Relevant bibliographies by topics / Art - 19th century

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Art - 19th century'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Art - 19th century"

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Przyblyski, Jeannene M., and Stephen F. Eisenman. "19th-Century Art." Art Journal 54, no. 1 (1995): 102. http://dx.doi.org/10.2307/777515.

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Fine, Amy M., Robert Rosenblum, and H. W. Janson. "19th-Century Art." Woman's Art Journal 6, no. 1 (1985): 41. http://dx.doi.org/10.2307/1358064.

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Sverakova, Slavka, and Gerald Needham. "19th Century Realist Art." Circa, no. 52 (1990): 44. http://dx.doi.org/10.2307/25557542.

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Board, Editorial. "Cover Art." Public Voices 2, no. 1 (2017): 6. http://dx.doi.org/10.22140/pv.419.

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Lampela, Laurel. "Women's Art Education Institutions in 19th Century England." Art Education 46, no. 1 (1993): 64. http://dx.doi.org/10.2307/3193419.

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Weidman, Jeffrey. "19TH-CENTURY ART. Robert Rosenblum , H. W. Janson." Art Documentation: Journal of the Art Libraries Society of North America 5, no. 1 (1986): 34–35. http://dx.doi.org/10.1086/adx.5.1.27947562.

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Guseva, Ksenia E. "ENGLISH ARCHITECTURAL CAPRICCIO IN THE CONTEXT OF THE DEVELOPMENT OF LEADING ART STYLES OF THE XIX CENTURY." Articult, no. 4 (2020): 65–77. http://dx.doi.org/10.28995/2227-6165-2020-4-65-77.

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Architectural capriccio in the context of the development of the landscape genre, formed in Italy in the 15th – 16th centuries, has gained currency in English art 19th-century. This was facilitated by cultural, historical, political and social reasons. The methodological features of architectural capriccio in the 19th century was influenced by various artistic and art styles in English. The article is devoted to the prerequisites for the formation and dissemination of “capriccio” in the work of English architects and artists: C. Cockerell, J. M. Gandy, T. Cole and others in the cultural and historical context of the 19th century. The article also points out the creative methods and techniques for the formation of the genre of architectural fantasies in the period of changing style canons, the development of eclecticism and romanticism in the art of the 19th century. The causes of reminiscence of Gothic architectural forms in the capriccio genre by English artists of the 19th century are also discussed in detail in that article.
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Herucová, Marta. "Case Studies in the 19th Century History of Art." Acta Historiae Artium 49, no. 1 (2008): 351–59. http://dx.doi.org/10.1556/ahista.49.2008.1.38.

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Efland, Arthur D. "Art and Education for Women in 19th Century Boston." Studies in Art Education 26, no. 3 (1985): 133. http://dx.doi.org/10.2307/1320318.

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Merrill, Ross. "Special Issue: Albert Bierstadt and 19th-Century American Art." Journal of the American Institute for Conservation 38, no. 1 (1999): 1. http://dx.doi.org/10.1179/019713699806113592.

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Dissertations / Theses on the topic "Art - 19th century"

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Bloom, Kelly. "Orientalism in French 19th Century Art." Thesis, Boston College, 2004. http://hdl.handle.net/2345/477.

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Thesis advisor: Jeffery Howe<br>The Orient has been a mythical, looming presence since the foundation of Islam in the 7th century. It has always been the “Other” that Edward Said wrote about in his 1979 book Orientalism. The gulf of misunderstanding between the myth and the reality of the Near East still exists today in the 21st century. Napoleon's invasion of Egypt in 1798 and the subsequent colonization of the Near East is perhaps the defining moment in the Western perception of the Near East. At the beginning of modern colonization, Napoleon and his companions arrived in the Near East convinced of their own superiority and authority; they were Orientalists. The supposed superiority of Europeans justified the colonization of Islamic lands. Said never specifically wrote about art; however, his theories on colonialism and Orientalism still apply. Linda Nochlin first made use of them in her article “The Imaginary Orient” from 1983. Artists such as Jean-Auguste-Dominique Ingres, Eugène Delacroix and Jean-Léon Gérôme demonstrate Said's idea of representing the Islamic “Other” as a culturally inferior and backward people, especially in their portrayal of women. The development of photography in the late 19th century added another dimension to this view of the Orient, with its seemingly objective viewpoint<br>Thesis (BA) — Boston College, 2004<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: Fine Arts<br>Discipline: College Honors Program
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Van, der Hoek Jessica. "The faithful and/or flattering in 19th Century portraiture." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/13996.

