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Journal articles on the topic 'Art barroc'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Josa, Lola. "«Al aire» del to barroc." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 11, no. 11 (June 11, 2018): 159. http://dx.doi.org/10.7203/scripta.11.12590.

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Resum: El paisatge bucòlic es va convertir en una espècie de partitura i de joc metalíric en els tons barrocs de tal manera que sembla com si els intèrprets i les veus que els canten només tinguessin que seguir les indicacions que els tòpics poètics dicten des del text per a que la sonoritat, l’harmonia i la música fossin possibles. Resulta molt curiós també que, tan tardanament, fos a propòsit de l’amor bucolicopastoral el pretext amb què l’incipient art del to es mostrés més experimental. Només aquest motiu musical podria justificar, que, a principis del segle XVII, proliferessin les composicions de tons de temàtica bucòlica i d’aquells altres que estan centrats en una Natura, si bé no idealitzada, no advertida pel més tardà panteisme egocèntric. En aquest treball ens centrarem, per tant, en les causes d’aquest esforç d’originalitat musical i de llurs èxits, així com la repercussió que va tenir en la poesia musicada. També seguirem l’evolució poeticomusical del to bucolicopastoral de la mà dels millors compositors peninsulars (alguns encara desconeguts) per a terminar oferint les característiques més significatives que permeten fixar-lo com una de les importants tipologies de la història de la música peninsular del segle XVII.. Paraules clau: to barroc, poesia i música del segle XVII, bucolisme líric, estudi interdisciplinar, llenguatge poeticomusical. Abstract: The bucolic landscape became a kind of sheet music and metalyrical game in baroque tonos in such a way that it seems as if the performers and the voices that sing them have only to follow the indications that the poetic topics dictate from the text so that the sonority, harmony and music were possible. It is very curious also that, so belatedly, it was on the subject of pastoral-bucolic love the pretext with which the incipient art of the tono was more experimental. Only this musical motif could justify, that, at the beginning of the XVII century, the compositions of bucolic tonos proliferated and of those others that are centered in a Nature, although not idealized, not noticed by the later egocentric pantheism. In this work we will focus, therefore, on the causes of this effort of musical originality and its achievements, as well as the repercussion that it had on musicalized poetry. We will also follow the poetic-musical evolution of the bucolic-pastoral tono along with the best peninsular composers (some still unknown) to end up offering the most significant characteristics that allow us to fix it as one of the important typologies of the history of the peninsular music of the XVII century. Keywords: Baroque tono; Poetry and music of the seventeenth century; Lyric bucolicism; Interdisciplinary study; Poetic-musical language.
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2

Ortiz García, José A. "La poètica de la mort en la poesia catalana dels segles XVII i XVIII." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 10 (December 6, 2017): 171. http://dx.doi.org/10.7203/scripta.10.11080.

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Resum: L’objectiu d’aquest estudi és proposar una visió sobre el tòpic de la mort en la poesia catalana pels segles XVII i XVIII. El punt central és la projecció pública de les composicions poètiques, tot apropant-nos a la literatura des d’un punt de vista cultural per presentar certs aspectes d’un tema clau en l’art barroc: el final de la vida. La primera part del text introdueix dos dels escriptors del barroc català, Francesc Fontanella i Agustí Eura. La segona secció recerca l’ús de la poesia catalana en les exèquies reials al voltant de la figura del monarca hispànic Carles II. Un cop presentades públicament les poesies en 1701, les edicions impreses són les que ens permeten una lectura contemporània. Publicacions d’altres gèneres poètics són la darrera part de l’article. Els Desenganys de l’Apocalipsi és una coneguda obra barrejant poesia i imatges amb una vessant didàctica per explicar el purgatori, l’infern, la glòria i el paradís als fidels lectors. Paraules clau: mort, poesia, barroc, exèquies Abstract: The aim of this study is a global vision about the topic of death in Catalan poetry throughout the 17th and 18th centuries. Focusing on the public use of poetical compositions, we want to approach literature from a cultural point of view in order to present some aspects about a typical subject in baroque art: the end of life. The first part of the text introduces two main Catalan baroque writers, Francesc Fontanella and Agustí Eura. Moving to the second section, the paper researches the use of poetry in royal obsequies around the figure of the Spanish monarch Charles the Second. After the public presentation of the texts in 1701, the printed publication of them is how we can still read them. The printed copies for other kind of poetry creations is the last part of this article. Desenganys de l’Apocalipsi is a well-known text mixing poetry and images with a didactical purpose: to explain the Purgatory, the Hell, the Glory and the Heaven to faithful readers. Keywords: death, poetry, baroque, obsequies
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3

Lambea, Mariano. "Un ejemplo ilustrativo del proceso de cambio entre el villancico renacentista y el barroco." Anuario Musical, no. 56 (December 30, 2001): 59. http://dx.doi.org/10.3989/anuariomusical.2001.56.98.

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Tras un breve comentario histórico de carácter general sobre diversos aspectos de la mentalidad barroca, el artículo intenta ilustrar el proceso de cambio que se da, a diversos niveles de apreciación, entre el villancico renacentista y el barroco. Para ello se procede a confrontar las dos versiones musicadas del antiguo estribillo de carácter tradicional titulado «No puedo apartarme», procedentes, respectivamente, de un compositor anónimo en el Cancionero Musical de Palacio (siglos XV-XVI) y de Juan Vásquez en su Recopilación de Sonetos y Villancicos (1560). Por último se comparan estas versiones renacentistas con el villancico barroco «Madre, el amor» (principios del siglo XVII) de Joan Pau Pujol, cuyo estribillo, más moderno y de creación culta, ofrece una temática literaria parecida pero, musicalmente, es más evolucionado y elaborado.
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4

Echard, Siàn. "The Arthur of the English ed. by W.R.J. Barron." Arthuriana 12, no. 3 (2002): 112–13. http://dx.doi.org/10.1353/art.2002.0060.

