Academic literature on the topic 'Art History. Painting, Renaissance'

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Journal articles on the topic "Art History. Painting, Renaissance"

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Sanad, Reham, and Zainab Salim Aqil Alhadi Baomar. "A study of landscape painting development – Past, present and future perspectives." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (2021): 01–11. http://dx.doi.org/10.18844/prosoc.v7i4.5774.

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This study is focused on landscape paintings’ characteristics throughout history. It starts with primitive cave paintings passed through the ancient civilisations, then followed by the main art movements and styles and ends with the contemporary style landscape paintings. Future prospects and expectations for landscape representations were also considered. It was found that landscape representation has been the focus for most artists because of its link to their normal lives. In the primitive caves, illustrations of plants and animals were found covering caves’ walls. Landscape backgrounds wer
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Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.

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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Inclu
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Lee, Byunghwee, Min Kyung Seo, Daniel Kim, et al. "Dissecting landscape art history with information theory." Proceedings of the National Academy of Sciences 117, no. 43 (2020): 26580–90. http://dx.doi.org/10.1073/pnas.2011927117.

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Painting has played a major role in human expression, evolving subject to a complex interplay of representational conventions, social interactions, and a process of historization. From individual qualitative work of art historians emerges a metanarrative that remains difficult to evaluate in its validity regarding emergent macroscopic and underlying microscopic dynamics. The full scope of granular data, the summary statistics, and consequently, also their bias simply lie beyond the cognitive limit of individual qualitative human scholarship. Yet, a more quantitative understanding is still lack
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Buta, Mircea Gelu. "Genetic diseases in religious painting." Medicine and Pharmacy Reports 94, no. 3 (2021): 382–89. http://dx.doi.org/10.15386/mpr-1996.

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The attention paid to Trisomy 21, a genetic condition described by Langdon Down in 1866, is due to concerns about establishing the age of this pathology during evolution. Due to the synergy between medicine and art history, it is possible to reconstruct the diseases that have characterized the most a certain historical period as well as the perception of the population towards them. Using iconodiagnosis, namely studying works of art through medical imaging, it was found that in Europe, during the Renaissance, Trisomy 21 was represented by Italian and Flemish painters in religiously inspired pa
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Kozbelt, Aaron. "Psychological Implications of the History of Realistic Depiction: Ancient Greece, Renaissance Italy and CGI." Leonardo 39, no. 2 (2006): 139–44. http://dx.doi.org/10.1162/leon.2006.39.2.139.

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Art historian Ernst Gombrich argued that learning to create convincing realistic depictions is a difficult, incremental process requiring the invention of numerous specific techniques to solve its many problems. Gombrich's argument is elaborated here in a historical review of the evolution of realistic depiction in ancient Greek vase painting, Italian Renaissance painting and contemporary computer-generated imagery (CGI) in video games. The order in which many problems of realism were solved in the three trajectories is strikingly similar, suggesting a common psychological explanation.
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Тарасенко, А. А., та Г. В. Акрідіна. "ІКОНОСТАСИ СПАСО-ПРЕОБРАЖЕНСЬКОГО КАФЕДРАЛЬНОГО СОБОРУ ОДЕСИ: ТЕМАТИКА І СТИЛІСТИКА". Art and Design, № 2 (21 вересня 2020): 114–28. http://dx.doi.org/10.30857/2617-0272.2020.2.10.

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The purpose is to study the themes and the stylistics of the upper and lower churches’ iconostases of the Transfiguration Cathedral in Odessa. The comparative method was used in order to study the topic and identify the artistic and stylistic features of Odessa Cathedral iconostases. It allows comparing the objects of study with analogues from the world art. Iconological, iconographic methods and figurative-stylistic analysis were also applied. The iconostases of the Transfiguration Cathedral upper and lower churches in Odessa are organically inscribed in the architectural environment, thanks
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Kestner, Joseph A. "VICTORIAN ART HISTORY: RAP 2 UNWRAPPED." Victorian Literature and Culture 29, no. 1 (2001): 149–58. http://dx.doi.org/10.1017/s1060150301291098.

