Relevant bibliographies by topics / Artist-artisans

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Artist-artisans'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Artist-artisans"

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Leone, Stephanie C., and Paul A. Vierthaler. "Innocent X Pamphilj's Architectural Network in Rome." Renaissance Quarterly 73, no. 3 (2020): 897–952. http://dx.doi.org/10.1017/rqx.2020.122.

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This study employs network analysis and microhistory to challenge the standard narrative about architecture and patronage in Baroque Rome, that of celebrity patron-artist relationships. It investigates the artists and artisans below this elite team and the plurality of relationships that developed among them. The subject is Innocent X Pamphilj's monumental works of art and architecture, at the Vatican, Piazza Navona, Campidoglio, Lateran, and Janiculum Hill, commissioned for the 1650 Holy Year. It argues that competent artisans and their relationships influenced the operation of building sites
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Bernard, Maurice, and Jean-Michel Dupouy. "Up Close: Laboratoire de Recherche des Musées de France: Materials Science in the Service of Art History." MRS Bulletin 19, no. 7 (1994): 68–71. http://dx.doi.org/10.1557/s088376940004759x.

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Until the 18th century, the word “art” meant the product of the artisan (not the artist) and, by extension, also meant the product itself. Objects manufactured by craftsmen had, first of all, a useful function, although they might also have had a symbolic or aesthetic meaning. The concept of aesthetics is actually much older, considering the antiquity of Rome and Greece. And in Egypt, 3,500 years ago, at Saqqara, the first stone pyramid was engraved by scribes expressing their admiration for it.These artisans were famous for the quality of their work, for their genius in mastering their knowle
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Pandey, Anjali. "BIDRI WARE: A UNIQUE METAL CRAFT OF INDIA." International Journal of Research -GRANTHAALAYAH 4, no. 3 (2016): 170–75. http://dx.doi.org/10.29121/granthaalayah.v4.i3.2016.2799.

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Handicrafts are valuable; they make our life enriched by their grace. Many times the question rises in our mind, about the origin and concept of the art and craftsmanship, its method and technique, material and attribute of the craftsmanship. The master craftsmanship of Bidri ware has all requisite qualities of excellence. Bidri is a type of encrusted metal ware. It is an intricate process involving several steps. Its preparation process and manufacturing is unique. The decorative designs describe the influences of Mughal impact. Often Bidri ware had inscription Arabic calligraphy of high qual
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Bryant, George B. "Frank Furness and Henry Holiday: A Study of Patronage, Architecture and Art." Architectural History 56 (2013): 169–211. http://dx.doi.org/10.1017/s0066622x00002483.

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The decorative arts are integral and crucial elements in the works of Philadelphia architect Frank Furness (1839–1912) (Fig. 1). The wonderfully inventive embellishments to his buildings, in wood, metal and glass, contribute to a memorable richness and help distinguish his buildings from those of his contemporaries. Our current understanding of Furness and his works has been based primarily upon considerations of the buildings themselves, and on anecdotal information concerning Furness’s personality and family, and some reasonable assumptions as to how his work fits within the architectural an
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Becker, Karin, and Geska Helena Brečević. "More Than a Portrait: Framing the Photograph as Sculpture and Video Animation." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 48–55. http://dx.doi.org/10.47659/m5.048.art.

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This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that cha
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Tunstall, Alexandra. "Beyond Categorization: Zhu Kerou’s Tapestry Painting Butterfly and Camellia." East Asian Science, Technology, and Medicine 36, no. 1 (2012): 39–76. http://dx.doi.org/10.1163/26669323-03601003.