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5

Eysenck, H. J., and A. Furnham. "Personality and the Barron-Welsh Art Scale." Perceptual and Motor Skills 76, no. 3 (June 1993): 837–38. http://dx.doi.org/10.2466/pms.1993.76.3.837.

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For 62 students scores on the Barron-Welsh Art Scale, a measure of creativity, were correlated with scores on the Eysenck Personality Questionnaire. As predicted, psychoticism correlated positively with Art Scale scores, while extraversion and neuroticism did not.
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6

Hancock-Parmer, Teresa. "La hija agustina de Santa Teresa: Mariana de San José (1568-1638) y el misticismo cotidiano del Barroco." Revista Canadiense de Estudios Hispánicos 43, no. 3 (October 24, 2020): 555–77. http://dx.doi.org/10.18192/rceh.v43i3.3963.

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Mariana de San José, fundadora de las Agustinas Recoletas, fue mística y escritora que se inspiró en Teresa de Jesús. Mariana se construyó como sucesora espiritual de la famosa santa carmelita, con quien sentía una conexión personal. Consideró su reforma una continuación de la obra teresiana, y sus propios escritos rebosan de imágenes que Teresa usó, como saetas, dardos, moradas interiores y el fuego abrasador. Más que imitar, Mariana adaptó el misticismo característico de Teresa al comunicar un conocimiento espiritual basado en la rutina diaria del convento. Asimismo, sus textos demuestran una implementación concreta del misticismo teresiano en el monacato barroco. Mariana de San José, escritura del convento, misticismo, monjas, espiritualidad barroca
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7

Carrasco, Guadalupe. "Invertir en arte: la colección de pintura reunida por el comerciante estadounidense Richard Worsan Meade en Cádiz entre 1804 y 1820." Archivo Español de Arte 92, no. 365 (March 28, 2019): 65. http://dx.doi.org/10.3989/aearte.2019.06.

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Las guerras napoleónicas fueron una oportunidad para algunos comerciantes estadounidenses para comerciar con España. El comerciante estadounidense Richard W. Meade se estableció en Cádiz entre 1804 y 1820. En estos años consiguió acumular una importante fortuna. Su estancia en Cádiz durante la invasión francesa le permitió reunir una valiosa colección de obras de arte, sobre todo pintura barroca española e italiana. A través de los catálogos de subastas de la colección publicados en 1831 y 1853 y de los manifiestos de carga de los barcos llegados a Filadelfia conservados en la Custom House se ha podido conocer casi en su totalidad la colección de pinturas que Richard W. Meade trasladó a Estados Unidos.
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8

Darvill, Timothy, Blaze O'Connor, Paul Cheetham, Vanessa Constant, Robert Nunn, and Kate Welham. "The Cronk yn How Stone and the Rock Art of the Isle of Man." Proceedings of the Prehistoric Society 71 (2005): 283–331. http://dx.doi.org/10.1017/s0079497x00001043.

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Reappraisal of an early 20th century excavation at the Cronk yn How round barrow near Ramsey in the Isle of Man suggests that a stone pair was demolished during the 3rd millennium BC to make way for a round barrow with a single central burial. It is suggested that one of the stones from the original pair was decorated with a series of motifs before being incorporated into the barrow. Some of the motifs used find parallels amongst later Neolithic incised rock art on the walls of tombs and houses, and on stone plaques. Other motifs, including what appear to be representations of deer, serve to expand the repertoire of known designs and highlight the potential of this kind of this rather understudied category of rock art. Parallels for the zoomorphic motifs can be found in Scandinavia. A review of other rock art within the Isle of Man revealed more than 70 recorded panels at 55 individual sites making this one of the more densely populated rock art landscapes in the west of Britain. Two main styles are represented, the passage-grave style, which includes the Cronk yn How Stone, and the cup-mark dominated style, or Galician Style. The latter accounts for more than 95% of recorded sites which accords well with what is known of the Isle of Man's cultural relationships during the 4th and 3rd millennia BC.
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9

Harty, Kevin J. "Merlin directed by Steve Barron, and: Merlin: The Shooting Script by Ed Khmara and David Stevens." Arthuriana 8, no. 4 (1998): 174–76. http://dx.doi.org/10.1353/art.1988.0001.

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10

Contreras-Guerrero, Adrián. "Fray Alonso de Jesús y Ortega: relaciones transatlánticas de mecenazgo, arte y poder en la Granada barroca." Laboratorio de Arte, no. 31 (2019): 335–56. http://dx.doi.org/10.12795/la.2019.i31.19.

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11

Predock-Linnell, Jennifer. "Comparison of Barron-Welsh Art Scores of Artists and Nonartists and between Dancers of Two Training Styles." Perceptual and Motor Skills 65, no. 3 (December 1987): 729–30. http://dx.doi.org/10.2466/pms.1987.65.3.729.

