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Journal articles on the topic 'Decorative arts, Early American'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 March 2023

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1

Whitmarsh, Bruce A. "Early American Decorative Arts, 1620-1860: A Handbook for Interpreters Rosemary Troy Krill Pauline E. Eversmann." Public Historian 23, no. 4 (2001): 149–50. http://dx.doi.org/10.2307/3379651.

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2

Danowitz, Erica Swenson. "Art Magazine Collection Archive." Charleston Advisor 23, no. 3 (2022): 5–9. http://dx.doi.org/10.5260/chara.23.3.5.

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This resource provides full-text access to the digital archives of three significant art publications, ARTnews, Art in America, and The Magazine ANTIQUES. The 3,950 issues found in this database appear in digital format in their entirety as originally published. This database also includes the original advertisements found in these periodicals. These advertisements have been indexed and are searchable. This archive provides an extensive chronicle of art collecting, fine arts, art history, interior design, decorative arts, folk art, antiquing, and architecture in the twentieth and early twenty-

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Tomenchuk, John, and Peter L. Storck. "Two Newly Recognized Paleoindian Tool Types: Single- and Double-Scribe Compass Gravers and Coring Gravers." American Antiquity 62, no. 3 (1997): 508–22. http://dx.doi.org/10.2307/282168.

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A small collection of gravers from the Fisher site, an Early Paleoindian (Parkhill complex) site in Ontario estimated to date between 10,400 and 11,000 years B.P., produced two previously unrecognized tool types: single- and double-scribe compass and coring gravers. Experimental use-wear studies on replicated tools confirm that the compass and coring gravers were probably used on organic materials for engraving single or concentric circles, cutting thin disks, and boring holes. Although not identified as such, the compass graver occurs widely in North American Paleoindian assemblages and, judg

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4

Howd, Dean. "Joseph Urban and American Scene Design." Theatre Survey 32, no. 2 (1991): 173–86. http://dx.doi.org/10.1017/s0040557400001058.

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Along with Robert Edmond Jones, Norman Bel Geddes, and Lee Simonson, Joseph Urban brought the New Stagecraft to America in the 1920s. No other designer of his period lavished more lush color on the stage or brought scene design closer to the level his contemporaries called “Art.” Urban produced the backdrops of the famous Follies for Florenz Ziegfeld, and the Metropolitan Opera continued to use his sets for more than two decades after his death. As early as 1917 the New York Times risked the prediction that “when the historian of the New York stage writes the record, of the uplift of the art o

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5

Goscilo, Helena. "Stacking National Identity." Experiment 25, no. 1 (2019): 227–43. http://dx.doi.org/10.1163/2211730x-12341340.

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Abstract The matreshka designed by Sergei Maliutin and turned by Vasilii Zvezdochkin has fulfilled a precisely defined function from its inception in the late 1890s until today. Conceived as a material embodiment of national identity amid Abramtsevo’s revival of endemic Russian traditions, the stacking doll symbolized robust national fecundity. Produced and sold in the workshop Detskoe vospitanie [Children’s Upbringing] established by the Mamontov family, it promoted Russianness in a range of stacked dolls garbed in the ethnic dress of the country’s various regions. During the Soviet era the m

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6

Sheehi, Stephen. "A SOCIAL HISTORY OF EARLY ARAB PHOTOGRAPHY OR A PROLEGOMENON TO AN ARCHAEOLOGY OF THE LEBANESE IMAGO." International Journal of Middle East Studies 39, no. 2 (2007): 177–208. http://dx.doi.org/10.1017/s0020743807070067.

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Viewing an exhibition of civil war paintings in 1886, Lea Barakat wrote that her “country came to mind: the splendor of its ruins, the wonders of their form like the fortress of Baalbek, the ruins of Palmyra, and the scenes of Lebanon…” Native women should paint like this, she states, and “not leave a scene [of Lebanon] unpainted… They can decorate the rooms of their homes and sitting rooms with these pictures…” She concludes that “since the ladies of our country are smarter and more industrious in their handcrafts than [American] ladies,” they too can obtain a similar level of “wealth, honora

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7

Vampelj Suhadolnik, Nataša. "Between Ethnology and Cultural History." Asian Studies 9, no. 3 (2021): 85–116. http://dx.doi.org/10.4312/as.2021.9.3.85-116.

