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Journal articles on the topic 'Art, European – 18th century'

Author: Grafiati

Published: 10 March 2023

Last updated: 31 July 2025

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1

Krasnoshchyokov, Vladimir A. "Visualization of Fashion in European Engravings of the 16th — Early 18th Century." Observatory of Culture 21, no. 5 (2024): 502–15. http://dx.doi.org/10.25281/2072-3156-2024-21-5-502-515.

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Images of people from different countries in their traditional costumes as a genre emerged in the second half of the 16th century and actively existed in the form of prints until the first fashion magazines appeared in the late 18th century. The article attempts to build a chronology of iconic examples of costume prints of the 16th — early 18th century on the basis of a number of sources of theoretical, historical and pictorial nature. The functions it fulfilled as a kind of graphic art in its time and artistic and technological features of its creation are defined. The study considers the wor

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Ponte, Alessandra, and Georges Teyssot. "18th-Century Air Conditioning and Purifying: Homage to Carl B. Wadström and George Kubler." Architext 9 (2021): 8–16. http://dx.doi.org/10.26351/architext/9/1.

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The paper presents a compelling early example of mechanical air conditioning for the dwellings of Europeans in a colony in West Africa at the end of the 18th century. The scheme was published by the Swedish engineer and abolitionist Carl B. Wadström in An Essay on Colonization (1794–1795), a well-informed compendium of the strategies and politics of colonization implemented by European powers. Wadström’s ingenious air-conditioned house appeared in a 1944 article by the eminent art historian George Kubler under the title “The Machine for Living in 18th-Century West Africa.”

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Klyushina, Elena V. "Rhino mania in the Western European Art of the 18th Century." Actual Problems of Theory and History of Art 8 (2018): 28–37. http://dx.doi.org/10.18688/aa188-1-2.

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Almelek İşman, Sibel. "Portrait historié: Ladies as goddesses in the 18th century European art." Journal of Human Sciences 14, no. 1 (2017): 396. http://dx.doi.org/10.14687/jhs.v14i1.4198.

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Portrait historié is a term that describes portrayals of known individuals in different roles such as characters taken from the bible, mythology or literature. These portraits were especially widespread in the 18th century French and English art. In the hierarchy of genres established by the Academy, history painting was at the top and portraiture came next. Artists aspired to elevate the importance of portraits by combining it with history. This article will focus on goddesses selected by history portrait artists. Ladies of the nobility and female members of the royal families have been depic

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Karyakina, Tatyana Dmitrievna. "The Allegorical and Symbolic Meaning in West European Porcelain Craft of the 18th Century." Исторический журнал: научные исследования, no. 2 (February 2020): 30–37. http://dx.doi.org/10.7256/2454-0609.2020.2.32607.

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The article takes a look at the works of various porcelain manufactories: Italian Docchia, German Meissen and Nymphenburg, Viennese and French S&egrave;vres. These works are subject to allegorical interpretation and symbolic meaning. This content feature is one of the characteristic features of Baroque and Rococo art. The author pays particular attention to the identification of allegorical attributes and specific elements of form and decor that carry symbolic meaning. Porcelain artifacts, the authors of which are prominent European masters (Soldani, K&auml;ndler, Eberlein, Bustelli, N

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Jabbarov, Botirsher Ghulomovich, and Barnokhan Nasirjon kizi Tolibova. "ART AND CULTURE OF THE TIMURID PERIOD." Fars Int J Edu Soc Sci Hum 10(12); 2022; 10, no. 12 (2022): 468–74. https://doi.org/10.5281/zenodo.7468851.

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This article gives the information about the art and culture of the Timurids, which left an indelible mark in world history and is considered the golden age. It is stated that the rise of Movorounnahr and Khorasan from the second half of the 13th century to the end of the 18th century determined not only the cultural and spiritual development of Central Asia, but also influenced the cultural life of India, Afghanistan, Iran and European countries.

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Портнова, Ирина. "Russian Animalier Art in the XVIII- XIX Centuries in the Context of European Schools: The Origins and Nature of Development." Space and Culture, India 9, no. 1 (2021): 50–65. http://dx.doi.org/10.20896/saci.v9i1.1135.

