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Cunha, Eduardo Vieira da. "O atelier transparente, ou uma metáfora para a pintura. | The transparente atelier, or a metaphor for painting." PORTO ARTE: Revista de Artes Visuais 22, no. 36 (December 30, 2017): 169. http://dx.doi.org/10.22456/2179-8001.79594.
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A luz que atravessa o vidro já aparece representada na descrição do processo pictórico desde os carnets de Leonardo da Vinci. A janela de um atelier adquire esta função da objetiva da câmara clara: a de organizar o espaço, tanto aquele do interior do local de trabalho como o espaço interior da própria tela. A luz entra no atelier/laboratório para formar imagens sobre uma superfície sensível- a superfície da tela da pintura. O atelier transforma-se em um laboratório de revelação do mundo. É ali que as imagens se formam e tomam corpo. As sucessivas etapas continuam com a preparação do fundo branco da pintura, que torna translúcidas as diferentes cores. A tela passa a funcionar também como uma caixa de luz, iluminada do lado oposto, de onde as cores aparecem, por transparência. O artista é apenas um controlador da alquimia do processo: ele desencadeia uma reação catalisando a formação das imagens. Lembrando Proust, o processo de construção em pintura seria um desses “êxtases do tempo”, um efeito disjuntivo, mais topológico do que temporal, da nossa troca de experiência com o meio: a presença desconhecida da luz que atravessa o vidro para se fixar, modelando uma forma, em um fluxo contínuo de energias e tensões.
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The light that passes through the glass is already represented in the description of the pictorial process since the carnets from Leonardo da Vinci. The window of an atelier acquires this function of the lens of the camera lucida: of organizing the space, both that of the interior of the workplace and that of the interior of the space of the canvas itself. The light enters the atelier/laboratory to form images on a sensitive surface - the surface of the canvas. The atelier becomes a development laboratory of the world. It is there that the images are formed and take shape. The successive stages continue with the preparation of the white background of the painting, which makes the different colors translucent. The screen starts to work as a light box, illuminated on its opposite side, from where the colors appear, by the transparency. The artist is just a controller of the alchemy of the process: he triggers a reaction by catalyzing the formation of images. Remembering Proust, the process of construction in painting would be one of these "time ecstasies," a disjunctive effect, more topological than temporal, of our exchange of experiences with the medium: the unknown presence of the light that passes through the glass to fix itself, shaping a figure, on a continuous flow of energies and tensions.
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Aksenova, Galina V. "Art of a Book of D. Stelletsky." Bibliotekovedenie [Russian Journal of Library Science], no. 1 (February 24, 2011): 62–69. http://dx.doi.org/10.25281/0869-608x-2011-0-1-62-69.
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Dmitry Stelletsky was a sculptor, a painter, a graphic artist and a glorious representative of the Russian retrospectivism at the end of the XIXth — the first quarter of the XXth century that paid his attention to the art of manuscript book. The paper examines one of the most important aspects of his work such as book graphics which received positive enthusiastic reviews of artists and art critics. The papere shows the artist’s career from the studying at the Higher Art School of the Arts Academy and his work in the M.K. Tenisheva atelier till the painting of the church of the Trinity-St Sergius monastery in Paris and the creating of the manuscript masterpiece called «The Lay of Igor’s Warfare».In his book graphic works Dmitry Stelletsky was able to achieve as close as possible to the traditions of ancient Russian art and to revive the old Russian book tradition of compositionally stylistic unity of letters, ornaments and illustrations.
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Popovska, Nataša. "Life of the painting after death of the artist." Kultura, no. 170-171 (2021): 204–18. http://dx.doi.org/10.5937/kultura2171204p.
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Following the path of the painting after the departure of Petar Lubarda, one of our most prominent art figures, we are faced with the question to what extent we have fulfilled our task to protect the cultural property that was left-donated-to us. Processing the data from the most extensive register in the documentation of the Faculty of Fine Arts, with a multitude of actual and sensationalist titles that follow the life of his paintings, we have learnt about the formation of a rich collection donated by the artist's wife, Vera Lubarda, to the City of Belgrade, about the opening of the Atelier of Petar Lubarda and, shortly afterwards, its closing and falling into oblivion. However, in the light of one century from the birth of our esteemed artist, a need arose for retrospective exhibitions, which have, along with marking the jubilee and forming the Legacy of Petar Lubarda, to some extent corrected the decades of neglect by the expert public and the responsible cultural institutions. With an objective approach to the preserved data recorded by numerous art historians, critics and journalists, which are kept in the Petar Lubarda files, the paper presents the most current events about the life of his paintings in the period from the artist's death to the present day
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Cobo-Piñero, Rocío. "Beyond Literature: Toni Morrison’s Musical and Visual Legacy For Black Women Artists." Feminismo/s, no. 40 (July 15, 2022): 27. http://dx.doi.org/10.14198/fem.2022.40.02.
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The aim of this article is to analyze Toni Morrison’s understudied influence on music and visual art. In 1994 she established the Atelier Program in Princeton University as an interdisciplinary arts program that supported and nurtured multifaceted collaborations between artists and students from different disciplines. Moreover, her oeuvre shows her craft in a number of literary and artistic spheres that include writing novels, short stories, children’s books, literary criticism, song cycles and the script for a musical and a play. Keeping in mind Morrison’s multidimensional engagement with literature and the other arts, the first half of the article delves into the contemporary musical responses to the writer, placing special emphasis on black women musicians such as rapper Akua Naru, neo-soul vocalist India Arie, and singer and songwriter Janelle Monáe. Morrison’s intersectional representations of gender and race relations across the history of the U.S. have similarly inspired visual artists. The second half of the article explores the visual creations by U.S. black women artists Kara Walker, Lorna Simpson and Amy Sherald. Morrison’s manifold articulations of blackness and womanhood similarly resonate on the other side of the Atlantic through the work of Lubaina Himid, the first black British artist to win the prestigious Turner Prize in 2017.
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Soudavar, Abolala. "The Patronage of the Vizier Mirza Salman." Muqarnas Online 30, no. 1 (January 31, 2014): 213–34. http://dx.doi.org/10.1163/22118993-0301p0010.
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While previously published manuscripts hinted at Mirza Salman's interest in such works, two recently discovered manuscripts better show the full extent of the vizier's patronage. They reveal how his early association with Sultan Ibrahim Mirza had already induced him to emulate his prince in commissioning illustrated manuscripts, albeit on a more modest scale—and how he quickly decided to step into the shoes of Ibrahim Mirza and act as a true mirza, as soon as he established his supremacy in the chaotic political arena following Shah Ismaʿil II’s death. He thus commissioned artists from the late prince's library-atelier to prepare a series of manuscripts, the most important of which was a copy of the Būstān in which every illustration reflected a significant episode in the vizier's rapid rise to power. In so doing, he found a suitable accomplice in the person of the artist Muhammadi, who could dazzle him not only with his paintings but with his witty selection of texts and creative imagination for producing multilayered illustrations.
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GREY, THOMAS. "Wagner and the ‘Makart Style’." Cambridge Opera Journal 25, no. 3 (November 2013): 225–60. http://dx.doi.org/10.1017/s0954586713000116.
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AbstractThe visual artist most commonly linked with the name of Richard Wagner from the 1870s to the early twentieth century was the now relatively little-known Viennese painter Hans Makart (1844–84). Makart's Viennese atelier – no less than his sumptuous history paintings, ‘bacchanals’, society portraits and multi-media design-projects (notably a lavish 1879 historical pageant celebrating the Hapsburg monarchy) – defined an influential visual and stylistic idiom for the early fin-de-siècle. The style is recognisable in the salon at villa Wahnfried, in Paul Joukowsky's set designs for the first Parsifal, and arguably, in aspects of Wagner's music itself. Like most artists of the era, Makart occasionally depicted Wagnerian motifs, but his affinity with the composer was recognised as a matter of style and technique. Two breakthrough works from around 1868 in triptych form, Moderne Amoretten (Modern Cupids) and Der Pest in Florenz (The Plague in Florence), suggest thematic and conceptual parallels with Tannhäuser and Tristan und Isolde, respectively. Makart's Renaissance history paintings and the 1879 Vienna Festzug stage national history as a collective aesthetic experience in the manner of Die Meistersinger. A ubiquitous theme in comparisons of artist and composer is the role of colour (visual, harmonic and timbral), raised to a quasi-autonomous force that dominates composition and ‘idea’. Makart's resistance to conventions of visual narrative, as read by contemporary critics, recalls Wagner's resistance to conventional melodic periodicity.This article investigates the cultural and technical sources of Makart's appeal in the later nineteenth century and traces the comparison of Makart's and Wagner's styles as a critical topos. The disappearance of Makart and his ‘style’ from modern critical consciousness, I argue, mirrors a cultural Amnesia regarding features central to Wagner's irresistible fascination for his contemporaries.