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While a few larger collections of objects of East Asian origin entered Slovenian museums after the deaths of their owners in the 1950s and 60s, individual items had begun finding their way there as early as the nineteenth century. Museums were faced early on with the problem not only of how to store and exhibit the objects, but also how to categorize them. Were they to be treated as “art” on account of their aesthetic value or did they belong, rather, to the field of “ethnography” or “anthropology” because they could illustrate the way of life of other peoples? Above all, in which museums wer

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8

Heckscher, Morrison H., R. Craig Miller, Oswaldo Rodriguez Roque, and Alice Cooney Frelinghuysen. "American Decorative Arts." Recent Acquisitions, no. 1985/1986 (1985): 52. http://dx.doi.org/10.2307/1513692.

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Heckscher, Morrison H., Oswaldo Rodriguez Roque, Frances Gruber Safford, Alice Cooney Frelinghuysen, and Amelia Peck. "American Decorative Arts." Recent Acquisitions, no. 1986/1987 (1986): 62. http://dx.doi.org/10.2307/1513711.

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10

Roque, Oswaldo Rodriguez, Frances Gruber Safford, and Amelia Peck. "American Decorative Arts." Recent Acquisitions, no. 1987/1988 (1987): 56. http://dx.doi.org/10.2307/1513731.

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11

Frelinghuysen, Alice Cooney. "American Decorative Arts." Metropolitan Museum of Art Bulletin 59, no. 1 (2001): 53. http://dx.doi.org/10.2307/3269173.

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12

Safford, Frances Gruber, Alice Cooney Frelinghuysen, and Catherine Hoover Voorsanger. "American Decorative Arts." Metropolitan Museum of Art Bulletin 49, no. 2 (1991): 58. http://dx.doi.org/10.2307/3258938.

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13

Frelinghuysen, Alice Cooney, and Peter M. Kenny. "American Decorative Arts." Metropolitan Museum of Art Bulletin 48, no. 2 (1990): 62. http://dx.doi.org/10.2307/3258958.

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14

Frelinghuysen, Alice Cooney, and Amelia Peck. "American Decorative Arts." Metropolitan Museum of Art Bulletin 47, no. 2 (1989): 56. http://dx.doi.org/10.2307/3259902.

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15

Litwicki, Ellen. "From the “ornamental and evanescent” to “good, useful things”: Redesigning the Gift in Progressive America." Journal of the Gilded Age and Progressive Era 10, no. 4 (2011): 467–505. http://dx.doi.org/10.1017/s1537781411000326.

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This article examines the transformation of American gift giving in the early twentieth century, using prescriptive and trade literature, as well as individual stories. This transformation occurred within the context of the transition from a Victorian to a modernist ethos and from a production to a consumption orientation. Changes in gift-giving practices were shaped by Progressive Era hygiene and home economics reformers and by aesthetic movements such as Arts and Crafts and interior decoration. Gift reformers divorced the gift from the Victorian ideal of ornamental and sentimental items, ass

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16

Churchwell, Sarah. "“The Balzacs of America”: F. Scott Fitzgerald, Burton Rascoe, and the Lost Review of The Great Gatsby." F. Scott Fitzgerald Review 14, no. 1 (2016): 6–30. http://dx.doi.org/10.5325/fscotfitzrevi.14.1.6.

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Abstract Burton Rascoe remains a peripheral figure in the critical response to F. Scott Fitzgerald. As the literary editor of the New York Tribune from 1920–24, he is known mainly for his reviews of Fitzgerald's early novels and for commissioning Zelda Fitzgerald's ironic review of The Beautiful and Damned in April 1922. Although frequently referenced in the Fitzgeralds' correspondence and scrapbooks, Rascoe has garnered far less attention than other critics in discussions of Fitzgerald's early literary reputation. A thorough review of Rascoe's comments on the Fitzgeralds, including the freque

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17

Witkowski, Terrence H. "Marketing thought in American Decorative Arts." Journal of the Academy of Marketing Science 18, no. 4 (1990): 365–68. http://dx.doi.org/10.1007/bf02723922.

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18

Davies, Colin. "Lessons at the roadside." Architectural Research Quarterly 8, no. 1 (2004): 27–37. http://dx.doi.org/10.1017/s1359135504000053.

