Log in

Relevant bibliographies by topics / Allegorical painting

Contents

Journal articles
Dissertations / Theses
Books
Book chapters

Academic literature on the topic 'Allegorical painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Allegorical painting.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Allegorical painting"

1

Maskarinec, Malika. "Allegory and Analogy in Menzel’s The Iron Rolling Mill." Zeitschrift für Kunstgeschichte 84, no. 1 (2021): 58–77. http://dx.doi.org/10.1515/zkg-2021-1003.

Full text

Abstract:

Abstract Adolph Menzel’s Das Eisenwalzwerk, or Moderne Cyklopen (The Iron Rolling Mill, or Modern Cyclopes) from 1875 depicts an analogy central to nineteenth- century thought, namely, that between the human motor and the combustion engine. The painting visualizes the differing rhythms of these two “machines” and the entropy produced as a result of that difference. The painting’s reflection on labor also elaborates an allegory of the activity of painting. Such an allegorical reading, motivated by particular attention to the objects placed in the painting’s foreground, entails a reevaluation of Menzel’s self-understanding and of the changing nature of allegory in nineteenth- century painting. In this instance, allegory operates not through identification but by means of analogy.

APA, Harvard, Vancouver, ISO, and other styles

2

Gligorijevic-Maksimovic, Mirjana. "Classical elements in the Serbian painting of the fourteenth century." Zbornik radova Vizantoloskog instituta, no. 44 (2007): 363–70. http://dx.doi.org/10.2298/zrvi0744363g.

Full text

Abstract:

In the early 14th century influences of a new style emanating from Constantinople contained reminiscences of classical ideas and forms (contents of compositions, the painted landscape, the human figures, genre scenes based on everyday life, classical figures, personifications and allegorical figures). Towards the end of the century classical influences in painting began to wane.

APA, Harvard, Vancouver, ISO, and other styles

3

Kho, Youenhee. "Meritorious Heroes." Sungkyun Journal of East Asian Studies 21, no. 1 (2021): 1–25. http://dx.doi.org/10.1215/15982661-8873872.

Full text

Abstract:

Abstract This study explores the allegorical usage of hawk painting to praise a hero with meritorious deeds in Yuan China (1271–1368) and early Chosŏn Korea (1392–1910). Through an analysis of Yuan-dynasty poems inscribed on hawk paintings, this article demonstrates that paintings of a hawk sitting still on a tree in the woods conveyed the allegory of a hero subduing wily beings, such as rabbits and foxes. Moreover, Yuan paintings of a hawk and a bear (yingxiong 鷹熊) employed a Chinese rebus and represented the animals as heroes, comparing them to historical heroic and loyal figures. This article then turns to Chosŏn Korea, where two types of hawk paintings reflected the Korean reception of Yuan counterparts. One was the painting of a hawk sitting still, which indicated the hero's readiness for future achievements. Another, with the motif of a rabbit caught in the hawk's talons, emphasized the hero's successful achievements and gained popularity through the late Chosŏn dynasty. The Chinese and Korean allegories of heroic contributions emerged in response to complicated politics, as the Yuan government comprised multiple ethnic groups and the early Ming and early Chosŏn were newly established after the fall of previous dynasties. For the same reason, the hawk-hero allegory began to lose its relevance over time, and hawk paintings came to take on rather mundane meanings.

APA, Harvard, Vancouver, ISO, and other styles

4

Shiff, Jonathan. "Titian's Helle and Ascanio de' Mori." Renaissance Quarterly 45, no. 3 (1992): 517–23. http://dx.doi.org/10.2307/2862671.

Full text

Abstract:

In 1564 Titian traveled to Brescia to discuss a commission for a set of three allegorical paintings for the ceiling of the Council Hall. While there, according to a hitherto unnoticed reference in Ascanio de’ Mori's Giuoco piacevole, he presented a Brescian noblewoman, Barbara Calina, with a painting or drawing representing the mythological figure Helle.Ascanio Pipino de’ Mori da Ceno (1533—1591) is most often remembered today for his fourteen stories which are said to epitomize the adjustment of novellieri to the new moral climate of the Counter Reformation. In his own day, however, this Mantuan courtiersoldier- turned-author was perhaps best known for his Giuoco piacevole, which was popular enough to warrant three editions, in 1575, 1580, and 1590.

