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

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

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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Köksal, Selma. "Apocalypse at Painting to Cinema: The end of Western Civilization and Hegemony." CINEJ Cinema Journal 7, no. 1 (2018): 58–71. http://dx.doi.org/10.5195/cinej.2018.187.

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As we know, the European-American Western civilization and authority has started to form with the Greek civilization, and strengthened itself through the advent of monotheistic religions. After the Renaissance era and industrial revolutions, the transition from feudalism to industrialization and then to capitalism, made Europe a center of the world. Yet, today, the center has been shifted to the line of Europe-America. In the art of painting, the concept of apocalypse is as old as the first paintings that depict the narrations about human existence. Yet, we can see this concept in an intensifi

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Oltrogge, Doris. "Writing on Pigments in Natural History and Art Technology in Sixteenth-Century Germany and Switzerland." Early Science and Medicine 20, no. 4-6 (2015): 335–57. http://dx.doi.org/10.1163/15733823-02046p03.

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Renaissance painters used a number of inorganic color materials. The development of mineralogy as a discipline opened a new discourse on mineral pigments. Agricola and other naturalists were familiar with the contemporary writings on art technology, but their focus was different. Therefore, the exchange of knowledge between these two color worlds remained selective. One possible meeting point was the Kunstkammer where the study of natural objects and materials was combined with an interest in the manual execution of a painting.

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Lysen, Flora. "What to do with the “Most Modern” Artworks? Erwin Panofsky and the Art History of Contemporary Art." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 38–49. http://dx.doi.org/10.5195/contemp.2014.81.

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In the 1930s, when the world-renowned Medieval and Renaissance art scholar Erwin Panofsky became acquainted with the New York contemporary art scene, he was challenged with the most difficult dilemma for art historians. How could Panofsky, who was firmly entrenched in the kunstwissenschaftliche study of art, use his historical methods for the scholarly research of contemporary art? Can art historians deal with the art objects of their own time? This urgent and still current question of how to think about “contemporaneity” in relation to art history is the main topic of this paper, which depart

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Zerba, Michelle. "Renaissance Homer and Wedding Chests: TheOdysseyat the Crossroads of Humanist Learning, the Visual Vernacular, and the Socialization of Bodies." Renaissance Quarterly 70, no. 3 (2017): 831–61. http://dx.doi.org/10.1086/693882.

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AbstractBroadening the interdisciplinary base of study on Renaissance Homer, this essay looks to cassone (wedding chest) painting in the Quattrocento to explore how the textual reception of the “Odyssey” was enriched by the visual arts. As artifacts, wedding chests had a role in the public sphere, though they were destined for the private, and they made the epic available to audiences of nonelites. Nausicaa is a key figure, merging the vernacular courtly love tradition and romance. In working across the fields of literary study and art history, this essay introduces new critical concepts to ac

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Bolland, Andrea. "Art and Humanism in Early Renaissance Padua: Cennini, Vergerio and Petrarch on Imitation*." Renaissance Quarterly 49, no. 3 (1996): 469–87. http://dx.doi.org/10.2307/2863363.

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A number of passages in Cennino Cennini's early fifteenth-century craft handbook, the Libro dell'Arte, have captured the attentionof art historians — most particularly its spectacular first chapter, which defines painting in terms indebted to late medieval poetics and which praises artistic imagination in terms ultimately derived (though significantly transformed) from Horace's Ars poetica. I would like to focus critical attention on another section of the Libro that is equally rich and complex in both its sources and its transformations — Cennini's treatment of imitation and style, articulate

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Cox-Rearick, Janet. "Imagining the Renaissance: The Nineteenth-Century Cult of François I as Patron of Art*." Renaissance Quarterly 50, no. 1 (1997): 207–50. http://dx.doi.org/10.2307/3039334.

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A sentimental domestic scene, François I and Marguerite of Navarre, was painted in 1804 by the Salon painter Fleury Richard (fig. 1). As he explained, it illustrates an anecdote from the legend of François I. The king's sister, Marguerite de Navarre, is shown discovering on the windowpane a graffito about the inconstancy of women. François — the great royal womanizer — has just scratched it there and looks very pleased with himself.This painting signals not only the early nineteenth century's fascination with the Renaissance king, but reveals its attitudes about the Renaissance itself. For exa

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Chan, Pedith Pui. "The Discourse of Guohua in Wartime Shanghai." European Journal of East Asian Studies 19, no. 2 (2020): 263–96. http://dx.doi.org/10.1163/15700615-01902010.