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Architects should learn to communicate more through their architecture. The commercial vernacular architecture of the American ‘strip’ – motels, gas stations, fast food outlets – communicates loud and clear. In comparison, high architecture, particularly the high architecture of Modernism, is sullen and silent. This, roughly, is the thesis of Learning from Las Vegas by Robert Venturi, Denise Scott Brown and Stephen Izenour (1972 and 1977), one of the key texts of the Post-Modernist movement in architectural theory of the early 1970s. Venturi et al thought architects could learn a lot about sym

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19

Peremislov, I. A., and L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES." Arts education and science 1, no. 2 (2021): 79–88. http://dx.doi.org/10.36871/hon.202102010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth centu

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Peremyslov, I. A., and L. G. Peremyslova. "JAPANESE AESTHETICS IN MASTERPIECES OF AMERICAN SILVER." Arts education and science 1, no. 1 (2021): 89–96. http://dx.doi.org/10.36871/hon.202101010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth centu

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21

Lane, Linda Rochell. "John Michael Vlach, The Afro-American Tradition in Decorative Arts." Journal of Negro History 78, no. 4 (1993): 245–46. http://dx.doi.org/10.2307/2717418.

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22

Li, Shaoqing. "A Comparative Study between Eastern Zhou and Early Ancient Greek Decorative Styles." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 106–12. http://dx.doi.org/10.54097/ehss.v5i.2889.

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Among creations at the peak of the arts and crafts realm, Chinese bronze vessels and ancient Greek pottery paintings have been key research subjects of art history. Their respective decorative styles have been studied comprehensively, but research is still lacking on Eastern Zhou pictorial bronze vessels and black-figure pottery, which are important stages in the development of Chinese bronze vessels and ancient Greek pottery paintings. To study the decorative styles of Eastern Zhou pictorial bronze vessels and black-figure pottery, this paper takes the Warring States Feast and War Pictorial B

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23

György, Horváth. "Adalékok Kondor Béla sors-történetéhez." Művészettörténeti Értesítő 69, no. 2 (2021): 171–256. http://dx.doi.org/10.1556/080.2020.00011.

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In the course of my research in archives – in search of documents about the history of the Art Foundation of the People’s Republic (from 1968 Art Fund) – while leafing through the sea of files in the National Archives of Hungary (MNL OL) year after year, I came across so-far unknown documents on the life and fate of Béla Kondor which had been overlooked by the special literature so far.Some reflected the character of the period from summer of 1956 to spring 1957, more precisely to the opening of the Spring Exhibition. In that spring, after relieving Rákosi of his office, the HWP (Hungarian Wor

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24

Bincsik, Monika, Shinya Maezaki, and Kenji Hattori. "Digital archive project to catalogue exported Japanese decorative arts." International Journal of Humanities and Arts Computing 6, no. 1-2 (2012): 42–56. http://dx.doi.org/10.3366/ijhac.2012.0037.

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In Europe, Japanese ceramic and lacquer objects have been collected and used as interior decoration since the early seventeenth century. In the nineteenth century, the worldwide fashion for Japonisme generated an extensive trade in various Japanese decorative arts. Consequently, museums and private collections all over the world have rich holdings of Japanese decorative arts. Despite their popularity and profound influence on Western applied arts, the systematic research of Japanese decorative arts in Western collections is backward compared to the investigation of other art forms. It is actua

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25

Tottis, James W. "Twenty Years of Collecting American Decorative Arts at the Detroit Institute of Arts, 1985—2005." Bulletin of the Detroit Institute of Arts 81, no. 1-2 (2007): 4–7. http://dx.doi.org/10.1086/dia23183092.

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26

Hobbs, Stuart D. "Exhibiting Antimodernism: History, Memory, and the Aestheticized Past in Mid-twentieth-century America." Public Historian 23, no. 3 (2001): 39–61. http://dx.doi.org/10.1525/tph.2001.23.3.39.

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In "Exhibiting Antimodernism: History, Memory and the Aestheticized Past in Mid-Twentieth-Century America," Stuart D. Hobbs explores the reasons why aesthetic concerns have trumped history and turned too many historic house museums into decorative arts museums. Hobbs uses the 1950s restoration of a house designed by Benjamin Henry Latrobe as a case study. He argues that the painstaking research required for the restoration created a momentum of its own, and the story of the house as architecture and the story of the interior as decorative arts became the story at this and other historic sites.

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27

Vinokurov, Sergey Ye, and Ludmila A. Budrina. "European Publications of the 19th Century as a Source of Oriental Motifs in Decorative Arts and an Attribution Tool." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 4 (2021): 32–45. http://dx.doi.org/10.15826/izv2.2021.23.4.065.