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This study delves into the process of development of Russian animal art of the 18th-19th Centuries. The primary purpose of the research was to make a review of these two historical periods, which determined the typical features of the early and mature periods of development of animal art in Russia—the time of the birth and development of the genre. According to the author, genre issues are important, and talking about it is necessary to define the image of the animalistic nature in all its specificity. In addition, it is noted that researchers do not characterise the stage of early Animalism,

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Neglinskaya, M. A. "Часовая коллекция Цяньлуна (1736–1795): первое собрание европейского искусства в Китае". Iskusstvo Evrazii [The Art of Eurasia], № 4(19) (30 грудня 2020): 168–75. http://dx.doi.org/10.46748/arteuras.2020.04.014.

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Many of European clocks in the Beijing’s Palace Museum (Gugong) were made in second half of the 18th century, by the Qing Emperor Qianlong’s governing (1736–1795), when an exotic “Chinese style” (chinoiserie) in the decorative arts was at its height. The research methodology proposed below, which combines art history and cultural analysis, allows us to see, that the Palace Collection’s mix determined evolution of the clock’s industry in China and some European lands, who took part in the international clock and watch market. In forms and decor of Chinese clocks the 18th century were reflected

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Chebakova, Polina. "“Four Parts of the World: Asia on an Elephant, Europa on a Bull, Africa on a Lion, America on a Crocodile, on Their Usual Signs”: Personifications of Four Continents in 18th-century Russian Art." Человек и культура, no. 3 (March 2024): 36–51. http://dx.doi.org/10.25136/2409-8744.2024.3.70707.

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Since the end of the 17th century, personifications of the four parts of the world, or four continents (Europe, Asia, Africa, and America), have appeared in Russian art, along with many elements of the Western European allegorical vocabulary. These allegorical figures in some works of art attracted the attention of researchers, but their iconography has not yet been elaborately analyzed. The present article summarizes information about personifications of the four parts of the world in 18th-century Russian art. Their iconography is examined in Western European context and in comparison with th

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Solovyeva, Sofia N. "Vienna 18th Century Rococo Ceremonial Carriages." Observatory of Culture 20, no. 6 (2023): 605–21. http://dx.doi.org/10.25281/2072-3156-2023-20-6-605-621.

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The aim of this paper is to describe and review 18th century Viennese parade carriages from the point of view of arts and crafts. Carriages are a small architectural form and are “programme works”, examples of the synthesis of arts, harmoniously combining the principles of architecture, sculpture, painting, decorative art, carpentry, as well as the skills of carvers, gilders, bronzers, embroiderers. At the same time, carriages were an integral part of ceremonies and participated in the most important state ceremonies (coronations, weddings, funerals, baptism of heirs). Certain types of carriag

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Spalva, Rita. "Ballet Art Reforms During the Enlightenment." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 17, 2015): 436. http://dx.doi.org/10.17770/sie2015vol2.427.

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<p><strong>T<em>he article focuses on</em></strong><em> identifying the essence of the 18th century ballet reform within the context of contemporary ballet art. <strong>The chosen topic </strong>is explored through the monographs of Sergey Hudekov and Vera Krasovska, works of Jury Sloņimsky, Richard Kraus, Sarah Chapman Hilsendager, Brenda Dixon, B. and other dance researchers. In Latvia this topic has been addressed by R. Spalva in the monograph Classical Dance and Ballet in European Culture. <strong>The aim of the article </strong>i

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Vinokurov, Sergey Evgenievich. "Chinoiserie in the Radziwill Castles of the 18th Century. Luxury in Oriental Style." Design. Art. Industry, no. 11 (November 13, 2024): 87–90. http://dx.doi.org/10.56900/2312-6116_2024_11_87.

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The monograph by Doctor of Art History Olga Dmitrievna Bazhenova is devoted to the problem of interpreting the artistic traditions of the East in the culture of Belarus in the 18th century, namely the embodiment of the ideas of the chinoiserie style (Chinese style) in the decorative programs of the Radziwill castles and masterpieces created at the princely manufactories of the 18th century. The central place in the book is occupied by the study of the album of drawn projects of furniture, weapons, ceramics of the court artist Fischer. As the author convincingly shows, the artist's graphic proj

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Susidko, Irina P. "Venice and Opera in the 18th Century." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (2024): 55–68. http://dx.doi.org/10.56620/2782-3598.2024.2.055-068.

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The author of the article disputes the established opinion according to which the great tradition of 17th century Venetian opera lost its significance in the European musical theater a century later. Emphasis is made of the vanguard role of opera in Venice in the first half of the 18th century, which has been marked by a set of phenomena. They include: the birth of heroic opera, the base of which was the Teatro San Govanni Crisostomo; the stake on virtuoso singers made by the Teatro San Cassiano; the productions of comic intermezzi initiated by the Teatro Can Cassiano; and the creation of the

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Pérez-Jiménez, Aurelio. "The Lamp of Anaxagoras (Plu., Per. 16.8-9) and its Reception in the Art of the 17th-19th centuries." Ploutarchos 14 (October 30, 2017): 69–106. http://dx.doi.org/10.14195/0258-655x_14_4.