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Abstract This article looks at artists’ engagement with artistic activities carried out in wartime Shanghai, with a particular focus on guohua (lit., ‘national painting’). Drawing on primary sources such as archival materials, diaries, paintings, magazines and newspapers, it explores the layered meanings attached to and social functions of guohua and the institutional structure of the Shanghai art world from the gudao (solitary island) period to the advent of full occupation from December 1941 onwards. As a symbol of Chinese elite culture, guohua continued to dominate the Shanghai art world wi

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Garrard, Mary D. "Here's Looking at Me: Sofonisba Anguissola and the Problem of the Woman Artist*." Renaissance Quarterly 47, no. 3 (1994): 556–622. http://dx.doi.org/10.2307/2863021.

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An Unusual Portrait by Sofonisba Anguissola has gained new prominence from its illustration in color in a recent publication. In her Women, Art, and Society (1990), Whitney Chadwick claims of the portrait in question, Bernardino Campi Painting Sofonisba Anguissola (fig. 1), that in presenting herself in the guise of a portrait being painted by her teacher, Anguissola produced “the first historical example of the woman artist consciously collapsing the subject-object position.” Chadwick's succinct observation opens up the possibility of understanding the painting in a new way, for she points to

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Wallis, Robert. "Art and Shamanism: From Cave Painting to the White Cube." Religions 10, no. 1 (2019): 54. http://dx.doi.org/10.3390/rel10010054.

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Art and shamanism are often represented as timeless, universal features of human experience, with an apparently immutable relationship. Shamanism is frequently held to represent the origin of religion and shamans are characterized as the first artists, leaving their infamous mark in the cave art of Upper Palaeolithic Europe. Despite a disconnect of several millennia, modern artists too, from Wassily Kandinsky and Vincent van Gogh, to Joseph Beuys and Marcus Coates, have been labelled as inspired visionaries who access the trance-like states of shamans, and these artists of the ‘white cube’ or

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Joost-Gaugier, Christiane L., Gregorio Comanini, Anne Doyle-Anderson, and Giancarlo Maiorino. "The Figino, or on the Purpose of Painting: Art Theory in the Late Renaissance." Sixteenth Century Journal 34, no. 3 (2003): 928. http://dx.doi.org/10.2307/20061627.

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Koch, Robert A., and James Snyder. "Northern Renaissance Art: Painting, Sculpture, and the Graphic Arts from 1350 to 1575." Art Bulletin 69, no. 1 (1987): 138. http://dx.doi.org/10.2307/3051090.

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Etro, Federico. "The Economics of Renaissance Art." Journal of Economic History 78, no. 2 (2018): 500–538. http://dx.doi.org/10.1017/s0022050718000244.

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I analyzed the market of paintings in Florence and Italy (1285–1550). Hedonic regressions on real prices allowed me to advance evidence that the market was competitive and that an important determinant of artistic innovation was driven by economic incentives. Price differentials reflected quality differentials between painters as perceived at the time (whose proxy is the length of the biography of Vasari) and did not depend on regional destinations, as expected under monopolistic competition with free entry. An inverse-U relation between prices and age of execution is consistent with reputatio

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Shepherd, Gyde Vanier. "Painting in Renaissance Venice.Peter Humfrey." Speculum 72, no. 2 (1997): 491–92. http://dx.doi.org/10.2307/3041011.

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Campbell, Stephen J. "Giorgione'sTempest, StudioloCulture, and the Renaissance Lucretius*." Renaissance Quarterly 56, no. 2 (2003): 299–332. http://dx.doi.org/10.2307/1261849.