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The nineteenth century's creation of different optical devices such as the camera obscura, the kaleidoscope and the thaumatrope signifies a change in the perception of vision at the time. The aim of this dissertation is to examine the work of four artists with reference to nineteenth century concerns surrounding vision. The scope for this examination is limited to the painted portraiture of Dante Gabriel Rossetti and John Singer Sargent and photographic portraiture of Julia Margaret Cameron and Félix Nadar Tournachon. Rossetti and Cameron represent two Victorian artists whose vision is turned inward to the imagination, with feelings of nostalgia and sentimentalism evoked in their portraits. This dissertation argues that the act of turning the eye inwards to the imagination is at the root of the flattering quality of these two artists' portraits. A further argument is that the sustained use of literary reference is the catalyst to the inward vision seen in these two Victorian artists' work. I examine Dante Gabriel Rossetti‟s later phase of idealised and "flattering" portraits of women in relation to the sonnets that Rossetti began to physically attach to either the frame or canvas of the portrait. The use of literary reference as catalyst to the inward vision is discussed namely through Julia Margaret Cameron‟s photographic portraits based on Alfred, Lord Tennyson's Enoch Arden. Cameron's allegorical and often mythological portraits of women are then analysed in order to establish the "flattering" quality of her portraits. With regards to the two artists who have been termed "faithful", an examination of their more outward vision and focus on the exterior realities is discussed. An exposition surrounding Félix Nadar Tournachon's "faithful" photographic portraits of nineteenth-century celebrities follows the discussion on Cameron. In order to further enquire into the notion of nineteenthcentury celebrities, an examination of John Singer Sargent follows. With the idea of Sargent being torn between the faithful and the flattering, I examine his more faithful Portrait of Madame X in relation to his later flattering celebrity portraits painted in the Grand Manner. In conclusion it will be suggested that Victorian and French ideas of vision and representation differed, exemplified by these four artists. These two very different perceptions of vision, one inward and the other outward, is the root of my distinction between the "faithful" and the "flattering" as manifested in portraiture.
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Kent, Neil. "Light and nature in late 19th century nordic art and literature /." Uppsala : Universitätet, 1990. http://catalogue.bnf.fr/ark:/12148/cb35408280q.

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Smith, Katherine. "Continuity and Change in a 19th Century Illustrated Devi Mahatmya Manuscript From Nepal." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3564.