APA, Harvard, Vancouver, ISO, and other styles

5

Beebe, Ann. "“Only Surpassed by the Light of Revelation”." Religion and the Arts 22, no. 1-2 (2018): 79–94. http://dx.doi.org/10.1163/15685292-02201004.

Full text

Abstract:

Abstract Asher B. Durand (1796–1886) began his long career in the Hudson River School under the guidance of his mentor, Thomas Cole (1801–1848). Influenced by the death of Cole in 1848 and other factors, Durand turned to the William Cullen Bryant poem, “Thanatopsis.” Durand’s Landscape—Scene from ‘Thanatopsis,’ an expansive allegory with a farmer and a funeral in the foreground illuminated by a sunrise, offers reassurance with its vision of nature’s paradisiacal beauty. The Christianized sublimity of this allegorical Durand painting reveals a hopeful vision for a heavenly paradise. This essay explores the significance of Durand’s 1850 painting in conjunction with Bryant’s “Thanatopsis,” a study Durand composed, Classical Landscape (Imaginary Landscape c. 1850), his 1855 Letters on Landscape Painting, as well as Durand’s 1862 repainting of the canvas.

APA, Harvard, Vancouver, ISO, and other styles

6

백인산. "A Study on Allegorical and Symbolic System for Understanding of Traditional Painting: Focused on Animals & Plants paintings." Journal of Art Education 29 (June 2011): 75–99. http://dx.doi.org/10.35657/jae.2011.29.0.004.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Wien, Iris. "Day-light. A recent discovery in the art of painting Ein kunstkritisches Pamphlet des frühen 19. Jahrhunderts." Zeitschrift für Kunstgeschichte 81, no. 1 (2018): 111–35. http://dx.doi.org/10.1515/zkg-2018-0005.

Full text

Abstract:

Abstract Henry James Richter’s 1817 pamphlet Day-light. A recent discovery in the art of painting; With hints on the philosophy of the fine arts, and on that of the human mind, as first dissected by Emanuel Kant has been read as a plea for naturalism in the context of early-nineteenth-century pleinair painting. The tract prompts painters to take the recently discovered phenomenon of colored shadows into account instead of basing their painterly practice on pictorial conventions. Although noticed, the peculiar form of the little treatise – consisting of thirteen pages of a fictive dialogue between artists and extensive notes devoted to fundamental epistemological questions – has not been further scrutinized. In the light of the sociopolitical conflicts of the time, however, the pamphlet takes on an allegorical dimension exceeding its art-critical objective.

APA, Harvard, Vancouver, ISO, and other styles

8

Kudelski, Jarosław Robert. "WILANÓW WORKS OF ART IN THE GERMAN CATALOGUE SICHERGESTELLTE KUNSTWERKE IM GENERALGOUVERNEMENT." Muzealnictwo 60 (August 7, 2019): 189–98. http://dx.doi.org/10.5604/01.3001.0013.3341.

Full text

Abstract:

Before the outbreak of WW II, the works of world art collected at the Wilanów Palace were considered to be the largest private collection in the Polish territories. Just the very collection of painting featured 1.200 exhibits. Apart from them the Wilanów collection contained historic furniture, old coins, textiles, artistic craftsmanship items, drawings, and prints, pottery, glassware, silverware, bronzes, sculptures, as well as mementoes of Polish rulers. Already in the first weeks of the German occupation, assigned officials selected the most precious art works from the Wilanów collections, and included them in the Sichergestellte Kunstwerke im Generalgouvernement Catalogue. The publication presented the most precious cultural goods secured by the Germans in the territory of occupied Poland. It included 76 items: 29 paintings and 47 artistic craftsmanship objects. In 1943, the majority of the works included in the quoted Catalogue were transferred to Cracow. A year later, the most valuable exhibits from Wilanów were evacuated to Lower Silesia. What remained in Cracow was only a part of the collection relocated from Wilanów. The chaos of the last weeks preceding the fall of the Third Reich caused that many art works from the Wilanów collection are considered war losses. Among many objects, included in the above Catalogue, there are several Wilanów paintings: Portrait of a Man by Bartholomeus van der Helst, Portrait of a Married Couple by Pieter Nason, Allegory of Architecture, Painting, and Sculpture by Pompeo Batoni, Allegorical Scene in Landscape by Paris Bordone, and The Assumption of Mary by Charles Le Brun.

