Relevant bibliographies by topics / Art in Naples. French painters

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Academic literature on the topic 'Art in Naples. French painters'

Author: Grafiati
Published: 22 February 2023

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Journal articles on the topic "Art in Naples. French painters"

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Drakopoulou, Eugenia. ""Pittura Romeica" in Italy: Artistic transfers across the Adriatic sea (18th - 19th centuries)." Historical Review/La Revue Historique 13 (February 24, 2017): 7. http://dx.doi.org/10.12681/hr.11553.

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The complex historical reality of the Adriatic region, an area located even today on the borderline between East and West, is reflected in the works of religious painting and in the painters’ geographical movements. The art of Orthodox regions was mainly influenced by Venice, but also by the rest of Italy, and, as a result, a unique art emerged in the Ionian Islands, which remained under Venetian control until the end of the eighteenth century. In the course of the eighteenth century, political and economic conditions contributed to the growth of the Orthodox communities in Italy. Their member
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Moore, James, and Catherine Tite. "Lancashire’s Pioneering Impressionists: The Manchester School of Painters and its Critics, 1868-1914." Transactions of the Historic Society of Lancashire and Cheshire 171, no. 1 (2022): 63–82. http://dx.doi.org/10.3828/transactions.171.7.

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The significance of the Manchester School of Painters has been neglected by both art historians and scholars of this region. This article explores the contribution of these artists to the history of Impressionism in Britain and demonstrates how a young group of Mancunians brought French modernism to Lancashire art exhibitions and galleries some time before it was common in London. They struggled with the local artistic establishment, local critics gave them a mixed reception, and yet they ultimately achieved recognition in the capital, with their paintings hanging in the same galleries as the
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Wouk, Edward. "Picturing Art History in Eighteenth-Century Britain." Bulletin of the John Rylands Library 95, no. 2 (2019): 83–113. http://dx.doi.org/10.7227/bjrl.95.2.5.

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Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few sources available in English at the time, but that part of the project was abandoned. This arti
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Agratina, Elena E. "AN ARTIST AND PRIVATE CUSTOMER IN THE 18TH-CENTURY PARIS. SURVEY ON THE DEVELOPMENT OF PORTRAIT PAINTING." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 4 (2022): 111–31. http://dx.doi.org/10.28995/2073-6401-2022-4-111-131.

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The interaction between a painter and his donator as a phenomenon of art history gives many opportunities to the research of social aspect of art. A private customer was isolated from any government institution such as the Academy of Painting and Sculpture. He did not pretend to be a connoisseur or adviser of painters but he had individual taste for art and his personally developed demands for it. As a field for dialog between painter and his patrons the portraiture appeared to become one of the most sought-after genres in 18th-century French society. The article aims to highlight a taste of a
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Agratina, Elena E. "JEAN-CLAUDE RICHARD DE SAINT-NON (1727-1791), AN AMATEUR IN FINE ARTS AND A FRIEND OF ARTISTS." Articult, no. 3 (2020): 81–87. http://dx.doi.org/10.28995/2227-6165-2020-3-81-87.

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The article is dedicated to Jean-Claude Richard de Saint-Non (1727–1791), a refined connoisseur, a great friend of artists and an extremely charming personality. Destined to religious worship Abbot de Saint-Non had not a spiritual calling for this and was indifferent to any government service. Instead of it he devoted his own life to such activities as travelling, exploration of ancient and modern art, patronage of young painters and creation of multi-volumed treatise on the sights of Naples and Sicily. Abbot de Saint-Non himself was talented in fine art and produced some engravings after draw
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Seguín, Bécquer. "Mute Cries: Louis Althusser Between Roberto Álvarez Ríos and Wifredo Lam." ARTMargins 6, no. 2 (2017): 93–109. http://dx.doi.org/10.1162/artm_a_00179.

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This introductory essay examines the role of two articles on the Cuban painters Roberto Álvarez Ríos and Wifredo Lam, “A Young Cuban Painter Before Surrealism: Álvarez Ríos” (1962) and “Lam” (1977), in the French Marxist philosopher Louis Althusser's writing on art. It argues that these largely ignored articles offer snapshots of two key shifts in Althusser's thought: his transition, during the early 1960s, from Hegelian Marxism to structural Marxism, and, during the late 1970s, from structural Marxism to so-called aleatory materialism. It contextualizes the articles in the social and politica
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Jeannerod, Aude. "“Jeter à la face de son siècle le plus excessif outrage" La critique d'art de Joris-Karl Huysmans, une démarche décadente." Nordlit 15, no. 2 (2012): 1. http://dx.doi.org/10.7557/13.2041.