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In the Hindu tradition of the Indian subcontinent, worship of the goddess has long been practiced as supreme embodiment of the divine. Around the second century, a Sanskrit Purana (ancient Hindu text that extols deities) titled the Markandeya Purana details the battles of the supreme Goddess Durga against the illusions and negative energy in the universe. This textual version of the Devi Mahatmya “Praise of the Goddess” serves as the foundation for the nineteenth century Nepalese illustrated Devi Mahatmya, commissioned by Tej Bahadur Rana from Pokhara district in Nepal. Because the folios closely follow the textual Devi Mahatmya, the illustrations’ amalgamation of styles demonstrates a double entendre of religious and political frameworks represented through Indian religious iconography with localized motifs and styles from Nepal. In this study, I argue that the illustrated Nepalese Devi Mahatmya indicates a shift in power from the Shah aristocracy to Rana oligarchy. This Devi Mahatmya contextualizes the social, religious, and historical events of nineteenth century Nepal, as a unique extension to the current scholarship about the Devi Mahatmya since it is dated and has a known patron. The intentional amalgamation of previous Newar styles, localized elements, and European décor reveals the mythical being contemporized, that is, drawing from English modernism to empower the Rana family, adding a unique flair to this manuscript as opposed to previous Devi Mahatmyas of Indian Guler or Newar style. Within the nineteenth century Nepali Devi Mahatmya, the background of this Devi Mahatmya is Guler-inspired, utilizing lightly hued backgrounds and landscapes, suggesting that the artist(s) had observed Guler compositions prior to this commission. The Nepali and Newar motifs contextualizes the Devi Mahatmyas commissioning in Pokhara, as these elements comment on the clan patriarch Jung Bahadur Rana and uncle of the patron usurping power from the Shah king, asserting a new Rana oligarchy that would last until 1951. As a result, this Devi Mahatmya is used as an offering to the goddess to legitimize Prime Minister Jung Bahadur Rana and the nephews that would follow his legacy.
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Hoeffler, Michelle Leah. "The moment of William Ralph Emerson's Art Club in Boston's art culture." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/67166.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.<br>Includes bibliographical references (p. 183-225).<br>This thesis will analyze the architect William Ralph Emerson's (1833-1917) Boston Art Club building (1881-82) and its station within Boston and New York's art culture. Even though there has been considerable research on the Gilded Age in general and certain art clubs specifically, this club remains a neglected element in art's social history. During the rising development of art culture, a small group of artists founded the Boston Art Club (1854-1950) as a vehicle for production, education and promotion of the arts. To assert their club's presence within patrons' circles, the members commissioned a flagship clubhouse adjacent to Art Square (now known as Copley Square). Emerson, primarily a residential architect and the first Shingle Style architect, won the competition with a unique amalgamation of Queen Anne and Richardson Romanesque styles, an alliance with the nearby Museum of Fine Arts and the Ruskin and the English Pre-Raphaelites. The resultant clubhouse was a declaration of the club's presence amid America's established art culture. Through this building design the Club asserted its status for the thirty years that the arts prevailed on Boston's Art Square. The Art Club's reign, along with the building's prominence, ended when the Museum deemed their building's architectural style out of date, among other reasons. That faithful decision to abandon Art Square and the revival Ruskinian Gothic style would take with it the reverence for the Art Club's building and, eventually, the club itself. Within forty years and through several other struggles the Art Club closed its doors, ending a chapter that began with the need for art in Boston, thrived within the culture of the Gilded Age and sank from the changing trends in architecture.<br>by Michelle Leah Hoeffler.<br>S.M.
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Pieri, Giuliana. "The influence of English Pre-Raphaelitism on 19th-century Italian art and literature." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313182.

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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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Boyd, Jane E. "The mapping of modernity impressionist landscapes, engineering, and transportation imagery in 19th-century France /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 319 p, 2009. http://proquest.umi.com/pqdweb?did=1818417341&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Mangipano, John. "Remolding Mexican Identity: The Wax Art of Francisco Vargas in 19th Century New Orleans." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1327.

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In December of 1915, the New Orleans Times-Picayune reported on the death of the patriarch of four generations of Mexican wax figure artists whose artworks demonstrated a century of change in the city of New Orleans. The family's artworks included religious sculptures, representations of indigenous and peasant populations of Mexico, and the merchant populations of the French Quarter. Francisco's artworks represented Louisiana's agriculture at two World's Fairs in New Orleans and Buffalo. Francisco received a contract from Mississippi Commissioner R. H. Henry to produce the 30-foot King Cotton for the 1904 Louisiana Purchase International Exposition in St. Louis, Missouri. Though the family's success continued after Francisco's death, an examination into the family's business, artworks, travels, and personal connections during Francisco's lifetime provides a new avenue for exploring the relationship between New Orleans and Mexico in the nineteenth century
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Dudley, Ian A. "Edward Goodall's 'Sketches in British Guiana' : art, anthropography and colonialism in 19th century Amazonia." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20121/.