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AT THE END OF THE TWENTIETH CENTURY, Victorian painting experienced at least one mass media event, so far as circulation is concerned — the appearance of Frederic Leighton’s The Bath of Psyche (1890) on the wall of the drug kingpin in Paul Thomas Anderson’s notorious film Boogie Nights of 1997. As a ferocious deal is going awry, over the desperate dealers looms one of the masterpieces of the Victorian High Renaissance, a commentary through the cool classicism of the late Victorians about the corresponding fin-de-siècle of the lately finished century. It is a stunning moment — perhaps recognize
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Rabb, Theodore K. "How Italian Was the Renaissance?" Journal of Interdisciplinary History 33, no. 4 (2003): 569–75. http://dx.doi.org/10.1162/00221950360536521.

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The traditional account of the Renaissance holds that intellectual and artistic influence moved overwhelmingly in one direction—from Italy to the rest of Europe, and especially toward the North. A remarkable exhibition in Bruges, however, has made the case that traffic did not go just one way, at least so far as innovation in painting was concerned, because the vibrant cultural center of the Low Countries had a powerful and significant impact on southern Europe. That this case is made through art is an indication of how important it is to bring different disciplines to bear on our understandin
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BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.

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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Pic
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Grewe, Cordula. "Die Renaissance des Epos im romantischen Fresko." Zeitschrift für Kunstgeschichte 79, no. 2 (2016): 226–60. http://dx.doi.org/10.1515/zkg-2016-0019.

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Abstract If the nineteenth century is correctly seen as an age when a new and acute historical awareness reshaped the cultural sensibility, then it is no small irony that in the age of history, history painting was in crisis. One reaction to this crisis is the subject of this paper. Focusing on one of the Nazarenes’ most enchanting fresco projects, the decoration of the Casino Massimo in Rome after major epics by Dante, Tasso, and Ariosto, it traces the reworking and redefinition of history in painting by the German Nazarenes. In so doing, it examines the transformation of history painting int
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Dissertations / Theses on the topic "Art History. Painting, Renaissance"

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Silberstein, Edward. "And Moses Smote the Rock: The Reemergence of Water in Landscape Painting In Late Medieval and Renaissance Western Europe." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1288378722.

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Taylor, Chloë. "The aesthetics of sadism and masochism in Italian renaissance painting /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79810.

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This thesis analyses selected paintings and aspects of life of the Italian Renaissance in terms of the aesthetic properties of sadistic and masochistic symptomatologies and creative production, as these have been explored by philosophers such as Michel Foucault, Roland Barthes, Marcel Henaff, and Gilles Deleuze. One question which arises from this analysis, and is considered in this thesis, is of the relation between sexual perversion and history, and in particular between experiences of violence, (dis)pleasure and desire, and historically specific forms of discourse and power, such as
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Howard, Rebecca Marie. "Movements of the Mind: Beyond the Mimetic Likeness in Early Modern Italy." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492175533714909.

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Lafille, Pauline. "« Composizioni delle guerre e battaglie » : enquête sur la scène de bataille dans la peinture italienne du XVIe siècle." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP058.

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La thèse étudie les enjeux politiques et artistiques de la scène de bataille dans la peinture monumentale au XVIe siècle en Italie, avant que la représentation de la guerre ne présente une distinction entre peinture d’histoire pour les faits anciens et peinture historique pour les faits contemporains, selon les catégories artistiques qui s’affirment au cours du XVIIe siècle. C’est pourquoi notre étude ne propose pas une histoire de la scène de bataille mais une enquête au sujet de compositions singulières, sur les problématiques politiques, idéologiques, esthétiques et culturelles qui les trav
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YELLIG, CATHERINE L. "RETHINKING THE RENAISSANCE COURTESAN: CONTEMPORARY INTERPRETATION OF THREE PAINTINGS BY TITIAN (TIZIANO VECELLIO, c 1485-1576)." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1178629291.

