.9.

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7

Cross, Maureen, Caroline Cotgrove, Jane Street, and Sarah Skinner. "FROM FIREPLACE TO FINE ART — THE CONSERVATION OF DUNCAN GRANT'S COLLAGE,CARYATID." Studies in Conservation 47, supplement2 (September 2002): 6. http://dx.doi.org/10.1179/sic.2002.006.

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Cross, Maureen, Caroline Cotgrove, Jane Street, and Sarah Skinner. "FROM FIREPLACE TO FINE ART — THE CONSERVATION OF DUNCAN GRANT'S COLLAGE,CARYATID." Studies in Conservation 47, sup2 (September 2002): 6. http://dx.doi.org/10.1179/sic.2002.47.s2.006.

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9

Barteet, C. Cody. "The Retablos of Teabo and Mani: The Evolution of Renaissance Altars in Colonial Yucatán." Arts 10, no. 2 (April 6, 2021): 23. http://dx.doi.org/10.3390/arts10020023.

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Анотація:
From the turn to seventeenth through the early eighteenth century, three retablos (altarpieces) were created in Yucatán that relied on a similar Renaissance design. The retablos located in the ex-convents of Mani and Teabo all adopt the Spanish sixteenth-century Renaissance style of the Plateresque. Further, the retablos are connected by the inclusion of caryatid framing devices that establishes a strong affinity among the works. Two of the retablos are located in Mani: the Retablo of San Antonio de Padua and the Retablo of Nuestra Señora de Soledad (or sometimes called the Dolores Retablo). At Teabo is the Retablo de Santa Teresita del Niño Jesús (or Las Ánimas). This paper explores the relationships among the retablos by considering their iconography and their styles to address the retablos’ dates and their current locations. While offering insights about these retablos, this contribution also provides a rich discussion of the thriving artistic industry that was present in Yucatán.
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10

Corso, Antonio. "Fra Giocondo e i monumenti di Atene." Acta Archaeologica Academiae Scientiarum Hungaricae 71, no. 1 (June 1, 2020): 219–26. http://dx.doi.org/10.1556/072.2020.00009.

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AbstractThis paper focuses on the important scholar and antiquarian Giovanni Giocondo from Verona and in particular his two editions of the De architectura of Vitruvius published in 1511 and in 1513. Two illustrations of this friar are related to the two Vitruvian passages concerning the female architectural supports called Caryatids and the Tower of the Winds at Athens. A careful study of these two drawings leads to the conclusion that they cannot depend only on the Vitruvian text, but also on visual sources. These sources of inspiration are identified respectively with the so-called Lodge of the Caryatids of the Erechtheum at Athens and with the same Tower of the Winds. Probably Friar Giocondo got information and perhaps drawings of these two monuments in 1506 when he traveled in the Saronic Gulf. Thus Giocondo’s drawing of the Caryatids probably reveals that the wrong interpretation of the Korai of the Erechtheum as Vitruvian Caryatids already existed in the early 16th century.
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Дисертації з теми "Caryatid"

1

O'Neill, Ciarán Rua. "Bearing the impossible : the caryatid in Britain, 1790-1914." Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/21534/.

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The classical caryatid has been a ubiquitous presence in the art and architecture of Europe from antiquity onwards. This was especially the case from the late eighteenth to early twentieth centuries when interest in the motif was at its height and versions of the caryatid made an appearance on a myriad built structures and objets d’art throughout Europe, while its influence was also particularly evident in the work of numerous renowned sculptors and painters. Yet, despite its prevalence across the centuries, and its especial position in Europe’s art and architecture in the long nineteenth century, the caryatid in the modern period remains relatively neglected in studies of art and architectural history. This thesis addresses the lacuna in previous scholarship by examining the modern presence of the caryatid, with a focus on Britain from 1790 to 1914. It comprises two parts, beginning with a historiographical analysis of the caryatid in Europe from antiquity onwards, focusing on Britain from the late eighteenth to early twentieth centuries, in order to disclose the motif’s visual predominance and to analyse the relationship between its use and contemporary artistic and architectural discourse. This is followed by three case studies that investigate the motif’s notable presence in the architectural designs of John Soane (1753-1837), the drawings and paintings of Frederic Leighton (1830-1896), and the sculptural output of Alfred Stevens (1817-1875) and Alfred Gilbert (1854-1934). These demonstrate the pioneering and exemplary manner in which these British individuals employed the caryatid across a variety of media in the period from 1790 to 1914, which exposes their use of the motif in the construction of artistic identities and as a means of projecting cultural authority, as well as displaying their attempts to align their work with theories of classical ideality and intermediality in art.
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Книги з теми "Caryatid"

1

Landau, Sigalit. Ḳaryaṭidah: Caryatid. Beʼer Shevaʻ: Muzeʼon ha-Negev, 2012.

