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Relevant bibliographies by topics / Hammershoi

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Academic literature on the topic 'Hammershoi'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Hammershoi"

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Cavallero, Claude. "Vues de l’intérieur : les variations de Philippe Delerm sur les toiles de Vilhelm Hammershoi." Littératures 55, no. 1 (2006): 185–200. http://dx.doi.org/10.3406/litts.2006.2019.

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Neycensas, Michel. "Hammershøi, peindre le silence." La Cause Du Désir N° 102, no. 2 (2019): 170. http://dx.doi.org/10.3917/lcdd.102.0170.

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SCALES, ALETTE RYE. "Hammershøi - Subversive Heir to a Golden Age?" Art Book 16, no. 2 (May 2009): 3–4. http://dx.doi.org/10.1111/j.1467-8357.2009.01020.x.

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Spencer, Jeremy. "Un art du quotidien ? A partir de Georges Perec et Vilhelm Hammershøi." Labyrinth 22, no. 2 (February 17, 2021): 74. http://dx.doi.org/10.25180/lj.v22i2.238.

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An art of the everyday? Parting from Georges Perec and Vilhelm Hammershøi (Abstract)Contemporary continental philosophy seems to be deeply connected to art, whether it is poetry and literature (from Heidegger to Derrida), painting (Merleau-Ponty, Maldiney) or music (since Bergson). This connection is built upon the primacy of a trial of the invisible, which is very often a trial of the event. The aim of this article is to establish an art of the everyday freed from this contemporary "eventism". We thus examine how the researches of Georges Perec in literature and of Vilhelm Hammershøi in painting meditate on the strangeness of the everyday – its flatness, its silence – which are irreducible to this aesthetic trial as it can be conceptualized by the philosophy of the life of Deleuze-Guattari and by the humanism of Levinas. This research thus beckons towards an art of the common contesting the contemporary primacy of the vital and the (in)human.

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Prout, Ryan. "A small and silent revolution." Short Film Studies 9, no. 2 (April 1, 2019): 153–56. http://dx.doi.org/10.1386/sfs.9.2.153_1.

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Through explicitation of Roquet’s aesthetics – including echoes and reflections of Erice, Hammershøi and Martel – this article argues that The Goodbye harnesses intertextuality concisely to question how class, language, gender, servitude and race intersect. It addresses the role of grief in illuminating the indignities of deeply entrenched power relations.

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Siwek, Andrzej, and Magdalena Trafas-Wołoszyn. "HAMMERSHUS - DOBRE PRAKTYKI I ZARZĄDZANIE TRWAŁĄ RUINĄ." Protection of Cultural Heritage, no. 6 (November 29, 2018): 163–76. http://dx.doi.org/10.35784/odk.883.

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Zamek Hammershus, to średniowieczna, duńska warownia na wyspie Bornholm. W ruinie od połowy XVIII w. Dewastację powstrzymano w 1822, gdy ruinę zamku uznano za zabytek. Zamek, dominujący w widokach północnego wybrzeża wyspy stał się celem wędrówek romantycznych turystów. Decydujące prace konserwatorskie przeprowadził Peter Hauberg w latach 1885 – 1928, programowo powstrzymując się od rekonstrukcji. Funkcje recepcyjne pomieszczono w zabudowaniach opodal ruin. Polityka ochronna prowadzona od 1907 r. wiązała się z wykupem terenów wokół zamku i systematycznym usuwaniem okolicznych budowli. W 1969r. koncepcję centrum informacyjnego, ukrytego w krajobrazie stworzył Jørn Utzon. W 2013 podjęto realizację jego koncepcji. Projekt opracował duński zespół Arkitema, we współpracy z Buro Happold, i Ch. Harlangiem. Nowoczesne centrum interpretacji zabytku oddane do użytku w 2018 r. jest odsunięte od ruin i ukryte w formach terenu. Ochrona zamku Hammershus jest podporządkowana zachowaniu jego historycznej formy – trwałej ruiny. Jest również prowadzona w sferze krajobrazowej. Nowe centrum recepcyjne zlokalizowano i zaprojektowano tak, by nie konkurowało z formą historyczną i krajobrazem. Model zarządzania zamku Hammershus to przykład dobrej praktyki w ochronie dziedzictwa kulturowego i zabytkowych ruin. Istotą jest wykorzystanie atrakcyjności ruiny historycznej, jako obiektu przyciągającego odwiedzających oraz oddalenie współczesnych funkcji komercyjnych od zabytku wraz ze stworzeniem nowych możliwości kontemplacji zabytku oraz rygorystyczną ochroną krajobrazu.