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Cardoso, Angela Maria Gonçalves. "Pablo Palazuelo e Victoria Vesna. Arte e Ciência, Laboratório de Formas." História da Ciência e Ensino: construindo interfaces 21 (July 6, 2020): 32–47. http://dx.doi.org/10.23925/2178-2911.2020v21p32-47.
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ResumoA exposição retrospetiva PABLO PALAZUELO Proceso de Trabajo. MACB-5-12-06 a 18-2-07; e a conferência (ln) Tangibles: Nanopercepció i Mon Quantic. Vitoria Vesna, David Peat, CCCB- 24-3- 07, criam uma perspetiva da relação Arte-Ciência-Tecnologia. Essa perspetiva é aqui apresentada nos argumentos evidenciados pela obra deste artista e desta nanocientista. A obra, na sua função figurativa emergente, flui entre dois tempos: o da vida de Palazuelo (Madrid, 1915-2007) e Vesna (Washington D.C.,1960). Estas figurações materializam-se através da pintura e escultura em PaIazueIo e em instalações interativas, ambientes digitais virtuais, performances polisensoriais, em Vesna. Palazuelo, em 1976, falava deste plano de interceções do seguinte modo: "La ciencia penetra cada vez más profundamente en eI misterio de Ia materia formada, y el arte puede hacerlo también por sus propios medios, buscando allí otras cosas que aún no han sido reveladas." Este "tête a tête", conquista um espaço introdutório para a criação de obras unidas numa temática: a Mandala. O trabalho de atelier do pintor Palazuelo (Madrid, 1915-2007) e a obra nanomandala realizada pelos monges tibetanos de Gaden Kangtsen - County Museum de L.A. e Picolab.UCLA. A transição entre imagens de grãos de areia que revelam ondas padrão aparecendo a uma escala nanométrica, é evidente na referência formal e concetual na obra de Palazuelo. Assim sendo, as formas na matéria emergem seja pela via de atelier ou pela via de laboratório.Palavras-chave: Arte-Ciência, Laboratório, Linguagem Gráfica AbstractThe retrospective exhibition PABLO PALAZUELO Proceso de Trabajo. MACB-5-12-06 a 18-2-07; and the conference (ln) Tangibles: Nanopercepció i Mon Quantic. Vitoria Vesna, David Peat, CCCB24-3-07, create a perspective of the Art-Science-Technology relationship. This perspective is presented here in the arguments evidenced by the work of this artist and this nanocientist. The work, in its emergent figurative function, flows between two times: that of the life of Palazuelo (Madrid, 1915-2007) and Vesna (Washington D.C., 1960). These figurations materialize through the painting and sculpture in PaIazueIo and in interactive installations, digital virtual environments, polysensorial performances, in Vesna. Palazuelo, in 1976, spoke of this plan of interceptions as follows: "La ciencia penetra cada vez más profundamente en eI misterio de Ia materia formada, y el arte puede hacerlo también por sus propios medios, buscando allí otras cosas que aún no han sido reveladas."This "tête a tête", conquers an introductory space for the creation of works united in a theme: Mandala. The studio work of the painter Palazuelo (Madrid, 1915-2007) and the nanomandala work by the Tibetan monks of Gaden Kangtsen - County Museum of L.A. and Picolab.UCLA. The transition between images of sand grains that reveal standard waves appearing on a nanoscale scale is evident in the formal and concetual reference in Palazuelo's work. Thus, the forms in matter emerge either by atelier or by laboratory.Keywords: Art-Science, Laboratory, Graphic Language
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Kudelska, Dorota. "Malczewski and Vienna: New Facts." Roczniki Humanistyczne 67, no. 4 SELECTED PAPERS IN ENGLISH (October 30, 2019): 151–87. http://dx.doi.org/10.18290/rh.2019.68.4-7en.
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The Polish version of the article was published in Roczniki Humanistyczne vol. 65, issue 4 (2017).
The article presents, apart from the well-known facts concerning Malczewski’s connections with Viennese institutions and art circles, unknown archive materials, including: 1. letters exchanged between the artist and Juliusz Twardowski (a ministerial official) regarding the lease of a workshop at the Prater district of Vienna (letters were written between 1900–1913 and in 1925); 2. photographic documentation (19 items from the years 1890–1911) of the XXXIX. Ausstellung der Vereinigung Bildender Künstler Österreichs Secession in Vienna that featured 40 paintings by Malczewski and the sculpture Procession to Wawel by Wacław Szymanowski. The manuscripts indicate that Malczewski kept a secret atelier abroad and he most definitely worked there (it was either during one prolonged period, or two periods each lasting a few years). It contradicts the naïve opinions that Malczewski, being a patriot, could not stand separation from his homeland.
Photographs with dates and signatures complete the information from the catalogue; they allow for the matching of the ambiguous titles with photographs, and consequently help to identify the paintings shown at the exhibition. Some paintings presented in the photos are not known today, therefore the photographs constitute valuable iconographic material. The documents prove, for instance, that Spring. Landscape with Tobias (1904) was presented in Vienna. It is startling that the painting’s synthetic form was not acknowledged by the critics in Vienna. Just after the World War I, Malczewski wrote a letter to the President of the Wiener Secession in which he stated that the war had not been beneficial to any of the martyred and agitated nations and he had hoped for cooperation between the artists in the time of peace that would not be shaped by national interests or politics.
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Jakubowski, Bartosz. "Dwór i zbiory Michała Pawlikowskiego w Medyce." Rocznik Przemyski. Literatura i Język 58, no. 2 (26) (December 30, 2022): 117–60. http://dx.doi.org/10.4467/24497363rplj.22.005.17070.
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The manor and collections of Michał Pawlikowski in Medyka In 1809 Józef Benedykt Pawlikowski bought a landed estate in Medyka near Przemyśl from Wincenty Głogowski. Since then until 1939 Medyka remained in the hands of successive members of the Pawlikowski family, who made it their family hearth and main administrative centre of their large estate. Under the Pawlikowskis Medyka was not only a prosperous estate but also an important culture centre. The Medyka manor played an exceptional role between the wars, when it was a renowned literary centre and a painter’s atelier. Michał Pawlikowski (1887–1970), the last owner of Medyka, built a new manor between 1920 and 1927, where he ran a private publishing house called “Biblioteka Medycka” (The Medyka Library). The atmosphere of the place attracted representatives of the cultural elite of the period, famous politicians, outstanding scholars, army officers and clergy. The invaluable archival material and works of art accumulated in the manor reflected his archivist and collector’s passions. This paper presents Michał Pawlikowski as the last owner of the Medyka manor and also as an art collector and patron of the arts. The text discusses the development of the manor in Medyka with special attention paid to architectural achievements of particular members of the Pawlikowski family. The paper also describes at length the residence erected by Michał after the First World War, its architecture and the invaluable collections accumulated inside it, including the legacy of artist Artur Grottger and manuscripts of eminent Polish poets.
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Cargnin Facco, Marta Lucia. "Reflexões sobre o ateliê como lugar/espaço em processos de criação em Artes Visuais." Revista Digital do LAV 10, no. 2 (August 25, 2017): 213. http://dx.doi.org/10.5902/1983734826890.