APA, Harvard, Vancouver, ISO, and other styles

9

Calero-Castillo, Ana Isabel, Ana Carrasco-Huertas, Marta Durbán-García, and Jorge Alberto Durán-Suárez. "Documentación y reconstrucción virtual en restauración de obras pictóricas de gran formato: el lienzo mural de la farmacia Zambrano." Virtual Archaeology Review 11, no. 23 (2020): 141. http://dx.doi.org/10.4995/var.2020.13343.

Full text

Abstract:

<p>The aim of this paper is to explain the convenience of photogrammetry and virtual reconstruction applied to the restoration of large format canvas. This study presents the application of these techniques to the restoration and musealization of a late 19th century mural canvas painting attached to the ceiling of the Zambrano Pharmacy (Granada, Spain). The painting is an example of the allegorical motifs that could be found in 19th and 20th century pharmacies. It represents a group of cherubs and allegorical figures of Science or Pharmacy sitting in the clouds; the scene is surrounded by an architectural frame. The mural painting by Francisco Morón &amp; Luján (Granada, 1846 - Huércal-Overa, Almería, 1899) shows his signature in the lower right corner of the painting. The painting was in a good overall condition, but presented considerable yellowing and darkening (due to exposure to nearby pollution from the street, dust, etc.) that required its cleaning to reveal its true colors. In 2018, the pharmacy was acquired by the University of Granada, initiating its transfer to the conservation laboratories for its restoration, with two aims: recovering its original appearance, and preparing for its display in the “Ciencia, ciudad y cambio” exhibition (Hospital Real of Granada, February 6th to may 17th 2019); to this day, the painting is located in the crossing of the Hospital Real.</p><p>Once the intervention started, its large dimensions (7.6 x 3.3 m) made it impossible to obtain a complete high-quality orthogonal image using traditional photography methods. Therefore, it was decided to use photogrammetry for the correct documentation of: a) the initial state of the painting, b) the different restoration phases (initial documentation, mechanical cleaning of the reverse, removal of the protection of the front, cleaning of the front and pictorial reintegration), and c) the final result after the restoration process. Furthermore, this canvas was attached to the ceiling presumably with an animal glue adhesive, and during its intervention it was observed that the imprint of an earlier mural painting was attached to its reverse. Since the reverse of the canvas was hidden by the final mounting system, it was necessary to document the imprint of the previous mural painting adhered to the reverse of the canvas.</p><p>To recreate the original painting and to allow a correct study and comprehension of this work, a virtual reconstruction based on the photogrammetric documentation of the reverse of the painting was achieved. The photogrammetric processing allowed us to obtain high-quality orthogonal images (10000 x 5000 px), thus demonstrating the suitability of this technique for the documentation of a large format canvas. The images obtained were also useful to study the dimensions of the paint, with a total area of 25 m2. Agisoft PhotoScan Professional was used for the photogrammetric model; the three-dimensional (3D) models and the textures were transferred to a 3D free software (Blender) for the rendering and recreation of the models. On the other hand, the virtual reconstruction was made using Adobe Photoshop to recover the entire painting. The methodology consisted in working with different layers to paint the missing parts of the motifs and the simulated architecture; then, the missing parts were reconstructed based on the preserved paint (24.5% of the total area) and, finally, textures and filters were incorporated to simulate the appearance of a mural painting.</p><p>This research has proved photogrammetry is suitable for the documentation of a restoration process for large format pictoric works, since this technique allows to obtain high resolution orthophotos from the different intervention phases. Additionally, the virtual reconstruction has proven to be a useful tool for the documentation of the painting, its registration and its visualization; it can also recreate the decorative pattern and original colors.</p>

APA, Harvard, Vancouver, ISO, and other styles

10

Morrall, Andrew. "‘Siben Farben unnd Künsten frey’: The Place of Color in Martin Schaffner’s Universe Tabletop of 1533." Early Science and Medicine 20, no. 4-6 (2015): 478–514. http://dx.doi.org/10.1163/15733823-02046p08.