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This thesis examines sketched portraits of Amerindian peoples created by the English artist Edward Goodall during the 1841-1844 Boundary Survey of British Guiana, now Guyana, which was carried out by the German scientific explorer, Robert Schomburgk. The portraits formed part of a larger body of over 250 drawn and watercolour works labelled as Sketches in British Guiana, and carried out by Goodall in his role as official expedition illustrator. These sketches captured a wide range of geographical subjects, from botany, topography and zoology, to hydrography, geology and historical scenes of the expedition itself, in addition to the ethnographic representations upon which this thesis focuses, and which dominate the body in terms of their numbers and interest. The sketches were carried out in relation to the cartographic and geographical mapping and documenting of the Guayana territory and its peoples by Schomburgk as he moved across the disputed border regions between British Guiana and its neighbouring colonial states, Brazil, Venezuela and Surinam. Focusing on the works as a manifestation of the different subjective forces and ideologies at play within this colonial enterprise, I argue the portraits and Sketches more generally, exemplify art’s cooption as a tool of colonial reconnaissance, expansion and domination during the mid-nineteenth century, playing a key role in visualising the geographical colonization that Schomburgk’s Boundary Survey represented, capturing disputed inhabitants and their locales as they were inscribed onto British colonial maps, and substantiating British imperial claims over them. In essence, through Goodall’s work, Schomburgk sought to cultivate and performatively demonstrate knowledge of and control over Amerindians through their representation, which paralleled the way the Guayana landscape was brought into British guardianship, all under the aegis of Christian humanitarianism, scientific advance and national-imperial prestige.
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Books on the topic "Art - 19th century"

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Rosenblum, Robert. 19th-century art. Pearson Prentice Hall, 2005.

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Praze, Národní galerie v. 19th-century art. National Gallery in Prague, 2002.

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1913-, Janson H. W., ed. 19th century art. Prentice Hall, 2005.

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19th-century realist art. Harper & Row, 1988.

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Françoise, Cachin, ed. Arts of the 19th century. Abrams, 1998.

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19th century French art, 1848-1905. Chambers, 2004.

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Anna, Janištinová, ed. 19th and 20th century French art. Narodní galerie i Praze, 1995.

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19th century maritime watercolours. David & Charles, 1989.

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Velde, R. van de. 19th and 20th century art and literature. R. van de Velde & Jan Ceuleers, Booksellers, 1993.

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Stephen, Vernoit, and Muʼassasat Nūr al-Ḥusayn, eds. Occidentalism: Islamic art in the 19th century. Nour Foundation in association with Azimuth Editions and Oxford University, 1997.

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Book chapters on the topic "Art - 19th century"

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Mitchell, Dolores B. "Power and Pleasure in 19th Century Tobacco Art." In Tobacco and Health. Springer US, 1995. http://dx.doi.org/10.1007/978-1-4615-1907-2_209.

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Deluga, Waldemar. "Studies on Armenian Art in Poland at the Turn of the 19th Century." In Die Kunst der Armenier im östlichen Europa. Böhlau Verlag, 2013. http://dx.doi.org/10.7788/boehlau.9783412212162.27.

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Jürgensen, Martin Wangsgaard. "The Properties of Style. Allusions to the Invisible in 19th-Century Church Art and Architecture." In In-visibility. Vandenhoeck & Ruprecht, 2020. http://dx.doi.org/10.13109/9783666550713.385.

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Koutliani, Katerina, Theodore Ganetsos, Christina Merkouri, Maria Perraki, and Nikolaos Laskaris. "Pigments Identification in Oil Paintings of 18th–19th Century from the Museum of Post-Byzantine Art of Zakynthos Using Raman Spectroscopy and XRF." In Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01765-1_22.

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L’vov, Victor, and Itamar Procaccia. "Hydrodynamic Turbulence: a 19th Century Problem with a Challenge for the 21st Century." In Flow at Ultra-High Reynolds and Rayleigh Numbers. Springer New York, 1998. http://dx.doi.org/10.1007/978-1-4612-2230-9_28.

