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Relevant bibliographies by topics / Caryatids in art

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Academic literature on the topic 'Caryatids in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2024

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Journal articles on the topic "Caryatids in art"

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De Vito, Giovanni, Rocco Loris Del Vecchio, Elisa Pozzi, Alessandro Luoni, Andrea Spinazze’, and Domenico Maria Cavallo. "SS27-02 THE HUMAN DIMENSION OF WORK: WORK AS A METAPHOR FOR LIFE." Occupational Medicine 74, Supplement_1 (July 1, 2024): 0. http://dx.doi.org/10.1093/occmed/kqae023.0178.

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Abstract Introduction When does work help keeping in good health? When analysing the human dimension, any approach addressing the positive effects of work must consider cultural and historical roots. Materials and Methods An anthropological and artistic path, marked by art works, will be presented as a way to highlighting the evolution of the human work throughout centuries. Results Aristotle stated that “happiness is the highest human good”. The ancient Greek wording for happiness means the success of the vocation. Man, therefore, must expand life to the fullest, by committing himself. Work became an important commitment only after the abolition of slavery. The comparison between Greek caryatids (slaves) and medieval telamons (free men) gives a clear picture of different approaches to the meaning of work fatigue through centuries. Symbolism on the Renaissance arts and craft panels on the Giotto’s bell tower in Florence, shows that dignity of work is in its meaning, motive and purpose, and not in the matter. Macchiaioli and Divisionism art movements in Italy, as well as Realism in France, started showing the workers. The content of the work, the meaning for the worker, for his family and society were represented. The worker started scrutinizing the destiny of which he hoped to be the creator. Conclusions Modern work is full of rapid changes that could lead to lacking knowledge and fear of facing the unknown. Knowing the meaning and strength of different cultural roots, will be of great help, in keeping up the pace and understanding the role at work and maybe at life.

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Davey, Moyra. "Caryatids and Promiscuity." October 158 (October 2016): 19–29. http://dx.doi.org/10.1162/octo_a_00268.

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In “Caryatids & Promiscuity,” Moyra Davey reflects on the ebb and flow of photographic discourse and the impact of its shifting critical reception over three decades of her life and career as an artist, filmmaker, and writer.

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Hemingway, Colette C. "Caryatid." Sculpture Review 58, no. 4 (December 2009): 8–13. http://dx.doi.org/10.1177/074752840905800401.

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Cross, Maureen, Caroline Cotgrove, Jane Street, and Sarah Skinner. "FROM FIREPLACE TO FINE ART — THE CONSERVATION OF DUNCAN GRANT'S COLLAGE,CARYATID." Studies in Conservation 47, supplement2 (September 2002): 6. http://dx.doi.org/10.1179/sic.2002.006.

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Cross, Maureen, Caroline Cotgrove, Jane Street, and Sarah Skinner. "FROM FIREPLACE TO FINE ART — THE CONSERVATION OF DUNCAN GRANT'S COLLAGE,CARYATID." Studies in Conservation 47, sup2 (September 2002): 6. http://dx.doi.org/10.1179/sic.2002.47.s2.006.

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Pérouse de Montclos, Jean-Marie. "La tribune dite des Caryatides au Louvre." Revue de l'art N° 157, no. 3 (March 1, 2007): 57–58. http://dx.doi.org/10.3917/rda.157.0057.

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Meshkova, Oleksandra. "THE POETICS OF CORPOREALITY IN GABRIELA ZAPOLSKA’S NOVEL CATHY THE CARYATID." Polish Studies of Kyiv, no. 37 (2021): 196–209. http://dx.doi.org/10.17721/psk.2021.37.196-209.

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The article attempts to analyze the novel of a polish writer Gabriela Zapolska “Cathy the Caryatid” from the perspective of corporeality - feminine and masculine. The article indicates the main aspects of the interpretation of the concept of corporeality - gender and sociocultural, which are important for understanding the artistic specifics of the representation of human corporeality in the novel. In the novel, female corporeality is represented by two perspectives: personal bodily experience and the objectification of the female body by men in patriarchal culture. The main character of the novel tried to preserve her innocence, considering it the greatest treasure. At the beginning of the novel, a young, healthy girl of twenty with exaggerated physical characteristics and idealized moral qualities appears before the reader. When the girl came to get a job, her body was viewed as a commodity that could be purchased and exploited at work. The main character dreams of getting married, so she strives to keep herself “pure”, because this is one of the conditions under which a decent man can marry her. G. Zapolska portrays the body of the heroine as a kind of “bargaining chip”: a girl can choose two ways - to preserve her innocence in order to “exchange” chastity for a legal marriage and a happy future, or to take the path of debauchery. The loss of virginity is a turning point in the novel by G. Zapolska. Rape inflicted a great psychological trauma on the girl, because until now virginity was her only chance for a happy future. The article analyzes how the patriarchal apparatus implements the objectification of women, as well as sexual objectification. Male dominance in society includes control over female corporeality, women are interpreted as objects that can be owned and changed at will. The value of an object, as a rule, depends primarily on physical data - beauty, health, fertility, etc., while the spiritual development and education of women are often secondary. The protagonist Jan Viebig is the personification of a typical masculine man who cannot contain his physiological desire and understand the girl’s refusal. A man is guided by instincts, raping a girl, using her body for pleasure, and then rejecting her and his promises. The main characteristics of the naturalistic style of the writer are presented, consisting in the depiction of ugly and sometimes disgusting details of the surrounding world, which were parts of reality, in particular, descriptions of rape, death and posthumous decomposition of the body. Attention is focused on the themes of morality and exemplary morality, female virginity, rape, illegitimate pregnancy, images of the human body in art, nudity for art.