Full text

Abstract:

This article investigates the place of colors within an encyclopedic scheme painted as a tabletop by the Ulm artist Martin Schaffner in 1533 for a member of the Strassburg goldsmith family Stedelin. The painting depicts a model of the Ptolemaic Universe, structured in sequences of sevens – of planets, metals, virtues and liberal arts, days of the week, as well as colors. The essay situates the seven colors within the traditions of medieval color symbolism, arguing for their particular relation with the liberal arts following an earlier manuscript and print tradition. In this tradition, colors served as attributes, their qualities derived from a wide set of allegorical and symbolic meanings, so as literally to color the liberal arts with qualities appropriate to them. This association, it is argued, reinforces the work’s implicit theme, namely the claim to painting as a liberal art and to the learned status of the artist, one underlined by Schaffner’s inclusion of a self-portrait as Ptolemy himself.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Allegorical painting"

1

Jefferson, Wayne Hugh. "The educational purpose of art : a study of the life and works of G.F. Watts." Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327608.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Fraser, Terrie A., and tfra5205@bigpod net au. "The Allegorical Fold. Evoking physical and psychological presence and absence in the painting of folded fabric." RMIT University. Art, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080828.152600.

Full text

Abstract:

In this project notions of presence and absence will be explored through a study of 'the fold'. I will closely examine a number of paintings that depict folded drapery or cloth and from this examination I will select examples that evoke a response in me to these fundamental states of being, My objective is to produce a body of paintings that explore the structure of the fold and its expression through light, shadow and darkness to develop a range of images that metaphorically represent these phenomena and the possibility of a relational field between the two. This examination will re-present, reinterpret, fragment and transform the selected images using the materials of oil painting and drawing to visualize my response to the changing perceptions of this phenomenon. This investigation is informed by philosophical and psychoanalytical writings that explore the phenomenology of states of presence and absence. In part, these states are suggested by other terminologies, for example, form and space or volume and void. The project draws on the work of writers who have examined and changed perceptions of this phenomenon, particularly where they attribute the structure of absence to contribute to an understanding of subjectivity, question the favouring of presence in Western thought and explore the relationship between the two.

APA, Harvard, Vancouver, ISO, and other styles

3

Brendel, Maria Lydia. "Allegorical truth-telling via the feminine Baroque : Rubens' material reality : reframing Het pelsken." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ55305.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Liao, Jung-chan, and 廖容嬋. "The Allegoric Aspect of George Frederic Watts' Paintings." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/83870922034228721956.

Full text

Abstract:

碩士<br>國立臺北藝術大學<br>美術史研究所<br>92<br>A Study of George Frederic Watts’ Allegorical Paintings Summary In the first chapter, a comprehensive review of Watts’ paintings and the overall artistic environment, in both perspectives of elements and integrity, was conducted as the background of latter interpretation of content and styles of Watts’ paintings. We, firstly, probe into the social, literary, artistic environment and development in 19th century and make linkage between the works of Watts and the overall background, in an attempt to outline and position the role of the artist in the developmental context of art history. Secondly, we retrace Watts’ life experience, major events, and acquaintances, and then inferred how these affected the painter’s personality, as well as his artistic creation. Finally, by synthesizing pieces of evidences including his words and writings, we explored his thoughts of art and see how they echo with other aesthetics thoughts of ancient and contemporary philosophical maestros. In the second chapter, we emphasize on the subjects and contents of Watts’ emblematic paintings, which is composed of three sections: ‘esthetic subject’, ‘philosophic subject’, and ‘female’s role’. In the first section, four esthetic-related themes were discussed, under the context of the transition of ideology, religious belief, and social development in Victorian era－’The spirit of knight’, ‘The enthusiasm of religion’, ‘The reflection of industrialism and materialism’, and ‘Thoughts on Progressivism and racial identity’. We try to excavate the connotation and attitude behind Watts’ productions by examining his related words, positioning his works in the time frame of art history, and comparing with other painters’ works of his time. In the second section, we focus on the ‘philosophic subject’, which is dissected into three parts－‘An outlook on Life’, ‘A view of Love’, and ‘A vision of Cosmo’. We firstly attempt to sketch Watts’ idea of Life, Fate and Death by an iconographical analysis. As for the view of Love, we start with comparing Watts’ love-related paintings with his contemporaries such as Pre-Raphaelite’s to tell the difference; and then illustrate the transition of Watts’ faith of Love through the sequencing of his paintings. Regarding the vision of Cosmo, the meanings are particularly vague and ambiguous due to the metaphysical atmosphere pervade on this paintings. Sometimes, they are only the reflection of the painter’s personal fantasy or intuition. To revel the veil of these mysterious works, we mainly based on observing the form, colour, and constructive elements of the paintings, reinforced by the painter’s life experiences, anecdotes, and statements, to build up the linkage between his works and mysticism such as Theosophy and Spiritualism. In the end of this chapter, we inspect Watts’ view on the role of female. The sex values and moral standards against female in Victorian era are introduced as explanatory context of how women were treated in the pictures dominated by male artists at that time. By comparing the female figures on Watts’ pictures with those on works of contemporary artists, we were able to sense Watts’ sympathy on female in his works, a sensation intensified by pieces of evidence such as the titles of the paintings and the painter’s related discourses. In the last chapter, we groped for Watts’ manners of expression. By analyzing the styles and iconography and tracking the transition of painting languages, we intend to clarify his painting characteristics. We start with tracing the classical factors on the paintings, seeing how those factors are applied and converted to his symbolic manners in his later stages. Next, we investigate the realistic manners in his early paintings, and distinguish his ‘idealization’ quality from the works of Realism and Naturalism. Then, we assay and classify Watts’ unique painting vocabulary. In the first instance, we stand out his originality by comparing his works with traditional established usages of images, followed by the study of human figures and gestures which were used as the symbols and vehicles to convey painter’s thinking. Further, the discussion turn to the ‘sculpture-simulation’ qualities of Watts’ paintings. Lastly, it is advocated that some neglected, however, essential works in his late life, which carry the features of ‘modernity’, can be regarded as the bridge across Figurative Art and Non-figurative Art, although those works were criticized being ‘inequality in the execution’ or ‘uncompleted’ at that time.

APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Allegorical painting"

1

Grenville, Bruce. The allegorical image in recent Canadian painting: 15 June-11 August 1985, Agnes Etherington Art Centre, Queen's University, Kingston, Ontario, Canada. The Centre, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

D'Arcevia, Bruno. Heroic quests: The allegorical paintings of Bruno d'Arcevia. Ohio State University, College of the Arts, 2000.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Gli affreschi del Castello della Manta: Allegoria e teatro. Silvana editoriale, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Stoenescu, Livia. The Pictorial Art of El Greco. Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462989009.

Full text

Abstract:

The Pictorial Art of El Greco: Transmaterialities, Temporalities, and Media investigates El Greco’s pictorial art as foundational to the globalising trends manifested in the visual culture of early modernity. It also exposes the figurative, semantic, and allegorical senses that El Greco created to challenge an Italian Renaissance-centered discourse. Even though he was guided by the unprecedented burgeoning of devotional art in the post-Tridentine decades and by the expressive possibilities of earlier religious artifacts, especially those inherited from the apostolic past, the author demonstrates that El Greco forged his own independent trajectory. While his paintings have been studied in relation to the Italian and Spanish school traditions, his pictorial art in a global Mediterranean context continues to receive scant attention. Taking a global perspective as its focus, the book sheds new light on El Greco’s highly original contribution to early Mediterranean and multi-institutional configurations of the Christian faith in Byzantium, Venice, Rome, Toledo, and Madrid.

