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Journal articles on the topic 'Hispano-Moresque'

Author: Grafiati
Published: 9 September 2021
Last updated: 2 February 2022

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1

Padeletti, G., and P. Fermo. "Italian Renaissance and Hispano-Moresque lustre-decorated majolicas: imitation cases of Hispano-Moresque style in central Italy." Applied Physics A: Materials Science & Processing 77, no. 1 (2003): 125–33. http://dx.doi.org/10.1007/s00339-002-2048-6.

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2

Pérez-Arantegui, Josefina, Pilar Lapuente, Pilar Punter, and Juan R. Castillo. "Characterization and Alterations of Hispano-Moresque Tiles of 14th Century." Key Engineering Materials 132-136 (April 1997): 1493–95. http://dx.doi.org/10.4028/www.scientific.net/kem.132-136.1493.

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3

Wilson, Timothy. "The Impact of Hispano-Moresque Imports in Fifteenth-century Florence." Bulletin of the Detroit Institute of Arts 87, no. 1-4 (2013): 8–13. http://dx.doi.org/10.1086/dia43493615.

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4

MOLERA, J., M. VENDRELL-SAZ, M. GARCÍA-VALLÉS, and T. PRADELL. "TECHNOLOGY AND COLOUR DEVELOPMENT OF HISPANO-MORESQUE LEAD-GLAZED POTTERY." Archaeometry 39, no. 1 (1997): 23–39. http://dx.doi.org/10.1111/j.1475-4754.1997.tb00788.x.

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5

Vendrell-Saz, M., J. Molera, J. Roqué, and J. Pérez-Arantegui. "Islamic and Hispano-Moresque (múdejar) lead glazes in Spain: a technical approach." Geological Society, London, Special Publications 257, no. 1 (2006): 163–73. http://dx.doi.org/10.1144/gsl.sp.2006.257.01.13.

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6

Smith, A. D., T. Pradell, J. Molera, M. Vendrell, M. A. Marcus, and E. Pantos. "MicroEXAFS study into the oxidation states of copper coloured Hispano-Moresque lustre decorations." Journal de Physique IV (Proceedings) 104 (March 2003): 519–22. http://dx.doi.org/10.1051/jp4:20030136.

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7

Chabanne, D., A. Bouquillon, M. Aucouturier, X. Dectot, and G. Padeletti. "Physico-chemical analyses of Hispano-Moresque lustred ceramic: a precursor for Italian majolica?" Applied Physics A 92, no. 1 (2008): 11–18. http://dx.doi.org/10.1007/s00339-008-4458-6.

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8

Coentro, Susana, Rui A. A. Trindade, José Mirão, et al. "Hispano-Moresque ceramic tiles from the Monastery of Santa Clara-a-Velha (Coimbra, Portugal)." Journal of Archaeological Science 41 (January 2014): 21–28. http://dx.doi.org/10.1016/j.jas.2013.07.031.

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9

Molera, J., T. Pradell, S. Martinez-Manent, and M. Vendrell-Saz. "The growth of sanidine crystals in the lead of glazes of Hispano-Moresque pottery." Applied Clay Science 7, no. 6 (1993): 483–91. http://dx.doi.org/10.1016/0169-1317(93)90017-u.

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10

Coentro, S., L. C. Alves, C. Relvas, et al. "The Glaze Technology of Hispano-Moresque Ceramic Tiles: A Comparison Between Portuguese and Spanish Collections." Archaeometry 59, no. 4 (2017): 667–84. http://dx.doi.org/10.1111/arcm.12280.

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11

MOLERA, J., M. GARCÍA-VALLÉS, T. PRADELL, and M. VENDRELL-SAZ. "HISPANO-MORESQUE POTTERY PRODUCTION OF THE FOURTEENTH-CENTURY WORKSHOP OF TESTAR DEL MOLÍ (PATERNA, SPAIN)." Archaeometry 38, no. 1 (1996): 67–80. http://dx.doi.org/10.1111/j.1475-4754.1996.tb00761.x.

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12

Leal, Ana Sofia, Luís C. Alves, Susana Coentro, et al. "Chemical, physical and mineralogical characterisation of the Hispano- Moresque tile collection from Lisbon Roman Theatre Museum." Conservar Património 29 (2018): 25–39. http://dx.doi.org/10.14568/cp2017011.