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ResumoEste artigo[1] tem por objetivo refletir sobre o ateliê como lugar/espaço em processos de criação em Artes Visuais, bem como sua relevância na construção intelectual, crítica e reflexiva do artista. Busca-se, assim, possibilidade de compreensão do que seria esse ateliê nas Artes Visuais, sua conceitualização, finalidade e espaço/tempo para a construção de um ser/estar artista em meio ao processo criativo. Nessa perspectiva, propõe-se transitar por ateliês de artistas, em especial, o ateliê de William Kentridge, onde se aponta para a presença dos objetos inseridos neste contexto, investigando a cadeira como possível impulsionadora nos processos cognitivos de criação. Como desdobramento para este estudo, pretende-se também investigar os conceitos de espaço e lugar, assim como a dialética entre a poética e a estética nos processos de criação, ancorando-se nos estudos de René Passeron (1997) e Luigi Pareyson (2001), que neste momento somente serão adotados para elucidar o início da pesquisa. Enviado em: 28 de abril de 2017.Aprovado em: 05 de maio de 2017.
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Julião, José Nicolao. "As pinturas de Rafael Sanzio no ateliê filosófico de Nietzsche." Cadernos Nietzsche 43, no. 2 (August 2022): 201–26. http://dx.doi.org/10.1590/2316-82422022v4302jnj.
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Resumo: O artigo explora as considerações de Nietzsche sobre o pintor renascentista Rafael Sanzio, que são raras no conjunto da obra do filósofo, entretanto permeia todas as fases do seu processo de desenvolvimento intelectual. A abordagem, nos mais das vezes, é de cunho positivo, havendo resquícios de censura com relação à timidez do artista em promover uma transvaloração do Cristianismo, o que soa como certa ambiguidade. O momento mais fecundo da abordagem ocorre no período intermediário, no qual, Nietzsche valoriza o Humanismo renascentista e as obras de Rafael ilustram bem as características do Renascimento que ele valoriza.
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Ribeiro, Marta Barbosa, and Joana Brites. "A CASA-ATELIER DE ANTÓNIO TEIXEIRA LOPES: UM MICROCOSMO OITOCENTISTA." Biblos, no. 4 (December 27, 2018): 31–59. http://dx.doi.org/10.14195/0870-4112_3-4_2.
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O presente artigo visa analisar formal e iconograficamente a casa-atelier de António Teixeira Lopes, relacionando-a com a vida privada e social do escultor, com a arquitetura e a mundividência românticas. Parte-se da caracterização da casa-atelier enquanto refúgio e palco do artista, articulando a sua emergência com a entrada da arte na esfera pública. Contextualiza-se a construção da casa-atelier de Teixeira Lopes no âmbito do seu trajeto pessoal e profissional e examina-se a dinâmica espacial da mesma. Finalmente, decodificam-se os discursos iconográficos reunidos no edifício. A convivência de alusões à identidade do artista com a apropriação eclética de correntes artísticas e ornamentos passíveis de uma leitura iniciática ou esotérica é interpretada à luz do século XIX português.
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Thijssen, Lucia G. A. "'Divcrsi ritratti dal naturale a cavallo' : een ruiterportret uit het atelier van Rubens geïdentificeerd als Ambrogio Spinola." Oud Holland - Quarterly for Dutch Art History 101, no. 1 (1987): 50–63. http://dx.doi.org/10.1163/187501787x00033.
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AbstractThe closeness of a work from Rubens' studio in the English Royal Collection, known as Equestrian Portrait of a Knight of the Golden Fleece (Fig. I, Note 1), to two equestrian portraits painted by Van Dyck during his stay in Genoa, from 1621 to 1626 (Figs. 2, 3, Note 2) has led to the identification of the sitter. A number of other pictures from the circle of Rubens and Van Dyck show horses and/or riders in related poses and the dates on some of them reveal them to have been painted before Van Dyck's portraits. This applies to The Riding School by or after Rubens, which is generally dated 1610-12 (Fig. 4, Note 3), a Paradise Landscape by Jan Brueghel of 1613 (Note 4) and Sight dated 1617 by the same artist (Fig.5, Note 5), which features a horseman known as Archduke Albert. A number of undated paintings inspired by the same model include six supposed to be of Archduke Albert (Notes 6, 10), three by Casper de Crayer (Fig. 6, Note 13) and eguestrian portraits of Louis XIII (Note 14) and Ladislaw IV of Poland. Thus it seems likely that these followers of Rubens', Van Dyck included, based themselves on one and the same equestrian portrait by their teacher. Since Van Dyck almost certainly painted the two equestrian portraits in Genoa during his stay in that city, his model or a replica of it must also have been there between 1621 and 1626. In fact, probably at the request of his patrons (Note 17), he often used models by Rubens, who had worked in Genoa for a time in 1606 (Note 16). However, his two equestrian portraits are not based on the only Genoese one by Rubens now known, that of the Marchese Doria (Fig. 7, Note 18), which is very different and has a liveliness quite, unlike Van Dyck's quiet static compositions. The equestrian portrait in the English Royal Collection was bought by George I in 1723 as a Rubens. The sitter is clad in the Spanish costume of the early 17 th century while the towers in the background could be those of Antwerp (Note 36). The sitter has been identified as the Archduke Albert, but he actually bears no resemblance to other portraits of the Archduke, who was also much older than this at the time of Ruberas' stay in Genoa in 1606. The most likely candidate is Ambrogio Spinola (Note 32) , the statesman and general, of whom both Rubens and Van Dyck painted more than one portrait. Spinola was commander of the Spanish troups in the Southern Netherlands, a friend of Rubens and Knight of the Golden Fleece, and he also came from Genoa, where this portrait could have been painted during a visit he made to the city in 1606 (Notes 33, 34). Stylistically too the portrait seems to fit in with the series of portraits painted by Rubens in Genoa in that year. The physiognomy of the sitter is certainly close to that of the known portraits of Spinola (Figs. 8-1, Note 35), while the details of Spinola's life also support the identification. Spinola (1569-1630), who was Marquis of Sesto and Venafro, belonged to one of the group of closely related, families of bankers who held key positions in Genoa. He arrived in the Netherlands around 1602 at the head of a large and unusually well-trained body of troops. In 1603 he provided funds to prevent a mutiny among the Spanish troups and after his capture of Ostend in 1604 he was appointed second in command to Archduke Albert. He was made a Knight of the Golden Fleece on I March 1605 and in the same year he was put in charge of military finances. From 1606 until his departure for Spain in 1628 he was superintendent of the military treasury and' mayordomo mayor' to the Archdukes Albert and Isabella. After the death of Albert in 1621 he became principal adviser to Isabella and thus the most powerful man in the Spanish Netherlands. His amiable character brought him many friends, even among the ranks of the enemy, notably the Princes Maurice and Frederick Henry, with whom he had a great deal of contact during the Twelve Years Truce. It was probably one of them who bought the Portrait of Spinola by Van Miereveld (Fig. 8). After a disappointing mission to Spain in 1628, Spinola was relieved of his command of the Army of Flanders and put in charge of the Spanish troups in Lombardy. He died in his castle in Piedmont in 1630. During the years 1603-5 and later Spinola made several visits to Madrid, where he will undoubtedly have met the powerful Duke of Lerma and probably also seen the equestrian portrait that Rubens painted of him in 1603 (Fig. 12, Note 39). He must also have known of the portraits Rubens painted in Genoa in 1606, since at least three and probably five of them are of members of the Spinola family, while there survives a letter to Rubens from Paolo Agostino Spinola on the subject of portraits (Note 40). All this makes it likely that Spinola would have had his own Portrait painted too and that Rubens may well have painted his first portrait of the man who was to become his lifelong friend as early as 1606. Although Rubens was sometimes irritated by Spinola's lack of interest in his work (Note 41) , he admired him greatly (Note 42). He cultivated Spinola's friendship after his return to Antwerp in 1608 and will doubtless have introduced Van Dyck to him. Van Dyck later painted more than twenty pictures for the five Spinola palaces (Note 43) in Genoa and his work also became known in Madrid via Spinola and his son-in-law Don Diego Felipez Messia Guzman de Legañes, who owned many works by Van Dyck (Note 44). The presumed equestrian portrait of Spinola was much copied, as were other portraits of him by Rubens. Spinola was admired all over Europe and that may have been why other commanders and princes wanted to have themselves portrayed in the same way. The original or a replica may have hung in Spirtola's palace in Brussels, where the first to have seen it would have been Archduke Albert, which may explain the many equestrian portraits of him by Rubens' followeers which were based on it. Another possibility is that Rubens himself may have painted an equestrian portrait of the Archduke very similar to that of Spinola around 1610, but that this is no longer known. Caspar de Crayer of Brussels, a friend, though not a pupil of Rubens, was also influenced by the Spinola equestrian portrait. Furthermore, when he was invited to paint a set of equestrian portraits for the Huis ten Bosch, he sent the young Antwerp painter Thomas Willeboirts Bosschaert to The Hague in his place (Note 46) and it was in this way that Rubens' model came to the Northern Netherlands, where it was copied only once, by Isaac Isacsz. in his equestrian portrait of William the Silent (Note 47). The equestrian portrait of Sigmund III of Poland (Fig. 13), a cousin of Archduke Albert, could also have been painted in Van Dyck's studio in Genoa, which was probably visited by his son Prince Ladislaw in 1624 (Note 48). This picture too still owes much to Rubens' model which Van Dyck used again ten years later for his equestrian portraits of Charles I of England (Fig. 14, Note, 50) and Francisco de Moncada (Note 51).