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In this article I follow the trails wich the famous anecdote of Anaxagoras, Pericles and the lamp (Plu., Per. 16.8-9) has let in European art of the last centuries. I will comment the details of different artistic pieces from the17th century emblematic and from Neoclassical painting and sculpture of the 18th and 19th Centuries, as well as some 19th French ‘pendules’, to put in value the importance that this anecdote has had in European art, due to its didactic strength and to its litterary plasticity.

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Fekete, Albert, and Peter Gyori. "Chinese pavilions in the early landscape gardens of Europe." Landscape architecture and art 18 (October 7, 2021): 78–87. http://dx.doi.org/10.22616/j.landarchart.2021.18.08.

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The image of China perceived by the Europeans in the 17th to 18th century was based on the travelogues of the travellers and missionaries. Despite the fact that the first descriptions did not include any pictures of the world, people and landscapes described, the far exotic country with its history and tangible heritage became very popular. This article deals with Chinese pavilions (pagodas, teahouses) built in the early European landscape gardens before 1750 without any architectural plans, using only sketches based on descriptions and travelogues, since in the first half of the 18th century,

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Malik, Jamal. "Muslim Culture and Reform in 18th Century South Asia." Journal of the Royal Asiatic Society of Great Britain & Ireland 13, no. 2 (2003): 227–43. http://dx.doi.org/10.1017/s1356186303003080.

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AbstractUsually the European perception of South Asia and, related to it, academic research into this region, is informed by specific, powerful images and metaphors that establish a dichotomisation of the world. The reasons for this development cannot be analysed in detail here. Suffice it to say, however, that this organisation and designation of the world has deep roots. Until the Reformation, Europe was basically perceived only in terms of geographical boundaries. But the dichotomy between “Europe” and “Asia” acquired a new dimension in the seventeenth and eighteenth centuries, when, in the

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Sviderskaya, M. I. "English Enlightenment. Part I. Cultural Сode, Ideas, Society, Fine Arts". Art Studies Journal, № 3 (2024): 40–73. https://doi.org/10.51678/2073-316x-2024-3-40-73.

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The article is a preparatory study for the Introduction to the volume on the 18th century of the comprehensive “History of Arts in Western European Countries from the Renaissance to the Beginning of the 20th Century. Painting. Sculpture. Graphics. Architecture. Music. Drama-Theatre”, published by the Department of Classical Western European Art of the of the State Institute for Art Studies. As a methodological experiment, it substantiates the productivity of parallel consideration of national versions of the Enlightenment — the core feature of the era. The starting point of the proposed analys

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Levkovych, Natalia. "Artistic Features of Besamims in Eastern Galicia in the 18th – the first third of the 20th Century." Studia Żydowskie. Almanach 5, no. 5 (2015): 13–28. http://dx.doi.org/10.56583/sz.481.

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The paper focuses on the art of the Jewish community of Galicia from the 18th century to the first third of the 20th century in the context of the European art processes. The analysis of the artistic features of numerous synagogical and household items of the ritual purpose revealed the main trends of particular styles spread, especially baroque and historicism. Special attention is paid to the sources and the artistic inspiration of Jewish art in Galicia. The main circumstances that influenced the development of Jewish art are determined, namely the isolation of the Jewish community, the trad

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Borovkova, Natalia V. "Lapidary Art of the Altai and the Urals of the Late 18th — 19th Centuries: The Russian Cultural Phenomenon and European Influence." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 3 (2021): 291–303. http://dx.doi.org/10.15826/izv2.2021.23.3.060.

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The study of Russian stone-cutting art remains an important and urgent task of contemporary Russian art history. It is necessary to take a fresh look at this direction of Russian decorative art and find out whether Russian stone-cutting art is an internal phenomenon, or it is based on European borrowing. This article refers to works of stone-cutting enterprises of the Urals and the Altai, i. e. Yekaterinburg and Loktevsk Manufactories, which worked exclusively at the order of the Cabinet. In the late eighteenth century, there was a system for ordering stone products in Russia. To do this, they

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Li Xinxin, Li, and Iarîna Savițkaia Baraghin. "THE SPREAD AND INFLUENCE OF CHINESE PORCELAIN IN EUROPE DURING THE 17TH-18TH CENTURIES." Review of Artistic Education 30 (May 30, 2025): 288–92. https://doi.org/10.35218/rae-2025-0039.