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The Barron-Welsh Revised Art Scale was administered to 144 female and 68 male university undergraduates in art, music, dance, and general studies to test whether experience and training in the arts would be associated with choices consistent with openness to perceptual experience. It was hypothesized that training in modern and jazz dance, which is stylistically less classical and formal, would be associated with greater sensitivity to experience than would training in ballet and flamenco, more formalized dance styles. No differences between art students and nonart students or among dancers with various training experiences were observed.
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12

McCormack, William A. "Obituary: Frank Barron." Empirical Studies of the Arts 21, no. 2 (July 2003): 211–13. http://dx.doi.org/10.2190/nxg3-ce9t-2b4r-t4t1.

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13

ABDULRAZZAQ AL-RUBAIEE, AHMED. "EL ESTILO LITERARIO EN LA EPOCA BARROCA." Al-Adab Journal 1, no. 127 (December 5, 2018): 40–48. http://dx.doi.org/10.31973/aj.v1i127.199.

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At the end of the middle eras, began in Spain an era of literary integration called it the (Golden era) Unlike political events which was prevalent there, Spain was from the side political lives he situation is stressed and internal divisions, but from the literary side She reached the peak of her relationship. The term Baroque refers to a movement of art, literature and culture, spread in Spain since the end of the sixteenth century until the end of the seventeenth century, In the seventeenth century began Literary productions from theater, novel, poetry and prose reach its grandeur, and there appeared prominent writers They knew in Spain and the world as well such as (Luba de Veca) and his style in theater and literary currents, Who followed his approach. The current study consists of two chapters: Chapter one refers to the beginning and prosperity and the end of baroque style in Spanish literature. The second chapter explains it operation evolution of the method (baroque) especially in lyric poetry of the baroque, We spoke in it about the most prominent figures in the field of poetry during the golden era.
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14

Barron, Susan, and John Cage. "Susan Barron and John Cage." Art Journal 52, no. 4 (1993): 72. http://dx.doi.org/10.2307/777629.

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15

POLOS'MAK, N. V. "Investigations of a Pazyryk Barrow At Kuturguntas." Ancient Civilizations from Scythia to Siberia 2, no. 1 (1996): 92–111. http://dx.doi.org/10.1163/157005795x00056.

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AbstractIn the summer of 1991 excavation was made of the largest barrow of a complex at Kuturguntas in the Bertek hollow of the Altai Highlands. The fairly well-preserved log-roofed construction consisted of an outer burial chamber of blackened roughhewn logs, an inner chamber of worked timber, a sarcophagus made of a single large log, and a storeroom. The coffin and storeroom had been ransacked in antiquity, but surviving grave goods-which include fragments of fur clothing, felt applique, and metal and wooden objects-parallel those found in other Pazyryk graves. Two carved wooden ibex heads had however not been attested among Pazyryk grave goods elsewhere. The wealth of the people buried in such medium-sized barrows lay in the thoroughbred horses buried with them. The burial here of 10 horses had not been disturbed, although only the wooden bridle decorations of the principal 'master's horse' survive well. These again show the popularity of the griffin motif in Pazyryk art. Fragments of three wooden bridle decorations displaying anthropomorphic horned faces probably had a protective function and are linked by the author to the mongoloid Hsiunnu, near neighbours of the Pazyryk people, and to the eclectic receptivity of the Pazyryk people to diverse iconography borrowings from the Middle and Far East.
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16

García, Juan Luis González. "Retórica del decoro y censura de las imágenes en el Barroco temprano español." Rhetorica 32, no. 1 (2014): 47–61. http://dx.doi.org/10.1525/rh.2014.32.1.47.

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In Golden Age Spain, religious art functioned within the boundaries of a time-honoured corpus of ecclesiastical and rhetorical theory on the image, which attempted to prevent immoderate iconic veneration aided by metaphors taken from the well-known world of portraiture, themost imitative of pictorial genres. Counter-Reformation theologians and preachers also sought to reduce the artwork's impact on irrational sensibility by urging artists to avoid the undesirable effects of awkward or lascivious images. This article will explore howthe laws of decorumequipped Post-Tridentine Spanish imagery with aesthetic values meant to reconcile delectare with docere and movere, and how this finally resulted in a dispute between high culture and popular taste, between an art favored by royal collectors (painting) and another much more generalized as a result of ecclesiastical patronage (sculpture).
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17

King, Roy, Jith Meganathan, Jill Nagahara, and Marilia Boscolo. "Individual Differences in Complexity Preference and Artistic Style: Neoclassical versus Expressionistic Aesthetics." Empirical Studies of the Arts 16, no. 1 (January 1998): 15–23. http://dx.doi.org/10.2190/2b06-00jv-qnqf-6l8h.

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Individual differences in style and emotional content of artwork created in an expressive therapy group were correlated with individual aesthetic preferences for visual complexity in order to investigate the dichotomy between classical and expressionistic/romantic aesthetic models. Twenty-two subjects produced artwork rated according to Simon's theory of styles. A dimension varying from vivid, nonrealistic, and painterly art to muted, realistic, and linear art was found to be moderately stable across sessions and reliable across raters. This dimension further correlated with subjects' scores on the Barron-Welsh Art Scale, assessing their preference for visual complexity, as well as with ratings of anxious and angry content in their art. These results were interpreted in light of recent models of hemispheric lateralization in complex emotional/visual information processing, in particular, in terms of individual biases in right vs. left cortical arousal.
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18

Holmes, Mark. "Comment on Barrow." Interchange 24, no. 3 (September 1993): 233–36. http://dx.doi.org/10.1007/bf01434774.