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Gržina, Hrvoje. "Klub amatera fotografa, Društvo umjetnosti i počeci organiziranoga fotoamaterskog pokreta u Zagrebu i Hrvatskoj." Život umjetnosti, no. 109 (December 1, 2021): 34–51. http://dx.doi.org/10.31664/zu.2021.109.03.
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U radu se—u kontekstu europske amaterske fotografije devetnaestoga stoljeća—progovara o okolnostima nastanka zagrebačkoga Kluba amatera fotografa i najranijem razdoblju njegova djelovanja (do 1898.). Posebna je pozornost pritom poklonjena preciznom utvrđivanju datuma osnutka kluba (4. rujna 1893.), za koji se dosad mislilo da je bio utemeljen godinu dana ranije. U nastavku je obrađena i organizacija kluba, njegova fotooprema i atelijeri, načini financiranja, odnos s Društvom umjetnosti te prvi organizirani nastupi na izložbama i najraniji članovi. Klub amatera fotografa u Zagrebu utemeljen je 4. rujna 1893. Ideja za njegovo osnivanje potekla je od skupine entuzijasta, mahom članova Društva umjetnosti, na sastanku održanomu na Josipovcu krajem kolovoza 1893., u vrijeme širenja fotoamaterskog pokreta po čitavoj Europi. Impuls za organiziranje zagrebačkih fotoamatera bez sumnje je bio uspjeh polučen na Međunarodnoj izložbi umjetnina održanoj 1891. u Zagrebu, dok je kao model mogao poslužiti bilo koji od postojećih klubova diljem Austro-Ugarske Monarhije. Ipak, glavni je uzor u organizacijskom i praktičnom smislu bez sumnje bio bečki Klub amatera fotografa (Camera Club), čijemu su članstvu pripadali i neki od zagrebačkih fotoamatera. Od početaka tijesno povezan s Društvom umjetnosti, Klub amatera fotografa, posredstvom Izidora Kršnjavoga, u nekoliko je navrata obilno dotirala Zemaljska vlada, čime je postavljena i solidna infrastruktura za fotografsku djelatnost. Prvi je klupski atelijer bio u prostoru jednoga od osnivača, Julija pl. Zigeunera Blumendorfskoga, da bi po njegovu odlasku iz Zagreba fotoamateri od veljače 1894. nastavili raditi u atelijeru znamenitoga fotografa Ivana Standla. Njegov je atelijer u Mesničkoj ulici ujedno zadnji prostor koji su zagrebački fotoamateri rabili tijekom 19. stoljeća, pa tako s krajem 1898. završava i prvo poglavlje organiziranoga fotoamaterizma u glavnome hrvatskom gradu. Period koji je razmatran u članku (1891.–1898.) moguće je podijeliti na tri razdoblja: prvo (pripremno) od Međunarodne izložbe umjetnina 1891. do utemeljenja kluba 4. rujna 1893., drugo (samostalno) od utemeljenja kluba do njegova sjedinjenja s Društvom umjetnosti 1. siječnja 1895. te treće od početka 1895. do napuštanja Standlova atelijera 12. srpnja 1898. Kroz tih je sedam godina fotoamaterizam u Zagrebu prošao put od hobija nekolicine imućnijih građana i plemića do ozbiljne organizacije s poslanjem širenja interesa za fotografiju, a preko nje i upoznavanja širega općinstva s njezinim umjetničkim odlikama. Vrhunac organizirane fotoamaterske djelatnosti u Zagrebu svakako je bilo izlaganje članova Kluba amatera fotografa na Hrvatskoj narodnoj umjetničkoj izložbi, održanoj na prijelazu 1894. u 1895., da bi nedugo potom, po pripajanju kluba Društvu umjetnosti, kroz svega tri godine takva, organizirana djelatnost gotovo u potpunosti zamrla. Kao ozbiljnija se iznimka u periodu nakon 1894. velikim brojem izložaba i osvojenih nagrada istaknuo Leo Antun pl. Vetter, jedan od prvih zagrebačkih fotoamatera, poznat još s Međunarodne izložbe umjetnina 1891. Njegove su snimke između 1894. i 1898. nekoliko puta objavljivane u prestižnome bečkom glasilu Wiener Photographische Blätter. Upravo su Vetter i Antun Stiasni ml.—čija je ozbiljnija fotografska karijera tek počinjala—svojim kontinuiranim radom pomogli prebrođivanju krize organiziranoga fotoamaterizma u periodu od sjedinjenja Kluba amatera fotografa s Društvom umjetnosti do njegova ponovnoga aktiviranja u obnovljenom društvu početkom 20. stoljeća.
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Thomazoni, Andresa, Tania Fonseca, and Margarete Axt. "Computador-atelier como agenciamento maquínico." Revista Farol 17, no. 24 (September 21, 2021): 160–73. http://dx.doi.org/10.47456/rf.v17i24.31234.
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Este artigo surge de uma pesquisa de doutorado que buscou analisar o processo de criação da artista multimídia X que utiliza o computador como atelier para sua produção artística. Utilizou-se a cartografia como metodologia de pesquisa, por esta privilegiar o acompanhamento do processo de criação. O objetivo deste artigo é refletir sobre a relação híbrida do agenciamento homem-máquina, entendendo a mesma como potência maquínica. Busca-se, portanto, demonstrar a potência política de maquinar a máquina, na criação de novos devires.
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Do Lago, Izabela Baptista. "O ESPAÇO DE CRIAÇÃO DO PINTOR NA OBRA DE BALZAC: UM PASSEIO PELOS ATELIÊS DE PORBUS, SERVIN E GRASSOU." Non Plus, no. 6 (September 23, 2015): 98–110. http://dx.doi.org/10.11606/issn.2316-3976.v3i6p98-110.
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A descrição detalhada do ateliê do pintor personagem é um elemento recorrente nas novelas de inspiração artística de Honoré de Balzac. Ao analisar e comparar essas descrições de ateliês em três novelas que se enquadram nessa temática – A obra-prima ignorada, A Vendeta e Pierre Grassou –, inclusive no que se refere ao efeito pictural produzido, é possível tecer um paralelo entre o espaço de criação, a construção do personagem pintor e o desenvolvimento da narrativa. Como conclusão, foi feita uma aproximação entre o personagem artista e a figura do escritor, considerando-se a literatura que trata de pintura como uma forma de transposição, uma vez que pintor e escritor se dedicam ao trabalho da criação artística.
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Różańska, Anna, and Karolina Bodych. "Classics of Polish Design. Polish avant-garde Bauhaus style furniture from the interwar period." Annals of WULS, Forestry and Wood Technology 117 (April 30, 2022): 14–34. http://dx.doi.org/10.5604/01.3001.0015.8689.
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Classics of Polish Design. Polish avant-garde Bauhaus style furniture from the interwar period presents a review of the best Polish furniture designs from the 1920s and 1930s. In spite of the inspirations with historicism popular in the interwar period and the references to folk culture (e.g., the "Ład" Artists' Cooperative), Polish designers also drew inspiration from the works of the following artists: Le Corbusier, Marcel Breuer, Mies van der Rohe and Mart Stam, who designed avant-garde furniture made of metal pipes. The paper presents little known works of Polish artists from the groups "Praesens", "Atelier wnętrz i architektury" (The Atelier of Interiors and Architecture), "Studium wnętrz i sprzętu" (Studio of Interiors and Equipment), as well as furniture designs referring to the Bauhaus style for private and public interiors (including designs for transatlantics or the President's Castle in Wisła), among others, manufactured by the Thonet-Mundus company. The paper continues the series devoted to the "Classics of Polish Design", presenting the results of research on Polish furniture, carried out within the framework of dissertations in the Department of Wood Technology in the Warsaw University of Life Sciences (SGGW).
