Relevant bibliographies by topics / Gothic revival (art)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Gothic revival (art)'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Gothic revival (art)"

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Damjanović, Dragan. "Polychrome Roof Tiles and National Style in Nineteenth-century Croatia." Journal of the Society of Architectural Historians 70, no. 4 (2011): 466–91. http://dx.doi.org/10.1525/jsah.2011.70.4.466.

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Gothic architecture, revived and decorated with motifs borrowed from folk art, provided the foundation for the creation of a Croatian national style in the last quarter of the nineteenth century. Dragan Damjanović explains how the Viennese architect Friedrich Schmidt and his student and collaborator Herman Bollé created the signature architecture of this movement, the brilliantly colored and boldly patterned tile roofs of St. Mark's church (restored 1875–82), Zagreb cathedral (restored 1878–1902), and the church of the Blessed Virgin Mary in Marija Bistrica (restored 1878–85). In Polychrome Ro
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Lepine, Ayla. "The Persistence of Medievalism: Kenneth Clark and the Gothic Revival." Architectural History 57 (2014): 323–56. http://dx.doi.org/10.1017/s0066622x00001453.

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From his emergence on the cultural scene in the 1920s until his death in 1983, Kenneth Clark was one of the most influential figures in the history of British art and design, and his legacy remains strong. Clark’s life and work were entirely dedicated to communicating about art and transforming public understanding regarding its production and enjoyment. His first book,The Gothic Revival: An Essay in the History of Taste, investigated, condemned and elevated the status of Georgian and Victorian England’s enthusiasm for the Middle Ages. Written in the mid-1920s, it was published with Constable
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Myles, Janet. "L.N. Cottingham's Museum of Mediaeval Art: Herald of the Gothic Revival." Visual Resources 17, no. 3 (2001): 253–87. http://dx.doi.org/10.1080/01973762.2001.9658596.

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Cox-Rearick, Janet. "Imagining the Renaissance: The Nineteenth-Century Cult of François I as Patron of Art*." Renaissance Quarterly 50, no. 1 (1997): 207–50. http://dx.doi.org/10.2307/3039334.

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A sentimental domestic scene, François I and Marguerite of Navarre, was painted in 1804 by the Salon painter Fleury Richard (fig. 1). As he explained, it illustrates an anecdote from the legend of François I. The king's sister, Marguerite de Navarre, is shown discovering on the windowpane a graffito about the inconstancy of women. François — the great royal womanizer — has just scratched it there and looks very pleased with himself.This painting signals not only the early nineteenth century's fascination with the Renaissance king, but reveals its attitudes about the Renaissance itself. For exa
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Aldrich, Megan B. "Modern Gothic: The Revival of Medieval Art. Susan B. Matheson , Derek D. Churchill." Studies in the Decorative Arts 9, no. 1 (2001): 163–66. http://dx.doi.org/10.1086/studdecoarts.9.1.40662809.

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KIRKHAM, P. "Victorian and Edwardian Furniture and Interiors from the Gothic Revival to Art Nouveau." Journal of Design History 2, no. 1 (1989): 55–56. http://dx.doi.org/10.1093/jdh/2.1.55.

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Whelan, Debbie. "Snippets from the north: Architects in Durban and their response to identity, common culture and resistance in the 1930s." VITRUVIO - International Journal of Architectural Technology and Sustainability 4, no. 1 (2019): 26. http://dx.doi.org/10.4995/vitruvio-ijats.2019.11774.

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<p class="Abstracttext-VITRUVIOCxSpFirst">Previously colonized by both Holland and Britain, South Africans have always borrowed; many taking aesthetic clues from memories of ‘home’. Applied seemingly irrelevantly, these ‘clues’ often border on the pastiche. Pre and post Union in 1910, the British-controlled colonies of Natal and the Cape absorbed imported architectural influences which not only introduced an Arts and Crafts layer to Victorian Gothic and Classical revivals, but introduced vital new ideas, namely Art Deco and Modernism.</p><p class="Abstracttext-VITRUVIOCxSpFirst"
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Mathews, Jana. "The scrapbook as repurposed and transplanted illustration: The ABCs of medieval alphabet compilations in nineteenth-century England." Journal of Illustration 8, no. 2 (2021): 155–86. http://dx.doi.org/10.1386/jill_00043_1.

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The so-called Gothic Revival long has been viewed as a mode of resistance to the mechanization and mass production of culture wrought by industrialization. Throughout the nineteenth century, society’s nostalgic longing for the distant past manifests itself in the form of medieval-inspired art, architecture, theatre, fashion and interior design. It also involves the uniquely contemporaneous literary fad of extracting illuminated letters (elaborately decorated initials) from parchment bibles, books of hours and other medieval religious texts, and reassembling them into handmade alphabet scrapboo
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Tang Kristensen, Jens. "Middelalderen som politisk middel i den spontan-abstrakte danske kunst." Slagmark - Tidsskrift for idéhistorie, no. 79 (June 25, 2019): 117–33. http://dx.doi.org/10.7146/slagmark.vi79.130732.