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13

Represa, Camino, and Pilar Borrego. "Analysis and conservation of three Hispano-Moresque textiles dating from the first half of the twelfth century." Studies in Conservation 37, no. 1 (1992): 122–26. http://dx.doi.org/10.1179/sic.1992.37.1.122.

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14

Represa, Camino, and Pilar Borrego. "ANALYSIS AND CONSERVATION OF THREE HISPANO-MORESQUE TEXTILES DATING FROM THE FIRST HALF OF THE TWELFTH CENTURY." Studies in Conservation 37, sup1 (1992): 122–26. http://dx.doi.org/10.1179/sic.1992.37.s1.026.

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15

Hazan, Olga. "Violence et cohésion dans le cycle imagé de la haggadah de Castille (British Library, Or. 2737)." Studies in Religion/Sciences Religieuses 47, no. 4 (2018): 586–620. http://dx.doi.org/10.1177/0008429818769415.

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Dans les sept premiers doubles folios du cycle imagé de la haggadah de Castille, dite « Hispano-Moresque Haggadah » (c. 1300, British Library, ms. Or. 2737), les rôles attribués aux principaux personnages donnent à voir successivement deux thématiques contrastées : la violence, d’une part, et la proximité des membres de la famille de Moïse et leur cohésion, d’autre part. Compte tenu de cette dualité, la prise en compte d’une chaîne de dialogues – entre Dieu et Moïse, Moïse et Aaron, le couple Moïse / Aaron et les anciens et le couple Moïse / Aaron et Pharaon accompagné de ses magiciens – est essentielle, dans la mesure où c’est l’ensemble de ces dialogues, incarnés ici par la gestuelle de tous ces personnages, qui permet de mettre en évidence le pouvoir de Dieu. L’insistance, dans ce cycle imagé, sur le fait que ce pouvoir se manifeste par le biais de la parole permet de démarquer ce pouvoir divin de celui des magiciens de Pharaon.
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16

Coentro, Susana, Rui C. da Silva, Cátia Relvas, et al. "Mineralogical Characterization of Hispano-Moresque Glazes: A µ-Raman and Scanning Electron Microscopy with X-Ray Energy Dispersive Spectrometry (SEM-EDS) Study." Microscopy and Microanalysis 24, no. 3 (2018): 300–309. http://dx.doi.org/10.1017/s1431927618000338.

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AbstractThis work explores the combination of µ-Raman spectroscopy and scanning electron microscopy with X-ray energy dispersive spectrometry (SEM-EDS) for the study of the glazes in 15th–16th century Hispano-Moresque architectural tiles. These are high lead glazes that can be tin-opacified or transparent, and present five colors: tin-white, cobalt-blue, copper-green, iron-amber, and manganese-brown. They are generally homogenous and mineral inclusions are mostly concentrated in the glaze-ceramic interface. Through SEM-EDS, these inclusions were observed and chemically analyzed, whereas µ-Raman allowed their identification on a molecular level. K-feldspars, wollastonite and diopside were the most common compounds, as well as cassiterite agglomerates that render the glaze opaque. Malayaite was identified in green glazes, and andradite and magnesioferrite in amber glazes. Co–Ni–ferrites were identified in blue glazes, as well as Ni–Fe–olivines. Manganese-brown is the color where most compounds were identified: bustamite, jacobsite, hausmannite, braunite, and kentrolite. Through the µ-Raman analysis of different areas in large inclusions previously observed by SEM, it was possible to identify intermediate phases that illustrate the reaction process that occurs between the color-conferring compounds and the surrounding lead glaze. Furthermore, the obtained results allowed inference of the raw materials and firing temperatures used on the manufacture of these tiles.
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17

Baker, I. M. "Technical Investigation of an Hispano-Moresque Lustered Deep Dish in the Walters Art Gallery." MRS Proceedings 352 (January 1995). http://dx.doi.org/10.1557/proc-352-681.

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18

Reyes, JoAnna. "The Verdant Gospel: A Hispano Moresque Charger and its Correlation to the Gospel of John." Eagle Feather, October 1, 2005. http://dx.doi.org/10.12794/tef.2005.192.

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