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Campos, Marcelo. "“O freio da Blazer”, a “cara da dura”: notas sobre itinerários entre a cidade, a arte, institucionalidades e ascendências afro-brasileiras / “The Blazer’s brake”, the “face of the police approach”: notes on itineraries between the city, the art, institutionalities and Afro-Brazilian ancestries." arte e ensaios 28, no. 43 (August 31, 2022): 318–39. http://dx.doi.org/10.37235/ae.n43.18.
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Este texto trata de observações e notas recentes e inéditas sobre a relação da arte produzida por afrodescendentes e seus mecanismos de institucionalidade. De outro modo, são abordados itinerários que se cruzam com minha própria trajetória na Escola de Belas Artes da Universidade Federal do Rio de Janeiro, frente à rara convivência com pessoas racializadas e a metodologias da história da arte invisibilizadoras da arte dos artistas afro-brasileiros. Apresento, também, relatos, lembranças, histórias trocadas com artistas negras, negros e negres da cidade, cuja convivência se dá em diversos âmbitos, nas salas de aula, ateliês, espaços culturais, resultando em textos, curadorias, acompanhamentos críticos.Palavras-chave: Arte. Afrobrasilidades. Rio de Janeiro. Ativismo. Escola de Belas Artes.AbstractThis text deals with recent and unpublished observations and notes on the relationship between art produced by Afro-descendants and their mechanisms of institutionality. Otherwise, itineraries that intersect with my own trajectory at the School of Fine Arts of the Federal University of Rio de Janeiro are approached, in face of the rare coexistence with racialized people and methodologies from the history of art that make art and Afro-Brazilian artists invisible. I also present reports, memories, stories exchanged with black, and black artists from the city, whose coexistence takes place in different areas, in classrooms, ateliers, cultural spaces, resulting in texts, curatorships, critical accompaniments.Keywords: Art. Afro-Brazilians. Rio de Janeiro. Activism. School of Fine Arts.
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Nascimento, Carolina Reichert do, and Rafael Sancho Carvalho da Silva. "As representações da literatura oral nas esculturas de Mestre Nêgo." Boitatá 15, no. 29 (January 5, 2021): 108. http://dx.doi.org/10.5433/boitata.2020v15.e40149.
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Expomos, no início do texto, nossa abordagem de pesquisa sobre a vida e a obra do escultor Mestre Nêgo, residente em Barreiras, Bahia, a qual se institui a partir da análise da oralidade do escultor sobre suas vivências. Em seguida, nos debruçamos na relação entre sua produção artística escultórica a qual possui aspectos intimamente ligados com a literatura oral. Por fim, analisamos três esculturas de lendas brasileiras do artista apoiados nos enredos das memórias relatadas ao longo de entrevistas realizadas na Casa das Artes, atelier do artista.
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Dias, Elaine, and Natália Cristina Aquino Gomes. "ATELIÊ COMO AUTORRETRATO DO ARTISTA." Projeto História : Revista do Programa de Estudos Pós-Graduados de História 71 (September 1, 2021): 9–33. http://dx.doi.org/10.23925/2176-2767.2021v71p9-33.
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O ateliê de artista foi tema de inúmeras representações na pintura, especialmente nos autorretratos, e também na literatura internacional e nacional. O local de trabalho era o cenário perfeito para afirmação e reconhecimento social do artista e o autorretrato neste espaço era um dos principais gêneros de divulgação de sua imagem. Comumente voltados aos aspectos positivos de sua arte e tendo em vista um modelo já consolidado na história da arte, o ateliê e o autorretrato foram bastante explorados por artistas brasileiros, construindo igualmente sua importância profissional entre os pares e clientes. Já a literatura foi além em sua construção visual, abordando narrativas que enveredaram, na maioria dos casos, para a tragédia intrínseca às suas vidas, culminando em fracassos, morte e suicídio. Analisaremos, assim, as facetas da representação do artista no ateliê no campo das artes, da literatura internacional e dos exemplos brasileiros, explorando suas intenções e diferenças na composição de sua imagem.
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Memou, Antigoni. "Forgotten solidarities in the Atelier Populaire posters." Art & the Public Sphere 8, no. 1 (July 1, 2019): 7–21. http://dx.doi.org/10.1386/aps_00002_1.
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Abstract This article examines some of the 'forgotten' posters of the Atelier Populaire, which were collectively produced by artists, workers, students and activists among others in the occupied Beaux-Arts school during the events of May '68. The article argues that alternative visual narratives are to be discovered in these posters, which break away from the representations of the events as youth revolt and the geographical reduction of the events to Paris and the Cartier Latin. Looking at them anew allows us to rediscover the unique solidarity among students, workers, farmers, the migrant workers and the unemployed, and to decipher the anti-capitalist character of the movement and its global dimensions.
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Nicolich, Nat�lia dos Santos. "SOBRE A ARTE ENTRE OS S�CULOS 19 E 20: UMA ABORDAGEM A PARTIR DAS REPRESENTA��ES DO ATELI� VAZIO / On art between the 19th and 20th centuries: an approach from representations of the empty studio." arte e ensaios 27, no. 42 (January 3, 2022): 172–87. http://dx.doi.org/10.37235/ae.n42.14.
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O estudo da hist�ria da arte no Brasil costumava tratar o s�culo 19 e o 20 como dois per�odos bastante distintos, quase conflitantes, sobre os quais n�o era poss�vel conceber que houvesse di�logo. Nos �ltimos anos, com as revis�es historiogr�ficas sobre a abordagem modernista, os pesquisadores valorizaram a produ��o oitocentista e por consequ�ncia abriram o campo para novas possibilidades de estudo sobre a arte nas primeiras d�cadas dos anos 1900. O presente artigo intenciona contribuir com essas pesquisas, propondo uma leitura para al�m das transforma��es est�ticas ocorridas nesse per�odo, tendo como ponto de partida as representa��es do ateli� vazio. Assim, considerando o ateli� vazio um tema por excel�ncia na arte do s�culo 19, investigamos sua persist�ncia no s�culo 20 apesar das mudan�as de paradigma na pintura. Para tanto, reunimos algumas obras realizadas entre os anos 1880 e 1950 aproximadamente, nas quais observamos aspectos sobre a posi��o do artista como profissional, a concep��o da arte e da realidade que os cerca.Palavras-chaveAteli� vazio. S�culos 19 e 20. Pintura. Artista.�AbstractThe study of Art History in Brazil used to treat the 19th century and the 20th century as two very distinct, almost conflicting periods, about which it was not possible to conceive that there were dialogues. In recent years, with the historiographic revisions on the modernist approach, researchers have valued the nineteenth-century production and consequently opened the field to new possibilities of studying art in the early 1900s. The present article intends to contribute to this research, proposing a reading beyond the aesthetic transformations that occurred in this period, taking as a starting point the representations of the empty studio. Thus, considering the empty studio a theme par excellence in 19th century art, we investigate its persistence in the 20th century despite the paradigm shifts in painting. To this end, we gathered some works from approximately 1880 to 1950, in which we observed aspects about the position of the artist as a professional, the conception of art and the reality that surrounds them.Keywords:Empty studio. 19th and 20th centuries. Painting. Artist.
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Esner, Rachel. "Presence in Absence." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 56, no. 2 (2011): 79–100. http://dx.doi.org/10.28937/1000106179.