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AbstractThe invention of Giorgione's much-interpreted painting known asThe Tempestcan be explained with reference to theDe rerum naturaof Lucretius. Lucretius provides the essential connection between the main elements of the painting: a male 'wanderer,' a lightning bolt, broken columns, a naked, nursing female, and a landscape rendered according to momentary, fleeting appearances. The invention of the painting also responds to the way Lucretius was read around 1500, to the specific interests of the poet's Renaissance readers and imitators, and to forms of self-cultivation associated with the

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Freedman (book author), Luba, and Giancarla Periti (review author). "Classical Myths in Italian Renaissance Painting." Renaissance and Reformation 36, no. 3 (2013): 164–66. http://dx.doi.org/10.33137/rr.v36i3.20555.

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Igumnova, E. V. "Роджер Фрай и Дж.П. Морган: из истории собрания европейской живописи в музее Метрополитен". Iskusstvo Evrazii [The Art of Eurasia], № 4(19) (30 грудня 2020): 134–45. http://dx.doi.org/10.46748/arteuras.2020.04.011.

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The article examines the contribution of the British art historian and critic Roger Fry to the study of Italian painting of the Renaissance, his role in the noble community of that time, work on the search for works for large museums (special attention is paid to his relations with the Metropolitan Museum and its patron J.P. Morgan) and attribution problems. The study notes the evolution of Fry's views, going from interests in Italian art to the works of modern masters and the creation of a theory of “significant form”. В статье рассматривается вклад британского историка искусства и критика Ро

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Weinberg, Robert. "The Awakening of Spirit: Artistic and Thematic Influences on the Evolution of Mark Tobey’s ‘White Writing’." Baha'i Studies Review 21, no. 1 (2015): 87–99. http://dx.doi.org/10.1386/bsr.21.1.87_1.

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This paper is a distillation of the author’s dissertation submitted for the Degree of Master of Arts by Research in History of Art: Renaissance to Modernism to the School of Humanities at the University of Buckingham in September 2016. The dissertation sought to answer the question, ‘What were the artistic and thematic influences on the evolution of the “white writing” style of the American painter, Mark Tobey?’ Tobey’s distinctive approach to abstraction brought him great acclaim and considerable success in the middle decades of the 20th century but today barely receives a footnote or a few b

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Inshakov, Alexander N. "Monumental Painting by Sergei Romanovich: Former and Unfulfilled." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 102–26. http://dx.doi.org/10.21638/spbu15.2021.107.

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The article is devoted to an important period in the life and work of the Moscow artist Sergei Romanovich (1894–1968), one of the most interesting young artists of the Russian pictorial avant-garde of the second half of the 1910s, a student and later friend of Mikhail Larionov. From the late 1930s to the mid-1950s, Romanovich was an employee of the Workshop of Monumental Painting at the Academy of Architecture of the USSR. Together with Lev Bruni and Vladimir Favorsky, he worked on the decoration of the Red Army Theater, participated in the development of projects and interior design of theate

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Romano, Dennis. "Aspects of Patronage in Fifteenth- and Sixteenth-Century Venice*." Renaissance Quarterly 46, no. 4 (1993): 712–33. http://dx.doi.org/10.2307/3039020.

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Michael Baxandall's Study Painting and Experience in Fifteenth-Century Italy opens with the useful reminder that a “painting is the deposit of a social relationship,” that is, a relationship between patron and client. When Baxandall and other historians of Renaissance art use the term patronage, they generally do so in a restricted sense to indicate the relationship that existed when an individual or an institution such as a guild, confraternity, or monastic establishment commissioned a specific work of art from an artist or artisan. Often formalized through a contract, the relationship betwee

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Camerota, Filippo. "Looking for an Artificial Eye: On the Borderline between Painting and Topography." Early Science and Medicine 10, no. 2 (2005): 263–86. http://dx.doi.org/10.1163/1573382054088105.

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AbstractThe use of instruments for drawing from life is documented since the fifteenth century in a variety of books, drawings and actual devices. Almost all of the instruments invented for this purpose belong to the linear perspective tradition, being conceived as mechanical expressions of a geometric principle, namely the intersection of the visual pyramid. On the basis of a close but controversial analysis of some important paintings of the early Renaissance, David Hockney and Charles Falco have concluded to a widespread use of optical devices in painters' workshops, such as concave mirrors

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Stojilovic, Ivan, and Slobodan Markovic. "Evaluation of paintings: Effects of lectures." Psihologija 47, no. 4 (2014): 415–32. http://dx.doi.org/10.2298/psi1404415s.