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Abstract: This article discusses the spread of Chinese porcelain in Europe during the 17th and 18th centuries and its impact on European art, culture, and economy. Fueled by global trade networks, Chinese porcelain entered the European market through the East India Companies, becoming a luxury item for aristocrats and the upper class. As demand for porcelain grew, Europe gradually began to imitate and develop its own porcelain industry, exemplified by Germany's Meissen. Chinese porcelain not only had a profound influence on material culture but also shaped European artistic creation through it

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Morozova, Anna V., and Valentina Z. Fedorenko. "Children portrait in the 16th–18th centuries Spanish colonies painting." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 57 (2025): 168–83. https://doi.org/10.17223/22220836/57/14.

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The tradition of children portraits creating is formed in the New World under the influence of Spanish court portraiture. The colonial elites, led by viceroys, following the Madrid court, seek to perpetuate the memory of their family members. The first children portrait images appeared in the viceroyalties in the 17th century in religious compositions, in the 18th century, along with the flourishing of local portrait schools, the number of children images also grew. The colonial children portrait repeated the types of European, primarily Spanish portraits: family portraits with parents and chi

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Abdullina, Darina A. "The “Allegorical Ornateness” in Children’s Portraits of the 18th Century." Observatory of Culture 17, no. 6 (2021): 616–25. http://dx.doi.org/10.25281/2072-3156-2020-17-6-616-625.

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The article considers the emergence and development features of the symbolic and emblematic system of children’s portraits in the 18th century. Children’s portraits, as well as the history of childhood in general, attract more and more attention of Russian and Western researchers; the largest museums of the country and the world devote their exhibition projects to this subject. This paper shows, for the first time, how symbols have been “reinterpreted” in accordance with the changes in the attitude of Russian society to the nature of childhood and in the artistic environment at that time, the

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Agratina, Elena E. "PIERRE-JEAN MARIETTE. THE CONNOISSEUR AND ART PATRON IN THE 18TH-CENTURY EUROPEAN ARTISTIC MILIEU." Articult, no. 3 (2019): 63–70. http://dx.doi.org/10.28995/2227-6165-2019-3-63-70.

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Панов, А. А., and И. В. Розанов. "On Tempos of Instrumental Minuets of the 18th Century." OPERA MUSICOLOGICA 16/1, no. 2024. 16/1 (2024): 38–53. http://dx.doi.org/10.26156/operamus.2024.16.1.002.

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Статья посвящена вопросам исполнения инструментальных менуэтов в западноевропейской музыкальной культуре XVIII столетия. В конце XVII в. Этьен Лулие опубликовал описание изобретенного им «хронометра» — маятникового устройства, предназначенного для фиксации темпа музыкальных композиций. Авторы различных точных и относительно точных дометрономических систем определения темпа исполнения музыкальных произведений оставили, в числе прочих, указания по выбору темпа инструментальных менуэтов и менуэтов для танцев. В числе этих авторов — Мишель Лафийяр, (1705), Луи Леон Пайо, граф Д’Онсамбрей (1735), Ж

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Shrivastava, Ashish K., and Dr Ajit Singh Patel. "Culture and Leadership in the Collective and Sustainable Growth of an Organization." International Journal of Management and Humanities 9, no. 9 (2023): 22–26. http://dx.doi.org/10.35940/ijmh.i1602.059923.

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Fine art, classical music, and gourmet cuisine made "culture" aristocratic. City life became "culture" "civilization" (from lat. oivitas, city). Folktales helped Romantics see themselves as a "culture." "Low culture," the culture of social misfits, and "high culture" usually contrast. European culture developed in reaction to social inequalities in the late 18th and early 19th centuries. Europeans like Jean-Jacques Rousseau and Thomas Hobbes associated "culture" with "anarchy" and "nature." Native Americans, governed by Europeans since the 16th century, symbolised this contrast. Culture-advanc

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Opanasiuk, Oleksandr. "Modernism and Postmodernism: Objectivation of the Content of Phenomena." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 99–118. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251810.