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The nineteenth and the early twentieth centuries in the history of European decorative art are marked by a new rise in interest in the art of the Far East. In contrast to the previous century, at the new stage, this interest is characterised by more interesting and deeper interpretations of exotic artistic traditions. The reasons for the emergence of a new wave of Chinese style and, later, Japanism were several factors, among which the authors single out the institute of world exhibitions and the formation of museum and private collections. This article considers several cases demonstrating th

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28

Cheliotis, Leonidas. "Decorative Justice: Deconstructing the Relationship between the Arts and Imprisonment." International Journal for Crime, Justice and Social Democracy 3, no. 1 (2014): 16–34. http://dx.doi.org/10.5204/ijcjsd.v3i1.137.

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This article synthesises diverse material to discuss both state use of the arts for the purposes of controlling prisoners and the broader public, and the use made of the arts by prisoners and portions of the broader public as tools of resistance to penal states. The article proceeds with an analysis of the politics surrounding and underpinning the philosophy, formation, operation, effectiveness, and research evaluation of arts-in-prisons programmes in the contemporary Anglo-American world. It argues that arts-in-prisons programmes and pertinent evaluation research are often employed as means t

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29

Tsoumas, Johannis. "WHITE GOLD’ IN EARLY TO MID-EIGHTEENTH CENTURY VENICE AND FLORENCE: THE FIRST ITALIAN PORCELAIN FACTORIES AND THEIR HIGHLY COVETED PRODUCTION." ARTis ON, no. 1 (December 12, 2015): 6–16. http://dx.doi.org/10.37935/aion.v0i1.12.

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An inaccessible material both in terms of technology and manufacture for the aristocratic classes and the royal courts of Europe and especially for the prominent politically, socially and culturally Italy, porcelain was until the beginning of the eighteenth century an ‘impossible dream’ which only through a limited number of Chinese wares could be satisfied. However in the early highly decorative and playful Rococo period, its discovery in Germany inaugurated a new era in the European decorative arts. Hard-paste porcelain was soon introduced in Northern Italy and started being produced in the

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30

Hoffman, Katie. "Kentucky by Design: The Decorative Arts and American Culture ed. by Andrew Kelly." West Virginia History: A Journal of Regional Studies 10, no. 1 (2016): 83–84. http://dx.doi.org/10.1353/wvh.2016.0000.

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31

Buchanan, Mel. "Kentucky by Design: The Decorative Arts and American Culture ed. by Andrew Kelly." Journal of Southern History 82, no. 4 (2016): 992–93. http://dx.doi.org/10.1353/soh.2016.0318.

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32

Lee, Jean Butenhoff. "Makers and Users: American Decorative Arts, 1630-1820, from the Chipstone Collection (review)." Eighteenth-Century Studies 33, no. 2 (2000): 286–87. http://dx.doi.org/10.1353/ecs.2000.0012.

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33

van Hook, Bailey. "Decorative Images of American Women: The Aristocratic Aesthetic of the Late Nineteenth Century." American Art 4, no. 1 (1990): 44. http://dx.doi.org/10.1086/424086.

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34

Lyman, R. Lee. "North American Paleoindian Eyed Bone Needles: Morphometrics, Sewing, and Site Structure." American Antiquity 80, no. 1 (2015): 146–60. http://dx.doi.org/10.7183/0002-7316.79.4.146.

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AbstractEyed bone needles have been recovered from Paleoindian sites over the last 70 years. Specimens 13,100–10,000 calendar years old average 1.81 ± .58 mm in diameter, similar to 2500–1000 year-old specimens in the Aleutians which average 1.67 mm in diameter. Use of industrial steel needles and experiments with replicated bone needles indicate the broken eyes and mid-length fractures of Paleoindian bone needles are the result of use. Some specimens said to be Paleoindian eyed bone needles are ≤ 3 mm in diameter and likely represent behaviors distinct from those with diameters ≤ 2.9 mm. Many

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35

WHALEN, CATHERINE L. "American Decorative Arts Studies at Yale and Winterthur: The Politics of Gender, Gentility, and Academia." Studies in the Decorative Arts 9, no. 1 (2001): 108–44. http://dx.doi.org/10.1086/studdecoarts.9.1.40662801.

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36

Lazaro, David E. "Frontier Dressing: Helen Geier Flynt and Eighteenth-Century Dress Museology at Historic Deerfield." Costume 56, no. 2 (2022): 231–58. http://dx.doi.org/10.3366/cost.2022.0232.