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Seit der Epoche der Romantik bringen viele der Diskurse, die künstlerische Kreativität betreffen, den Künstler und seinen Arbeitsraum zusammen: Die Werkstatt wird als ein Spiegel des Künstlers und seines Werks angesehen, als ein Heiligtum, ein sozialer Raum oder eine Ausstellungsfläche. Ein populärer bildlicher Topos der Zeit war die Darstellung des leeren Ateliers. Der vorliegende Beitrag versteht das Bild des leeren Ateliers im 19. Jahrhundert als ein Selbstporträt des Künstlers. Er untersucht, wie die Darstellung des Raums und seiner Objekte dem Gemälde die Präsenz des Künstlers einschreiben und sein bzw. ihr künstlerisches Selbstverständnis innerhalb der sich verändernden künstlerischen und sozialen Strukturen der Epoche wiedergeben.<br><br>From the Romantic era onward, many of the discourses surrounding artistic creativity have merged the artist and his working space: the place of work is viewed as the mirror of the man and his oeuvre, a sanctuary, a social or an exhibition space. A popular topos in this context was the view of the empty studio. This paper explores the 19th-century empty studio image as a self-portrait of the artist. It examines how the depictions of the space and its objects work to inscribe the artist’s presence, and to express his or her artistic self-conception and identity within the changing artistic-social structures of the period.
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Ray, Nick. "The Aalto atelier." Architectural Research Quarterly 14, no. 4 (December 2010): 293–94. http://dx.doi.org/10.1017/s1359135511000042.
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Lampert, Jociele, and Carolina Nunes. "Entre a prática pedagógica e a prática artística: Reflexões sobre Arte e Arte Educação." Revista Digital do LAV 7, no. 3 (January 7, 2015): 100. http://dx.doi.org/10.5902/1983734814258.
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http://dx.doi.org/10.5902/1983734814258 Este artigo aborda conceitos sobre o lugar do professor artista, bem como, deriva sobre o conceito de experiência utilizando o ateliê como espaço criativo, gerador de potência para articulações entre a formação docente e a prática artística. O estudo norteia-se sobre como o professor compõe seu processo criativo com a elaboração de cartografias, sendo que estas propoem fluxo e conexões entre os conceitos de espaço do ateliê e a subjetividade na prática docente do fazer/saber do professor artista. Desta forma, teoria e a prática tramam-se ao longo de perspectivas metodológicas, a fim de que, a própria pesquisa explore a narrativa subjetiva e identidade da professor artista. Recebido em: 05/06/2014Aprovado em: 15/12/2014
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Pérez Varela, Ana. "Diez copias decimonónicas de una salva portuguesa del siglo XVI en Austria, España y Portugal: en torno a su procedencia y autoría." Liño 26, no. 26 (June 9, 2020): 43. http://dx.doi.org/10.17811/li.26.2020.43-54.
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RESUMEN:Este estudio pretende ser el análisis de una serie de piezas de finales del siglo XIX que copian una bella salva lisboeta del siglo XVI conservada en el Kunsthistorisches Museum de Viena, de acuerdo con la mentalidad romántica e historicista de la platería decimonónica. Hemos hallado copias e imi-taciones de la pieza relacionadas con el artista Ricardo Martínez Costoya, platero oficial de la catedral de Santiago de Compostela entre 1886 y 1924; y con Karl Haas, quien dirigió desde 1866 el atelier de galvanoplastia de la Escuela de Artes Aplicadas de Viena. En este estudio trataremos de determinar la curiosa iconografía de la salva; y sobre todo, reflexionar sobre las atribuciones a Martínez basándonos en nuestro conocimiento sobre el artista, y su diferencia con las que nosotros atribuimos a Haas. Palabras Clave: Platería; salva; siglo XVI; siglo XIX; iconografía.
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Nemet, Katarina. "UMETNIČKI ATELJEI NA TRGU SLAVIJA." Zbornik radova Fakulteta tehničkih nauka u Novom Sadu 34, no. 02 (December 17, 2018): 284–87. http://dx.doi.org/10.24867/01fa15nemet.
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Tema rada jeste projekat umetničkog ateljea, odnosno artists residence objekta na Trgu Slavija u Beogradu. Idejno rešenje i proces projektovanja rešenja su direktna posledica kombinovanja savremene japanske i evropske arhitektonske prakse. Projekat predstavlja rešenje na temu koja objedinjuje stambeni, poslovni i javni deo objekta, na zadatoj lokaciji.
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Sant’anna, Cristiano Souto. "Caminhada e escuta como disparadoras de uma poética de experiência para viver na zona." Revista Farol, no. 21 (December 12, 2019): 51–60. http://dx.doi.org/10.47456/rf.v1i21.30843.
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O artigo apresenta dois trabalhos do autor, Pequena história da Zona e Luminária solução de forma-conteúdo, o cotidiano de ateliê do artista, as relações entre essas obras e as práticas poéticas na região da Avenida Farrapos, em Porto Alegre. Atravessado pela noção de experiência, o artista desenvolveu uma rotina de convívio e uma poética da experiência, que resultou no compartilhamento de saberes articulados no ateliê e galeria. O artigo ainda desenvolve o conceito de Zona, delimitado como a região física da Avenida Farrapos, mas ampliando o sentido para zona de bagunça, de meretrício, zona imaginária.
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Dominioni, Lorenzo, and Antranik Balian. "The Medieval Armenian Symbol of Eternity in the Art of the Twelfth-Century Italian Sculptor Nicholaus." Journal of the Society for Armenian Studies 28, no. 2 (December 16, 2021): 265–85. http://dx.doi.org/10.1163/26670038-12342764.
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Abstract The medieval Armenian symbol of eternity – a whirl sign – is engraved in the forehead of five bull sculptures dated to the first half of the twelfth century, attributable to the workshop of the Italian sculptor Nicholaus. The whirl is an ancient sacred symbol associated with eternal life, not specific to any religion or culture, that has persisted for millennia. The following carvings display a closely resembling geometric whirl engravure: in the apse frieze of Koenigslutter Kaiserdom (Lower Saxony), in the pulpit of Sacra di Carpi (Modena), in the “Creation of animals” panel of S. Zeno Basilica (Verona), in the Verona Cathedral porch, and in the Ferrara Cathedral narthex. This symbol, generally ignored by Western Christian art after the Carolingian period, was revisited by the Nicholaus workshop. We argue that the small, hitherto overlooked whirl engraving made by these artists in the bull head of Koenigslutter, Carpi, Ferrara and Verona was a veiled ornamental performance displaying the symbol of eternity to signify the concept of life in the hereafter. Here the immediate inspiration source was likely Armenian, because in the early twelfth century the geometric whirl symbol of eternity was foreign to Italian religious decorations while it was deeply rooted in Armenian Christian art. Nicholaus and his atelier were familiar with the leaved cross and the whirl – traditional Armenian motifs symbolizing life in the hereafter – and were inspired by them in some of their works. In the decorative reliefs of S. Zeno Basilica façade, Verona Cathedral porch and Koenigslutter Kaiserdom frieze, various examples of the geometric whirl metamorphosis into naturalistic foliate whirl are extant, witnessing the Nicholaus atelier’s versatile sculptural performance in conceptualizing everlasting life.
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Ruschel Nascimento Garcez, Luciane, and Sandra Makowiecky. "BREVES NOTAS TEMPORAIS: JUAREZ MACHADO E OUTROS ARTISTAS EM “O QUE HABITA O ATELIÊ DO ARTISTA?”." Art&Sensorium 9, no. 2 (December 13, 2022): 12–33. http://dx.doi.org/10.33871/23580437.2022.9.2.12-33.
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Este estudo faz uma breve revisão do percurso do ateliê do artista na história da arte, situando sua importância em alguns momentos da história, chegando ao contemporâneo. Em uma análise da importância desse espaço de criação para o resultado plástico artístico, abordam-se, entre outros, Joe Fig e Juarez Machado, como exemplos de artistas que têm o ateliê como seu espaço de criação e refúgio sagrado, mas também, em certos casos, o ateliê como temática na criação artística.
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Galinowski, A. "Synthèse Atelier 1." L'Encéphale 33, no. 4 (September 2007): 652–54. http://dx.doi.org/10.1016/s0013-7006(07)92069-2.
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Krebs, M. O. "Synthèse Atelier 2." L'Encéphale 33, no. 4 (September 2007): 663–65. http://dx.doi.org/10.1016/s0013-7006(07)92072-2.
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Falissard, B. "Synthèse Atelier 3." L'Encéphale 33, no. 4 (September 2007): 677–78. http://dx.doi.org/10.1016/s0013-7006(07)92075-8.
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Mann, Vivian B. "Observations on the Biblical Miniatures in Spanish Haggadot." IMAGES 4, no. 1 (2010): 1–17. http://dx.doi.org/10.1163/187180010x547602.