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The phenomena of modernism and postmodernism are studied. Modernism and postmodernism are analyzed in the context of the project Modern, which belongs to European culture and determines its development in the direction of modernization of history. It was found that the dynamics of the Modern project is determined by four phases of development, they largely coincide with the periods of formation of European culture: 14th –16th — the first phase of development of the Modern project (5th – 16th centuries — symbolic period of European culture); 17th – 18th centuries — the second phase of the Moder

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Kutishchev, Aleksandr Vasilievich. "Turning point in the 1701-1714 War of the Spanish Succession: The Danube military campaign of 1704." Manuscript 17, no. 3 (2024): 151–60. http://dx.doi.org/10.30853/mns20240022.

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The purpose of this article is to identify the peculiarities of Western European military affairs as illustrated by a particular campaign of the War of Spanish Succession (1701-1714). The article is of interest in light of comparing military affairs of Western Europe and Russia at the beginning of the 18th century, military art during the War of Spanish Succession (1701-1714) and the Great Northern War (1700-1721). Scientific novelty: the study presents an episode of Western European military history not yet reflected in domestic historiography, combat operations between Franco-Bavarian troops

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Schmale, Wolfgang. "Critical Note: Representations of the continents by means of allegorical figures in the early modern period. (Bodies and Maps: Early Modern Personifications of the Continents, edited by Maryanne Cline Horowitz and Louise Arizzoli, Brill, Leiden 2020)." Diciottesimo Secolo 7 (November 18, 2022): 147–52. http://dx.doi.org/10.36253/ds-13179.

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In the early modern period, the representation of the continents by means of allegorical figures enjoyed great popularity. The book Bodies and Maps: Early Modern Personifications of the Continents, edited by Maryanne Cline Horowitz and Louise Arizzoli, is very stimulating, richly documented and fundamental with regard to the detailed source-critical examination of concrete individual visualisations of the continents. The focus of the book rather lies with the 16th century, while part 5 focuses on the 18th century. In the 18th century, continent allegories entered into the public sphere and rea

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ERARSLAN, Alev. "A Distinctive Architectural Example from the Era of Ottoman Westernization. Palazzo Corpi; The Former American Embassy Building." Architecture Image Studies 6, no. 1 (2025): 204–19. https://doi.org/10.62754/ais.v6i1.119.

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Ottoman architecture begin to change around the beginning of the 18th century. The main factors influencing this change were the opening out to the West of Ottoman culture, relations with the West, and the inclusion of western architects in Ottoman society. The new look that classic Ottoman architecture assumed was to evolve under the thematic influence of European architects. Modifications were manifested not only in civil architecture but even in religious structures, which represented the breaking point of tradition. One of the cultural dynamics that represented the driving force of the cha

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Pramutomo, R. M., and Riva Amelia. "Westerncentric in the Design of Costumes in Javanese Dance Opera in the XVIII Century." International Journal of Culture and History 8, no. 1 (2021): 82. http://dx.doi.org/10.5296/ijch.v8i1.18436.

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The 18th century Javanese performance art has given an artistic expression of the aristocrats known as the Langendriya genre. Langendriya's performing arts are the creativity of the Yogyakarta royal aristocrats who are recognized as the prototype of Javanese opera art. The creator of the Langendriya opera is Prince of Mangkubumi, the younger brother of Sultan Hamengku Buwana VII, the seventh king of the Yogyakarta kingdom. In the process of creation, Prince of Mangkubumi was assisted by his two sons, KRT. Kertanegara and KRT. Wiraguna. Through KRT Wiraguna figure Langendriya opera fashion desi

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Yuan, Yangzeshan. "Influences Between Chinese Ming and Qing Dynasty Porcelain and European Rococo Style." SHS Web of Conferences 199 (2024): 04006. http://dx.doi.org/10.1051/shsconf/202419904006.

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The porcelain of the Ming and Qing dynasties had an extensive and profound mutual influence on the European Rococo art style. The content of this research paper includes the origin of the Rococo style and the influence of the Rococo style on Chinese porcelain from the introduction of the Kangxi Dynasty to the prosperous Qianlong period. The Rococo art style extensively utilizes decorative elements and techniques of Chinese porcelain, reflecting the importance of Chinese porcelain influences on the Rococo art style. This study fills the gap in research on the historical process and artistic tec

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Morein, Ksenia N., and Liudmila N. Shaymukhametova. "Ensemble Music-Making in the Mirror Reflection of 17th and 18th Century Western European Painting." ICONI, no. 1 (2019): 135–40. http://dx.doi.org/10.33779/2658-4824.2019.1.135-140.