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19

Pascual Buxó, José. "Triunfo Parténico: jeroglífico barroco." Caravelle 76, no. 1 (2001): 421–36. http://dx.doi.org/10.3406/carav.2001.1320.

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20

García Luque, Manuel. "Dibujos de Duque Cornejo en el Álbum Jaffe (II): la colección del Hood Museum of Art." Philostrato. Revista de Historia y Arte, no. 4 (December 21, 2018): 33. http://dx.doi.org/10.25293/2018.18.

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Este artículo constituye la segunda parte de un trabajo previo sobre los dibujos del escultor, pintor y arquitecto de retablos sevillano Pedro Duque Cornejo (1678-1757) que formaron parte de un álbum de dibujo desmembrado, conocido como “álbum Jaffe”. En esta ocasión el estudio se ha centrado en el lote conservado en el Hood Museum of Art, Hanover (EEUU), en el cual han sido descubiertos treinta y siete nuevos dibujos atribuibles a este prolífico artista del Barroco andaluz.
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21

Pinnell, Richard. "Women and the guitar in Spain's upper classes." Anuario Musical, no. 53 (January 24, 2019): 165. http://dx.doi.org/10.3989/anuariomusical.1998.i53.279.

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El tema del Libro de Apolonio, del siglo XIII, se basa en las mujeres y una aristocrática guitarra llamada vihuela. El prestigio de este instrumento continuó durante el siglo XVI en manos de emperatrices, reinas, princesas y señoras de las clases altas españolas. Su inclinación a tocar este tipo de instrumentos expandió la importancia de los valores humanísticos y educativos procedentes del Renacimiento Italiano que llegaban a los puertos mediterráneos de España. En los barcos de regreso, empezando alrededor de 1550, las mujeres españolas iniciaron la expatriación de la guitarra barroca a Nápoles, cuyas fuerzas estaban preparadas para una invasión del Norte a través de las ciudades-estado y en el resto de Europa como la «guitarra española». Los refuerzos vinieron de la cultura popular italiana y española, avanzando tanto hacia el Norte a Escandinavia como al Oeste a América. Siguiendo los pasos de las infantas Habsburgo, que se convirtieron en las esposas de Luis XIII y Luis XIV de Francia, el movimiento de la guitarra alcanzó su apoteosis bajo los Borbones, los cuales, después del 1700, regresaron a España. Desde 1660 a 1800, las princesas y reinas de las dinastías de los Habsburgo, Saboya, Estuardo y Borbones, elevaron continuamente el prestigio de este instrumento, añadiendo más popularidad y abriendo el camino para su influencia en la música artística secular.
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22

Koziak, Alexandra T. E., Kei Chin Cheng, and R. Greg Thorn. "Phylogenetic analyses of Nematoctonus and Hohenbuehelia (Pleurotaceae)." Canadian Journal of Botany 85, no. 8 (August 2007): 762–73. http://dx.doi.org/10.1139/b07-083.

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Hohenbuehelia (Agaricales, Pleurotaceae) and Nematoctonus (Hyphomycetes) are the names for the sexual and asexual stages of a genus of nematode-destroying fungi (Basidiomycota). We obtained partial sequences of nuclear ribosomal DNA, including the internal transcribed spacer region and the 5′ end of the large subunit, of 37 isolates of Hohenbuehelia and Nematoctonus representing 13 of the 16 described species in Nematoctonus. Phylogenetic analyses support Hohenbuehelia–Nematoctonus as a monophyletic clade of the Pleurotaceae, within which the species were placed in five main subclades. Exclusively predatory species ( Nematoctonus brevisporus Thorn & G.L. Barron, Nematoctonus campylosporus Drechsler, Nematoctonus robustus F.R. Jones, and Nematoctonus sp. UAMH 5317) appear to be basal. In these species, adhesive knobs to capture prey are produced on their hyphae but not on their conidia. A single mycelial individual may feed on many nematodes. From these have arisen both exclusively parasitoid species ( Nematoctonus cylindrosporus Thorn & G.L. Barron, Nematoctonus leiosporus Drechsler, Nematoctonus leptosporus Drechsler, Nematoctonus pachysporus Drechsler, Nematoctonus tylosporus Drechsler), and species that we call intermediate predators ( Nematoctonus angustatus Thorn & G.L. Barron, Nematoctonus concurrens Drechsler, Nematoctonus geogenius Thorn & GL. Barron, Nematoctonus hamatus Thorn & G.L. Barron, and Nematoctonus subreniformis Thorn & G.L. Barron). Exclusively parasitoid species have conidia that germinate to form sticky knobs that attach to passing nematodes but lack adhesive knobs on the hyphae. Each mycelial individual feeds on only one nematode. Intermediate predators have adhesive knobs both on hyphae and on germinated conidia and can act in both predatory and parasitoid modes. Most morphospecies are resolved as monophyletic, but sequences of additional gene regions are required to clarify species limits within the N. angustatus – N. geogenius group.
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23

Balanzà, Ricard. "Una experiencia artística con tierra, barro y cerámica." eari. educación artística. revista de investigación, no. 11 (December 19, 2020): 25. http://dx.doi.org/10.7203/eari.11.16904.