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2

The caryatids. New York: Ballantine Books, 2009.

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3

Sterling, Bruce. The caryatids. New York: Ballantine Books, 2009.

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4

Sterling, Bruce. The Caryatids. New York: Random House Publishing Group, 2009.

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5

Pelevin, Viktor Olegovich. The hall of singing caryatids. New York: New Directions, 2011.

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6

Presenze inquietanti: Mascheroni e cariatidi nell'architettura torinese. Torino, Italy: Ananke, 2003.

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7

Les miroirs cariatides égyptiens en bronze: Typologie, chronologie et symbolique. Mainz: P. von Zabern, 2001.

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8

Brine, Kevin R. Kevin R. Brine: The porch of the caryatids : drawings, paintings, and sculptures. New York: Jason McCoy, Inc., 2006.

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9

Nebout, Jacqueline. Les cariatides de Paris. Paris: Editions Hervas, 1992.

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10

Mueller, James W. Archeological investigations at the former studio of the Caryatids, Saint-Gaudens National Historic Site, Sullivan County, New Hampshire. Silver Spring, Md: U.S. Dept. of the Interior, National Park Service, Denver Service Center, Eastern Applied Archeology Center, 1995.

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Частини книг з теми "Caryatid"

1

"Caryatid." In Encyclopedic Dictionary of Archaeology, 234–35. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-58292-0_30178.

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2

"caryatid." In Sir Banister Fletcher Glossary. © the Royal Institute of British Architects (RIBA) and the University of London, 2018. http://dx.doi.org/10.5040/9781350122741.1000395.

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3

Stamatiou, Evi. "Caryatid Unplugged:." In Performing Exile, 195–216. Intellect Books, 2017. http://dx.doi.org/10.2307/j.ctv9hj90p.15.

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4

Cochrane, Nicole. "Eleanor Coade, John Soane, and the Coade Caryatid." In Women and the Art and Science of Collecting in Eighteenth-Century Europe, 145–47. Routledge, 2020. http://dx.doi.org/10.4324/9780367856670-14.

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5

"caryatids." In The Fairchild Books Dictionary of Interior Design. Fairchild Books, 2021. http://dx.doi.org/10.5040/9781501365171.747.

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6

"Caryatids and Clay." In Enid Yandell, 40–68. The University Press of Kentucky, 2019. http://dx.doi.org/10.2307/j.ctvn5tz1n.6.

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7

Ford, Laura Oldfield. "The Rotherhithe Caryatids." In Walking Cities: London, 147–63. Routledge, 2020. http://dx.doi.org/10.4324/9780367809072-14.

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8

"Caryatides (pl.)." In Encyclopedic Dictionary of Archaeology, 235. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-58292-0_30179.

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9

Oksanish, John. "History from the ground up." In Vitruvian Man, 59–93. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190696986.003.0003.

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Анотація:
Vitruvius’s suggestion that De architectura will allow Augustus to comprehend buildings already built almost certainly points to the Augustan program of renovating buildings. But it also introduces the notion that buildings “already built” could represent the Augustan present for the future. History can be “built” just as it can be written, and its monuments can also be repurposed, whether through spoliation in the concrete sense or by recharacterizing what celebrated architectural signifiers mean, or both. Vitruvius’s phraseology in the preface (memorias posteris tradere) reflects a well-known Augustan concern for posterity’s reception in a general sense, but it also recalls historiography, especially Livy and (later) Tacitus. Vitruvius returns to this same language in his discussion of historia—one of the disciplines in which the architectus is supposed to be trained—in his aetiology of caryatids. Just as Augustus co-opted the forms of the Erechtheum korai for his forum, so does Vitruvius invent (here in the rhetorical sense) a new “history” of the caryatids that is useful for the Romans. The key to understanding Vitruvius’s approach here is textuality: his description of caryatids and their meaning is couched entirely in the language of rhetorical narratio, which suggests again that Vitruvius envisions architecture as a kind of ornamental persuasion, with a scope that rivals historiography in its ability not only to tell future generations about the present, but also to recharacterize the past in terms that suit the present’s needs.
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Julien, Pascal. "L’ordre caryatide, emblème de l’architecture toulousaine, xvie-xixe siècles." In Toulouse, une métropole méridionale, 665–76. Presses universitaires du Midi, 2009. http://dx.doi.org/10.4000/books.pumi.33986.

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Тези доповідей конференцій з теми "Caryatid"

1

Ntakolia, Konstantina. "DIAGHILEV’S RUSSIAN BALLETS AND THE 20TH CENTURY MANLY-WOMEN: TWO CONTRADICTORY NEW PROTOTYPES FOR THE CARYATIDES OF AMEDEO MODIGLIANI." In 2nd Arts & Humanities Conference, Florence. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/ahc.2017.002.005.

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