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During the Baroque era ensemble music-making was a favorite pastime. For the nobility and the middle class “communication by means of music” was an inherent part of life: the musical language was the means of expressing respect, presenting “musical offerings” and confessions of love. In musical competitions virtuosi demonstrated their exceptional performing skills, and high-society ladies accompanied readings of poetical works with playing the harp or the lute. The desire to make music in the form of solo or ensemble performance was shared by players on various instruments endowed with differe

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Demicheva, Taisiia. "French goose games of the mid 18th century as sources for the study of the anthropology of power (based on the State Hermitage collection) in Modern history." Metamorphoses of history, no. 27 (2023): 0. http://dx.doi.org/10.37490/s230861810023856-1.

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In this article we will focus on French board games of the mid-18th century – the Fortification Game and the New Marine Game. The purpose of this study is to analyze the discourse and symbolism of these engravings and consider the ideas that they conveyed. In this study, we are primarily interested not in the mechanics and rules of the game of goose, but in the symbolism and iconography used in XVIII century France. Our goal will be to analyze the discourse of the goose board game of the middle of the 18th century. The sources on which the study is based are kept in the Department of Western E

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Avcı, Remzi. "The Invention of Islamic Art in German Orientalism." İDEALKENT 17, no. 48 (2025): 464–89. https://doi.org/10.31198/idealkent.1660169.

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The definition of Islamic art has varied depending on the perspectives of those who define it. Today, it is broadly understood to encompass works produced by both Muslims and non-Muslims within Islamic cultural contexts. However, the academic study of Islamic art did not evolve organically within Islamic societies; rather, it was shaped by European scholarly frameworks in the late 19th century. The disciplinary formation of Islamic art in Europe took distinct forms across different cultural and national contexts. This article traces German interest in Islamic art back to the early modern perio

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Zubkov, Nikolai N. "The Style of the 18th Century German Poetry Book." Observatory of Culture 18, no. 6 (2021): 638–47. http://dx.doi.org/10.25281/2072-3156-2021-18-6-638-647.

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The article considers a question mainly unexplored — the history of German book art of the 18th century. There are outlined the main trends in the evolution of German books and highlighted their stylistic varieties. The “archaic” style, inherited from the 17th century, has its characteristic disharmony, rough types, and eclectic ornamenting. It remains relevant until the 1770s. From the 1730s, a style called here the “Leipzig classic” strives to overcome the limitations of the archaic. Its development is related to the partnership of the poet J.C. Gottsched and the publisher B.K. Breitkopf, an

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Tereshkina, Oksana L. "West European Art from the Point of View of the Academy of Arts’ Pensioners of the Second Half of the 18th Century (the Problems of Interpretation)." Observatory of Culture, no. 5 (October 28, 2015): 57–61. http://dx.doi.org/10.25281/2072-3156-2015-0-5-57-61.

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Studying of the interpretation of the West European art by the pensioners of the Academy of Arts is an analysis of the interpretation’s components: the choice of art directions, styles and schools; the preference of their personal attitude; the assessment of a specific piece of art; the terminology as an indicator of their either professional or amateur position. The choice of art directions depended on the system of art views existing in the Academy of Arts in the second half of the 18th century. The Academy focused the attention of its students on the art of Antiquity, Renaissance and Classi

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Makarova, Nina. "British Art Dealers in Rome in the Second Half of the XVIII Century." Ideas and Ideals 15, no. 1-2 (2023): 312–25. http://dx.doi.org/10.17212/2075-0862-2023-15.1.2-312-325.

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In the second half of the 18th century, an antique market flourished in Rome. That was largely due to the increased interest in the culture of the Ancient World, associated with excavations in Pompeii and Herculaneum, as well as with the activities of the German art historian Johann Joachim Winckelmann, who was convinced of the need to turn to the art of antiquity, which, in his opinion, had ideal beauty and was capable of cultivating a noble artistic taste. In European countries and in Russia, collections of antiques were formed during that period. Travelers who came to Rome tended to buy anc

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Manukyan, Seyranush S., and Shoghakat V. Devrikyan. "The Image of Gregory the Illuminator in Romanian-Armenian Icon Painting." Vestnik of Saint Petersburg University. Arts 14, no. 3 (2024): 488–503. http://dx.doi.org/10.21638/spbu15.2024.303.