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This study investigated the influence of lectures about the Renaissance and abstract art on ratings of paintings from these two periods in art history. The study included two sessions. In the first, 72 naive participants rated the representational and abstract paintings. In the second session participants were divided into three groups: one received a lecture on Renaissance art, one attended a lecture on abstract art, and one group attended no lecture. Afterwards, the three groups rated a new, parallel set of paintings. Three first-order factors were extracted: Aesthetic experience, Relaxation

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Vojvodic, Dragan. "On the frescoes of the Bela crkva (white Church) of karan and the contemporary painting of Raska." Zograf, no. 31 (2006): 135–52. http://dx.doi.org/10.2298/zog0731135v.

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The results of a more careful examination of the painting in Raska from the period of the king and later, of the emperor, Stefan Dusan (1331-1355) render untenable the earlier assessments about its strikingly provincial character and negligible artistic value. The fragmentarily preserved painting of the exonarthex in Djurdjevi stupovi, in Budimlja (spring 1343 - autumn 1345), and St. Nikola in Palez near Studenica (probably the fifth decade of the 14th century), undoubtedly indicate a highly progressive style and very high artistic value. According to their pictorial features, these two monume

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Nevola (author, first book), Fabrizio, Luke Syson (editor, second book), Judith B. Steinhoff (author, third book), and Nicholas Terpstra (review author). "Siena: Constructing the Renaissance City; Renaissance Siena: Art for a City; Sienese Painting after the Black Death: Artistic Pluralism, Politics, and the New Art Market." Renaissance and Reformation 34, no. 1-2 (2012): 282–86. http://dx.doi.org/10.33137/rr.v34i1-2.16187.

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CONLIN, JONATHAN. "GLADSTONE AND CHRISTIAN ART, 1832–1854." Historical Journal 46, no. 2 (2003): 341–74. http://dx.doi.org/10.1017/s0018246x03002978.

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Although his activity as a private collector has been documented, the extent to which William Ewart Gladstone's interest in art was implicated in his thought on church and state has been overlooked. Previously unnoticed memoranda and correspondence of the 1830s and 1840s with the French art historian and Roman Catholic thinker, François Rio, demonstrate a fascination with religious painting of early Renaissance Italy, of the sort which only came to be appreciated in Britain many years later. For Rio, however, introducing Gladstone to ‘Christian art’ was as much about encouraging Gladstone in h

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Sobota Matejčić, Gordana. "Institute for History of Art, Zagreb." Ars Adriatica, no. 2 (January 1, 2012): 167. http://dx.doi.org/10.15291/ars.447.

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In 2005, during the composing of the Inventory of the Moveable Cultural Heritage of the Church and Monastery of St Francis of Assisi at Krk, three wooden statues were found in the attic. These had once belonged to a lavish Renaissance triptych at the centre of which was a figure of the Virgin (107 x 45 x 27 cm), flanked by the figures of St John the Baptist (c. 105 x 28 x 30 cm), an apostle with a book (c. 93 x 32 x 22 cm), and, in all likelihood, St James the Apostle. A trace of a small left foot in the Virgin’s lap indicates that the original composition was that of the Virgin and Child. It

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Kotliar, Svitlana, and Iryna Zaspa. "Master’s Art Photo Project “Ukrainian Renaissance”. Part 2: “Mavka Ofeliia”." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (2021): 152–74. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235103.

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The author’s message for this Master’s photo art project consisted of creating a photographic work inspired by the Renaissance and Ukrainian traditions, folklore. A harmonious combination of the Renaissance heritage with the Ukrainian historical and cultural heritage, the disclosure of the concept of “renaissance” in two contexts. The Renaissance heritage is studied as world history and art era. The Ukrainian historical and cultural heritage analysis aims at reviving Ukrainian authenticity and its learning and implementation in a modern interpretation. Since the project’s author is fond of mod

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Gavran, Iryna, Svitlana Kotliar, and Iryna Zaspa. "Master’s Art Photo Project “Ukrainian Renaissance”. Part 1: “Ukrainian Girl with a Pearl Earring. In the Footsteps of Jan Vermeer”." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (2021): 133–51. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235102.