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AbstractThis essay discusses the last two centuries of medieval Spanish art, and demonstrates that cooperative relations existed between Christians and Jews who worked either independently or together to create art both for the Church and the Jewish community. Artists of different faiths worked together in ateliers such as that headed by Ferrer Bassa (d. 1348), producing both retablos (altarpieces) as well as Latin and Hebrew manuscripts.The work of such mixed ateliers is of great significance when considering the genesis ca. 1300 of illuminated haggadot with prefatory biblical cycles and genre scenes that were produced in Spain until ca. 1360. These service books for Passover have always been viewed as a unique phenomenon within the Jewish art of Spain, their origins inexplicable. When the biblical scenes, however, are viewed in the context of contemporaneous Spanish art for the Church, their sources become more transparent.
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Guillén, Blanca Isabella. "Medusa III." Cultura de Paz 23, no. 72 (October 2, 2017): 39. http://dx.doi.org/10.5377/cultura.v23i72.4980.
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Nuestra joven artista Blanca Isabel Guillen Manzanares (Nicaragua), ya cuenta con distinciones en su carrera como pintora y grabadora, pues ha representado a Nicaragua en el II Encuentro de Muralismo y Arte Público (X) Tizayuca, Hidalgo, 2016, en México. Además, es miembro activo del Grupo Puertas Abiertas y Miembro del Taller de Gráfica Glifos. Ha realizado estudios en: Escuela Nacional de Artes Plásticas en Nicaragua, Academia Atelier del Sol en Costa Rica (Curso de Realismo Clásico) y estudios de grabado en el taller de Gráfica Glifos en Nicaragua. Y estudios con los Maestros Madrigal Arcia (Nicaragua) y Adolfo Siliezar (Costa Rica). Mario René Madrigal-ArciaArtista PlásticoNicaragua, 12 julio de 2017
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Lopez Piñeyro, Hernán. "Mapear colectivamente la dictadura argentina y sus restos." PÓS: Revista do Programa de Pós-graduação em Artes da EBA/UFMG 9, no. 18 (November 22, 2019): 13–28. http://dx.doi.org/10.35699/2237-5864.2019.16113.
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Este trabajo se propone realizar una aproximación crítica a las prácticas cartográficas promovidas por grupos artísticos y desarrolladas colaborativamente. Más específicamente, se analiza una acción del Grupo de Arte Callejero, Aquí viven genocidas (2001-2006): una serie mapas de Buenos Aires en los que se indican los domicilios de los genocidas escrachados por distintas organizaciones sociales y cuestiones relativas a la última dictadura militar argentina. Esta cartografía no fue gestada en el atelier de un artista, sino producida a partir de la propuesta de un grupo, en colaboración entre activistas con el fin de tejer redes de afinidad e impulsar prácticas de justicia alternativas.
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Hasirci, Deniz, and Zeynep Tuna Ultav. "The Multiple Stories Behind the Modern Ceramic Coffee Tables of the Grand National Assembly of Turkey." Journal of Design History 33, no. 3 (May 17, 2020): 225–42. http://dx.doi.org/10.1093/jdh/epaa022.
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Abstract At the end of the 1950s, 200 coffee tables and other furniture and fittings were created by interior designers who won a design competition organized by the Grand National Assembly of Turkey (GNAT) in Ankara. The tables were envisioned to be made by modern ceramic artists and designers of the time. Despite never meeting, they created joint works that were celebrated at the time for their artistic quality. The coffee tables, which were used by government ministers, were useful for introducing ceramics into government interiors while informing the leaders of a modernizing Turkish nation about modern art. This study traces the stories behind the creation of these unique artworks based on the personal stories of Füreya Koral, Sadun Ersin, and the Taylan Ceramics Atelier, who were all significant contributors to the history of this furniture. The method used included literature review, a comprehensive archival research through popular magazines, and interviews with artists and designers of the time. The interviews helped uncover data that could not be accessed otherwise. The findings contribute to Turkish and international design history, uncovering artworks and identifying modernist artists and designers of the time in Turkey.
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Dias, André, and Danielle Joia. "Criação e prática docente no atelier de carnaval de Samuel Abrantes." Revista de Ensino em Artes, Moda e Design 5, no. 3 (September 8, 2021): 185–98. http://dx.doi.org/10.5965/25944630532021185.
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O presente artigo relata o processo de criação de figurino, associada a prática docente, do professor Samuel Abrantes em seu atelier de Carnaval; bem como a Coautoria em seus figurinos, com alunos e carnavalescos. Dois estudos de caso são elencados pelos autores para análise dos processos de construção, metodologia, escolha de materiais e soluções de problemas, ao longo dos mais de 15 anos em que os pesquisadores acompanham Samuel em sua produção de figurinos carnavalescos para o carnaval carioca. Além da metodologia e do processo de criação, o artigo descreve a importância da troca de experiencias, o aprendizado de forma e a importância do papel do figurinista - e a transdisciplinaridade que a profissão exige - independente da mídia para a qual o figurino seja criado. Reforça, também, a importância da Práxis para a construção de uma teoria reflexiva do figurino carnavalesco e da formação do artista, dentro e fora da academia.
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Callias Bey, Martine, Véronique Chaussé, Laurence Finance, Françoise Gatouillat, and Nicole Blondel. "Les ateliers." Revue de l'Art 72, no. 1 (1986): 55–56. http://dx.doi.org/10.3406/rvart.1986.347568.
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Sahuc, Philippe. "Ananda Devi et certains de l’exil." Romanica Silesiana 21, no. 1 (June 13, 2022): 1–11. http://dx.doi.org/10.31261/rs.2022.21.11.
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Inspirée par des pages de Ceux du large (Ananda Devi, 2017) et des pages d’autres auteurs avec lesquels Ananda Devi est en lien, une performance été faite par un artiste-chercheur devant aussi animer un atelier de création sonore et à la même période. Parmi les participants se trouvaient de jeunes migrants. Essayant de prendre en compte toutes les dimensions d’une telle expérience aussi bien humaine qu’artistique, le texte fait apparaître les liens entre les mots d’Ananda Devi et ceux des jeunes migrants, et aussi l’influence de les avoir lus sur la façon de conduire l’atelier. Mais, par-dessus tout, il s’agit de montrer combien une telle écriture poétique est nécessaire pour ne pas réduire la migration à un simple fait mesurable.
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Podhalański, Bogusław, and Anna Połtowicz. "Regeneration of a historic city block: the example of the relocation of the historic Atelier building to the cloister area of the Congregation of the Resurrection in Krakow." Urban Development Issues 63, no. 1 (October 10, 2019): 77–86. http://dx.doi.org/10.2478/udi-2019-0018.
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Abstract The article discusses a project that features the relocation of the historic Atelier building, built by Krakow-based architect Wandalin Beringer (1839–1923) who was active in the early twentieth century, and the regeneration of a plot belonging to the Congregation of the Resurrection since 1885, which is located at 12 Łobzowska Street in Krakow. The method includes cutting the entire structure off at the foundation and then after reinforcing it with a steel structure transporting it in its entirety to the new location. The project included two possible variants of moving the building in a straight line, either by 21 or 59 metres and evaluates two projects of further regeneration, the adaptive reuse of the building as an exhibition and religious space as well as a proposal for the remodelling of the nearby plot that belongs to the Congregation into a space for meditation and as a recreational park. The aim of these measures is to prevent the demolition of this building, now over a century old, as a result of which a forgotten element of the cultural heritage of the city will be saved. This project was based on the results of analyses of the cultural and historical conditions of Krakow. The block of buildings in which the Atelier in question is located is a very attractive location, near to the very centre of Krakow, adjacent to residential, service and educational buildings. It is directly adjacent to the Monastery Complex of the Congregation of the Resurrection, listed as a heritage building under conservation protection (municipal registry of heritage buildings). In the second half of the twentieth century, the building was used as a workroom by artists such as Xawery Dunikowski and later by the sculptress Teodora Stasiak. The case of the Atelier may provide an inspiration for discussion as well as raising awareness among citizens and city authorities to avoid future situations in which cultural heritage may become forgotten or demolished.