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Resumen: ¿Qué es la cerámica? ¿Qué nos enseña de nosotros? ¿Está presente en nuestro entorno próximo y lo dota de identidad? ¿Qué de interés nos puede ofrecer en el ámbito educativo de primaria? ¿Qué campos de la expresión artística puede favorecer? Son algunas de las preguntas y reflexiones planteadas que motivan este ejercicio y tratamos de averiguar. Los alumnos de tercero de Magisterio realizan dos piezas cerámicas utilitarias de distinto método de conformación y acabado, reflexionando sobre la educación artística, la creación y los procesos propios de la cerámica. Para elaborarlas, se ha completado un proceso íntegro cerámico; partiendo de bocetos previos con una base gráfica tanto de forma como de texturas o motivos, con especial énfasis en los trazos básicos del dibujo en la infancia, su asimilación y translación al volumen (que ofrecen una enorme cantidad de recursos y posibilidades), el modelado en arcilla roja en masa plástica, la aplicación de engobes de una gama elemental de colores, la imprescindible cocción y su transformación metamórfica. Se pretende, con este ejercicio, desarrollar la expresión artística mediante materiales y técnicas primigenias de nuestra historia, así como la percepción y la sensibilidad estética colectiva e individual, siempre des de un contexto universitario con enfoque a la enseñanza primaria y un alumnado en pleno desarrollo de conocimientos centrados en la exploración, la experimentación y la creación. Palabras clave: arte, cerámica, arcilla, educación artística, cultura, infancia Abstract: What is ceramics? What does it teach us about us? Is it present In our nearby environment and endows it witch identity? What interest can you offer us in the primary school? What fields of artistic expression can you favour? These are some of the questions and reflections raised that motivated this exercise and we try to find out. The third-party students of the Magisterium perform two utilitarian ceramic pieces of different method of forming and finishing, reflecting on artistic education, creation and ceramics own processes. To make them, a complete ceramic process has been completed; staring from previous sketches witch a graphic base of botch shape and textures or motifs, with special emphasis on the basic traces of drawing in childhood, its assimilation and translation into volume (which offer an enormous amount of resources and possibilities), the modelling in red clay in plastic mass, the application of engobes of an elementary range of colours, the essential cooking and its metamorphic transformation. It is pretend, with this exercise, to develop artistic expression through materials and techniques of our history, as well as perception and collective and individual aesthetic sensibility, always from a university context with a focus on primary education and a student in the midst of the development of knowledge focused on exploration, experimentation and creation. Keywords: art, ceramics, clay, art education, culture, infancy
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Grinsell, L. V. "Barrows in the Anglo-Saxon Land Charters." Antiquaries Journal 71 (September 1991): 46–63. http://dx.doi.org/10.1017/s0003581500086820.

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The Saxons used beorh for prehistoric barrows and hlæw for their own barrows, but pleased themselves which term to use for prehistoric barrows containing intrusive Saxon burials (e.g. Rough Barrow, Cheselbourne 8b, Dorset; Cwicelmes Low, Ardley, Oxon.; the better known Cwichelmes Low (East Hendred, Oxon. ex Berkshire) is mentioned not in a charier but in the Anglo-Saxon Chronicle. Long barrow Swell IV, Glos., contained Saxon intrusive burials.There are more than twenty rough barrows but only one rough low (in Chetwode-Hillesden, Buckinghamshire, S 544), implying that the Saxons normally kept their own barrows tidy but did not bother much about those of earlier date.They sometimes distinguished between long and round barrows (e.g. Long Barrow, Swell IV, Glos.; ‘the barrow which lies between the two long barrows’, Wonston, Hants. They never distinguished between round barrows of bowl, bell, disc and saucer types.Scrutiny of the charters has led to the discovery of a few barrows previously unknown to the Ordnance Survey Archaeology Division, e.g. Buckland Newton I, Dorset; Cheselbourne 17, Dorset; Tetbury Upton 3, Glos.As the charters were written more than a thousand years ago they recorded many barrows long before they had been reduced to their present sorry state by ploughing and other agencies.
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García Luque, Manuel. "Dibujos de Duque Cornejo en el Álbum Jaffe (I): la colección del Metropolitan Museum of Art." Philostrato. Revista de Historia y Arte, no. 3 (June 29, 2018): 39. http://dx.doi.org/10.25293/philostrato.2018.13.

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El escultor Pedro Duque Cornejo (1678-1757) fue uno de los creadores más prolíficos y versátiles del barroco sevillano, pero su faceta como dibujante ha permanecido prácticamente olvidada ante el escaso número de dibujos que hasta el momento se había logrado identificar. El hallazgo de un abundante lote en el denominado “álbum Jaffe” permite ahora paliar esta laguna y reconsiderar el papel que el dibujo desempeñó en el proceso creativo del artista. En este trabajo se ofrece una primera aproximación sobre este conjunto, catalogando como suyas treinta y nueve hojas conservadas en el Metropolitan Museum of Art.
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da Silva, Renato Rodrigues. "The Fotoformas of Geraldo de Barros: Photographic Experimentalism and the Abstract Art Debate in Brazil." Leonardo 44, no. 2 (April 2011): 152–60. http://dx.doi.org/10.1162/leon_a_00120.

