Log in

Relevant bibliographies by topics / Baroque art

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers
Reports

Academic literature on the topic 'Baroque art'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Baroque art.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Baroque art"

1

Haverkamp-Begemann, Egbert. "Northern Baroque Art." Art Bulletin 69, no. 4 (December 1987): 510. http://dx.doi.org/10.2307/3050996.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Moebius, William. "Art Baroque, Art d'Enfance (review)." Lion and the Unicorn 22, no. 1 (1998): 107–11. http://dx.doi.org/10.1353/uni.1998.0006.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Souiller, Didier. "D’un art poétique baroque." Littératures classiques 36, no. 1 (1999): 45–61. http://dx.doi.org/10.3406/licla.1999.1395.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Vlăsceanu, Mihaela. "Illusion and Allegory in the Baroque Art of the Banat: An Introduction." Eikon / Imago 11 (March 1, 2022): 381–91. http://dx.doi.org/10.5209/eiko.76757.

Full text

Abstract:

The present study aims to underline the particularities found in the Banat by means of reinterpreting some of the main creations of Central-European late Baroque, where the illusion of the Habsburg power and allegories of Catholic faith were employed in the unifying artistic discourse. The main methods used range from comparative-historical to iconographic, with a structural-semantic and formal analysis of the works presented as case studies. The epideictic rhetoric of these examples contributes to a better acknowledgement of the role played by art in every society, having in mind that the eighteenth-century artistic phenomenon was synergic with the Central-European evolution and the style was tributary to the late Baroque, one of the many variants with particularities of the so-called “Baroques”.

APA, Harvard, Vancouver, ISO, and other styles

5

Montes, Francisco, and Natália Amarante. "Baroque History: The origin, growth and specimens in the district of Vila Real." ERAS | European Review of Artistic Studies 14, no. 4 (December 30, 2023): 78–97. http://dx.doi.org/10.37334/eras.v14i4.306.

Full text

Abstract:

This paper aims to talk about the history of the Baroque, since its appearance in Italy, a brief introduction to the theme, explaining what this architectural style is, what is its definition according to some authors and how is its presence today, specifically in the district of Vila Real. An attempt is made to give a definition of Baroque art according to various authors, and to demonstrate the different strands present. How Baroque art came about and what are the main characteristics that are present in the different art forms. Later on, some of the representations of Baroque art that exist in different types of art such as architecture, sculpture, painting, literature, theater, and music will be discussed. At the end of this work, the Baroque in Portugal will be exposed, as well as some of the representative works of the Baroque style existing in the District of Vila Real.

APA, Harvard, Vancouver, ISO, and other styles

6

Kotliar, Elena Romanovna, and Vladimir Aleksandrovich Khlevnoi. "Representation of the Baroque Style in the Decor of the Crimean Architecture of the Art Nouveau Period." Человек и культура, no. 1 (January 2023): 33–45. http://dx.doi.org/10.25136/2409-8744.2023.1.39804.

Full text

Abstract:

The subject of the study is the characteristic of the Baroque style and the integration of its elements into the decor of the architecture of the Crimea of the Art Nouveau period. The object of the study is the architecture of the Crimea and its decor of the period of the late XIX – first third of the XX century. The research uses the methods of art criticism analysis of Baroque visual forms and their integration into modernity, the method of analysis of previous studies, the method of synthesis in conclusions regarding the connotations of Baroque symbolism. The author considers such aspects of the topic as: a general overview of the origin of the Baroque style; features of the architecture of the Crimean Art Nouveau; integration of Baroque elements into the decor of the Art Nouveau of the Crimea. The main conclusions of the study are: 1. The appearance of the Baroque style in architecture and decor is attributed by architectural historians to the XVII century. However, its origins should be sought in the Middle Ages, since many Baroque elements repeat Arabesques brought by the Crusaders to Europe. Baroque has established itself as a church and palace style. In turn, the Asia Minor (Turkish) Baroque was a synthesis of traditional Arab elements and Western European influence in the XVIII century. 2. The Art Nouveau style in architecture and its decor is a synthesis of various elements of previous styles, arbitrarily used by architects in accordance with their personal tastes, as well as with the wishes of customers. The basis of the Crimean Art Nouveau, represented in country villas, mansions, palaces, apartment buildings, is classicism, Renaissance and Mudekhar style, with the introduction of individual features into them with the help of decor. The use of Baroque elements enlivened the buildings, giving them an elegant, southern flavor. A special contribution of the author to the study of the topic is to clarify the periodization and origin of the Baroque style. The scientific novelty of the research lies in the fact that the author for the first time analyzed the decor of the architecture of the Crimea of the modern period, identified and analyzed the elements of the Baroque, their origin and role in the style of modernity.