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Bühlmann, René. "Tabte horisonter. Vilhelm Hammersh⊘i og storbyen." Konsthistorisk tidskrift/Journal of Art History 54, no. 3 (January 1985): 136–44. http://dx.doi.org/10.1080/00233608508604083.

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Usselmann, Henri. "L'art de hammersh⊘ reve poetique et angoisse." Konsthistorisk Tidskrift/Journal of Art History 59, no. 3 (January 1990): 190–99. http://dx.doi.org/10.1080/00233609008604265.

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9

Sjåstad, Øystein. "Annette Rosenvold Hvidt,Gertrud Oelsner: Vilhelm Hammershøi. På sporet av det åbne billede." Kunst og Kultur 102, no. 02 (June 20, 2019): 119–21. http://dx.doi.org/10.18261/issn.1504-3029-2019-02-03.

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Wolff, Robert, and Damian Doria. "Hammerson Hall, The Living Arts Centre in Mississauga, Ontario." Journal of the Acoustical Society of America 105, no. 2 (February 1999): 986–87. http://dx.doi.org/10.1121/1.425374.

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Dissertations / Theses on the topic "Hammershoi"

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Rasumow, Eugen [Verfasser], Simon [Akademischer Betreuer] Doclo, Matthias [Akademischer Betreuer] Blau, and Dorte [Akademischer Betreuer] Hammershoi. "Synthetic reproduction of head-related transfer functions by using microphone arrays / Eugen Rasumow. Betreuer: Simon Doclo ; Matthias Blau ; Dorte Hammershoi." Oldenburg : BIS der Universität Oldenburg, 2015. http://d-nb.info/1071947257/34.

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Baker, Thomas Andrew. "Contamination: A Lighting Design of "An Enemy of the People"." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461163744.

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Scales, Alette Elise Rye. "Vilhelm HammershÃ¸i and the fin-de-sieÌcle Copenhagen : visualising interiority and imaging the feminine." Thesis, Birkbeck (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406367.

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Quinlan, Joshua Mortimer. "Reduce, Reuse, Recycle – Research: Sustainable Scene Design for a Production of Henrik Ibsen’s An Enemy Of The People." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461084681.

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Orden, Verónica Analía. "Luz del norte." Doctoral thesis, Universitat Politècnica de Catalunya, 2010. http://hdl.handle.net/10803/397716.