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Geraldo de Barros produced a series called Fotoformas, consisting of photographic experiments that pioneered abstractionism in Brazil. Since the mid-1990s, this series has been presented in various retrospective exhibitions and publications. The predominant critical interpretation of the work has linked it with Concrete Art, downplaying Barros's participation in the Bandeirante Photography and Cinema Club (FCCB), an amateur association. This article rethinks his engagement in both circuits, demonstrating that the artist created the Fotoformas in dialogue with this photo-club. The author also analyzes Barros's experimental approach, which was based on the inscription of indexical marks on the images to deny the constraints of the camera, with the emphasis instead on process and interdisciplinary artistic practice. Thus, he created an alternative to Brazilian abstractionism, which focused mostly on formal aspects.
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Mello, Magno. "Perspectiva Pictorum – um exercício de ilusionismo arquitetônico no Tempodo Barroco." Circumscribere: International Journal for the History of Science 20 (December 14, 2017): 61. http://dx.doi.org/10.23925/1980-7651.2017v20;p61-111.

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The presented study focuses on analysing the pictorial decoration of realistic forms of architecture named by quadrature, whose origin in Luso-Brazilian universe dates from the first half of the 18th century. This text approaches a theme scarcely studied and investigated in the historiography of Brazilian and Portuguese art, with the exception of stylistic studies of Baroque and Rococo as a whole, but, rarely, the false architecture painting has been examined isolatedly. This subject aims to link the study of the painting of Baroque period with the science of Perspective. The analysis of representations of false spaces in perspectic “break-ins” combined with the evolution of the theoretical conception inserted in foreign treatises diffused in Portugal is another important aspect, without, however, neglect the Portuguese writings. Beyond the particular attention devoted to the painting itself, another concern was the relation between the real and the falsely built space. It is well known that the illusionistic painting constitutes an essential modality in the creation of rich interiors, for it is presented as a type of formal contamination in which Painting and Architecture mutually interpenetrate and simulate in audacious scenographic effects.
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Lansdon, Robert S., and V. I. Arnol'd. "Huygens and Barrow, Newton and Hooke." Leonardo 25, no. 3/4 (1992): 387. http://dx.doi.org/10.2307/1575870.

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Cacho Casal, Rodrigo. "El événement barroco: Lope vs. Góngora." Mélanges de la Casa de Velázquez, no. 42-1 (April 15, 2012): 163–82. http://dx.doi.org/10.4000/mcv.4361.

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Etzion, Judith. "Latin Polyphony in the Early Spanish Baroque: Suggestions for Stylistic Criteria." Anuario Musical, no. 56 (December 30, 2001): 75. http://dx.doi.org/10.3989/anuariomusical.2001.56.99.

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El presente artículo se centra en los rasgos estilísticos principales de determinadas obras con texto latino de Mateo Romero (Maestro Capitán), en relación al estudio de algunas pautas básicas dentro de la diversidad genérica y estilística del corpus latino del barroco español temprano. El trabajo demuestra esencialmente cómo, por una parte, las obras contrapuntísticas de Romero, escritas en el supuestamente llamado "estilo antiguo" están substancialmente modificadas, y, por otra, cómo los rasgos tradicionales se hallan comprendidos en sus obras escritas en el "nuevo estilo". Se pone especial interés en las obras policorales de Romero para ejemplificar la tendencia más progresiva del estilo policoral en el barroco español temprano.
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Balona de Oliveira, Ana. "Epistemic Decolonization through the Colonial, Anti- and Post-Colonial Archive in Contemporary Art." Vista, no. 5 (December 31, 2019): 235–72. http://dx.doi.org/10.21814/vista.3050.

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This visual essay comprises a selection of works made by artists from several generations and geographies, who contribute to an epistemic decolonization in, and of, the present by means of archival research. With works by Kiluanji Kia Henda (Angola, 1979), Filipa César (Portugal, 1975), Olavo Amado (São Tomé and Príncipe, 1979), Ângela Ferreira (Mozambique, 1958), Eurídice Kala aka Zaituna Kala (Mozambique, 1987), Délio Jasse (Angola, 1980), Daniel Barroca (Portugal, 1976), Filipe Branquinho (Mozambique, 1977), and Mónica de Miranda (Portugal/Angola, 1976), I propose a possible reading of the various ways in which contemporary artists have been working critically with colonial archives, not only public, but also private and familial, in view of a decolonizing memorialization of Portuguese colonialism and an understanding of its profound and multifarious impact in contemporary societies – notably regarding structural and institutional racism in Portugal, and enduring patterns of coloniality and neo-colonialism in Angola, Mozambique, Cape Verde, Guinea-Bissau, and São Tomé and Príncipe.
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Ballús Casóliva, Glòria. "Música i músics del Barroc català. El mestre de capella de la Seu de Manresa, Josep Masvasí (1731-1762)." Anuario Musical, no. 61 (December 31, 2006): 167. http://dx.doi.org/10.3989/anuariomusical.2006.61.8.

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El músic català Josep Masvasí fou mestre de capella de la Seu de Manresa (1731-1762). Malgrat aquesta llarga estada de 31 anys, tenim poques notícies de la seva producció musical, doncs només es conserva un Responsori per les Matines de Nadal (1733) i la informació de varis oratoris sacres que foren cantats a Manresa per la capella de música de la Seu. Una anàlisi d’aquest nocturn Verbum caro factum est ens mostra les tècniques compositives que utilitzava, oferint així un exemple d’aquest període del barroc musical català.
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Resende, Aimara Da Cunha. "The bear in the bush." Estudos Germânicos 10, no. 1 (December 31, 1989): 7. http://dx.doi.org/10.17851/0101-837x.10.1.7-14.