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Panbehchi, Michael J. "The Triumphs of Alexander Farnese: A Contextual Analysis of the Series of Paintings in Santiago, Chile." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3628.

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This dissertation examines a series of nine paintings depicting the battles of Alexander Farnese in Flanders created by the Cuzco School of Painters in eighteenth-century Peru. This research asks why and how paintings depicting sixteenth-century European battles were meaningful in the eighteenth century. Due to an absence of archival documentation on the authorship, production and patronage of the series, the research method is contextual. Starting with a formal and iconographic analysis of the paintings centered on a comparison between the paintings and the engravings upon which they are base
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Tabur, Michel. "Le lieu et l'action : exactitude et véridicité dans la peinture d'histoire à la Renaissance." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H098.

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La thèse est partie d’une œuvre, la tenture de La conquête de Tunis, dont les douze panneaux étonnent par leur niveau exceptionnel d'exactitude topographique et historique. Jusqu’à quel point la recherche de l’exactitude et de la véridicité qui semble apparaître dans certaines œuvres d’histoire à la Renaissance est-elle compatible avec le dessein artistique de leurs auteurs ? Dans quelles conditions, dans quel but et avec quelle postérité s'est-elle propagée ? Telle est la problématique, aux confins de l'histoire, abordée dans cette thèse. Elle est explorée par le biais de cinq approches différ
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Rowley, Neville. "Pittura di luce. La manière claire dans la peinture du Quattrocento." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040197/document.

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La présente thèse a pour point de départ une exposition florentine organisée en 1990 et intitulée « Pittura di luce ». Ses organisateurs entendaient désigner ainsi un courant de la peinture florentine du milieu du XVe siècle fondé sur la lumière et la couleur claire. Comme l’avait bien compris l’exposition, cette « peinture de lumière » est d’abord identifiable dans la « manière colorée » portée par Fra Angelico et Domenico Veneziano, mais elle doit aussi être élargie à une manière plus « blanche », qui va de Masaccio aux premières œuvres d’Andrea del Verrocchio, au début des années 1470. Les
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Hammond, Joseph. "Art, devotion and patronage at Santa Maria dei Carmini, Venice : with special reference to the 16th-Century altarpieces." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3047.

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This study is an art history of Santa Maria dei Carmini, Venice, from its foundation in c. 1286 to the present day, with a special focus on the late Renaissance period (c. 1500-1560). It explores a relatively overlooked corner of Renaissance Venice and provides an opportunity to study the Carmelite Order's relationship to art. It seeks to answer outstanding questions of attribution, dating, patronage, architectural arrangements and locations of works of art in the church. Additionally it has attempted to have a diverse approach to problems of interpretation and has examined the visual imagery'
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Schneider, Leann G. "Capturing Otherness on Canvas: 16th - 18th century European Representation of Amerindians and Africans." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437430892.

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Books on the topic "Art History. Painting, Renaissance"

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Hartt, Frederick. History of Italian Renaissance art: Painting, sculpture, architecture. Thames and Hudson, 1987.

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G, Wilkins David, ed. History of Italian Renaissance art: Painting, sculpture, architecture. 4th ed. Thames & Hudson, 1994.

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G, Wilkins David, ed. History of Italian renaissance art: Painting, sculpture, architecture. 5th ed. Prentice Hall, 2003.

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History of Italian Renaissance art: Painting, sculpture, architecture. 3rd ed. Prentice-Hall, 1987.

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Hartt, Frederick. History of Italian Renaissance art: Painting, sculpture, architecture. 7th ed. Pearson Prentice Hall, 2009.

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Hartt, Frederick. History of Italian Renaissance art: Painting, sculpture, architecture. 4th ed. Prentice Hall, 1994.