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Stanford, Caroline. "‘Peculiarly fit for statues’: the contribution of Coade’s fired artificial stone to sculpture in the eighteenth century." Sculpture Journal 32, no. 4 (December 2023): 433–50. http://dx.doi.org/10.3828/sj.2023.32.4.03.

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This article considers the enduring ‘value’ of Coade stone as artefact. Using insights from Alois Riegl’s The Modern Cult of Monuments , it examines the contribution of fired artificial stone as a key enabler of the eighteenth-century passion for sculpture in Britain, as replicated sculptural forms entered interiors, gardens and architecture. This durable stoneware first crossed into statuary in the 1720s. From 1769, Eleanor Coade (1733–1821) became its figurehead, successfully positioning Coade stone as superior to natural stone. Formulation and production were collaborative processes dependent upon specialist, often overlooked fabricating skills. This article considers factors that led to the success of Coade stone, as well as its composition and production. It concludes with a brief case study of the Coade stone caryatids that Sir John Soane took as a personal motif.

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O’Neill, Ciarán Rua. "Column bodies: the caryatid and Frederic Leighton’s Royal Academy sketchbooks." Sculpture Journal 25, no. 3 (December 20, 2016): 421–32. http://dx.doi.org/10.3828/sj.2016.25.3.9.

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Lesk, Alexandra L. ""Caryatides probantur inter pauca operum": Pliny, Vitruvius, and the Semiotics of the Erechtheion Maidens at Rome." Arethusa 40, no. 1 (2007): 25–42. http://dx.doi.org/10.1353/are.2007.0002.

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Books on the topic "Caryatids in art"

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Brine, Kevin R. Kevin R. Brine: The porch of the caryatids : drawings, paintings, and sculptures. New York: Jason McCoy, Inc., 2006.

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Telamone, Francesco. Antenati di pietra: Mascheroni, cariatidi e telamoni a Torino. Torino: Yume, 2021.

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3

Landau, Sigalit. Ḳaryaṭidah: Caryatid. Beʼer Shevaʻ: Muzeʼon ha-Negev, 2012.

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1483-1520, Raphael, ed. Die Sockelzone der Stanza di Eliodoro: Ein Entwurf Raffaels. Weimar: VDG, 2006.

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Book chapters on the topic "Caryatids in art"

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Altman, Joel B. "What Did Hermione’s Statue Look Like? The Four Ladies of Mantua and the Science of True Opinion." In Shakespeare the Bodger, 123–64. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399508414.003.0005.

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At this point, the book turns to an historical inquiry concerning the provenance of Hermione’s “statue”, putting Giulio Romano in context and showing how Shakespeare bodged him into his play as the creator of the piece. In discussing further work of Romano, the book connects the artist’s four famous caryatids (women supporting the entablature of a funerary monument) in Mantua that are believed to have been conceived by him, to the scenic facts of Hermione’s statue. Did Shakespeare know about the caryatids and their connection to Giulio Romano, so that he could attribute the statue in the play to Giulio, the only historical artist mentioned in the canon? To answer these questions, the chapter reviews records of English visitors to northern Italy in the early 17th century and, finding no persuasive documentation, turns to thematic connections in his other plays, where the contingencies of life, death, and fidelity are critical issues.

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Cochrane, Nicole. "Eleanor Coade, John Soane, and the Coade Caryatid." In Women and the Art and Science of Collecting in Eighteenth-Century Europe, 145–47. Routledge, 2020. http://dx.doi.org/10.4324/9780367856670-14.

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Conference papers on the topic "Caryatids in art"

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Ntakolia, Konstantina. "DIAGHILEV’S RUSSIAN BALLETS AND THE 20TH CENTURY MANLY-WOMEN: TWO CONTRADICTORY NEW PROTOTYPES FOR THE CARYATIDES OF AMEDEO MODIGLIANI." In 2nd Arts & Humanities Conference, Florence. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/ahc.2017.002.005.

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