Relevant bibliographies by topics / Baroque Figurines

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books

Academic literature on the topic 'Baroque Figurines'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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 Figurines.'

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 Figurines"

1

Le Gac, Agnès, Teresa Isabel Madeira, Marco Stanojev Pereira, Joana Santos, Luís Piorro, Luís Dias, Marta Manso, et al. "Challenging wax-cast figurine serial production unravelled by multi-analytical techniques." Journal of Analytical Atomic Spectrometry 30, no. 3 (2015): 790–812. http://dx.doi.org/10.1039/c4ja00415a.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Dubruque, Julien. "The ‘Couperin chord’." Early Music 48, no. 3 (August 1, 2020): 307–18. http://dx.doi.org/10.1093/em/caaa038.

Full text
Abstract:
Abstract In 2016 Christophe Rousset identified an anonymous manuscript cantata entitled Ariane consolée par Bacchus as being the cantata Ariane abandonnée par Thésée attributed to Couperin by Titon du Tillet in Le Parnasse françois (1732). Rousset and I subsequently edited this cantata for the Éditions du Centre de musique baroque de Versailles. Over and above stylistic and other considerations, support for Couperin’s authorship is provided by certain idiosyncrasies in the basso continuo figurings, such as the well-known use of the 2 (‘seconde supérieure’) instead of the 9, and, most important, the use of what I call the ‘Couperin chord’: 7/5/2 on the degree IV. The current article supports this attribution by showing that Couperin used this chord very frequently in his organ and harpsichord pieces, as well as in his continuo figuring. Because he is the only French composer to use this chord systematically, it is possible to attribute anonymous pieces to him on the grounds of this single chord.
APA, Harvard, Vancouver, ISO, and other styles
3

Walton, Saige. "The beauty of the act: Figuring film and the delirious baroque in ‘Holy Motors’." NECSUS. European Journal of Media Studies 3, no. 1 (January 1, 2014): 245–65. http://dx.doi.org/10.5117/necsus2014.1.walt.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

RYE, GILL. "Time for change: re(con) figuring maternity in contemporary French literature (Baroche, Cixous, Constant, Redonnet)." Paragraph 21, no. 3 (November 1998): 354–75. http://dx.doi.org/10.3366/para.1998.21.3.354.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic "Baroque Figurines"

1

Fructus, Michel. "Les cantates de Nicolaus Bruhns (1665-1697)." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20067/document.

Full text
Abstract:
Nicolaus Bruhns (1665-1697) fut organiste à la Marienkirche de Husum (Schleswig-Holstein), et Kapellmeister au service des ducs de Schleswig-Holstein-Gottorf. Si nous ne possédons aujourd’hui qu’une poignée de ses pièces pour orgue (quatre praeludia et un choral-fantaisie), nous pouvons apprécier l’ingéniosité de cet auteur à travers sa production d’œuvres sacrées, douze cantates où règne une énergie comparable à celle de son professeur Dietrich Buxtehude.Soucieux de mieux cerner les enjeux de l’identité créatrice, nous proposerons une approche contradictoire, fondée sur deux conceptions opposées de l’œuvre d’art : elle est par voie de conséquence le produit d’une culture (parce qu’elle est liée au contexte artistique qui la précède, au regard des éléments qui la constituent et qui sont facilement identifiables dans les œuvres du passé, toute œuvre peut être perçue et pensée comme une synthèse de différents modèles, une forme d’aboutissement culturel), mais aussi le fruit d’une individualité (une œuvre d’art est une élaboration unique, indépendante de toute autre production, au regard des facteurs d’unité qui la structurent ; toute œuvre peut alors être perçue et pensée comme une entité autonome).Cette étude nous permettra de mettre à jour un soubassement de l’activité psychique : l’estimation de la distance entre le fixe et le muable
Nicolaus Bruhns (1665-1697) was an organist at the Marienkirche in Husum (Schleswig-Holstein), and Kapellmeister to the dukes of Schleswig-Holstein-Gottorf. If we own today only a handful of his pieces for organ (four praeludia and a chorale-fantasia), we can appreciate the cleverness of this author through his production of sacred works, twelve cantatas where the energy which appears is similar to that of his professor Dietrich Buxtehude.With the concern to better define the stakes of creative identity, we shall put forward a contradictory approach based on two opposite conceptions of the work of art : it is in essence the product of a culture (since it is linked to the artistic context which precedes it, according to the elements which constitute it and which are easily identifiable in the works of the past, any work can be perceived and thought as a synthesis of various models, a form of cultural achievement), but also the result of individuality (a work of art is a unique construction, independent from any other production according to the factors of unity which structure it ; any work may then be perceived and thought as an autonomous entity).This study will enable us to bring to light a basis of the psychic activity : the appraisal of the distance between the fixed and the changing
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Baroque Figurines"