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Icon painting has been one of the most important aspects of the cultural heritage of Romanian Armenians, contrasting with historical Armenia, where icon paintings were not widespread. Among more than ten iconographic forms of St. Gregory popular in Armenian art of the 18th century, only three are found in the icons created in Romania. The most common of these three forms created in Romanian-Armenian art, similar to Armenia itself and the Armenian colonies of the Diaspora, depicts the baptism scene of the Armenian royal family. Comparable icon paintings in the Romanian environment depict King T

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LI, Bingqing. "Modern Criticism of Rococo Chinoiserie: Visual Narrative and Their Written Variations of Singerie." Research On Frontiers 1, no. 2 (2024): 50–60. http://dx.doi.org/10.62978/2410lbq5060.

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Chinoiserie (“ 中国风”) began to appear in Europe in the 13th century, and gradually exerted more and more influence on its art and culture. By the 19th century, it had become an academic term, specifically refers to European art trends influenced by Chinese or more broadly Far Eastern culture. Rococo Chinoiserie (“ 洛可可式中国风”) is a representative art form during the peak period of the development of Chinese style. Singerie(“ 猴戏画”)is a typical representative of Rococo Chinese style. As a humorous painting theme, Singerie depicts the imitation of human activities by apes. It originated from Flemish

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Vilensky, Jan E. "European Porcelain of the 18th Century as an Artifact and an Art-Object or the Compotier’s Story." Actual Problems of Theory and History of Art 8 (2018): 637–44. http://dx.doi.org/10.18688/aa188-7-62.

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Imbert, Isabelle. "Patronage and Productions of Paintings and Albums in 18th-Century Awadh." Journal of Islamic Manuscripts 12, no. 2 (2021): 174–201. http://dx.doi.org/10.1163/1878464x-01102002.

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Abstract During the 18th century, Faizābād and Lucknow became strategic centres of painting production in Northern India. Encouraged by the patronage of European collectors, but most probably by unnamed Indian patrons as well, the region experienced an intense period marked by the large number of albums and paintings in circulation. Based on the in-depth analysis of a selection of albums, paintings, and manuscripts, this article aims to highlight the evolution of compilation practices and painting productions. Full-page flower paintings, in particular, became increasingly popular in muraqqaʿ,

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Agratina, Elena Evgen'evna. "Physics and Astronomy in 18th Century Painting in the Context of Religious and Mythological Thinking of the Epoch." Философия и культура, no. 1 (January 2025): 40–51. https://doi.org/10.7256/2454-0757.2025.1.73091.

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The Age of Enlightenment was characterized by passionate scientific discussions, which involved not only scientists, but also representatives of various social circles. Sciences such as physics and astronomy are becoming a hobby and entertainment, scientific experiments are being conducted at home, friends and acquaintances are invited to conduct them, and amateur scientific courses are being organized. The article highlights how these processes were reflected in the painting of the XVIII century. Science is considered not only as a widespread subject in works of fine art, but also as a force

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Ashish, K. Shrivastava, and Ajit Singh Patel Dr. "Culture and Leadership in the Collective and Sustainable Growth of an Organization." International Journal of Management and Humanities (IJMH) 9, no. 9 (2023): 22–26. https://doi.org/10.35940/ijmh.I1602.059923.

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<strong>Abstract:</strong> Fine art, classical music, and gourmet cuisine made "culture" aristocratic. City life became "culture" "civilization" (from lat. oivitas, city). Folktales helped Romantics see themselves as a "culture." "Low culture," the culture of social misfits, and "high culture" usually contrast. European culture developed in reaction to social inequalities in the late 18th and early 19th centuries. Europeans like Jean-Jacques Rousseau and Thomas Hobbes associated "culture" with "anarchy" and "n

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Fan, Xiaobing. "Cross-Cultural Art from the Perspective of Aesthetic Education: Cultural Exchange in Chinese Export Paintings (18th - 19th Century)." Journal of Education and Culture Studies 8, no. 2 (2024): p128. http://dx.doi.org/10.22158/jecs.v8n2p128.

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During the late Ming to early Qing dynasties, the great demand for Chinese export porcelain laid the foundation for the development of export paintings. From the 18th to the 19th century, a unique form of cultural hybridity emerged in the coastal area of Canton: export paintings. This paper attempts to explore the interaction, conflict, and fusion with foreign cultures within the frameworks of Homi Bhabha's "third space" theory and Mary Louise Pratt's concept of the "contact zone." It examines how this cross-cultural art form manifests hybridity in materials, painting techniques, and themes.Fr

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Shkolna, Olha. "Plastic Decoration of Porcelain-faience in Ukraine in the Late 18th – Early 21st Centuries." Bulletin of KNUKiM. Series in Arts, no. 35 (December 1, 2016): 162–76. https://doi.org/10.31866/2410-1176.35.2016.158256.