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With particular focus on Danish artists Henry Heerup (1907-1993), Carl-Henning Pedersen (1913-2007) and Asger Jorn (1914-1973), this article illustrates how spontaneous-abstract artists in World War II-era Denmark helped to perpetuate an idealized image of the Middle Ages as a homogeneous and unspoiled social order. It is argued that these artists took medieval culture to represent an uninhibited, irrational art, which they believed had somehow remained unsullied and beyond the exploitation of modern society’s political and capitalist powers. It is further demonstrated that these artists’ idea
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Reid, Donald Malcolm. "Cultural Imperialism and Nationalism: the Struggle to Define and Control the Heritage of Arab Art in Egypt." International Journal of Middle East Studies 24, no. 1 (1992): 57–76. http://dx.doi.org/10.1017/s0020743800001422.

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It was Europeans who started in Egypt a historic preservationist movement for Arab (or Islamic) art.1 It was they who persuaded Khedive Tawfiq to decree, in December 1881, the founding of the Committee for the Conservation of Monuments of Arab Art (hereafter “the Comité,” the usual French designation). It was the European-dominated Comité that opened the Museum of Arab Art three years later, and it was an Englishman, K. A. C. Creswell, who established the Institute of Islamic Archaeology at the Egyptian (later Cairo) University. Why did the Europeans care? In 19th-century Europe, romanticism g
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Dissertations / Theses on the topic "Gothic revival (art)"

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Springer, Mary Ruth. "American Collegiate Gothic architecture: the birth of a style and its architects, patrons, and educational associations, 1806-1906." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5640.

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Collegiate Gothic architecture can be found on many American campuses, yet its beginnings in nineteenth-century United States are something of a mystery. As the nation’s colleges and universities grew more innovative in their modernized curricula and research, strangely, their architecture became more anachronistic with Collegiate Gothic being the most popular. Around the greens of their campuses, Americans built quadrangles of crenellated buildings and monumental gate towers with stained-glass windows, gargoyles, pointed arches, turrets, and spires, thus transforming their collegiate grounds
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Lindfield, Peter Nelson. "Furnishing Britain : Gothic as a national aesthetic, 1740-1840." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3490.

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Furniture history is often considered a niche subject removed from the main discipline of art history, and one that has little to do with the output of painters, sculptors and architects. This thesis, however, connects the key intellectual, artistic and architectural debates surfacing in 'the arts' between 1740 and 1840 with the design of British furniture. Despite the expanding corpus of scholarly monographs and articles dealing with individual cabinet-makers, furniture making in geographic areas and periods of time, little attention has been paid to exploring Gothic furniture made between 17
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Nobbs, Garrett Brandon. "The St. Johns Bridge: a prayer in steel." Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/865.

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The St. Johns Bridge is a 1,207 foot span suspension bridge crossing the Willamette River in Portland, Oregon, connecting the Portland communities of St. Johns and Linnton on the eastern and western banks, respectively. Commissioned in 1928, the bridge was completed in 1931, with much fanfare in the local community. The two neighborhoods are some distance from downtown Portland, and the bridge brought prestige to an otherwise nondescript locale. It was designed by the New York-based firm of Steinman & Robinson. David Barnard Steinman (1886-1960) acted as the public face for the firm, however,
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Bagley, Julie Arens. "Dallas as Region: Mark Lemmon's Gothic Revival Highland Park Presbyterian Church." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc5560/.

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Informed by the methodology utilized in Peter Williams's Houses of God: Region, Religion, and Architecture in the United States (1997), the thesis examines Mark Lemmon's Gothic Revival design for the Highland Park Presbyterian Church (1941) with special attention to the denomination and social class of the congregation and the architectural style of the church. Beginning with the notion that Lemmon's church is more complex than an expression of the Southern cultural region defined by Williams, the thesis presents the opportunity to examine the church in the context of the unique cultural regio
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Francis, Kurt T. "Gothic Elements in Selected Fictional Works by Nathaniel Hawthorne." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc503867/.

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Gothicism is the primary feature of Nathaniel Hawthorne's fiction, and it is his skill in elevating Gothicism to the level of high art which makes him a great artist. Gothic elements are divided into six categories: Objects, Beings, Mental States, Practices and Actions, Architecture and Places, and Nature. Some devices from these six categories are documented in three of Hawthorne's stories ("Young Goodman Brown," "The Minister's Black Veil," and "Ethan Brown") and three of his romances (The Scarlet Letter, The House of the Seven Gables, and The Marble Faun). The identification of 142 instance
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Spear, Peta. "Libertine : a novel & A writer's reflection : the Libertine dynamic : existential erotic and apocalyptic Gothic /." View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030909.143230/index.html.