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This article examines the goals, objectives and context of Helen Geier Flynt to collect and display eighteenth-century dress at Historic Deerfield during the mid-twentieth century. Founded by Flynt and her husband, their museum interpreting rural American life was just one of a handful of American decorative arts museums specifically collecting eighteenth-century clothing. Ignoring biases prevalent in these institutions at the time, Flynt’s focus on fashion as a collector/curator was more reflective of other, mostly English women engaged in similar activities, and the eventual establishment of

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37

Hotsaliuk, Alla. "Ethnic Design in Applied and Decorative Arts of the Late 20th — Early 21st Century." Ukrainian Studies, no. 1(74) (March 11, 2020): 169–79. http://dx.doi.org/10.30840/2413-7065.1(74).2020.195744.

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38

Luskey, Judith. "Early American Anthropologists as Photographers of North American Indians." Visual Resources 4, no. 4 (1988): 359–72. http://dx.doi.org/10.1080/01973762.1988.9659144.

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39

Priester, Ann. "Bell Towers and Building Workshops in Medieval Rome." Journal of the Society of Architectural Historians 52, no. 2 (1993): 199–220. http://dx.doi.org/10.2307/990786.

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Thirty-five medieval bell towers, along with dozens of churches such as S. Clemente, S. Crisogono, S. Maria in Trastevere, and S. Lorenzo fuori le mura, survive as testimony to a boom in ecclesiastical construction in Rome during the twelfth and early thirteenth centuries. This article focuses on these bell towers, using computer database analysis of their architectural and decorative features to investigate the nature of building workshops in medieval Rome. A comparison of a number of variable features among the bell towers, such as masonry techniques, cornices, and decorative details, uncove

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40

Smith, Angela, and Nicholas Riall. "Early Tudor Canopywork at the Hospital of St Cross, Winchester." Antiquaries Journal 82 (September 2002): 125–56. http://dx.doi.org/10.1017/s0003581500073765.

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A fascinating example of early sixteenth-century carving is preserved in the church of the Hospital of St Cross, near Winchester, in the form of three sections of wooden frieze. The frieze is carved with a profusion of Renaissance imagery that has until now received little attention. The carved imagery of the frieze will be examined here in detail for the first time, along with its association with Richard Fox, Bishop of Winchester 1501–28. The relationship between the imagery of the frieze and the decorative detail in other works associated with Fox will be discussed and its similarities to F

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Berger, Daniel, Katja Hunger, Sabine Bolliger-Schreyer, et al. "New insights into early bronze age damascene technique north of the alps." Antiquaries Journal 93 (June 4, 2013): 25–53. http://dx.doi.org/10.1017/s0003581513000012.

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Damascening, defined in this context as the inlay of one metal into a different metal base, is a rare decorative technique in the Early Bronze Age, known only from seven bronze artefacts found north of the Alps. This paper reports on the first thorough scientific examination of one such find, the axe from Thun-Renzenbühl grave no. 1. This interdisciplinary project involving several institutions in Germany and Switzerland investigated the axe by means of neutron radiographic imaging and X-ray microprobe methods, supported by microscopic examination. The result is an attempt to reconstruct the f

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Vlasyuk, Olena. "PROFESSIONAL TRAINING OF FUTURE SPECIALISTS OF ARTS AND CRAFTS." Aesthetics and Ethics of Pedagogical Action, no. 13 (March 9, 2016): 152–62. http://dx.doi.org/10.33989/2226-4051.2016.13.171553.

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The article analyzes the state of Ukrainian art education. The basic ways and prospects of training in higher art’s education in Rivne State Humanitarian University at the Department of fine and decorative art are observed. The question of artistic staff training in Ukraine is very interesting in the context of Ukrainian national school of fine and decorative art. The need for professional training in the field of decorative art was caused by its historical traditions, its aesthetic and practical importance for professional artists and for ordinary people.Therefore, it is possible to solve thi

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43

Demchuk, Stefaniia, та Yuliia Kizyma. "Between the sacred and the decorative: Сhristian iconography in the sketches for "Lily" decorative panel by Mykhailo Zhuk". Text and Image: Essential Problems in Art History, № 1 (2020): 102–13. http://dx.doi.org/10.17721/2519-4801.2020.1.07.