APA, Harvard, Vancouver, ISO, and other styles

7

TRIADO, J.-R. "THE KEY TO BAROQUE ART." Art Book 1, no. 3 (June 1994): 16d. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00128.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Kolomiiets, Anton. "The Phenomenon of New Spanish Baroque: An Architectural Aspect." ARTISTIC CULTURE. TOPICAL ISSUES, no. 20(1) (April 22, 2024): 61–67. http://dx.doi.org/10.31500/1992-5514.20(1).2024.306901.

Full text

Abstract:

The paper provides a brief overview of the academic literature on the New Spanish Baroque architecture history. The genesis and spectrum of the scientific opinion of the leading Mexican researchers in this area have been studied and presented. Sculpture is briefly mentioned as a type of fine art inextricably linked to Baroque architecture. The New Spanish Baroque classification modalities according to Manuel González Galván is also presented. The authors and their works mentioned in the article were previously unknown to the Ukrainian researchers. Unfortunately, none of these studies have been translated into Ukrainian. The article introduces the information about the New Spanish Baroque, its main researchers, architects and monuments into the national scientific circulation, opening up opportunities for further art-historical and cultural studies and a deeper study of the history of architecture and art of New Spain Baroque era.

APA, Harvard, Vancouver, ISO, and other styles

9

Maryatch, Anastasiya Y. "Specificity of performance and intonation of clavier works of the Baroque era." Tambov University Review. Series: Humanities, no. 191 (2021): 107–15. http://dx.doi.org/10.20310/1810-0201-2021-26-191-107-115.

Full text

Abstract:

We analyze the specifics of performance and intonation clavier works of the Baroque era. An approximate model of the system for mastering the art of intonation of Baroque clavier music is given. The complex of expressive means of works for the Baroque clavier is analyzed. The subject of the research is the process of performance and intonation of Baroque clavier works. The purpose of the research is a scientific and theoretical justification of the system of mastering the culture of performance and intonation of Baroque clavier works. The relevance of the research is that there is a need to study the musical heritage of the Baroque era, preserve and continue the traditions of performing Baroque music, and search for innovative approaches to its development. The research methodology was based on the analysis of the results of experimental work on the research topic; comparative analysis and systematization of the main provisions of the intonation and style approach to the development of the musical heritage of the Baroque era. As a result of this research, a system is formulated and the need for stage-by-stage development of the piano performance culture-intonation of musical works of the Baroque era is confirmed. It is concluded that mastering the art of performance and intonation of clavier works of the Baroque era involves mastering the specifics of reading the musical text of clavier works, mastering the complex system of musical and expressive means of the Baroque era, the art of performing melisms. The field of application of the results obtained is the practical activity of a teacher-musician.

APA, Harvard, Vancouver, ISO, and other styles

10

BILIR EYÜPOĞLU, Emine. "IDENTIFYING THE DIFFERENCES THE HARPSICHORD AND THE PIANO INTERPRETATION OF J. S. BACH'S BWV 1056 CONCERTO IN F MINOR." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 34 (November 15, 2022): 100–114. http://dx.doi.org/10.31567/ssd.770.

Full text

Abstract:

The Baroque period is a period in which the form and style of the renaissance period came to an end, religious and mythological subjects were dealt with in all branches of art, and the period between renaissance and classicism in art history and described as 'ornate art style'. In this article, the differences between the harpsichord interpretation of J.S.Bach's Bwv 1056 F Minor Concerto originally written and the modern instrument piano interpretation were determined. In the first parts of the study, the general features of the Baroque period, the baroque period in music, the most important composers of the baroque period, the instruments of the baroque period and the music forms of the baroque period are mentioned. Subsequently, the focus is on the journey from the past of the harpsichord to the modern piano, J.S.Bach's style and harpsichord concertos; In the last part, with the support of the Project* recordings the analysis of BWV 1056 F Minor Concerto’s piano and harpsichord interpretations were analyzed and evaluated. It is aimed that this article will be a pre-study tutorial and contribution to many musicians and commentators.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Baroque art"