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Hartt, Frederick. History of Italian Renaissance art: Painting, sculpture, architecture. 7th ed. Pearson Prentice Hall, 2009.

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G, Wilkins David, ed. History of Italian renaissance art: Painting, sculpture, architecture. 5th ed. H.N. Abrams, 2002.

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Hartt, Frederick. History of Italian Renaissance art: Painting, sculpture, architecture. 4th ed. H.N. Abrams, 1994.

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Hartt, Frederick. History of Italian Renaissance art: Painting, sculpture, architecture. 3rd ed. Abrams, 1987.

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Book chapters on the topic "Art History. Painting, Renaissance"

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Soussloff, Catherine M. "Michel Foucault and the Point of Painting." In Art History. Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324716.ch5.

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Franits, Wayne. "Genre Painting in Seventeenth-Century Europe." In A Companion to Renaissance and Baroque Art. John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch20.

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Maeda, Tamaki. "'National Painting' Unbound." In East Asian Art History in a Transnational Context. Routledge, 2019. http://dx.doi.org/10.4324/9781351061902-11.

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Warley, Christopher. "Art and History Then." In A Companion to Renaissance Poetry. John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781118585184.ch22.

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Forte, Joseph C. "With a Critical Eye: Painting and Theory in France, 1600-43." In A Companion to Renaissance and Baroque Art. John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch26.

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Arata, Shimao. "Reconsidering the History of East Asian Painting." In East Asian Art History in a Transnational Context. Routledge, 2019. http://dx.doi.org/10.4324/9781351061902-2.

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Hardy III, Charles. "Painting in sound: Aural history and audio art." In Studies in Narrative. John Benjamins Publishing Company, 2009. http://dx.doi.org/10.1075/sin.10.19har.

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Barragán, Paco. "Painting History, Manufacturing Excess: How the Artistic Configures the Political." In Art, Excess, and Education. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21828-7_3.

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Bruni, Silvia, and Vittoria Guglielmi. "CHAPTER 11. Raman Spectroscopy for the Identification of Materials in Contemporary Painting." In Raman Spectroscopy in Archaeology and Art History. Royal Society of Chemistry, 2018. http://dx.doi.org/10.1039/9781788013475-00157.

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Hinojosa, Lynne Walhout. "The Connoisseur and the Spiritual History of Art: Morelli and Berenson." In The Renaissance, English Cultural Nationalism, and Modernism, 1860–1920. Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230620995_5.

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Conference papers on the topic "Art History. Painting, Renaissance"

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Kvasz, Ladislav. "Visual illusions in painting, or what could computer graphics learn from art history." In the 23rd Spring Conference. ACM Press, 2007. http://dx.doi.org/10.1145/2614348.2614350.

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Yuchen, Song, Ehsan Qasemi, Adel Ardalan, Huijing Gao, and Amir H. Assadi. "Deep Learning Art History from Data: Baroque Intellectual Influence on the Romantic Era Painting." In 2017 International Conference on Computational Science and Computational Intelligence (CSCI). IEEE, 2017. http://dx.doi.org/10.1109/csci.2017.65.

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Aristizábal, José Antonio. "HUMBERTO RIVAS, DESDE LO ROMÁNTICO Y LO SINIESTRO. HUMBERTO RIVAS FROM THE ROMANTIC AND THE SINISTER." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6880.

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Palabras clave:Fotografía, estética, Humberto Rivas, Rafael Argullol, Eugenio Trías.Keywords: Photography, esthetic, Humberto Rivas, Rafael Argullol, Eugenio Trías.Resumen:El siguiente artículo busca dar una lectura a la obra del fotógrafo Humberto Rivas, Premio Nacional de Fotografía y unos de los mayores exponentes de la fotografía española de finales del siglo XX. Se parte de la convicción de que hace falta ubicar a Humberto Rivas en una tradición de pensamiento estético, ya que las distintas lecturas que existen sobre su trabajo, aunque importantes, no han dejado de ser lecturas impresioni
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