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An infinite gray roof with different degrees of transparency is displayed with authority on a Scandinavia made of pieces, fragmented. However, the sky that covers these lands unifies it. The light passes through it and reaches the level of human development in an ethereal way, like an intense white mist, with an almost liquid consistency that allows it to spill on every corner, object, person or building. These particular characteristics can be reflected through art in paintings, films, writings and architectural works. The sensitivity of some artists to this imprecise reality, this forbidden heaven and this invasive northern light was sometimes the real pattern to recreate their art. Vilhelm Hammershøi lived among grays, in a home with stripped interiors. The succession of one gray after in his paintings and images out of focus with fuzzy boundaries constitute a constant grisaille. This unreal light invades Hammershøi's exteriors and architectural paintings, creating a particular atmosphere that was the main inspiration for the films of Carl Theodor Dreyer. Black and white is manipulated in Dreyer's films. White prevails over black. The scale of lighter grays is used to show neutrality, purity, reality without sieves. The manipulation of the northern light in Dreyer's films creates oppressive or ethereal indoor spaces. It also creates backlight exterior scenes where the characters struggle against being dissolved by the intense light or quiet outdoors where the characters disintegrate and almost merge with the background. Poul Henningsen was obsessed with the manipulation of artificial light. He searched the warmth that the Nordic daylight was deprived of. The perfect balance between light and shadow was his goal in order to achieve quiet environments and meeting places. He searched for the vibration of fire in his lamps, longing for the colour of sunlight and feeling nostalgia for his childhood which had passed around an oil lamp light. The search for this vibration can also be found in the Faaborg Museum, designed by Carl Petersen, and it is also mentioned in his three conferences "Textures", "Contrasts" and "Colours." The light passes through the sieve of colour to generate a feeling of warmth characteristic of other latitudes. Red, blue and yellow invade the art galleries, and create the background where the works of art are exhibited. Petersen considers light as the source of colour, all colours are present in it. Erik Gunnar Asplund materialized the transition between tradition and modernity, having a critical and selective look over the new trends. With a tendency to stand out the functionally most important spaces of each building, he gave them relevance morphologically and with the use of light. Arne Jacobsen follows Asplund's steps. A distinct identity emerges and Jacobsen is one of the architects that build on an anonymous Danish architecture background and the prospects of modern architecture. The northern light in the Scandinavian buildings is filtered through designed openings, gaps through which the light slips creating domes, walls and beams, defined by the shadow gradually gaining ground. From light to darkness there is an innumerable range of tonalities, curves and planes, in other words, architectural forms. The simplicity and minimalism present in these artists is unintentional. The light fills their paintings, cinematic landscapes, objects and architecture. The density of the northern light compensates the characteristic nudity of their works; emptiness does not have a place in the Nordic reality.
Una cubierta en infinitos grises y con distintos grados de transparencia se despliega autoritariamente sobre una Escandinavia hecha de trozos, partida, fragmentada. Sin embargo el cielo que sobre ella se extiende la unifica. La luz la atraviesa y llega al plano del desarrollo humano de forma etérea, como una neblina de color blanco intenso, con un carácter casi líquido que le permite derramarse sobre cada rincón, objeto, persona o edificio. Estas características particulares pueden verse plasmadas a través del arte en lienzos, películas, escritos y obras arquitectónicas. La sensibilidad de algunos artistas a esta realidad imprecisa, a este cielo prohibido y a esta invasiva luz del norte, fue, en algunos casos, el motivo elegido para recrear su arte. Entre grises Vilhelm Hammershøi recorrió su hogar, vivió junto a Ida en interiores despojados. La sucesión de un gris tras otro es lo que se retrata en sus lienzos, imágenes fuera de foco con límites borrosos que constituyen una constante grisaille. La onírica luz de Hammershøi invade también sus exteriores y sus pinturas de arquitectura, creando un particular clima, que constituyó la principal inspiración para el cine de Carl Theodor Dreyer. El blanco y negro del cine de Dreyer es manipulado, el blanco está mucho más presente que el negro. La gama de grises más claros es utilizada como medio para plasmar la neutralidad, lo puro, la realidad sin tamices. La manipulación de la luz del norte en el cine de Dreyer, genera ambientes interiores oprimentes o espacios etéreos, exteriores a contraluz en los que los personajes luchan para no ser disueltos por la intensa luminosidad sobre la cual se recortan, o exteriores apacibles en los que las figuras se disgregan y casi funden con su fondo. La manipulación de la luz artificial obsesionó a Poul Henningsen, buscando en la iluminación de la noche nórdica la calidez de la cual la luz diurna estaba privada. El perfecto equilibrio entre luces y sombras era su objetivo para lograr ambientes apacibles y de reunión. Buscó la vibración del fuego en sus lámparas, añorando el color de la luz del sol, y con nostalgia de su infancia que había transcurrido alrededor de la lámpara de petróleo. Lo mismo ocurre en el Museo de Faaborg, diseñado por Carl Petersen, y en lo expuesto en sus tres conferencias "Texturas", "Contrastes" y "Colores". La luz es pasada por el tamiz del color para ser modificada, para generar una sensación de calidez propia de otras latitudes. Rojos, azules, ocres, invaden las salas de exposición y sobre ellos se recortan las obras expuestas. Para Petersen la luz es la fuente del color, en ella todos los colores están presentes. Erik Gunnar Asplund concreta la transición entre tradición y modernidad, teniendo siempre una mirada crítica y selectiva de las nuevas corrientes. Con una tendencia a resaltar los espacios, que por funcionalidad son los principales de cada obra, se los jerarquiza morfológicamente y con el uso de la luz. Arne Jacobsen sigue los pasos de Asplund. Una identidad diferenciada surge y Jacobsen es uno de los exponentes que construye con el bagaje de una arquitectura danesa anónima y las perspectivas de la arquitectura moderna. La luz del norte se filtra en las obras escandinavas a través de aberturas diseñadas, huecos por los que la luz resbala creando cúpulas, muros, jácenas, que quedan delimitadas por la sombra que gana terreno progresivamente. De la luz a la sombra hay una infinidad de tonalidades, curvas y planos; en definitiva, formas arquitectónicas. Lo sobrio y minimalista de los artistas que se han mencionado es intencionado, la luz llena sus pinturas, sus paisajes cinematográficos, sus objetos y su arquitectura. La densidad de la luz del norte compensa la desnudez que caracteriza a sus obras, la vacuidad no tiene lugar en la realidad nórdica.