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Although Joris-Karl Huysmans is mostly known for his famous novel À Rebours (1884), his first steps as a writer were made in art criticism, with an article published in La Revue mensuelle about the landscape painters at the Exposition Universelle that took place in Paris in 1867. From then on, his work as an art critic often echoed his novels, expressing the same views on aesthetics and civilisation. This article discusses to what extent Huysmans's art criticism during the eighteen-eighties comes under the Decadence and an aesthetic of transgression, as well as À Rebours does. Indeed, the art
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Isman, Sibel Almelek. "Eiffel Tower Through The Eyes of Painters." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (2017): 01. http://dx.doi.org/10.18844/prosoc.v4i11.2845.

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The Eiffel Tower, the global icon of France, was erected as the entrance to the Paris International Exposition in 1889. It was a suitable centrepiece for the World Fair, which celebrated the centennial of the French Revolution. Although the tower was a subject of controversy at the time of its construction, many European painters have been inspired by the majestic figure of the Eiffel Tower. They picturised the tower in their portraits and cityscapes. Paul Louis Delance, Georges Seurat, Paul Signac and Henri Rousseau were the first artists to depict this symbol of modernity. Robert Delaunay an
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Bajda, Justyna. "Image – écrit – traduction." Między Oryginałem a Przekładem 25, no. 45 (2019): 13–32. http://dx.doi.org/10.12797/moap.25.2019.45.01.

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Painting – Text – Translations. Representation of the Colour Blue in Descriptions of Paintings in Art Books
 Colour is a basic category for describing a painting. At the same time, it is one of the most problematic categories for an art historian who describes a real artefact as well as a translator who only works with a description of the artwork.The aim of this article is to present the terms used to refer to the colour blue that appear in descriptions of paintings reproduced in art books. The scope of the analysis was limited to French Impressionist paintings. The collected material wa
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Jin, Sukyoung. "Heine’s reading of paintings: art as the signature of time – with regard to French Painters." Hesse-Forschung 44 (December 30, 2020): 97–119. http://dx.doi.org/10.31133/hf.2020.12.44.97.

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Dissertations / Theses on the topic "Art in Naples. French painters"

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Beck, Émilie. "Da Vernet a Valenciennes: i pittori francesi di paesaggio a Napoli nella seconda metà del Settecento." Doctoral thesis, Scuola Normale Superiore, 2005. http://hdl.handle.net/11384/85760.

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Goudie, Allison J. I. "The sovereignty of the royal portrait in revolutionary and Napoleonic Europe : five case studies surrounding Maria Carolina, Queen of Naples." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:aeecdc4b-d840-4e25-be64-ba1407e18cd2.

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This study demonstrates how royal portraiture functioned during the Revolutionary and Napoleonic wars as a vehicle for visualizing and processing the contemporary political upheavals. It does so by considering a notion of the 'sovereignty of the portrait', that is, the semiotic integrity (or precisely the lack thereof) and the material territory of royal portraiture at this historical juncture. Working from an assumption that the precariousness of sovereignty which delineated the Revolutionary and Napoleonic wars goes hand in hand with the precariousness of representation during the same perio
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Collins, Megan Marie. "The Portrait of Citizen Jean-Baptiste Belley, Ex-Representative of the Colonies by Anne-Louis Girodet Trioson: Hybridity, History Painting, and the Grand Tour." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1237.pdf.

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Dessy, Clément. "Les écrivains devant le défi nabi: positions, pratiques d'écriture et influences." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209795.

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En 1888, une communauté de peintres s’associe sous l’appellation « Nabis ». Ce terme, issu de l’hébreu, signifie à la fois les « prophètes » et les « initiés ». Paul Sérusier qui vécut sa rencontre avec Paul Gauguin comme une révélation est à l’origine de la formation du groupe. Une année auparavant, le symbolisme littéraire triomphe en France et suscite l’émulation parmi une nouvelle génération d’écrivains qui se cristallise autour de /La Revue Blanche/ et le /Mercure de France/. Entre les Nabis et les symbolistes s’établit dès lors un intense réseau de collaborations. Tant dans l’élaboration
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MacKay, Douglas Gordon. "Copying, parody, and pastiche in the early work of Paul Cezanne." Phd thesis, 2010. http://hdl.handle.net/1885/110253.

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This thesis takes as its central theme the possible presence of techniques of copying, pastiche, and parody in the early poetry and painted works of Paul Cezanne. A chronologically-based assessment is made of Cézanne's various literary and visual efforts that might be seen to have been produced by such procedures in the period up to the end of the 1860s and the height of his so-called 'manière couillarde', Not only are the possible formal ramifications of such approaches discussed, particularly in regards to their inherent basis in the intrinsically imagic, but also the forms of multiplying co
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Books on the topic "Art in Naples. French painters"

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Denon, Musée, ed. Naples et Pompéi: Les itinéraires de Vivant Denon. Musée Denon, 2009.

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Beck-Saiello, Émilie. Le chevalier Volaire: Un peintre français à Naples au XVIII siècle. Centre Jean Berard, 2004.

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Florence, Clifford, ed. Belle-Ile en art. H. Belbéoch, 1991.