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This study discusses the different use of duplication in the structuring of ideological stances in A Midsummer Night’s Dream. Linear duplication reinforced by classical motives and techniques forms the delimitation characteristic of Renaissance art while voicing the ideals of the status quo. On the other band, not seldom simultaneously, a complex play of mirrors brings about the effusion and blurred contours of Baroque art and ironically destroys the established artistic and social ideals of the time, introducing doubt and a sense of relativity. Este estudo discute o uso diferenciado da duplicação no processo de construção de Sonho de uma Noite de Verão. A duplicação linear, reforçada por motivos e técnicas clássicas, forma a delimitação característica da arte renascentista enquanto expressa os ideais do status quo. Por outro lado, e não raro, um complexo jogo de espelhos leva à efusão e aos contornos indistintos da arte barroca, destruindo ironicamente os ideais artísticos e sociais vigentes, introduzindo a dúvida e a relatividade.
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García Fernández-Villa, Silvia. "Current Technical Challenges in the Conservation of Paintings." Ge-conservacion 8 (December 4, 2015): 58–59. http://dx.doi.org/10.37558/gec.v8i0.333.

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Current Technical Challenges in the Conservation of PaintingsAutores: Angelina Barros D’Sa, Lizzie Bone, Rhiannon Clarricoates, Helen Dowding (eds)Editorial. ArchetypePáginas: 126Ilustraciones: 59Dimensions: 246 x 175 mmISBN: 9781909492318
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Carreira, Antonio. "Aurora Egido, El barroco de los modernos." Mélanges de la Casa de Velázquez, no. 40-2 (November 15, 2010): 228–32. http://dx.doi.org/10.4000/mcv.3526.

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Breysse-Chanet, Laurence. "Aurora Egido, El barroco de los modernos." Mélanges de la Casa de Velázquez, no. 40-2 (November 15, 2010): 232–38. http://dx.doi.org/10.4000/mcv.3529.

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Hales, Shelley. "The Use of Classical Art and Literature by Victorian Painters, 1860-1912: Creating Continuity with the Traditions of High Art, by Rosemary Julia Barrow." Victorian Studies 50, no. 3 (April 2008): 530–32. http://dx.doi.org/10.2979/vic.2008.50.3.530.

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38

Nikaeen and Oldfield. "The Azerbaijani Ashiq: Musical Change, Transmission, and the Future of a Bardic Art." Journal of Folklore Research 57, no. 3 (2020): 1. http://dx.doi.org/10.2979/jfolkrese.57.3.01.

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39

Perro, Christopher, Glen Lesins, Thomas J. Duck, and Maria Cadeddu. "A microwave satellite water vapour column retrieval for polar winter conditions." Atmospheric Measurement Techniques 9, no. 5 (May 20, 2016): 2241–52. http://dx.doi.org/10.5194/amt-9-2241-2016.

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Abstract. A new microwave satellite water vapour retrieval for the polar winter atmosphere is presented. The retrieval builds on the work of Miao et al. (2001) and Melsheimer and Heygster (2008), employing auxiliary information for atmospheric conditions and numerical optimization. It was tested using simulated and actual measurements from the Microwave Humidity Sounder (MHS) satellite instruments. Ground truth was provided by the G-band vapour radiometer (GVR) at Barrow, Alaska. For water vapour columns less than 6 kg m−2, comparisons between the retrieval and GVR result in a root mean square (RMS) deviation of 0.39 kg m−2 and a systematic bias of 0.08 kg m−2. These results are compared with RMS deviations and biases at Barrow for the retrieval of Melsheimer and Heygster (2008), the AIRS and MIRS satellite data products, and the ERA-Interim, NCEP, JRA-55, and ASR reanalyses. When applied to MHS measurements, the new retrieval produces a smaller RMS deviation and bias than for the earlier retrieval and satellite data products. The RMS deviations for the new retrieval were comparable to those for the ERA-Interim, JRA-55, and ASR reanalyses; however, the MHS retrievals have much finer horizontal resolution (15 km at nadir) and reveal more structure. The new retrieval can be used to obtain pan-Arctic maps of water vapour columns of unprecedented quality. It may also be applied to measurements from the Special Sensor Microwave/Temperature 2 (SSM/T2), Advanced Microwave Sounding Unit B (AMSU-B), Special Sensor Microwave Imager/Sounder (SSMIS), Advanced Technology Microwave Sounder (ATMS), and Chinese MicroWave Humidity Sounder (MWHS) instruments.
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Hendley, Brian. "Final Rejoinder to Barrow Philosophers Revisited." Interchange 36, no. 4 (October 2005): 453–54. http://dx.doi.org/10.1007/s10780-005-8169-z.

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Barrios Rozúa, Juan Manuel. "La arquitectura del pleno barroco en Granada: el hospital del Corpus Christi." Archivo Español de Arte 84, no. 333 (March 31, 2011): 1–24. http://dx.doi.org/10.3989/aearte.2011.v84.i333.453.

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De la Peña Velasco, Concepción. "La imagen del mártir en el Barroco: el Ánimo Invencible." Archivo Español de Arte 85, no. 338 (June 30, 2012): 147–64. http://dx.doi.org/10.3989/aearte.2012.v85.i338.502.

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Alfonso Bouhaben, Miguel. "La imagen-barroco. Introducción al cine de Andrés Di Tella." Kepes 18, no. 23 (January 1, 2021): 315–39. http://dx.doi.org/10.17151/kepes.2021.18.23.11.