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Romão, Alexandro Uguccioni, and José Serafim Bertoloto. "O universo poético de Vitória Basaia." Fractal : Revista de Psicologia 26, spe (2014): 659–78. http://dx.doi.org/10.1590/1984-0292/1325.
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A artista plástica Vitória Basaia é capaz de parir mundos usando matérias primas refugadas pela sociedade. A Casa Basaia é o seu local de moradia e também o seu ateliê. A casa se transformou ao longo dos anos em uma espécie de museu. Nesse artigo, sondamos esse universo a partir da análise das obras, materiais, técnicas e preocupações ontológicas da artista relacionadas à criação. Com base em conceitos de autores como Deleuze, Guattari, Bertoloto, Bachelard e Brandão, observamos como a inquietação da artista se converte em programa de arte e constitui o seu universo poético, territorializado na Casa Basaia.
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Rosenfield, Lenora Lerrer. "Técnica e pulsão em Iberê Camargo." PORTO ARTE: Revista de Artes Visuais 20, no. 34 (May 1, 2016): 89. http://dx.doi.org/10.22456/2179-8001.62312.
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O artigo relata experiência de convívio com o artista Iberê Camargo (Restinga Seca, 1914 - Porto Alegre, 1994), apresentando apontamentos sobre seu aprendizado de formação e sua prática de ateliê, enfatizando sua expressão através de uma pintura conduzida por intensa pulsão dramática.
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Leite, Caroline Alciones De Oliveira. ""Esse universo dos sons que a gente não escuta”: entrevista com Cildo Meireles." REVISTA POIÉSIS 21, no. 36 (July 1, 2020): 175. http://dx.doi.org/10.22409/poiesis.v21i36.42766.
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Desde janeiro de 2019, temos tido a oportunidade de realizar uma série de entrevistas com Cildo Meireles, além de outras visitas ao ateliê do artista. Esta entrevista, a primeira da série, trata do sonoro em diversas obras de Cildo Meireles, desde o final da década de 1960 até a década de 2010. O desenrolar da entrevista se dá entremeado por reticências que contemplam conversas paralelas à questão sonora e também muitas risadas com o artista e seus assistentes.
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Fonseca, Fábio. "Entrevista com Gilvan Samico." ouvirOUver 15, no. 2 (March 10, 2020): 620–33. http://dx.doi.org/10.14393/ouv-v15n2a2019-50281.
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Entrevista com o xilogravador pernambucano Gilvan José Meira Lins Samico. A entrevista aconteceu em setembro de 2010, no agradável sobrado próximo ao Mosteiro de São Bento, no centro de Olinda, onde ele vivia e mantinha seu ateliê, e onde fui recebido de maneira hospitaleira e calorosa por Samico e sua esposa Célida. Após um primeiro dia no qual houve uma conversa, a entrevista foi gravada nos dois dias seguintes. Fiz perguntas referentes à minha pesquisa, mas procurei deixá-lo falar espontaneamente. A entrevista apresenta um panorama, pelo próprio artista, sobre sua trajetória, desde o início no Ateliê Coletivo de Gravura da Sociedade de Arte Moderna do Recife, seu aprendizado com Lívio Abramo na Escola de Artesanato do Museu de Arte Moderna de São Paulo, e Oswaldo Goeldi na Escola Nacional de Belas Artes, no Rio de Janeiro, até o período no qual viveu em Madrid. O artista também fala sobre questões técnicas, suas relações com o mercado de arte e algumas lembranças da infância.
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Santos, Gildenir Carolino. "Passagens e imagens do ateliê de Paulo Bruscky vistos através da contemporaneidade da bienal." ETD - Educação Temática Digital 6, no. 2 (November 12, 2008): 181. http://dx.doi.org/10.20396/etd.v6i2.780.
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Pensar em Bienal leva-nos a imaginar trajetos e várias ações voltadas para a organização e exposição de objetos e instrumentos que serão vistos por várias pessoas em determinado período. Nessas exposições vale também apresentar não somente objetos, mas locais, casas, edificações e até mesmo ateliê de arte em sua estrutura e posição original, que é o caso do ateliê apresentado neste ensaio sobre Paulo Bruscky. Será apresentar neste ensaio, uma descrição dos locais, ou melhor, dizer, partes da casa doa artista, trazida de Recife (PE) para ser mostrada ao público o seu trabalho e como ele é organizado em várias perspectivas...
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Aboukhater, R. "CULTURE-LED URBAN DEVELOPMENT INITIATIVE IN A WORLD HERITAGE CITY: THE CASE STUDY OF THE OLD CITY OF DAMASCUS IN SYRIA." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-M-1-2020 (July 24, 2020): 573–80. http://dx.doi.org/10.5194/isprs-archives-xliv-m-1-2020-573-2020.
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Abstract. This paper deals with the process of transformation of a cultural quarter developed at al-Amin district inside the Old City of Damascus. In 2006, approximately 25–30 artists, moved to this historical neighbourhood and settled in its traditional houses, changing their function into studios/ateliers. One year later, the district was called “The Artists’ Quarter” with the acknowledgment of local and international institutions. The presence of artists’ studios and many cultural events in the area has contributed to the discovery of the rich architectural and cultural heritage of the neighbourhood and the development of a new sphere of public encounters. This quarter became a destination for tourists as well as for locals. Unfortunately, during the war in Syria, started in 2011, different negative changes have happened at al-Amin district. The study aims to (1) Highlight the origin and development of the quarter from the point of view of the artists and the dwellers; (2) Study the spatial and socio-economic effects caused by the “Artists’ Quarter”; (3) Evaluate the changes in the traditional houses due to change of their function; (4) Investigate the actual situation due to the war. Information was collected mainly from interviews with several artists, with hotels' managers and shopkeepers in the quarter, in addition to literature review, consultation of maps and plans and on-site observation. Results of the study will help in understanding this model of urban development and try to set up recommendations for integrated development and heritage management of this neighbourhood.
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Scalbert, Irénée. "Siedlung Halen: between standards and individuality." Architectural Research Quarterly 2, no. 1 (1996): 14–25. http://dx.doi.org/10.1017/s1359135500001068.
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In 1961, a group of young designers practising under the name of Atelier 5 completed Siedlung Halen near Berne. This private housing development was the first built example of the compact, low-rise housing type conceived by Le Corbusier for vacation use in the south of France. It was the forerunner of the newly resurgent carpet or mat planning form. In addition, Halen was a social experiment likened by its designers to the Unité d'Habitation at Marseilles, reinterpreted to fit closely with the local topography. Beyond its undisputed claim to history, its success resides, as in the case of the Unité, in having raised the standards of a particular housing form. Attention to the welfare of users has since become a hallmark of the work of Atelier 5. This paper describes the genesis of the project, its form and social outlook.
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Sheridan, Bridget. "Mapping the Way: The Use of Maps in Artistic Projects, Working with Migrants and Refugees." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 47, no. 2 (July 10, 2020): 217–31. http://dx.doi.org/10.36770/bp.479.
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This article deals with three art projects which take into account the relationship between maps, migration and memory. We shall analyse how Céline Boyer, Bouchra Khalili and Marie Moreau artistically respond to the diverse waves of migration in Europe. In each of their respective projects, engagement with these themes and with individual participants created opportunities for the transmission of knowledge and experience. The connection between maps and power is explored relative to these artistic projects and related processes. Whether it be photography, writing, video installation or participative ateliers, all three artists seem to pinpoint the importance of the hand when it comes to telling and mapping a story.
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Leonel, Priscila. "Ateliê - Território da Artista: relacionando arte, território, ancestralidade negra e memórias." Palíndromo 12, no. 27 (May 1, 2020): 248–65. http://dx.doi.org/10.5965/2175234612272020248.
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Este artigo é um recorte da minha atual pesquisa de doutorado em Processos Artísticos, na linha da Cerâmica Latino-Americana, neste estudo realizei uma recuperação de conhecimentos e saberes ancestrais que perpassam a minha produção artística, principalmente em cerâmica. Concebendo uma produção de objetos relacionados à memória, trago também uma relação com ancestralidade negra, aproximando uma discussão sobre questões do afrodescendente, no contexto social do estado de São Paulo, lugar onde nasci e me formatei como artista. Dessas descobertas da artista no território abriram-se possibilidades de olhar para o tempo/espaço como parte do meu processo artístico e de identidade cultural.