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This paper introduces the technique of kesi or tapestry weave in China through one example, Butterfly and Camellia, attributed to Zhu Kerou, a woman artist of the twelfth century. This particular weaving is attributed to a time period when tapestry weavings began to imitate the visual language of painting. The relationship between kesi and painting is explored, examining the early use of kesi as wrappers for paintings. At the same time that the basic technology of kesi weaving is discussed, the gendered nature of weaving as work in Song-dynasty China as well as the techniques of connoisseurshi
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Somantri, Ria Andayani. "SISTEM EKONOMI PENGRAJIN KELOM GEULIS DI GOBRAS, KOTA TASIKMALAYA, PROVINSI JAWA BARAT." Patanjala : Jurnal Penelitian Sejarah dan Budaya 7, no. 3 (2015): 477. http://dx.doi.org/10.30959/patanjala.v7i3.113.

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AbstrakPenelitian Sistem Ekonomi Pengrajin Kelom Geulis di Gobras, Kota Tasikmalaya, Provinsi Jawa Barat dilaksanakan untuk menjawab masalah penelitian, yakni bagaimana pola produksi, distribusi, dan konsumsi pengrajin kelom geulis, serta aspek budaya di dalamnya. Kelom geulis diteliti karena merupakan salah satu kerajinan tradisional dari Kota Tasikmalaya yang masih bertahan dengan segala kekhasannya. Penelitian tersebut menggunakan metode penelitian deskriptif kualitatif. Adapun teknik pengumpulan data yang digunakan adalah studi pustaka, observasi, dan wawancara kepada sejumlah informan. Ha
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Kaup, Monika. "“¡Vaya Papaya!”: Cuban Baroque and Visual Culture in Alejo Carpentier, Ricardo Porro, and Ramón Alejandro." PMLA/Publications of the Modern Language Association of America 124, no. 1 (2009): 156–71. http://dx.doi.org/10.1632/pmla.2009.124.1.156.

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Cuba assumes a special place in the genealogy of the latin American Baroque and its twentieth-century recuperation, ongoing in our twenty-first century—the neobaroque. As Alejo Carpentier has pointed out (and as architectural critics confirm), the Caribbean lacks a monumental architectural baroque heritage comparable with that of the mainland, such as the hyperornate Churrigueresque ultrabaroque of central Mexico and Peru (fig. 1). Nevertheless, it was two Cuban intellectuals, Alejo Carpentier and José Lezama Lima, who spearheaded a new turn in neobaroque discourse after World War II by popula
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Tangonan, Hyreizl Love Acosta, and Charlton Sales Selda. "Art as an Escape: A Narrative of a Fine Arts Graduate." Abstract Proceedings International Scholars Conference 7, no. 1 (2019): 909–24. http://dx.doi.org/10.35974/isc.v7i1.1578.

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Introduction: In the field of visual arts, there are a few studies conducted on the subject of escapism among artists. This research paper is conducted, in the context of contemporary visual arts, with the purpose of contributing to the knowledge regarding escapism and the experiences of artists who resort to art as an escape.
 Methods: Using the narrative research design, the central research question is “How do personal experiences trigger a Fine Arts graduate artist to resort to art as an escape?”. A graduate of Fine Arts who personally considers art as an escape was the participant of
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Munive Maco, Manuel. "Don Joaquín antes de 1975. Adenda para una polémica inconclusa." Illapa Mana Tukukuq, no. 13 (February 19, 2019): 72–79. http://dx.doi.org/10.31381/illapa.v0i13.1899.

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A primera vista el “Premio Nacional de Cultura” que se le otorgó en 1975 significó también su consagración como una celebridad en la escena cultural capitalina. Sin embargo, Joaquín López Antay era conocido desde mucho antes gracias a su participación en bienales y ferias limeñas y porlas aproximaciones que diversos intelectuales nacionales ensayaron sobre su fascinante quehacer plástico. El presente trabajo aporta información sobre la actividad de Don Joaquín algunos años antes de 1975 en relación con la de John Davis, artista norteamericano que participó en primera línea en el proceso de rec
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Dissertations / Theses on the topic "Artist-artisans"

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ELUSTA, Halima Alves de Lima. "Visita ao museu de pedra: o Cemitério da Saudade de Campinas - SP." Universidade Federal de Goiás, 2008. http://repositorio.bc.ufg.br/tede/handle/tde/2823.