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Anderson, Janice. The art of the impressionists. Parragon, 1994.

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Impressionism: The painters and paintings. NDE Pub., 1999., 1999.

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Jennings, Guy. Impressionist painters. Hamlyn, 1986.

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Jennings, Guy. Impressionist painters. Guild Publishing, 1986.

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Hambourg, André. Bonjour New York, André Hambourg: The French master celebrates New York with a series of important new works. Wally Findlay Galleries, 1986.

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Impressionism: The painters and the paintings. Studio Editions, 1991.

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Denvir, Bernard. Impressionism: The painters and the paintings. Mallard Press, 1991.

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Book chapters on the topic "Art in Naples. French painters"

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Wisner, David. "Painters and Public Patronage in the First French Republic: the Ministry of the Interior and the Art of the French Revolution." In The French Experience from Republic to Monarchy, 1792–1824. Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9781403932747_7.

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Lin, Jenny. "Shanghai’s art in fashion." In Above Sea. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526132604.003.0003.

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Chapter Two considers how Shanghai Tang, a Hong Kong-founded fashion brand, exploits Shanghai’s imagined cosmopolitan legacy towards the building of a multinational luxury brand. The author considers the rising political tensions between Hong Kong and Shanghai, as Hong Kong was handed over from British to mainland Chinese rule in 1997. The chapter discusses a 1997 Shanghai Tang advertisement featuring Chinese actress Gong Li, addressing how the image signals the return of class-based society, while sanitizing mainland China’s immediate socialist past. This chapter also examines the powerful influence of Shanghai Tang’s founder, art collector Sir David Tang, on the international dissemination of contemporary Chinese art, exploring key Shanghainese painters promoted by Tang, including Yu Youhan, Wang Ziwei and Ding Yi. Referencing these artists’ connections to Shanghai Tang, and also the French fashion brand, Christian Dior, the chapter theorizes the rise of a contemporary Chinese art/fashion system. The final section focuses on Shanghai-based sculptor Liu Jianhua, who has been supported by both Tang and Christian Dior, and the artist’s subversion of mainland China’s presumed role as “the factory of the world” through his ceramic-based practice.
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Hope, Charles. "Francis James Herbert Haskell 1928–2000." In Proceedings of the British Academy, Volume 115 Biographical Memoirs of Fellows, I. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262788.003.0011.

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Publication of Patrons and Painters (1963), which dealt with art in 17th-century Rome and 18th-century Venice, established Francis Haskell as one of the leading art historians of his generation. He held posts at King's College Cambridge and was then appointed Professor of the History of Art at Oxford University with a Fellowship at Trinity College. Haskell turned to studying French painting of the 19th century. Rediscoveries in Art: Some Aspects of Taste, Fashion and Collecting in England and France (1976) won the Mitchell Prize for Art History. Haskell was elected a Fellow of the British Academy in 1971. Obituary by Charles Hope.
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Kahn, Andrew. "Painting." In Mandelstam's Worlds. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857938.003.0007.

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This chapter observes that references to the eye and parts of the eye (eyelashes, iris, pupil, sclera, retina, and socket) are pervasive in Mandelstam’s prose and poetry. These references intensify around 1931, at a time when his poems establish a visual dialectic between representations of art (cinema, painting, objects) and also make use of images from Soviet life, adding what W.J.T. Mitchell calls ‘iconotexts’ to the emblems or ideograms seen in the poems of the early 1920s. A close reading of a famous passage from the travel piece Journey to Armenia unravels from its references to French painters and theorists the background behind Mandelstam’s terminology and his preoccupation with the physiological sensitivity of the eye. The Russian art scene was strongly influenced by French neo-Impressionist painting, in both theory and practice, and Mandelstam’s references condense a cultural moment of great prominence and influence. The chapter moves on to poems that aim to transpose onto a verbal canvas some of the lessons of these schools of painting, opening up new worlds governed by rules of art rather than rules of ideology at a time when the Soviet state was imposing canons of representation.
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BINSKI, PAUL. "How Northern was the Northern Master at Assisi?" In Proceedings of the British Academy, Volume 117. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262795.003.0003.

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The origins of the painters of the upper walls of the right (north) transept of the Upper Church of S. Francesco has mystified historians of the greatest early showcase of Italian narrative art. These origins have been explored in a literature dominated by specialists in Italian and Byzantine art, and the conclusions have generally been the same, namely that the right transept was worked on by artists who were not only Italian but also French or English, and who remained content to work in distinctively native styles. This chapter argues that the case for specifically English influence at Assisi is actually vastly weaker than that proposed for Sigena, and that to understand the right transept we may have to look away from thirteenth-century London or Paris. This is not to rule out categorically the possibility of any English influence at Assisi; caution may simply help us to expose and understand the kinds of assumption about artistic identity and experience, which can be seen in practice to have influenced our understanding of what are exceedingly complex monuments that defy categorical definitions of personal, group, or national style.
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