1

Barry, Marie Porterfield. "Lesson 13: Mirrors in Renaissance and Baroque Art." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/14.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Barry, Marie Porterfield. "Lesson 14: Judith and the Heroines of Baroque Art." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/15.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Ravenhill-Johnson, Anne Elizabeth. "The metamorphoses of Hephaistos/Vulcan in Renaissance and baroque art." Thesis, Birmingham City University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421808.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Bokelman, Dorothy Jane. "Portraits in extremis : severed heads in Renaissance and Baroque portraiture /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402957196.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Koutny-Jones, Aleksandra. "Death personified in the Baroque art of the Kingdom of Poland." Thesis, University of Cambridge, 2007. https://www.repository.cam.ac.uk/handle/1810/284069.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Karsten, Arne. "Künstler und Kardinäle : Vom Mäzenatentum römischer Kardinalnepoten im 17. Jahrhundert /." Köln : Böhlau, 2003. http://catalogue.bnf.fr/ark:/12148/cb39160369t.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Spencer, Justina. "Baroque perspectives: looking into Samuel Van Hoogstraten's perspective box." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21966.

Full text

Abstract:

This thesis examines visual devices that distort, invert and toy with the conventions of linear perspective. The main object of analysis is Samuel Van Hoogstraten's Perspective Box with Views of a Dutch Interior (1655-1660), a work that is unique for its consummate application of three distinctive modes of visual representation: linear perspective, trompe l'oeil and anamorphosis. Drawing on recent literature with regard to renaissance and baroque perspectival theories and practices, this thesis argues that Van Hoogstraten's Perspective Box exposes the manner in which baroque forms of perspective, such as trompe l'oeil and anamorphosis, reveal the invisible mechanisms of renaissance linear perspective through the manipulation of its methods. In this way, Van Hoogstraten's perspective box interrogates, but does not invalidate, the inescapable structure of the perspectival system.
Cette thèse examine les systèmes visuels qui déforment, inversent et jouent avec les conventions de perspective linéaire. Le principal objet d'analyse est Perspective Box with Views of a Dutch Interior (1655-1660) par Samuel Van Hoogstraten, un travail qui est unique pour son application consommée de trois modes distinctifs de représentation visuelle: perspective linéaire, trompe l'oeil et anamorphisme. En engagé avec la littérature récente sur les théories et pratiques perspective de renaissance et baroque, cette thèse se dispute que la boîte perspective de Van Hoogstraten expose la façon dont les formes baroques de perspective, telles que le trompe l'oeil et anamorphisme, révèlent les mécanismes invisibles de la perspective linéaire de la renaissance par la manipulation de ses méthodes. De cette façon, la boîte perspective interroge, mais n'infirme pas, la structure inéluctable du système de perspective.

APA, Harvard, Vancouver, ISO, and other styles

8

Silva, José Enrique. "The art of the theatrical fountain in the Italian Baroque : Rome and her surroundings." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23919.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Esbach, Ute. "Die Ludwigsburger Schlosskapelle : eine evangelische Hofkirche des Barock : Studien zu ihrer Gestalt und Rekonstruktion ihres theologischen Programms /." Worms : Werner, 1991. http://catalogue.bnf.fr/ark:/12148/cb35629313v.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Sfar, Meriem Faten. "Stendhal, les Goncourt et le Baroque : la réception de l'art visuel baroque italien par trois écrivains français du dix-neuvième siècle." Paris 3, 2008. http://www.theses.fr/2008PA030074.

Full text

Abstract:

L’objectif de cette thèse est de montrer que la réception de l’art baroque italien par Stendhal et les frères Goncourt a influencé dans une large mesure leurs esthétiques propres. La première partie resitue et restitue l’horizon d’attente propre à Stendhal et aux Goncourt, soit les systèmes et les paradigmes de référence artistiques, les ouvrages sur l’Italie ou sur Rome qu’ils avaient lus et les écrits sur l’art, en particulier sur l’art et les artistes baroques, dont le beyliste s’inspira, et qui favorisèrent la compréhension de l’art baroque. La deuxième partie porte sur quatre motifs de résistance au baroque. Nous y confrontons le discours et l’imaginaire français à l’art baroque afin de situer Stendhal et les Goncourt au sein de ce clivage. Cet ensemble de préjugés a paradoxalement mis en lumière les pouvoirs de séduction qu’avait pu exercer le baroque sur Stendhal et les Goncourt et fait ressortir les caractéristiques baroques susceptibles de se retrouver dans leurs romans. Enfin, nous avons établi des parallèles entre, d’une part, ce qui attira particulièrement Stendhal et les Goncourt dans l’art baroque et ce qu’ils en ont restitué dans leurs ouvrages, et entre l’art visuel et l’art littéraire baroques, d’autre part. Cette dernière partie, en révélant, dans les romans stendhaliens et goncourtiens, une poétique baroque nous a permis d’éclairer l’esthétique romanesque de nos auteurs
The purpose of this study is to show that Stendhal’s and the Goncourt brothers’ appreciation of Italian Baroque art exerted a decisive influence on their own aesthetics. Part one takes a look at Stendhal’s and the Goncourt brothers’ “horizon of expectations”, i. E. Artistic paradigms or references, what literature they read about Italy and Rome as well as writings on art, in particular Baroque art and artists, which inspired Stendhal and helped forge his understanding of Baroque Art. Part two explores four elements of resistance to the Baroque. This study goes on to compare conflicting French views and representations of Baroque art so as to identify Stendhal’s and the Goncourt brothers’ own position along this spectrum. Paradoxically, this set of anti-Baroque prejudices serves to shed light on the particular attraction the Baroque exerted on Stendhal and the Goncourt brothers and which Baroque characteristics are most likely to surface in their novels. The final part of this study draws parallels between the seduction Baroque art exerted on Stendhal and the Goncourt brothers and the way it manifested in their novels as well as between visual and literary Baroque art. Thus, by drawing attention to the presence of Baroque poetics in Stendhal’s and the Goncourt Brothers’ writings, this study sheds new light on their novelistic aesthetics

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Baroque art"

1

Correa, Antonio Bonet. Art baroque. Barcelona: Ediciones Polígrafa, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Correa, Antonio Bonet. Art baroque. Barcelona: Ediciones Polígrafa, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Jean, Perrot. Art baroque, art d'enfance. Nancy: Presses universitaires de Nancy, 1991.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Martin, John Rupert. Baroque. Harmondsworth: Penguin, 1989.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

1956-, Dixon Susan M., ed. Italian Baroque art. Malden, MA: Blackwell Pub., 2008.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Bussagli, Marco. Baroque & Rococo. New York, NY: Sterling Pub., 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Mattia, Reiche, ed. Baroque & Rococo. New York, NY: Sterling Pub., 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Minguet, Philippe. France baroque. Paris: Hazan, 1988.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

1953-, Peyre Dominique, and Berthier Bruno, eds. Savoie baroque. Montmélian: Fontaine de Siloé, 1998.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Beck, Leslie. Baroque. Kennewick, WA]: Fiber Mosaics, 2003.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Baroque art"

1

Barolsky, Paul. "Ovid'sMetamorphosesand the History of Baroque Art." In A Handbook to the Reception of Ovid, 202–16. Chichester, UK: John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118876169.ch14.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Zucker, Mark. "Iconography in Renaissance and Baroque Art." In A Companion to Renaissance and Baroque Art, 359–80. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch17.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Vella, Theresa. "Politics and art in Baroque Malta." In The Different Faces of Politics in the Visual and Performative Arts, 25–41. London: Routledge India, 2023. http://dx.doi.org/10.4324/9781032640464-4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Tuksar, Stanislav. "The Terminology of Music Instruments in Croatian Multilingual Dictionaries of the Baroque Period." In Word Art + Gesture Art = Tone Art, 377–89. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20109-7_23.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Barry, Claire. "Seeing Through Renaissance and Baroque Paintings." In A Companion to Renaissance and Baroque Art, 336–58. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch16.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Smith, Jeffrey Chipps. "Historians of Northern European Art." In A Companion to Renaissance and Baroque Art, 505–24. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch24.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Golahny, Amy. "Italian Art and the North." In A Companion to Renaissance and Baroque Art, 106–26. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Martin, Thomas. "The Nude Figure in Renaissance Art." In A Companion to Renaissance and Baroque Art, 402–21. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch19.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Reiss, Sheryl E. "A Taxonomy of Art Patronage in Renaissance Italy." In A Companion to Renaissance and Baroque Art, 21–43. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Miller, Julia I. "Religion, Politics, and Art in Late Medieval and Renaissance Italy." In A Companion to Renaissance and Baroque Art, 65–84. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Baroque art"

1

Lin, Fengwu. "Catholic Sponsorship of Art in Baroque Period and Its Enlightenment to Modern Art Investors." In 2021 3rd International Conference on Economic Management and Cultural Industry (ICEMCI 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211209.214.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Del Sole, Francesco. "Hints for a Neo-Baroque Aesthetic in Contemporary Architecture." In 6th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2023, 14-16 June 2023. Alanya University, 2023. http://dx.doi.org/10.38027/iccaua2023en0061.