APA, Harvard, Vancouver, ISO, and other styles

5

Le immagini e il tempo: Narrazione visiva, storia e allegoria tra Cinquecento e Seicento. Edizioni della Normale, 2007.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Antonio, Paolucci, and Tempestini Anchise, eds. La terrazza del mistero: La Allegoria sacra di Giovanni Bellini : analisi storico-filologica e interpretazione psicoanalitica = The terrace of mystery : Giovanni Bellini's Sacred allegory : historic-philologic analysis and psychoanalytic interpretation. NICOMPLE, 2001.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Evett, David, and Arizona Center for Medieval and Renaissance Studies Staff. Patron to Painter: Elizabethan Programs for Five Allegorical Paintings. M R T S, 2020.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Graziella, Magherini, ed. La terrazza del mistero 2: L' Allegoria sacra di Giovanni Bellini : analisi storica e interpretazione psicoanalitica con una rilettura dopo il restauro = The terrace mystery 2 .. NICOMP, 2006.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Allegorical painting"

1

Judovitz, Dalia. "The Enigma of the Visible." In Georges de La Tour and the Enigma of the Visible. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823277438.003.0002.

Full text

Abstract:

This chapter begins with an analysis of La Tour’s allegorical paintings of blind hurdy-gurdy musicians in order to explore the deceptive, even blinding, character of ordinary vision. These renderings of music making and audition (whose invisibility defies vision and challenges the representational purview of painting) are examined in reference to his portrayals of St. Jerome and Mary Magdalene. Figuring the attainment of spiritual insight rather than sight, these devotional works attest to a contemplative mode of seeing illuminated by the biblical Word. They challenge the viewer by attempting to depict what painting cannot ultimately show: namely, spoken words, audition, the passage of time, and spiritual passions reflecting changes of heart.

APA, Harvard, Vancouver, ISO, and other styles

2

"On Allegorical Characters and Actions with regard to Poetry." In Critical Reflections on Poetry and Painting (SET). BRILL, 2021. http://dx.doi.org/10.1163/9789004465947_029.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

"Of Allegorical Actions and Characters in Relation to Painting." In Critical Reflections on Poetry and Painting (SET). BRILL, 2021. http://dx.doi.org/10.1163/9789004465947_028.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Korsten, Frans-Willem. "Theatrical torture versus dramatic cruelty: subjection through representation or praxis1." In The Hurt(ful) Body. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784995164.003.0010.

Full text

Abstract:

The distinction between the theatrical and the dramatic is pivotal for different modes of subjection in the early modern era. Institutionally speaking, society was organized ideologically, theatrically by the introjection of what was shown publicly to private, but equally collective, theatres of the mind. This could be described as a logic of torture. In contrast, and on the other hand, the dramatic application of punishment on ships, and the pain it involved, served what Robert Cover called a ‘balance of terror’, based on a logic of what Deleuze defined as ‘cruelty’. In order to clarify this distinction, and the implication it has for our ideas on gouvernmentalité, this chapter will propose a close reading of a painting by Lieve Verschuier that either depicts a peculiar case of keelhauling or, allegorically, the lynching of the brothers De Witt in 1672. Although the painting is clearly theatrical, formally speaking, it superimposes a dramatic logic on the traumatic political event of the lynching of the brothers De Witt. This will be considered in the chapter as one instance of a more general shift in the seventeenth century: a shift away from the theatrical logic of torture to the dramatic logic of cruelty.

APA, Harvard, Vancouver, ISO, and other styles

5

Ansell, Joseph P. "From George Washington to the League of Nations." In Arthur Szyk. Liverpool University Press, 2004. http://dx.doi.org/10.3828/liverpool/9781874774945.003.0005.

Full text

Abstract:

This chapter marks a period in Arthur Szyk's life which was spent in increased travel, usually due to exhibitions of his work. However, the worldwide economic crisis that followed the 1929 crash drastically reduced the market for elaborate, deluxe illustrated books, and speculative printings like that of the Statute of Kalisz were no longer feasible; consequently, most of Szyk's projects, for some time to come, were self-motivated rather than commissioned. Yet he did undertake some of his major projects during this period. His interest in America, for instance, was realized on a grand scale in his next major project — an extended series of miniature paintings devoted to the history of the American Revolution. In addition, motivated by his belief in the goals of the organization, Szyk began an illuminated version of the Covenant of the League of Nations. Like the manuscript of the Statute of Kalisz, this work employs historical scenes and portraits as well as allegorical and symbolic motifs.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!