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Eggers, Katrin, and Michael Lehner. "Freedom and Form in Piano Improvisation in the Early 19th Century." In The Routledge Handbook of Philosophy and Improvisation in the Arts. Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-28.

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Guan, Kwa Chong. "The 19th-Century “Origins” of Singapore Art." In Charting Thoughts. National Gallery Singapore, 2017. http://dx.doi.org/10.2307/j.ctv13xpr6k.6.

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Whitehouse, Helen. "ARCHAEOLOGY WEDDED TO ART: EGYPTIAN ARCHITECTURE IN 19th CENTURY PAINTING." In Imhotep Today. UCL Press, 2012. http://dx.doi.org/10.4324/9781843147640-3.

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"Winckelmann’s Model of Art Historiography and Its Reception in the Late 18th and 19th Century." In Doing Humanities in Nineteenth-Century Germany. BRILL, 2019. http://dx.doi.org/10.1163/9789004416840_006.

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Cohn, Bernard. "The Transformation of Objects into Artefacts, Antiquities and Art in 19th-Century India." In No Touching, No Spitting, No Praying. Routledge, 2017. http://dx.doi.org/10.4324/9781315090481-3.

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Conference papers on the topic "Art - 19th century"

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Mahroug, E., and A. Belakehal. "The evolution of heritage atmospheres in the medina of Tunis since the 19th century." In ISLAMIC HERITAGE ARCHITECTURE AND ART 2016. WIT Press, 2016. http://dx.doi.org/10.2495/iha160141.

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Marwoto, I. "The 19th century traditional houses of the Banjar Islamic (Muslim) community: a display of power." In ISLAMIC HERITAGE ARCHITECTURE AND ART 2016. WIT Press, 2016. http://dx.doi.org/10.2495/iha160181.

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Kaname, Mariko. "Considering the Drawing Education for Children during the 19th Century to the 20th Century in England." In 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-30.

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Stroy, Lilia. "The Role of Exiled Poles in the Art Process in Siberia,19th Century." In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.104.

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Bondarenko, Natalia. "Echo of Russian Literature Following Works of Slavic Writers of the 19th Century." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.203.

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Stieglitz, Margarita. "Peculiarities of Stylistic Evolution of Mid-19th — Early 20th Century St. Petersburg Industrial Architecture." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.90.

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Lu, Zhang. "THE INTERTEXTUALITY OF RUSSIAN LITERATURE AND RUSSIAN PAINTING IN THE 19TH CENTURY." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.21.

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The background color of Russian literature and Russian painting art in the 19th century is gloomy and heavy, and there exists text intertextuality between them, which is different from single text and single painting. Literary words and painting invisible words quote, permeate, insinuate and rewrite each other. Literature is the writing of painting, and painting is the color of literature. The main line of literature development and the main line of painting development seem to be twisted together like a rope, presenting spiral development, closely linked, complementary and inseparable.The same value orientation and aesthetic purpose have intertextuality, mutual influence, mutual interaction and mutual transformation, no matter in creation method, theme, artistic style or creation background. Direct description or sharp pen, or by the protagonist of indirect irony, using realistic and critical realism creation method, revealing the tsarist autocracy savage, dissatisfaction with the reality in protest of rebellion, as well as being bullied and oppressed pain and struggle, at the same time reflects the immortality of the Russian national literature and art achievement.
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Baeva, Olga. "Architecture of Russian Provincial Theatres of the Second Half of the 19th Century in the Regional and Global Aspects of Culture." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.98.

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Haug, Judith I. "»Manch eine*r liegt, morgens noch trunken, im Rosengarten« – Rekonstruktionen osmanischer Musikgeschichte in Gesangstextsammlungen." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.56.