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The author’s message for this Master’s photo art project consisted of creating a photographic work inspired by the Renaissance and Ukrainian traditions, folklore. A harmonious combination of the Renaissance heritage with the Ukrainian historical and cultural heritage, the disclosure of the concept of “renaissance” in two contexts. The Renaissance heritage is studied as world history and art era. The Ukrainian historical and cultural heritage analysis aims at reviving Ukrainian authenticity and its learning and implementation in a modern interpretation. Since the project’s author is fond of mod

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Kim, David Young. "Lotto's Carpets: Materiality, Textiles, and Composition in Renaissance Painting." Art Bulletin 98, no. 2 (2016): 181–212. http://dx.doi.org/10.1080/00043079.2016.1108151.

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Goffen, Rona, Susan L. Caroselli, and Joseph Fronek. "Italian Panel Painting of the Early Renaissance in the Collection of the Los Angeles County Museum of Art." Sixteenth Century Journal 28, no. 1 (1997): 361. http://dx.doi.org/10.2307/2543336.

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Mandryk-Melnychuk, M. V., V. A. Kotsur, A. S. Biduchak, and Zh A. Chornenka. "Andreas Vesalius (1515–1564): at the crossroads of origination and formation of new principles of world perception." Likarska sprava, no. 3-4 (June 27, 2018): 180–91. http://dx.doi.org/10.31640/3-4.2018(30).

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The main stages of the personal and career ascent of one of the brightest representatives of the Middle Ages, the founder of the scientific direction in anatomy – Andreas Vesalius, are analyzed. His personality is viewed in the context of the formation of humanism ideas, discoveries that have changed the course of history, prominent representatives of the Renaissance, who influenced the formation of this outstanding personality. Return to the antiquity ideals, i.e. to the Renaissance humanistic principles, has been shown to open the opportunity for the establishment of a number of scientific c

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Shamardina, N. V. "GALICIAN-RUSSIAN PRAISE OF THE VIRGIN ICONS OF THE 15th – 16th CENTURIES: GENESIS AND METAMORPHOSIS." Rusin, no. 60 (2020): 22–38. http://dx.doi.org/10.17223/18572685/60/3.

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The Galician-Russian icons of Praise of the Virgin are interesting both due to their origin from the hymns of akathist worship, the circumstances of their appearance in the Galician-Russian lands (probably related to the Western Russian metropolitan Gregory Tsamblak), and their unprecedented abundance. This type includes the outstanding works of the 15th century belonging to the Przemysl School, the main icon-painting centre in Poland. In the 16th century small trading towns, primarily Sambir, housed icon-painters who created icons in the democratic version of the national icon-painting style,

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Drakopoulou, Eugenia. "Comments on the artistic interchange between conquered Byzantium and Venice as well as on its political background." Zograf, no. 36 (2012): 179–88. http://dx.doi.org/10.2298/zog1236179d.

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Political choices and historical imperatives dictated a rapprochement of the Eastern and Western Churches in the fifteenth and sixteenth centuries. The Venetian state, attracted by the superiority of Byzantine culture, always coveted a seat among its beneficiaries, while renowned Byzantine exiles sought Venetian assistance against the Ottomans. The Orthodox artworks they brought with them, gave the artists of Renaissance Venice the opportunity to commune with the art of Constantinople, creating new cultural contributions. In the first decades of the sixteenth century, the political and religio

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Nygren, Christopher J. "Titian’sChrist with the Coin: Recovering the Spiritual Currency of Numismatics in Renaissance Ferrara." Renaissance Quarterly 69, no. 2 (2016): 449–88. http://dx.doi.org/10.1086/687607.

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AbstractTitian paintedChrist with the Coinfor Alfonso d’Este around 1516. The painting served as the cover piece for a collection of ancient coins and has been read as a commentary on politics and taxation. Instead, this article reveals how the painting reconfigured Alfonso’s interaction with ancient coins, transforming the everyday activity of the collector into an occasion of spiritual reformation. Reading numismatic antiquarianism against the exegetical tradition that accrued around the Gospel pericope (Matthew 22:21) reveals the painting as the nexus of two regimes of virtue — one Christia

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Kim, David Young. "Points on a Field: Gentile da Fabriano and Gold Ground." Journal of Early Modern History 23, no. 2-3 (2019): 191–226. http://dx.doi.org/10.1163/15700658-12342636.