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Mykailo Zhuk was a graphic artist and a writer who is among the most famous and influential figures in the history of the early 20th century Ukrainian art. His artworks bear the mark of the in-depth reception of the Art Nouveau style. Although art historians who studied Zhuk’s early period (1904 - 1918) did mention the complex symbolism of his works (including that of the sketches for the floral panels which we shall examine), they avoided plunging deeper in the semantic interweaving he indulged himself in. Thus, this essay shall examine the two panels titled “Lilies”, which were treated mostl

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44

Eivas, Larysa, Yuliia Zenkovych, and Daria Kudrenko. "FACTORS OF ATTRACTIVENESS OF EDUCATION IN THE FIELD OF FINE AND DECORATIVE ARTS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 1 (May 28, 2021): 130–43. http://dx.doi.org/10.17770/sie2021vol1.6316.

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The article dwells upon the problem of revealing ways to increase the attractiveness of education in the field of fine and decorative arts for today’s youth. The specificity of "introducing" contemporary youth into the world of fine arts is studied, starting from the early stages (pre-school education) up to professional training. The factors affecting the decision of a person to choose a specialty in the field of art or education (artistic pedagogy) and the acquisition of corresponding professional qualifications are distinguished as follows: personal factor (abilities and talents of the indi

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45

Pastan, Elizabeth Carson. "Process and Patronage in the Decorative Arts of the Early Campaigns of Troyes Cathedral, ca. 1200-1220s." Journal of the Society of Architectural Historians 53, no. 2 (1994): 215–31. http://dx.doi.org/10.2307/990894.

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A methodology that exploits all aspects of the building program of Troyes Cathedral is here employed to reveal more about the cathedral's early history. Little-known grisailles from the early campaigns are differentiated from each other and dated in relation to the figural windows, and thus confirm the existence of separate campaigns in ca. 1200 and ca. 1210-20s. In particular, the characterization of the first campaign as regional in nature and the second campaign as drawing on new Parisian sources, is upheld by the analysis of the stained glass. In addition, the interior choir statue cycle i

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46

Emerson, Everett, and Kathryn Zabelle Derounian-Stodola. "Early American Literature and Culture." South Central Review 11, no. 4 (1994): 54. http://dx.doi.org/10.2307/3190114.

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47

Xu, Qiang, and Feng Zhao. "Study on the Influence of Japanese Motifs on Silks of the Late Ming Dynasty." Asian Social Science 19, no. 2 (2023): 7. http://dx.doi.org/10.5539/ass.v19n2p7.

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From the medieval to the early modern periods, various new techniques of dyeing and embroidery and correlative decorative patterns on textiles with local characteristics had been developed in Japan, some of which could be witnessed on the silks from the middle to late Ming dynasty, leading to limited influences on the silk art of the Ming and Qing dynasties. This paper classifies a group of unearthed and handed down silks with similar patterns and compositions from the middle to late Ming dynasty and makes comparisons with related decorative arts from both China and Japan, to summarize corresp

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Zubieta, Sebastián, and Suzanne Bona. "Early Latin American Music on CD." Review: Literature and Arts of the Americas 42, no. 2 (2009): 251–54. http://dx.doi.org/10.1080/08905760903248142.

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Gerasimov, A. P., and T. V. Biryukova. "INTERIOR OF ART NOUVEAU ARCHITECTURE IN SIBERIA." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 2 (April 29, 2019): 102–12. http://dx.doi.org/10.31675/1607-1859-2019-21-2-102-112.

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The article discusses the development of the interior in private and public buildings in Russia late in the 19th and early 20th centuries. Romantic trends that emerged in architecture Western Europe in the 19th century turned into the new style expressed in modernity, which fundamentally differs from the historical repetition in architecture of the early period. This article is an interdisciplinary work and describes such arts as architecture, painting, and decorative and applied arts. The main feature of modernity is the internal space, subordinating the interior to the exterior, its graphic

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Jewell, Richard. "An English Romanesque Mount and Three Ninth-Century Strap-Ends." Antiquaries Journal 83 (September 2003): 433–41. http://dx.doi.org/10.1017/s0003581500077751.

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This note discusses several recent English finds of early medieval ornamental metalwork shown at the Society of Antiquaries on 16 May 2002: most notably, a Romanesque mount with open-work foliate decoration having clear parallels with Norman and Anglo-Norman ornament of c 1100–25. Four ninth-century Anglo-Saxon strapends are also described and illustrated, two of which have decorative features with links to contemporary larger-scale works but rarer within the corpus of strap-ends; the other two being unusual examples of East Anglian niello and silver-wire inlay.

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