Full text

Abstract:

The 17th century has always been called 'the century of flowers'. Apart from the invasion of exotic plants from the New World, the birth of the Flower Garden as a new type of exposition and the evolution of the art of gardening, the flower is a symbol of an era. Baroque architecture is defined precisely by the 'witty shapes' of the curved lines and the impressive 'decorative efflorescence'. This paper intends to highlight the neo-Baroque character intrinsically present in some of the greatest contemporary architects such as Paolo Portoghesi, Frank Gehry and Jean Nouvel who, in parallel with the rediscovery of the value of the Baroque period in the 20th century, have re-proposed neo-Baroque aesthetics and forms in their architecture, making their architecture "bloom" by proposing that dynamic of folds well described by Deleuze's philosophy. It is possible to reflect on a widespread contemporary aesthetic among the most important contemporary architects in which neo-Baroque flowers express the same qualities as the flowers found in 17th-century architecture: ephemerality and precariousness. Keywords: Neo-Baroque;

APA, Harvard, Vancouver, ISO, and other styles

3

Belnakita, U. M. "Attribution of oriental carpets based on the paintings of European artists of the Renaissance and Baroque eras." In CURRENT TRENDS IN ART AND CULTURE. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-427-6-15.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Plotnikova, Natalia. "Nikolay Diletsky’s Four-part Сoncertos: the Unknown Pages of Russian Baroque Music." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.131.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Su´rez, Juan-Luis, Fernando Sancho Caparrini, and Javier de la Rosa Perez. "The Art-Space of a Global Community: The Network of Baroque Paintings in Hispanic-America." In 2011 Second International Conference on Culture and Computing (Culture Computing). IEEE, 2011. http://dx.doi.org/10.1109/culture-computing.2011.17.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Urvantseva, Olga. "The Manifestation of Baroque Stylistics in the Music of Romantics Taking Schumann's Requiem as an Example." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Mnozhynska, R. М., and Olena Mykhalchuk. "FORMATION OF REFORMATION AND RENAISSANCE-HUMANISTIC IDEAS IN THE CULTURE OF UKRAINIAN BAROQUE І-ST HALF OF THE 16TH CENTURY." In DEVELOPMENT OF CULTURE AND ART IN THE WAR AND POST-WAR PERIODS. Izdevnieciba “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-341-5-6.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Stork, D. G., and M. K. Johnson. "Estimating the location of illuminants in realist master paintings Computer image analysis addresses a debate in art history of the Baroque." In 18th International Conference on Pattern Recognition (ICPR'06). IEEE, 2006. http://dx.doi.org/10.1109/icpr.2006.501.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Melnic, Victoria, and Vladimir Andrieş. ""Authenticity" in musical performance: For or against?" In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.01.

Full text

Abstract:

The word „authentic” is used very frequently in the context of all arts, „authenticity”being one of the obligatory conditions for assessing the value and quality of an artistic product. But the meaning of this term and its semantic field varied depending on the historical moment and the artistic field. In the context of musical art, this concept is associated with the interpretation of ancient music, especially baroque music (although obviously, it can be applied to any other music). In this article, we will address the so-called „authentic” interpretation- the direction in musical interpretation that promotes a vision based on the traditions of the period in which the music was composed and accentuated by the use of historical instruments.

APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Baroque art"

1

A Beautiful Horizon: The Arts of Minas Gerais, Brazil. Inter-American Development Bank, February 2006. http://dx.doi.org/10.18235/0006396.

Full text

Abstract:

The exhibition comprises 56 objects that unites Baroque oratórios, folk and popular art, applied arts and works by contemporary artists representing a variety of artistic expressions from the State of Minas Gerais and its capital city, Belo Horizonte, site of the IDB¿s 47th Annual Meeting of Governors in April 2006, showing the interrelationships that exist in Brazilian society. The pieces were borrowed from the Museu do Oratório, Instituto Cultural Flávio Gutierrez, Museum de Arte da Pampulha Museu Histórico Abílio Barreto, Fundação Municipal de Cultura, Casa de Guignard Museum, and private collectors from the Minas Gerais and Belo Horizonte.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!