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In Ottoman music culture, song text collections (güfte mecmūʿaları) play a crucial role in transmitting vocal repertoire. They employ paratext which supplies information about modal and rhythmic organisation as well as genre, composer and author attribution. In combination with oral tradition continuing until the present day, this method was understood as sufficient in the prevalent absence of notation until roughly the mid-19th century. Using the example of “Kimi mestāne seḥer yār ile gülşende yatur” by Rūḥī-yi Baġdādī, a poem set to music at least three times since around the mid-17th century which is still part of the repertoire today, we explore possibilities of evaluating güfte mecmūʿaları as source material for the historiography of Ottoman art music.
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Brostoff, Lynn, Carol Lynn Ward Bamford, Tara Diba, Andrew Buechele, Murray H. Loew, and Jason M. Zara. "Optical coherence tomography of 19th century glass: facts and phantoms." In Optics for Arts, Architecture, and Archaeology VII, edited by Piotr Targowski, Roger Groves, and Haida Liang. SPIE, 2019. http://dx.doi.org/10.1117/12.2526170.

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Reports on the topic "Art - 19th century"

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Tweet, Justin S., Vincent L. Santucci, Kenneth Convery, Jonathan Hoffman, and Laura Kirn. Channel Islands National Park: Paleontological resource inventory (public version). National Park Service, 2020. http://dx.doi.org/10.36967/nrr-2278664.

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Channel Island National Park (CHIS), incorporating five islands off the coast of southern California (Anacapa Island, San Miguel Island, Santa Barbara Island, Santa Cruz Island, and Santa Rosa Island), has an outstanding paleontological record. The park has significant fossils dating from the Late Cretaceous to the Holocene, representing organisms of the sea, the land, and the air. Highlights include: the famous pygmy mammoths that inhabited the conjoined northern islands during the late Pleistocene; the best fossil avifauna of any National Park Service (NPS) unit; intertwined paleontological and cultural records extending into the latest Pleistocene, including Arlington Man, the oldest well-dated human known from North America; calichified “fossil forests”; records of Miocene desmostylians and sirenians, unusual sea mammals; abundant Pleistocene mollusks illustrating changes in sea level and ocean temperature; one of the most thoroughly studied records of microfossils in the NPS; and type specimens for 23 fossil taxa. Paleontological research on the islands of CHIS began in the second half of the 19th century. The first discovery of a mammoth specimen was reported in 1873. Research can be divided into four periods: 1) the few early reports from the 19th century; 2) a sustained burst of activity in the 1920s and 1930s; 3) a second burst from the 1950s into the 1970s; and 4) the modern period of activity, symbolically opened with the 1994 discovery of a nearly complete pygmy mammoth skeleton on Santa Rosa Island. The work associated with this paleontological resource inventory may be considered the beginning of a fifth period. Fossils were specifically mentioned in the 1938 proclamation establishing what was then Channel Islands National Monument, making CHIS one of 18 NPS areas for which paleontological resources are referenced in the enabling legislation. Each of the five islands of CHIS has distinct paleontological and geological records, each has some kind of fossil resources, and almost all of the sedimentary formations on the islands are fossiliferous within CHIS. Anacapa Island and Santa Barbara Island, the two smallest islands, are primarily composed of Miocene volcanic rocks interfingered with small quantities of sedimentary rock and covered with a veneer of Quaternary sediments. Santa Barbara stands apart from Anacapa because it was never part of Santarosae, the landmass that existed at times in the Pleistocene when sea level was low enough that the four northern islands were connected. San Miguel Island, Santa Cruz Island, and Santa Rosa Island have more complex geologic histories. Of these three islands, San Miguel Island has relatively simple geologic structure and few formations. Santa Cruz Island has the most varied geology of the islands, as well as the longest rock record exposed at the surface, beginning with Jurassic metamorphic and intrusive igneous rocks. The Channel Islands have been uplifted and faulted in a complex 20-million-year-long geologic episode tied to the collision of the North American and Pacific Places, the initiation of the San Andreas fault system, and the 90° clockwise rotation of the Transverse Ranges, of which the northern Channel Islands are the westernmost part. Widespread volcanic activity from about 19 to 14 million years ago is evidenced by the igneous rocks found on each island.
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