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El presente artículo se centra en el estudio de las tácticas de creación del documentalista argentino Andrés Di Tella. Dichas tácticas tienen en común la lectura desviada de archivos visuales, adoptando elementos del collage, el ready-made y el found footage. La metodología que planteamos establece como marco de referencia los procesos de mestizaje e hibridación del barroco Latinoaméricano y europeo, de cara a determinar los modos de plegamiento y síntesis que operan en sus películas. Así, los resultados de nuestra investigación revelan cómo las tácticas de cada película de Di Tella - la reconstrucción de la reconstrucción en Reconstruyen crimen de la modelo (1990); la historia de la historia en Montoneros, una historia (1995); el arte del arte en Macedonio Fernández (1995); la imagen de la no-imagen en La televisión y yo (2002); la otredad del yo en Fotografías (2007); el archivo del archivo en El país del diablo (2008); la totalidad de las imágenes en Hachazos (2011) y la totalidad de palabras en 327 cuadernos (2015) - se construyen a partir de una pluralidad de estragias de apropiación y recontextualización que revelan una multiplicidad de maneras de expresar lo que hemos denominadola imagen-barroco.
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Sihler, H., U. Platt, S. Beirle, T. Marbach, S. Kühl, S. Dörner, J. Verschaeve, et al. "Tropospheric BrO column densities in the Arctic derived from satellite: retrieval and comparison to ground-based measurements." Atmospheric Measurement Techniques 5, no. 11 (November 16, 2012): 2779–807. http://dx.doi.org/10.5194/amt-5-2779-2012.

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Abstract. During polar spring, halogen radicals like bromine monoxide (BrO) play an important role in the chemistry of tropospheric ozone destruction. Satellite measurements of the BrO distribution have become a particularly useful tool to investigate this probably natural phenomenon, but the separation of stratospheric and tropospheric partial columns of BrO is challenging. In this study, an algorithm was developed to retrieve tropospheric vertical column densities of BrO from data of high-resolution spectroscopic satellite instruments such as the second Global Ozone Monitoring Experiment (GOME-2). Unlike recently published approaches, the presented algorithm is capable of separating the fraction of BrO in the activated troposphere from the total BrO column solely based on remotely measured properties. The presented algorithm furthermore allows to estimate a realistic measurement error of the tropospheric BrO column. The sensitivity of each satellite pixel to BrO in the boundary layer is quantified using the measured UV radiance and the column density of the oxygen collision complex O4. A comparison of the sensitivities with CALIPSO LIDAR observations demonstrates that clouds shielding near-surface trace-gas columns can be reliably detected even over ice and snow. Retrieved tropospheric BrO columns are then compared to ground-based BrO measurements from two Arctic field campaigns in the Amundsen Gulf and at Barrow in 2008 and 2009, respectively. Our algorithm was found to be capable of retrieving enhanced near-surface BrO during both campaigns in good agreement with ground-based data. Some differences between ground-based and satellite measurements observed at Barrow can be explained by both elevated and shallow surface layers of BrO. The observations strongly suggest that surface release processes are the dominating source of BrO and that boundary layer meteorology influences the vertical distribution.
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Xie, Xiaoyong, Guoling Ye, Yuyuan Bao, Ziwei Ying, Mujiao Xie, Changbo Zhu, and Ruixuan Wang. "Effects of starvation stress on jade perch scortum barcoo based on proteomics analysis." Aquaculture Research 52, no. 6 (February 9, 2021): 2840–51. http://dx.doi.org/10.1111/are.15135.

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Kharkhurin, Anatoliy V., and Morteza Charkhabi. "Preference for Complexity and Asymmetry Contributes to an Ability to Overcome Structured Imagination: Implications for Creative Perception Paradigm." Symmetry 13, no. 2 (February 20, 2021): 343. http://dx.doi.org/10.3390/sym13020343.

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The study is a part of a research project, which explores the role of creative perception in creative behavior. We operationalized creative behavior as an ability to overcome structured imagination, as measured by the Invented Alien Creature test, and operationalized creative perception as a preference for complexity and asymmetry, which we assessed using a standard Barron–Welsh Art Scale. Our group of participants was composed of ninety-three undergraduate students from the United Arab Emirates. The degree to which one preferred complexity and asymmetry measurably contributed to their ability to overcome structured imagination. This finding adds another brick to the rising seventh pillar of the creativity construct, namely, creative perception. The article provides a first sketch of the creative perception paradigm.
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Yeguas i Gassó, Joan. "Escultura castellana del Renacimiento y Barroco en el Museu Nacional d’Art de Catalunya." Archivo Español de Arte 83, no. 329 (March 30, 2010): 86–98. http://dx.doi.org/10.3989/aearte.2010.v83.i329.416.

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Cuartas Correa, José David. "Código hecho imagen: un acercamiento a la fotografía experimental de Geraldo de Barros." kepes 16, no. 20 (July 1, 2019): 405–26. http://dx.doi.org/10.17151/kepes.2019.16.20.15.

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Krupnik, I., K. L. Pratt, and K. H. Mager. ""I'd Be Foolish to Tell You They Were Caribou": Local Knowledge of Historical Interactions between Reindeer and Caribou in Barrow, Alaska." Arctic Anthropology 49, no. 2 (January 1, 2012): 162–81. http://dx.doi.org/10.1353/arc.2012.0023.

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Álvarez, Rosario. "La música en las imágenes procesionales del Arte Barroco hispano." Anuario Musical, no. 50 (January 24, 2019): 87. http://dx.doi.org/10.3989/anuariomusical.1995.i50.330.

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