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Made available in DSpace on 2014-07-29T16:27:59Z (GMT). No. of bitstreams: 1 halima alves de lima elusta.pdf: 1141981 bytes, checksum: 3fc923943a823b53e913c3c488dc6e1b (MD5) Previous issue date: 2008-11-04<br>The Saudade Cemetery, in Campinas, Brazil, is considered na open-sky museum for burial monuments that represents and materialize the relation man death in this city. The main goal of the present research is to show the transformations after the death secularization in the city, since 1881, when the cemetery was founded till the 1950 s decade. The transformations occurred during this per
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Books on the topic "Artist-artisans"

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Gildenhall: Handwerk - Kunst - Leben: Materialien zur Geschichte einer Siedlung. Edition Rieger, 2010.

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Folk arts of West Bengal and the artist community. Niyogi Books, 2011.

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McCann, Michael. Artist beware. 2nd ed. Lyons & Burford, 1992.

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Ātisuto shōkōgun: Āto to shokunin kurieitā to geinōjin = Artist syndrome. Meiji Shoin, 2008.

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5

Dreeszen, Craig. The artist in business: Basic business practices. Edited by Bacon Barbara Schaffer, Fiscella John, and University of Massachusetts at Amherst. Arts Extension Service. Arts Extension Service, Division of Continuing Education, University of Massachusetts at Amherst, 1988.

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Dreeszen, Craig. The artist in business: Basic business practices. Edited by Bacon Barbara Schaffer, Fiscella John, and University of Massachusetts at Amherst. Arts Extension Service. Arts Extension Service, Division of Continuing Education, University of Massachusetts at Amherst, 1991.

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Dreeszen, Craig. The artist in business: Basic business practices. Edited by Bacon Barbara Schaffer, Fiscella John, and University of Massachusetts at Amherst. Arts Extension Service. Arts Extension Service, Division of Continuing Education, University of Massachusetts at Amherst, 1991.

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8

McCann, Michael. Artists beware: The hazards in working with all art and craft materials and the precautions every artist and photographer should take. 3rd ed. Lyons Press, 2005.

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9

Artist beware: The hazards in working with all art and craft materials and the precautions every artist and craftsperson should take. Lyons Press, 2005.

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10

Kunimoto, Yoshiyuki. Aruchizan toshiron: Toshi no "shuen" to "sochi" kara no teigen. Buren Senta, 1992.

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Book chapters on the topic "Artist-artisans"

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Litvin, A. "Excerpts From Yidishe Neshomes." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0021.

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This chapter presents some excerpts from A. Litvin's Yidishe neshomes (Jewish Souls). The first deals with the Jew and the ‘look-box’. There is a very large portion of the Jewish masses for whom the entire world of aesthetics, beauty, and art is unknown. The Jewish folk artist comes to their help. Still today, as in the past, the aesthetic needs of the very poorest are met by the Jew with the ‘look-box’. The look-box is simultaneously a theatre and a museum; it also teaches history, geography, and other important things. Meanwhile, the second excerpt concerns the blind Jewish musicians, who are nearly all former artisans.
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Balafrej, Lamia. "Manuscripts in Motion." In The Making of the Artist in Late Timurid Painting. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474437431.003.0007.

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Chapter 5 takes a close look at the signatures of Bihzad in the paintings of the Cairo Bustan. Each signature was concealed as a pictorial detail, taking a different form in each painting. Signatures, moreover, were unusual in Persian painting. This chapter argues that through concealment, variety, ambiguity and uniqueness, Bihzad’s signatures were designed to elicit a feeling of wonder, emphasising the painter’s virtuosity and creativity. Through excessive minuteness, they mythicized the painter and described artistic authority as transcendent, while also obscuring the participation of many other artists and artisans. Signature was thus as much a step toward visibility as it was an instrument of self-praise, and an act of appropriation.
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