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Boháčová, Kristýna. ""Mé tělo dalo tvar jeho slávě". Dialogická poezie Louise Glückové." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-388021.

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The thesis explores the variety of dialogue in the work of American poetess Louise Glück (*1943). It also points out three options for crossing over the aesthetics of absence. The analysis concerns mainly poems included in the collection The Wild Iris (1992), but it also takes in consideration Gluck's other poetical books such as Averno (2006) and Meadowlands (1996). After naming the nodes which make the contact in the collections, the thesis surpasses the field of literature for creating the dialogue with the aesthetics of absence according to German composer Heiner Goebbels (*1952), with the negative theology of French philosopher Simone Weil (1909-1943) and with the absence of the other in the paintings of Vilhelm Hammershøi (1864-1916). This interdisciplinary dialog seeks to describes one of the major tendencies of Gluck's poetry, which is the ghostly possibility of encountering with otherness

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Books on the topic "Hammershoi"

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Hammershøi, Vilhelm. Hammershoi. Edited by Kramer Felix, Satō Naoki 1965-, Fonsmark Anne-Birgitte, Royal Academy of Arts (Great Britain), and Kokuritsu Seiyō Bijutsukan. London: Royal Academy of Arts, 2008.

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Felix, Kramer, Satō Naoki 1965-, Fonsmark Anne-Birgitte, Royal Academy of Arts (Great Britain), and Kokuritsu Seiyō Bijutsukan, eds. Hammershoi. London: Royal Academy of Arts, 2008.

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Hammershoi, Vilhelm. L' univers poétique de Vilhelm Hammershoi: 1864-1916. Paris: Réunion des musées nationaux, 1997.

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Hammershøi, Vilhelm. Vilhelm Hammershøi. Göteborg [Sweden]: Göteborgs konstmuseum ; [Stockholm] : Nationalmuseum, 1999.

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Hammershøi, Vilhelm. Vilhelm Hammershøi. Edited by Fonsmark Anne-Birgitte, Loyrette Henri, Wivel Mikael, Vad Poul, Rosenblum Robert, and Ordrupgaardsamlingen. København: Ordrupgaard, 1997.

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Hammershøi, Vilhelm. Vilhelm Hammershøi. Hamburg: Christians Verlag, 2003.

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1864-1916, Hammershøi Vilhelm, Stevens Mary Anne, Statens museum for kunst (Denmark), and Hypo-Kulturstiftung (Munich Germany) Kunsthalle, eds. Hammershøi and Europe. Copenhagen: Statens museum for Kunst, 2012.

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1889-1968, Dreyer Carl Theodor, Fonsmark Anne-Birgitte, Palà Marina, Puig Rosa, Centre de Cultura Contemporània de Barcelona., and Ordrupgaardsamlingen, eds. Hammershøi i Dreyer. Barcelona: Centre de Cultura Contemporània de Barcelona, 2007.

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Vad, Poul. Hammershøi: Værk og liv. [Copenhagen]: Gyldendal, 1988.

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Wolf-Watz, Jan. Vilhelm Hammershøis väg. Umeå: H:ström-Text & Kultur, 2009.

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Book chapters on the topic "Hammershoi"

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Cox, Jan D. "VILHELM HAMMERSHØI AT THE EXPOSITION UNIVERSELLE OF 1889." In Transit – 'Norden' och 'Europa', 18–41. Barkhuis, 2019. http://dx.doi.org/10.2307/j.ctvggx29s.4.