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The article is devoted to the features of development of plastic decoration of Ukrainian porcelain and faience in the late 18th – early 21st centuries. Sculptural elements of crockery of various European and Asian countries, which became the basis for the emergence of domestic analogues, were considered. The specificity of applying plastic decoration to Ukrainian fine ceramics from the late 18th century to present time was distinguished. The purpose of the article is to analyze the examples of plastic decoration of porcelain-faience in Ukraine in the late 18th – early 21st centurie

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Chebakova, Polina. "“He Descends on the Clouds; He Has a Golden Scepter in His Right Hand; a Two-Headed Eagle Hovers Above Him”: the Figure of the Genius of Russia in Russian Art of the Late 18th – First Quarter of the 19th Century." Культура и искусство, no. 8 (August 2024): 30–45. http://dx.doi.org/10.7256/2454-0625.2024.8.71482.

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Alongside with personification of Russia, there are other state personifications in Russian art, including Genius of Russia. Despite some interest to this figure (V.M. Faibisovich), its iconography has not yet been comprehensively analyzed. Appearance of “Genius of the Russian Empire” in the ballet “The New Argonauts” (1770) by Gasparo Angiolini allows us to assume that this personification became widespread in Russian art in the second half of the 18th century. In the article, this personification is examined on materials of artworks and performances of the late 18th and early 19th centuries

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Онуфриенко, Максим Олегович. "Монументальная живопись поствизантийской Македонии. Общие замечания и перспективы изучения". Actual Problems of Theory and History of Art 14 (11 жовтня 2024): 748–64. https://doi.org/10.18688/aa2414-10-59.

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The article is dedicated to the study of post-Byzantine painting in Macedonia from the late 15th to the early 18th century. The post-Byzantine period in Macedonian art is considered to begin in the late 15th century, as the influence of northern Greek masters became dominant during this time. Artists from the northern Greek villages of Linotopi and Grammousta developed their style based on late Byzantine painting: the deep spatial composition and sculptural qualities were replaced by a more decorative approach, emphasizing ornaments and local colors. These artists emerged as the leading artist

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Shi, Emma. "A Modern Critique of Orientalism in Contemporary Visual Art." Journal of Humanities and Education Development 5, no. 6 (2023): 65–72. http://dx.doi.org/10.22161/jhed.5.6.8.

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Orientalism is historically understood as a cultural phenomenon of 18th and 19th century Europe, when Western artists emulated Asian culture and aesthetics in their work. In 1979, Edward Said’s Orientalism first introduced a post-colonial critical analysis to the European, Western portrayal of Eastern cultures in the Middle East. In spite of the perceived progress since the publication of Said’s book, the underlying principles of Said’s Orientalism critique are still widely applicable to modern visual art in 2023. This study is a fresh look at the persistence of Orientalism in contemporary Asi

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Gh. Vlăsceanu, Mihaela. "FORMULĂRI STILISTICE ÎN ARHITECTURA TIMIȘOAREI ȘI VÂRȘEȚULUI (SEC. XVIII-XX). STUDIU DE CAZ: PALATELE PRELAȚILOR ORTODOCȘI SÂRBI." ИСХОДИШТА 1, no. 7 (2021): 85–94. http://dx.doi.org/10.46630/ish.7.2021.6.

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Being monuments endowed with ideological dimension, the Orthodox Bishopric Serbijan palaces from Vârșeț and Timișoara present interesting stylistical evolutions, from 18th century’s late Baroque to 20th Century Viennese Secession. Symbolizing the power of Orthodox Church rulers, these constructions adopted the Catholic Baroque style, crossed through the Romantic period with the rebirth of neoclassical values and ended in what was configured at the beginning of the 20th century as the closure with the academic dimension and the introduction of the Secession style. The hypothesis of the paper st

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Krysztopa-Czupryńska, Barbara. "Grodno w XVIII wieku w relacjach podróżników z Europy Zachodniej." Przegląd Wschodnioeuropejski 11, no. 1 (2020): 33–44. http://dx.doi.org/10.31648/pw.5968.

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The article shows the transformation that Grodno underwent in the 18th century in the light of accounts of peregrinates from Western Europe. In the first half of the century, a provincial, uninteresting Lithuanian town reluctantly visited by Western European travelers, in the second half of the century gained significantly a power of attraction. To a large extent, the city owed its transformation to Lithuanian Court Treasurer Antoni Tyzenhauz, which the travelers emphasized unanimously. The change in the face of the city was also reflected in eighteenth-century Western European publications.

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