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Leffler, Yvonne. "I skräckens lustgård : skräckromantik i svenska 1800-talsromaner /." Göteborg : Göteborgs Universitet, 1991. http://catalogue.bnf.fr/ark:/12148/cb35523795h.

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Books on the topic "Gothic revival (art)"

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Brooks, Chris. The Gothic revival. Phaidon Press, 1999.

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Massey, James C. Gothic revival. Abbeville Press, 1994.

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Matheson, Susan B. Modern gothic: The revival of medieval art. Yale University Art Gallery, 2000.

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Corinna, Wagner, ed. Art & soul: Victorians and the Gothic. Sansom & Co., an imprint of Redcliffe Press Ltd, 2014.

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Grandien, Bo. Rönndruvans glöd: Nygöticistiskt i tanke, konst och miljö under 1800-talet. Nordiska museet, 1987.

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Michael, Charlesworth, ed. The Gothic revival, 1720-1870: Literary sources & documents. Helm Information, 2002.

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Hunter-Stiebel, Penelope. Of knights and spires: Gothic revival in France and Germany. Rosenberg & Stiebel, 1989.

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Brian, Andrews. Creating a gothic paradise: Pugin at the antipodes. Tasmanian Museum and Art Gallery, 2002.

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Camille, Michael. Gothic art: Visions and revelations of the medieval world. G. Weidenfeld & Nicolson, 1996.

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Duthoit, Aimé. Aimé et Louis Duthoit: Derniers imagiers du Moyen Âge. Musée de Picardie, 2003.

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Book chapters on the topic "Gothic revival (art)"

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Williams, Peter W. "The Gothic Revival and the Arts and Crafts Movement." In Religion, Art, and Money. University of North Carolina Press, 2016. http://dx.doi.org/10.5149/northcarolina/9781469626970.003.0003.

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Garner, Katie. "The Gothic Aesthetic: Word and Image." In The Edinburgh Companion to Romanticism and the Arts. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474484176.003.0003.

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This chapter examines the close interaction of visual and textual forms in the formation of a Gothic aesthetic at the end of the eighteenth century. It begins by drawing attention to Edmund Burke’s clear dismissal of painting as positive source of sublime terror, an attitude which it is difficult to square with the cross-medial exchanges that are staged in Gothic literary works, the use of architecture and visual representations in works underpinning the Gothic revival, and visual depictions of scenes from Gothic works in both high art and popular culture. Examples are taken from literary works by Richard Hurd, Thomas Warton, Thomas Percy, William Blake, Horace Walpole, Ann Radcliffe, and James Hogg, and from artworks by David Teniers, Joshua Reynolds, James Gillray, Joseph Wright, and William Blake. The visual arts, whether in the form of paintings, illustrations, physical ruins, or tattered documents, were a vital part of how the Gothic established itself as a cultural movement.
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Franck, Kaja, and Sam George. "Contemporary Werewolves." In Twenty-First-Century Gothic. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440929.003.0011.

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Twenty-first-century werewolves (following vampires) have become humanised, as identity politics have become mainstream and the Other assimilated. Young Adult fiction and paranormal romance have proved to be where the most radical transformations of the theme have occurred. Two other, related, strands are to be found: ecology has shaped our understanding of creatures which oscillate between nature and culture, and the Ecogothic has generated more positive representations of hybridity and animality. There are now werewolf hauntings and sightings, and a revival of folkloric elements which posit the new werewolf as the spectre wolf. This chapter charts these recent shifts and manifestations. The focus throughout is on literature and contemporary urban myths involving werewolves in the media but similar incarnations of the new werewolf in film, TV, videogames and comics are also acknowledged.
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Lochhead, Ian. "At home with the past: The Gothic revival house in New Zealand." In At Home in New Zealand: History, Houses, People. Bridget Williams Books, 2000. http://dx.doi.org/10.7810/9781877242045_1.

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Miele, Chris. "E. A. Freeman and the Culture of the Gothic Revival." In Making History. British Academy, 2015. http://dx.doi.org/10.5871/bacad/9780197265871.003.0008.