1

Lars-Olof, Larsson. European bronzes, 1450-1700. Stockholm: Swedish National Art Museums, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Grünes Gewölbe (Museum : Dresden, Germany). --und ein Leib von Perl: Die Sammlung der barocken Perlfiguren im Grünen Gewölbe. Dresden: Staatliche Kunstsammllungen Dresden, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

1941-, Hall Michael D., and Avery Charles, eds. Giambologna (1529-1608): La sculpture du maître et de ses successeurs : collection de Michael Hall. Paris: Galerie Piltzer, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Banzato, D. Bronzi e placchette dei Musei civici di Padova. Padova: Editoriale Programma, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Kulturkreis Fachwerk im Celler Land, ed. Geschnitzte Bilder und Figuren an Fachwerkhäusern: In Deutschland 1450-1700. München: Deutscher Kunstverlag, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Lyon, J. Vanessa. Figuring Faith and Female Power in the Art of Rubens. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985513.

Full text
Abstract:
Figuring Faith and Female Power in the Art of Rubens argues that the Baroque painter, propagandist, and diplomat, Peter Paul Rubens, was not only aware of rapidly shifting religious and cultural attitudes toward women, but actively engaged in shaping them. Today, Rubens’s paintings continue to be used -- and abused -- to prescribe and proscribe certain forms of femininity. Repositioning some of the artist’s best-known works within seventeenth-century Catholic theology and female court culture, this book provides a feminist corrective to a body of art historical scholarship in which studies of gender and religion are often mutually exclusive. Moving chronologically through Rubens’s lengthy career, the author shows that, in relation to the powerful women in his life, Rubens figured the female form as a transhistorical carrier of meaning whose devotional and rhetorical efficacy was heightened rather than diminished by notions of female difference and particularity.
APA, Harvard, Vancouver, ISO, and other styles
7

L'occhio barocco: Apocalissi, trionfi di zucchero, occhi di giaietto, nature morte, pulcinelli arrosto, orchi, Narcisi, edifici d'ombre matematiche, figurine e burattini, stanze delle meraviglie, e altre macchine dello sguardo : dieci lezioni su immagini, teatro, e poesia da Napoli a Roma, Firenze, e oltre. Palermo: Duepunti, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

(Contributor), Kirsten Aschengreen-Piacenti, Alessandro Biancalana (Contributor), Johann Kraftner (Editor), Claudia Lehner-Jobst (Editor), and Andreina d'Agliano (Editor), eds. Baroque Luxury Porcelain. Prestel Pub, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Matthias, Kammel Frank, Durian-Ress Saskia, Germanisches Nationalmuseum Nürnberg, Steiermärkisches Landesmuseum Joanneum, Kunstmuseum Kloster Unser Lieben Frauen., and Augustinermuseum (Freiburg im Breisgau, Germany), eds. Kleine Ekstasen: Barocke Meisterwerke aus der Sammlung Dessauer. Nürnberg: Germanisches Nationalmuseum, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

1951-, Kräftner Johann, Jobst Claudia, D'Agliano Andreina, Piacenti Aschengreen Cristina, and Liechtenstein Museum (Vienna Austria), eds. Barocker luxus Porzellan: Die Manufakturen du Paquier in Wien und Carlo Ginori in Florenz. München: Prestel, 2005.

Find full text
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!

To the bibliography