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Abstract This essay considers gold grounds in early Renaissance panel painting as sites of the possible, here understood in the word’s double meaning as artistic power and mimetic potential. After examining how gold ground in art historiography is depicted as a zone oscillating between worldliness and otherworldliness, the discussion focuses on the process and meaning of gold ground in Cennino Cennini’s Libro dell’arte (c. 1390) and Gentile da Fabriano’s Virgin and Child (c. 1405, Perugia, Galleria Nazionale dell’umbria), with focus placed on the technique of granulation (opus punctorium). Als

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Hall (book author), Marcia B., and Meredith J. Gill (review author). "Color and Meaning: Practice and Theory in Renaissance Painting." Renaissance and Reformation 28, no. 4 (2009): 83–85. http://dx.doi.org/10.33137/rr.v28i4.11686.

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Natif, Mika. "Renaissance Painting and Expressions of Male Intimacy in a Seventeenth-Century Illustration from Mughal India." Renaissance and Reformation 38, no. 4 (2016): 41–64. http://dx.doi.org/10.33137/rr.v38i4.26373.

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This article explores the artistic relationship between Western European Renaissance art and Mughal painting ca. 1630s at the ateliers in North India. A central theme is the employment of European painterly modes in the Mughal visual tradition that expressed male-male intimacy, carnal desire, and emotional attachment. In particular, the article focuses on the work of the Mughal painter Govardhan, who illustrated the opening scene of Sa‘dī’s Gulistan (Rose Garden). Govardhan built upon sixteenth-century European compositional elements and the themes of Noli me tangere and the Doubting Thomas t

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McGrath, Thomas. "Bellini, Giorgione, Titian and the Renaissance of Venetian Painting." Renaissance Studies 21, no. 5 (2007): 712–19. http://dx.doi.org/10.1111/j.1477-4658.2007.00466.x.

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Jolles, André, and Peter J. Schwartz. "Legend: From Einfache Formen (“Simple Forms”)." PMLA/Publications of the Modern Language Association of America 128, no. 3 (2013): 728–43. http://dx.doi.org/10.1632/pmla.2013.128.3.728.

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Who was andré Jolles? born in den helder in 1874; raised in amsterdam; in his youth a significant player in the literary Movement of the Nineties (Beweging van Negentig), whose organ was the Dutch cultural weekly De Kroniek; a close friend of Aby M. Warburg's and Johan Huizinga's—Jolles studied art history at Freiburg beginning in 1902 and then taught art history in Berlin, archaeology and cultural history in occupied Ghent during World War I, and Netherlandic and comparative literature at Leipzig from 1919 until shortly before his death, in 1946. A man of extraordinary intellectual range—his

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Bolgia, Claudia. "PATRONS AND ARTISTS ON THE MOVE: NEW LIGHT ON MATTEO GIOVANNETTI BETWEEN AVIGNON AND ROME." Papers of the British School at Rome 88 (January 9, 2020): 185–213. http://dx.doi.org/10.1017/s0068246219000370.

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This article reassesses artistic production in Rome at the time of the temporary return of Pope Urban V, between 1367 and 1370, after a lengthy period of absence of the papacy in Avignon, and offers new insights into the long-term impact of this production. It does so by starting from a thoroughly neglected artwork now in the Museo Storico Artistico del Tesoro di S. Pietro, a victim of the traditional interpretative dichotomy as either a work by Giotto or not. By taking a different methodological approach, which is to think in terms of movement of patrons and artists, and on the basis of combi

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Castoriadis, Cornelius, and Andrew Cooper. "Window into chaos." Thesis Eleven 148, no. 1 (2018): 77–88. http://dx.doi.org/10.1177/0725513614535698.

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This is the first English translation of a remarkable two-part lecture given by Cornelius Castoriadis at the École des hautes etudes en sciences sociales in January 1992. The lecture features within a series on social transformation and the task of creative forms of labour. In this installment Castoriadis explores the significance of art through a creative reading of Aristotle's famous definition of tragedy in the Poetics. He rejects Aristotle's dependence on the mimetic tradition in search for a vision of art as the unveiling of the creative resources that lie within the human being. Yet he r

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