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This essay looks at E. A. Freeman’s involvement in the Oxford Architectural Society, which provided him with the platform to develop as an architectural historian and writer. The varied interests of the OAS influenced Freeman’s approach to the history of medieval architecture alongside Thomas Arnold’s new philosophy of history. This contribution is set against the backdrop of Oxford in the 1840s and the rapid changes the City and University were experiencing. The OAS also provided Freeman with the opportunity to meet architects and even to act as a client in the restoration of Dorchester Abbey, which the OAS promoted from 1846, eventually using William Butterfield as architect. This experience encouraged Freeman to write about the theory of monument care, which is perhaps his most enduring contribution to the culture of the Gothic Revival.
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Veligorsky, Georgy A. "“Houses are alive. No?”The image of a “revived” house in English literaturein the late XIX — early XX century." In Russian Estate in the World Context. A.M. Gorky Institute of World literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/978-5-9208-0623-9-298-312.

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In this article we will talk about the unusual topos that occurs in Victorian and Edwardian literature — the “revived” estate. Indirectly going back to Gothic literature and the “horror literature” that inherited it (where the house can come to life literally, become harmful, frightening and even mortally dangerous for the inhabitant), however, it develops in a completely different way. The ghosts that inhabit the rooms of such a mansion are the guardians of a good and bright memory, “hidden joy”; embodied by the past, who lives in a shaky, invisible world. These ghosts have many hypostases: sometimes they turn out to be just a figment of the tenant’s imagination, and sometimes they are a real poltergeist, but not frightening, but protecting and preserving (W. Woolf, “A Haunted House”). Another manifestation of this topos can be called a house that comes to life, when the hero distinguishes between the beating of his heart (as happens in the novel by E.M. Forster “Howards End”) or hears a whisper of voices in the curtains shaken by the wind. The combination of these two motives (poltergeist and living house) is also found in the works of modernists (W. Woolf, “Orlando: A Biography”). Of particular interest is the image of a revived estate house in children’s literature; in this vein, we will consider the novel by Ph. Pierce, “Tom’s Midnight Garden”.
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Snodgrass, Chris. "The Rhetoric of Parody: Signing and Resigning the Canon." In Aubrey Beardsley, Dandy of the Grotesque. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195090628.003.0006.

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Abstract HAVINO embraced various strains of Classical, Gothic, and Japanese “revivals” enthusiastically, late Victorian art was unusually conscious of the cultural and canonical foundations on which it rested. Casts of marble were an almost obligatory part of many artists’ studios; indeed, Lawrence Alma-Tadema, who had admired the Elgin Marbles since his first visit to London in 1862, had a complete, small replica of the Parthenon frieze running around one room of his Townshend House (Spalding 38). The fin de siecle was in many respects, however, less a “renaissance” of past values, as it often considered itself, than a paradoxical “late, hot-house flowering of the tradition” (39), the welding of poetic imagination to an already well-conditioned taste-that is, an art of parody. Almost by definition, parody thrives in a technologically sophisticated world where “culture” has replaced “nature” as the subject of art. It is the paramount art form of “decadence,” of life imitating art, self consciously and self-critically pointing “both to itself and to that which itdesignates or parodies” (Hutcheon 69). It was an art form tailor-made for Aubrey Beardsley.
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Parry, Graham. "Richard Verstegan." In The Trophies of Time. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198129622.003.0003.

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Abstract ‘Richard Verstegan, or as some call him, Richard Rowlands, a great reviver of our English antiquities, and a most admirable Critick in the Saxon and Gothick languages, ought with due ceremony to crave a place among these writers ... because he is litle remarked among authors. ‘1 So wrote Anthony Wood in his account of Oxford authors, and the obscurity of which he complained in the late seventeenth century has intensified since, so that Verstegan is today almost totally forgotten; yet in his time he was a most innovative antiquary, albeit an unexpected one. The book for which he deserves to be remembered, A Restitution of Decayed Intelligence in Antiquities (1605), came from a man whose concerns had previously been almost entirely religious, for he was a recusant and in many ways an outsider to English society. Some biographical details are helpful to explain his unusual situation.
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Conference papers on the topic "Gothic revival (art)"

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Голофаст, Л. А. "PHANAGORIA IN THE 4th – 7th CENTURIES (WRITTEN SOURCES AND ARCHAEOLOGICAL DATA)." In Hypanis. Труды отдела классической археологии ИА РАН. Crossref, 2023. http://dx.doi.org/10.25681/iaras.2021.978-5-94375-350-3.42-57.

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В статье прослеживается история Фанагории с середины 3 в., когда жизнь Боспорского царства, в состав которого входила Фанагория, была нарушена вторжением племенных союзов готов, до конца 7 столетия, когда Боспор захватили хазары, и в истории Фанагории начался новый период. Сопоставляются сведения, содержащиеся в письмен - ных источниках и эпиграфических памятниках, данные археологии и нумизматики. История Фанагории рассматривается на фоне политической и экономической ситуации в Северном Причерноморье. Уточнение хронологии ключевых групп материала и ряд новых находок позволили пересмотреть даты
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