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"Preliminary Material." In Die monochromen Interieurbilder Vilhelm Hammershøis, 1–7. Wilhelm Fink Verlag, 2016. http://dx.doi.org/10.30965/9783846760154_001.

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"Vorwort." In Die monochromen Interieurbilder Vilhelm Hammershøis, 9–10. Wilhelm Fink Verlag, 2016. http://dx.doi.org/10.30965/9783846760154_002.

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"Einleitung." In Die monochromen Interieurbilder Vilhelm Hammershøis, 11–27. Wilhelm Fink Verlag, 2016. http://dx.doi.org/10.30965/9783846760154_003.

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"Forschungsstand." In Die monochromen Interieurbilder Vilhelm Hammershøis, 29–39. Wilhelm Fink Verlag, 2016. http://dx.doi.org/10.30965/9783846760154_004.

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"Einführende Bemerkungen." In Die monochromen Interieurbilder Vilhelm Hammershøis, 41–45. Wilhelm Fink Verlag, 2016. http://dx.doi.org/10.30965/9783846760154_005.

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"Verweigerte Berührung: Räume der Isolation und Handlungslosigkeit." In Die monochromen Interieurbilder Vilhelm Hammershøis, 47–68. Wilhelm Fink Verlag, 2016. http://dx.doi.org/10.30965/9783846760154_006.

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"Exkurs: Sinnlichkeit und Einfühlung." In Die monochromen Interieurbilder Vilhelm Hammershøis, 69–79. Wilhelm Fink Verlag, 2016. http://dx.doi.org/10.30965/9783846760154_007.

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"Die Welt als leeres Buch: Melancholie und Langeweile." In Die monochromen Interieurbilder Vilhelm Hammershøis, 81–99. Wilhelm Fink Verlag, 2016. http://dx.doi.org/10.30965/9783846760154_008.

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"Fazit." In Die monochromen Interieurbilder Vilhelm Hammershøis, 101–2. Wilhelm Fink Verlag, 2016. http://dx.doi.org/10.30965/9783846760154_009.

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Conference papers on the topic "Hammershoi"

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HINDASH, ISMAIL, ROBERT BUSH, and RAYMOND COSNER. "Computational modeling of inlet hammershock wave generation." In 26th Joint Propulsion Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1990. http://dx.doi.org/10.2514/6.1990-2005.

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Gridley, Marvin, Tom Sylvester, and Phil Truax. "Impact of a probabilistic approach on inlet hammershock design loads." In 35th Joint Propulsion Conference and Exhibit. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1999. http://dx.doi.org/10.2514/6.1999-2114.

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Goble, Brian, Scott King, Jim Terry, and Mike Schoop. "Inlet hammershock analysis using a 3-D unsteady Euler/Navier-Stokes code." In 32nd Joint Propulsion Conference and Exhibit. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1996. http://dx.doi.org/10.2514/6.1996-2547.

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Ytterstrom, Anders, and Emil Axelson. "Hammershock calculations in the air intake of JAS 39 GRIPEN, using dual timestepping." In 17th Applied Aerodynamics Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1999. http://dx.doi.org/10.2514/6.1999-3113.

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Miller, Daniel N., and Jeffrey W. Hamstra. "A Computational Assessment of Surge-Induced Inlet Overpressure Distribution for Preliminary Design." In ASME 1996 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/96-gt-548.

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Emphasis on tactical aircraft cost reduction has motivated efforts to reduce air induction system cost, which is mainly driven by structural weight. Historically, inlet structural weight has been set by the peak loads associated with engine surge-induced hammershocks. Therefore, an accurate assessment of peak inlet pressure distribution occurring during an engine surge is critical to successful design of next-generation inlet structure for minimum weight and adequate safety margin. Current methods to quantify these inlet loads during preliminary design stages of an advanced inlet are inadequate. A cost-effective, computational methodology was developed to address this issue. This methodology predicted F-16 Normal Shock Inlet overpressure design loads to within 3% of existing methods. The sensitivity of inlet overpressure distribution to the engine face waveform and inlet geometry was investigated. This technique was also applied to an advanced inlet to study the effects of serpentine ducts and 3-D inlet apertures on hammershock loads.

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